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    Singing Will Return to Tanglewood This Summer

    The Boston Symphony Orchestra plans to go back to full-scale programming at its bucolic warm-weather home in the Berkshires.After three years, the “Ode to Joy” will be sung again at Tanglewood.In 2020 there was only silence at the Boston Symphony Orchestra’s annual warm-weather retreat in the Berkshires. And last year, Beethoven’s Ninth Symphony and its grand choral finale — the traditional ending of the summer there — weren’t heard. During a shortened 2021 season, with limited crowds and distancing requirements, no vocal music was programmed, to reduce the risk of aerosol transmission of the coronavirus.But with a surge of virus cases, driven by the Omicron variant, seeming to ebb in Massachusetts, Tanglewood is set to return this summer — at full length and in full cry, the Boston Symphony announced on Thursday.So Beethoven’s Ninth will be there on the official closing night, Aug. 28. And the main season, which opens July 8, will also feature concert performances of Mozart’s “Don Giovanni” and George Benjamin’s “Lessons in Love and Violence,” in that 2018 opera’s American premiere. Among the singers appearing over the summer will be Susan Graham, Christine Goerke, Nicole Cabell, Julia Bullock, Ying Fang, Shenyang, Ryan McKinny, Will Liverman and Paul Appleby — along with the return of the Tanglewood Festival Chorus.The Boston Symphony said it would announce health protocols closer to the start of the season, when the state of the pandemic will be clearer.Andris Nelsons, the orchestra’s music director, is scheduled for frequent presences on the podium. John Williams, who turns 90 this year and served as director of the Boston Pops, will be feted with a gala performance on Aug. 20. Garrick Ohlsson plays Brahms’s complete works for solo piano over four programs; Paul Lewis joins the orchestra for all five Beethoven piano concertos. There will be a host of free concerts featuring the young fellows of the Tanglewood Music Center.Familiar guests like Emanuel Ax, Joshua Bell, Yo-Yo Ma and Michael Tilson Thomas will be joined by debuting artists such as the conductors JoAnn Falletta, Cristian Macelaru and Earl Lee, the pianist Alexander Malofeev and the violist Antoine Tamestit. Classics by Rachmaninoff and Ravel will be served alongside new music from composers including Helen Grime, Fazil Say, Richard Danielpour, Jessie Montgomery, Julia Adolphe, Caroline Shaw and Elizabeth Ogonek.Beginning on June 17 with Ringo Starr and ending on Sept. 3 with Judy Collins, pop artists return for the first time since 2019 — also including the Tanglewood favorite James Taylor, Brandi Carlile and Earth, Wind & Fire.The absence of Tanglewood, a regional staple and huge moneymaker for the Boston Symphony, which has summered there since 1937, was keenly felt in 2020, even by an orchestra with secure finances and the largest endowment in its field.The thinned-out 2021 season drew a respectable attendance of 148,000, versus more than 340,000 in 2019. But it is hoped that the bucolic campus will be altogether more alive this year. Ozawa Hall will reopen, joining the main concert space, the Shed. So will the Linde Center, which was inaugurated in 2019 as a site for master classes, lectures, rehearsals and recitals — among them, this summer, the pianist Stephen Drury playing the mighty set of variations on “The People United Will Never Be Defeated!” by Frederic Rzewski, who died in June.Full programming information is available at bso.org/tanglewood. More

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    This Summer’s Dance MVP: The Weatherman

