Comments on: Moondrunkenness Needed for Pierrot Lunaire to Come Alive

By: Adam Workman

Adam Workman — Sat, 16 Jan 2010 16:59:30 +0000

I would like to chime in here as an attendee in the front row of this fantastic NYE event. What Paula Robison and esteemed colleagues accomplished in their passionate rendition of Pierrot was truly notable and it sent shivers of humanity running up and down my spine throughout the performance. I was positively overwhelmed with the performers precision during the Galgenlied, their enthusiasm in Der Mondfleck, the morbid humor/gestures of Gemeinheit, and the altogether brilliance of Ms. Robison’s presentation and ensemble coordination, especially. My concert partner (a string player who has studied and performed this piece) and I could not stop talking about it for days after the performance, and we are still talking about it!! For this concert attendee anyway, it was truly remarkable what they did on New Years Eve and I was thrilled to witness it. As a trained classical flutist myself, I would also like to congratulate Sooyun Kim for a very rich and colorful performance which I found to be refined, expressive, and inspiring. To those who have read E.R. Staunt’s comments about Ms. Robison – if you know anything about the classical music world, Paula Robison is among the most acclaimed and celebrated flutists and musicians of our lifetime… there are musicians and music aficionados worldwide who are envious that we get to hear/see her perform as often as we do, right here in Boston, and we should be humbled by our good fortune in this regard. We might also appreciate the Gardner and Mr. Nickrenz for organizing what, in my opinion, is second in all of New England/Boston only to the massive buying power of the Celebrity Series of Boston. Kindest regards to all and indeed – HAPPY NEW YEAR!

By: paula robison

paula robison — Fri, 08 Jan 2010 14:16:33 +0000

Dear Ms Norton, If the modified,improved review (listing my fellow artists) had been the one I had read originally, I would certainly have kept my big mouth shut. It did, however, result in an extensive and lively discussion on facebook of the meaning of the word “ringer”! We all learned a lot about our differing reactions to the word, and about its origins. So, thanks for that! I shall henceforth take the label as a compliment. The “Pierrot” scores and books are all in the attic, at rest probably for good. I won’t waste time on the nasty remarks about the Music Director,
except to ask: doesn’t any Director have the mandate to engage the artists he or she is interested in? Perhaps this could be a future post/forum……..

By: Bettina A. Norton, executive editor

Bettina A. Norton, executive editor — Fri, 08 Jan 2010 12:44:24 +0000

YMs. Robison’s desire to call a cease-fire on this issue is a good one. But a clarification is in order; yes, Mr. Baratz’s review was modified (for the better), but only by the addition of more information on Pierrot (second paragraph) and listing the “ringers” (second sentence, last paragraph).

By: paula robison

paula robison — Thu, 07 Jan 2010 23:12:46 +0000

Perhaps it’s time to declare a cease-fire here. The issue under consideration was a particular evening and a specific performance,
not larger philosophical questions about how a director chooses to run a music series (I must interject, however, that Mr Nickrenz was not the director of this particular event, but rather Pieranna Cavalchini, curator of Contemporary art at the Gardner). I’m happy to take my knocks as a performer. That’s the dust of the arena which we all must eat if we choose to enter that creaky wooden gate with the spikes on top of it. I apologize if I was too energetic in my reaction. I
was breathing the ether of a free artist after the experience of a masterpiece, an experience not readily available to me as a flute player.I pray that with help from my colleagues and teachers, I may someday become an eloquent interpreter of “Pierrot Lunaire”. Happy New Year.

By: paula robison

paula robison — Thu, 07 Jan 2010 22:27:35 +0000

And, Mr Baratz’s review had been modified by the time Mr Staunt read it. The earlier version was the one which annoyed me. There seem to be other issues at play here! How interesting!I’ve never been called a princess before….hmmmmmmmmmmmm

By: paula robison

paula robison — Thu, 07 Jan 2010 22:23:31 +0000

And, by the way, hysteria was not what we were aiming for in our year of work together, but rather
the “light, satiric, ironic tone” which Schoenberg wanted…….

By: paula robison

paula robison — Thu, 07 Jan 2010 22:21:25 +0000

Well, maybe it;s time to escape from Boston!

By: e.r.staunt

e.r.staunt — Thu, 07 Jan 2010 14:15:01 +0000

Paula Robison would have been better advised to use her “Moondrunk” expressions in the performance, rather than in her hysterical reaction to Adam Baratz’s review, which was insightful, descriptive and dead on (in fact, more gentle than it could have been). Frankly, there have been many fine singers and actors who have performed this demanding “Sprechstimme” role with skill, experience and, if you will, “expressive expressionism;” Paula Robison cannot be counted among them. However, since her husband Scott Nikrenz directs the music program at the Gardner like an absolute monarch, hiring only his friends and ignoring everyone else, I am sure Princess Paula will have no trouble getting a return engagement there. Hey, Gardner Museum Overseers! Would you employ a curator who only put the paintings of his friends or useful contacts on the wall?

By: paula robison

paula robison — Mon, 04 Jan 2010 19:21:42 +0000

I actually liked the part about the nightgown. Emily Dickinson was there..

By: paula robison

paula robison — Mon, 04 Jan 2010 19:13:13 +0000

Dear Lee Eiseman,
Thanks for this.
How absolutely wonderful.
Another attendee? Perhaps the curator, Pieranna Cavalchini, would have an idea.
I have never replied to a review in my entire life, and it’s a great romp to participate in this discussion. Makes me happy to live in Boston….
Brava to you, and Happy New Year!
Paula Robison