By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com
Hop the ferry and within 10 minutes, you are transported in time and place. It’s the Gatsby era,with 1920s hot-jazz, flappers and sheiks. It’s the 19th Jazz Age Lawn Party on Governors Island. The first took place June 8-9, but if you missed it, you have another chance at this delightful escape back to the zeitgeist of the Roaring ‘20s on August 10-11.
Michael Arenella and His Dreamland Orchestra sets the mood with music Arenella has transcribed from original recordings of the Jazz era. Arenella re-creates the role of a Big Band leader, taking on the inflection and look, and telling anecdotes about the music and the musicians as if it were happening today, when this music was all the rage and radio was a new (and dangerous) cultural phenomenon. Within moments, you are transported back to the romance and joie de vive of that time, leaving behind for these precious hours the hubbub of modern times. The only piercing of the illusion are the ubiquitous cell phones.
The entertainment throughout the day is topnotch: Roddy Caravella & The Canarsie Wobblers consistently wow with fanciful costumes and choreography; Queen Esther, an award-winning vocalist sets her own standard of Jazz Great while paying tribute to jazz royalty of yore with her jazz quintet The Hot Five (Queen-Esther.com); Peter Mintun, “world’s greatest piano man,” Charlie Roman Casteluzzo, specializing in hot jazz guitar from the 1930s, featuring his rare collection of popular music from the golden years of jazz, and Charlie Roman and the Glad Rags Orchestra (charlieromanjazz.com).
There are special attractions, as well, starting with lessons in Charleston or the Peabody by Roddy Caravella and his wife, Gretchen (who is also the costumer for the Canarsie Wobblers); dance competition (in Charleston or Peabody (this year, an actual prize of two tickets to the “Gatsby” show on Broadway!); a “High Court of Pie” contest (pre-register at [email protected]) ; Bathing Beauties and Beaus Promenade (Sundays, to enter email: [email protected]), and some Kidland carnival games.
Scores of vintage vendors add to the atmosphere – if you didn’t have your own vintage outfit, you can rent or buy, and if you didn’t have your own picnic blanket, you could purchase from the General Store. You can have your portrait taken with vintage cameras or sitting on a Paper Moon, or with a 1920s motor car.
Taste France Magazine offers VIP picnic baskets and a pop-up French market, featuring Centre-Loire wines, Citadelle gin, Lactalis cheeses, and many more gastronomic delights. A selection of refreshing, ice cold cocktails is on offer from Brooklyn’s very own Social Hour – a line of canned craft cocktails founded by bartending veterans Julie Reiner and Tom Macy.
Sip on the delightfully fizzy G&T made with New York Distilling Company’s Dorothy Parker Gin, or the Pacific Spritz made with a combination of house made Italian aperitivo and Rosé wine; for whiskey lovers the fiery Whiskey Mule made with New York Distilling Company’s Ragtime Rye will be sure to please.
There are also a selection of food trucks featuring picnicking fare, sweet treats, ice cream and old-time snacks.
Ferry is Magic Carpet to Bygone Era
The enchantment begins as you board the ferry from South Street, Manhattan (next door to the Staten Island ferry terminal) or from Brooklyn for the short ride to Governors Island. You think you have stepped back to the 1920s – crowds of giddy people cram the ferry, dressed in flapper dresses and linen suits, caps and suspender, and dancing shoes, hauling elaborate picnic baskets and paraphernalia..
We are back in the Jazz Age, and the setting is perfect, a vast lawn set off by an arbor of trees, surrounded by historic buildings and forts that date back to the War of 1812, the Civil War and World War II when Governors Island was used as a military base and prison.
People come and set out sprawling picnics – some with elaborate fixings like candelabras and crystal wine glasses.
The atmosphere is infectious. Fellows seem more civilized. Gals seem more sassy. And the good feeling just percolates to the beat from Michael Arenella’s Dreamland Orchestra, as this fantastical community defying time forms.
The unquestioned star of the day long festival is Michael Arenella and His Dreamland Orchestra, one of the world’s great Jazz Age dance bands, specializing in the Hot-Jazz of the 1920s. “Conductor, composer, musician and singer Michael Arenella presents a personally transcribed songbook for your listening and dancing pleasure.” (Michael Arenalla also can be heard at the Clover Club, Smith Street in Brooklyn and at the Red Room, 85 E 4th St, NYC, see www.dreamlandorchestra.com)
Arenella sits in with his trombone with Queen Esther, and with the really excellent Charlie Roman and the Glad Rags Orchestra, playing at a second dance floor
It isn’t hard to believe you have returned to the Jazz Age because of the authenticity and attention to detail. Arenella “transcribes by hand their entire repertoire from period recordings. Their delivery, as well as their instruments, attire, and equipment — are faithfully accurate. Arenella’s strong yet vulnerable baritone lacks pretense or sarcasm. He treasures each lyric, and has faith in the songs he sings. Even the most optimistic Tin Pan Alley tune has a disarming quality in his hands.”
Now in its 19th year (there is a gofundme project to raise money for a 20th anniversary book), the Jazz Age Lawn Party has built a history of its own. It started in 2005 as a small gathering of about 50 friends and fans of Michael Arenella and his Dreamland Orchestra and their version of prohibition-era music and fun. Not too many years after, it was drawing thousands of fans who revel in the music and zeitgeist of the 1920s and 1930s and has become what is arguably the world’s largest outdoor musical celebration of the Jazz Age, but is undoubtedly one of the highlights in a crammed calendar of summer happenings in New York City.
There are also plans for a week-long transatlantic cruise from Southampton to NYC on Cunard’s Queen Mary 2, Sept 25, 2025 with Michael Arenella & His Dreamland Orchestra, with1920s and 30s village dress, dance, danceclasses,and a pre-voyage trip to the birthplace ofArt Deco, Paris, hosted bytheArt Deco Society of Paris; Ahoy Vintage Cruises, www.ahoyvintagecruises.com, 214-761-1968.)
If you missed the June 8 & 9 event, there’s still time to purchase tickets for August 10 and 11.
Ticket sales are live at https://jazzagelawnparty.com and available exclusively through Fever, a global live-entertainment discovery platform. (Book your ferry ticket, https://www.govisland.com/plan-your-visit/ferry)
By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com
The New York Philharmonic Concerts in the Parks Presented by Didi and Oscar Schaefer is an extraordinary gift to New Yorkers and visitors. For almost 60 years, this world-famous orchestra has presented these free performances in parks in all five boroughs bringing “priceless music, absolutely free” to communities and reinforcing the bond that exists between New York’s hometown orchestra and its people. In the process, the orchestra brings people together in shared joy.
The world renowned orchestra has offered these free summer concerts in the parks since 1965 – since 2007, presented by Didi and Oscar Schaefer – and over that time, have brought “priceless music, absolutely free” to 15 million music lovers.
This year’s program included Beethoven’s Egmont Overture; Felix Mendelssohn’s Violin Concerto in E minor, featuring Randall Goosby — who made his NY Phil debut on a Young People’s Concert at age 13 — as soloist; Elgar’s Wand of Youth Overture; the New York Premiere of Carlos Simon’s Four Black American Dances; Rimsky-Korsakov’s Capriccio Espagnol.
Conductor Thomas Wilkins, who is the principal conductor of the Hollywood Bowl Orchestra, introduced the pieces. About Mendelssohn’s exquisite Concerto in E minor for Violin and Orchestra, Op. 64 (1844), with the virtuoso violinist Randall Goosby who so exquisitely brought out the melodic sweetness, Wilkins said, “it is so magical – one of the few where the movements are all connected. At the end of the first, there is one B-Natural hanging in the air – the bassoonist is not done – that says ‘follow me into the second.’ There is more impact between the second and third movements – no break but one note of silence, like a ball in the air that hangs until the soloist enters.”
Wilkins loves to engage with the audience, and makes the music so accessible with his folksy anecdotes that make your ears perk up at key portions with new appreciation. We get to preview Carlos Simon’s “Four Black American Dances” (2023), which will be part of the orchestra’s fall repertoire, in the concerts he returns to the NY Phil to conduct, October 17 and 19,and learn how the four dances span Black American heritage – the first, recasting a traditional dance of enslaved Blacks into the voice of the orchestra including shuffling feet and clapping hands; the second, a waltz depicting how young Black girls in the 1930s would have their “coming out” parties, then a tap dance, and finally, we are taken to church for a “holy dance” with the instruments evoking the murmurings and exultations of a church service. And then, we get to meet the composer who comes on stage.
For the past several years, the concerts have also provided a platform and a showcase for young composers who absolutely astonish with their talent (most astonishing: they not only compose the piece but do the orchestration). It is like seeing a young Mozart, or Elgar, whose Overture from the Wand of Youth (Music to a Child’s Play) Suite No.1, Op.1a, written when Elgar was just eight years old (he later expanded it), and imagining where these prodigies will be in 20 years.
This year, 16-year old Dalya Shaman’s “Floating in the Stars” and 10-year old David Wright’s “Tarzan’s Rage” dazzled the audience.
Dalya Shaman, a tenth grader at NEST+m High School, has been composing music for six years and plays the cello. She described the inspiration for her tone-poem, “Floating in the Stars” which uses harp and orchestra bells to evoke the whimsy and wonder of star gazing and the sensation of drifting among the stars, as the artwork of VYC students Vivian and Odette Iannetta.
David Wright, a fifth grader at PS 11 in Brooklyn who is also an accomplished baseball player, said his work, “Tarzan’s Rage” also was inspired by the Iannettas art, and seeing a man jumping which he imagined as Tarzan and the contrast of dark and light colors as a war, which is how he came to “Tarzan’s Rage.” The music is thrilling, and one can imagine David composing movie scores.
Wilkins’ conducting style is very relaxed, with minimal movement and theatrics. He is a joy to watch. He likes the music to be well punctuated, defined, the complex seemingly more simple and elemental than it is, so it is more accessible and can be better appreciated in such an open setting. You immediately appreciate why he is also the Boston Symphony’s artistic adviser for Education and Community Engagement, professor of orchestral conducting at Indiana University, and is actively engaged with the NY Phil’s Young People’s Concerts, begun 100 years ago and popularized by Leonard Bernstein.
“At this stage of my life,” Wilkins reflects in the festival program, “I just want to invite the orchestra that is in front of me to experience what it means to be in love with music.”
“He remains devout in his belief in assuring access to the infinitely renewable power of music,” Mark Burford reports. ‘Who else deserves to experience beauty for the first time? Who else needs to find wonder?’”
The evening concludes with Rimsky-Korsakov’s Capriccio Espagnol Op. 34, which flows immediately into Santore’s World Famous Fireworks display, putting just the right crescendo on the evening.
The span and diversity of the pieces is enlightening and exciting, especially with such a focus on Simon’s 2023 composition and the young composers.
The New York Philharmonic is performing these summer concerts in all five boroughs: Central Park, Cunningham Park concert in Queens, Van Cortlandt Park, Bronx, and Prospect Park, Brooklyn. Then, musicians from NY Phil perform a free Indoor Concert, Presented by Didi and Oscar Schafer,on Sunday, June 16, 2024, at 4:00 p.m., at St. George Theatre in Staten Island; the program includes Clarke’s Prelude, Allegro, and Pastorale for clarinet and viola; Mozart’s Oboe Quartet; and Prokofiev’s Quintet (tickets need to be reserved).
“The New York Philharmonic’s annual Concerts in the Parks, Presented by Didi and Oscar Schafer, are always a highlight of our year,” New York Philharmonic President & CEO Gary Ginstling said. “It is a joy to see tens of thousands of New Yorkers turn out to enjoy free concerts under the stars, creating a sense of community and shared experience that is rare and vital. We are deeply grateful to Didi and Oscar, the visionary and generous couple whose love of music and of New York City’s parks is essential to making possible the ambitious tour of our hometown.”
The free summer concerts provide a wonderful taste of the cultural treasure that awaits at the Philharmonic’s concert venue, Geffen Hall at Lincoln Center, that makes you want more.
