NEA Awards Grants to Six Berkshire Cultural Organizations

The grants were announced by new NEA chair, Rocco Landesman.

Both the National Endowment for the Arts (NEA) and the National Endowment for the Humanities (NEH) have completed a new round of funding. The NEA has selected six organizations in the Berkshires, while the NEH looked, but came up empty.

As might be expected, large, well known Berkshire based organizations like Tanglewood, Jacob's Pillow and The Clark Art Institute were among those blessed, and so was the feisty Barrington Stage Company - for its Musical Theatre Lab project. It runs each summer under the watchful eye of composer William Finn (he of Spelling Bee fame).

But two smaller, literary organizations were also selected, the Orion Society based in Great Barrington, and the Tupelo Press, recently arrived in North Adams and headquartered at the Eclipse Mill. While the Berkshires have long been home to visual and performing artists, the tradition of literary lights living here is also well established, going back to Herman Melville whose home in Pittsfield was named Arrowhead and Nathaniel Hawthorne who had a small cottage in Lenox.

The NEA grants were made under the Access to Artistic Excellence program and chosen from more than 1,600 applications. Access grants "support the creation and presentation of work in the disciplines of dance, design, folk and traditional arts, literature, media arts, museums, music, musical theater, opera, presenting, theater, and visual arts."

Here is a summary of the six grants made in the Berkshires:

The workshopped Calvin Berger is typical of the Musical Theatre Lab's best work. Top left to right - Michael Perreca (Other Stages Producer), Justin Paul (Musical Director) and Stephen Terrell (Director and Choreographer); Bottom row l-r: The Cast of Calvin Berger - Aaron Tveit, Elizabeth Lundberg, David Perlman and Gillian Goldberg. Photo by Charlie Siedenburg.

Barrington Stage Company Inc.
Pittsfield, MA. 
$25,000
 CATEGORY: Access to Artistic Excellence   FIELD/DISCIPLINE: Musical Theater
. To support the Musical Theatre Lab. The program provides emerging composers, lyricists, and book writers the opportunity to develop new works of musical theater in a supportive environment with an experienced management team.

In talking to Artistic Director Julianne Boyd about the Musical Theatre Lab, she noted that quite a few musicals and performers got their start there. The 2007 musical Burnt Part Boys gets produced in New York this Spring. And in Summer 2010, Nikos Tsakalakos and Janet Allard musical Pool Boy (first workshopped by BSC last summer) will get a fully staged production.

Earlier, the musical workshop of Calvin Berger brought Aaron Tveit to the public's attention, and he "got his equity card through that show," she noted. Tveit has since gone on to become much in demand in American musical theatre, being featured in Next to Normal which went from Arena Stage to Broadway, and assuming the Leonardo DiCaprio role in the new musical Catch Me If You Can which is in preparation for Broadway.

Each summer, the Jacob's Pillow Dance Festival in Becket becomes the world's center of contemporary dance.

Jacob's Pillow Dance Festival, Inc., 
Becket, MA. 
$90,000 
CATEGORY: Access to Artistic Excellence   FIELD/DISCIPLINE: Dance
. To support residencies and performances of dance companies. The project will include a Creative Development Residency, presentation of national and international dance companies, and audience engagement and educational programs.

The BSO's Contemporary Music program takes place at Tanglewood in Lenox/Stockbridge. Ozawa Hall is the concert hall used for these concerts, and it too opens to their glorious lawn.

Boston Symphony Orchestra, Inc. (on behalf of Tanglewood Music Center)
 Boston, MA. 
$45,000
 CATEGORY: Access to Artistic Excellence.   FIELD/DISCIPLINE: Music. 
To support the Festival of Contemporary Music at the Tanglewood Music Center. The 70th anniversary festival will honor the resident composers who have led composition activities for the festival over the past seven decades.

Orion Magazine is at the junction of art, science, politics and the environment. It serves as an intellectual, spiritual and discussion center for the conservation movement.

Orion Society
, Great Barrington, MA. 
$15,000 
CATEGORY: Access to Artistic Excellence   FIELD/DISCIPLINE: Literature. 
To support feature-length pieces of literary prose in Orion magazine. A bi-monthly literary and visual arts journal devoted to exploring the relationship between people and the natural world, the magazine currently has 20,000 subscribers.

The Clark Art Institute may be battling over expansion with their NIMBY neighbors in Williamstown, but its role as the steward for the world's greatest art has never been challenged.

Sterling & Francine Clark Art Institute, 
Williamstown, MA. 
$75,000
 CATEGORY: Access to Artistic Excellence   FIELD/DISCIPLINE: Museum. 
To support the exhibition Picasso/Degas, with accompanying catalogue and education programs. The exhibition is being organized in association with the Museu Picasso in Barcelona.

Tupelo Press publishes innovative, unpredictable and visceral poetry by authors such as the young luminary Larissa Szporluk's. Her Embryos and Idiots is sly, seductive and spare.

Tupelo Press, Inc.
, North Adams, MA
. $25,000
 CATEGORY: Access to Artistic Excellence.   FIELD/DISCIPLINE: Literature
. To support the publication and promotion of new collections of poetry and international literature. Proposed authors include Gary Soto, Ellen Doré Watson, Michael Chitwood, Megan Snyder-Camp, Rebecca Dunham, and Stacey Waite.

Finally! BSO offering digital downloads from its archive

The BSO onstage at Symphony Hall, Boston


Last year I made gifts of music to my friends and family via Apple's ITunes. It was affordable and easy. This year I may be sending the Boston Pops Orchestra to my friends who enjoy classical, light and heavy.

