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Film and the Arts
January '13 Digital Week III
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Friday, 25 January 2013 15:00
- Written by Kevin Filipski
Downton Abbey—Complete Season 3
(PBS)
The masters and servants enter their 3rd season in Julian Fellowes’ savvy Upstairs Downstairs rewrite with high drama in each episode: will the Earl of Grantham lose the estate? Will his daughter Sybil survive childbirth? Will valet Bates be released from jail? Along with the impeccable cast led by Hugh Bonneville, Maggie Smith and Penelope Wilton, Shirley MacLaine arrives as the latest fish out of water: mother of the Earl’s wife, played by Elizabeth McGovern.
The masters and servants enter their 3rd season in Julian Fellowes’ savvy Upstairs Downstairs rewrite with high drama in each episode: will the Earl of Grantham lose the estate? Will his daughter Sybil survive childbirth? Will valet Bates be released from jail? Along with the impeccable cast led by Hugh Bonneville, Maggie Smith and Penelope Wilton, Shirley MacLaine arrives as the latest fish out of water: mother of the Earl’s wife, played by Elizabeth McGovern.
The show sticks to the tried and true, but wonderful production values (highlighted on Blu-ray), superb acting and writing keep it moving. Extras include a 45-minute making-of and featurettes about MacLaine, the show’s men and the year 1920.
Ivan’s Childhood
(Criterion)
Russian director Andrei Tarkovsky’s 1962 international breakthrough is a passionate study of a teenage boy dealing with the inhumane and incomprehensible during wartime.
Cinematographer Vadim Yusov’s sparkling B&W compositions—which have incredible detail in the Criterion Collection’s usual high-standard hi-def transfer—present a lion’s den of haunting images. Extras include interviews with historian Vita Johnson, actor Nikolai Burlyaev (who played Ivan as a remarkable 15-year-old) and Yusov.
(Music Box)
Ira Sachs mined his own life for this personal look at a long-term, off-and-on relationship between a documentary filmmaker and a closeted lawyer with a drug problem. Sachs savvily uses Manhattan locations as a backdrop to a volatile love affair, and the fairly explicit sex scenes are not in the least gratuitous.
But what keeps the movie from becoming a memorable character study is the wooden acting of leads Thure Lindhardt and Zachary Booth, who look right but never convey the myriad emotions in Sachs’ and Maricio Zacharias’s impressive script. The Blu-ray image is good and grainy; extras include a Sachs commentary, deleted scenes, a making-of and actors’ screen tests.
(Anchor Bay)
Brian A. Miller’s routine thriller features Stephen Dorff, huffing and puffing as a rogue cop who discovers his crooked chief (a scenery-chewing James Woods) is out to get him.
Dorff always seems winded from straining to emote—luckily, a colorful supporting cast (Woods, Stephen Lang, Annalynne McCord, Elisabeth Rohm) partly compensates, although director Miller can do little with standard cop movie clichés. The Blu-ray image looks fine.
(Fox)
You would think Liam Neeson would make sure that his family would never go abroad again after Taken showed his daughter kidnapped in Paris, where he had to mow down dozens of bad guys in the original. But no: he, his ex-wife and daughter take to the streets of Istanbul for more…and they get it.
There’s enjoyable action from director Olivier Megaton, but the premise is so eye-rolling that it hurts the brain to watch, despite a game trio of Neeson, Famke Janssen (his ex) and Maggie Grace (his daughter). The hi-def transfer looks stellar; extras include deleted scenes, featurettes and an 25-minute alternate ending that’s very different from what we got.
(Fox)
Maggie Gyllenhaal reprises her trashy but spunky single mom from Sherrybaby to play a trashy, spunky single mom who hooks up with disgruntled teachers to start a new Pittsburgh school to help her dyslexic daughter.
Writer-director Daniel Barnz has his bleeding heart in the right place, but despite the best efforts of his actresses—there’s also Viola Davis, Holly Hunter, Rosie Perez and Marianne Jean-Baptiste—his movie lacks substance: and the final spoken word, “hope,” is too naked an Obama reference. The Blu-ray image looks super; extras are deleted scenes, director commentary and featurettes.
The Abolitionists
(PBS)
In this three-hour journey through the often unsung heroes and heroines who guided our country to the abolishment of slavery, the roads—literal and figurative—taken to arrive at the final nail in slavery’s coffin (the Civil War) are interesting to watch even if history buffs will find nothing new here.
