Posted March 1, 2011 Watching the customary opening sequence of playful montage that opens the Oscar ceremony, I was struck by this thought: "James Franco and Anne Hathaway are not that funny. Why are they hosting?" Even if I hadn't quickly come to the reasoning on my own, the two covered that ground in their opening speech, post-montage. Franco complimented Hathaway's gown and told her she looked very nice, to which she responded, "Thank you! You look very appealing to a younger demographic as well!" It was a pretty good crack, one of few that the duo had throughout the night.
The viewer ratings for the Academy Awards (that is, how many people watch) has declined rather steadily since the mid-90s--with one surely Titanic-related peak of viewership in '98--and the Academy chose Franco and Hathaway to lure more audiences in. They're young! They're beautiful! But if anything, the hosts' actual performances were a major turn-off. They were extremely awkward and Franco seemed to be stoned. One member of the party I watched with had a theory: "He's imitating someone, I swear he's imitating someone. He has to be...Christopher Walken maybe?" Whether or not it was an act, Franco was bizarre every time he was on stage. The pair were undoubtedly amongst the worst hosts ever. It put a damper on the show as an entertainment event.
However, there were some presenters that exuded actual charm. Cate Blanchett, for one, not only looked gorgeous with her delicate pale skin and non-traditional dress, but had an ease and an elegance that reminds you again why we like movie stars. Robert Downey, Jr. and Jude Law presented together the Best Visual Effects award where Law got in the jibe that (after Downey, Jr. complained about tech nerds), "If it weren't for them your closest moment with superheroes would have been in 2001, when you got busted in a cheap hotel with a woman dressed as Bat Girl." Given that we all know presenter banter is scripted, Downey, Jr. wins the Good Sport award for the night for the reference to his spotty past. He retorted, "First of all, that cheap hotel room cost $1250, a night with corporate discount, secondly it was 2000 and not 2011 and most importantly she was dressed as Wonder Woman not Bat Girl."
The best appearance of the night was, unsurprisingly, Billy Crystal. A repeat host himself, and one of the best in modern memory (perhaps one of the best ever), Crystal received a standing ovation and then continued with his usual wit and likability.
As for the winners, there were no upsets this year. I have to admit that I have not seen The Fighter (the film that had both the Best Supporting Actor and Best Supporting Actress winners--Christian Bale and Melissa Leo), but Natalie Portman and Colin Firth's wins for Best Actress and Best Actor were well deserved for their roles, respectively, in Black Swan and The King's Speech. I couldn't help but wondering though if Hugh Grant, the previous king of British stutters, was sitting at home feeling a little one-upped about the whole affair. I was also glad to see The Kids are All Right lose Best Original Screenplay. It's the sort of quirky endearing-but-troubled! family comedy that has won in the last decade--Diablo Cody for Juno in 2007 and Michael Arndt for Little Miss Sunshine in 2006, two scripts and movies that drove me up the wall, just as The Kids are All Right did.
The real contest for Best Picture had come down in the past month between The King's Speech and The Social Network. It's unsurprising that it was The King's Speech that triumphed: it's historical, it's uplifting and it's British. These are all things that the Academy loves.
I have heard The King's Speech described best as "well-executed mediocrity." Pretty good acting and some luscious shots of Geoffrey Rush's character's dilapidated office, but everything else is pretty flat. That wall is the office, though--the texture and the color of it--is the one part of the movie that I would personally pluck out for remembrance. It is not that the historical story of The King's Speech is unimportant (although, as far as World War II dramas go, a story about the King of England does not carry the weight of something like The Thin Red Line--lost in '98 to Shakespeare in Love--which explores the emotional and psychological impact of war on soldiers) or that the emotional story of overcoming a disability is unimportant. But it is not as relevant or important to chronicle as the story behind The Social Network.
Part of the import of The Social Network's story is undoubtedly based on its timeliness. This is a historical and cultural movement that is still twisting and changing the way people interact today. At the heart of it, the story is the betrayal that happens between two friends because of one's jealousy and ambition. There is a certain way that people act in our society in our time period. So much of it is defined by the new technology we have and The Social Network captures that--how in our world, with our technology, friends interact and how people doing business together interact and of course, the back-stabbing that occurs when the two mix. This is a well-executed and very compelling story about our time and that is why it is--and will continue to be--important.
