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      Review: ‘The Threepenny Opera’ Returns Home, Liberated

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      Barrie Kosky’s new production for the Berliner Ensemble, at the theater where the famous work premiered, knows where to break the rules.BERLIN — “I’m not asking for an opera here,” the notorious criminal Macheath says at his wedding, early in a work that happens to be called “Die Dreigroschenoper” (“The Threepenny Opera”).And in Barrie Kosky’s hauntingly enjoyable new production of Kurt Weill and Bertolt Brecht’s famous “play with music” for the Berliner Ensemble — at the theater where it premiered in 1928 — Macheath then reaches into the orchestra pit in search of nuptial entertainment and steals the “Threepenny” score from the conductor’s stand. He flips through the pages while humming the show’s big hit, “Mack the Knife,” tears them up and throws the scraps into a metal bucket. Then he lights them on fire.The line “I’m not asking for an opera here” dates back to the ’20s, but Weill and Brecht never wrote what follows — nor did their essential collaborator Elisabeth Hauptmann, who with this production is finally getting proper billing alongside them after decades of neglect. Yet this kind of ironic gesture toward the art form wouldn’t be out of character for them; coming from Kosky, it’s a subtle tribute, and a blazing declaration of independence.It’s a moment, along with many others in Kosky’s production that epitomizes the adage of knowing rules in order to break them.Kosky clearly understands the work: the social critiques that course through Brecht and Hauptmann’s crass text; the ways in which Weill’s earworm score lodges those ideas in your mind; and how, in its tension between words and music, “Threepenny” dares you to connect with it emotionally amid constant reminders of theatrical artifice.He also seems to know that “Threepenny” is ultimately a problem piece. It may be the defining artwork of Weimar-era Berlin, but more often than not it makes for a joyless night at the theater. Its dizzying layers of satire and style tend to overwhelm directors, who as if operating with a Wikipedia understanding easily succumb to visual clichés, vicious affect and didacticism. The worst productions aspire to the sexily somber Berlin of Sam Mendes’s take on the musical “Cabaret.”But “Threepenny” isn’t, as Kosky said in an interview with The New York Times, “‘Cabaret’ with a little bit of intellectualism.” Indeed, it was quintessentially 1920s Berlin — a timely tale, despite its setting of London’s criminal underworld in the 19th century, that became a pop culture phenomenon known as “Threepenny fever” — but its legacy is far richer and more widespread than that. Especially after the 1950s, once the show found belated success in the United States with a long-running adaptation by the composer Marc Blitzstein.Covers of “Mack the Knife” abounded, and made for one of Ella Fitzgerald’s greatest live recordings; Brecht’s poetic lyrics influenced Bob Dylan; the artist Nan Goldin named her photography collection “The Ballad of Sexual Dependency” after one of the show’s songs. And the metatheatrical devices of “Threepenny” are alive and well: In Leos Carax’s new film, “Annette,” emotion and artifice fit snugly together in a deliberate tension you could trace back to Brecht and Weill.Even so, the vitality of “Threepenny” depends on intervention and adaptation; it can never be performed, as it too often has been, as a museum piece. And Kosky never treats it as one. Instead he adds and subtracts, breathing new life into a work that desperately needed it. He sheds the excesses of Act I and eliminates entire characters, for example, to reveal a recognizable but freshly presented story focused on that most fundamental of human dramas: love.Capitalism, and Brecht’s scathing indictment of it, still loom over the show — but more obliquely, as an insidious force behind relationships that renders them slippery and unreliable. In Kosky’s view, it also feeds and thwarts Macheath’s pathological need to be loved, whether by his fellow characters or the members of the audience.Nico Holonics portrayed Macheath with a weariness that betrays the darkness behind his carefree demeanor. Joerg Brueggemann/OstkreuzMacheath, a.k.a. Mack the Knife — performed by Nico Holonics with unflappable joy but a weariness that betrays the darkness behind his carefree demeanor — is not a man to give up his habits, as he is described in the show. He gives away wedding rings as if they were pennies, and smiles as he watches women fight over him. Like Don Giovanni, he never loses faith in his ability to manipulate them, even as they abandon him one by one.He is introduced, as ever, with “Mack the Knife” (following the overture, here lithe yet lyrical in chorale-like passages, conducted by Adam Benzwi). Through a curtain of black tinsel, a sparkling face appears — that of Josefin Platt as the Moon Over Soho, a role created for Kosky’s production — to sing the murder ballad with the rapid vibrato of Lotte Lenya, Weill’s wife and a legendary interpreter of his music.Kosky is a showman — just look at the invaluable work he has done to revive Weimar-era operettas at his company here in Berlin, the Komische Oper — and he knows the power of a hit song. So he reprises “Mack the Knife” throughout the evening, at one point having its tune played through one of the souvenir music boxes tourists can buy in his nearby hometown, Dessau.In general, Kosky seems to have more of an affinity for Weill’s music, which he expands with relish, than the text. Where he truly defers to Brecht — his production, after all, is for Brecht’s company — is in the staging, which shatters the fourth wall from the start and continually reminds its audience, in anti-Wagnerian fashion, that what they are seeing isn’t real.Polly Peachum, here a commanding Cynthia Micas, calls for her own spotlight and gestures for the curtain to be raised, revealing a jungle gym of a set (by Rebecca Ringst) that is more dynamic than it at first appears; Jonathan Jeremiah Peachum (the darkly charming Tilo Nest), Polly’s father and Macheath’s underworld rival, cues the orchestra; stagehands make no effort to hide their work.The effect, in Brecht’s school of theater, is to temper the audience’s emotional response and trigger an intellectual one — which is crucial to the political success of “Threepenny,” yet is often difficult to reconcile with the seductive grip of Weill’s music. That can get messy, but Kosky’s production comfortably has it both ways; the result may not please purists of Brecht or Weill, but on balance it makes for persuasive, satisfying drama.And by homing in on Macheath, Kosky allows room for psychological richness, particularly with the women in his orbit: Polly; her mother, Celia Peachum (lent the authority of a power broker by Constanze Becker); Jenny (arguably the soul of the show, wistful and bitter as sung by Bettina Hoppe); and Lucy Brown (Laura Balzer, a master of physical and musical comedy). You could also count among them Lucy’s father, the police chief Tiger Brown, here performed by Kathrin Wehlisch in drag — not a gimmick, but a homoerotic treatment of Macheath’s oldest friendship as yet another fragile romance.From left, Cynthia Micas, Constanze Becker and Tilo Nest as the Peachum family.JR Berliner EnsembleAll these relationships fail — usually because of money, in some way. But Macheath is undeterred, by the end looking for his next connection as a brightly lit sign descends from the rafters: “LOVE ME.” That’s another Brechtian touch, a modern take on the projections used in Caspar Neher’s set for the original 1928 production.But what follows is all Kosky. After the winkingly jubilant finale, the Moon Over Soho shows its face again, bleakly sending off the audience with a “Mack the Knife” verse, written by Brecht in 1930, that says some people are in the dark, and some are in the light; and while you can see those in the light, you’ll never see the ones in the dark.Die DreigroschenoperThrough Sept. 4, then in repertory, at the Berliner Ensemble, Berlin; berliner-ensemble.de. More

