“Vengeance is Hers,” one of the strongest and most exciting film programs of the year, runs at the Brooklyn Academy of Music from February 7-18. Focusing on female revenge films (quite a few made by female filmmakers), the series displays the varied cinematic forms that theme has taken — from low budget trash to melodrama to screwball comedy. The series begins tonight with a newly restored 35mm print of Pier Paolo Pasolini’s “Medea” (1969), starring opera legend Maria Callas, a brilliant moment of casting. (more…)
SPOTLIGHT: Sweeping Culture Daily
Posts Tagged ‘Brooklyn Academy of Music’
By Craig Hubert | John Cale returned to the Howard Gilman Opera House at the Brooklyn Academy of Music on Friday night for the second part of a three-night residency. Accompanied by the Wordless Music Orchestra, Cale stumbled on stage and went right into “Child’s Christmas in Wales,” the first song off the album “Paris 1919,” which he played in full. Cale, a man of few words, did not banter between songs or take time to loosen up – he went from song to song at a marathon pace, racing through the 35-minute album in a flash. It seemed rushed in the way that Bob Dylan‘s recent live performances seem rushed (both singers appear to have a disregard for their older compositions, and they play around and change them up when they’re on stage). Because the arrangements were locked down, due to the orchestra, Cale sped the tempo, messed with the lyrical phrasing, and let his guitarist solo wildly over the orchestra. It was awkward at times, jarring even, but if you sat down expecting Cale to play the album note for note, lyric for lyric, you should have stayed home and listened to the record.
By Craig Hubert | Last night at the Howard Gilman Opera House at the Brooklyn Academy of Music, John Cale assembled an eclectic group of musicians to pay tribute to Nico, the first part of a three-night residency that will see him, tomorrow and Saturday, perform his album “Paris 1919” in full. Cale wisely let the music stand on its own: many of the performers, including Joan as Police Women’s stunning rendition of “My Heart is Empty” and Stephin Merritt’s stark take on “No One is There,” stripped down the musical accompaniment to one or two instruments. Others went in the other direction: Kim Gordon and Bill Nace destroyed any recognizable element of “It Was a Pleasure Then,” turning the song into a long, noisy, and unintelligible dirge. (more…)
By Craig Hubert | The filmmaker Bill Morrison and the composer Richard Einhorn will premiere their new interactive theater piece, “The Shooting Gallery,” at the Brooklyn Academy of Music this weekend in the wake of Hurricane Sandy. That the performance is happening now, and at all, is oddly fitting, as it was born from a sudden and life-altering, albeit personal, event.