Saturday, April 20, 2024
"Back home, I only observed people trying to blend in with their environment. But onscreen, I saw individuals. I saw freedom. I saw expressiveness. Every character in the American movies I soaked in growing up was a complete, unique individual with original motivations and a blasé disregard for the status quo. That is the life that I wanted,” expressed Anna Cherkezishvili. As the fervorous Georgian actress’s career continues to take root, Cherkezishvili took the time to speak with Stage Biz for an exclusive dive into her path from war-torn childhood to current early career success. “When I was very young, I loved the
Author: Abbey Glasure
Mostly Mozart Festival Orchestra Presents Requiem, Piano Concerto No. 21
This past Saturday, August 11th, 2018, presented a transcendently commemorative close to 2018’s Mostly Mozart Festival. With esteemed conductor Louis Langrée at the helm, the Mostly Mozart Festival Orchestra and Concert Chorale of New York partnered with an accomplished group of soloists to bring three of Mozart’s most beloved works to life: Meistermusik, Piano Concerto No. 21 in C major, K.467, and Requiem. The evening opener, Meistermusik, served as an abbreviated sample of Mozart’s contribution to masonic music, with an approximate length of six minutes. As mentioned in Christopher H. Gibbs’ program notes, the composition was structured around a Gregorian chant
The Orchestra Now Presents Berlioz’s Symphonie Fantastique at Jazz at Lincoln Center’s Frederick P. Rose Hall
The Orchestra Now (TŌN) lined up their end of March concert with two well-curated pieces, one lesser known, Walter Braunfel’s Phantastische Erscheinungen eines Themas von Hektor Berlioz, Op. 25, and one renowned, Hector Berlioz’s Symphonie fantastique, Op. 14. Violinist Coline Berland opened the evening with a commentary on Braunfel and his piece, noting the composer’s tumultuous life, beginning as a successful musician and composer in the 1920s and 30s, but falling after the 40s when his music was labeled as degenerate. Berland added that Bruanfel’s work was “straight out of the romantic vein,” and emphasized TŌN’s effort to “revive a
Theatre Review: Blessed Unrest’s Platonov, or a Play with No Name
Platonov, or A Play with No Name, was Chekhov’s first large-scale drama, with an unabridged running time of about five hours. Chekhov himself never considered the work finished, and yet playwright Laura Wickens manages to reimagine a cohesive 100 minute translation of the play, delicately modernizing the banter while maintaining the unhinged histrionics of the original playwright’s early writing. Wickens’ version catenates the paths of the female characters, paring away the father figures save Platonov himself. “Working with this text was sort of like reviewing Deleted Scenes at the end of a movie and then remaking your own,” says Wickens. “Platonov,
7th Annual Christmas in New York Concert
“What I love about this is that it takes a lot of ordinary people and gives them an extraordinary experience,” expresses Phil Barfoot, described in the program notes as “an internationally known composer, author, and music ministry professional who has written and created more than 40 major choral collections and musicals that collectively include more than 300 songs.” A little over an hour before the Seventh Annual Christmas in New York, Barfoot and his wife Sheri gathered in their dressing room at Carnegie Hall to disclose details of the evening’s premiere: “The Worship of Christmas”. Every year, Celebration Concert Tours