If you haven't heard the pianist Mitsuko Uchida play, do. She's performing tonight at Carnegie Hall -- solo works by Schumann, Chopin and Beethoven -- but even if you miss it, check out some of her albums online.
This week I wrote about the minimalist composer Steve Reich, whose groundbreaking Jewish chorale piece "Tehillim" (1981) is being performed by the teenage new music ensemble Face the Music next Thursday at Le Poisson Rouge. (They'll perform "Tehillim" at other locations over the next few months as well.)
The New York Times today raised an interesting question about the Oscar front-runner for best picture, "The King's Speech." It wondered whether the real King George--who aggressively endorsed a policy of appeasement toward Hitler, something the film entirely ignores--might derail the film's chance for capturing the golden statuette.
A classical music program that includes works by Haydn may not strike you as radical. After all Haydn--friend of Mozart, teacher of Beethoven--virtually invented the classical symphony as we know it. When newcomers think "classical music," it is probably the sounds of Haydn they hear in their head.
The star pianist Yefim Bronfman performs in New York often, but I have never seen him. That was rectified last night: I caught him in the first of three concerts with the New York Philharmonic at Avery Fisher Hall. He was remarkable. Performing Brahms Piano Concerto No. 2, he captured the full range of emotions in the piece--its subtle bits of humor, the breezy wistfulness, the heroic ambition--without drawing much attention to himself.
Arizona representative has pushed Jewish issues and come to a greater understanding of her heritage.
The event was typical Gabrielle Giffords: no barriers, all comers — Democrats, Republicans and independents welcome to talk about what was on their minds and in their hearts.
While she was deep in a conversation with an older couple about health care — the issue for which she was willing to risk her career — a gunman strode up to the Arizona congresswoman and shot her point blank in the head.
This week I wrote a review of the Hannah Senesh exhibit at the Museum of Jewish Heritage. A wealthy Jewish girl from Hungary, Senesh immigrated to Palestine in 1939, when she was 17. After a few years there, however, she felt isolated from world events: put simply, the war in Europe. So when the British organized a Jewish brigade in Palestine to help them rescue Allied forces caught behind enemy lines, she signed on.
This week, I wrote about the retirement of The Jewish Museum's director Joan Rosenbaum, who's led the museum for 30 years. But the story of her career raises a few fundamental questions that The Jewish Museum, and indeed all ethnic museums, must grapple with: Should ethnic museums advance the consensus opinions of their constituent group, or should they challenge those beliefs? And if the latter, where do you draw the line?
This Sunday I went to see Alvin Ailey American Dancer Theater at City Center. It's the 50th anniversary of its landmark piece, "Revelations," created by the company's founder, Ailey, who died of AIDS in 1989. And each night of the company's month-long stay they're staging the work.
'Kissinger, in addition to being the quintessential court Jew, is also a hypocrite.'
Menachem Z. Rosensaft
Special to the Jewish Week
I cannot remember reading anything as despicable or callous as Henry Kissinger’s observation, captured for posterity on secret White House recordings newly released by the Nixon Presidential Library and Museum, that “The emigration of Jews from the Soviet Union is not an objective of American foreign policy. And if they put Jews into gas chambers in the Soviet Union, it is not an American concern. Maybe a humanitarian concern.”