The New York Philharmonic has announced updates to its 2024–25 season:
Updates to the Orchestra’s concerts:
• Augusta Read Thomas’s new work, commissioned by the NY Phil, is titled Bebop Kaleidoscope — Homage to Duke Ellington. Ken-David Masur, in his NY Phil subscription debut, will conduct its World Premiere on September 19 and 21, 2024, part of the program curated by NY Phil musicians — who serve as the first of the 2024–25 season’s Artistic Partners — that explores the Orchestra’s past and future.
• The Opening Gala concert on September 24, 2024 — conducted by Manfred Honeck — will include Suppé’s Light Cavalry Overture and Puccini’s Turandot Suite, and will feature vocalist Cynthia Erivo making her NY Phil debut in selections from Broadway and the popular songbook.
• Nathalie Joachim’s new work is titled Had To Be and receives its New York Premiere on October 17 and 18, 2024 — on concerts that are part of the NY Phil’s exploration of Afromodernism — conducted by Thomas Wilkins, with cellist Seth Parker Woods (NY Phil debut) as soloist. The piece is co-commissioned by the NY Phil, Spoleto Festival USA, Orchestre Métropolitain, and Chautauqua Institution.
• Estonian composer Arvo Pärt’s Cantus in memoriam Benjamin Britten has been added as the opening work in the November 14 and 16, 2024, subscription concerts, conducted by John Adams, one of the 2024–25 season’s Artistic Partners.
• Tenor Kieran White will make his NY Phil debut in Handel’s Messiah, Presented by Gary W. Parr, December 11–14, 2024. Ton Koopman conducts.
• Baritone Leon Košavić (NY Phil debut) will perform J.S. Bach’s Cantata BWV 56, Ich will den Kreuzstab gerne tragen, and soprano Talise Trevigne (NY Phil debut) will perform the same composer’s Cantata BWV 51, Jauchzet Gott in Allen Landen, on the Free Concert at The Cathedral Church of Saint John the Divine, January 17, 2025, joining conductor and 2024–25 season Artistic Partner Nathalie Stutzmann and Members of the New York Philharmonic. Additional repertoire will be announced at a later date.
• Justin Jay Hines will co-host the Young People’s Concerts for Schools on February 5–7, 2025, as well as the Young People’s Concert: The Future Is Innovation, on February 8, 2025, alongside Jerry Hou, who also conducts.
• The Lunar New Year Gala concert on February 11, 2025 — conducted by Tianyi Lu (NY Phil debut) — will include Li Huanzhi’s Spring Festival Overture; Unsuk Chin’s The Mad Tea Party, from Alice in Wonderland; Casella’s La donna serpente, Suite No. 1; Chen Yi’s Chinese Folk Dance Suite, featuring violinist Inmo Yang (NY Phil debut) as soloist; and Bizet’s Carmen Suite No. 1.
• The performances of Star Wars: The Empire Strikes Back in Concert, June 11–14, 2025 — part of The Art of the Score — will be conducted by Sarah Hicks (NY Phil conducting debut).
Updates to NY Phil presentations:
• Details of the season’s Kravis Nightcap series — featuring New York City Ballet principal dancer Tiler Peck as dancer and choreographer, as well as Musicians from the NY Phil — are announced. In the first, on September 21, 2024, Peck will collaborate with NY Phil Musicians, the first of the season’s Artistic Partners; on January 25, 2025, Peck will be joined by pianist Yuja Wang, the 2024–25 season Mary and James G. Wallach Artist-in-Residence; and on February 27, 2025, Peck will reunite with violinist Hilary Hahn, with whom she performed on a Kravis Nightcap in January 2024. All three performances will take place at the Wu Tsai Theater, David Geffen Hall.
• The season’s six New York Philharmonic Ensembles at Merkin Hall concerts, featuring Musicians from the NY Phil, will take place on September 29, November 3, and November 24, 2024, and January 12, February 16, and May 4, 2025.
• The Sound On presentation Composing While Black, Volume II, featuring Artistic Partner International Contemporary Ensemble (ICE) — part of the NY Phil’s exploration of Afromodernism — will now take place on October 25, 2024. The location and time will be announced at a later date.
• The Sound On presentation on November 17, 2024 — curated and conducted by Artistic Partner John Adams and featuring Members of the NY Phil — will take place at The Museum of Modern Art, and will include Dylan Mattingly’s Sunt Lacrimae Rerum and Gabriella Smith’s Maré. Additional repertoire will be announced at a later date.
• The season’s series of Very Young People’s Concerts (VYPCs) — titled Philharmonic Playground — will be held in Merkin Hall at Kaufman Music Center, and will take place on February 22, 2025 (“Allegro and Adagio”); March 22, 2025 (“Forte and Piano”); and June 7, 2025 (“Treble and Bass”). The series will feature Associate Principal Viola Rebecca Young as host and Musicians from the New York Philharmonic.
New York Philharmonic, David Geffen Hall, 10 Lincoln Center Plaza, New York, NY 10023-6970, 212) 875-5656, www.nyphil.org.
New York City’s summer cultural season kicks off with the 46th Annual Museum Mile Festival – the Big Apple’s “biggest block party” –on Tuesday, June 18, from 6 to 9 pm, rain or shine. Walk the mile on Fifth Avenue between 82nd Street and 104th Street while visiting eight of New York City’s finest cultural institutions, open free during these extended hours: The Metropolitan Museum of Art; Neue Galerie New York; Solomon R. Guggenheim Museum; Cooper Hewitt, Smithsonian Design Museum; The Jewish Museum; Museum of the City of New York; El Museo del Barrio; and The Africa Center. Several neighborhood partners, including the New York Academy of Medicine, the Church of the Heavenly Rest, Asia Society, and AKC Museum of the Dog will also join in this celebration.
It’s an electric, eclectic festive atmosphere, with live music and street performers all along the avenue, plus special exhibitions, works from permanent collections and special family-oriented activities inside.
Jazz Age Lawn Party on Governors Island (June 8-9 and August 10-11, 2024, 11 am-5 pm), starts with a magical ferry ride from Battery Park or the Brooklyn Navy Yard. People come dressed to the 9s in 1920s/Gatsby-style outfits, bringing picnics and take part in the music and zeitgeist of the 1920s. With music and dancing led by festival founder and host Michael Arenella & His Dreamland Orchestra, the merriment continues with a score of other entertainers: the bedazzling Dreamland Follies, a 10-lady Art Deco dance spectacle evoking the Great Ziegfeld, the fantastic Queen Esther paying tribute to jazz royalty of yore, Peter Mintun tickling the ivories with his incredible piano skills and the Gelber & Manning band. Enjoy the renowned and fun-loving dance troupe, Roddy Caravella and The Canarsie Wobblers with their scandalous Charleston numbers and rebellious and exuberant spirit of the Roaring ‘20s. Entertainments are interspersed with fun events like dance lessons and a period bathing suit contest. This isn’t free – it’s a ticketed event. Tickets and info at www.jazzagelawnparty.com. (Reserve a ferry ride to access the location.)
The New York Philharmonic Concerts in the Parks, Presented by Didi and Oscar Schafer, have become an iconic New York summer experience since they began in 1965, transforming parks throughout the city into a patchwork of picnickers enjoying friends, family, and priceless music under the stars, for free! This summer, Thomas Wilkins conducts the Orchestra in a program that ranges from classics by Beethoven, Elgar, and Rimsky-Korsakov to Felix Mendelssohn’s Violin Concerto, with Randall Goosby as soloist, to new music by Carlos Simon and NY Phil Very Young Composers. All outdoor performances begin at 8 PM and conclude with fireworks! (The Free Indoor Concert in Staten Island begins at 4 PM.): June 11 Van Cortlandt Park, Bronx; June 12 Concerts in the Parks: Central Park, Manhattan; June 13, Concerts in the Parks: Cunningham Park, Queens; June 14, Concerts in the Parks: Prospect Park, Brooklyn; June 16 Free Indoor Concert: St. George Theatre, Staten Island.
The cherished Shakespeare in the Park, traditionally held at the Delacorte Theater in Central Park, this year is a traveling show while the Delacorte is undergoing its most significant revitalization of its 62-year history. Instead, this year the Public Theater (Artistic Director, Oskar Eustis; Executive Director, Patrick Willingham) is offering a “GO PUBLIC!” festival of of free summer programming taking place across all five boroughs. Its Mobile Unit is presenting a joyful, bilingual (English/Spanish) musical adaptation of “The Comedy of Errors,” May 28-June 2 – The New York Public Library and Bryant Park on the Fifth Avenue Terrace (Manhattan) June 6-9, June 13-14, June 20-21 – Hudson Yards (Manhattan). Also: A.R.R.O.W. Field House (Queens) J. Hood Wright Park (Manhattan) Maria Hernandez Park (Brooklyn) Roy Wilkins Park (Queens) St. John the Divine (Manhattan) St. Mary’s Park (Bronx) Sunset Park (Brooklyn) Wolfe’s Pond Park (Staten Island).
Next up is Movie in the Parks (July 11–September 6), bringing free screenings of Shakespeare in the Park’s version of Much Ado About Nothing to parks throughout the City. (Can’t make it to any of them? This recording and other Shakespeare favorites are available to stream for free.) Visit the website for specific dates and locations (https://publictheater.org/programs/shakespeare-in-the-park/summer-24/go-public/).
Bryant Park is also hosting picnic performances of New York City Opera’s full production of the perennial favorite, Puccini’s Tosca on May 31, June 1, August 23 and 24, at 7 pm. (New York City Opera: Puccini Celebration) as part of a summer-long arts and culture festival, sponsored by Bank of America, from June 6 to September 13, featuring an amazing series of dance, music, theater, movies, plus eateries, shops and a carousel. (https://bryantpark.org/activities/picnic-performancesfor schedule).
The Hudson River Greenway is a whole destination in itself, with every imaginable sport (tennis, pickleball, basketball, kayaking), fabulous eateries, even a sand beach, plus along the way, historic and cultural places like the monument to the Irish famine, the Museum of Jewish Heritage, the Whitney Museum, Battery Park and ferry access to the Statue of Liberty and Ellis Island, plus concerts such at two venues within the enchanting “Little Island.”
From June through September, Little Island presents a series of all new work across dance, music, theater and opera in the Amph ($25, tickets and schedule, https://www.littleislandtickets.com/). In addition, there are free concerts Wednesday-Sunday in the Glade.
The newest experience on the Hudson River Greenway is Gansevoort Peninsula. Located in Hudson River Park between Gansevoort Street and Little West 12th Street, and opposite the Whitney Museum of American Art, which affords an actual sand beach (1200 tons of sand, beach umbrellas, Adirondack-style chairs, even misting stations, and boardwalk) for lounging. Also look for “Day’s End”, a public art installation by artist David Hammons, donated to Hudson River Park by the Whitney Museum of American Art. See the full events calendar, https://hudsonriverpark.org/, https://hudsonriverpark.org/the-park/piers-and-places/
New York City has been named the most cultural city in the USA. Here’s what’s of note happening this summer, compiled by the New York City Tourism + Conventions, the official destination marketing organization and convention and visitors bureau:
Through July 28, The Metropolitan Museum of Art presents The Harlem Renaissance and Transatlantic Modernism, an exhibition exploring how Black artists portrayed everyday modern life during the 1920s–40s in Harlem and across the United States amid the Great Migration. Featuring 160 works including painting, sculpture, photography, film and ephemera, it’s the first art museum survey of its kind in New York City since 1987.
The Whitney Museum of American Art has unveiled the roster for Whitney Biennial 2024: Even Better Than the Real Thing, featuring 69 artists and two collectives. This edition marks the 81st installment of the museum’s esteemed exhibition series, the longest-running survey of American art. The program is now open and runs through August 11. Beginning September 25, The Whitney will unveil Edges of Ailey, a comprehensive exhibition celebrating the life and impact of American dancer Alvin Ailey, featuring daily performances, workshops and a diverse range of artworks and archival materials.