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      Jan Lisiecki, Piano’s Doogie Howser, Comes of Age With Chopin

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      For this rising artist, Chopin’s 21 nocturnes are “pieces I play for myself.” A new recording will bring them to an audience.The Canadian pianist Jan Lisiecki started out as something of the Doogie Howser of classical music. He was signed by the august record label Deutsche Grammophon when he was just 15, and at 18 was named an unusually young Young Artist of the Year by Gramophone magazine.But Lisiecki’s technique was mature even then, and he won respect from critics and fellow musicians for his clarity and precision.“I appreciate a clean sound,” Lisiecki (pronounced lee-SHETS-kee), now 26 and still living with his Polish-born parents in Calgary, said in a recent interview. “Not too bombastic, not too virtuosic, not too audacious.”Lisiecki is poised and fairly inscrutable during concerts, his eyes often closed. In an interview, Annik LaFarge, the author of “Chasing Chopin,” said she regards his “unhistrionic” style as “extremely Chopinesque.”Chopin, as it happens, is a focus of his young discography. On Friday, Lisiecki released his new recording of that composer’s complete nocturnes, which he set down last October in Berlin for Deutsche Grammophon.Lisiecki (shown here performing last year) is poised and fairly inscrutable during concerts, his eyes often closed.Sven Lorenz/Klavier-Festival RuhrChopin’s 21 nocturnes, written over the course of nearly his whole composing life, are single-movement pieces of generally less than six minutes. Their allusion to the night refers not to gloom but to evening intimacies, the pianist and scholar Kenneth Hamilton said in an interview.Suggestive of music played for close friends, or even for a lover, the nocturnes get an even more intimate, meditative reinvention from Lisiecki, who said he regards them as pieces ideally to be played alone. His starkly slow tempos — with the works running, in some cases, a minute or longer than usual — give these nocturnes a Satie-like inwardness.Lisiecki spoke about the recording and his approach to music on a video call from his home in Calgary. These are edited excerpts from the conversation.How did you prepare for this new album of the nocturnes?I had dreamed of recording them for quite a while, but I knew that to do it well I would have to play them in concert first, to get the right emotion. They’re not technically difficult — you can approach them from an early age — but it is very difficult to make them sound good. I have been scheduling many of them in my recitals to get that experience of communicating them. The nocturnes make me feel like I’m at home at night and I have an emotion I want to express; they’re pieces I play for myself. To play them in front of people — to break that private bubble — has been the challenge.In recordings, the complete nocturnes are usually presented in chronological order. Why did you stick with that precedent?I’m very traditional. I’m the type of person who likes sending out postcards written in fountain pen, who uses a landline phone with a rotary dial. I am also traditional in how I listen to and present music. After I recorded the nocturnes, I did think about the order. They were not written to be played together — they are very individual pieces — but the slight adjustments I could have made to improve the flow of the recording were not worth compromising the tradition.Why did you choose to record in the Meistersaal, an early-20th-century Berlin concert hall?We chose it because it was very practical during Covid. We could have it to ourselves; there was nobody in the office; there were no distractions. And it isn’t too cavernous, so I didn’t have the feeling I was playing for an empty hall. Also, there is natural light, which I really appreciate. And we could easily adjust the electric lights if I wanted a different ambience. In the end, it was just a very inspirational space.Even when he was first gaining notice, as a teenager, Lisiecki was respected by critics and fellow musicians for the clarity and precision of his playing.Amber Bracken for The New York TimesWhat kind of piano did you use?I didn’t get to select my piano, but I was lucky enough to be able to choose Daniel Brech, who lives in western Germany, as my piano technician. I have worked with him several times, and he and I have the same vision for how a piano should sound. We bonded when we first met in 2013, when I replaced Martha Argerich in an Orchestra Mozart concert with the late Claudio Abbado. For a solo piano recording, it’s very important what instrument you’re playing on — if it is not correct, there is very little you can do. He brought his own piano, a Steinway D, and I trusted him.Why do you play the nocturnes faster in concert than on your new recording?To keep an audience invested in a performance, that sort of slow tempo would be nearly impossible in a concert hall, where there are external factors, like hums or slight noises. Any small disturbance will break the spell, but in the studio I could keep that spell for much longer.Chopin’s early nocturne, Op. 9, No. 2, is one the best known pieces of classical music, regularly used in film soundtracks. How did you approach it?I pay careful attention to the left hand. The right hand — the melodic line — is what draws most of us to Chopin. But what makes that melody work or shine is the waltz-like left hand, which often suffers. If you forget about the structure, then you lose the logic of the piece, and then you lose the beauty.Why do you like to close your eyes when you’re playing in concert?After so many hours spent on the piano, I pretty much know where all the keys are. When you shut down one of your senses, you heighten the others. Generally there are no smells onstage, so I heighten my hearing and completely immerse myself in the music. In a concerto with an orchestra, I have to communicate visually, not only with the conductor, but also individually with the musicians. I know when I have to look, and I am very respectful — except for a few rare cases where I have not enjoyed working with a conductor and I played with my eyes closed the whole time.Some of your fellow young pianists have used their fame to speak out on political issues. You seem to avoid that.I am a pianist, and I have a lot of knowledge about the piano. I am interested in other matters, but that is not my profession. There are things that collide with my own personal views, but it doesn’t go as far as saying I won’t play with a certain conductor or won’t play in a certain country. Or I might make those choices, but on a quiet level, without making a statement about it.We are divided on every point these days, and all sorts of matters are very politicized. Vaccine, no vaccine; political left, political right; refugees, no refugees. A concert should welcome everybody and be a unifying force. We’re playing music, which doesn’t have a political standpoint. Of course, certain composers did, but the music itself does not. It’s apolitical — it’s just music, and it’s beautiful, and I hope it can remain that way.You and the gymnast Simone Biles are roughly the same age, and you have both been in the public eye since your early teens. Did her recent struggles at the Tokyo Olympics strike a chord with you?I did identify with her, especially with her so-called “twisties.” Playing the piano onstage is not nearly as high-risk; I can’t injure myself. But there certainly are days when I’ve done everything I can — when I have slept decently, and am completely prepared — and then I go out onstage, and I feel like there is a blank page in front of me, like I don’t know what I’m doing. I can’t put it down to being nervous. It’s just one of those days when I’m not in my element — I’m just not. As a musician, I can get past it. I have practiced enough, and I can rely on my instincts. But I can understand where she is coming from. More

