Lorenzo da Ponte — a Jewish-born Venetian turned Roman Catholic priest (and playboy) — had a lot in common with Wolfgang Amadeus Mozart.
“When I first went to Camp Cejwin at 12, I knew nothing about Judaism. By the end of the summer, I was able to lead services in Hebrew and decided to go to Hebrew School before my Bar Mitzvah” renowned Judaica artist Mark Podwal, whose current project is a series of posters for each new Metropolitan Opera season, told me during our chat following the May 19 opening of his exhibition “The Artist as Critic: Mozart and Prague” at The Czech Center on East 73rd Street.
An Israeli study has demonstrated that listening to the music of Mozart is more conducive to the development of premature babies than is exposure to Bach.
Israeli Boris Giltburg won a major competition despite a shocking memory lapse that froze him as he performed Mozart.
Today Richard Tauber, the Austrian tenor of Jewish ancestry, is a genuine icon, as the title of a splendid 5-CD box set of his recordings from EMI Classics indicates. Yet his life is a cautionary tale of how critics should reflect on the possible impact of their words.
After listening to and viewing a rehearsal for the New York Philharmonic Orchestra’s presentation of “In Seven Days,” the 2008 concerto for piano and moving image by Thomas Adès and Tal Rosner being performed January 7 and 8 at Avery Fisher Hall, I was ready to become a creationist.
In a memoir of his late parents Mr. and Mrs. William F. Buckley, “Losing Mum and Pup,” newly out in paperback from Twelve Publishers, Christopher Buckley quotes from the funeral oration given by Henry Kissinger at his father’s 2008 service at St. Patrick’s Cathedral. In it, Kissinger states that the elder Buckley “wrote as Mozart composed, by inspiration; he never needed a second draft.”