Somewhere
Sofia Coppola's latest film Somewhere follows actor Johnny Marco (Stephen Dorff) through his monotonous charmed life in bleached-out Los Angeles. He lives in the Chateau Marmount, drinks, charms women with his fame and good-looks and shuffles his way through press conferences. Johnny is divorced and occasionally sees his pre-teen daughter, Cleo (Elle Fanning). Cleo lands with Johnny for an unknown period of time when her mother leaves on an unknown emotional break-down.
Coppola does some interesting work here with both quietness and time. Much of the first half of the film featured over-extended scenes of Johnny starring off, lost in thought. But he is at a point in his life where he doesn't seem to have many thoughts. The second half is far stronger. Cleo is solidly present as a character and the interactions between father and daughter are more compelling than the "Look, being an actor is just as dull as any other job" bits of the first half (sort of an aesthetically done-up version of Us Weekly's Celebrities! They're Just Like Us! section).
Somewhere was not my favorite Coppola film. There were some nice parts: some good dialogue and quality acting by Dorff and Fanning. It floats--a light movie--but ultimately Coppola's experiments with timing--particularly her purposefully elongated scenes--work against her.
The Social Network
For many young people today, Facebook is a natural extension of their flesh and blood self. It was created in 2003, and its wide-spread and fanatic usage seems to show that it will be around for some time longer. The Social Network is a dramatized tale of the creation of Facebook by then Harvard student Mark Zuckerberg (played by Jesse Eisenberg).
Apparently, it all started with a girl. Zuckerberg is insulted and rejected on a date by a pretty Boston University student. He goes home and gets drunk, writes scathingly about the girl on his blog and decides to put together a website where male Harvard students can vote for the more attractive of a random pairing of any two female Harvard students.
Three older--and more popular--students approach Zuckerberg, asking him to help them create a Harvard-centric dating site. He agrees, but instead is inspired to create a more generic social site, called The Facebook. Nowadays, anyone with an e-mail address can join Facebook, but at its creation it was the height of exclusivity: to be a member you needed a Harvard e-mail address. The film tracks Zuckerberg slowly expanding it, opening it up to Stanford, Columbia and beyond. Again, there's the girl.
Zuckerberg is riding high on the success of his site at Harvard, but when he bumps into the BU girl, she has no one idea what The Facebook is. His success means nothing to her.
The Social Network jumps into itself with high drama, but only earns that drama about half way through. We've come to an interesting point in time where the closing of a cell phone is a dramatic action in a fight between friends. Although the technology in the film is already dated: now it would have to be the dramatic pressing of a button on a touch-screen.
It's a very fun film, sweeping the viewer up in a well put together story (the screenplay is by veteran writer Aaron Sorkin) and Eisenberg is compelling as Zuckerberg.
True Grit In 2007, the Coen brothers released their modern western No Country for Old Men, based on Cormac McCarthy's novel of the same name. The film received oodles of awards, including Oscars for Best Picture, Best Director (or Directors in this case as both Joel and Ethan Coen directed) and Best Adapted Screenplay. This year the Coen brothers brought us a more traditional western: True Grit. This western is also based on previous material, a John Wayne film from 1969 and the original 1968 novel by Charles Portis, both of the same name.
The plot follows the young and headstrong Mattie Ross (played by Hailee Steinfeld) who is determined to catch and bring to justice her father's killer, Tom Chaney (Josh Brolin), even if he has taken off into Indian territory. She hires US Marshall Rooster Cogburn (Jeff Bridges), not known for following the rules, but still getting the job done better than anyone else. She insists on accompanying him into the territory. They are joined by Texas Ranger Mr. LaBoeuf (a mustachioed Matt Damon), who has been tracking Chaney for killing a Texas Senator.
The script is tight and the dialogue smart, as is to be expected from the duo (they both directed and wrote). Steinfeld is a delight as Mattie Ross; one of the best scenes is her bargaining with a businessman her father had bought ponies from just before he was killed. Damon is also quite good as the cocky Texas Ranger. Bridges' performance is a little shakier; his heavy-drinking Cogburn occasionally verges on over-acted. Overall, True Grit was an enjoyable way to spend an evening, but is frankly nothing special.