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      Making Room for Bach in Mozart’s Hometown

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      The Salzburg Festival’s idiosyncratic survey is focused on the timelessness and humanity of Bach’s secular works.SALZBURG, Austria — “For me the Chaconne is one of the most wonderful and most incomprehensible pieces of music that I know,” the composer Johannes Brahms once wrote about the famous final movement of Bach’s Partita No. 2 in D minor for solo violin.“On a single stave and for a small instrument, the man creates a whole world of the deepest thoughts and the most powerful feelings,” he continued in an 1877 letter to the pianist and composer Clara Schumann.In 1926, the Chaconne became the very first work by Bach to be heard at the Salzburg Festival, in a performance by the violinist Johann Koncz. This summer, the piece was performed once again in the first of six musical programs devoted to the towering German composer.For the second consecutive year, and against formidable odds, the Salzburg Festival, one of classical music’s most important events, forged ahead despite the pandemic. Last summer’s offerings were greatly reduced; this year, the festival has come roaring back with a full program of over 100 events, including operas and concerts of every stripe.Prominent in the concert lineup is “Heavenwards — Time With Bach,” an idiosyncratic survey of the German composer in a festival that usually takes a greater interest in Salzburg’s favorite son, Mozart, and the works of Richard Strauss, who was among the event’s founders.The choice to go back to Bach’s music this summer, during the second of two installments that mark the festival’s centenary year, was in part a response to the coronavirus pandemic. According to Florian Wiegand, the Salzburg Festival’s director of concerts and media, “Bach provides us with an unbreakable order in his music, with a clear structure and direction” to counter the loss of balance during these unsettled times.The festival usually reserves the intimate format of the “Time With” series for 20th-century and contemporary figures, including Dmitri Shostakovich, Gérard Grisey and, earlier this month, the American composer Morton Feldman.“Now we’re focusing not on a contemporary composer, but on an entirely timeless composer,” Mr. Wiegand said, adding that “Bach’s music is permeated with deep humanity” perhaps more than any other artist’s body of work.Considering how vast and varied Bach’s output was — he is among the most prolific of all composers — there would have been infinite ways to construct the series.Speaking from a terrace above the festival complex, which abuts the Mönchsberg, a mountain on the edge of Salzburg’s Altstadt, or old town, Mr. Wiegand said the festival chose to sidestep the composer’s best-known sacred works, including his Masses and Passions, many of which have been performed during past installments. (The most recent program of Bach’s music at Salzburg was a 2018 concert of the B minor Mass.)Thomas Zehetmair performing at this year’s Salzburg Festival. In 1997 he made his festival debut at the age of 15.Marco Borrelli/SFInstead, the performances that make up the 2021 Bach program run the gamut from solo recitals to symphony concerts and even a dance production.“In this series we wanted to focus on Bach’s music that is not liturgically bound,” he explained, adding that even the secular works can provide solace during this “challenging and sometimes resigned situation for all of us.” Once the festival’s artistic leadership had settled on Bach, they reached out to leading musicians and artists to find out which works they considered most meaningful right now.The central production in “Heavenwards” is “In the Midst of Life,” a modern dance performance developed by the Belgian choreographer Anne Teresa De Keersmaeker around the Six Cello Suites. Performances are scheduled for Aug. 20 and 21 at the SZENE Salzburg, an event space in a former cinema.The dance-concert, which was first performed in Germany in 2017 and traveled to New York last year, features one of today’s leading Bach interpreters, the French cellist Jean-Guihen Queyras. As he makes his way through the seminal and virtuosic cycle, Ms. De Keersmaeker and four members of her company, Rosas, dance around Mr. Queyras and his instrument, creating an intimate dialogue between music and movement.With the exception of this Wednesday’s concert — the Six Brandenburg Concertos performed by Freiburg Baroque Orchestra, a leading period instrument ensemble — all of the “Heavenwards” programs aim for intimacy.A pair of recitals find master pianists of different generations confronting Bach’s keyboard works. Earlier this week, the Hungarian pianist Andras Schiff, 67, plunged into the complete partitas; in the final concert of the series, on Aug. 23, the Russian prodigy Daniil Trifonov, 30, will dedicate himself to “The Art of Fugue,” a work left incomplete at the time of Bach’s death.Mr. Trifonov performed the hourlong cycle at Alice Tully Hall in March 2020 in one of New York’s final concerts before lockdown. Reviewing the performance in The New York Times, Anthony Tommasini wrote that Mr. Trifonov “played with a focus and concentration that radiated throughout the hall. The performances abounded in scintillating grace, wondrous shadings, even touches of impetuousness.”For his Salzburg appearance, Mr. Trifonov will start the program with Brahms’s left-handed arrangement of the Chaconne from the D minor Partita.At the end of July, the Chaconne also featured in the opening concert of “Heavenwards”: a recital by the Austrian violinist Thomas Zehetmair performing the complete sonatas and partitas, which are considered the pinnacle of the solo violin repertoire. Alone on the stage of the Great Hall of the Salzburg Mozarteum Foundation, where Mr. Koncz played 95 years ago, Mr. Zehetmair held the audience transfixed during the performance, which ran three and a half hours (with two intermissions).Of the musicians featured in the series, perhaps none has as deep a history with both this city and its signature musical event as Mr. Zehetmair, a Salzburg native who has been a familiar face at the festival since his 1977 debut here, at the age of 15.“It is ambitious,” he admitted in an interview before the concert. He had recorded the cycles twice but never before performed them in full in a single evening. “It’s quite a challenge for the audience as well,” he added.“The cycles are so fantastic in their whole conception,” he said, noting that he was excited about playing them in the order they appear in the catalog of Bach’s work. For instance, he said he relished the opportunity to finish the concert with the light and buoyant Partita No. 3 in E major.“It’s so wonderful to have a lighter end after the whole concentration of artistic and intellectual challenges,” he said. “The audience can go out on the street with a light feeling.”“There has never been a series dedicated to Bach like this,” Markus Hinterhäuser, the Salzburg Festival’s artistic director, said in a video introduction to the festival program, which runs through Aug. 30. By showcasing Bach during Salzburg’s anniversary, “Heavenwards” allows the festival to “connect to the original inspiration behind everything musical,” he continued.“It takes us straight to heaven even though they are earthly works,” Mr. Hinterhäuser said. In his words, one can hear an echo of a dictum by the 20th-century composer Mauricio Kagel. “It could well be that not all musicians believe in God,” he famously said, “but they all believe in Bach.” More

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      Colorado Opera House Attic Holds Century-Old Painted Sets

