Criticultura em Portugal

 Sintra is a delightful hill town west of Lisbon and a few miles north of my home in Cascais. It's home to many fancy palaces, where the royals and wealthy of Lisbon went in the past to escape summer heat.  Now Sintra is a suburban community that hosts lots of tourists, as well as an annual summer music festival. I recently saw two VERY different concerts there. The renowned pianist Andras Schiff is a Hungarian-born British pianist, now in his 70s, who these days specializes in Bach.  His Sintra recital featured Bach in the first half, and Mozart pieces mostly influenced by Bach in the second half. The recital was superb. Schiff uses very clean articulation and minimal pedal. While he cannot make the piano sound like a harpsichord, he accomplishes the clarity of its inner voices really well. There was no  printed program, and Schiff introduced each piece verbally (in English) in an engaging and intimate way, complete with little examples to explain what we were about to hear. This

Tableaux vivantes (living pictures) are an art form that dates to the middle ages. In these, live humans (often amateurs) would depict a famous scene from the Bible or or from a famous painting, complete with sets and dramatic lighting. They were usually static (a snapshot before the era of cameras). They became popular in the Victorian USA and UK, as amateurs could show their pious nature by depicting Jesus and the disciples, the Virgin Mary, the Last Supper, etc. A less pious advantage was that 19th century law in both the USA and UK allowed public nudity on the stage as long as the actors remained motionless--so tableaux vivantes was also an early version of legal porn.  Tableaux vivantes have mostly died out, but returned in a few movies like Derik Jarman's erotic Caravaggio  (1986), in which the famed Baroque painter's violent life is intertwined with tableaux vivantes of some of his famed paintings. Intriguingly, this device was recently brought to the live stage in Li

For some reason, Portugal’s only opera house doesn’t get much attention among classical music discussions here. That’s a shame, since the Teatro Nacional de São Carlos is an architectural gem from the 18 th century and, based on the Verdi Falstaff that I heard on May 13, the musical quality there can be very high. The opera house opened in 1793, replacing a structure destroyed in the devastating Lisbon earthquake of 1755. It’s had a checkered history, ranging from an uber-famous performance of Verdi's La Traviata  in 1958 starting Maria Callas (the “Lisbon Traviata” of recording fame) to its being shuttered for much of the Salazar dictatorship in the mid-20 th century. Now the company performs about 7-8 productions each season. There is international leadership--the principal conductor is Italian Antonio Pirolli, and the artistic director is the Dutch Ivo von Kalmthout. The house’s baroque façade was recently restored..the opera house is hidden away on an enclosed square in do

Oddly, I had never before been to a Metropolitan Opera Live in HD performance until this month. This is mainly because I could see them live when I lived in the USA. I finally corrected this lapse, snagging the last remaining seat (!) in the 1200 seat Gulbenkian Auditorium for Verdi's  La Forza del Destino , the first new Met production in over 30 years, and only their 10th performance this century. More on that in a minute. First I will share my experience of seeing the Met live, but at a distance.  As you arrive in the auditorium the screen is showing slides of upcoming Met performances, rather like at a movie theater.    What you hear is the buzz of arriving guests at the Metropolitan Opera house in NYC, which is kind of a cool way of building excitement. The Gulbenkian auditorium filled, largely with older Portuguese people (seats cost about 20 euros) dressed as they would for any concert. You then see the orchestra arrive into the pit, and hear some interviews backstage, here

 The Oscars have come and gone, with a predictable blockbuster winning best picture. Hollywood seemed excited to have finally put COVID limitations aside, and was thrilled to have the summer hit "Barbenheimer" surgically-joined twins that got people into theaters (these twins need to be forevermore separated). But was it a good year for film, really? I don't think so. Of the 10 films nominated for best picture, I only really want to see a few again, and one excellent film didn't even get nominated. So here are my thoughts, with the 10 nominees grouped into clusters. At the end I will list these in my order of preference. What's your order? Ponderous, "Important" Movies: Oppenheimer, Killers of the Flower Moon Guys, I like many long movies. I was gripped by long movies as different as Lanzmann's  Shoah   (7+hours), Scarface ( 3 hours), and Titanic ( 2 hours, 40 minutes), and by the operas of Wagner, often clocking in at over 3 1/2 hours. The issue is