The South African-born fortepianist gave a mesmerizing recital of C.P.E. Bach and Mozart at Zankel Hall last night. His big Mozart survey for Harmonia Mundi goes from strength to strength; may there be a similar series for Carl Philipp.
I don't think there's ever been a book quite like Rebecca Mead's My Life in Middlemarch: a biography, a literary study, a memoir, a travelogue, a history of imaginary places becoming real. All told, it's a deep delight. Here is Rebecca in conversation with Paul Holdengräber.
*George Eliot will, however, be very much a topic in Wagnerism.
In a recent column on the Prototype Festival, I worked in an all-too-brief mention of Kate Soper's remarkable theater piece Here Be Sirens, which had its début at the same time as Prototype but wasn't part of the series. Fortunately, Steve Smith was also there, and wrote a typically comprehensive, perceptive review for the Times. Soper also has a new CD on the Carrier label, devoted to an eight-movement piece called Voices from the Killing Jar.
The formidably gifted composer-vocalist, whose website is here, just performed Fausto Romitelli's An Index of Metals at On the Boards in Seattle, with the Seattle Chamber Players. Above is Zubel's own work Not I, based on the Beckett monologue. More on contemporary Polish music in The New Yorker next week.