ArtSpring’s new season of operas broadcast from the Met in New York starts Saturday, October 13 with Donizetti’s L’Elisir d’Amore. The show has just opened at Lincoln Centre and you can read the review it received from the New York Times.
If you haven’t attended any of our operas in past seasons, they are pretty terrific. Most start at 10am on Saturdays and run till early afternoon. We usually serve a light and inexpensive lunch catered by Bruce’s Kitchen during intermission.
ArtSpring’s theatre boasts a full sized cinema screen and very good sound, so the experience of the operas is as close an approximation to being at the Met itself as you can get. Actually, better in some respects because you see the performers up close rather than a kilometer away through binoculars.
Tickets for each of the 12 operas this season are $21.95 regular, $18.95 for seniors, and $12.95 for youth. A 10% discount is available if you buy tickets to five or more operas at one time.
Many thanks to Rachel Jacobson for creating a wonderful mock-up of the Number 14 bus for ArtSpring’s Fall Fair booth to help us promote the eponymous play to be presented October 4 and 5 at ArtSpring.
Rachel is shown here assembling the wheels before attaching them to the canvas bus that filled our whole booth. Note one of the characters from the play supervising somewhat crossly from the rear window of the bus.
Thanks also to Taryn and Catherine from our staff, and to Board members Kate Merry and Seth Berkowitz (and their spouses) who manned the booth and spread the word to fairgoers about The Number 14. The play, produced by Axis Theatre, is on its 20th anniversary tour, having become one of the most successful theatre productions ever in BC history. Tickets to the two ArtSpring performances are still available but going fast.
You may have seen a fascinating article in the Aug 27 issue of The New Yorker about the extraordinary German violinist Christian Tetzlaff. Here is a quote from him from the article. He speaks specifically about the music of Bach, but his comments, particularly the last sentence, are very germane to why it is that we value the experience of live concerts.
“Bach’s music confronts the player and the audience in a very personal situation. … [The music requires me] to put away pretensions – in levels of violin playing, pretensions of being a strong man, of being invulnerable – and instead say, ‘This is where all of us have common ground.’ Most of the time we tell ourselves ‘I’m confident’ or ‘I’m doing well.’ But then, in a moment alone at home, you feel how close you are to some kind of abyss.”
“Music, even at terrible moments, can make you accept so much more – accept your dark sides, or the things that happen to you. Maybe it’s just because you see that this is a common trait for all of us. You see that we are not alone.”
“And that’s what the concert situation is about for me, whether I’m sitting in the hall or playing myself. It’s about communication – I almost want to say ‘communion’. As a player, you really don’t interpret anymore. You listen, together, with the audience.”