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      Hundreds of painted sets were discovered after a century in the attic of the Tabor Opera House in Leadville, Colo.LEADVILLE, Colo. — One summer day three years ago, Wendy Waszut-Barrett stumbled onto quite the discovery at the Tabor Opera House, high in the Colorado Rockies.“I still get excited about it now,” she said in a recent interview, “and I get all flushed.”Waszut-Barrett, a specialist in period theatrical painting who runs the company Historic Stage Services, was visiting various venues on a drive from her home near Minneapolis to Santa Fe, N.M. She made a stop here in Leadville, about 100 miles west of Denver, to check out the Tabor, which opened in 1879 and has since been designated a National Treasure by the National Trust for Historic Preservation. Waszut-Barrett had heard rumors about old scenery being stored on the top floor of the Italianate theater, and asked if she could poke around.Scaffolding covers the exterior of the 19th-century opera house, right, which is undergoing a gut renovation.Benjamin Rasmussen for The New York Times“Basically I got, ‘Sure, but you’re by yourself,’” she said. “So I went up there and it was unreal.”What she found may not have looked like much to the untrained eye: Greg Labbe, the mayor of Leadville, recently said, with laconic wonder, that “there were dusty rolls of stuff in the attic.”Waszut-Barrett knew better: “It was this amazing scope of scenery from 1879 to 1902, which is unheard-of in North America,” she said. The Tabor’s hitherto hidden collection held samples illustrating both the wing-and-shutter system of theatrical design (in which sets move horizontally across the floor) and the fly system that replaced it (in which they move vertically, with ropes and pulleys).The trove holds samples illustrating both the wing-and-shutter system of theatrical design (in which sets are moved horizontally across the floor) and the fly system that replaced it (in which they move vertically, with ropes and pulleys).Benjamin Rasmussen for The New York TimesAnd all this because the local Elks put the old scenery away when they bought the opera house in 1901, and everybody just forgot about it.On a longer trip last fall, Waszut-Barrett, by then documenting her findings for the Tabor Opera House Preservation Foundation, unearthed wings and shutters; flats stacked against walls; and painted sets as big as 12 feet wide and 16 feet high — a mountain vista, a parlor room, a forest. All in all, reflecting the fact that some of them were double-sided, there were around 250 “painted compositions.”Tagging along on one of Waszut-Barrett’s visits to the Tabor earlier this month — the building is open for regular guided tours while it is being gut-renovated, and performances resume next year — I gaped at large painted canvases stretched out as if ready to be moved to the stage, while others were rolled up.Wendy Waszut-Barrett, a specialist in period theatrical design, gentlys clean a piece of scenery.Benjamin Rasmussen for The New York TimesBrushing delicately with a dry sponge, Waszut-Barrett demonstrated how she could reveal images lurking under decades’ worth of soot. A century-old piece of scenery would be revived, and what was remarkable is that if you looked at it through your phone’s camera, it magically acquired three-dimensional depth: “Sets were painted so both distance and stage lighting would make them pop, and the camera performs a similar function,” Waszut-Barrett explained.Design was a vital part of the Tabor audience’s enjoyment. In 1899, a local paper ran an ad for a weeklong engagement by the Kyle Thomas Comic Opera Company (“The Chimes of Normandy,” “H.M.S. Pinafore,” “The Pirates of Penzance” and “Olivette”) that boasted “new and magnificent costumes” and an “augmented cast” of 25 artists.A set element representing the door of a shack had been used in a performance of the Viennese operetta “Fatinitza,” and might have been left behind by the visiting Bostonians company after their performance in Leadville in 1889. Or perhaps it was forgotten in 1893 by the Calhoun Opera Company, which descended on the Tabor with, according to a newspaper ad, “a strong cast of principals, a strong chorus and THEIR OWN ORCHESTRA, under the baton of Carl Martens.”Pigments and brushes used in the restoration of the sets.Benjamin Rasmussen for The New York TimesBenjamin Rasmussen for The New York TimesWalking around the opera house is like being teleported back to its glory days, when you might have settled down for a melodrama, a circus show, an Oscar Wilde lecture or the musical “Out of Bondage,” by the African American Hyers Sisters, whom an ad in a Colorado paper described as “the distinguished serio-comic queens of song and operatic prima donnas.”Or you might have seen the superstar soprano Emma Abbott, whom Katherine K. Preston, author of the book “Opera for the People,” called a “cultural activist” in a recent video chat — because Abbott had made opera accessible to the American masses by singing in English.“The history of the Tabor Opera House is utterly fascinating and the fact that we can physically share it through the historic building and stage scenery is remarkable,” said Jenny Buddenborg, president of the opera house’s preservation foundation, which operates the building in partnership with its current owner, the city of Leadville.The theater was used for operas, vaudeville, lectures, circus shows, concerts and more.Benjamin Rasmussen for The New York TimesOnly a select few today will recognize the name of the theater’s dedicatee, Horace Tabor, but he played a significant role in the cultural history of the American West. Back in the 1880s, Leadville was riding high on altitude (its elevation is just over 10,000 feet) and mining money, and Tabor was a top dog. He had made a huge fortune in silver — the town also turned J.J. and Molly Brown, of “unsinkable” fame, into millionaires — and like many rich men, he decided to spend some of it on a temple to entertainment, “the largest and best west of the Mississippi.”The Tabor Opera House quickly grabbed the attention of a bustling, rowdy city full of competing theaters, saloons and brothels. (The tycoon opened the even bigger Tabor Grand Opera House in Denver in 1881, but it was torn down in 1964.)Tabor did not just present shows; he became one. He scandalously traded his wife Augusta for a younger woman, the former Elizabeth McCourt Doe, and lost all his money when silver collapsed. After his death, in 1899, Baby Doe, as she was nicknamed, moved to a shack next to Horace’s old mine. Colorado’s harsh winter dealt the last blow, and one day she froze to death; the saga became the subject of the 1956 Douglas Moore and John Latouche opera “The Ballad of Baby Doe,” one of Beverly Sills’s finest turns. Riding a bike by the mine site, on the Mineral Belt Trail, was oddly moving, the setting’s isolation underlining the outlandishness of the whole Tabor story.Scenery stacked backstage in the Tabor Opera House.Benjamin Rasmussen for The New York TimesThe discovery of the sets adds a new chapter. Not only do they give us a rare glimpse of American scenic design in the 19th century, but they also evoke a time when entertainment was not as siloed as it is now, and what we call classical music was part of the vernacular, along with vaudeville and plays.“The artists that were painting this scenery were painting opera, World’s Fair midway exhibits, grand circus spectacles for Ringling Brothers, the Wild West show by Buffalo Bill,” Waszut-Barrett said. “They were creating the same visual aesthetic.”As exciting as all this is, the sets have created a new headache for the small foundation that runs the Tabor, since it now has to figure out how to restore and look after them, in addition to fixing up the building. Waszut-Barrett brought up as a potential inspiration the Drottningholm Palace Theater near Stockholm, which presents stagings using 18th-century machinery and sets.“Ideally, we’d love to continue using the sets in productions and sharing them with the public through our building tour program and other educational programming,” Buddenborg said. “We’re still wrapping our heads around what we have.” More

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      San Diego Gets Its Answer to the Hollywood Bowl, Just in Time

