It’s deeply ironic that Tanglewood, which is celebrating its 75th anniversary, was essentially the creation of Jews in a place largely resentful of their presence.
• Aaron Copland owed much of his career to Serge Koussevitzky.
It may have taken 76 years, and they missed the composer’s bicentenary by three years, but Düsseldorf is finally about to replace the bronze statue of Felix Mendelssohn that the Nazis tore down in 1936 and later used for scrap metal. The recreated statue is to be re-installed September 27, at the entrance to the garden courtyard on the left of the city’s opera house.
When I found out that an ambitious new music festival in New York, the Chelsea Music Festival, was honoring the 150th birthday of Claude Debussy, I was intrigued to learn that the celebration would feature a performance at the Leo Baeck Institute at the Center for Jewish History in Manhattan.
Opera ripped from the headlines has a long tradition. ‘Slaying the Dragon’ revolves around a Ku Klux Klan grand dragon who converts to Judaism.
It’s always surprising how often Jews cross borders. But this coincidence was just too good not to be documented.
Is there a more sunny and less ego-driven violinist than Israeli-born Gil Shaham? He makes even the most virtuosic music seem so effortless and natural, it’s easy to forget how rare and difficult an achievement that is.
It is no small feat to recreate the world and emotions of a bygone era. But in his astonishing show celebrating his grandparents, Boris and Bessie Thomashefsky, who were superstars of the Yiddish theater, conductor Michael Tilson Thomas has done it. And it is a joy.