This is the third movement, of course. To my taste (and I’m a huge Giulini fan), the maestro’s tempo is just a smidgen too slow. On the other hand, his conception of the piece is so strong and unwavering — building slowly and patiently in one long line, and not an ounce of “show” in it — that ultimately it works very well for me. Note how perfectly the orchestra is prepared. And note how hard Giulini is working — it’s exhausting just watching him.

The recording with the same performers is here.

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[Rick Stein here again, filling in for Paul Hodgins while he’s away…]

Taking a page out of OC Register classical music critic Tim Mangan’s book, I’m calling for all Shakespeare-lovers to weigh in on the subject of their favorite Shakespeare play by commenting on this blogpost.

As for me, I just returned from a trip to Europe, planned nearly a year ago, to reconnect my 87 year old mother with her Hungarian roots (you can read more about that on my personal blog:  http://rickstein.blogspot.com). 

We wrapped the trip with a visit to Stratford-upon-Avon, England, to see a really terrific production of one of Shakespeare’s less-often-produced plays, “The Winter’s Tale,” at the Royal Shakespeare Company.  This is one of the Bard’s late-in-life works, and reflects his darker broodings tempered by a (mostly) happy, suspend-all-disbelief ending.

I’d only seen it once before, in another Royal Shakespeare Company staging at London’s gloomy Barbican Center that was equally gloomy.  The current production, staged by RSC’s new Associate Director David Farr is bold, energetic, filled with joyous comic relief in the bravura performance of Brian Doherty as Autolycus, but mostly notable for its exceptionally strong ensemble performances.  In a word, it was riveting.

Not sure I’d call it my favorite Shakespeare play, though.  I’ll have to think about that one some more.

Meanwhile, this poll is also a great way to remind everyone about the season debut of Shakespeare Orange County (now offering “As You Like It”) and Tom Bradac’s 30th year of staging Shakespeare in our community.

Rick Stein
Executive Director
Arts Orange County
Spark-e’s Place blog:  http://sparkoc.blogspot.com
SparkOC—Comprehensive arts & cultural listings:  http://sparkoc.com
Find us on Twitter at:  SparkOC

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PREVIEW: Director Roy Roderick adjusts story and special effects for musical’s tour. The Orange County Register, July 2, 2009.

(AP Photo/Barlow-Hartman/Joan Marcus)

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Now, I’ve had my disagreements with the blog and its founder over the years, but it’s generally a good source for new exhibits, reviews, local art news and other tidbits.

Apparently the blog has some new writers too. Krystal Glasman is a Cal State Fullerton graduate, and she’s completing her master’s degree in exhibition design while working at the Grand Central Art Center.

Johnny Sampson is director and curator at The Box gallery in Costa Mesa. He’s also a children’s book writer, exhibition designer, preparator and curatorial researcher.

Joanna Grasso will join The OC Art Blog this month. She’s apparently traveling abroad. She has worked as a writer, curator, artist and studio director.

Welcome, new O.C. art bloggers.

In the meantime, check this site out. It’s artbabble.org, and it features cool videos about art, artists, collectors, museums, and other interesting stuff.

Enjoy.

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Classical Life (this blog) recently took a poll of its readers, asking them to name their favorite Beethoven symphony. (The Seventh got the most votes.) As an added feature, those voters were then asked to name their favorite recording of the symphony that they had voted for. A list of their recorded picks is below.

In building a library of classical music recordings, the Beethoven symphonies are of course a must. I think many listeners make the mistake, however, of buying a complete set of The Nine, with one orchestra and one conductor. While there are undoubtedly many great recorded sets of the Beethoven symphonies, it’s much more interesting to buy them singly and build your set one by one. That way you get to sample a variety of interpretive approaches, different orchestras and different labels.

The list below is an interesting one, I think, with some usual suspects certainly, but also a few surprises.  I have included all of the recommendations (and links to their Amazon pages), so most of the symphonies have multiple suggestions for recordings. I added a recommendation myself for the Symphony No. 1, since that, alas, remained an orphan, and one for Symphony No. 8, since the recording suggested by a reader is not readily available.

Classical Life Readers’ List of Recommended Beethoven Symphony Recordings: 

Symphony No. 1: The Chamber Orchestra of Europe, Nikolaus Harnoncourt, conductor. (Teldec).

Symphony No. 2: Philharmonia Orchestra, Otto Klemperer, conductor. (EMI Classics).

Symphony No. 3, “Eroica”: NBC Symphony Orchestra, Arturo Toscanini, conductor. (Music and Arts Program); Cleveland Orchestra, George Szell, conductor. (Sony); Czech Philharmonic Orchestra, Lovro von Matacic, conductor (Supraphon); BBC Symphony Orchestra, Colin Davis, conductor (nla).

Symphony No. 4: Bayerisches Staatsorchester, Carlos Kleiber, conductor. (Orfeo); Philharmonia Orchestra, Kurt Sanderling, conductor (Capitol).

Symphony No. 5: Los Angeles Philharmonic, Carlo Maria Giulini, conductor (Deutsche Grammophon); Vienna Philharmonic Orchestra, Carlos Kleiber, conductor (Deutsche Grammophon).

