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November 1983 Hold Contents Your 7 Last Night at Applause

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November 1983 Hold Contents Your 7 Last Night at Applause NOVEMBER 1983 HOLD CONTENTS YOUR 7 LAST NIGHT AT APPLAUSE. THE SCHUBERTIAD by David Wright The show doesn’t have to end when the curtain 13 THE PROGRAM comes down. Come to the 26 A TALK WITH... Magic Pan for encores JOSEPH KALICHSTEIN and you’ll find an intrigu­ by Allan Kozinn ing number of tempters. 38 NOVEMBER From Cheese Fritters and CALENDAR OF EVENTS Potato Skins to Strawberry Crepe and Chocolate Mousse. Tastes you’ve never experienced before. Whether you visit the Cover photograph by Yoichi R. Okamoto Magic Pan before or after the show, there’s always something Joseph P. Barbieri, President Charles F. Buccieri, Publisher new to Theodore P. Langdon, Senior Vice-President come back Teresa Barbieri, General Manager William J. Kofi, Jr., Production Manager Barry Laine, Senior Editor Stephen Greco, Art Editor Wanda Lau, Program Editor Patricia M. Hewlett, Account Representative 149 E. 57th Street 371-3266 STAGEBILL is published monthly at Carnegie Hall and *1409 6th Avenue 765-5080 Lincoln Center in New York, Kennedy Center in Washington, (between 57th & 58th) D.C. and in Chicago. Other Stagebill editions are published in San Francisco, Dallas, Detroit, St. Louis and Philadelphia. The Carnegie Hall Stagebill is published by B&B Enterprises, ♦CABARET PANACHE FEATURES Inc. Program Office, Studio 306, 881 7th Avenue, New York, DINING AND ENTERTAINMENT N.Y. 10019, (212) 581-0169. Copyright 1983 B&B Enterprises, Inc. NIGHTLY. All rights reserved. Printed in U.S.A. Advertising Offices—New York: 144 East 44th Street, New York, N.Y. 10017, (212) 687-9275. Washington, D.C.: Program Office, The Kennedy Center, Washington, D.C. 20566, (202) 833-2897. Chicago: 500 North Michigan Avenue, Chicago, Illinois 60611, (312) 565-0890,685-3911. The Carnegie Hall edition of Stagebill is available on monthly publication to subscribers for $12 per year (U.S.); $21 (outside U.S.). Back issues available. For details write: Stagebill, P.O. Box 5348, Grand Central Station, New York, N.Y. 10163 (Dept. S). 5 Last Niglit at the Sehubertiad .. .being an up-to-date account from our Viennese correspondent D earest Greti! My business in Vienna proceeds while, Franz von Hartmann has been the well, and I shall be rejoining you in Linz by soul of kindness, neglecting his law studies the end of the month. Then we can cel­ to show me the city by day and take me to ebrate Christmas and ring in the New various entertainments by night. Already Year—imagine, 1826!—together. Mean­ we have heard Tambourini and Signora Editor’s Note: Each of the events depicted in this story is historically accurate, although for nar­ rative sake the chronology has been condensed. The narrator is fictional, every other character was a real person. Schubert’s direct quotes are actual; all others are fictional. Franz von Hartmann’s diaries and later memoirs are a prime source on Schubertiads. About 35 years after Schubert’s death, Moritz von Schwind painted the most famous Sehubertiad picture, “Schubert Abend bei Joseph von Spaun.” Above: Moritz von Schwind’s depiction of a typical Sehubertiad David Wright 7 Vienna—musical capitai of centrai Europe Fodor in II barbiere di Siviglia. Rossini some kind of artist as well, be it playwright fever grips the city; his tunes are every­ or poet or musician. They were all young— where, in the coffee houses, in the streets. scarcely a soul over thirty, it appeared— Last night Semiramide was given, with and yet they seemed to have read every Lablanche, but Franz urged me to go with book that was ever written. I felt quite out him instead to a gathering of his friends he of my depth with them. Do you remember called a “Schubertiad.” There would, he that baritone Johann Michael Vogl, who said, be plenty of dancing and wine, with was so popular at the Hofoper when we music by a local composer—another were children? He was there, representing Franz, named Schubert. This seemed to the older generation. I also met Moritz von me a feeble alternative to the opera, but my Schwind, a quick-witted, blond-haired lad Franz would not be dissuaded. barely out of his teens, who is a talented Accordingly, we proceeded after dinner painter, Franz tells me, but spends much of to the house of Josef von Spaun, an official his time playing Puck to Schubert’s Ob­ in the Hofkammer, where twenty people or eron. so had gathered, but not the guest of But enough of the men—the ladies were honor. Spaun welcomed me most gra­ every bit their equals, and pleasanter to ciously, but said to me, “I must warn you look at! Their faces still swim in my mind: that sometimes we have our Schubertiads Leopoldine Blahetka, the piano virtuoso; without Schubert. We