Remembered

I attend an awful lot of arts events each year, and in truth most of them don't stick with me.  One of the questions in a radio interview today was what were the most memorable performances I've recently attended.  Four sprang immediately to mind, and since they're so diverse I thought I'd share them here.

The incomparable Sarah Cahill, performing Ingram Marshell's Authentic Presence on a March 28, 2010 program at Caramoor.   (Disclaimer - this photo is of another composition on her program.)  I adore Sarah's playing, and I still have this piece - heard by me for the first time that evening - resounding inside my head (and heart).


The Metropolitan Opera's production of Phillip Glass' Satyagraha (from the 2007-2008 season).  Yes, of course, that last tenor aria is sublime, but what really struck me - and stuck with me - was the incredible stage magic of the Improbable Theater Company.


Pauline Oliveros and Susie Ibarra's set at The Stone last Saturday night.   Two incredible artists (that night using digital accordion and percussion).  I often "hear" colors, but this was the first time that listening invoked a smell.  (Skunk!).  


Les Éphémères by Le Thèâtre du Soleil at the Lincoln Center Festival (summer 2009).   A transcendently compassionate transformative production, directed by Ariane Mnouchkine.

An Outdoor Match

On May 2, Sealy went to her second match.   This was an outdoor event, and also sponsored by the First Dog Training Dog of Northern New Jersey, where we've been attending classes.  


It was a hot, hot day (about 90) but fortunately there were kiddie wading pools - and a garden hose - to cool down the dogs.  (I'd wet her down,  and she'd be dry in about twenty minutes.)


I did two entries again at this match, with similar results as the last time, which was indoors, not outdoors.   


Probably the most amusing thing happened in the first entry during the long down:  Sealy became absorbed in something - presumably a bug in the ground -  and first stretched and then crawled out of her long down to keep track of it.   My fault, of course!   I was remiss, and hadn't worked her outside - a textbook example of how all kinds of proofing is so important.  (In the long sit she became absorbed in a - yikes - slow moving bumblebee, but didn't break...).


I'm planning to trial her late July - mid August.  It's early - my work is cut out for me! -  but after late June I'll have time to train, and it will be good for me to be working towards a goal.  

Is Music Gay?

This fall, Joseph Dalton began a blog called My Gay Ears about gay composers and musicians, and up yesterday went a profile/interview of me in his  "queeries" section.

As anyone who knows me might have predicted, I'm not especially easy to categorize - I identify with my name, as a musician, but not with much else.  While it's rather difficult  for me to imagine just how the noun or verb or even adjective of being "lesbian" translates audibly into my performances or compositions (and even if it does, what would it matter?)  at the same time I am the sum of my parts, and this is a part of me, so when invited to be "queeried" by Jody I said yes.  I'm very curious to read how people respond to this piece, so please - leave a comment on that site!  (The comments section is at the very end of the story, under the box for the Amazon store.)

PS For those who don't know, Jody (as he's known) was CRI's Executive Director for about a decade (remember the Gay American Composers Vol. 1 & 2, and Lesbian American Composers compilations CDs?).    Now he's an arts writer and consultant.  (He was also a congressional page and an Eagle scout...)