I write poems and essays. My commentaries about music, theater, the visual arts have been heard on the radio. I've been a piano teacher. After many years as an arts journalist, I find deep pleasure as a writing coach. I coach at the Alder St. Studio here in Philadelphia, and at the Muse House in Chestnut Hill. I also work with writers online.
I've lived in many beautiful cities and traveled to many parts of the world thanks to my coverage of the Philadelphia Orchestra.
Philadelphia is my adopted home. I've two poetry books in progress. Stay tuned.
Poets don’t expect to make a living practicing the craft. And as most scribblers know, writing from home can lead to all kinds of mess. At least on and around the desk. For those of us who like playing house (decorating, redecorating, rearranging, praise from guests) what a boon, then to have to keep it tidy and earn along the way. Ergo Airbnb. Since the DNC landed in Philly last July, when hotel rooms were scarce, I’ve enjoyed the perks of income, a better-kept home, and great guests from all over the map.
The payoff: more time to write than the adjunct posts or other jobs I’ve tried for with fair-to-middling success.
I’d like to share some of my hosting adventures in coming blogs, maintaining, of course, the privacy of truly fascinating guests.
At 67, this isn’t fair. No more Mankell. No more Wallender. And yes, I know the Swedish writer retired his chief detective inspector with the final book in the series, The Troubled Man, the one I read first, the one that started me on the spare and splendid series. Those of us who loved the moody character always hoped he would return, we couldn’t get enough of Kurt Wallender. We binged on Kenneth Branagh’s “Wallender,” then preferred the Swedish version: Krister Henricksson who to my inner ear and eye best caught the ever-searching, love clumsy policeman. Continue reading Mankell: Whose Troubles Comforted Us→
Philadelphia Opera at the Academy of Music, Oct. 2-11; Free HD broadcast on the Mall, Oct. 16, Independence Historic National Park
Lisette Oropesa’s first time out as Violetta Valery was triumphal Friday night. To show her glee in a role that clearly suits her, after “Sempre Libera”’s fireworks, the soprano flung the contents of her champagne glass across the boards. And why not? Oropesa has it all. Vocal range and beauty, nuance and technique. She’s the slimmest singing actress to play the tubercular “fallen woman” (i.e. sex worker) on this stage in awhile: eliminating one of the challenges that suspend operatic belief.
Alek Shraker, as Alfredo, is also new to the role and this company. The tenor has a slight cover to the voice; opening night, Shraker’s presence was more subtle than heroic but his singing acting developed ardor and projection as the drama progressed. A powerful match for this Violetta is Stephen Powell’s Germont. Always harder to sing slow sustained lines, which Powell well achieved in “Di Provenza”; even finer his impassioned duets with the woman whose love he has come to defeat. On her own, Violetta’s lyric whispers, so perfectly tuned, created a marvelous stillness in the house, before igniting second-act applause.
Pitch: there’s a concept we don’t always find ideal opening night: much as we crave it. Pitch and timbre. What joy to listen to Oropesa through the evening; not only secure of pitch but how beautifully she matched the woodwinds, flutes in particular, how easy it was to admire again Verdi’s knitting of vocal and instrumental lines. How easeful, too, Corrado Rovaris’ shaping of ensembles: onstage and in the pit. Continue reading New Violetta Wears the Pants in Philly “Traviata”→
Every residency, Ellen is with us, listening, suggesting, advising and making sure things go well. Without Ellen, and her Southern inflected encouragements, advisements, cautions, Warren Wilson’s program wouldn’t exist. So many of us, thousands! are hugely appreciative of Ellen Voigt’s pedagogy —and Ellen’s poetry. We are thrilled to salute her on this much -deserved award.
For those who do not know that Ellen is also a musician, a pianist, I mention this here. Music before meaning, Richard Hugo tells us . Music in the words and meaning, Ellen Voigt tells us in her essays like The Flexible Lyric, and poems. Kyrie.
It has been such a privilege to spend five residencies and four semesters at Warren Wilson in the program she created. Those of us who have had the pleasure of having Ellen attend their progress and participate in their graduation readings will understand my feelings.