And, even though I still have doubts about the effectiveness of the reenactment mania that’s overcome more and more documentaries, it’s used wisely and well.
(Music Box)
Jeffrey Kimball’s affectionate documentary follows individuals dedicated to following the dazzling array of colorful bird species that migrate to and inhabit Central Park, New York’s sprawling but magical urban oasis.
Showing the interrelationship between humans and nature, Kimball is amazingly able to present many people (including author Jonathan Franzen) who adore these winged marvels without condescension—but also not without humor. Extras are additional interviews and a video bird guide.
(Kino)
In actor Karl Markovics’s directorial debut, a lonely teenager who lives in a juvenile detention center begins working at a new job: the local morgue. After he sees a dead body that has his last name, he decides to track down his real mother, with whom he begins a distant but enlightening relationship.
Although Markovics tries too hard to be detached—there are many long, static shots—his protagonist (played by the intense Thomas Schubert) is singular enough to be worth 90 minutes of our time.
(e one)
Those who only know Joan Rivers from her snarky comments about celebrities on TV’s Fashion Police may be shocked to discover that, in her latest stand-up special, she kills it with snarky comments that go way beyond even cable TV.
Rivers enters the blue territory of Redd Foxx with her liberal sprinkling of “F” words and other unapologetically adult material. Rivers is uncensored and irrepressible—but the “shock” of her potty mouth palls before she ends with nastiness about Jennifer Aniston.
(Anchor Bay)
Proving that not only do the French love Jerry Lewis’ juvenile comedy, Gregg Barson’s hagiography gathers comedians—from Carl Reiner to Jerry Seinfeld—to wax eloquently about Lewis’s career from his days with Dean Martin through his series of adroitly physical comedy features.
But it’s Lewis himself, who reminiscences thoughtfully about his life from working with his parents in vaudeville at a young age to his many inspired movie gags, who comes across as a mature, revered comic artist. There are film clips galore, along with glimpses of Lewis still at work onstage with his loving audience.
(Sony)
In this entertaining documentary, director Malik Bendjelloul tracks down Rodriguez, a late 60s/early 70s folk singer with a cult following, especially in South Africa. His music, which fits in with the era’s acoustic singer-songwriters (Simon & Garfunkel, James Taylor, Don McLean), hit a chord with fans, as witness those who discuss his songs on camera.
His three daughters also speak, and the “mystery” of his supposed death after his disappearance from the industry is also touched on. Extras include Bendjelloul and Rodriguez’s commentary and interview, a making-of featurette and music videos.
Piano Duets—Christina & Michelle Naughton
(Orfeo)
Piano-playing twins Christina and Michelle Naughton are dazzlers in a genre that’s by definition limited: works for piano four-hands and two pianos. This supremely confident recording moves from Mendelssohn’s four-hands Allegro brillant to Mozart’s classic two-piano sonata to a rollicking two-piano version of Ravel’s invigorating La Valse.
Piano-playing twins Christina and Michelle Naughton are dazzlers in a genre that’s by definition limited: works for piano four-hands and two pianos. This supremely confident recording moves from Mendelssohn’s four-hands Allegro brillant to Mozart’s classic two-piano sonata to a rollicking two-piano version of Ravel’s invigorating La Valse.
But it’s the seemingly throwaway pieces—a four-hands version of the First Spanish Dance from Falla’s opera La vida breve and Lutoslawski’s Variations on a Theme of Paganini—where the sisters’ artistry comes to the fore: these short works have the same vitality as their performances of the larger pieces, which is what makes them so thrilling to listen to.
Theater Roundup: 'The Other Place' (Bway), 'Bethany,' 'Water by the Spoonful' (Off-Bway)
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Thursday, 24 January 2013 10:00
- Written by Kevin Filipski
The Other Place
Written by Sharr White; directed by Joe Mantello
Performances through March 3, 2013
Bethany
Written by Laura Marks; directed by Gaye Taylor Upchurch
Performances through February 17, 2013
Water by the Spoonful
Written by Quiara Alegria Hudes; directed by Davis McCallum
Performances through February 10, 2013
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| Metcalf in The Other Place (photo: Joan Marcus) |
The Other Place, Sharr White’s drama about a woman whose perfectly ordered professional life is destroyed by a creeping psychological disorder, doesn’t do much more than scratch the surface of its heroine’s dementia: but within its proficient dramatics, it makes room for a stirring central performance. As Juliana Smithton—star neurologist (get the irony?) whose presentation at a doctors’ conference at the play’s start triggers her decline—Laurie Metcalf gives a ferociously funny, fiercely committed performance.