Symphony No. 6, “Pastoral”: Vienna Philharmonic Orchestra, Pierre Monteux, conductor. (Decca); Vienna Philharmonic Orchestra, Simon Rattle conductor (EMI Classics); Bavarian State Opera Orchestra, Carlos Kleiber, conductor (Orfeo).

Symphony No. 7: Vienna Philharmonic Orchestra, Carlos Kleiber, conductor. (Deutsche Grammophon); Chicago Symphony, Carlo Maria Giulini, conductor (EMI Classics); Berlin Philharmonic Orchestra, Herbert von Karajan, conductor. 1960s recording. (Deutsche Grammophon); Zurich Tonhalle Orchestra, David Zinman, conductor (Arte Nova Classics); London Symphony Orchestra, Pierre Monteux, conductor. (Decca).

Symphony No. 8: Philharmonia Orchestra, Kurt Sanderling, conductor. (nla); Royal Philharmonic Orchestra, Thomas Beecham, conductor. (EMI Classics).

Symphony No. 9, “Choral”: Bayreuth Festival Orchestra, Wilhelm Furtwangler, conductor. 1951. (Orfeo ); Vienna Philharmonic Orchestra, Felix Weingartner, conductor. (Naxos).

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I’m off to the Great White North to see family and eat real bacon. I’ll be back on July 14. In the meantime, Arts Orange County executive director Richard Stein will fill in with his usual aplomb. Thanks, Rick!

Check out Stein’s regular blog.

Stay tuned.

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Karl Malden, who died today at 97, enjoyed a lengthy, varied and distinguished career as a character actor.

On film he is best remembered for roles that required restrained passion, grit, wisdom and integrity. Malden wasn’t a showy performer by any means, but he was able to hold his own against Marlon Brando in two of Elia Kazan’s greatest films, “A Streetcar Named Desire” (1951) and “On the Waterfront” (1954). Malden won a Best Supporting Actor Oscar for his work in the former film. He played Mitch, a frustrated suitor of Blanche DuBois who finally sees she is a mass of deception and neuroses. That scene of realization and accusation is one of the quieter moments from an emotionally fraught film, yet one of its most brutally memorable.

Later in his career, Malden brought his bankable quality of streetwise gravitas to television. He was an effective presence in a series of advertisements for American Express. And he created a new generation of fans when he played police lieutenant Mike Stone in “The Streets of San Francisco” from 1972-77, in the process giving a young actor named Michael Douglas a pointer or two about the thespian’s craft.

The bulbous-nosed actor (he claimed his nose was broken twice during his years as a high school basketball player) also helped out Michael’s father, Kirk, when both were young theater performers.

Kirk Douglas told this amusing story during his recent one-man show. As he was introduced to the struggling Douglas, Malden stumbled over his birth name: Issur Danielovitch. Malden suggested adopting a more marquee-friendly moniker and “Kirk Douglas” was born. (Malden knew a bit about the importance of a marketable stage name. He was born Mladen George Sekulovich but changed his name at 22.)

Malden was a well-respected veteran theater actor by the time he landed his first major screen roles. His Broadway resume spans two decades (1937-57) and includes original productions of “Golden Boy” (his first Broadway appearance), “Key Largo,” “All My Sons” and “A Streetcar Named Desire.”

Malden remained a fan of the theater until the end of his life. He was a frequent attendee at the Geffen Playhouse in Westwood, where he served on the board.

Malden was born in Chicago. His mother was Czech, his father Serbian. After working for three years in a Gary, Indiana steel mill he talked his way into Chicago’s acclaimed Goodman School despite being too poor to afford tuition. Shortly after moving to New York he joined the Group Theatre, where he met Kazan.

 Upon returning from air force duty in World War II, Malden resumed acting on film and stage. His performance in Kazan’s production of Arthur Miller’s “All My Sons” in 1947 proved to be his breakthrough. At 35, Malden was finally on his way to becoming a familiar face.

It’s hard for many of us to get Malden’s voice-of-doom delivery of “Don’t leave home without it!” from our memories. A suggestion: Rent “Patton” and “Baby Doll.” In the former, he plays Gen. Omar Bradley as a smooth, self-effacing professional – a stark contrast to George C. Scott’s flamboyant and blustery Gen. George Patton. In the latter , a Kazan/Tennessee Williams collaboration, he plays an indolent southerner driven into a psychosexual frenzy by his childlike young wife.

Those two characters couldn’t be less alike — a testament to this quiet actor’s admirable and often underappreciated craft.

Karl Malden’s filmography

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The Association of California Symphony Orchestras offers a monthly summary of orchestra performances in California. The information listed below represents concerts presented by current member organizations and is subject to change. Click on the thumbnail of Gustav Mahler to view larger (photo: Library of Cngress).