Black Swan
Dec. 19, 2010
Natalie Portman performs one of her best roles yet as perfectionist ballerina Nina Sayers in Darren Aronofsky's Black Swan. Nina is an up and coming member of a prestigious New York ballet company. She works hard and lives at home in harmony with her mother, a former dancer herself, played by Barbara Hershey. Nina is cast in a role of a lifetime as the Swan Queen in the company's season opener production of Swan Lake. To play the role of the Swan Queen, Nina must also be the Black Swan, the evil counterpart to the Swan Queen that seduces her prince, causing the Swan Queen to commit suicide. Thomas is the suave music director, played by Vincent Cassel. He instructs Nina that she is perfect for the Swan Queen, but that she must step up her passion to convincingly be the Black Swan.
Portman is incredible. There are few moments when she is not on camera and when she is, she's spellbinding. She gives Nina a fragility and then takes her through a phenomenal transformation.
There's a new dancer at the company: Lily, played by Mila Kunis. She is the bad girl to Nina's good girl, wearing black to Nina's white, scarfing down hamburgers while Nina starves herself. Lily first catches Nina's eye on the subway to class. A car away, Nina can't see her face, but is drawn to the girl. Black Swan functions as a fresh take on the doppleganger story, in the American tradition of Edgar Allen Poe. The Swan Queen and the Black Swan are twins, two sides of the same coin, and Lily is Nina's double. Ballet is a highly competitive profession. It is firstly a physical ordeal: your body is your greatest limit. There is constantly the stress of peaking, and being replaced, and we see with Nina that that stress exists even before reaching success.
Visions begin, and it's unclear whether they're real or not. How much is in Nina's head? Even if they only exist within her head, they have an extreme effect on both the character and the audience.
Black Swan builds up with finesse to its climactic scene. This is a film about art. What will an artist give to reach perfection and what is perfection? Throughout the film, Nina talks of wanting to be perfect, it's why she practices so often and so intensely, but what Thomas pushes her to do is to feel the art inside of her, live it, and then it will truly be great. An interesting puzzler is whether or not the filmmaker's agree with him, or think that sacrifice is worth it.
Perhaps Nina's surname is taken after Zelda Sayre--known better by her married name of Fitzgerald. Fitzgerald published one novel in her lifetime, Save Me the Waltz. The first half follows an American ex-pat couple in their glamorous party lifestyle in France. But then the second half changes tone dramatically to follow the female protagonist's exhausting efforts to become a professional ballerina. The novel is autobiographical (just as many of her husband's were), but Fitzgerald sent her protagonist to a successful premier in Italy, whereas she retired from the dream and the work due to her family and mental issues.
On top of it all, in Black Swan there are beautiful and intense scores by Clint Manssell and sleek costumes by the design team Laura and Kate Mulleavy of Rodarte. I highly suggest Black Swan, but warn that it is graphic violently and sexually, and also, emotionally.
Black Swan is playing at Jacob Burns. We recommend you buy tickets in advance.
The King's Speech
Dec. 21, 2010
Charisma makes or breaks a ruler. This has been true for centuries and with the advent of modern technology, it has become even more relevant. As King George V (Michael Gambon) tells his second son Albert (Colin Firth) at the beginning of The King's Speech, "It used to be you had to just look good and not fall off your horse." But in these kings' reigns, there is the radio, and speeches are broadcast around the world, whether they be on Christmas spirit or political turmoil.
Unfortunately Albert, who at the start of the film is the Duke of York, has a terrible stutter. While Albert was not expected to be King (that duty would fall first to his brother Edward), he was still an important member of court and gave a speech here and there, at important sporting events and openings of factories. A series of doctors try to unsuccessfully cure Albert of his impediment, before his wife Elizabeth (Helena Bonham Carter) finds an unorthodox specialist: an Shakespeare-obsessed Australian Lionel Logue (Geoffrey Rush). The film follows the relationship between Logue and Albert--whom Lionel insists on calling Bertie, his family nickname--as they work together to cure the stutter.
Of course, a series of events makes their travails more important. George V dies, but Edward (Guy Pearce) abdicates to marry an American divorcee. Albert is suddenly king and England needs a strong leader, as war with Germany is looking unavoidable (he takes on George as a name after being advised that Albert is too "Germanic"). The King's Speech does not reach the potential of its subject matter. There is a scene in the middle of the film where Albert and his family--Elizabeth and their two daughters, Elizabeth and Margaret--watch a newsreel of Adolph Hitler making a speech. Elizabeth (who would go on in history to become Queen Elizabeth II after her father's passing) asks her father what Hitler's saying. "I don't know, but he seems to be saying it rather well." It has been said that after Hitler's speeches, people were hard pressed to remember what exactly he said, but were rallied up and impassioned by him. I had hopes that The King's Speech would explore these sorts of human tendencies: the power of a politician and his ability to unite many different people to do and think certain things. Instead, the film wastes much of its time with Albert going back and forth deciding whether or not to continue with Lionel's speech training sessions and only makes whimpering attempts to take on the grand question of inspiration.
