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The rebellion of William Tell over the tyrant Gessler, wasn’t the only coup happening on the stage of Chicago’s Harris Theater Wednesday evening. The fact that the North American tour of the Teatro Regio Torino performance of Rossini’s renowned opera premiered in Chicago alone is a triumph elevating the cultural scene of the “Second City”.
The Italian company chose Chicago for its first stop to bring their orchestra, choir and some of the opera’s best voices who bring the libretto to life. The abridged opera was still 4 hours in length and kept the audience on the edge of our seats ever moment.
Stripped of the staging, the music is the focus and what a delight to amongst the first hear this lush and seldom heard opera. Each performer’s voice seemed to be more powerful than the last with soprano Angela Meade’s Matilde stopping the show while professing her love for Arnold, who is conflicted between his love of the princess and his love of country.
The broad shoulders of conductor Gianandrea Noseda were fitting in our “City of Broad Shoulders” and needed to lead this sumptuous and demanding opera. And he did not disappoint. From the beginning, to the last note, he guided the orchestra passionately.
Teatro Regio Torino will perform in Toronto Friday December 5th, Sunday December 7th at Carnegie Hall in New York City and finish in Ann Arbor, Michigan Tuesday December 9th.
Kudos to Harris Theater for being the first to welcome William Tell and Teatro Regio Torino for sharing an experience of a lifetime. Let’s hope this coup is long lasting for Harris Theater and Chicago at being a first stop for many great performances.
The World’s Columbian Exposition of 1893 has become this legendary fair that put Chicago on the International map. Today, Chicagoans let their imaginations run wild for being among the first ride on a “Ferris” wheel, 100 feet taller than the one that commands Navy Pier’s skyline, to taste the sweet Juicy Fruit of Wrigley’s chewing gum for the first time, and hearing ragtime being performed just outside the Beaux Arts pavilions designed by the world’s first “starchitect” Daniel Burhnam placed in a setting envisioned by the father of landscape architecture Frederick Law Olmstead.
The Field Museum opens their vaults for Wonders of the 1893 World’s Fair, showcasing some of the artifacts from the great World’s Columbian Exposition. The museum and the exposition have a deep connection, as the institution came out of the call to create a place to house the over fifty thousand objects on display at the fair.
The 1893 world’s fair has become a convergence of mythical proportions in Chicago. Exposing visitors to all the wonders the modern world at the end of the 19th century has to offer, bringing people from all around the world to this young city, just 22 years out from the Great Fire, Chicago culture owes its early legitimacy to this seminal event.
Jars of colorful oils, viles of seeds, and selections of woods, fibers and resins fill a display case in front of where Christine Niezgoda, Collections Manager of Botany at the Field Museum and I are standing. “Here if you look at this array of oils, most of them are olive oils from Spain. We have resins from all over the world…alot of these came from south ameria, venezuela, colombia, brazil. This whole display is of Russian grains, wheats, barley. I must have 100 different varieties of corn from Bolivia. ”
She says the Fair was a grand setting for something that would seem familiar today
“People for get this was also a trade show” Niezgoda says. “I think its because I’m looking at from the perspective of our display. But if you think of the expositions that happen now there’s alot of new inventions, new things being show. Why would you send all your olive oil unless you’re promoting “Buy my brand of olive oil, we have the best.” And not just one jar, as you can see we have…I think I have another dozen or so jars of olive oil
So this exposition that has been exalted for being the epicenter of culture for this young city, putting us on the international map…was in a sense a well attended housewares show with an commercial bent.
Rudiger Bieler is curator of Zoology at the museum. “At the fair there was no display of a natural history museum or zoology collection. They were usually displayed in context with commercial exhibits. Like one of the labels you see here, there’s a mound of large animals in context of the shoe and leather display. So they were tied in to commercial products.
Yes, taxidermied animals to promote leather shoes.
The main room of the exhibition is divided into the four areas of expertise of the museum, Zoology, Botany, Geology and Anthropology.
“Projection screens overhead show archival photographs of the exposition animated to bring the to life. Taxidermied animals large and small pose ready to pounce except for the glass separating you, said Bieler. Regardless of the way the animals were used to market products, this was a new way to showcase these exotic animals in a more natural way.
