the traveler's resource guide to festivals & films
a FestivalTravelNetwork.com site
part of Insider Media llc.
Reviews
Budapest Festival Orchestra Performs Classics at Carnegie Hall
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 24 February 2026 15:30
- Written by Jack Angstreich
Photo by Chris Lee.
At the wonderful Stern Auditorium, on the night of Friday, February 6th, I had the enormous pleasure to attend a terrific concert presented by Carnegie Hall—the first of two on consecutive days—featuring the exceptional Budapest Festival Orchestra, under the brilliant direction of Iván Fischer, one of the world’s greatest conductors.
The event started auspiciously with a sterling account of Arvo Pärt’s haunting Summa from 1977, about which the composer stated in 1994:
I have developed a highly formalized compositional system, which I have been using to write my music for 20 years. Summa is the most strict and enigmatic work in this series.
The superb virtuoso, Maxim Vengerov, then entered the stage for a fabulous performance of Peter Ilyich Tchaikovsky’s marvelous Violin Concerto in D Major, Op. 35, from 1878. The initial Allegro moderato movement has a brief, slow introduction that precedes lyrical music of a strongly Romantic character that becomes more passionate as it develops, then builds first to an intense climax, before the elaborate cadenza, and then to a second one, before closing triumphantly. The ensuing Canzonetta, marked Andante, is song-like too but more subdued, while the Finale—with a tempo of Allegro vivacissimo—is propulsive and energetic—and joyful—even exhilarating, although with some quieter and more restrained moments, concluding forcefully. Enthusiastic applause elicited an excellent encore from the soloist: J. S. Bach’s Adagio from the Solo Violin Sonata No. 1 in G Minor.
The second half of the event was comparably strong, consisting of a magnificent realization of the outstanding 1877 Symphony No. 2 in D Major, Op. 73, by Johannes Brahms. The initial, Allegro non troppo movement opens rather gently but not without some suspense, while some of it has a graceful, pastoral quality and, as well, there is some emotionalism throughout; after an extraordinary, quasi-fugal section, it finishes surprisingly softly. The eminent critic (and philosopher of music) Eduard Hanslick wrote of the ensuing, “broad, singing” Adagio, that it is a movement “more conspicuous for the development of the themes than for the themes themselves”; it is melodious and somewhat affirmative on the whole but not without solemn, almost tragic undercurrents, and has an irenic conclusion.
The third movement—marked Allegretto grazioso (quasi andantino)—is lilting, even playful, with a cheerful, even exultant ethos, although with a serene ending. Hanslick referred to the “golden sincerity” of the Allegro con spirito finale, and described it as so “far a cry from the stormy finales of the modern school … Mozartean blood flows in its veins.” It is often exuberant but with contrasting passages; after a complex development, it closes jubilantly. After a standing ovation, several musicians in the ensemble played a charming encore: traditional Hungarian folk music from Kalotaszeg.
Tenor Juan Diego Flórez Performs at Carnegie Hall
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 24 February 2026 15:00
- Written by Jack Angstreich
Photo by Jennifer Taylor
At the wonderful Stern Auditorium, on the night of Thursday, February 5th, I had the privilege to attend a splendid recital—presented by Carnegie Hall—featuring the superb Peruvian tenor, Juan Diego Flórez—he is one of the most appealing figures in the world of contemporary opera—along with pianist Vincenzo Calera.
The first half of the event focused on the bel canto repertory that is the singer’s specialty, opening with Gioachino Rossini’s “Le sylvain,” the ninth song from the third volume of his late collection—which he began composing in 1857–Péchés de vieillesse. There then followed four selections by Vincenzo Bellini, including three songs from his 1829 set, Sei Ariette, beginning with, first, “Malinconia, ninfa gentile,” which is from a text by the distinguished pre-Romantic poet, Ippolito Pindemonte, and second, “Vanne, o rosa fortunata,” set to verse by the 18th-century librettist, Pietro Metastasio. This preceded the 1834 song, “La ricordanza,” which later became famous when transformed into the aria “Qui la voce” from I puritani. Scalera then beautifully played a keyboard arrangement by Carl Czerny of “Almen se non poss’io” from the Sei Ariette. Flórez concluded the first half of the program with two selections by Gaetano Donizetti, beginning with another Metastasio setting, “Ah, rammenta, o bella Irene,” and ending with the recitative and aria from the opera Roberto Devereux: “Ed ancor la tremenda porta … Come uno spirito angelico.”
Despite the singer’s close association with the style of music of the first half of the evening, the second part was unexpectedly (and unaccountably) much stronger in effect, starting with three selections from Spanish zarzuelas. The first was “Bella amorada” composed by Reveriano Soutullo and Juan Vert from their 1928 El último romántico. Also excellent were two arias from the zarzuela type known as género chico: “Suena, guitarrico mío” from Agustín Pérez Soriano’s 1900 El guitarrico and “Aquí está quien lo tiene tó y no tiene ná” from José Serrano’s 1909 La alegría del batallón. Scalera then concluded this section by playing Mazurka glissando by the celebrated Cuban zarzuela composer, Ernesto Lecuona.
