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Reading the Arts

Author: Brian Kellow (page 4 of 7)

Remembering Barbara Hale (1922–2017)

My mother, a lifelong secretary, once joked that an entire generation of secretarial school graduates had been deceived by Della Street. She was referring to the witty and resourceful confidential secretary to super lawyer Perry Mason, who appeared in a best-selling string of mystery novels dating back to 1933. Perry Mason made it to television, […]


Still Moments: A Conversation with Elliot Madore

I spoke with the Canadian baritone shortly before he was to open as dissident Cuban writer Reinaldo Arenas in Jorge Martín’s Before Night Falls at Florida Grand Opera (March 18—25, 2017). BK: When you were offered the role of Reinaldo Arenas in Florida Grand Opera’s production of Before Night Falls, and you began reading the […]


Saturdays with Jack

Two days ago, as I do every Saturday afternoon, I called my father in Oregon. This is a ritual that goes back to my freshman year in college, when I would telephone my parents from my dorm room to hear their news, and tell them mine, and most of all—though this was never stated—so they […]


Still Doing it Right: An Interview with Denyce Graves

On January 28, Florida Grand Opera’s production of Eugene Onegin opens at the Adrienne Arsht Auditorium in Miami. It’s the first time in seventeen seasons that the company has presented Tchaikovsky’s masterpiece. Onegin happens to be one of the operas I love most. There isn’t a gauche, overstated or dramatically cheap moment in it, and […]


The Long Run: An Interview with Mezzo-Soprano Robynne Redmon

In addition to having an enviable lineup of singers in leading roles, Florida Grand Opera’s production of Tchaikovsky’s Eugene Onegin (opening January 28 at the Adrienne Arsht Auditorium in Miami) offers a healthy dose of gravitas in its supporting cast: Denyce Graves as Tatyana’s devoted nurse, Filippyevna, and, as Tatyana’s mother, Larina, Robynne Redmon. The […]


Preparing for Opera’s Renaissance: An Interview with John Brancy

At twenty-eight, American baritone John Brancy is a study in focus and concentration. He views his rising career with a fierce strategic precision, and he gives considerable thought to the rapidly changing opera scene and what it may look like ten years down the line. There doesn’t seem to be a moment when he isn’t […]


Falsettos Marches On

I can’t imagine what I was doing back in 1992 that was so important that I missed the original production of Falsettos, William Finn and James Lapine’s bracing modern musical about a family feeling its way painfully through challenging times. This show, which was born out of two separate one-acts, March of the Falsettos and […]


Bolcom & Morris at the Metropolitan Room

When I was a freshman at Oregon State University, I encountered the husband-and-wife piano/vocal duo William Bolcom and Joan Morris for the first time. I had wandered into a record store and bought a copy of their LP, George Gershwin: Piano Music & Songs. (Remember the hands-on excitement of rummaging through record bins and never […]


No Short Cuts: An Interview with Soprano Joyce El-Khoury

BK: You’re singing such a full-tilt schedule of interesting, demanding work. You just finished Hérodiade at Washington Concert Opera, and you’re about to do Traviata at Covent Garden and then later at the Glyndebourne Festival. It feels as if this is a genuine time of arrival for you. JE-K: What feels fantastic is just that […]


Arrangement in Gray and Black

Kenneth Lonergan’s films are concerned with the complicated situations that are forced on ordinary people, and how they must slog their way through them as best they can. Blessedly, Lonergan’s movies avoid the formulaic storytelling traps that cast a homogeneous fog over so many American films. HIs best work was done in his directorial debut […]

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