But to address what the film actually is--and not what it could have been--it is mostly enjoyable. All around, The King's Speech is well acted. Firth is quite good as Albert and Rush is charming, with a devilish glint in his eye. The film drags on at points and feels long. There is banter and one liners, but they mostly fill space. The best parts are when Firth presents us with a King that is nervous and utterly human, and frustrated in knowing that he must be more.
Armonk Players Honored with Lifetime Achievement Award
On October 5th, 14 honorees received the 2010 Cab Calloway Lifetime Achievement Award, honoring their work in the performing arts in Westchester County. Among the recipients were two Armonk Players' property technicians: Phyllis Padow-Sederbaum, former Armonk resident and past President of Byram Hills PTSA, and Joan Hansen, partner of Lilies and Lace of Armonk.
When Phyllis received a call from Dick Nagel of the Westchester Broadway Theatre, she was both shocked and honored to learn she was chosen to be a recipient of the Cab Calloway Award. Her five years and eight shows working on stage with Armonk Players' have been backstage at the Whippoorwill Hall.
She says, "Backstage, we do a lot of work, but we're not usually in the limelight. To be recognized for what we do is phenomenal.” Phyllis is in charge of the properties, better known as props. Working with the director, her job is to learn his vision. She runs things by the director as soon as possible, because there may need to be changes. For example, while working backstage on Pirates of Penzance, Phyllis said, "We needed to have a site gag, which is a visual gag without words that makes you laugh. It’s like a vaudeville action of the actors with props. There was a series of handkerchiefs tied together; initially, it was not colorful enough."
A director has command of the actor's gestures, down to the finest detail that you would never think about. It is all in the detail of how a prop is used, namely when the actor picks up the prop and where it goes. For instance, in A Flea in her Ear, there was a complicated scene change, and the desk drawer was facing the wrong way. The actors were very experienced, so fortunately, they realized the problem immediately and worked it out.
Set changes are highly orchestrated, yet they shouldn't appear as though they have been. In Steel Magnolias, the scene change was done in 90 seconds, requiring complete focus and discipline. Behind the stage everyone must learn how to move around in the dark.
After a set is built, a scene table is set. Phyllis covers the table with brown paper and sections it off with masking tape. Every section is marked, such as "Sid's cigars" or handkerchiefs, hats, and straw-boaters. "We try to make it organized and as predictable as possible." Organization is the key to being effective in doing properties. She learned this important tip from Diana Zeltner, Armonk Realtor and Players' property manager in the past, and Joan Hansen, who was also honored with the Cab Calloway Award for properties.
At the beginning of a rehearsal, Phyllis will walk up to the director with a list of props, and ask how they fit. "Once I was looking for a simple, elegant pitcher for iced tea and couldn't find something inexpensive. There are times when I'm totally stumped." This was the case with a plant being used as a prop. It took a lot of help to figure out what would work best. A plant with fawns, raised on a pedestal for the proper height, was finally selected.
Proportion is important because on stage, objects are usually not big enough. She said, "You want the prop to serve the function, but under most circumstances, you don't want to call attention to it." For instance, Phyllis mentioned, "One of my finds was a silver tray from the last century for Ah Wilderness!" There is always a collection of things that can be used. She was once looking for glassware and found an inexpensive, clear plastic glass that looked like glass.
Phyllis frequently shops thrift stores for props: she found something for $5 that worked perfectly, at the “end of year sale” at Treasures Thrift Shop in St. Stephens Church. She's learned to fabricate by trial and error, such as using make-believe fire crackers from a party store.
Phyllis puts in too many hours to count, but said, "It is really terrific.” Working with the Armonk Players,” she emphasized, “is interacting with professional actors, directors, producers, and property technicians. They are devoted to the theatre. And we all have a good time.”