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      The dazzling new $85 million Rady Shell was intended as a summer home for the San Diego Symphony. But with the coronavirus still spreading, the orchestra plans to stay through the fall.SAN DIEGO — The Rady Shell at Jacobs Park, a billowing white sail of an outdoor concert hall along the San Diego Bay, was planned as this city’s answer to the Hollywood Bowl: an $85 million summertime stage for the San Diego Symphony, a project of such architectural and acoustical distinction that it would distinguish San Diego on any national cultural map.But now, its arrival — it opened with a sold-out gala performance Friday night — has turned out to be welcome for an additional reason. With the stop-and-start coursing of the Covid pandemic, the symphony, finally playing before a full audience again, is planning to extend its stay in its new summer home at least through November. It won’t be returning to its regular venue, the downtown Copley Symphony Hall, for a while.“It was planned before Covid, but became prescient with the timing,” said Martha A. Gilmer, the chief executive of the symphony. “We just decided we’re going to stay outside and do the fall concerts outdoors.”And that it did on Friday, inaugurating this new chapter for the state’s oldest symphony with a burst of orchestral music and a dash of electronica that swelled over its six sound-and-light towers and an opening-night crowd of 3,500. The opening fanfare was commissioned from the composer Mason Bates, and it signaled — loudly and dramatically — the musical and sonic ambitions of the San Diego Symphony and the yearning of this city to move on from the pandemic.It had all the trappings of a big event, a welcome contrast after 15 years in which the symphony’s outdoor offerings relied on temporary stages and portable toilets. The new space was heralded with fireworks, and a six-course dinner with champagne for donors. The night began with a suitably dramatic flair, as the projected image of the orchestra’s music director, Rafael Payare, instantly recognizable to this crowd, filled a scrim raised nearly to the top of the 57-foot-high stage. After a few build-up-the-tension moments, the scrim dropped to reveal Payare and the orchestra, ready to play. That drew the first of many standing ovations.The night began with a projection of Payare, instantly recognizable in silhouette to this crowd, that filled a scrim raised nearly to the top of the 57-foot-high stage. John Francis Peters for The New York Times“In the way that Disney Hall solidified the mission and importance of the L.A. Phil and the cultural life of L.A., I think this new venue will do the same for an orchestra that really is on the ascent,” said Steven Schick, a professor of music at the University of California, San Diego, and the music director of the La Jolla Symphony and Chorus. “Those things do happen with new venues.”There were more suits than masks — though not many of either — as people arrived to celebrate this new addition to the San Diego waterfront. It was a dramatic setting: The skyline of San Diego framed the stage on the right, as the masts of sail boats glided past the audience on the left, some dropping anchor to enjoy the show.The venue can hold up to 10,000 people, but its red seats can be removed, making it flexible.  John Francis Peters for The New York TimesPassing boats formed a nautical backdrop for the new concert venue.John Francis Peters for The New York TimesAt the Hollywood Bowl, Gustavo Dudamel, the music director of the Los Angeles Philharmonic, must sometimes contend with the roar of passing helicopters. Here, Payare’s competition was the put-put-putting of boat engines, the blast of an air horn, and occasional “All Right” shouted from a party boat.The opening fanfare by Bates, “Soundcheck in C Major” — with the composer, 44, sitting in the percussion section, playing an Akai drum machine and two MacBook Pros — was cinematic and bracing. It was composed with this sound system in mind, Bates said in an interview, and written to evoke Wagner, Pink Floyd and Techno beats (he is a D.J. as well as a composer). The whirl of electronic sounds he generated flew out across the audience, ricocheting among the sound-and-light towers.There would be more familiar fare before the night ended — Mozart, Gershwin, Stravinsky. Alisa Weilerstein, an acclaimed cellist who is married to Payare, was the soloist for the Saint-Saëns Cello Concerto No. 1 in A Minor, the pianist Jean-Yves Thibaudet was the soloist on “Rhapsody in Blue,” and Ryan Speedo Green, a bass baritone who is a rising star in the opera world, sang several arias. Gladys Knight (without the Pips) took the stage on Sunday night. But the choice of a new inaugural number was a statement by the San Diego Symphony under Payare, who was appointed in 2019.