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The stage is a fixed space. It is the axis around which story, conflict, and character revolve. When that fixed space shifts, new possibilities emerge. Starting Wednesday, April 23, a shifting site for theater emerges at Deering Estate, a 444-acre environmental, archeological, and historical preserve along the edge of Biscayne Bay in Palmetto Bay. Four local playwrights have collaborated ..

Nearly two years ago, Miami’s Zoetic Stage took its first trip into the world of Harold Pinter with an intense, superbly acted production of the Nobel laureate’s 1978 hit “Betrayal” in the Arsht Center’s Carnival Studio Theater. Now Zoetic is delving further back into the Pinter canon with a riveting production of “The Caretaker.” This 1960 work is, like “Betrayal,” a three-character ..

Imagine animation created live on stage, with mini backdrops, puppets, and low-tech props. Channel it through multiple cameras and mix it live into a projected film. Add a string quartet and a DJ. This is the structure of “Nufonia Must Fall,” an upcoming project presented by MDC Live Arts. The show is slated for appearances around the world, from Asia and the Middle East to Europe and..

That Actors’ Playhouse opened its production of Robert Schenkkan’s “All the Way” on the same day that the American Health Care Act was pulled from a vote by the House of Representatives is ironic and more than a little instructive. The much-touted replacement for Obamacare didn’t have enough sure votes to ensure passage, as Speaker Paul Ryan told President Donald Trump, so the “replac..

The take-no-prisoners world of high finance and ruthless business deals has long been a tantalizing subject for artists. From filmmaker Oliver Stone’s 1987 “Wall Street,” with its antihero Gordon Gekko spouting “greed is good,” to Damien Lewis’ slick hedge fund mogul Bobby Axelrod in the Showtime series “Billions,” movies and television allow those of us in the 99 percent a glimpse at wha..

Miami’s venerable M Ensemble is a company that sometimes dips into its rich history to mount fresh productions of past shows. For its second production in its versatile new home at the Sandrell Rivers Theater in Liberty City, the troupe is revisiting Darren Canady’s “Brothers of the Dust.” Winner of the 2012 M. Elizabeth Osborn Award from the American Theatre Critics Association, the ..

“El cuento de Rene,” actor and director Larry Villanueva’s adaptation of Cuban writer Rene Ariza’s short stories into a work of theater, is more than an homage. It’s a statement on oppression. Ariza was sentenced to eight years in prison for trying to send manuscripts abroad. He was banned from creating theater in Cuba and condemned as “counter-revolutionary.” Ariza served five years of h..

Those who attend film festivals aren't looking for the mainstream, Cineplex offerings. That isn't the goal. Amid the indie films, the foreign entries, documentaries, and the world premieres, there's another reason to canvass the program for something you might not see anywhere else. Given the Miami Film Festival is the only major film festival to be produced by a college or university..

{This interview was conducted before the film making team went on to amazing Oscar success.} Playwright Tarell Alvin McCraney and filmmaker Barry Jenkins are nine miles away from the Liberty City housing projects where they both grew up, but they are worlds away. They are at the picturesque Standard Hotel to talk about the new movie "Moonlight," with a screenplay by Jenkins base..

First things first. Actor-playwright Elena María García does explain the meaning of “¡FUÁCATA!” somewhere deep into the 90-minute running time of Zoetic Stage’s “García Or a Latina’s Guide to Surviving the Universe.” The familiar Cuban term, she confides from her perch on Michael McKeever’s Mondrian-evocative set, suggests the sound of a slap. As in, “¡Fuácata! You really stepped in i..

“What does it mean to belong? What does it mean to not want to belong?” These are questions that choreographer Reggie Wilson contemplates in his provocative piece “CITIZEN,“ which makes its M..

If even a modicum of redemption can be forged from the hellish after-effects of gun violence, we must listen to the communities most affected by the violence. To this end, “Trigger,” a hip-ho..

Celebrating 35 years is an amazing achievement for any dance company in Miami, but especially one founded in a decade better known for its ties to drugs than to the arts. Momentum Dance Compa..

For Tigertail Productions, April is the month of fire. Like their WATER Festival in 2016, this month’s FIRE Festival celebrates a single element in multiple art forms, including dance, visual..

During the month of April the organizers of the seventh iteration of the O Miami Poetry Festival intend every resident of Miami Dade county to encounter a poem or – even better – write one! An..

As the “home-grown” sweetheart of Miami City Ballet, Patricia Delgado is having her final performances this season before leaving the city and the company she loves to move to New York City.H..

Even people who can’t find Argentina on a map and believe tangos only happen in Paris know La Cumparsita’s iconic four beat opening. Like a bar’s last call, La Cumparsita tells tango dancers ..