Experience a surreal journey inspired by Alice’s Adventures in Wonderland at the Bronx’s New York Botanical Garden, with Wonderland: Curious Nature, from May 18–October 27. Follow iconic characters through whimsical scenes in the garden and explore imaginative horticultural displays inside the Haupt Conservatory, featuring installations from renowned artists including Yoko Ono, Alyson Shotz and Abelardo Morell.
A tribute to Ming Dynasty architecture, the New York Chinese Scholar’s Garden at Snug Harbor Cultural Center & Botanical Garden in Staten Island—one of just two authentic classical outdoor Chinese gardens in the US—is celebrating its 25th anniversary this year. Crafted in Suzhou, China, its elements include roof tiles, pavilions and bridges. Inspired by ancient poetry and paintings, the garden features magnificent rock formations resembling mountains. Visitors can explore pavilions, a bamboo forest path, waterfalls and a koi-filled pond.
The Morgan Library & Museum, which is marking 100 years since its establishment as a public institution by Jack Morgan as a repository of fabulous documents, is exhibiting Beatrix Potter: Drawn to Nature and Walton Ford: Birds and Beasts of the Studio. The next exhibition in the campaign will be Liberty to the Imagination: Drawings from the Eveillard Gift, on view beginning June 7.
Since its inception in 1824, the Brooklyn Museum has become a global cultural center, driven by the innovative spirit of its borough. As it celebrates two centuries of groundbreaking initiatives, the museum invites audiences to explore special exhibitions and events showcasing its vibrant artistic community. Highlights include the launch of immersive exhibitions like Solid Gold and Brooklyn Made. Notably, the museum boasts an in-residence composer, Niles Luther, who scores music for various exhibitions and artwork on-site, making it the only museum in the United States to offer such an immersive experience. Visitors can expect a year of discovery and celebration in honor of its bicentennial—kicking off with a 200th Birthday Bash on October 5.
New performing arts offerings are revitalizing New York City’s cultural landscape with the expansion of iconic venues and the emergence of new stages. The historic Apollo Theater recently debuted the Victoria Theater, its first expansion in 90 years, which introduced two new stages and created an arts campus in Harlem. The inaugural season promises a diverse lineup including Alex Harsley, Stefon Harris and David Hammons. Meanwhile, in Brooklyn, the newly restored Brooklyn Paramount, now a concert hall, hosts various shows featuring acclaimed acts like Sting, Liam Gallagher, St. Vincent, Orville Peck and many more in its 2024 lineup. Across the East River, the Ronald O. Perelman Performing Arts Center (PAC) stands as a beacon of artistic expression in Lower Manhattan, welcoming emerging and established artists across various disciplines since its launch in September 2023. The PAC’s inaugural 2023–24 season continues this summer with the opening of An American Soldier, The Survival, Cats: “The Jellicle Ball”.
The Jackie Robinson Museum commemorates the groundbreaking contributions of Jackie Robinson, the first African American to play Major League Baseball and one of the most celebrated baseball players of all time. Robinson’s legacy extends far beyond the baseball diamond, as he also made significant strides in civil rights, economic empowerment and social justice. From now through December 31, the museum is offering a free self-guided walking tour, Jackie Robinson’s Harlem, for visitors looking to dive deeper into Robinson’s connection to the neighborhood.
New York City is the birthplace of the modern LGBTQ+ movement. The Stonewall Inn, site of the historic 1969 riots, stands as a symbol of resilience and is soon to be complemented by a dedicated visitor center opening in June. Other cultural sites include theLeslie-Lohman Museum of Art, which celebrates LGBTQ+ identity through exhibitions and programs that showcase the ever-evolving queer experience, as well as the Alice Austen House Museum, which features the pioneering photographer’s work and has been a National Site of LGBTQ+ History since 2017. On the Upper West Side, the forthcoming American LGBTQ+ Museum at the New-York Historical Society, set to open its doors in 2026, will be the nation’s first museum dedicated to LGBTQ+ history.
If Summer in the City starts with the Museum Mile Festival, for me, the end of New York’s summer comes with the US Open Tennis Championships, the fourth and final Grand Slam tournament of the year. The tournament dates back to 1881, and since 1978, the tournament has found its home at the USTA Billie Jean King National Tennis Center in Queens’ Flushing Meadows Corona Park, a magnet for the best tennis talent worldwide such as reigning champions Coco Gauff, Novak Djokovic, Diede de Groot and Alfie Hewett. The tournament takes place August 26–September 8, 2024. Insiders tip: the week before, it is free to watch the thrilling play of the qualifiers’ tournament, and see the tennis stars practice.
New York City Borough Pass, Citywide: a new sightseeing pass designed to showcase the beauty of the neighborhoods and cultures across all five boroughs. The pass features a diverse roster of popular attractions, museums, performing arts venues, including the Alice Austen House Museum, MoMA PS1, New York Botanical Garden, Van Cortlandt House Museum, Staten Island Children’s Museum. (888-921-5333, https://www.nycboroughpass.com/)
The Go City Pass for New York City offers 100 different options in all five boroughs. For example, the two-day all inclusive pass, giving access to as much as you want/can do from among 105 attractions is $134 – regardless of how much the actual attractions charge (GoCity.com, 800 887 9103).
For all there is to do and see in New York City, visit nyctourism.com.
Staying over in the historic city of Strasbourg in France’s Alsace-Lorraine region, means that you can go out in the early morning, before the daytrippers crowd the streets, and soak in the atmosphere.
I walk through Tanners Row, which in this early morning hour, is peaceful. A guy on a bike rides through, a reminder that this is still a neighborhood, a community.
I go to explore Strasbourg’s Les Ponts Couverts and the Vauban Dam, located a short distance from each other.
Les Ponts Couverts (covered bridges) are three bridges spanning the River Ill, dominated by three imposing square towers, vestiges of the 13th-century city walls. A bit further, there’s a fourth tower nicknamed “the executioner’s tower.”
While I fruitlessly look for covered bridges, I finally realize that they were replaced in 1865 by these stone bridges without a roof (so not covered),where I am standing. As I observe the beautiful views from the bridge, a fellow tells me you can walk on the Panoramic Terrace on top of the Vauban Dam – in fact, the views from there are spectacular.
A short walk from the bridge is the Vauban Dam. “The Great Lock” was built between 1686 and 1700 based on plans of Louix XIV’s military engineer, Vauban. Built with 13 arches, it was constructed so that they could flood part of the city to defend against an enemy attack. It is fascinating to walk through – some sculptures just hanging about gathering cobwebs – but most marvelous is a rooftop terrace, laid out in 1965, which you can walk over for a spectacular panoramic view of the old city.
From here, you can see the fingers of the River Ill coming together below you. (Pro tip: though amazing to see in the morning light, you are looking into the sun – the reflections on the water are amazing – but check it out in the late afternoon.)
One of the many jewels of Strasbourg is the Palais Rohan. Constructed between 1732 and 1742 from blueprints by Robert deCotte, First Architect to the King, it was built for Cardinal Armand-Gaston de Rohan-Soubise, Prince-Bishop of Strasbourg, modeled after Paris’ grand mansions.
Following the French Revolution, the palace became the Emperor’s royal residence, and after 1870, a museum. Today, the Palais Rohan houses three stellar museums: the Archeological Museum, the Museum of Decorative Arts and the Fine Arts Museum – just walking through the palace to the various rooms where the exhibits are displayed is a phenomenal experience.
(I have to rush through in the couple of hours before I need to get to the Regent Petit France Hotel where we are getting picked up for the European Waterways canal cruise aboard the Panache. It would have been better to have four hours.)
The art and artifacts are gorgeously presented in an exquisite palace. Definitely follow the helpful “My First Visit…” brochures which detail where to find the highlights.
The Museum of Fine Arts presents a fascinating overview of European painting up to 1870. Located on the first floor of the Palais Rohan, the museum offers a tour through the centuries and schools: Italian and Flemish Primitives (Giotto, Memling); Renaissance and Mannerism (Botticelli, Raphael, Veronese, Lucas de Leyde, El Greco); Baroque, Naturalism and Classicism in the 17th and 18th centuries (Rubens, Vouet, Zurbarán, La Belle Strasbourgeoise de Largillière, Canaletto, Tiepolo, Goya); 19th century (Delacroix, Chassériau, Corot, Courbet).
Among the highlights is La Belle Strasbourgeoise, from 1703, a portrait of a woman from one of Strasbourg’s important families in the time of Louis XIV with her imposing two-cornered hat in black lace, painted by one of the best portrait painters of the time, Nicolas de Largilliere. Though the woman has never been identified, the painting has become a symbol of the museum, much as the Mona Lisa is to Le Louvre.
Museum of Decorative Arts is set in the historical apartments – so you visit the chambers of the King and the Bishop-Prince, with exceptional examples of “the princely style of life under the monarchy.” It continues into the wing of the old stables with a tour of rooms housing decorative arts collections tracing the diversity and development of applied arts in Strasbourg from 1681 to 1870 – world-famous Hannong ceramics, furnishings, sculpture and paintings, timepieces, metalwork, silver and goldsmith art, and a selection of mechanical toys from the Tomi Ungerer Foundation.
The most interesting section is the Chamber of the Bishops – the suite of rooms forming the King’s apartments. Originally, there would have been portraits of bishops but in 1793, the paintings were burned by revolutionaries who replaced them with allegorical figures of the Civic Virtues, which is what we see today. One of the paintings dates from the First French Empire and displays the monogram of Napoleon I and the Empress Josephine.
Among the notable occupants of the King’s bedchamber were Louix XV, himself, who stayed here in October 1744, and the Daughines Marie-Josephe de Saxe in 1747 and Marie-Antoinette in 1770. The wood paneling is among the masterpieces of the French Rocaille style. Elaborately stylized shell-like, rock-like, and scroll motifs, Rocaille is one of the more prominent aspects of the Rococo style of architecture and decoration that developed in France during the reign of King Louis XV (1715–74).
Here, there is a disorienting melding of the old with the new: You go through the Royal Suite – bedchamber, Assembly Room which have been complemented with anachronistic modern art displays.
Seeing my interest, the guide directs me to a room with clockworks – the cock clock originates from the first astronomical clock dating from the 14th century of the Strasbourg Cathedral; in the center of the room are parts of the second astronomical clock designed in the 16th century by mathematician Conrad Dasypodius.
I visit a room that originally was the Prince-Bishops’ bedchamber, but when it was refurbished in the Imperial period, the bedchamber became Emperor Napoleon’s Morning Room and the antechamber of the Prince-Bishop became a small dining room. The decoration was damaged during bombing in 1944.
The entire Palais Rohan is an exhibit of decorative arts – it was built by Armand Gaston, Prince de Rohan Soubise, Bishop of Strasbourg from 1704-1713 who initiated the work. He wanted a building in the style of the Chateau at Versailles and commissioned plans from the King’s chief architect, Robert de Cotte. Construction, decoration and furnishing lasted from 1732-1742.
Archaeological Museum, the oldest of Strasbourg’s museums, was founded in the 18th century. It is fabulous. Housed in the basement of the Palais Rohan, the diversity and wide chronological range of the artifacts on display make it one of the most important archaeological museums in France.
The Archaeological Museum has fascinating exhibits that date back, remarkably, from 600,000 BC through the early Middle Ages (800 A.D.) You get insights into the daily life of Paleolithic hunters and the first neolithic farmers, Bronze Age and Iron Age burials, the everyday life of Gallo-Romans, and jewelry and weapons unearthed from Frankish and Atamanic graves.
Among the highlights: A chariot for traveling through the world of the dead, taken from tombs of Celtic princes from the Iron Age (750 BC-050 BC). And you can see the oldest tool in Eastern France – a chopper made of rock used for slicing or scraping, that was found at Achenheim and dated about 600,000 B.C. There is also a funeral headstone of a Gallo-Roman farming couple wearing their everyday clothes, that dates from the late 3rd Century A.D.
