on a Can Marathon with Terry Riley
is the third year that the New York scenesters of Bang on
a Can have been in residence at MASS MoCA, and they are
ending this stint—forgive us—with a bang.
On Saturday at 4 PM, this “wildly eclectic” collection of
composers and players will kick off a six-hour marathon
concert. And no, you aren’t expected to sit there in your
seat at the Hunter Center the entire time; wander around
the nearby galleries, have a drink or go in the corner and
stand on your head. Here’s what MASS MoCA says you might
hear: jazz, classical, Balinese chant and minimalism. (Balinese
chant?) Minimalism will be represented by the legendary
father of the form, Terry Riley.
This is the second time in six months that Riley has performed
in the area. What on earth are you waiting for?
The Bang on a Can Marathon will be at MASS MoCA (1040 MASS
MoCA Way, North Adams, Mass.) on Saturday (July 24) at 4
PM in the Hunter Center. Tickets are $20. For more information,
call (413) 664-4481.
is here, and all the New York hipsters seem to have headed
north. Case in point: popular stream of consciousness comedian
Reno, who will perform tomorrow (Friday) and Saturday nights
at TSL in Hudson.
Reno, who has starred in her own HBO specials and turned
up on such assorted outlets as VH1, Comedy Central and NPR,
is famed for her fearless explorations of her own life,
related with a wicked, even abrasive sense of humor. As
The New York Times suggested, Reno “dares to suggest
the unsuggestable.” Of late, her comic wit has been aimed
at timely issues of politics and the war.
Has this brought her any mainstream rejection? Apparently
not. As Reno told one interviewer, “I’m way too underground
for people to give a shit, I guess.”
Reno will perform tomorrow (Friday, July 23) and Saturday
(July 24) at 8 PM at Time & Space Limited (434 Columbia
St., Hudson). Tickets are $12.50 for TSL members, and $17.50
for nonmembers. For more information, call 822-8448.
Mines of Sulphur
a sprawling mansion on the misty and distant English moors,
a trio of lowlifes commits a murder. Shortly thereafter,
a band of wandering actors takes refuge from the weather
in this same manse and stages a production that seems to
reveal the crime, thereby making themselves targets of the
murderers’ nefarious plans. But before the silencing of
the players can be accomplished, it is discovered that one
of the actors is infected with the plague. Opera ensues.
Yes, though it may sound like a B-movie adaptation of one
of the bloodier Shakespearean plots (in fact, the title
is taken from one of Iago’s speeches in Othello),
The Mines of Sulphur is a “widely hailed” 1963 opera
by Richard Rodney Bennett, a work which was praised by The
Scotsman as a “masterly score, brilliant in its conception
and stunning in its impact.”
That the synopsis sounds more cinematic than operatic should
come as small surprise: Bennett has provided scores for
a number of movies and TV productions. (Quick, off the top
of your head, name another classical composer who’s contributed
to Dr. Who.) This onetime student of Pierre Boulez
is known for his wide-ranging influences (“Debussy, Joplin,
Monteverdi, signs of the zodiac, the poetry of Rilke and
Herrick, Greek legend and Kandinsky”) and for his musical
versatility: He’s put in time as a jazz pianist, singer
and composer as well. So, expect depth and texture from
The Mines of Sulphur—not to mention a fair amount
of crowd-pleasing tension and implicit threats of physical
Glimmerglass Opera (Cooperstown) will present Richard Rodney
Bennett’s The Mines of Sulphur beginning Saturday
(July 24) and running through Aug. 22. For more information,
call (607) 547-2255.