Kristen Baransky in the series “The Gilded Age”
In Julian Fellowes’ new and somewhat boring series “The Gilded Age,” she’s a great ray of hope: Christine Baransky plays Agnes van Rijn, a widow who, as part of the old New York financial aristocracy, is extremely wary about what’s appropriate. A freezing temperature toward the newly rich in the Tasteless Boasting Palace. But she is never arrogant with her, it is more amusing, her rejection of a soul, and a subtle irony behind her, despite all the arrogance, something like self-reflection sparkles. The role of Baransky – Maggie Smith, the widowed countess of the American “Downton Abbey” – fits perfectly in the 70-year-old man’s bag, which features cultured, educated and wealthy women (“The Good Fight” series, which “”Mamma Mia” films). If you want to represent “upscale” in the United States, contact the Emmy- and Tony Award-winning actress.You’re right. Kathleen Hildebrand
One of the first open letters in German history is Bettina von Arnim’s 1843 essay This Book belongs to the King. In it she drew the attention of Friedrich Wilhelm IV to the social misery in Prussia. Social reporting and appeal combined to form the claim of a promising future. The King wasn’t amused, especially since he had just been honored with a gorgeous salute drawing from the Bettina Daughters – and now that’s it! This episode narrates one of the “station books” at the Frankfurt Romantic Museum, which is to be commended here: literary history in meticulously designed episodes, pictures and quotes. It can also be recorded independently of the museum visit – the most beautiful romance (“Chess with the King”, five euros. https://deutsches-romantik-museum.de). Gustav Sebet
Classic CD: Schubert String Quartets
“Quite calm and unfazed by the inevitable chatter of his comrades around him at the boarding school, he sat down at the little desk in front of the sheet music… bent down (he was short-sighted), biting his pen, now and then tapping with his fingers and writing easily and fluently without much corrections” . Thus his colleague Albert Stadler described in 1812 how 15-year-old Franz Schubert immersed himself in composition and how easy it was for him. Fifteen string groups have survived, of which the late three, the “Rosamunde” quartet, the “Death and the Maiden” quartet and the last one in G major are among the highlights of the entire genre, and of course, is played by any band of any stature. These three were written between 1824 and 1826, the early twelve quatrains between 1810 and 1816, exactly the period mentioned by eyewitness Stadler.
The fact that these pieces also speak of the freshness of instant thoughts, the daring changes in harmony and peppery rhythms, the courage to experiment and the always melodic fullness, but also of sudden gloom and yearning pain, is evidenced by the sumptuous complete recording of all fifteen Schubert quartets by Quatuor Modigliani (five discs). embedded in Mirare). The four musicians – the radiant primarios Amauri Koito, the very present second violinist Loïc Rio, the intensely intense violinist Laurent Marfaing and the stable cellist François Kieffer – take early pieces as seriously as they should be to a unique young genius. You couldn’t play it more fiery, sensual, adventurous and full of life. But the four betray the young Schubert with little or no harmless joy in the music-making process or vitally understated because they do not burden him with the beast of severity, tragic drama, and exhausting virtuosity of the three late masterpieces. In this way, Modigliani takes their journey through this quartet on a thrilling journey of adventure in the realms of the extreme will to express and the quest for the great symphonic form, which Schubert so masterfully accomplished in the later quatrains. Harold Egbrecht
Film: George A. Romero, “The Monkey Shines”
Via fax by George A. Romero, this is how you can translate the title of his 1988 movie “Monkey Shines”, in which he once again tried to break out of his hit zombie movie circuit (“Der Affe im Menschen”, available as an informative book from Koch Films). It’s about the very intimate relationship between Alan and Ella (with echoes of Jekyll and Hyde). Peggy Lee sings “This is a story, this is the glory of love…” Young Alan is a paraplegic, Ella is supposed to help him in daily life, she’s a trained Capuchin monkey. Alan is uncontrollable and develops murderous feelings – which Ella skillfully executes, a gentleman with big fangs but big teeth. They are immersed in spirit. An unbridled whirlwind of obsessive researchers and controlling mothers, and the question of whether there is a vestige of innocence in every act of aggression. Fritz Guetler
Poetry: “Lyrical Memoirs” by Christian Gerhauer
One day in 2014, Christian Gehrer bought a Bahn Card at Frankfurt Central Station. At that time he was 44 years old. However, the night before he sang the title role in Mozart’s “Don Giovanni” at the Frankfurt Opera, which had to be persuaded to do, since there are a number of things associated with this role that one might look for in vain. Others. But with Christophe Lowe as director, it was fine, Gehrer thought an old hoe in a wheelchair, Lowe didn’t go that far, just donning a gray wig with greasy hair. And Gerhir felt as he often does when playing roles on the opera stage: he took the role, though he refused full identification with the character on stage and always kept the remnants of a critical perspective. So much so that the woman at the train ticket office in Frankfurt asked him if he was over 60, because Bahnkard would be much cheaper. And if this was the case, Gerhir asked himself, where had all the years he apparently lived without having passed?
Christian Gerhauer, the most important lead singer of our time, and in carefully selected doses, to be experienced again and again with absolutely brilliant performances on opera theaters, wrote a book. So what is naturally difficult among musicians. And even if his “Lyrical Diaries” (CH Beck-Verlag) describe such experiences as the above, one should not understand that these diaries are just a collection of funny anecdotes from the singer’s life and associated business. No, this book is clever in life, personal and philosophical at the same time, and Gerhare continues to search, in complete privacy, the depths of the works he knows like no one else. The works of Mozart, Schumann, and Schubert of such living composers as Wolfgang Rihm and Heinz Holiger. This is stressful at times, but always useful, and whenever the analysis of the text and music of the examined works threatens to get over your head, life explodes – and often very entertaining. Gehrer’s homeland is in Lower Bavaria. Egbert Thule