Juliana is married to the caring if not always understanding Ian (a likeable Daniel Stern), a doctor who finds a colleague to help her through her uncontrollable mania tied to their teenage daughter’s disappearance some years before. Although White cleverly sets up his central conceit—is Juliana insane or telling the truth about the daughter’s whereabouts?—he never delves deep into its emotional ramifications.
Director Joe Mantello guides things sensitively by giving attention and care to make a 70-minute play seem substantial: although the ending—the identity of a girl in a yellow bikini whom Juliana described at the opening is revealed—is posturing nonsense, Mantello and Metcalf do their best to illuminate an insipid tear-jerking ploy.
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| Segal and Ferrera in Bethany (photo: Carol Rosegg) |
When the housing bubble burst at the end of George W. Bush’s presidency, we didn’t hear much about those left homeless because they foreclosed on their mortgages. In her play Bethany, Laura Marks gives faces to forgotten people, showing what they went through in an era of personal and economic crises.
But while Marks get little things right, the bigger picture is muddled, like news reports while the economy was tanking: peripheral questions answered, larger issues remain unresolved. Bright, optimistic Crystal (America Ferrera), who sells cars at a Saturn dealership, enters what appears to be a vacant house only to be confronted by Gary (Tobias Segal), a paranoid squatter who becomes an unlikely confidante by allowing her to stay (happily, electricity and running water are working—for now).
Crystal uses the house to fool social worker Toni when she visits to ensure that Crystal has a steady income and fixed abode before she gets her young daughter Bethany back: homeless Crystal and Bethany were found living in her car, so the girl was given to a foster family for safekeeping. At work, she engages in flirty banter with Charlie, a middle-aged motivational speaker contemplating buying a new set of wheels; her job is commission only, so of course she wants to make the sale to have a steady cash flow. But Charlie has more on his mind, and after he takes her to dinner and drives her home, things get complicated.
Marks presents a disillusioned, delusional country in the midst of a terrible crisis, and these minor characters in a national tragedy are worst off: Saturn itself goes under after the play ends (indeed, Crystal’s annoying supervisor tells her so), costing thousands of jobs. But there’s lazy writing as Marks stacks her dramatic deck: Gary is a clichéd grassroots paranoid whose rants quickly become tiresome, and Crystal is forced into corners from which neither she nor the author can plausibly escape.
Would Crystal fall for Charlie’s transparent “buying” scheme or stoop to using a 2-by-4 on Gary because of her desperation? How easy it is for a young woman to forge a lease realistic enough to trick Social Services? Would Charlie’s obviously intelligent wife really believe Crystal’s implausible story about their relationship and pay her a tidy sum to leave town? And how is a pivotal body hidden from the authorities?
Such gaping plot and characterization holes fatally mar an otherwise earnest, well-intentioned study of those squeezed out amid Wall Street bailouts. Gaye Taylor Upchurch smoothly directs, and America Ferrera’s nicely etched Crystal—beaming smile always at the ready despite overwhelming difficulties—provides some necessary meat on the gristly bones of Bethany.
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| Guevara and Riesco in Water by the Spoonful (photo: Richard Termine) |
Excess gristle mars Water by the Spoonful, Quiara Alegria Hudes’s Pulitzer Prize winning second play in a trilogy about a Puerto Rican-American soldier returning home to his Philadelphia neighborhood from Iraq. Half the play studies how death effects soldier Elliot in a foreign land and at home, along with chronicling his estrangement from a complicated family relationship; unfortunately, there’s the other half, a curiously irksome visualization of internet chat rooms—I kid you not—that, even though eventually merging with the main plot, is never fully integrated into the dramatic fabric. Instead, it tears it to near-shreds.
Because Hudes insistently opens every single one of her characters’ wounds, the chat room bunch gets as much play as Elliot’s far more captivating family. An unconscionably long time is taken up by Orangutan and Chutes and Ladders—just one pair of the internet chatters—as they try out a friendship away from the computer; not only do they belong in another play but they hinder the Elliott and his family’s development.