After returning from the canal cruise aboard the Panache and before taking the afternoon train back to Paris, I find my way down this really colorful street off Cathedral Square (that’s saying something in Strasbourg) to the Historical Museum of the City of Strasbourg. It is also not to be missed (and try to see early in your visit).
You wouldn’t believe that the museum, founded in 1920, is housed in what was the Grande Boucherie (the city’s slaughterhouse) built 1587-1588; it was renovated and reopened in 2013.
Entering the Musée Historique de la Ville de Strasbourg is like entering a time machine that transports you to exciting, dramatic periods of France’s history: Gutenberg’s printing press and the rise of a printing/publishing industry in Strasbourg, and what that meant. The French Revolution. The 1870 Commune Revolt. World War I. The Nazi Occupation and resistance. The museum offers an engaging tour lets you discover nine centuries of Strasbourg’s existence through 1700 works on display –paintings, artifacts, possessions – and interactive and digital devices.
Strasbourg was a free city of the Empire, which meant it had its own walls and enjoyed the privilege of holding a market and minting its own coins. Strasbourg did not take an oath of loyalty to the sovereign and did not owe the sovereign taxes or military, except for an escort for his coronation. Such a “free city” was rare. On this basis, Strasbourg had an independent constitution that was considered highly democratic by the standards of the day.
However, among those excluded from burgher status were servants, the poor and Jews, who were massacred in 1349, and after 1388, the survivors were denied the right to live in Strasbourg. The only activity Jews could lawfully engage in was usury (money lending), and certain trades. They could pursue these occupations in the city by day but had to leave in the evening. There is a moving display showing Jewish ritual objects (and as I had seen at the Musee de l’Oeuvre Notre Dame, a collection of Jewish tombstones).
There is an excellent display about Gutenberg, who developed his printing process in Strasbourg between 1434 and 1444 (legend has it he was inspired by seeing a wine press), then returned to his hometown of Mainz where he published his first printed volume in 1454. Gutenberg’s technological revolution spread with lightning speed. In Strasbourg some dozen printing houses sprang up between 1460 and 1480. The first publications were religious books (bibles) , classical texts and calendars.
The invention of printing, arbitrarily dated 1440, was celebrated in Mainz (as of 1837) and in Strasbourg, which raised the statue by David d’Angers honoring Gutenberg in 1840 (the statue we see today in Place de Gutenberg).
In the early days, printing was used to diffuse knowledge as well as criticism of the Church and of society in general. But authorities soon started printing decrees. In Strasbourg, the population was divided into six social classes – the first included servants and unmarried women; second class were day workers; third class were gardeners, and up to the sixth class, representing nobles, the Magistrate and jurists.
Laws promulgated by the municipality from 1531 onwards touched every aspect of life – religion, education, marriage, burial, use of inns, dress, begging, Jews, financial matters, games, behavior in the street, defamation, publishing.
One could say that the printing press enabled the “Rule of Law”.
It is fascinating to travel through time – through the Imperial period, the French Revolution, the Commune, the back-and-forth between being part of France and the German Empire, World War I, World War II and Nazi occupation.
I learn that 22 Novembre – the name of a main boulevard where my hotel, the Hannong, is – was the date in 1918 when the French Army entered Strasbourg. “For President Poincare, the enthusiastic reaction of the population was equivalent to a plebiscite. French became compulsory in schools and the civil service. Strasbourg, the regional capital, had to re-adapt to the French system of departments. Religion, important in both educational and political terms, had to make concessions to the secular state.”
The extensive exhibits focused on the World War II period are intense.
In July1940, once Petain had signed the armistice, Alsatians were encouraged by the Vichy regime to return to their homes – exceptions were Jews, “Francophiles” and French civil servants (30% of the population) – their property was seized, and what followed was “Germanization” of the population (again, since Alsace had gone back and forth between Germany and France).
In November 1944, Strasbourg was liberated from the Germans by General LeClerc. Strasbourg was bombed by both Allies and by Germans after being liberated in 1944.
The European Union was founded in 1992 – three of its institutions are based in Strasbourg: the European Parliament, the European Mediator and the Schengen Information Service.
“A day will come when war will seem as absurd and as impossible between Paris and London, St. Petersburg and Berlin, Vienna and Turin, as today it would be impossible and seem absurd between Rouen and Amiens, Boston and Philadelphia,” Victor Hugo said in the inaugural speech at the Congress for Peace, Paris, August 21, 1849.
I don’t even remember how many hours I spent here – the displays are really captivating.
I’ve come to Strasbourg, France, for a European Waterways canal cruise through the Alsace Lorraine on its luxury hotel barge, Panache. It is my practice now when connecting with a cruise or bike tour, to arrive at least a day early, especially when you have the opportunity to overnight in such a charming historic city as Strasbourg. That way I don’t have to worry about flight or weather delays and I can experience the destination in the morning and evening light, in peace and calm without the daytrippers, and have the time to really explore, discover and become immersed in its cultural riches.
The TGV train ride was absolutely gorgeous. (Less than two hours from Paris, you go from Charles de Gaulle Airport into the Gare de Nord, then take an easy 15 minute walk to Gare L’Est – glad I pre-purchased my train ticket and reserved seat on raileurope.com). It is surprising to see how soon out of the bustling metropolis you are in pastoral countryside. We whisk passed solar arrays, wind turbines, cows in pasture, and see traditional villages at the far end of fields. It’s cinematic.
And I still get into Strasbourg in the afternoon with plenty of time to explore.
There is much to experience in Strasbourg and I will actually have part of four days here. We will be picked up in Strasbourg on the first afternoon and taken to Krafft to board the barge hotel, Panache, and actually cruise back into Strasbourg on its first full day when we will have a walking tour and overnight on the canal. I will have much of a full day again at the end of the cruise, when we are delivered back to Strasbourg from Niderviller, before I take the train to Paris. I do a calculation and decide on my only full day in Strasbourg, after exploring the old city in the early morning, to hop on the train for a 45-minute ride to see Colmar, and still get to enjoy Strasbourg’s beauty at night.
I must say I am clever about seeing Strasbourg, beginning with choosing a charming boutique hotel, the Hannong, which I find on hotels.com, right in the historic district and walking distance from the train station, so walking distance to everything I want to see, even walking back late at night. I am able to book a room ideal for a single person (it’s as big as a walk-in closet but has everything I need) for a very attractive rate. The pleasant stay, hospitable staff, and location add immeasurably to the way I experience Strasbourg and make the best of my time. (Hotel Hannong, 15, Rue du 22 Novembre,67000 Strasbourg, +33 03 88 32 16 22, hotel-hannong.com).
So when I arrive, I find my way to the Hotel Hannong (I’m disoriented and finally find someone to point me in the right direction (I’ve already downloaded directions but I don’t have internet), I drop my bag and go off to immerse myself in the old city’s charm.
It’s just a couple of blocks to where Le Petit France begins, and I wander the narrow cobblestone streets, over bridges over the River Ill, where every turn reveals a picturesque scene of quaint quays and colorfully timbered structures from the Middle Ages, reflected in the blue water. The River Ill, which divides into five arms, is what spurred the construction of mills and the installation of tanneries centuries ago.
So charming and tranquil today, even with the crowds of tourists in midday, Le Petit France, a UNESCO World Heritage Site, in its day would have been the stinkiest, filthiest, poorest part of town, inhabited by tanners, fishermen, and animals, but as you get closer and closer to fabulous Cathedral, the residences become nicer and fancier and is where the wealthiest merchants and officials would have lived.
I come upon Place Gutenberg with a striking monument created by David d’Angers (1788-1856), erected in 1840. It commemorates that the German inventor Johannes Gutenberg developed moveable type that revolutionized access to the Bible, news, information, books, and even the law to the masses, while living in Strasbourg from 1430-1440, spawning an entire printing and publishing industry based in Strasbourg. The bronze statue stands on a granite base with four fascinating bronze relief panels that commemorate that Gutenberg came upon his idea for moveable type inspired by how a wine press worked, and how his invention influenced every corner of the globe.
One of the reliefs, “Detail of America,” depicts Benjamin Franklin and other signatories to the Declaration of Independence along with other famous liberators including General Lafayette and Simon Bolivar. Another, “Africa,” portrays Wilberforce and other abolitionists bringing freedom and enlightenment to the slaves. The third relief, “The Printing Press in Europe,” portrays important figures of the Enlightenment – Erasmus, Chaucer, Milton, Molière, Rousseau, Voltaire, Kant and Schiller (the original plaster panel, which gave prominence to Martin Luther, caused an uproar, I learn). The Asian panel is more weathered, but includes Brahmans exchanging manuscripts for books, and Chinese people reading Confucius
When I get to St. Thomas Church, I come upon an outdoor Punch & Judy puppet show, which traces back to Commedia dell’arte tradition in Italy in the 1660s. (I’m not a fan of the too accurate re-creation of its traditional slapstick humor and the tragicomic misadventures of the characters but the kids love it.)
The Notre-Dame Cathedral of Strasbourg dominates the city, in fact the entire region since it can be seen from great distances. Cathedral Square is a vibrant hub of musicians, vendors, and is ringed with some of the most important sites in the city – reminiscent of St. Marks Square in Venice. I will visit multiple times, and in the course of my visit, experience most of the important sites around the Cathedral. The streets that radiate from it are also full of colorful activity.
Construction of the Cathedral started in 1015, but came into its own as a monumental Gothic structure in the 1260s because of Erwin von Steinbach who designed the Cathedral to be the most modern building of its time in the whole of the Holy Roman Empire. It is still one of the most beautiful examples of Gothic architecture in the world. The hundreds of statues that decorate the Cathedral are incredible.
Finally finished in 1439, the Cathedral, built of pink sandstone from the Vosges, features a 142-meter-tall bell tower, making it the tallest medieval building in all of Europe.
It is an imposing structure inside, as well, with 12th and 14th century Romanesque stained glass windows in mesmerizing geometric patterns. You can climb the 332 steps to the top of the bell tower for a spectacular view and explore an 11th century crypt below the main cathedral.
On Saturday night, after I have rested a bit after coming back from Colmar, I stroll out of the hotel to Cathedral Square for the 10-minute Illuminations de la Cathedrale de Strasbourg, a free laser light show which begins nightly at 10 pm and runs continuously until midnight (in July and August). I find the neon colors jarring, but I love when the white fluttering strobe light gives the Cathedral a ghostly quality.
Just across the square from The Cathedral is the Musee de l’Oeuvre Notre Dame, an absolute must-see, where you walk through seven centuries of art in Strasbourg and the Upper Rhine. Its medieval and Renaissance collections show why Strasbourg is considered one of the most important artistic centers of the Germanic Empire from the 13th to 16th centuries.
During the 13th century, the construction of Strasbourg Cathedral produced some of the most exceptional sculptures of the medieval world. Many of them – such as The Church and the Synagogue statues on the south portal, and the west façade’s Tempter and the Wise and Foolish Virgins, the Virtues Crushing the Vices, and the Prophets – were removed from the edifice in the early 20th century to protect them from bad weather and pollution, and replaced by sandstone replicas. But here you see the original sculptures that decorated the Cathedral. To see them so close, life-sized, so you can really appreciate the artistry in a way you simply can’t by gazing up at the Cathedral, is astounding.
When I visit, the museum is featuring a virtual reality, augmented reality, holograms, videos and touch screens to situate the works where they had originally been set in the Cathedral.
In one grand room, I focus on the two sculptures known as “The Church and The Synagogue,” which I would not have known to look for, just walking about the Cathedral.
So much is embodied in these two statues, and why they were chosen: Positioned on either side of the south transept portal, the statutes of The Church and The Synagogue “each personify a covenant binding God to his people: the New Covenant of the Christian Gospel and the Old Covenant of the Jewish Torah, respectively,” the notes say.
On the left, the Church Triumphant, “wearing a crown and holding in her hands a chalice and a banner surmounted by the Cross, fixes her self-assured gaze on the Synagogue. The vanquished Synagogue, blindfolded and holding a broken lance, averts her head, expressing her inability to recognize the messiah in the person of Jesus. She appears to let fall the tablets of the Law of Moses, symbolizing the supplanting of the Old Testament. But the extreme humanity and beauty of the young woman’s features suggest an awaited revelation rather than the stigma of blindness” [as if to suggest, Jews will come into Christianity’s fold].