“It shows that the San Diego Symphony is thinking about the future,” Bates said. “They could have opened this with any number of overtures, the Candide Overture. But the San Diego Symphony wanted to show off the capabilities of their space and also make a statement about new art and new work.”Ryan Speedo Green, a bass baritone with an international opera career, sang several arias. John Francis Peters for The New York TimesConstruction on the Rady Shell began in September 2019, and it was supposed to open the following summer. That date was, of course, delayed by the pandemic, which made Friday night particularly welcome after a difficult 16 months for culture in San Diego. “It was decimated, and I’m not exaggerating — particularly the performing arts,” said Jonathon Glus, the executive director of the city’s Commission on Arts and Culture. “A lot of the organizations are still just quasi-opened. I think it’s going to be another two or three years until we truly find out the fallout.”While there were 3,500 people there Friday night, some seated on the red folding seats and others sprawled on the artificial turf, it has a capacity of up to 10,000 seats. And the seats can be removed: It will be a public park when the symphony is not there.From the beginning, the combination of the new space and the new music director was intended to distinguish San Diego in a state with a roster of strong cultural offerings, from San Francisco to Los Angeles. This city’s classical music scene has long existed under the cultural shadow of Los Angeles and Dudamel, and that was a challenge when Gilmer took over as chief executive in 2014.“There were people who felt they had to get on a train or the 5 to go to L.A. and hear music on a high level,” Gilmer said, referring to the highway that runs from here to downtown Los Angeles. “That has changed. Or we hope that has changed.”Payare, like Dudamel, is a product of El Sistema, Venezuela’s famed music-training system. He played principal horn under Dudamel at the Simón Bolívar Orchestra, and was a member of the Dudamel fellowship program for conductors at the Los Angeles Philharmonic. Dudamel was in the audience on Friday.Payare, 41, said that the new venue opened up new opportunities. “It is going to be a change not only for classical music, but for guest artists who will be going through California,” he said.The performers who opened the new venue took their bows: Payare, the conductor; Mason Bates, the composer; Speedo Green, the bass baritone; Jean-Yves Thibaudet, the pianist; and Alisa Weilerstein, the cellist. They received a standing ovation. John Francis Peters for The New York Times“The views, they are fantastic,” he said. “The sound is phenomenal. As an artist, that is what you want.”San Diego has always been popular tourist destination, but visitors are more likely to come here for the beach, the weather and Comic-Con than to see the symphony. But in recent years, a number of philanthropists have stepped in to bolster the city’s cultural offerings and raise its profile.The San Diego Opera almost closed in 2014, after 49 years in operation, but it was revived by a coalition of opera buffs, labor union and community leaders who raised money to transform it and keep it alive. The area has one of the nation’s most prominent regional theaters, the Old Globe. In 2002 the Symphony, which was financially struggling, was saved with a record $100 million gift for its endowment from Irwin Jacobs, the co-founder of Qualcomm, and his wife, Joan. And in 2019 the Conrad Prebys Performing Arts Center opened as the new home of the La Jolla Music Society.The lead donation to this project — $15 million — came from Ernest and Evelyn Rady, two of San Diego’s most prominent philanthropists. Rady is a billionaire who built his fortune in insurance and real estate.“We have always thought of making this a cultural destination as well as a beach destination and weather destination,” said Jacobs, who, with his wife, donated $11 million toward construction of the venue. “There’s a lot here. We don’t get that story out as well as we should.” More