There’s also an ending which, in its sentimental leap towards spirituality, tries too hard to be “Importance” personified. In director Davis McCallum’s observamt staging, the cast—led by Armando Riesco’s aggressive but tender Elliot and Zabryna Guevara’s appealing Yaz, his level-headed cousin—provides the cohesion needed to keep the Water hurtling forward despite its author’s unnecessary detours.
The Other Place
Friedman Theatre, 261 West 47thStreet, New York, NY
Bethany
Manhattan Theatre Club Stage II, 131 West 55thStreet, New York, NY
Water by the Spoonful
Second Stage Theatre, 307 West 43rdStreet, New York, NY
Art Roundup: Best Shows of 2012
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Saturday, 19 January 2013 10:00
- Written by Kevin Filipski
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| Renoir's La Promenade (Frick Collection) |
Renoir, Impressionism, and Full-Length Painting brought together nine of Auguste Renoir’s largest canvases, like the Frick’s own La Promenade, Chicago’s Acrobats at the Cirque Fernando and Washington D.C.’s The Dancer. Seeing these oversized Renoirs in a single gallery was a once-in-a-lifetime experience. Antico: Golden Age of Renaissance Bronzes, an exhibit of works by early Renaissance master sculptor Pier Jacopo Alari Bonacolsi (known as L’Antico), housed intimately-scaled pieces so detailed as to invite exceptionally close viewing: particular gems were statuettes of Hercules and Venus and busts of Bacchus and Cleopatra.
The Frick Collection
1 East 70th Street, New York, NY
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| Picasso's The Milliner's Workshop (Centre Pompidou, Paris) |
Guggenheim Museum
In Picasso: Black and White (through January 23), much of what’s on display is minor Picasso, but the variety is astonishing, showing yet another side of an artist with endless ones. Although mostly whites, blacks and greys, the works are not monochromatic; indeed, it’s amazing how much richness Picasso got out of this “limited” palette. Since many of the 118 works on canvas, paper and sculpture are from private collections and are on display for the first time (38 are making their U.S. public debuts), this is the most spectacular Picasso exhibit in years.
Guggenheim Museum
1071 Fifth Avenue, New York, NY
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| Vuillard's Lucy Hessel Reading (Jewish Museum) |
The Jewish Museum
An enlightening exhibition of underrated French painter Edouard Vuillard was the first large show of his work here in 20 years. Edouard Vuillard: A Painter and His Muses, 1890-1940 showed a painter following his own path even as his work reflected people—often women, including Lucy Hessel, wife of a patron who soon became the central figure in Vuillard’s art and life—important to him at the time. Comprising a half-century of Vuillard’s art, the exhibit ends with a few late portraits, large-scale and undeservedly obscure: extraordinary paintings like Madame Jean Bloch and Her Children, a stunningly intimate work.
The Jewish Museum
1109 Fifth Avenue, New York, NY
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| Bellows's Dempsey and Firpo (Whitney Museum of Art) |
Metropolitan Museum of Art
Two current shows give distinctive views of two 20th century masters. Matisse: In Search of True Painting (through March 17) presents Henri Matisse’s art as an ongoing search for perfection, and the works on display show how he repeated compositions for comparison purposes; it’s a “new” look at a familiar artist. Similarly, George Bellows (through February 18) takes America’s most famous boxing painter out of that reductive box and presents a fearless artist on his way to greatness before dying prematurely at age 42. His graphic World War I canvases are striking enough, but to see where he might have gone next, a final room of mournful paintings of nudes and landscapes will stay with you as you ponder his early death.
Metropolitan Museum of Art
1000 Fifth Avenue, New York, NY
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| Pee-wee's Playhouse interior set |
Museum of Modern Art
One of the most intelligent exhibitions mounted by a large museum, Century of the Child: Growing by Design, 1900-2000 provided an impressive overview of designs for children and how childhood influenced art and architecture, from school and playground layouts to toys and animation. With pieces from architects Charles Rennie Mackintosh and Alvar Aalto to Disneyland and Pee-Wee’s Playhouse, room after room is educational and entertaining—which is not something you say every day about museum exhibits.