Now that I know where to look, later I go out to see the figures at the Cathedral.
In front of these two statues is a relief representing the biblical episode of “The Sacrifice of Isaac” at the hand of his father Abraham. The notes do not mention that this event for Jews, established the covenant with God and Jews as the “Chosen People”.
Besides the statuary, there are incredible paintings, triptychs and religious art – some of the most magnificent in the world – as you walk from room to room, floor to floor.
I follow an interior staircase all the way down and come to an interior courtyard in which tombstones rescued from a Jewish cemetery are displayed respectfully. The notes say that in 1349, Jews were expelled from Strasbourg because of Black Plague.
I climb the staircase to an attic room, where the innovations in architecture and engineering are explained. You also see some of the original architectural drawings of the Cathedral – the oldest architectural drawings of their type – as well as a video.
The museum is housed within La Maison de L’Oeuvre Notre-Dame, which has been the home of the Foundation of the Oeuvre Notre-Dame (the body responsible for administering work on the Cathedral) since the Middle Ages. It is actually two buildings: a Gothic house with its crow-stepped gable (1347) and a Renaissance wing with a scroll gable (1582). Just walking through the rooms is an experience.
Fondation de l’Oeuvre Notre-Dame (Our Holy Lady Work Foundation) was established in 1224 (!!) to improve the administration of donations and legacies for the construction of Strasbourg Cathedral. Every since construction ended, the Foundation has been in charge of restoration and conservation of the monument, a UNESCO World Heritage site since 1988.
Plan on spending several hours wandering around this museum (I actually did it twice).
Musee de L’Oeuvre Notre-Dame/Aarts Du Moyen Age, 3 place duChateau, Strasbourg.
From here, I walk across the square to see the Church and Synagogue portal, before walking back through Cathedral Square (which reminds me of St. Marks Square in Venice) to the fabulous Palais Rohan.
What is so interesting (and fun) about Strasbourg is how the historic city seamlessly integrates – and respects – what is ancient and what is modern: the virtual reality in the Musee de L’Oeuvre Notre Dame, the neon laser lights that bathe The Cathedral for the nightly show, the modern art in Cathedral Square, the really modern art exhibit incorporated into the 18th century Royal Chambers of the Palais Rohan’s Decorative Arts Museum, the light rail that rings the Old City along cobblestone streets.
On the third and last full day of my stay in Paris, I could have planned a visit to Versailles, but I just want a day to wander without a plan. Still, I have on my list several places that I keep seeing street signs for in this fascinating Marais district where I have cleverly chosen a hotel.
The Marais District is a colorful combination of the venerable and contemporary, trendy cafes, a mélange of architecture and historic, heritage and cultural sites, all packed into a relatively small (walkable) area. It is particularly wonderful to wander because the narrow, winding streets are a bit of a maze, and you keep coming upon architectural jewels – even a medieval tower – that span the centuries, trendy cafes and shops, street art, and historic places, especially sites that recall that the Marais was once a Jewish neighborhood. The main thoroughfare is Rue Vielle du Temple, and another is Rue du Temple. I had already come upon the Memorial de la Shoah, and have yet to find the Square du Temple-Elie Wiesel, le Carreau du Temple, a former clothes market that was transformed into a cultural center in 2014, or the Jardin Anne Frank.
I go in search of Place des Vosges, described as the oldest public square in Paris and an “early urban planning marvel”.
I get lost and instead come upon Parvis des 260 Enfants – a plaza where a marker recalls 260 Jewish school children were deported and murdered in the Holocaust. Behind a locked gate is the “Ecole Primaire Commudej Garcons Israelites Mode Mutuel.”
I finally find the Places des Vosges – which strikes me as reminiscent of Gramercy Park in Manhattan with townhouses all around. It was built for a king for jousting and festivals – the townhouses came later. It isn’t what I expected.
Though I have on my mental wish list to visit the Victor Hugo Museum, I don’t realize that it is actually one of these townhouses on Places des Vosges. (Years ago, I actually visited Victor Hugo’s “home in exile” on the quaint Channel Island of Guernsey and found it fabulous). But I get distracted and forget to look for it when I leave the square.
This is a huge regret – “Discover the private world of Victor Hugo. Get to know the man, the visionary artist, the proactive thinker and, of course, the writer of genius,” the museum promises. The museum incorporates the apartment that Victor Hugo rented from 1832 to 1848 is located on the 2nd floor of 6, Place Royale (now Place des Vosges). Its layout takes you through his life by means of the furnishings, objects and works of art that he created himself, owned, or are related to his writing.
While living in this apartment, Hugo wrote some of his major works: Mary Tudor, Ruy Blas, Les Burgraves [The Commanders], Les Chants du crépuscule [Songs of Twilight], Les Voix intérieures [Inner Voices], Les Rayons et les Ombres [Beams and Shadows], a large part of Les Misérables, and the beginning of The Legend of the Ages and Contemplations.
More than the writer’s house, the Maison de Victor Hugo is an important museum with a collection of 50,000 works of art- paintings, drawings, sculptures, prints, photographs, objects, a library, and collection of manuscripts and archives, all bearing witness to the life and work of Victor Hugo.
(Booking in advance is not required but is recommended. Admission to the museum’s permanent collections is free; an admission is charged for special exhibitions.)
(Add to my regret: I discover too late that in the Marais district is an Henri Cartier-Bresson Foundation, celebrating the ground-breaking photographer and founder of Magnum and photography, at 79 Rue des Archives, 75003 Paris, www.henricartierbresson.org)
Musee Carnavalet
But leaving the Square in the opposite direction from Maison de Victor Hugo (why I didn’t see it), I happen upon the Musee Carnavalet, dedicated to recounting the history of Paris and its inhabitants. It is absolutely fabulous – for the story, the artifacts, the art it presents, and it answers the question I had been wondering about: how Paris, as fabulous a city as it is, came to be.
The museum occupies two neighboring historic mansions: the Hôtel Carnavalet, was purchased by the Municipal Council of Paris in 1866 and opened to the public in 1880 (the oldest of Paris city museums); and the former Hôtel Le Peletier de Saint Fargeau which was annexed and opened to the public in 1989. Both are exquisite.
The Carnavalet, which dates from the 16th century, contains stunning furnished rooms from different periods of Paris history, historic objects, and a huge collection of paintings of Paris life depicting the city’s history and development, as well as its notable characters. There is a huge collection of antiques and artifacts from the French Revolution that bring this era to life in your mind (I note a portrait of Ben Franklin); from the Second Republic of 1848, and the siege of the commune in 1870 (the era depicted in Hugo’s “Les Miserables”). The horror of the Nazi occupation is also represented.
You come to a grand room that looks like the 19th century art salons the painters would exhibit in, with its walls filled with works by artists including Joos Van Cleve, Frans Pourbus the Younger, Jacques-Louis David, Hippolyte Lecomte, and Simon-Auguste.
“At the crossroads of archaeology and history, the decorative arts and fine arts, urban history and social anthropology, the museum provides the keys to understanding the history of this unique city-capital-metropolis.”
It houses both well-known masterpieces along with little known treasures that tell the complex story of Paris, from its origins to present day, spanning 8,500 years and holds a mind-boggling 625.000 objects, presented in 85 permanent exhibition rooms
You need to spend at least two hours here. (Tuesday-Sunday, 10-6)
Carnavalet Museum, which proves a highlight of my Paris stay and the best reason for just wandering around, is one of the 14 City of Paris’s museums that have been incorporated since January 1, 2013, in the public institution Paris Musees. Others include: Catacombes de Paris, Crypte archéologique de l’Ile de la Cité, Maison de Balzac, Maison de Victor Hugo – Hauteville House (and in Guernsey), Petit Palais City of Paris Museum of Fine Arts, Musée d’Art Moderne de la Ville de Paris, Musée Bourdelle, Musée Cernuschi, Museum of Asian Art, Musée Cognacq-Jay, Musée Galliera, Museum of the General Leclerc and the Paris’ Liberation – Jean Moulin Museum, Musée de la Vie Romantique, Zadkine Museum
I set out next for the The Musée Picasso-Paris which is also in the Marais district – housed incongruously (considering Picasso’s art) in another classic historic mansion. The museum makes the claim to “the world’s richest public collection on Picasso” with 297 paintings, 368 sculptures and 3D works, 200,000 archived items, 92 illustrated books by Picasso. It also boasts a collection of 50 pieces of furniture by Diego Giacommetti.
Musée National Picasso-Paris, 5 rue de Thorigny, 75003 Paris, https://www.museepicassoparis.fr/en
Museum of Jewish Art & History
From the Picasso Museum, I find my way to the Musée d’Art et d’Histoire du Judaïsme (Museum of Jewish Art & History).
As I walk up Rue de Place Republic to Rue de Temple, I find a marker that says 76,000 Jews were deported by Nazis to concentration camps; 2000 returned. Among those who were deported were the residents of 71 Rue de Temple, a 17th century historic mansion which today houses the Jewish Museum (mahJ), and when you first go in, there is a sort of tribute to them.
The museum traces Jewish artistic and cultural heritage, focusing on the history of the Jews in France since the Middle Ages to the 20th century, and evoking the communities of Europe and North Africa. Its collection, which it boasts is one of the finest in the world, comprises religious objects, manuscripts, textiles, and archival documents, such as concerning the Dreyfus Affair. (A statue of Dreyfus is in the courtyard at the entrance to the museum).
Special emphasis is given to the Jewish presence in the arts. The museum’s collections include works of art from painters of the School of Paris, Marc Chagall, Kikoine Soutine and Amedeo Modigliani and contemporary artists such as Christian Boltanski and Sophie Calle.
I find the exhibit more about Jewish ritual objects and such, than it is about Jewish history, culture and art – but I am really at a disadvantage in understanding since there are no English translations.
Musée d’Art et d’Histoire du Judaïsme, Hôtel de Saint-Aignan, 71 Rue du Temple, 75003 Paris, France, https://www.mahj.org
Next I head toward the Place de la Bastille where the notorious Bastille prison once stood, until it was stormed and destroyed between 14 July 1789 and 14 July 1790 during the French Revolution. No vestige of the infamous prison remains. Instead, the July Column (Colonne de Juillet) commemorating the July Revolution (1830) at the center of the square and the Opera house.
And while the square is now the site of concerts, cafes and nightclubs, it is also often the centerpiece for political demonstrations.
Another square, the Place Royale, which is close to my hotel, Le 20 Prieure Hotel, is also important for France’s history, but today is a place for skateboarders, misting station who seem to be completely unimpressed by the fabulous plaques, reliefs and inscriptions that decorate the statue at its center.
Le Louvre is SOOO big, so famous and so very popular – in fact, the world’s largest art museum at 652,300 sq. ft., housing some 35,000 objects from prehistory to the 19th century – the best strategy is simply to just surrender to it, go with the flow, and be surprised.
In 2018, the Louvre welcomed 10.2 million visitors, 3.5 million more than the Vatican Museums which is the second largest in Europe. The collection is valued at well over $35 billion plus another $10 billion for the building!
Once the home to French Kings including Louis XIV, this monumental palace began as a fortress built in the late 12th century under King Philip II. It was converted to a museum during the French Revolution in the late 18th century. (Hence my observation that such magnificent structures that make Paris so fabulous could only have been built by a monarchy, but opened to the public by a democracy.)
The galleries span 15 acres, which is why, except for the Mona Lisa and some of the other majorly famous items, it is possible for 15,000 people a day to come through and you can still have some areas almost to yourself.
It is massive and overwhelming – like culture shock, really, especially after having visited the comparatively calm Musee D’Orsay the day before. The connecting rooms through three wings of the palace that surround the massive courtyard seem to go on and on and on.
