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Seven Samurai
This July one of the most legendary film directors of all time will be screened at the Film Forum in brand new 4K restorations. Kurosawa In 4K runs July 18 to the 31st at New York’s Film Forum (209 West Houston Street) and features works of cinema from director Akira Kurosawa that have thrilled and touched the spirit for decades. Seven Samurai, Ikiru, Stray Dog, Rashomon, Throne of Blood, The Hidden Fortress, High And Low, Yojimbo, andSanjuro will all be screened with new 4K restorations.
From thrilling sword swinging epics to meditations on the human spirit, these films represent the post-war period in which Kurosawa re-shaped the world of cinema and started getting Americans to read subtitles.
To learn more, go to: https://filmforum.org/
Kurosawa In 4K
July 18 - 31, 2025
Film Forum
209 W Houston Street
New York, NY 10014
Photo by Chris Lee
At Lincoln Center’s excellent David Geffen Hall, on the evening of Thursday, December 12th, I had the exceptional pleasure to attend a superior presentation—continuing a strong season—of Georg Friedrich Händel’s enormously popular oratorio, Messiah, performed by the New York Philharmonic—impressively led by conductor and harpsichordist Ton Koopman—along with the outstanding Musica Sacra chorus under the direction of the eminent Kent Tritle, who was also the organist. A remarkable slate of soloists—all debuting with this ensemble—included above all the marvelous soprano Maya Kherani, who wore a fabulous green and silver gown. Also wonderful was tenor Kieran White, while countertenor Maarten Engeltjes was admirable. As is often the case with a bass-baritone, Klaus Mertens was especially strong in his higher register. (Cellist Matthew Christakos was a featured player.)
In his useful notes for the program, James M. Keller provided some background on the work:
Early in the summer of 1741, Charles Jennens had assembled a libretto that drew creatively on Biblical passages from the Books of Isaiah, Haggai, Malachi, Matthew, Luke, Zechariah, John, Job, Psalms, Lamentations, Hebrews, Romans, I Corinthians, and Revelation to create a loose story comprising narrative and reflections about the life of Jesus. This he organized in three discrete sections: the first relating to the prophecy of Christ's coming and the circumstances of his birth; the second to the vicissitudes of his life on Earth; and the third to events surrounding the Resurrection and the promise of redemption. Handel leapt into action on August 22. He finished the draft of Part One on August 28, of Part Two on September 6, and of Part Three on September 12 — and then he took another two days to polish details on the whole score. That so great — and large — a masterpiece as Messiah should have been created in so brief a span as three weeks seems all but incredible to most of us. In fact, this prodigious pace was not exceptional for Handel, and it is no more than romantic fantasy to view it (as it once was routinely) as a fever of divine inspiration peculiar to the composition of Messiah. In fact, he allowed himself about a week's rest after finishing Messiah before embarking on his next oratorio, Samson, which he wrote in the relatively leisurely span of five weeks.
In Part I of the oratorio, the extraordinary Sinfonia (Overture) has a stately introduction and then becomes livelier. The tenor was showcased to memorable effect in the ensuing Accompagnato, “Comfort ye my people” and the immediately following Air, “Ev’ry valley shall be exalted,” but the excitement increased with the first Chorus, “And the glory of the Lord” and another shortly afterward, “And He shall purify.” One of the finest of these is the famous “For unto us a child is born” which immediately precedes a very compelling—despite its apparent modesty—instrumental interlude, Pifa (“Pastoral Symphony).
In the second Part, the initial Chorus, “Behold the Lamb of God,” is one of the most remarkable if one of the least ostentatious, and further on, another two, “He trusted in God” and “Let all the angels” are notable for their fugue-like complexity. The subsequent Air for soprano, “How beautiful are the feet of them,” is one of the loveliest in the work. This section concludes with the magnificent Hallelujah Chorus.
The final Part begins with another exquisite Air for soprano, “I know that my Redeemer liveth; a later one for the bass-baritone, “The trumpet shall sound, prominently features that instrument, here expertly played by Raymond Riccomini. The last Air, “If God be for us” for the soprano, is also terrific, ushering in the two ultimate Choruses, “Worthy is the Lamb” and “Amen,” which provide a stunning close.
With perfect justice, the artists were enthusiastically applauded.
Photo by Chris Lee
At Lincoln Center’s David Geffen Hall, on the night of Monday, October 16th, I had the exceptional pleasure to attend a magnificent concert presented by the outstanding musicians of Madrid’s Orchestra of the Teatro Real under the brilliant direction of Juanjo Mena.
The evening began dazzlingly with a stunning account of Alberto Ginastera’s fabulous Panambi Suite. The opening movement—titled “Moonlight on the Paranã”—is shimmering and evocative while the ensuing “Invocation of the Powerful Spirits” is propulsive and dramatic. The third movement, “Lament of the Maidens,” is lyrical and reminiscent of Igor Stravinsky’s The Firebird while the rhythms of the finalerecall those of his The Rite of Spring.
The admirable soloist, Pablo Ferrández, prizewinner at the International Tchaikovsky Competition, then joined the artists for an extraordinary performance of Antonín Dvořák’s exquisite Cello Concerto. The initial Allegro is melodious, Romantic and song-like but with turbulent passages; the slow movement that follows, marked Adagio ma non troppo, is comparably expressive but meditative and more somber in mood while the Allegro moderato finale is more celebratory—but not without emotional intensity—and ends triumphantly. Abundant applause drew forth a wonderful encore from the cellist: "El cant dels ocells" a traditional Catalan song famously played by Pablo Casals.
The second half of the event was also astonishing, starting with a marvelous realization of the 1915 version of Manuel de Falla’s glorious ballet score, El amor brujo, featuring the flamenco dancer and singer, Esperanza Fernández from Seville. The program proper concluded fantastically with a superb rendition of Maurice Ravel’s incredible Daphnis et Chloé, Suites No. 1 and 2 which, although an epitome of so-called musical “Impressionism,” is arguably also neo-Romantic in inspiration. The first Suite begins with the mysterious “Nocturne” and after the “Interlude” closes with the thrilling “Danse guerrière”; the second Suite opens with the enchanting and ethereal “Lever de jour” and following the “Pantomime” finishes with the exciting and amazingly dynamic “Danse générale.” A standing ovation was rewarded with two delightful encores: first, the gorgeous “Intermezzo” from the opera Goyescas by Enrique Granados and, second, the charming Prelude to the zarzuela, El bateo, by Federico Chueca.