While we’re awaiting yet another storm on [insert day of the week here], some brain bits are definitely in order. Even in the face of arctic temperatures, I can still muster good cheer. So I’ll refrain from trashing the season finale of “Last Tango in Halifax” (much remedial work is needed for sure) and the Met’s new production of “Iolanta” (“meh” is the word, though the second half of the double bill, Bartok’s “Bluebeard’s Castle,” is absolutely riveting).
So let’s get on with the good stuff, shall we?
I recently had the pleasure of a spectacular evening of musicianship at Carnegie’s Zankel Hall, courtesy of Joyce DiDonato and the Brentano String Quartet. The quartet had the first half of the program, which included Charpentier’s “Concert pour quatre parties de violes,” a dance suite, and the iconic Debussy String Quartet. This was the first time I’d heard the latter in live performance, and what an experience. It’s like seeing the whole of 20th century music stretching out before you like an audio super-highway.
The Brentanos can sing, which is a talent I admire without end. My days as a school-age musician taught me the most difficult thing to learn as a string player is phrasing. If you sing or play a wind instrument, it comes naturally. However, it’s a more difficult proposition when you’re learning violin or cello, since they’re not breath- actvated. But to listen to the Brentanos you’d never know there was a difference.
Ms. DiDonato and the Quartet opened the second half with the Aaron Copland-esque “MotherSongs,” an arrangement of works from The Lullaby Project. But the highlight of the evening was Jake Heggie’s “Camille Claudel: Into the Fire,” the New York premiere of a song cycle originally composed with Ms. DiDonato in mind. I was curious how they’d set up on stage since I knew Joyce would have to be able to have eye contact with the first violinist, at a minimum. As you can see from the photograph, the solution was an easy one. Instead of a solo singer accompanied by string quartet, we saw a single entity—a quintet, in which every member interacted with each other.
Quite honestly I enjoyed the expertise of the collaboration almost as much as the music. Joyce DiDonato is not only a great singer—she’s a superlative musician as well, and honored both text and score in the performance of Heggie’s sketches of the life and works of sculptor Camille Claudel. Particularly ear-catching were “Shakuntala,” with its Middle Eastern exoticism, “La petite chatelaine,” an ode to Camille’s aborted child, and the Epilogue, in which she’s visited at the asylum by her friend Jessie Lipscomb, so many years after her confinement. Her reminiscing about their student days and the momentary glimpse of the life she might have had draw the cycle to an exceptionally poignant close.
What artistry. After that, I didn’t mind my frozen walk to the subway (almost). _______________________________________________________________________________________________________
An actor any less talented than Gillian Anderson wouldn’t be able to hold our attention the way she does in the second season of “The Fall.” During the glacial pace of the first episode all I could think was “Lord, this is slow.” But then Stella Gibson (Ms. Anderson) took center stage and all snapped into place.
Stella maintains her laser-like focus in pursuit of Paul Spector (Jamie Dornan), but cracks in the facade begin to appear. Her dreams turn threatening, haunted by his shadowy presence. Her guilt is overwhelming when Rose Stagg is kidnapped, and her tears as she views this woman on video Paul posts on the internet are shocking–you just don’t expect that from her. Yet old habits remain; her libido survives intact. While she admits that her pass at Dr. Reed Smith (Archie Panjabi) was “inappropriate,” she picks out and beds yet another young studly cop (Colin Morgan). One thing you can say for Stella–she’s definitely got good taste.
I was intrigued by a number of things during this season of “The Fall,” not the least of which was the detail of the police work shown. Granted, it didn’t always pan out, as witness the cop falling through the ceiling of Paul’s bedroom (I have to admit I had a good laugh over that, since I did the same thing at my house last year while checking on the heating unit in the attic). But the sheer doggedness of the detective work pays off, and along the way there are chilling moments: Paul’s grief counseling session with Annie Brawley, whose brother he had murdered before assaulting her, and that eerie sense of dislocation when one of Stella’s detectives demonstrates how Paul parroted his boss’s remarks while the latter fired him.
At the last episode we were once again left with both cliffhangers and a burning desire that the BBC commission another series of “The Fall.” Paul may or may not survive, the erstwhile babysitter, Katie Benedetto, is a virtual Charles Manson girl in her worship of Paul, and Stella’s depths are just waiting to be explored (We already know she has daddy issues. Who knows what else lurks in that psyche?).
Do you ever wonder about the turning points of your life? What things would have been like had you made a different decision, taken a different train, stayed home on a given night instead of going out, or vice versa?
Kate Atkinson’s engrossing “Life After Life” is a masterful exploration of this premise as we follow Ursula Todd, born in 1910 (or is she?) through the multiple versions of her life. While there are certain constants in every scenario—her odious older brother, her adored sister and younger brother—the outcomes vary tremendously.
We’re far from smooth sailing here. Ursula’s life seems to snag at particularly sticky points, generating more and more do-overs until things turn right: There’s her difficult birth. That rogue wave at the seashore. Her encounter with that awful friend of her brother. The wall that crumbles (or doesn’t) during the Blitz.
What’s particularly fun is that Atkinson primes you to look for those turning points. For example, you wonder if that man who, at the height of the Blitz, watches Ursula work her crosswords and hands her his card as a recruiter of puzzle-solving whizzes isn’t Alan Turing. You relish the fact that as a teen-ager Ursula comes to realize that her occasional feelings of dread are premonitions that what has happened in a previous version of her life may happen yet again. Atkinson’s story leaves you wanting more, especially to know what happens after certain of Ursula’s “deaths”.
Needless to say I loved “Life After Life.” I haven’t read such a sweet pay-off of an ending in a very long time. Fortunately the story isn’t over, since there’s a companion volume in the works. Publication day can’t come soon enough.