Considering that it would take 100 days to see all the art in Le Louvre, I decide the best thing is to just go with the flow – and get the Mona Lisa out of the way – and then just wander and be surprised. (Besides the Mona Lisa, the other blockbuster attractions are Venus de Milo, and the Winged Victory.)
It is also one of the most fabulous buildings you will ever have the chance to visit, and just going room by room (be sure to look up at the decorated ceilings), is thrilling.
I follow the signs –and the crowd – into the hall with the MonaLisa, “La Gioconda.”
It’s a bit of a jungle to make your way to the painting (they could have alleviated by putting up ropes that guide you along, like they do outside at the ticket counter, which would also give everyone their turn at seeing the painting from all angles). I move through the middle, row by row.
The sitter for the portrait is believed to be Lisa Gherardini (1479-1542) who lived in Florence, the wife of Francesco del Giocondo, a wealthy silk merchant. “Leonardo aimed to bring his portrait to life by depicting Lisa as if she were naturally turning to welcome us. Her upper body is in three-quarter view, but her gently smiling face is frontal,” a poster analyzing the painting notes.
I learn that Leonardo da Vinci used the afumato painting technique of applying multiple layers of pigments bound in oil to create subtle transitions from shadow to light, which is how he brought his model’s gentle smile to life.
I also learn that the landscape is imaginery – “Leonardo mastered so-called ‘atmospheric perspective’ using different shades of blue to blur the outlines and give the scene a striking depth. A path on the left draws our gaze to mountains bordered by lakes. This wild majestic landscape suggests the slow formation of the Earth, the battle of the elements and the erosion caused by time.”
Leonardo began this partially experimental painting around 1503 and never finished it. Yet, it is intriguing to learn that he took it with him everywhere he went, until his final trip to France in 1516 at the invitation of King Francois I. The king bought the painting, which is how the “Mona Lisa” entered the French royal collection.
Near to where you exit from Mona Lisa is a great hall lined with monumental historical paintings.
There is one where Emperor Napoleon is crowning the Empress Josephine. Another depicting Napoleon at the Battlefield of Eylau (9 February 1807), a battle Napoleon’s troops won against Russians and Prussians but paid a high price in lives.
“For the purposes of propaganda, the artist Antoine Jean Gros (who painted it in 1808) depicted Napoleon as a compassionate conqueror ensuring aid for the wounded enemy soldiers. The zeal of the doctors and the emperor’s serenity temper the horrors of war.”
There is also Jacques-Louis David’s a portrait of Napoleon Bonaparte (1769-1821) painted when he was a young dashing fellow (1797-1798).
You realize that such paintings (as well as statues, busts, coins and stamps) were the only way people could record what someone looked like or a historic event (and therefore eminently exploitable for propaganda).
After getting the Mona Lisa under my belt, I just kind of wander, with no specific plan, just being surprised as I go through palatial rooms. (As a general rule, the further away from the Mona Lisa you get, the less crowded until you find rooms that you can have almost to yourself.)
As it happens, I practically fall upon another of Le Louvre’s famous statues, “The Winged Victory of Samothrace,” that graces the top of the monumental Daru staircase. Dating from 190 BC, “Winged Victory” is of major importance because it is one of the few surviving examples of original Hellenistic sculpture.
But at one point, I decide to search for the Venus de Milo – the third in the triumvirate of Le Louvre’s iconic works – get lost, and, instead, find myself amid Mesopotamian, Greek and Roman artifacts, instead (I never find Venus).
In fact, I am stunned when I stumble upon the Code of Hammurabi – in fact, one of the most exciting works in the Louvre. This black stele of basalt stands over two meters high and is engraved with the earliest collection of written laws in human history. It was engraved in Babylon (today’s Iraq) around 1760 BC and recovered in 1901 in Susa (present-day Iran). (The Ten Commandments is dated between 16th and 13th centuries BCE.)
Hammurabi was the first sovereign who decided to convert rules formerly passed on through oral tradition into an actual code of laws. The upper part of the stele depicts Hammurabi himself, symbolically receiving the laws from the sun god Shamash, the patron of Justice. The lower part is the text documenting 282 laws. The most prominent (famous) is establishing the legal standard of retaliation – the right to inflict damage in equal measure on those who intentionally harmed you (“an eye for an eye and a tooth for a tooth,” though equality of punishment took into account the same social level), according to an article by Stefano Zuffi e Davide Tortorella (https://mywowo.net/en/france/paris/louvre-museum/hammurabi-stele-richelieu-wing-hall-3)
Le Louvre is really a palace – one of the grandest you have ever seen or have the opportunity to be in. Just walking through the galleries, so opulently decorated from floor to ceiling, the ornamentation is quite fabulous.
You need at least 4 hours to visit.
If your schedule allows and you book early enough, visit the Louvre Museum at night when the vibe is less frenetic and the famous pyramid is illuminated. (Wednesday and Friday, open until 9:45 pm.). Otherwise try to book a morning time as early as possible.
I cross the Seine on the Pont Royale and walk along the Quai Voltaire to return to the Isle de Cite for another look at Notre-Dame Cathedral, hoping to see workmen on a Monday.
The tragic fire in April 2019 destroyed so much of the iconic 860-year-old limestone and the latticework of ancient timbers that formed Notre-Dame’s attic, melted the roof’s lead sheath, and endangered the stability of the stone structure. The cathedral’s spire was sent crashing into the interior. It has since been raised again, “one of the most visible and most potent symbols of the cathedral’s rebirth,” a newspaper account states.
There is an outstanding photo exhibit by photographer Tomas van Houtryve with notes documenting the dramatic story of Notre-Dame’s restoration.
“I trained with teams of rope technicians, perched on ancient stones above the abyss, to access the heights of the cathedral,” Photographer Tomas van Houtryve relates. “It felt more like being on an alpine expedition than in the center of Paris. Bit by bit, the technicians carefully removed debris and consolidated stones.”
While I am standing in front of this exhibit, I learn that Jean-Louis Georgelin, the French general in charge of Notre-Dame’s reconstruction, had died just three days before, on August 18, in a fall while trekking in the Pyrenees mountains; he was 74 years old. Regarded as the architect of Notre-Dame’s rebirth, “The nation has lost one of its greatest soldiers,” President Emmanuel Macron said of him.
In an interview with the newspaper Le Monde in April, General Georgelin had insisted that “everything is being rethought.” Innovations include “cutting-edge” fire prevention technology like misting systems, thermal cameras and fire-resistant doors, as well as a recovery system to treat rainwater running off the lead roof before it goes into Paris’s sewers. “We are rebuilding Notre-Dame identically,” Georgelin had stated. “But we are building a 21st-century cathedral.”
I wonder if this tragedy would also put a monkey wrench into the restoration efforts. So far, the plan is to reopen in December (it would have been a miracle to reopen in time for the Olympics this summer). But renovation work — especially on the exterior — will continue for years after the cathedral reopens for religious services and visitors (12 million used to visit every year).
There are signs that acknowledge and express gratitude to the worldwide community that has contributed to the restoration.
From Île de la Cité, I cross Pont Saint-Louis to Île Saint-Louis – more of a residential neighborhood with pleasant boulangeries, quaint cafes and delightful ice cream shops, and find a small park overlooking the Seine to enjoy my ice cream.
For a different Parisian experience, I had checked out my junior suite in the five-star boutique luxury historic Hotel Napoleon just steps away from the Arc de Triomphe in the tony 8th Arrondisement, and took an Uber to my hotel for the second part of my Paris visit, Le 20 Prieure Hotel, a modest but pleasant three star in the Marais district which I find on hotels.com (my booking includes breakfast).
From here the Ile Saint-Louis, it’s a mostly straight shot walking across the bridge and up Rue Vielle du Temple Boulevard to my hotel, Le 20 Prieure Hotel (20 Rue du Grand Prieuré, 75011 Paris, https://www.hotel20prieure.com/en/) about two miles through the Marais District.
Today, Le Marais district is considered “trendy” with charming streets full of hip cafes, boutiques, and bookstores, Gay Pride flags and rainbow-painted crosswalks, and street art.
The Marais, though, was once a predominantly Jewish neighborhood, that still has the marks, remnants, and scars of being uprooted in the Holocaust.
I come upon Allee Des Justes Parmi Les Nations, which I quickly realize borders the Shoah Memorial Center, a museum, information and research center on the history of the genocide of the Jews in World War II.
This 60 meter section of the rue Grenier sur l‘Eau was transformed into the ‘Allée des Justes’ 12 years ago, and refers back to the “Righteous Among the Nations,” a title awarded by the World Holocaust Center in Jerusalem, Yad Vashem, to non-Jews who risked their lives during World War II by helping Jews to hide, flee or survive. The memorial lists the names of the French ‘Justes’ and the locations of their deeds. One side remembers the Jewish victims on the ‘Wall of Names’ and the other side, the “Wall of the Righteous,” the French rescuers of Jews. Since Yad Vashem still awards this title to people throughout the world each year, French names continue to be added. On January 1 2012 France counted 3.513 Justes. (The Netherland has 5,204, Poland has 6,339).
As I walk about the district, I note on schools and certain public institutions, France’s credo, “Liberte, Equalite, Fraternite” (so much better than America’s relatively recent motto, “In God We Trust” adopted in 1956 in reaction to Communism.)
On one building, there is also a plaque dated December 2001 which I translate, “Arrested by the police of the Vichy Government, complicit with the Nazi occupiers, more than 11,000 children were deported from France between 1942-1944 and sent to Auschwitz because they were Jews.”
There is a street sign pointing the way to the Museum of Jewish Art & History, and I put it on my list to visit.
On my first morning in Paris, as I set out from the Hotel Napoleon just across from the Arc de Triomphe in the tony 8th Arrondisement, at 10 am for a beautiful walk down Champs-Elysee to Place de la Concorde, passed the Grand Palais, across the Seine, passed the National Assembly to my destination, the Musee d’Orsay, I am immediately under the city’s spell.
Paris is regal. Majestic. Monumental. The scale of the boulevards, the buildings, the structures. It is big and bustling, but curiously, you don’t feel choked or overwhelmed – probably because no structure is taller than the Eiffel Tower and you can see out, and because the city is designed around open spaces –the wide boulevards, gigantic plazas, parks, the Seine flowing through. There are places to sit, even water fountains and misting stations, while the smaller neighborhoods, with their narrow twisting roads, are quaint and quiet (little traffic).
The level of grandeur is breathtaking, and for a moment I am thinking that only a monarchy could have built this, a democracy never would have. But in the next, I am reminded that only the Revolution opened them for public purpose.
I walk everywhere and Paris makes it easy (and safe). Paris is one of the most beautiful cities in the world, making strolling ideal. But for getting around, Paris is also a biking city with superb bike lanes, traffic signals (get preference over cars, in fact), and huge number of bike share stations.
It is helpful to have paper map, and not just rely on cell phone GPS (remember to download maps when you have WiFi so can access offline – I keep forgetting), but it is part of the joy of the travel experience to rely on the kindness of locals to point you in the right direction, even with limited French.
It is essential to plan your visit to Paris’ top museums and attractions in advance, and pre-purchase timed ticket, or book a time if you have the Paris Museum Pass (http://en.parismuseumpass.com/) or Paris Pass (parispass.com), and try to book as early a time as possible, or evening hours.
And though it is better to try to visit on weekdays, considering that the Musee D’Orsay is closed on Monday (I book my Le Louvre visit for that day), I pre-booked my visit for Sunday.
The Musee d’Orsay is housed in what had been a truly grand train station, a Beaux-Arts jewel built for the Universal Exhibition of 1900. It is famous for its fabulous collection of French art from 1848 to 1914 – paintings, sculpture, furniture, photography – including the largest collection of Impressionist and post-Impressionist masterpieces in the world.
Here you can experience for yourself (in relative peace, mind you) the exquisite works of Van Gogh, Monet, Manet, Degas, Renoir, Cezanne, Seurat, Sisley, Gaugain and Berthe Morisot – actually it seems just about all my favorite paintings by my favorite artists, as well as being introduced to outstanding works I am unfamiliar with.
