Past Production Reviews
4In “Silent Spring,” Rachel Carson writes, “a truly extraordinary variety of alternatives to chemical control is available … they are biological solutions, based on an understanding of the living organisms that they seek to control … They recognize that we are dealing with having populations, with all their pressures and counterpressures.” A new exhibit at Carnegie Museum of Art takes its name from this passage of the Pittsburgh native’s book, exploring 10 artists’ relationships with global warming and the transitory state of our environment. The word counterpressures “stood out as a perfect description of the push and pull of back and forth between humans and the earth we live on,” says Hannah Turpin, curatorial assistant for modern and contemporary art and photography at the museum. Developed in partnership with Associated Artists of Pittsburgh, the exhibit includes sculpture, photography, painting, sound installation and performance and video. Tara Fay Coleman’s performance and video piece looks at how low-income and black people, in particular, are affected by the ecological crisis. Stephanie Martin, an art teacher in Mercer who is originally from Johnstown, uses recycled materials as part of her sculptures referencing the mountains and rivers of western Pennsylvania. “She grew up with the industrial impact on the land really impacting her perspective of the landscape and what is viewed as natural or beautiful,” Turpin says. Ginger Brooks Takahashi presents a sound installation, a variation of her work from 2018’s Carnegie International, about what causes one to break their silence and speak out against the environmental crisis. Brooks Takahashi, who worked for the past eight years on a farm in Braddock, offers a poetic accounting of her time there as well as news reports and the experiences of others she’s encountered. “Counterpressures” is the 83rd installment in the museum’s Forum series, which began in 1990. Turpin says programming is a major component of the Forum series, especially for this exhibit, which coincides with the 50th anniversary of Earth Day on April 22.
There’s a reason that Pittsburgh Opera draws attention from around the country and the world, and, if you’ve never been, now is the perfect time to discover this cultural gem. This spring, the company heats things up with “Carmen,” an irresistible thrill ride of lust, deception and murder. This riveting, classic opera makes for an unforgettable night out – as well as a great introduction for first-time operagoers. “Carmen” runs March 28 to April 5 at the Benedum Center. English supertitles will be projected above the stage. Tickets start at just $14, with kids and teens admitted half-price.
The cast fared with varying degrees of success. Jennifer Holloway as Donna Elvira was the most impressive of the women, singing with fine line, intensity and ample intelligence. Caitlin Lynch was also a strong presence as Donna Anna, though her vibrato sometimes got in the way. Simpson's Don Giovanni was certainly impressive at times, including the aria “Deh vieni alla finestra,” with its mandolin accompaniment well played onstage by Thomas Godfrey. I'd like to hear Simpson in the role in a different context. Wayne Tigges gave a particularly earthy slant in vocal timbre as well as deportment to Leporello, Don Giovanni's servant. His Catalogue Aria – cataloguing Don Giovanni's amorous conquests by country, ending with “but in Spain, 1,003” – concluded with coarse handling of Donna Elvira, to whom it is sung. Sean Panikkar offered impressive sotto voce singing as Don Ottavio. Sari Gruber was variable as Zerlina, at her best performing with Joseph Barron's solid Masetto.