    At Jacob’s Pillow, with all shows outdoors, a new uncontrollable element emerged: weather. That’s where Paul Caiano comes in.BECKET, Mass. — A week after the Jacob’s Pillow season opened here, five dancers were rehearsing in the vegetable garden for a site-specific work, “Tillers of the Soil.” They tied up tomato plants, practiced wielding a machete and learned about the Native planting practice known as three sisters — growing corn, beans and squash together. The sky was clear.“Paul said it’s going to rain at 3:30 p.m.,” said the choreographer Adam Weinert — and at almost exactly that moment, a balmy afternoon erupted into showers. The dancers fled the garden, laughing, wheelbarrow in tow.Paul is Paul Caiano, an affable Albany, N.Y., weatherman who this summer took on the role of first-ever resident meteorologist for the Pillow.Ching Ching Wong and Cynthia Koppe in “Tillers of the Soil” at Jacob’s Pillow.Christopher DugganAfter last year’s festival was canceled because of the pandemic, Jacob’s Pillow moved its summer dance festival totally outdoors this year. But that has posed a new set of worries from an uncontrollable factor, namely the weather.Even festivals and theaters that have had outdoor performances for years have found this summer singular thanks to extreme weather paired with Covid-19 precautions. Events outside in the elements have proliferated alongside record-breaking heat waves, sudden storms and flash floods.At Jacob’s Pillow, that’s where Caiano, 50, comes in. He’s been a weatherman for almost three decades, delivering spirited daily reports for NewsChannel 13 and WAMC public radio. “I thrive from trying to give people the information they need to make decisions,” he said, “whether it be just to go golfing, or a bigger thing like having 10,000 people at their performance.”Before this summer at Jacob’s Pillow, Vinny Vigilante, director of technical production, made weather calls on his own. It was lower stakes because there were fewer outdoor productions and less equipment involved. “This year, because we moved outside, I definitely was like, ‘I need help,’” he said. He’d heard that the Tanglewood Music Center nearby worked with a meteorologist. “And that turned out to be Paul,” he said.“I thrive from trying to give people the information they need to make decisions,” Caiano said.John Francis Peters for The New York TimesIn 2012, Tanglewood, the summer home of the Boston Symphony Orchestra, invested in state-of-the-art weather-tracking software. It even installed a Thor Guard device, which the Coast Guard and NASA use to measure electrostatic energy in the atmosphere and to predict when lightning is likely to strike. Still, help was needed to interpret the complicated data, so the facilities manager Bobby Lahart began searching for a meteorologist. When Lahart cold-called WAMC, Caiano picked up. He’s been forecasting severe weather for Tanglewood’s outdoor stages since then.Becket, the Western Massachusetts town that Jacob’s Pillow calls home, is a microclimate that’s difficult to accurately forecast. The grounds are surrounded by mountains, valleys and ocean winds. Caiano says the landscape is like a moisture-trapping bowl that wind blows right over, leaving foggy, wet conditions within. The grounds might be experiencing sudden showers, as on the day Weinert and his dancers had to cut their rehearsal short, while just 20 minutes away, the town of Lee is sunny, dry and clear.That variability is an enjoyable challenge to Caiano, a lifelong weather nerd who idolized the meteorologists on the Weather Channel when young. But it’s been tough for the festival, which has had a 44 percent cancellation rate of performances so far this summer. (The festival continues through Aug. 29.) When there’s a rainout, ticket holders can either receive a full refund, rebook for another show or donate the ticket amount.Every morning, Caiano checks his computer models first thing. He evaluates whether the predictions he made before going to sleep the night before have panned out and makes any necessary adjustments to his forecast. He then writes a detailed synopsis of the day’s weather for both Jacob’s Pillow and Tanglewood, including precise information about jet streams and wind shear. He also boils it down into layman’s terms: “If it comes right down to it, there’s only a 30 percent chance” of rain, reads one. “Let’s do this.”A sunny day at Tanglewood in July for the Boston Symphony’s first in-person concert since March 2020. Caiano gives a detailed description of the weather each day to Jacob’s Pillow and Tanglewood.Jillian Freyer for The New York TimesA cancellation is not something Caiano takes lightly. Every show the weather disrupts means lost revenue, disappointed ticket holders and artists who don’t get to perform. It’s a difficult balance to strike. Be overcautious and a perfectly clear day goes to waste; be too bold and put the performers, audience and equipment at risk.The final decision about whether a performance will proceed must be made four hours before showtime, to give ticket holders fair warning if it’s canceled. Once that call is made, Vigilante tells patron services, which emails ticket holders three hours in advance.“They send you a nice email during the day,” said Enid Hoffman, who had tickets to see a performance by the Latin dance group Contra-Tiempo that was canceled because of rain. “They handled it beautifully, but we were looking forward to it. It’s like, you look forward to Christmas and then somebody stole Christmas.”At Shakespeare & Company in neighboring Lenox, where outdoor performances have long been the summer norm, the artistic director Allyn Burrows and his colleagues consult weather apps and pore over the minutiae themselves. They huddle in the box office watching weather patterns on Burrows’s computer, or argue via group text about whether to cancel a show. “We’re as animated about the weather discussions as we are about Shakespeare’s text, so the debates are vociferous,” he said.More than half of Shakespeare & Company’s shows this year have been postponed or moved indoors because of weather, and Burrows said that the concern isn’t just rainstorms, but extreme heat, exacerbated by climate change. Recently, he and his team fashioned a makeshift shade out of black mesh cloth on the fly on a particularly sweltering day.“I’ve been performing outdoors for 30-odd years now and this year feels different than any other year,” he said. “Part of me likes to think of it as an aberration, but my better self is saying, continue to make plans.”Grace McLean in “Row,” at the Clark Art Institute’s reflecting pool, a Williamstown Theater Festival production that lost nearly 60 percent of its rehearsal time because of weather conditions.Joseph OMalley and R. Masseo DavisFurther north, Williamstown Theater Festival in Williamstown, Mass., is also hosting its first fully outdoor season this year, on found stages, including the Clark Art Institute’s reflecting pool, where Grace McLean stars in “Row.” The musical lost nearly 60 percent of outdoor rehearsal time because of the weather, and six of the first seven scheduled performances were canceled. “It’s just been kind of disappointing and frustrating, because we’re not getting to do our job,” she said.The sky was dreary, gray and damp the day before “Tillers of the Soil” — Weinert’s adaptation of a dance originally choreographed by Ted Shawn and Ruth St. Denis in 1916 — had its premiere at Jacob’s Garden. The dancers spread straw on the soft, wet ground before the performance, but their feet still grew muddy and soaked as they danced. “We were able to still be in the moment with everything that was happening,” Brandon Washington, a dancer, said. “It ended up being super sunny and beautiful.”For dancers, weather, especially rain, has meant being ready to be frustrated — or ready for the show to go on in tough circumstances. On July 3 at Little Island, a new park on the Hudson River in Manhattan, Hee Seo, a principal for American Ballet Theater, did not know until showtime whether her “Dying Swan” solo would happen. Even then, the rehearsal and show were both delayed, and when Seo started dancing, she could feel raindrops. “But we didn’t stop,” she said. “I carried on. I finished my piece.”Artists and audiences have been hungry for performances, even as the cancellations pile up. The Trisha Brown Dance Company canceled performances on June 8 and 9 at Wave Hill in the Bronx because of rain. The company’s director, Carolyn Lucas, said the dancers rehearsed amid the drizzles until they couldn’t. “After this year of Covid, I think everybody is missing dancing and performing so much,” she said. “They were very flexible to sort of do something a bit more extreme just to get the show on the road.”It’s unlikely there will be another summer with quite this particular mix of circumstances. And at Jacob’s Pillow, the hope is that there won’t need to be another outdoor-only season. But ever adaptable, dancers will continue to make the most of what’s thrown at them. As Washington said of his performance in the garden, “With everything that was happening leading up to the performance, the wet ground was kind of the least of our concerns.” More

