The three faces in the collage at the head of this post are one by Lotte Laserstein, from Im Gasthaus (1927); a portrait of Renata Symonds, Jungian Therapist (2004), by Michael Taylor; and an undated Vivian Maier photograph. They made a fine trio, I thought.
Continue readingThis is a challenging piece, both emotionally and intellectually. Beglarian wrote of it:
Read more: Eve Beglarian’s She Gets to Decide, sung by Lucy Dhegrae“She Gets to Decide began as a meditation on the controversial Balthus painting Thérèse Dreaming. While the painting seems unquestionably pervy to me, I am also struck by the power and self-sufficiency Thérèse radiates.” [The complete program note, from which this excerpt is taken, may be found here]
In a wide-ranging discussion, Eve and Lucy discuss Lucy’s project, “The Processing Series,” of which Eve’s piece is a part (I commend the whole of their conversation, but at the very least Eve’s description of the piece, which starts at about 1:16:50):
I admire so many things about Eve Beglarian. Among them are her trueness to herself, her continued questing, her beautiful, unending creating.
Continue readingBeglarian wrote, “Originally written for alto (or bass) flute, I will not be sad in this world is based on the Armenian troubadour Sayat Nova’s song Ashkharumes Akh Chim Kashil.”
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Even Beglarian’s I am lost by streams II (2020)
Eve Beglarian, in “a book of days,” writes of this piece: Continue reading
Prufrock's Dilemma 