It's possible since the Boston Symphony has finally launched its digital download service, though the selection is sparse and somewhat curious. Certainly it is nice to honor bygone eras when Serge Koussecitzky, Erich Leinsdorf and Charlels Munch led this great institution, but I look forward to the day more recent concerts are available. Especially some of the legendary programs under Seiji Ozawa and the current Music Director, James Levine.

But it is a start, and the lateness of the entry at least means state of the art technology. Each recording has been digitally remastered by EMI's Abbey Road Studios using 24-bit state-of-the-art technology.

Keith Lockhart conducts the Christmas Pops

I enjoyed browsing the BSO website for a look at the various MP3 downloads and Classical CD selections which are being offered. There are generous samplings to give you a flavor of what you are buying. A very nice beginning.

Julian Kuerti's BSO rescue has unintended consequenses

The father and son duo of Julian and Anton Kuerti in action

Unintended consequences. When Gennady Rozhdestvensky decided to walk out on his commitment to conduct last weekend's BSO concerts, Julian Kuerti stepped in and rescued the day.

But In order to do this, Kuerti then had to bow out of his appearance this week with the Edmonton Symphony Orchestra. He was scheduled to appear there with his dad, renowned Canadian pianist Anton Kuerti.

Wednesday's concert, entitled Kuerti: Father and Son, was meant to be a two-generation classical music collaboration. But Kuerti, assistant conductor with the Boston Symphony Orchestra, had to step in there instead.

Earlier this summer, Kuerti also filled in for an ailing James Levine as conductor of the Boston Symphony Orchestra for early July performances in the Koussevitzky Music Shed at Tanglewood. Kuerti is the BSO's Assistant Conductor.

Time for you to retire, Rozhdestvensky!

His Majesty, The Petulant Maestro Rozhdestvensky

The Boston Symphony Orchestra, one of the most conservative and polite arts organizations in the entire country witnessed a temper tantrum of seismic magnitude when Gennady Rozhdestvensky, a 77 year old Russian conductor of the old school threw a hissy fit and refused to lift his baton to conduct his contracted performances.

The reason was simply stunning. On a stroll around Symphony Hall he noticed a poster in which someone else's name - cellist Lynn Harrell - got placed above his own. This might have been due to the fact that the concert was part of a series called "The Cello Shines" but for the star conductor, that was beside the point. Then, when belatedly looking over the BSO's promotional materials, he discovered other artists with bigger photos, longer descriptions, and, heaven forbid! larger type.

This lack of deference so angered and insulted the old Soviet Bear that he did the same thing any petulant child would do, he simply refused to go on as scheduled. He took the next plane back to Moscow.

Good riddance. Any mature person would have fulfilled the contract, and not pulled such a stunt. In fact, most conductors are under professional management, and their contracts usually include clauses regarding promotion, just like a rock band. Perhaps he should get a new management company. If any would have him after this stunt.

The Boston Globe lost no time in reporting the diva's temper tantrum:

Jeremy Eichler's report in the Boston Globe

Perhaps the good news out of this is that a young conductor, Julian Kuerti, got a chance to show his stuff and received a warm welcome as a result. So something good came out of this.

Of course this contretemps pales in comparison with the Vanessa Redgrave flap of 1982. The actress Vanessa Redgrave brought suit against the Boston Symphony Orchestra (BSO) for canceling a contract for her appearance as narrator in a performance of Stravinsky's "Oedipus Rex." BSO cancelled the performance in response to public protest over Redgrave's participation because of her support of the Palestine Liberation Organization.

Vanessa Redgrave today

The organization was quite different in those days, naive even, as this quote from Time Magazine clearly demonstrates:

Thomas Morris, general manager of the Boston Symphony Orchestra, is a dedicated man of music who has scant interest in more mundane subjects like politics. He reads newspapers "as little as possible," he says, and "I don't pay much attention to television." So no one was more surprised than Morris at the furor that ensued in March 1982 after British Actress Vanessa Redgrave was hired to narrate the B.S.O.'s planned production of the opera-oratorio Oedipus Rex. Redgrave, as anyone who does read the newspapers should know, is a Trotskyite and ardent supporter of the Palestine Liberation Organization, and her selection immediately inspired an outcry. Faced with protests from musicians, threats of violent disruption, and possible withdrawal of funds by Jewish orchestra patrons, Morris canceled Oedipus, casting Redgrave into the wilderness.

Now Morris, 40, and his colleagues are paying for their naiveté in Boston federal court, where Redgrave is suing the B.S.O. for breach of contract and violation of her civil rights. In testimony that was by turns rambling, deft and once even tearful, Redgrave, 47, argued that the cancellation of her $31,000, six-performance contract effectively blacklisted her for more than a year. The orchestra "may not be E.F. Hutton," her lawyer told the jury, "but when it talks, people listen." Redgrave testified that she was turned down for a role in a Broadway production for fear that her appearance would invite demonstrations. At one point, said the actress, who won a 1978 Oscar for her role in Julia, she was so desperate for money that she agreed to appear nude in an as yet unreleased film called Steaming, for which she earned $100,000.

Redgrave got strong support from Peter Sellars, the artistic director of the Kennedy Center theater in Washington, who would have been in charge of the Oedipus production. Canceling performances because of potential political disruption sets a "dangerous precedent," Sellars testified. "If the Boston Symphony acts this way, no artist is safe."

The Original Time Magazine article