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      Famed Conductor, Citing Brain Tumor, Withdraws From Concerts

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      Michael Tilson Thomas, the former music director of the San Francisco Symphony, announced he would spend the next several months recovering from surgery.The renowned conductor Michael Tilson Thomas announced on Friday that he would withdraw from performances for the next several months as he recovers from surgery to treat a brain tumor.Thomas, 76, the former music director of the San Francisco Symphony, said in a statement that he would take a hiatus through October as he undergoes treatment. He said doctors recently discovered the tumor and advised he have surgery immediately. He described the surgery, which took place at the University of California at San Francisco Medical Center, as successful.“I deeply regret missing projects that I was greatly anticipating,” Thomas said in the statement. “I look forward to seeing everyone again in November.”Thomas, an eminent figure in the music industry known by the nickname M.T.T., stepped down as the San Francisco Symphony’s music director last year. He had held the post since 1995 and was widely credited with transforming the ensemble into one of the best in the nation and championing works by modern American composers.Thomas said in the statement that he was canceling a starry concert with the National Symphony Orchestra in September to celebrate the 50th anniversary of the Kennedy Center, as well as appearances with the New World Symphony, a training orchestra for young artists in Miami that he helped found; the Indianapolis Symphony Orchestra, where he was to lead his “Agnegram” alongside works by Beethoven and Copland; and the Chicago Symphony Orchestra. More

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      Baltimore Symphony Fires Flutist Who Shared Covid Conspiracy Theories

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      The musician, Emily Skala, who shared misinformation on social media, has vowed to challenge her dismissal.The Baltimore Symphony Orchestra said on Thursday that it had fired a musician who provoked controversy earlier this year when she shared Covid-19 conspiracy theories and other misinformation on social media.The musician, Emily Skala, 59, the orchestra’s principal flutist for more than three decades, shared posts casting doubt on the efficacy of vaccines and masks. Her posts drew criticism from musicians, audience members and donors in Baltimore and beyond.The orchestra said it was dismissing Skala because she had repeatedly violated its policies, though it did not offer details except to say that the problems went beyond social media posts. Skala said in an interview that the orchestra’s leaders had also accused her of breaching safety protocols by not submitting to coronavirus tests before visiting the Baltimore Symphony’s offices in the spring.“Unfortunately, she has repeated the conduct for which she had been previously disciplined, and dismissal was the necessary and appropriate reaction to this behavior,” Peter Kjome, the orchestra’s president and chief executive, said in a statement.The Baltimore Sun reported earlier on the orchestra’s decision to fire Skala.The dispute is unfolding amid a heated debate over the rights of individuals as local governments and businesses work to bring the pandemic under control by imposing mask mandates and requiring vaccines. There are also widespread concerns about the rapid spread of anti-vaccine messaging on social media platforms.Skala vowed to challenge her dismissal, saying the orchestra had created a hostile environment. She said she was being attacked for expressing unpopular views and that the orchestra’s leaders failed to protect her from harassment.“When you’re a target, every day is a trap,” Skala said in the interview. “They just punish me for being me.”Skala said she was working with the Musicians’ Association of Metropolitan Baltimore, the union that represents the orchestra’s players, to file a formal grievance. The union declined to comment.Orchestra players are often tenured, like university professors, and have strong protections against being fired. Last year, the New York Philharmonic, which had fired two players over allegations of unspecified sexual misconduct, was forced by an arbitrator to reinstate them.But businesses often have wide latitude to dismiss employees they consider to be troublesome, so long as they do so in accordance with collective bargaining agreements, legal experts say. “People can be fired if what they say or how they behave is disruptive to the purpose or the culture,” Kathleen Cahill, an employment lawyer in Maryland, said in an interview. “Employees often don’t have the ‘freedom’ and ‘First Amendment rights’ they think they do.”Amid the pandemic, employers will likely have even greater latitude to require employees to follow policies designed to keep workplaces safe, Cahill added.Skala shared false theories suggesting that the coronavirus was created in a laboratory in North Carolina; she also shared posts raising concerns about the safety of vaccines. In the interview, she said she suffered from autoimmune disorders and was distressed by efforts to mandate vaccines. She said she did not believe she was required to get tested for Covid-19 before visiting the orchestra’s offices to meet with staff there, since she had been suspended and was no longer performing.“I’ve been misunderstood,” she said. “I feel I am standing in truth.”Earlier this year, Skala angered many of her colleagues for sharing posts questioning the results of the 2020 presidential election. She was also criticized for saying that Black families needed to do more to support their children’s classical music studies in emails to colleagues about efforts to increase diversity at the Baltimore Symphony. (The emails were later leaked and posted on Twitter.) She also described in one of the leaked messages feeling discrimination early in her career as “a female gentile in a flute section of middle- to old-aged Jewish men.”The orchestra did not mention those comments in dismissing Skala. But in February, when Skala’s remarks about the coronavirus and election fraud began to circulate, it issued a statement distancing itself. “Ms. Skala does not speak for the B.S.O., nor do her statements reflect our core values or code of conduct grounded in humanity and respect,” the orchestra said at the time.Skala’s critics said they were pleased with the orchestra’s decision to dismiss her. Melissa Wimbish, a soprano in Baltimore, posted the leaked emails on Twitter in February. Wimbish, who has performed with the orchestra, also organized an online petition calling for Skala to be punished, which gathered more than 1,000 signatures.“They have this responsibility to react to these statements and distance themselves,” Wimbish said in an interview, referring to the orchestra’s leaders. “It’s good to see there’s some justice.” More