August 16, 2010 Small Town Theatre founder and director, Sam Morell says, "Sunday will be the last of our summer concerts. We're delighted that North Castle's residents, friends and neighbors have enjoyed the concerts. We would like to thank the performers for the entertainment, as well as Beascakes Bakery for supplying coffee and tasty doughnuts."
October 15-16 and October 22-23, The Small Town Theatre Company is holding its first annual theatre festival at Whippoorwill Hall of North Castle Library.
Click to visit West Point's Jazz Knight's listening Room
West Point Band’s Jazz Knights come to Armonk
By Amanda Boyle April 22, 2010
In honor of the Armonk Lions 70th Anniversary, and to kick off the 36th annual Fol de Rol, the Armonk Lions are proud to bring The Jazz Knights Band from West Point to entertain our community and all those who wish to attend. Performance is Thursday June 3, 2010 at 6:30pm at the Gazebo in Wampus Brook Park. Bring a picnic supper, blanket/chair and come to hear this fantastic group of musicians. In case of rain, the concert will be held at the Community Center of St. Patrick's Church on Cox Avenue. Admission is free.
Bringing over three decades of musical excellence to their audiences, the West Point Band’s Jazz Knights present the best in big band favorites, popular music, and original compositions and arrangements for jazz ensemble. Members of the group are graduates of some of America's most prestigious music schools such as the University of North Texas, Eastman School of Music, Indiana University, Berklee School of Music and the Manhattan School of Music. They are recruited and selected through a competitive audition process specifically for service in the United States Military Academy Band at West Point.
Past and present members of the band have played with such icons as Count Basie, Buddy Rich, Woody Herman, Maynard Ferguson, Ahmad Jamal, Chaka Kahn, Prince, Billy Cobham, and the Tommy Dorsey and Glenn Miller Orchestras. The Jazz Knights’ highlights over the years include playing with Benny Goodman at Lincoln Center in 1982, performing with the Duke Ellington Orchestra for the 200th Anniversary of the New York State Legislature, and twice appearing at the Hatch Shell for Boston's Independence Day celebration. The Jazz Knights have also performed for festivals and music educators' conventions, including the International Association for Jazz Education conventions, the Western International Band Clinic, the University of Northern Colorado Jazz Festival, the International Society of Bassists' convention and the New York State Band Director’s Association Conference in 2008.
Notable guests who have performed with the Jazz Knights include David Liebman, Rufus Reid, John Clayton, Eddie Daniels, Steve Turre, James Carter, Randy Brecker, Michael Abene, Steve Weist, Jon Faddis, Jim Snidero, Gary Smulyan, Scott Wendholt and Benny Golson. At West Point, the Jazz Knights provide music for numerous functions throughout the year. In combination with the Concert Band and field music unit, the Hellcats, they help fulfill official musical requirements of the Military Academy and the Army, including military and patriotic ceremonies both at West Point and throughout the country. The Jazz Knights also perform for the summer concert series at the Trophy Point Amphitheatre and for the winter concert series at Eisenhower Hall. Their performances recreate the sounds of the greatest jazz ensembles and the innovative styles of today through their original compositions and arrangements.
__________
Byram Hills Graduate Tom Kitt Makes it Big on Broadway
Updated April 12, 2010 By Amanda Boyle and Michelle Boyle
A Long Island piano teacher warned Judy Kitt that
she was verging on stage mother territory. Mrs. Kitt, an Armonk
resident, had brought her five-year-old son in for lessons. But Mrs.
Kitt was not an overzealous and blindly proud mother, she knew her son
Thomas had real talent. At four Thomas had been stringing together
notes and chords on his own; he needed special attention to grow. She
insisted that Gloria, the teacher, at least listen, and when she did,
Thomas’ natural talent was undeniable.
And then last week, Tom Kitt won two Tony Awards. Best Original Score (Music and/or Lyrics) written for the Theatre – “Next to Normal” Music: Tom Kitt, Lyrics: Brian Yorkey and Best Orchestrations - Michael Starobin & Tom Kitt, “Next to Normal”. This second Tony was awarded as a tie with Martin Koch, “Billy Elliot”. A third Tony award for Best Leading Actress in a Musical has been added to their treasure. Read more
Mr. Kitt visited Byram Hills High School last October and spent a day speaking with high school music students. Photo submitted by Boces.
The Music Conservatory of Westchester golf outing helped raise $80,000 for the scholarships and tuition assistance programs.
