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He wrote two years ago after visits to Jerusalem and the West Bank that Israel's "efforts toward exclusivity and xenophobia toward the Arabs" had actually strengthened Palestinian determination Born in 1935 in Jerusalem â€â€? then part of British-ruled Palestine â€â€? Said spent almost all his adult life in the United States He had suffered from leukemia at least since the early 1990s "Palestine and Palestinians remain, despite Israel's concerted efforts from the beginning either to get rid of them or to circumscribe them so much as to make them ineffective," Said wrote in the English-language Al-Ahram Weekly, published in Cairo Columbia University did not censure him, saying that the stone was directed at no one, no law was broken and that his actions were protected by principles of academic freedom Said died at a New York hospital, said editor Shelly Wanger He prompted a controversy in 2000 when he threw a rock toward an Israeli guardhouse on the Lebanese border He was 67 Said was consistently critical of Israel for what he regarded as mistreatment of the Palestinians He wrote passionately about the Palestinian cause but also on a variety of other subjects â€â€? from English literature, his academic specialty, to music and culture Palestinian Scholar Edward W In 2000, he prompted a controversy when he threw a rock toward an Israeli guardhouse on the Lebanese border Columbia University did not censure him, saying that the stone was directed at no one, no law was broken and that his actions were protected by principles of academic freedom Said Dies Sep 25, 9:58 AM EST Edward W His books ranged from "The Question of Palestine" in 1979 and "After the Last Sky" in 1986 â€â€? both about the Arab-Israeli conflict â€â€? to "Musical Elaborations" in 1991, and "Cultural Imperialism" in 1993 Said, a Columbia University professor, literary critic and leading spokesman in the United States for the Palestinian cause, has died, his editor at Knopf publishers said Thursday Now, like other large repertory houses, the Kirov's productions range from enlightening to excruciating But in both "Onegin" and "Macbeth," superior singing compensated Sets by Semyon Pastukh for Prokofiev's "Semyon Kotko" and Dmitry Cherniakov for Rimsky-Korsakov's "The Legend of the Invisible City of Kitezh" were modern, perhaps too contemporary for some Kirov at the Met Nets Mixed Reviews Jul 28, 3:34 PM EST The Kirov Opera is growing up fast â€â€?â€â€?â€â€? On the Net: http://www metopera The conductors who led later performances also deserve recognition: Mikhail Agrest ("Kitezh"), Mikhail Sinkevich ("Macbeth") and Tugan Sokhiev ("Onegin") That's also been a problem for Gergiev at the Met, where he is principal guest conductor Tchaikovsky's "Eugene Onegin" and Verdi's "Macbeth" were wrecks mariinsky Gergiev has pushed the Kirov and its Mariinsky Theater forward and increased its visibility vastly since he took over 15 years ago, but the performances come off as under-rehearsed During the company's extended stay in 1998, several of the productions had an aged look, with painted backdrops instead of sets Perhaps the slow box office was due to a lack of big names: Dmitri Hvorostovksy, the original Onegin on the schedule, did not appear; Anna Netrebko didn't sing at all; Olga Borodina was in just two performances, as Marfa in "Khovanshchina;" and Daniil Shtoda sang in only one, "Onegin " Victor Chernomortsev sang powerfully in the title role, and Irina Gordei was also compelling as Lady Macbeth, but he sounded slightly gravelly and her voice was a bit too steely org http://www Singers switch roles frequently and several times moved tentatively on stage, as if they weren't quite sure where they were going The 1960 Fyodor Fyodorovsky production of Mussorgsky's "Khovanshchina," which has been rebuilt and restaged, looked somewhat bland, with painted backdrops of domes behind all the colorful costumes He produces a vibrant sound from the orchestra but the drama often doesn't quite come together much of the time Valery Gergiev, the Kirov's artistic director and chief conductor, was on the podium for the first nights of all five productions, as well as for the single concert performance of Anton Rubinstein's "The Demon But they were engaging throughout, especially the fairy-tale ending of "Kitezh," an often dark work that ended with a heavenly bright blue sky behind the cast " It had virtually no sets; it was placed on a bare, black stage with lights visible on the wings and skulls on the front While the boyish-looking Shtoda had a sweet tone as Lenski, his voice sounded small in the 3,800-seat Met, unable to soar over the orchestra The Kirov singers, including the excellent chorus, produce distinctive Russian sounds, a great benefit in the four Russian works but a detriment in "Macbeth Other than for the "Onegin" performances, the Met seemed half-empty for the performances, part of the Lincoln Center Festival ru/en/opera Christian Fenouillat's 2002 "Onegin," a coproduction with Paris' Chatelet, looked like it was taking place in the loading dock of a contemporary office building, with bland block walls Based on the Kirov's latest three-week stay at the Metropolitan Opera House, which ended Saturday night, millions have been poured into stagings, which is both good and bad " There were some notable nights for other singers David McVicar's 2001 version of "Macbeth" was a substitute for the Kirov's original production of Verdi's "La Forza del Destino Tenor Nikolai Gassiev was a standout as Grishka the drunk in "Kitezh" and baritone Vassily Gerello gave a gripping portrayal as Onegin " Gergiev clearly is the driving force behind the company â€â€? even when he wasn't conducting, his biography was in the program instead of the bio of the person on the podium that night Tenor Leonid Zakhozhaev, as Macduff, had the best voice of the performance An intermission was bizarrely inserted into the middle of the second act, and the end of the duel proceeded straight into the final act, which didn't work in Robert Carsen's minimalist Met production in 1997, either |
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