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      Review: Mostly Mozart Returns to Lincoln Center, Quietly

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      The center’s summertime music series has a limited outdoor run this week.The Mostly Mozart Festival Orchestra, the headliner ensemble of Lincoln Center’s summertime music series, is the latest group to return to live performance in New York. But unlike some organizations, it sneaked back into action quietly.Early Monday evening, Louis Langrée, the orchestra’s music director, led 13 players in a Mozart masterpiece, the “Gran Partita” Serenade for Winds in B flat. The informal performance — a surprise pop-up, produced with little promotion — took place on the inviting artificial lawn with which Lincoln Center has covered its plaza.Louis Langrée, the orchestra’s music director, led the performance.Douglas Segars for The New York TimesThe concert, and other offerings in the center’s Restart Stages venture this summer, was conceived at a time when arts institutions were being especially careful to avoid attracting oversize crowds because of fears of the virus spreading. Those concerns, of course, linger.But I wish the revival, however modest, of Mostly Mozart had been more touted. In addition to crowd control, the center’s reticence might have to do with the questionable fate of the venerable festival: As my colleague Javier C. Hernández reported Tuesday in announcing the news of the center’s new artistic leader, officials there say they are still working out Mostly Mozart’s future. That’s not reassuring, especially since it was only four years ago that the center, grappling with budget woes, dissolved the Lincoln Center Festival to focus on reinventing Mostly Mozart.Despite the limited publicity, a couple hundred people, including children scampering up and sliding down the curved artificial turf walls, were already on the lawn before the performance began. As the players took their seats and started warming up with Langrée, the crowd grew even larger.On a balmy evening, a crowd gathered on the artificial turf lawn that has covered the plaza since the spring.Douglas Segars for The New York TimesLangrée spoke to the audience about how special the occasion was for the musicians — the “first time in two years that Mostly Mozart gets together again.” He announced a schedule of performances for the rest of the week, including two more pop-ups, both at 6 p.m.: On Tuesday, a performance of a Mozart duo for violin and viola accompanying two dancers from the New York City Ballet, and on Wednesday, Bach’s Brandenburg Concerto No. 3 and Mozart’s Divertimento in D (K. 136). On Friday in Damrosch Park, at 8 p.m., the full orchestra will play Mozart’s first and final symphonies.Monday’s performance was wonderful; hearing the music in that space amid grateful New Yorkers was inspiring. The musicians, who played splendidly, were visibly moved.In the “Gran Partita” Serenade, Mozart achieves an uncanny blend of breeziness and grandeur. The music seems genial and sunny, yet is also intricate and complex, almost epic: The piece has seven movements and lasts some 45 minutes. The scoring is heftier than was typical of wind serenades at the time. Along with the standard two bassoons and two oboes, two clarinets are fortified by two basset horns (a deeper alto clarinet); two French horns are doubled to four; and a string bass brings added depth.The ensemble will give a series of performances this week at the center.Douglas Segars for The New York TimesSubtle amplification allowed intricate details to come through beautifully. Langrée and the players — determined, it seemed, to draw in listeners — played whole stretches with mellow sound and soft-spoken grace, especially in the sublime slow movement. Yet the feistier episodes were full-bodied and exciting. The concluding rondo was exceptionally rousing.It was gratifying to see how many people who might not have anticipated hearing this performance wound up standing near the players or sitting on the lawn, listening closely, including mothers swaying to the music with babies in their arms. Mostly Mozart is back, for the time being, even if many music lovers in New York didn’t know it.Mostly Mozart Festival OrchestraEvents this week listed at mostlymozartmusicians.com. More