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Robert Langevm. principal flutist of the New York Philharmonic, and pianist Nicholas Ong, that climaxed with Faure’s elegant and noble Sonata in A, originally for violin
The next morning an orchestral concert showcased the conducting talents of the 10 apprentices, who had been working with the Maestro, sponsored by Rolex. It was fascinating to set1 that despite their individual styles, there was a uniform concern for precision, economy of motion, and concise, direct communication with the orchestra, all hallmarks of Maazel's work. The conductors and other participants I had a chance to speak with during the week were quite forthcoming in their praise of the way the festival had been organized, and filled with gratitude for the rare chance to work so closely with Maazel.
With the evening came the wry and boisterous comedy, “The Beggar's Opera,” byBritten, and I began to realize what a unique opportunity the festival offered. Glimmerglass presents large-scale operas with full orchestra and seats 900 people. Tanglewood is an enormous operation with thousands of people in attendance.
Castleton’s tent i complete with air-conditioning and luxurious water closets > accommodates about 250; the smaller scale makes for more direct involvement. The outstanding cast, directed by resident artist William Kerley, swept amund the bare plywood set with gusto and glee, with a stellar performance by Dominic Armstrong as the rogue Macheath. Britten’s musical settings of the 18th century ballads by J. C. Pepusch and John Gay are brilliant, and were pi avid with graceful nuance by members of the Qatar Philharmonic under the expert hands of Maazel, who at one point traded quips with Armstrong to the delight of the spectators, many of whom were smack in the middle of the action, one even invited on stage to be serenaded.
I was even more captivated by the performance in the cozy 130-seat opera house of Britten’s “Albert Herring," a richly funny and stunningly written comedy of manners and attitudes, with wonderful cast and ensemble, including mezzosoprano Jennifer Check as an uptight dowager with a mission to reward virtue, soprano Ashleigh Semkiw as a youthful
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