October '26 Digital Week II

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Parent Category: Film and the Arts

Category: Reviews

Published on Thursday, 29 October 2026 18:25

Written by Kevin Filipski

In-Theater Releases of the Week 

Fatherland 

Streaming Release of the Week 

Blu-ray Releases of the Week

Rusalka 

CD Release of the Week

Teatro Real Orchestra Perform at Lincoln Center

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Parent Category: Film and the Arts

Category: Reviews

Published on Tuesday, 27 October 2026 14:16

Written by Jack Angstreich

Photo by Chris Lee

At Lincoln Center’s wonderful David Geffen Hall, on the night of Thursday, October 15th, I had the exceptional pleasure of attending a fabulous concert presented by the incomparable musicians of Madrid’s Teatro Real Orchestra, under the outstanding direction of Gustavo Gimeno. 

The event started brilliantly with a marvelous realization of Manuel de Falla’s exquisite El amor brujo, some of which has a celebratory quality, but elsewhere is more dramatic—or at least suspenseful—in character; it has some intimations of the music of Igor Stravinsky, especially in its rhythms. A terrific soprano, Adriana Gonzalez, then entered the stage to arrestingly perform the same composer’s superb Seven Popular Spanish Songs which vary considerably in mood and feature extraordinary orchestrations. Enthusiastic applause elicited a stunning encore from the vocalist with the ensemble: an aria, "Goizeko eguzki argiak," from the Basque zarzuela, Mirentxu, by Jesús Guridi.

Another splendid soloist, guitarist Juan Manuel Cañizares, then joined the artists to enchantingly play Joaquín Rodrigo’s superb Concierto de Aranjuez. The initial, Allegro con spirito movement opens somewhat jauntily and this is sustained throughout it, although some serious undercurrents are discernible. The ensuing Adagio opens with a haunting melody for the English horn which is then recapitulated by the guitar—most of the remainder of the movement is elaborated from this unforgettable material and it concludes very quietly. The finale, marked Allegro gentile, is also lively and cheerful, closing softly but charmingly. A standing ovation drew forth another enjoyable encore, here from Cañizares alone: “Cádiz,” from the Suite Al-Ándalus, the version for solo guitar derived from his own Concierto Al-Ándalus.

The second half of the evening was comparable in strength, consisting of a bewitching version of Nikolai Rimsky-Korsakov’s fantastic Scheherazade, Op. 35, which begins somewhat portentously and then mysteriously and then reveals a seemingly enormous influence upon the early ballet scores of Stravinsky for Sergei Diaghilev’s Ballets Russes. Ardent applause was again rewarded with another lovely encore: the famous Prelude from the zarzuela, El bateo, by Federico Chueca.

Juilliard Orchestra Perform Valerie Coleman and More at Lincoln Center

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Parent Category: Film and the Arts

Category: Reviews

Published on Friday, 23 October 2026 12:58

Written by Jack Angstreich

At Lincoln Center’s wonderful Alice Tully Hall, on the night of Monday, October 19th, I had the exceptional pleasure to attend a superb concert presented by the extraordinary Juilliard Orchestra, under the accomplished direction of Jeffrey Milarsky.

The event started splendidly with an admirable account of Sergei Prokofiev’s excellent Piano Concerto No. 3 in C Major, Op. 26, from 1921, astonishingly played by the remarkable soloist, Maxim Lando. The brief, Andante introduction to the initial movement has a forlorn quality but this is quickly displaced by the often breathless, Allegro main body which also features more leisurely passages, sometimes of a playful character but at other times soulful and lyrical, even mysterious. The movement showcases some dazzling pianism which becomes forceful and impassioned toward the finish—it concludes abruptly and emphatically. The ensuing Andantino too has ludic elements that contrast with episodes of much greater seriousness—these are sometimes highly dramatic when not rather subdued. Its closing section is propulsive and exciting but, again, with slower, more charming or plaintive interludes. The finale—marked Allegro, ma non troppo—projects a certain boisterousness or tempestuousness that is punctuated by more song-like or reflective moments as well as more quirky measures; it reaches a more emotional and weighty climax, ending suddenly.

Also impressive was the next work on the program, Valerie Coleman’s compelling Renaissance Concerto for Orchestra, from 2024, a tone poem that is “a response to painter Jacob Lawrence’s War Series and Migration Series.”Its first movement is striking, at times enchanting—it builds to an arresting, indeed powerful, conclusion. Here I reproduce the composer’s note on the second and third movements:

A film noir sky view of a metropolitan

city opens the curtains of the second

movement in grandiose flair, with fire

engines and police cars screaming by

as they race across the city to put

out fires. The riots (Panels 50 and 51

of the Migration Series) that occurred

throughout the Midwest and the

North (riot of East St. Louis, Tulsa

massacre, and the red summer of 1919

in Philadelphia) are depicted here, as

the flames turn into the smoldering

embers of a tuba solo. Solo violin (and

subsequently the section) takes over,

singing the heart of this movement: a

ballad of urban life, with all the joys and

pain that come with it.

The final movement, Cotton Club Juba,

emerges out of the second movement’s

ending with raindrops as the scene

shifts to a misty evening in Harlem and

the nightlife of big bands and clubs

during the Prohibition Era. The movies

often depict this time as a dance-filled

escapism, but I wanted to capture the

gritty reality of the “exoticism” and

stereotype of “jungle music” that took

hold both in Harlem and “Le Jazz Hot”

cabaret of Paris. There is no artwork for

this from Jacob Lawrence, but I hope

that the audience can visualize jazz big

bands, Duke Ellington, Josephine Baker,

and many others who found release

through dance and song within this era.

(There’s) a slow sinister groove between

the bassoons and horns as if we are

riding the railways across the country.

Arriving at the eastern seaboard, we

are immersed into the dancing nightlife

of mafia, illegal alcohol, showgirls,

zoot suit fashion, and the underbelly

of Broadway afterhours. Small clusters

of Charleston dance rhythm appear,

made popular by expats Josephine

Baker and Ada "Bricktop" Smith, who

gave dance lessons to the Parisian

elite, alternating with slower sections

dedicated to the storied writers of the

era, Langston Hughes, Zora Neale

Hurston, and Ernest Hemingway. From

the wailing sounds of the start, all the

way to the rip-roaring dancing of the

early 20th century, it is my hope that

(Renaissance) Concerto for Orchestra connects us all through story and song.

Coleman was present to receive the audience’s acclaim.

The second half of the evening was even more memorable, consisting of a marvelous rendition of Sergei Rachmaninoff’s magnificent Symphonic Dances, Op. 45, from 1940. The first movement begins somewhat suspensefully and a sense of tension is sustained throughout most of it—this is interrupted by an extended, poignant, even melancholy saxophone solo which is answered by lovely, even sadder music in the strings before, ultimately, a recapitulation of the opening march material that leads to a less urgent dénouement and a much softer close. The Andante con moto that follows is not without some uncanniness at the outset, but it becomes a bewitching waltz with some ironic inflections—the music eventually accelerates to an almost frantic pace, finishing more gently. After a more restrained, Lento assai, introductory section, the spirited, main body, marked Allegro vivace, is dynamic and brisk in rhythm at times, but with some rather passionate music strongly contrasting in tempo and mood—it ends thrillingly, almost shockingly.

Deservedly, the artists were enthusiastically applauded.