Posts Tagged: george gershwin Results 9
When Michael Feinstein was in his 20s, he had the good fortune to work as an assistant and archivist for the great Ira Gershwin, who, with his brother George, wrote some of the greatest and most beloved songs in American history. Now a beloved singer in his own right, Feinstein spoke with the Forward about his passion for the Gershwins during a break from his gig performing at Feinstein’s at the Loews Regency in New York.
American pianist Oscar Levant (1906–1972), whose fortieth Yahrzeit was on August 14, was renowned, perhaps distractingly so, for his wit steeped in psychic pain. Born in Pittsburgh in 1906 to an Orthodox Jewish family originally from Russia, Levant was tormented by psychiatric ailments, requiring hospitalizations and medication which he made light of on radio, TV, and in films. The screenwriter Betty Comden (born Basya Cohen), who co-authored some of Levant’s musical classics, including “The Barkleys of Broadway” and “The Band Wagon,” once told me that on the set of the latter film, she made the mistake of asking Levant how his mother was. Levant retorted furiously, “Don’t mention that woman!” and refused to speak to Comden for weeks.
The avowed intention of director Diane Paulus and writer Suzan-Lori Parks in “reimagining” “Porgy and Bess” was to invest the opera with a sensibility that would reach modern audiences and “fully realize the characters.” That is, they hoped to achieve a theatrical authenticity they believed was missing in the original.
Classical music events both before and after Purim (on March 8) focus on dialogues redolent of Yiddishkeit, as New Yorkers and others will discover. On February 10 at Weill Recital Hall pianist Lia Jensen-Abbott will perform Fanny Mendelssohn’s “The Year,” a work inspired by the composer’s relationship with her brother Felix. The Hungarian Jewish composer György Ligeti described his 1951 “Sonata for solo cello” as: “[a] dialogue. Because it’s like two people, a man and a woman, conversing.” Ligeti’s sonata converses on February 10 at Bargemusic with cellist Nicholas Canellakis.
There is exactly one perceptive sentence of dialogue in “Chasing Heaven,” now playing through August 26 at CSV Flamboyan as part of the 15th Annual New York International Fringe Festival. It comes rather late in the proceedings, when the two main characters, in grudging collaboration on a rewrite of a very familiar-sounding piece of iconic theater, come to an impasse over whether or not to cut a villain dubbed Trout Bait from the revised version. One argues that Trout Bait is a racist and offensive portrayal of Blackness: a lying, gambling boozer. The other points out that, while Trout Bait may be all of those things, the show can’t afford to lose him because “he moves the work along and he gets to sing a lot of great stuff.”