have invited him to Netti Honig, a bit of “honey” indeed, a come tonight, and he probably will. But if barrister’s daughter and Schwind’s special the mood strikes him, he may go off to a flame; Louise Forstern, whom they call tavern with a few schoolmasters, or some “Flower of the Land,” and for good such. Even if that happens, we shall reason; and others whose names eluded probably manage to salvage the evening.” me. Probably, indeed! As I became ac­ At first I had no idea that the unpre­ quainted with the assembled company, I possessing little man who entered the room forgot all about this curious Schubert. to cheers and embraces was the idolized Dear sister, if you could only have been Schubert. They called him “Schwammerl,” there! The men were all lawyers or govern­ and a perfect “little mushroom” he was, ment officials, it seemed, but each was too. With his short legs, stout figure, 8 bulbous features, and squinty eyes behind small spectacles, he could have passed for one of our Danube peasants. He received all these greetings with little sign of “Judith animation, and I began to wonder what Alstadter kind of a dullard I had given up Lablanche ...plays in Semiramide to hear. with Schubert went immediately to the piano panache...” and began to accompany Vogl, who sat in a Fanfare Join Judith Alstadter, Carnegie Hall's bril- liant young concert pianist, on our gala ■ Music-in-Mexico cruise. Sail from San Francisco on April 21 for 14 days of musi­ cal magic. Seminars. Recitals. And cele­ brations to make music lovers marvel... all aboard The Nietrw Amsterdam, a ship reminiscent of The Transatlantic Era. Landry & Kling Cruise Consultants 232 Madison Ave. NYC 10016 212-686-6200 Holland America Schubert ’s house in Vienna chair next to him. Vogl’s voice is not what it was, but he compensates with many dramatic whispers, falsetto notes, and gestures with his lorgnette. I found it all very expressive, though some of my neigh­ bors were exchanging smirks with each other and even with Schubert. As for the songs, Schubert seems to favor texts by the impenetrable Goethe, which he sets with “In The Heart Of The many violent contrasts and obtrusive Hotel & Theatre District” piano playing; and yet amongst these were 846 SEVENTH AVE. N.Y.C. some lovely songs about nature, particu­ (Between 54th & 55th Sts.) RES: 586-8096 --------------- larly one about a brook in which the piano ------------------- 3---------- - made brook-like noises. Vogl sang on until his voice began to break; then he sang some more. I was relieved when Vogl stepped to the punch bowl to soothe his throat and Schubert announced a new piano sonata. Although he is no Kalkbrenner, the com­ poser played his work with enthusiasm, (continued on page 18) 57 West 56th St. (Bet. 5th & 6th Aves.) 247-1136 11 ŒWgEHAI± 1983-1984 SEASON Saturday Evening, December 3, 1983, at 7:30 THE AMERICA-ISRAEL CULTURAL FOUNDATION presents a Tribute to Arthur Rubinstein ANNUAL GALA with LEONARD BERNSTEIN JEFFREY KAHANE JEROME LOWENTHAL Elisha Abas CHOPIN Polonaise in C-sharp minor, Op. 26, No. 1 MR. BERNSTEIN ALBENIZ Evocación, El Puerto MR. KAHANE STRAVINSKY Three Movements from "Petrushka" (Dedicated to Arthur Rubinstein) Russian Dance In Petrushka's Room The Shrovetide Fair MR. LOWENTHAL Intermission SCHUMANN Fantasiestücke, Op. 12 Des Abends Aufschwung Warum? Grillen In der Nacht Fabel Traumes-Wirren Ende vom Lied MR. KAHANE CHOPIN Nocturne in F minor Valse in B minor MR. ABAS RACHMANINOFF Suite No. 2, for Duo Pianos Nocturne Tarantella MR. KAHANE and MR. LOWENTHAL 13A Fredric Mann, Arthur Rubinstein and Isaac Stern, at the opening of the Fredric R. Mann Auditorium, Tel Aviv, 195 7. Isaac Stern and Arthur Rubinstein. 14A EXPECTATIONS REALIZED by Emanuel Krasovsky Message from Isaac Stern halls are always crowded for dance, thea­ "I can't believe it," said a distinguished For the past thirty-five years AICF has ter and film performances since Israelis are musician, glancing about in bewilderment given talented young people the oppor­ as he was led to his jury seat. "I have been It is our privilege today to honor Arthur among the most avid patrons of the visual tunity to develop their artistry. About six Rubinstein. During his long and fruitful and performing arts in the world. The to many competitions, but this is beyond hundred promising young musicians each life his musical approach, the very sound America-Israel Cultural Foundation con­ belief." year participate in the elaborate framework of his instrument, became a cherished siders it a privilege and an obligation to Indeed, the Tel Aviv Museum's Recan- of auditions sponsored by the AICF. The warmth in the ear of every musician, no support these cultural activities. ati Hall on that March morning of 1983 most gifted win study scholarships, while matter what his instrument.
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