Thursday, July 2 at 7:30 p.m. 
Music in the Mountains
Stephen Prutsman, conductor 
Mozart, Sibelius 
Amaral Family Festival Center, 11228 McCourtney Rd., Grass Valley
(800) 218-2188 
www.musicinthemountains.org

Friday, July 3 at 7:30 p.m. 
Music in the Mountains
Picnic & Pops 
Stephen Prutsman, conductor
Erika Nickrenz, piano
Copland, Williams, Gershwin, Andrea Thomas, Howard Hanson
Nevada County Fairgrounds, 11228 McCourtney Rd., Grass Valley
(800) 218-2188 
www.musicinthemountains.org

Saturday, July 4 at 7 p.m.
Tehachapi Community Orchestra
Pops Concert
David Newby, conductor
Coy Burnett Stadium, Tehachapi
(661) 821-7511
www.tehachapiorchestra.com
 

Saturday, July 18 at 8 p.m.
Music Academy of the West
Peter Oundjian, guest conductor
Mahler: Symphony No. 7
The Granada, 1214 State St., Santa Barbara
(805) 969-8787
www.musicacademy.org
 
Saturday, July 18 at 8 p.m.
Redwood Symphony
Eric Kujawsky, conductor
Li Pan, violin
Tchaikovsky: Symphony No. 6
Sibelius: Violin Concerto
Gillis: Tulsa
Canada College Main Theatre, 4200 Farm Hill Blvd., Redwood City
(650) 366-6872
www.redwoodsymphony.org
 
Saturday, July 25 at 8 p.m.
Music Academy of the West
Alexander Mickelthwate, guest conductor
Lobero Theatre, 33 East Canon Perdido St., Santa Barbara
(805) 969-8787
www.musicacademy.org
 
Sunday, July 26 at 7 p.m.
Peninsula Symphony
Joseph A. Valenti, conductor emeritus
Pops Concert
Rolling Hills Covenant Church, Rolling Hills Estates
(310) 544-0320
www.pensym.org
 
 
Several California Orchestras hold summer music festivals. To find out more, follow the links below:
 
Bear Valley Music Festival
www.bearvalleymusic.org
 
Hollywood Bowl
www.hollywoodbowl.com
 
Music Academy of the West
www.musicacademy.org
 
Music in the Mountains
www.musicinthemountains.org
 
Music in the Vineyards
www.musicinthevineyards.org
 
Ojai Music Festival
www.ojaifestival.org
 
Pacific Symphony Summer Festival
www.pacificsymphony.org
 
San Diego Symphony Summer POPS
www.sandiegosymphony.com
 
San Francisco Symphony: Summer in the City
www.sfsymphony.com
 
Festival Mozaic
http://www.festivalmozaic.com
 
Southwest Chamber Music
www.swmusic.org
 
Ventura Music Festival
www.vcmfa.org
 
                        
For the schedules of:
Los Angeles Philharmonic
www.laphil.org
 
Pacific Symphony
www.pacificsymphony.org
 
San Diego Symphony
www.sandiegosymphony.org
 
San Francisco Symphony
www.sfsymphony.org
 
 
If your organization would like to be included in future listings, please e-mail your concert information to office@acso.org in the following format:
 
Day of week, Month, Date and Concert Time (a.m. or p.m.)
Name of Organization
Conductor
Soloist(s)
Repertoire Summary­ (e.g., Beethoven: Symphony No. 5 in C minor, Op. 67)
Concert Location, Address, City
Telephone number for ticket information (xxx) xxx-xxxx
Web site

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“The Nutty Professor” will be Lewis’ theatrical debut as a director, although he’s tried acting in musicals before — you might remember him in that devilishly good role, Applegate, when “Damn Yankees” came to O.C. years ago.

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The company’s 30th season, a return to its roots for the scrappy organization, was a decided success.

“We had an outstanding 30th Anniversary season quadrupling our
subscriber base; selling out every performance; and balancing our budget.
We are ready to show that life after 30 just gets better,” said LBO artistic and general director Andreas Mitisek in a prepared statement.

The company’s 31st season opens with two performances, at the Center Theater in Long Beach on Jan. 23 and Barnum Hall in Santa Monica on Jan. 30, of Schweik’s1957 two-act opera. The anti-war opera was given its premiere by New York City Opera in 1958 shortly after the composer’s early death at 35. It is often compared in musical style and general spirit to Kurt Weill’s “The Threepenny Opera.”

A new production of “Nixon in China,” the first in Southern California since 1990, is staged on March 20 and 28 in the Terrace Theater, the Long Beach Convention Center’s 3,000-seat performing venue. It will be the first time in many years that the company has performed in a space anywhere near that large. Casting and production personnel have not yet been announced.

The season ends with a reprise of Gordon’s “Orpheus,” staged once again in the Belmont Plaza Olympic Pool, standing in for the River Styx, on June 11-13. Met soprano Elizabeth Futral and Grammy nominated clarinetist Todd Palmer return to the production, first staged here in 2008.

Early subscribers are promised as much as a 50 percent discount. More information at longbeachopera.org or call 562-432-5934.

related links: is opera coming back to o.c.?

long beach opera has an orff night

a cunning vixen in long beach

san diego opera’s 2010 season is safe, shorter

los angeles opera’s 1009/10 season announcement

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