Also exquisite were two selections from the French Romantic repertory, beginning with “Ô Souverain, ô juge, ô père,” from Act III of Jules Massenet’s lesser-known, 1885 opera, Le Cid, based on the play by Pierre Corneille and succeeded by “Salut! demeure chaste et pure” from Charles Gounod’s enduring 1859 opera, Faust. Scalera closed this portion of the program by playing the Berceuse, here arranged for piano, from Benjamin Godard’s Jocelyn of 1887. The tenor ended the program proper thrillingly with “Che gelida manina” from Giacomo Puccini’s marvelous La bohème of 1896.
After a standing ovation, the tenor returned to perform an incredible series of encores, starting with Eduardo di Capua’s "I' te vurria vasà" and followed by a medley of songs with Spanish lyrics for which Flórez accompanied himself on the guitar, including "Bella enamorada,” “La flor de la canela, and “Fina estampa.” More familiar was the delightful 1954 song by Tomás Méndez, "Cucurrucucú paloma." He then sang "Ah! mes amis, quel jour de fête! ... Pour mon âme" from Donizetti’s La Fille du Régiment, which is the aria that brought him stardom. After delivering "Be My Love" by Nicholas Brodszky which Mario Lanza sang in the1950 movie, Toast of New Orleans, he finished gloriously with the unforgettable "Una furtiva lagrima" from Donizetti’s L'elisir d'amore.
Musical Review—“High Spirits” at Encores with Katrina Lenk and Philippa Soo
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Monday, 23 February 2026 16:20
- Written by Kevin Filipski
 |
| Katrina Lenk and Philippa Soo in High Spirits (photo: Joan Marcus) |
Stylish and Compelling, “Crime 101” Provides a Bit of Heat On Screen This Month
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Monday, 23 February 2026 14:52
- Written by Brad Balfour
Hemsworth & Ruffalo in "Crime 101"
Film: “Crime 101”
Director: Bart Layton
Cast: Chris Hemsworth, Mark Ruffalo, Barry Keoghan, Monica Barbaro, Corey Hawkins, Jennifer Jason Leigh, Nick Nolte, Halle Berry, Tate Donovan
Too many times, crime films try hard to be different while remaining within the genre’s confines. Some directors believe that developing a movie with complicated, even labyrinthine plot points or subplots that don’t necessarily add anything to the story or resolve themselves makes the movie a unique proposition. As written and directed by Bart Layton, “Crime 101” does something similar. Yet by the time the film ends, it pulls together most of the convolutions into something of a satisfying ending.
Certainly, this heist thriller demonstrates the director’s many ambitions. And given its source material — author Don Winslow’s 2020 novella of the same name — it’s no wonder. With Winslow’s experience in the late ‘80s as a private investigator, the author had accumulated lots of great source material which lends his deft novels an authenticity that’s been effectively transferred to film. Screenwriter Eric Roth, who was developing another of Winslow’s books for the screen, gave Robert De Niro the novelist’s book (“I Heard You Paint Houses”) to read for research. The legendary actor became so enthralled with it that he and Scorsese ended up adapting it into a great film, “The Irishman.” Clearly, something authored by Winslow makes for a great starting point.
The film’s twisty, complex storyline connects its parts in surprising ways. Layton takes advantage of a stellar cast to finesse it throughout. Chris Hemsworth, as accomplished thief Mike Davis, plays his character with a combination of sturdiness and anxiousness –– a conundrum that such a career path would likely engender.
The film begins with a scene that establishes what an effective jewel thief Mike has been with his heists taking place along the 101 freeway. Although he has baffled police, Los Angeles detective Lou Lubesnick is undeterred as he pursues the elusive thief by developing a detailed profile of his crimes.
As Mike’s nemesis, Lubesnick (the excellent Mark Ruffalo) tracks him and tries to establish his modus operandi. The scruffy officer (looking something like Columbo) believes he has cracked Mike’s pattern and is determined to bring him down before the next job. He tries to get the other detectives in his division –– like his erstwhile partner, Detective Tillman (Corey Hawkins) –– to join in his efforts. Yet no member of the team really gives him his due, more concerned with arrest numbers rather actual crime solving.
When Davis sets his sights on the ultimate score, his plans intersect with those of Sharon Colvin (Halle Berry who makes a great return to the screen.) She plays a disenchanted insurance broker/adjuster who is cajoled into helping Mike accomplish the score of his life.
But thanks to a betrayal by his fence, Money (Nick Nolte), Mike has the deranged and manic Ormon (actor Barry Keoghan at his most jacked up) on his ass. This young criminal is sent to nip at Mike’s heels and ultimately to eliminate him while hijacking his heist.
The film features not only a top-flight main cast but also a great ensemble of actors who add cinematic depth to the narrative. As Maya, Monica Barbaro (who had played Joan Baez to much acclaim) becomes a tentative love interest for the secretive thief. Jennifer Jason Leigh is Angie, Lou’s ex-wife, who establishes in one scene some important background as to who he is — or isn’t. And there’s Tate Donovan playing billionaire Steven Monroe — the target of the heist.
Into the mix comes the city of Los Angeles as another character to serve the narrative. Ultimately, writer/director Layton made a film where none of the characters have much of a moral compass, except perhaps the thief and the detective pursuing him, though even that is debatable. Because Layton loves his characters almost too much, he allows them much latitude to improve — except for the depraved Ormon.
As the film resolves itself, Layton gives the main characters a pass, maybe because there’s lots of room for a sequel. Or maybe it’s just because he likes what his actors have been able to turn his characters into.