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    Tanglewood Is Back This Summer, With Beethoven and Yo-Yo Ma

    Closed last year, the Boston Symphony’s warm-weather home in the Berkshires will host an abbreviated six-week season.There won’t be the traditional, grand closing-night performance of Beethoven’s Ninth Symphony, with its stage full of singers. In fact, to reduce the risk of aerosol transmission of the coronavirus, there will be no vocal music at all at Tanglewood this summer.But there will still be a lot of Beethoven, along with crowd-pleasing tributes to the composer John Williams and familiar guests like Emanuel Ax, Anne-Sophie Mutter, Joshua Bell and Yo-Yo Ma.Tanglewood, the Boston Symphony Orchestra’s warm-weather home in the Berkshires, announced in March that after remaining closed last year because of the pandemic, it would open this summer for a six-week season — about half the usual length — with limited crowds and distancing requirements. On Thursday, the orchestra filled in the programming: heavy on appearances by its music director, Andris Nelsons, and with a focus on Beethoven, whose 250th birthday last year was muted because of widespread concert cancellations.Nelsons will lead eight orchestral programs, including a Beethoven opener on July 10 featuring the “Emperor” Piano Concerto, with Ax as soloist, and the Fifth Symphony. On July 23, the Boston Pops will honor Williams, who turns 90 next year and is the Pops’ laureate conductor; the following evening, Mutter gives the premiere of his Violin Concerto No. 2, and on Aug. 13 Williams shares the podium for a night of film music. On July 30, the violinist Leonidas Kavakos does Beethoven trios with Ax and Ma, who also plays with the Boston Symphony under Karina Canellakis on Aug. 8. (Details are available at bso.org.)Throughout the summer, performances will last no longer than 80 minutes, without intermissions, and all concerts will take place in the Koussevitzky Music Shed, which is open on the sides. The space, which usually holds thousands, will have a reduced capacity, as will the lawn that surrounds it — a favorite spot for picnicking. Tanglewood is waiting to announce what might go forward in late summer of its well-loved series of pop performers like James Taylor.Students at the Tanglewood Music Center, the orchestra’s prestigious summer academy, will play chamber concerts on Sunday mornings and Monday afternoons, and programs are planned for the Tanglewood Learning Institute, a series of lectures, talks and master classes that began with great fanfare in 2019. The orchestra will host a two-day version of its annual Festival of Contemporary Music, July 25-26.The Knights, a chamber orchestra, will be joined on July 9 by the jazz and classical pianist Aaron Diehl for Gershwin’s “Rhapsody in Blue” and selections from Mary Lou Williams’s “Zodiac Suite.” Among the Boston Symphony’s guest conductors will be Thomas Adès (the orchestra’s artistic partner), Alan Gilbert, Anna Rakitina and Herbert Blomstedt; soloists include the pianists Daniil Trifonov, Jean-Yves Thibaudet and Kirill Gerstein, and the violinists Baiba Skride and Lisa Batiashvili.The Tanglewood season is part of the nationwide thawing planned for this summer of a performing arts scene that has been largely frozen for over a year. The Public Theater has announced that its venerable Shakespeare in the Park will go forward, as will Santa Fe Opera and the Glimmerglass Festival in upstate New York. On Thursday, the Aspen Music Festival and School in Colorado said it would move forward with a nearly two-month season.But as they reopen, institutions are reckoning with sharp losses. As it celebrated the return of Tanglewood, the Boston Symphony said its current operating budget was $57.7 million, down from its prepandemic budget of over $100 million. The orchestra estimated that it has lost over $50 million in revenue in the last year. More