Museum of Modern Art
11 West 53rd Street, New York, NY
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| Chagall's Le Clown Vert (private collection) |
Nassau County Museum of Art
Marc Chagall’s freewheeling, whimsical surrealist style masked a seriousness of purpose. Chagall was a wholly satisfying show about an artist who died at age 98 in 1985 with an amazing ability to breathe vivid life into standard Biblical subjects. The paintings and drawings on display were highlighted by many color etchings of Biblical stories that are seared in my memory months later. A new exhibit, Artists in America: Highlights of the Collection from the New Britain Museum of American Art (through February 24), brings together works by masters from Copley and Sargent to Whistler and Hopper, all from the famed Connecticut museum.
Nassau County Museum of Art
One Museum Drive, Roslyn Harbor, NY
January '13 Digital Week II
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Friday, 18 January 2013 05:00
- Written by Kevin Filipski
Anger Management—Complete 1st Season
(Lionsgate)
After being dumped from Two and a Half Men when he went publically postal, Charlie Sheen returned to TV with this slick sitcom that cast him as a man with anger issues—if that sounds like an unfunny joke based on his unhinged persona, the show itself is even less funny.
Sheen garners a few laughs with in-jokes that trade off on his meltdown, but the show quickly goes downhill, and there’s little left but just another bland comedy. The hi-def image is adequate; extras include on-set interviews and a gag reel.
(Cohen Media)
This distaff costume drama has few insights into a familiar subject: the last days of Marie Antoinette as French queen. Its teenage heroine, a quietly dutiful handmaiden who becomes Marie’s favorite, is so colorless as to be a blank slate, severely hampering director Benoit Jacquot’s attempt to chronicle the chaos surrounding the storming of the Bastille and its aftermath.
On familiar ground, at least Jacquot doesn’t approach Sofia Coppola’s insipid Marie Antoinette. Diane Kruger’s Marie and Virginie Ledoyen as her BFF are fine, but Léa Seydoux is hampered by a dull part. The film is certainly pleasing to the eye—it was partly filmed at Versailles—and the Blu-ray image is luminous; extras include interviews.
(Syndrome)
On the basis of the trio on display, these films—the inept and unappealing Ecstasies of Women, Linda and Abilene and Black Love—should have remained “lost.” For the era (1969-72), they may have been a breakthrough, thanks to plentiful nudity and unabashed sexuality, but even the hardcore sequences of Black Love are not particularly arousing.
The acting is amateurish, the writing and directing even more so—unless you’re interested in film history, don’t bother. The hi-def transfers are decent if unexceptional
The Man Who Knew Too Much
(Criterion)
Alfred Hitchcock’s 1934 drama—at 75 minutes, his tightest thriller—is superior to his own 1956 remake with James Stewart and Doris Day. Here, Peter Lorre’s slimy villain stalks innocent couple Leslie Banks and Edna Best after they stumble into a murder plot.
Hitchcock’s pinpoint direction stuns throughout, and the B&W image—thanks to the Criterion Collection’s hi-def transfer—looks superlative. Extras include a Guillermo del Toro appreciation, archival Francois Truffaut audio interview, archival Pia Lindstrom and William K. Everson video interviews, and historian Philip Kemp’s commentary.
(Warners)
Two ancient Best Picture Oscar winners finally arrive on hi-def: 1932’s Grand Hotel and 1942’s Mrs. Miniver. Hotel, which was the first multi-storyline hit, is most notable for the presence of Greta Garbo, while Miniver triumphs by Greer Garson’s sensitive portrayal of a stoic Londoner who fights back in her own way against the German blitz.
Both melodramas, while flawed, are historically interesting. The Blu-ray images look wonderful for such old films; extras include featurettes, shorts and a Hotel commentary.
(Dark Sky)
Jaume Balaguero’s dark drama strains to make plausible crazed concierge Cesar’s one-man band of nastiness and outright evil against an innocent young woman who lives in his apartment building. Unfortunately, the movie falls off the cliff early—when Cesar is caught hiding under her bed as she returns with her boyfriend—and the last half is spent ratcheting up ham-handedn implausibility.
Luis Tosar makes Cesar’s lunacy captivating—almost. The Blu-ray image is excellent; extras include deleted scenes and a making-of documentary that’s longer than the movie itself.