Nov. 21, 2010 Audiences were thoroughly entertained by Byram Hills' Stage 2011 presentation of Alice in Wonderland. The performance is never-ending silliness with tongue twisters and mad-cap confusion. There's dancing, singing, and a live keyboard by Jeffrey March.
Ilana Gelb plays Alice with all her dichotomy of dilemmas of laughter and tears, and growing and shrinking. She's a natural on stage and is cast perfectly for the part.
The mad Hatter is another entertaining character. Say what you mean...mean what you say, goes the conversation at the tea party. Josh Aber delivers his gestures and riddles beautifully. He is a sheer pleasure to watch, adding color and delight to every scene.
Let's talk about color! The colorful scenery brings life and brightness to the stage, but it's the costumes that make the show. The costume crew students, with the help of parents Meg Bruno and Linda Heath, outdid themselves. Linda has been participating on costumes for four years and she said it was a ton of work and a real team effort. "We had fun, but the biggest bonus was being with the kids, a great group of six."
The costumes are accumulated from shows over the years and several of them, like Dominic LaGravinese's Duchess outfit, had to be entirely reworked. My personal favorite was worn by Cory Tarallo as the Rabbit. I couldn't get enough of him prancing around in purple velour bloomers and a matching short sleeved jacket, accented by white tights, white gloves, gold buckled white leather shoes and a white laced neckline blouse. To top it off he had a big dangling stop watch attached to an over-sized gold chain slung over his shoulder. Marvelous!
Music has a remarkable ability to transform our situations and emotions. Music evokes sensations and feelings deep within our core. Whether we listen to a sonata by Mozart, Chopin or a piece by Bach, for centuries musicians have been held in the highest esteem because of their ability to tell stories with musical notes. We pay to hear musicians take an instrument made out of wood, brass, strings or ivory and create magic. I had the opportunity to spend some time with one such local Armonk resident, Arlene Portney. To many in our community, Arlene might best be known as Alexander, Meredith and Justin Veach's mom. Or perhaps, Mrs. Veach is Dr. Stephen Veach's wife? However, to the rest of the world, Mrs. Veach is Ms. Portney, the musical phenomenon. As a world renowned classical pianist, Arlene Portney graced concert halls dazzling her audiences with her performances. We are fortunate that for the past seventeen years, Ms. Portney has called Armonk, home.
Immediately upon meeting Arlene Portney I was struck by her beauty, grace and humbleness. Sometimes I think the truly gifted people in the world see and hear everything just a bit differently than many of us. Ms. Portney exudes elegance and calmness. I was drawn to her. As she made her way into the living room, I couldn’t help but notice the two grand pianos facing each other. I could feel my excitement build as I imagined a home filled with music and secretly, I was hoping she would play something for me. Both Arlene and her home were inviting but I must admit, I was a bit star struck. Thankfully, Arlene quickly set me at ease.
Arlene credits her father with introducing her to music. He played the violin and took great pleasure in sharing his love of music with his children. It was evident to both Arlene’s parents that Arlene had a gift. Arlene began to play the piano at the age of three, a true musical prodigy. Arlene gave her first performance at the age of six. By nine, she had received a full scholarship to study at The Curtis Institute of Music. At the age of ten, Arlene performed with the Philadelphia Orchestra. The Philadelphia Inquirer’s review stated that Arlene was, "the gifted ten year-old pianist who stole the show with a first rate performance". That performance was only the beginning of what would be an incredible journey around the world.
Arlene was formally schooled by some of the greatest pianists in the world. At fifteen, upon graduating from the Curtis Institute Arlene began her studies in France under the tutelage of Arthur Rubinstein, Robert Casadesus and Nadia Boulanger. At the Juilliard School Arlene studied with the famed artist Sascha Gorodnitzki. After completing her studies, Ms. Portney attended Yale University where she was awarded the Doctor of Musical Arts degree and later she served as a member of Yale’s faculty.
While performing as a teenager at Carnegie Hall, Arlene’s was discovered by Jeunesses Musicales. Shortly thereafter, Arlene's touring began. Arlene was already internationally recognized when in 1972 she became the first American woman pianist to be awarded first prize at the Prix Beracasa in Paris, France. She has performed in some of the most famous Concert Halls around the world such as Tschaikowsky Hall in Moscow as well as Lincoln Center here in New York. She has performed with the Philadelphia Orchestra, The National Symphony and the Boston Pops. When Nancy Reagan was First Lady, PBS’s Great Performances presented Ms. Portney along with the National Symphony in a tribute to Princess Grace of Monaco from the Kennedy Center. In 1977, Ms. Portney was featured in the October 10th edition of the The New Yorker Magazine as one of the Dewar’s Scotch Profiles of famous people.