Miami City Ballet will conclude its season this week with a rich selection of repertory pieces: two from Balanchine, in very expressive but distinct modes, and one from modern-dance master Pa..

Ballet Flamenco La Rosa’s studio evokes the feel of a tablao in Spain. The strumming of the guitar, the rapid-fire rhythms of footwork against the floor, and the soft voice of the singer reac..

Pianist-Composer Frederic Rzewski Brings Revolutionary Fervor to Miami

Photo: By Annette Morreau
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If the political movement that saw its birth after the November elections is in the market for a composer to set the score for its many marches, Frederic Rzewski might be a strong contender for the role. Rzewski, who makes a rare South Florida appearance Saturday at the Miami-Dade County Auditorium to open Tigertail Productions' month-long dance and music festival "Fire," is the real deal. With a lifetime of progressive causes infused in his music, the 78-year-old contemporary pianist has the requisite experience for a concert entitled "Music of Resistance." And age has not dampened his passionate commitment to art as an agent for social change.

Other "Fire" events include "Fire Gods in the Garden," with site-specific dance pieces by Marissa Alma Nick, Carla Forte, Hattie Mae Williams and Pioneer Winter, on April 12 at the Vizcaya Museum & Gardens; and New York-based Reggie Wilson and his Fist and Heel Performance Group in "Citizen," April 21 to 22 at Miami-Dade County Auditorium.

Rzewski developed both his political beliefs and his musical talent at an early age. Born in Massachusetts of Polish stock during the waning days of the Great Depression, both of his decidedly apolitical parents were pharmacists who could send him to piano classes at the age of five. His left-leaning piano teacher, Charles Mackey, “used to mix politics in the music,” Rzewski said in a phone interview. “Everybody knew he was supposed to be ‘Red,’ but he was also the best piano teacher.”

This was during the beginning of the McCarthy era. “He taught me all kinds of things, and these were not the kinds of things that good American boys were supposed to know about," Rzewski said. "It didn’t take long before I acquired the nickname in seventh grade of ‘comrade.’”

Centuries of worldwide political rebellion appear in Rzewski’s work. A song from Ireland’s Easter Rising of 1916, a melody invoking 1938’s Kristallnacht (the night when violent Nazi persecution of the Jews was unleashed), an anthem from the U.S. Civil Rights Movement—all took on a symbolic value in Rzewski's hands, often different from their composers’ original intent. Rzewski latches on to a popular melody, then revisits, reworks and revives it for audiences who may never have known the original but who can now feel its incantatory pull.

Included on Saturday’s program will be the most famous of these pieces, “The People United Will Never Be Defeated.” The composition is a nearly hour-long exploration of the seemingly limitless possibilities of a fragment of melody that is beautiful, infectious and replete with real-world drama. It is Rzewski’s 1975 answer to the CIA-aided Chilean military coup that saw the overthrow and death of a democratically-elected president, Salvador Allende, and the installation of General Augusto Pinochet, setting off a Latin American reign of terror. Riffing on Sergio Ortega’s emblematic protest song, “El pueblo unido jamás será vencido," Rzewski works and reworks a single melodic line, each time finding a different tone or detail to emphasize. The voices are disparate, but each expresses the same overarching, inspiring idea, much as a group of individuals in the market for a successful revolution must.

Rzewski began writing "The People United" as a response to the disinformation in America regarding the events in Chile. It was, ironically enough, a commission for classic pianist Ursula Oppens to perform in the Kennedy Center as part of the celebration of the United States Bicentennial. Our independence, thought Rzewski, “was about a small country… asserting its right to independence against a large country, which was Britain. Now, 200 years later, the roles are reversed.”

Rzewski will also play a much newer, politically charged work, 2016's “Ain’t Gonna Let Nobody Turn Me Around (Songs of Insurrection No. 3).” His interpretation of the iconic freedom song will surely differ from the one NAACP leaders sang at a sit-in at then Attorney General nominee Jeff Session’s office in January, but the feeling is no doubt the same.

Not all of Rzewski’s work is focused on politics; he's also known simply for making good music. His performances are feats of stamina. He plays with hurricane force, with dangerously fast passages that race down the keyboard, reminding listeners that the piano is indeed a percussion instrument. Technique is essential, and Rzewski admits to purposefully making his compositions difficult in order to weed out lousy would-be performers. Pianists not up to snuff, he says, won’t go near his work.

“There are no bad performances,” he comments wryly. “Music comes first. Whether it’s a baseball cheering song or whatever, the only reason that it catches on is because it’s good music.”

Frederic Rzewski “Music of Resistance,” Fire festival, Miami-Dade County Auditorium On.Stage Black Box, 2901 W. Flagler St., Miami; 8:30 p.m. Saturday; $35; tigertail.org.


 


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