Criticultura em Portugal

This is the time for summer music festivals, a ubiquitous and often-entertaining tradition that keeps European musicians employed in the off-season. Portugal has several, and last weekend I had the chance to sample the festival at Marvão, a small citadel town near the Spanish border. The festival is set in a scenic old fortress town with only 90-100 regular inhabitants. But the town's population swells due to tourists, especially during the two week July Music Festival, when concerts are held in various baroque churches, and large concerts in an open-air space in the castle, seen at the tip of the hill below.  I saw four concerts, all very affordable at 25 euros per ticket. Least memorable were the two chamber concerts held in churches. The "Concerto Barocco" by the Portuguese early instruments ensemble Os Musicos do Tejo featured pieces for instrumental ensemble and voices, mostly by Portuguese composers who were contemporaries of JS Bach (early 18th century). It's g

On a recent trip to London I got caught up on some well-reviewed English language theater, infrequently available here in Portugal. At the Donmar in London, Anton Chekhov's  The Cherry Orchard , directed by Benedict Andrews, used judicious language updates to make the 1903 play more topical for today. There were allusions to Brexit, anti-immigrant bias, and income inequality. All were appropriate in a play that deals with a decaying aristocracy in the face of middle class opportunism. The plot deals with the threatened conversion of an estate's beloved cherry orchard into subdivided homes. Chekhov creates tension between the generational differences between the older aristocrats and the younger go-getters, and often shines a negative light on both groups. The play was set in an audience-surround style, with bright orange tribal-looking sets that appeared like something out of the Nijinsky Rite of Spring, and the characters dressed as aging hippies. I am not sure about the point

 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