(Sony)
Woody Allen’s episodic comedy is as scattershot as anything he’s made since What’s Up Tiger Lily?: at least Midnight in Paris had the cleverness of his best short stories, while Rome is tired and familiar. Hamstrung by hammy Judy Davis, Roberto Benigni and Penelope Cruz, the movie scores as a travelogue and a witty subplot about a man who can only sing in the shower—the one time the movie approaches the surrealistic banter of Woody at his literary best.
The Blu-ray image magnificently shows off Darius Khondji’s photography—and the glories of Rome itself; lone extra is a making-of featurette.
(MPI)
Most zombie movies, despite their ridiculousness—which is there by definition—have a minimal amount of energy that allows indiscriminate viewers to enjoy the crazy ride.
However, this World War II action flick never rises to the giddiness of something like Osombie, instead wallowing in boring talk that’s rarely transcended by the bloody violence these movies are supposed to provide in spades. The Blu-ray image looks OK.
Battle for Brooklyn
(Virgil)
This impassioned piece of cinematic advocacy follows one of a group of Brooklyn residents fighting city hall—and New York State and billionaire developers—in their attempt to prevent the building of new sports arena.
The case spans several years, and although the outcome is never in doubt—I’ve been to Barclays Arena, so I know it’s been built—the near-impossibility of dealing with the Goliaths of Big Business and Government together is painstakingly shown. Extras include actress Annabeth Gish’s intro and filmmaker interviews.
(Kino Lorber)
One of the most important documentaries ever made—and the only reason it lost the 1970 Best Documentary Oscar is because of a juggernaut called Woodstock—has been restored to its original three-hour running time, which still feels short considering the amount of historical import in every frame.
Showing Martin Luther King’s very public life from 1955 to his 1968 assassination, King is essential viewing for anyone interested in our country’s checkered past, but also as a bracing reminder that racism is no ancient, shopworn concept.
(Acorn)
Francesca Annis is breathtaking as Lillie Langtry, a celebrated Englishwoman of the late 19th-early 20th centuries, an independent, worldly who rubbed shoulders (and much more) with many artists, businessmen, politicians and royals of her time.
This 10-hour mini-series (made in 1978) is about as thorough an account of her life as we’re going to get. Annis, from teenage to old age, is persuasive throughout; the leading men—from Oscar Wilde to James Whistler—are not up to her standard, but that’s a minor quibble.
(Fox)
As the title implies, this is the latest in a long line of kitchen-sink movie parodies, with several recent hit thrillers being lampooned mercilessly—and, for the most part, unfunnily.
The one-note jokes and infantile send-ups fly by fast and furiously, but the basic premise of found-footage movies is silly to begin with, so this comedy has little bite. The lone extra is a brief-making-of featurette.
(Fra Musica)
Benjamin Britten’s tense chamber opera, from Henry James’ classic ghost story, is one of the most chilling stage dramas ever composed, and Jonathan Kent’s 2011 Glyndebourne, England staging treats the material as the eerie tragedy it is.
Statuesque Swedish soprano Miah Persson makes a formidable governess who battles over her two charges with the spirit of Peter Quint (a properly scary Toby Spence). Jakub Hrusa conducts the London Philharmonic Orchestra with tact; extras comprise two behind-the-scenes featurettes.
Lisa Batiashvili—Brahms and Schumann
(Decca)
Georgian violinist Lisa Batiashvili plays one of the most well-worn warhorses in the repertoire: her take on the Johannes Brahms’ concerto sounds lovely but adds little to the numerous recordings already out there.
Instead of performing such safe works, it would be nice to hear something different—like the nine-minute tease we do get, a Clara Schumann chamber piece that’s played with enthusiasm by Batiashvili and pianist Alice Sara Ott. More would be welcome, especially on a disc with another half-hour to fill.
(Blue Griffin)
This trio—clarinetist Kliment Krylovskiy, pianist Riko Higuma and violinist Vanessa Mollard—plays repertoire, both familiar and unfamiliar, that sounds resonant in their hands.
Bookended by animated readings of Igor Stravinsky’s charming La Histoire de Soldat suite and Bela Bartok’s magnificent Contrasts (originally written for Benny Goodman), the trio also performs Nicolas Bacri’s A Smiling Suite, a lighthearted foray through various styles, and Galina Ustvolskaya’s Trio, a serious piece that never becomes oppressive.
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