The layout of the galleries is exquisite, and the views from the fifth floor gallery where the Van Goghs are displayed and from the Restaurant (you look through the massive clock to Sacre Coeur on Montmartre, like those scenes in the movie, “Hugo”) take your breath away.
Though the Musee D’Orsay is one of the largest museums in the world and the second most popular to visit in France after Le Louvre, it doesn’t feel large or crowded or intimidating. The clever layout – a warren of smaller galleries off a main, open hall – makes it feel more intimate and calm, even as I stand in front of such a popular painting as Van Gogh’s “Starry Night” (I think this is the equivalent of the Mona Lisa in Le Louvre). The way you realize just how vast the museum is – at any time about 3,000 art pieces are on display – is by realizing you’ve been there for four hours. Time melts away, like the humongous clocks you get to see through to Paris’ magnificent skyscape.
The Van Gogh gallery on Level 5 has an added attraction: the most magnificent views across the Seine of Le Louvre to Montmartre from one set of windows, the Eiffel Tower from another.
There are 81 Renoirs including “The Swing” (significant when I visit the Musee de Montmartre and see the spot where he painted it!), and 18 by Toulouse-Lautrec, plus James McNeill Whistler’s famous “The Artist’s Mother’, better known as “Whistler’s Mother.”
As I go through galleries of portraits, I wonder whether the sitters contemplated becoming immortal, that their visages would be admired and their personas wondered about for centuries.
Besides seeing “in person” the art works that are among the most famous in the world (and it seems just about all my favorites), there are masterpieces by artists that may not be as “top of mind” to explore and discover as well. One, “A Street in Paris,” by Maximilien Luce, that is so haunting, depicting “Bloody Week” of May 21-28, 1871, and the brutal suppression of the Commune, a revolutionary movement that emerged from the political chaos after the French defeat in the Franco-Prussian War of 1870 and the fall of the Second Empire, events immortalized in Victor Hugo’s “Les Miserables” and the musical “Les Mis” which Luce painted 30 years after the event that so affected Luce.
It is a further demonstration of the power of art to document history, events, and bring faraway places to people, especially before photography.
Thank goodness, the really excellent notes are presented in French and English (not so in many other places).
The atmosphere of the museum is like putting yourself into the canvas.
Besides the full-service restaurant, there is an absolutely delightful café in the lower level – reasonably priced and very comfortable, where I get refueled.
Towards the end of my visit, I find myself in a grand ballroom which feels weird.
From the Musee D’Orsay, I stroll down the quai along the Seine, with the marvelous book/magazine sellers, to the Pont Neuf (the oldest bridge in Paris) to Île de la Cité, a small island in the center of Paris where Notre-Dame and Sainte-Chapelle are found. It is the historic heart of Paris.
Also close to Notre Dame on the Ile de Cite is Sainte-Chappelle, famous for its stained glass windows.
Sainte-Chapelle is considered one of the finest examples of Rayonnant period of Gothic architecture. Built between 1238-1248, the royal chapel was commissioned by King Louis IX to house his collection of Passion relics, including Christ’s Crown of Thorns – one of the most important relics in medieval Christendom. It served as the residence of France’s kings until the 14th century.
A curious chart outside the chapel shows that Sainte-Chappelle cost 266,000 gold francs for the elevation of its spire and the restoration of the roof, equivalent to 1.06 million Euros, total weight 232.4 tons, 75 meters high from ground level, work done between 1853-1855.
Notre Dame Cathedral: cost 500,000 gold francs for the elevation of its spire, equivalent of 2 million euros today; total weight 750 tons, 96 meter high from ground, work from 1859 to 1860.
Adjacent to Sainte-Chapelle is La Conciergerie, the palace where Marie-Antoinette was held before her execution (it’s closed by the time I arrive).
Walking back to the Hotel Napoleon, I stroll alongside the full length of Le Louvre museum – once a palace – stunned by how large, and how exquisitely ordained it is (I will be visiting the next day), through Tuileries Garden to the Place de la Concorde, the largest square in Paris, where King Louis XVI, Marie Antoinette and Robespierre were executed by guillotine during the French Revolution.
I walk by the Petit Palais (where there is a Sarah Bernhardt exhibit I wish I could have seen; free admission to the collections!), to the Champs-Élysées. (There is really good signage that direct you to the places visitors most want to see.)
The view from across the Seine – with the Bateaux Mouches (sightseeing boats) passing by – is enchanting enough, but seeing the Tower from its base is breathtaking.
The Eiffel Tower is one of most beautiful structures in world – so elegant, so graceful, seemingly as light, delicate and intricate as filigree. I am surprised to learn that the design was criticized, even ridiculed when Gustave Eiffel, the engineer whose company designed and built the tower from 1887 to 1889, proposed it.
Nicknamed “La dame de fer” (“Iron Lady”), it was constructed as the centerpiece of the 1889 World’s Fair, and to crown the centennial anniversary of the French Revolution. (The tower also was supposed to be a temporary installation, but Eiffel pushed to have its lease extended and ultimately, became a permanent fixture of the city.)
We marvel at its beauty but in 1889, the tower was celebrated more as a historic feat of engineering: the first structure in the world to surpass both the 200-meter and 300-meter marks in height. At 330 meters (1,083 ft.) high, the Eiffel Tower is equivalent to an 81-storey building, and still is the tallest structure in Paris, dominating the skyline from wherever you are. During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest man-made structure in the world, a title it held for 41 years until dethroned by New York City’s Chrysler Building in 1930.
The tower has three levels that visitors can reach, with restaurants on the first two. The top level’s upper platform is 276 m (906 ft) above the ground – the highest observation deck accessible to the public in the European Union.
It is fascinating to learn that the top level was actually a private apartment built for Gustave Eiffel’s personal use, which he decorated with furniture by Jean Lachaise and invited friends such as American inventor Thomas Edison. Today, you can’t visit the entire apartment, but there is a reconstruction of Gustave Eiffel’s office. Through the windows, you can see wax figures of Gustave Eiffel and his daughter Claire being visited by Edison.
There is also a new immersive experience that takes you inside Gustave Eiffel’s office (accessed by scanning a QR code on the first floor). While waiting for the lift on the first floor, you can also peruse historical documents with monitors, tactile screens, display cases, digital albums and photocopies of objects.
There are also new guided tours which must be booked online
The Eiffel Tower is one of the highlights of visiting Paris – in fact, one of the most-visited pay-to-enter monuments in the world, with almost 6 million visitors a year. It is almost essential to book a timed ticket ahead of time.
The wait for tickets – if they are not totally sold out – can be long. If you have interest in going to the top, book your tickets as soon as you know your dates for Paris. (Online tickets go on sale 60 days in advance for the elevator.)
But for a completely different experience (and if tickets for the elevator are sold out), you can also climb the stairs – from ground level to the first level is over 374 steps, and 300 more to the second, making the entire ascent 674 steps – about 20 minutes per level.
Stairway tickets for the second floor are sold online (up to 10 days in advance) or sold on-site.If you want to go to the top, you would need to purchase “stairway + lift” tickets. These tickets are only sold on-sitein the South leg of the tower, guaranteeing minimal queueing times (only the most gung-ho visitors), where you take the stairs up. In peak periods, another leg may be opened for stairway ascents.
Other experiences: Madame Brasserie offers a lunch and dinner menu on the first floor (reservations strongly advised; the reservation includes the ascent to the 1st floor of the Eiffel Tower, but not to visit to the 2nd floor or to the top).
Reservations for dining or eating at the Jules Verne (2nd floor) must be made on the dedicated website. If you make a reservation for the Jules Verne, a private lift in the south pillar will take you directly to the restaurant when you arrive. The visit of the Eiffel tower is not included.
You can book your ticket for the top of the Eiffel Tower and add a glass of champagne at the champagne bar. The champagne bar at the top is open every day, from 10.30 am to 10.30 pm.
I would say the most enchanting time to experience the Eiffel Tower is at night.
I stand in a park at the tower’s base, where there is a festive atmosphere among the throngs of people gathered – but for the Olympics, there will be a stadium built in front of the tower, before walking back to the Hotel Napoleon.
What a day – I must have walked 12 miles plus 3 hours worth in the museum. Here’s where I went:
If you are planning to visit Paris his year, it is especially important to make plans really early, lock in reservations to visit the sites, attractions, restaurants, hotels, even train or bus transportation you most want to include if you are going outside Paris.
Paris (with 85,000 hotel rooms) is expecting about 15 million visitors as it hosts the Olympics (July 26-August 11) and Paralympics (August 28-Sept. 8. Other events to keep in mind: Tour de France, from June 29 to July 21; and Tour de France Femmes, from August 12 to 18.
The fact is, Paris is so popular (for good reason), there is no longer the “shoulder” season or “off season” (especially as more travelers seek the comparative comfort of cooler seasons, known as “coolcationing”). No matter when you travel, to get the most out of your visit, it is essential to do pre-planning. The days of just strolling into the major attractions are well gone, so advance purchase of timed- and capacity-controlled tickets will still be essential. Book online as soon as you know your dates of travel. In that way, you can avoid wasting valuable time and money waiting on line for tickets (followed by the line for security). Moreover, having a set time to visit the key attraction on your list will help you structure your day – while still allowing for serendipitous experiences and discoveries.
I must admit that my decision to spend four days in Paris at the end of my European Waterways canal boat cruise in the Alsace-Lorraine was a bit spontaneous and I didn’t have as much time as I would have liked to do the research and preparation which I am recommending here. (So I didn’t get to go up the Arc de Triomphe or the Eiffel Tower.) And planning out my visit for a city as big (and yet, as I found, not so big that I couldn’t walk everywhere), with as many highlights, was intimidating from a logistics point of view. So I began as I would hope other travelers do: I consulted what other travel writers have written about “four days” in Paris, and checked the various lists of “top attractions” like on tripadvisor.com.
Listen, while most travel writers will focus on the “off the beaten track” and “hidden gems” and “local favorites,” if, like me, you haven’t been to Paris in eons or ever, you want to experience what everyone else is talking about. They are the top attractions for a reason. But by preparing in advance in order to reduce wasting time waiting on lines, you will (I guarantee) have those serendipitous discoveries of “hidden gems” and “less known” that you can then boast discovering.
I had my list of top attractions, but how to organize in the best way?
I started with figuring out the priority attractions – Le Louvre, Musee D’Orsay – that would require advance, timed tickets, and made each of them the centerpiece of a day. Musee D’Orsay is closed on Monday; Le Louvre is closed on Tuesday. Then I looked to what was around, but much of how I spent my day after was pretty spontaneous.
The city was hopping with visitors this year – as tourism recovered globally after pandemic closures and it seems the world decided never to put off again their dream destinations. I visited in late August, a very busy time in any year, and the city is already preparing for the Olympics (I happened upon a city-wide practice run for security street closures.)
And most surprising to me, was how easy it is to get around Paris – especially walking and by bicycle (with loads of bicycle share stations), with its special biking lanes and traffic signals, and traffic signals and crossings that favor pedestrians. For those who prefer, the superb metro and bus system has multi-day tickets.
I walked everywhere – because it is the whole of Paris that is the attraction – the architecture, the people, the street activity, and the sheer beauty of the city, absolutely one of the most beautiful, enchanting in the world. And not just around the stunning sites of the Eiffel Tower, Le Louvre, Musee D’Orsay and Notre Dame (which you can see as it is restored), but neighborhoods that are so picturesque, interesting, and full of character. So I plot the walking time into my day.
But walking around, is the best way to come upon those “hidden gems” that no one else knows about. You have a cascade of serendipitous experiences, compelling places and surprises around every corner. It’s like surrendering yourself to the universe, or in this case, the city, and let it find you. And sometimes, when you set out in search for something, all these other things emerge.
(GPS is only helpful when you already have internet, but you should plot your route and then download so you have the maps offline or at least download the Paris map, which I kept forgetting to do, so I often relied on actual maps and the kindness of wonderful strangers, even with my very limited French, to point me in the right direction.)
