Be Mine: A Very Caramoor Valentine’s Day
We’ve compiled our picks of romantic and love-inspired songs perfect for Valentine’s Day from Caramoor performers past and present! What music do you like to share with the ones you love? Read more
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It’s a Play, It Ain’t Brain Surgery: An Interview with Marin Mazzie & Jason Danieley
Three-time Tony Award nominee Marin Mazzie and Emmy-nominated Jason Danieley reflect on romance, Czech isolationism, and their Great Midwestern Escape. Explore how this year’s Cabaret in the Music Room co-stars learned the art of zen in a hospital room, then hear this cool and collected husband-wife duo live at Caramoor. Read more
Did we just rediscover a masterpiece?
A message from the Director of Opera
Rossini’s Aureliano in Palmira was the highlight of the 1813-14 opera season in Milan; Beethoven’s Fidelio debuted in the same season in Vienna. The first was forgotten for over a century; the second was quickly revered as the unique masterpiece it is. We are bringing them together again at Caramoor for 21st-century operagoers to review history’s verdict. Read more
Sotheby’s New York to Offer Chinese Art & European Decorative Arts
25 Tunes to Carry You Through the Holidays
Caramoor’s Artistic Directors and Staff stepped away from work to offer their recommendations for great holiday listening this year. Read more
Songs of the Guillotine
Review: ‘Dialogues of the Carmelites,’ Under Will Crutchfield, Finds Beauty Anew
Originally Published by The New York Times
By Anthony Tommasini
KATONAH, N.Y. — The conductor Will Crutchfield’s Bel Canto at Caramoor program has been bringing eager audiences to this festival here in Westchester County each summer for performances of operas from the early 19th century. On Saturday at Caramoor’s Venetian Theater Mr. Crutchfield turned to a work that couldn’t seem further from the era and style of bel canto: Poulenc’s “Dialogues of the Carmelites,” performed in the original French. First presented in 1957, this austerely beautiful and wrenching opera, loosely based on a historical event — the guillotining of 16 nuns from the Carmelite convent of Compiègne during the French Revolution — owes more to Debussy and Neo-Classical Stravinsky than the bel canto composers of an earlier time. Read more
An Imaginary Line From CSN to Sarah Jarosz, Aoife O’Donovan & Sara Watkins
Originally Published on No Depression
By Easy Ed
I awoke this morning with a throbbing left foot. I wore the black boots last night and my toes unconsciously tapped throughout the seventy-five minute set and the well deserved encore that was delivered by three talented singers, songwriters, and instrumentalists. On a beautiful summer night in the Spanish Courtyard of the Rosen House, located on the lush grounds of the Caramoor Center for Music and the Arts which is a mere sixty minutes north of Manhattan, I kept my eyes closed for much of time to shut out the visual and allow just the sounds of nature melded with the music to pour over the tip of my head and fill my body and soul. The only distraction to my thoughts and immersion were the whoops and cheers that punctuated the close of each song. Read more
Partnership’s Opening Number: A Day of Jazz
Originally Published by The New York Times
By Phillip Lutz
When Jeffrey P. Haydon took over as the chief executive of the Caramoor Center for Music and the Arts in Katonah almost three years ago, favorable attendance at its jazz concerts was a hit-or-miss proposition. So he began networking, eventually approaching Jazz at Lincoln Center about forming a programming relationship. Read more
3 Pieces to Debut at Caramoor Summer Festival
Originally Published by The New York Times
By Phillip Lutz
Over the years, the Caramoor Center for Music and the Arts in Katonah has opened its summer stage early, and often, to notable premieres, from the American debut of Benjamin Britten’s trilogy of operatic church parables in the 1960s to the inaugural performance of David Ludwig’s “String Quartet No. 1: Pale Blue Dot” last year.
But this year’s summer festival, the 70th, promises to rank with the best. It will feature three world premieres, a diverse and reflective lot that includes an orchestral divertimento by Christopher Theofanidis and string quartets by Aaron Jay Kernis and Patrick Harlin — all works by Americans whose aesthetics capture a sense of both tradition and innovation.