Bard’s Beloved Spiegeltent Returns for SummerScape 2011

By -
“Enter the Spiegeltent – the tent of dreams – and you will never be the same again.” – Edinburgh Fringe magazine

he opening of the 2011 Bard SummerScape festival on July 7 signals the return of the authentic, one-of-a-kind Belgian Spiegeltent, the luxurious “tent of mirrors” that has proved a sensation since 2006, when its introduction to Bard marked the first time one of these fabled old-world structures appeared in America. The New York Times pronounced it “agreeably funky,” while the Village Voice praised its “wooden floors, mirrored walls, stained-glass panels, and red velvet ceiling.” Conveniently situated near the Frank Gehry-designed Fisher Center, the Spiegeltent affords a sumptuous and magical environment to enjoy cutting-edge cabaret and musical performances – almost all of which sold out last year – plus family fare, late-night dancing, and tasty refreshments, throughout the seven-week festival (July 7–August 21).

Originally from Europe, where such tents and the special entertainment they host have been a tradition for the past century, the Spiegeltent is a marvel of engineering, comprising 3,000 detachable parts, with a spellbinding interior of carved wood surfaces, parquet floor, beveled mirrors, stained-glass windows, and splendid velvet canopies. On weekend afternoons and evenings, the theater-in-the-round – encircled by audience members seated at booths and tables – is the stage for a variety of performers, from cabaret acts and musicians to dancers and jugglers. Before and after performances, the Spiegeltent provides the ideal setting to enjoy light fare, meals, and drinks chosen from the best offerings of the Hudson Valley’s rich array of farms, orchards, dairies, wineries, and breweries.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more