“This was a new way for huge shift in the way taxidermy was being done,” Bieler continued. “Rather than stuffing these things with cotton and straw, it was the time when taxidermists developed techniques of sculpturing the animals. essentially as artists building a scuplture the showed the muscles and the veins and then put the skin over it. ”
One of the leading people of the time who developed these techniques was Carl Ackely who was then hired by the museum at the first chief taxidermist. His work in the early days of the museum has been copied by natural history museums around the world.
These artifacts in the exhibition were contemporary to the time of the fair, made specifically for the visitors of the exposition…so not the prized possessions the museum may seek today. But still they can be of significance in understanding a culture at a specific time be seeing how a society has evolved since.
“Many of the specimens are still being used in day to day research…So its not that we put these things away 120 years ago and now pulling them out of their vaults for the first time. Many of these things are used in research projects, education projects and other exhibitions we’ve done in the past. And the amazing thing for me is that it often turns out we can use techniques, approaches and answer questions that were completely unforeseen at the times these were collected. So, some of our bird researchers have been successful at getting DNA out of these old skins and can compare the gene pool of that time with what they are finding today in the same species,” Beiler said thoughtfully.
The exhibition also showcases a great sampling of objects housed on the Midway Plaisance. This area was a popular destination for visitors wanting to see the exotic villages of peoples and cultures deemed “Primatives”. Zulu shield and delicate necklace show the rich broad culture. Native American clothing, worn by “live displays” that means humans, then encased next to beadwork of the same tribe now, shows how the culture has adapted to the time.
And the exhibition wouldn’t be complete without an interactive component. Where you can play a virtual Gamelan, a traditional Indonesian instrument on display and performed at the fair, as heard in this wax recording of a performance.
The exhibition may not be the traditional artifacts one expects in a museum exhibition, but it will change the way you view of contemporary culture.
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My longtime friend and colleague Victoria Lautman spent has a facination with all things India and decided to travel in early 2013 and what she discovered can be seen on her Tumblr (http://hindjew-me.tumblr.com/). While there, she discovered these subterranean structures throughout her travels that proliferated throughout India for a millennium then gone.
These ornate structures were gathering places for men and women and now are rarely more crumbling structures sunk deep into the ground. That’s until drought has lead to architects have revisited as a potential for water collection and design inspiration for new structures. Hopefully this new focus on these ancient edifices will help to save them before they are gone.
The Oriental Institute is one of the greatest scholarly museums in the United States. The entire atmosphere inside the ivy covered walls study the ancient Near East civilizations. In fact this is the home of the fictitious archeologist Indiana Jones. So when you walk in and see the well worn display cases holding objects thousands of years old, you feel you have gone back in time.
So I was very excited to be asked to help on a new exhibition opening soon. The Institute commissioned photographer Jason Reblando to take portraits of people whose jobs or variations of their jobs have origins in ancient Mesopotamia, Sumeria and Egypt.
Because this project was to connect each profession to its origin, Jason chose to use an early photography process known as wet plate Collodion. Creating a makeshift dark room out of a hall closet in the basement of the museum where he was able to make the film plate, walk to the studio set up in the large objects storage space to take the portrait, then go back and develop the tintype within the small window of time to make the process work.
The wet plate technique captures images that make you think back. Even though these are contemporary portraits, the tintype takes the people back, giving us a visual connection to the past.
Over the course of 4 months I would interview the subjects of the photographs after Jason captured the portraits, I was able to sit down and interview each about the experience, their work and the connection of their work. A manicurist, brewer, a clockmaker and twenty-one others journeyed down and gave me their thoughts.
I then selected 5 to follow. An urban farmer, a potter, a stone carver, a pastry chef and a cowboy let me follow them for short documentaries about their work. (see below) The were chosen for both visual interest and my interest in the subjects after speaking with them. Some were surprising connections like the cowboy and the pastry chef. Both of those professions seem to be more connected to modern culture that I felt then needed to be highlighted.
The exhibition Our Work: Modern Jobs – Ancient Origins runs August 20, 2013 to February 23, 2014 at the Oriental Institute, 1155 E 58th St Chicago, IL 60637