Some folks can play an instrument; others make an instrument come to life. At one point during my visit, I asked Ms. Portney about the breadth of interpreting classical music. Is there a lot of room for an artist to infuse his or her own inflection or style while playing a piece by Beethoven, Chopin or Mozart? Ms. Portney smiled and made her way over to one of the pianos in her living room. As she played a piece by Chopin, she played the same notes a few times and each time she played, she did so with a different emphasis. What a joy to listen to her play. In the world of painting and photography the saying is, a picture tells a thousand words. When Arlene Portney sat down at her piano, five or six measures spoke a thousand words to me. How incredible it is to be in the presence of someone with such talent who has graced some of the finest stages and concert halls of the world? Magnificent!
If you are looking for a classical piano instructor for your budding Mozart or Beethoven, Ms. Portney is perhaps one of the most qualified teachers you will find. For the past fourteen years, most afternoons and evenings she can be found in her living room passing along the knowledge she has gleaned from her own career on to her students. According to Ms. Portney, a pianist needs proper technique to physically handle the musical requirements of many classical compositions. When talking about her teaching technique and what she tries to instill in her students, Ms. Portney stated, "While I make sure each person develops a technique, the emphasis is on what the composer has to say. The ultimate goal is to bring to life the magic of the composer's message, and it is that message that I try to help a student discover and express". Although I thought Ms. Portney would only teach accomplished pianists, that is not necessarily the case. She has taught budding pianists once they have the ability to read music, the physical dexterity to play and once they possess the visual discrimination to understand the composition. She has had students as young as six and students who are well into their seventies. Ms. Portney will also prepare students for NYSSMA competitions.
Talent is certainly criteria for judging what a teacher or mentor can pass along to their students. Arlene's talent is extraordinary. But there is also the relatability aspect. Ms. Portney is very approachable. This year she will be bringing her thirty five plus students down to Steinway Hall in New York City for their recital. Ms. Portney believes it is important to expose her students to some of the truly magnificent music halls. It is important for them to feel the atmosphere and to grace the stages that so many gifted musicians have previously graced.
For me, having had the opportunity to interview this world renowned artist was sheer joy. You can listen to Ms. Portney on many of her recordings including one with Eugene Fodor playing the Pulitzer Prize-winning violin sonata by John Corigliano. If you click above, you will hear a track from "End Call', a movie that has already been released in Asia and will be released in North America over the next few months.
This musical composition was written by one of Ms. Portney's students, the well-known film composer, John Lissauer. Perhaps you can catch Ms. Portney when she performs live, locally? She has recently appeared in two-piano concerts at Caramoor here in Katonah and she frequently does lecture-recitals in New York and Philadelphia. Ms. Portney's successful career continues with her own performances and in the performances of her students.
Lagond Music School By MaryBeth Weisner
Another studio housed students in a song-writing workshop taught by Darryl Tookes. They were performing "We Will Rock You", a song written by Brain May, lead guitarist of Queen. A student sang the introduction and when it was time to stomp and clap, all of his peers joined in with perfect timing. Tookes took the music and conversation to another level. A physicist and musician himself, Tookes explained how Queen, (four musicians) achieved and recorded the stomps and claps along with the reverberations, we all know so well. Tookes posed the question, "How did these four musicians make it seem like they were recording this song in a stadium?" The ten-minute conversation that ensued and the answer that followed are incredible.
“We Will Rock You”, a song primarily done a cappella, other than the last 30 seconds containing a guitar solo by Brian May, is made up of stomping and clapping as its rhythmic beat. No drums or other instruments were used on this song. The lead guitarist, Brian May of Queen, a brilliant physicist, determined which type of wood (when stomped upon) made the best reverberations. He had that wood brought over to the cathedral where Queen was recording. Once the recording was completed, May delayed all the prime number beats. In other words, if every fourth beat had a slight delay, it would have sounded calculated and unnatural. The stomping would have sounded like a few people trying to sound like thousands. Instead, all beats that feel upon a prime number; one, three, five, etcetera, were given a millisecond delay. It was planned inconsistent synchronicity, brilliant. Read more