During my four days in Paris, I visited:
Arrival afternoon:
Arc de Triomphe
Stroll the quais along the Seine for the magnificent views of Eiffel Tower at sunset into the night
Day 1: (Sunday)
Musee D’Orsay
Isle de la Cite (to see the restoration of Notre Dame)
Sainte-Chappelle
Tuileries Gardens
Place de la Concorde
Stroll the quai along the Seine to the Eiffel Tower at night
*
Day 2 (Monday)
Le Louvre
Notre Dame (again)
Isle de France
Marais District/Holocaust Memorial
*
Day 3 (Tuesday)
Marais District/Holocaust memorials
Place des Vosges
Museum of Paris History (a highlight)
Musee d’Art D’Histoire du Judaism
Musee Picasso-Paris
Bastille monument
Place Royale
*
Day 4 (Wednesday)
Montmartre
Musee Montmartre
Dali Gallery
Sacre Coeur
(Not on my list: Versailles, which I visited many years ago but any first-timer should visit)
And here are my regrets at having missed out: Victor Hugo’s House (turns out I was right there but didn’t know to look); Petit Palais which has marvelous exhibits (couldn’t time it right); the Crype Archeologique de L’Ile de la Cite (right beside the Notre Dame, but I never time it right to visit); and Catacombs (intriguing!). And yes, I regret not climbing the stairs up the Eiffel Tower (didn’t realize you can get that ticket on the spot) and seeing the museum and climbing inside the Arc de Triomphe
Yes, these are the most popular sites, but they are popular for very good reason, and if you are not a frequent visitor to Paris, you would be doing yourself a disservice not to experience them yourself. But there are ways to make the experience your own. Your list of “highlights” might be different – like the bateaux mouches cruise on the Seine (included in the Paris attractions pass).
I highly recommend getting the Paris Museum Pass (https://www.parismuseumpass.fr/t-en, which provides admissions to 34 museums in Paris and 11 more in the region) or the Paris Pass (parispass.com) which not only makes attractions and experiences more affordable, but will absolutely add to what you see and do, and also provides such helpful information as hours, location, proximity to where you are. When booking, try to book the earliest available times or evening times, and midweek over weekend.
You are likely to arrive in Paris at the Charles de Gaulle Airport, which has easy train connection to downtown – purchase your metro ticket in advance at a wonderful visitor information office as you walk out, and even a multi-day ticket. This will cut down on wasted time waiting on line to buy a ticket and the confusion of knowing what zone you need. And it saves quite a lot of money. But the best part is you don’t think about how much you are spending – it all seems free.
Coming from Strasbourg by train at the end of my six-day canal cruise of the Alsace Lorraine aboard European Waterways’ Panache, I arrived at Gard d’Est and made my way on the metro (after going in the wrong direction on the metro) to a stop just in front of the Arc de Triomphe. My hotel, the Hotel Napoleon Paris, a five-star boutique hotel which put me perfectly into the atmosphere of Napoleon’s Empire period, is not even a half-block away, and one boulevard over from the magnificent Champs Elysee. (Note: book train tickets in advance, www.raileurope.com)
It was afternoon, and I quickly checked in to this charming boutique hotel, dropped my bag, and went out to explore the Arc de Triomphe.
This iconic symbol of France is set in the middle of a roundabout (the Place D’Etoile, like a star”) where 12 busy boulevards converge, including the magnificent Champs Elysee which is aligned with its center. Don’t even think about trying to cross the roundabout – you must walk through underground passageways to get across the busy boulevards that encircle the monument (There’s a pedestrian tunnel at Place Charles de Gaulle on the north side of the Champs-Élysées that will take you down to the arch.)
Building the Arc de Triomphe began in 1806 on Napoleon’s orders. Just a year earlier, in 1805, Napoleon’s forces won a decisive victory over Russian and Austrian troops at the Battle of Austerlitz. French architect Jean-François-Thérèse Chalgrin took his inspiration from the great arches of the world and designed Triomphe to be the largest in the world. The arch is 164 feet tall, and twice a year, the sun sets directly in the center. It took 30 years to complete the arch which was officially opened by King Louis-Phillipe on July 29, 1836.
In the years since, soldiers have marched past the arch as a victory lap – France and its allies did in 1918, 1944 and 1945; Germany in 1871 and 1940. Every year, a ceremony at the Tomb of the Unknown Soldier, buried below the arch, marks the anniversary of the armistice signed on Nov. 11, 1918.
Today, the Arc de Triomphe is more of a symbol of peace and is very recognizable as the end point for the Tour de France cyclists. For the French, the Arc de Triomphe goes well beyond being commemorative, but is foundational in the French national psyche.
In 1921 the Tomb of the Unknown Soldier was incorporated into the monument, and today the tomb’s flame is rekindled every evening at 6.30 p.m. to show respect for All of France’s fallen.
I was transfixed by the arch, the spectacular bas-reliefs of historic events that grace each pillar – The Entry of Napoleon, The Conquest of Alexandria and The Battle of Austerlitz. The most famous of them, The Departure of the Volunteers, also known as La Marseillaise, was created by the Romantic sculptor François Rude in 1792. The others were crafted by two other sculptors, Antoine Etex and Jean-Pierre Cortot Plaques list the names of hundreds of generals and battles.
Admittedly, I didn’t know that you could enter the monument and climb the 284 steps to to the terrace (an elevator is available for those who require it) for a view, or that there is a museum inside – The Permanent ‘Great Moments of French History’ exhibition which traces the story of the Arc de Triomphe and explains the architecture, friezes and sculptures. So I definitely did not book tickets in advance. But the line to purchase tickets was ridiculous so I happily contented myself to just study the stunning reliefs and be transfixed by the arch’s form. (Having a Paris Museum Pass would have provided free admission without the need to reserve a time.)
What I missed though was the dramatic view from the top: looking down the Champs-Élysées to the Louvre, out to La Defense, around to the Eiffel Tower. And you look straight down at one of the world’s largest round-abouts, where the 12 avenues come together.
I continued my walk well into the evening, following the route the concierge at the Hotel Napoleon laid out for me: strolling down the Champs Elysee, turning onto the Avenue George V (and passed the famous Hotel George V), to the Seine.
Paris is truly magical, truly the City of Light and romance. Couples walk along the quai, attach a lock to just about any wrought iron they can find, pose for a selfie.
That first view of the Eiffel tower from across the Seine, the bateaux mouches sailing by (I’m seeing Audrey Hepburn and Cary Grant in “Charade”) as the sky takes on the rosy tones of sunset, fills you with a giddiness that can be described as joie de vivre. By the time I headed back along the quai, passing couples in amorous embraces, night has descended and the views of the lighted tower, bridges, and reflections on the river take your breath away.
Walking back to the Hotel Napoleon on a tony residential street just off the Champs Elysee, I felt more like I am going back to my swank Parisian apartment rather than a hotel. I get another view of the Arc de Triomphe as I turn the corner.
The New York Gilbert & Sullivan Players company is one of New York City’s cultural treasures and fortunately, many outside the Big Apple will also have the opportunity to revel in the company’s artistry and talent as it finishes its stellar production of “The Mikado” and begins its annual road tour, this season featuring “The Pirates of Penzeance.”
Now in its 49th year, this extremely talented and creative company NYGASP, which is based out of the Kaye Playhouse at Hunter College, has been hailed as “the leading custodian of the G&S classics” and has created its own special niche in the cultural mosaic of New York City and the nation. NYGASP’s mission is “giving vitality to the living legacy of Gilbert & Sullivan,” says the company’s Founder/Artistic Director/General Manager Albert Bergeret.
Bergeret typically hosts a preview and introduction during a series, typically before a performance geared to families.
The new/ updated NYGASP production of The Mikado premiered in NYC in late 2016, features an original prologue that introduces the audience to the real life characters of the D’Oyly Carte Opera Company who originated The Mikado in 1885 London. The production centers the fantastic elements of juxtaposing a Victorian world with an imagined Japanese setting allowing the opera to be a truly inclusive experience for all audiences and artists.
The show abounds with absurdity and astounding wit, clever wordplay, memorable tunes and endearing characters, performed to perfection by clever patter man David Macaluso as Sullivan and Ko-Ko (who brings extraordinary physical comedy and a sweet voice); blustering Matthew Wages who plays Richard D’Oyly Carte and pompous Pooh-Bah; creative David Auxier as author Gilbert and town leader Pish-Tush (who also authored the new Prologue and is the director, and choreographer); charming John Charles McLaughlin as romantic hero Nanki-Poo, rising star Hannah Holmes as lovelorn and overbearing Katisha; beautiful soprano Rebecca L. Hargrove as self-aware Yum Yum; Sarah Hutchison as maiden sister Peep-Bo; mellifluous mezzo Elisabeth Cernadas as adventurous Pitti-Sing; and dynamic bass David Wannen in the title role.
The brilliant ensemble is rounded out by Caitlin Borek, Camilo Estrada, Chris-Ian Sanchez, James Mills, Katie Hall, Abby Kurth, Lance Olds, Logan Pitts, Maurio Hines, Michael Galante, Michelle Seipel, Sabrina Lopez, Viet Vo and Alexandra Imbrosci-Viera.
To their artistry and talent they exude a joy of performance.
The production showcases gorgeous scenery designed by Anshuman Bhatia, clever and inventive costumes by Quinto Ott and lighting by Benjamin Weill. The Mikado is produced by NYGASP Executive Director David Wannen. Founder and Artistic Director Albert Bergeret,sharing the podium with Associate Conductor, Joseph Rubin conducting the 25-piece orchestra.
NYGASP’s brilliant re-creation of Gilbert & Sullivan’s classic, “Mikado,” was first introduced in 2016, aimed at exorcizing the production of offensive stereotypes that might offend Asians that were embedded in the 1885 original. “It is a balancing act to respect the original but take out what people considered offensive,” Bergeret says.
A specially created “prologue” and creative costuming ensure there is no confusion that “Mikado” represents Englishmen satirizing Victorian society and politics, capitalizing on British fascination with all things Japanese in the 1880s, to defuse the pointed references that might have gotten Gilbert & Sullivan (already under censorship of Lord Chamberlain) into trouble. And frankly, the depiction of The Mikado (who doesn’t even appear for the first 2 ½ hours of the three-hour show) as a cruel but ridiculous tyrant is reminiscent of how the Red Queen is depicted in “Alice’s Adventures in Wonderland” (1865). If anything, the Mikado’s character may resonate in 2024 more than in 2015 or even 1885.
The clever Prologue. authored by the director, choreographer David Auxier-Loyala takes place on June 6, 1884 – one day after their “Princess Ida” opened, brings together D’Oyly Carte, the actual producer, with Arthur Sullivan, the composer and W.S. Gilbert, the lyricist and author (played by David Auxier), and has them talking about the Japanese exhibition that is all the stir in London. D’Oyly Carte is pushing them to come up with their next musical, and in their verbal interplay, these fanciful interjections become the fanciful names for characters – Pish-Tush, Pooh-Bah – and suggest plot points. Gilbert “dreams” the performance of “Mikado” – he becomes Pish-Tush, a Noble Lord; Sullivan becomes Ko-Ko, the Lord High Executioner, and D’Oyly Carte becomes Pooh-Bah (“the Lord High Everything Else”).
Of course British audiences of 1885 could have cared less about “political correctness.” The object of Gilbert & Sullivan’s satire was British society
We take advantage of seeing January 13 afternoon “Family performance”, which features a before-show talk introducing the plot and music presented by the esteemed Conductor and Musical Director Albert Bergeret, who founded the New York Gilbert & Sullivan Players 49 years ago (and was the original Nanki-Poo), I learn that my comparison of “Mikado” for Gilbert & Sullivan to “Madame Butterfly” by Puccini is not entirely unfounded. While the music that Sullivan composed runs the gamut of British musical styles (ballad, madrigal, march), he incorporates the Japanese five-note scale and an actual Japanese folk song, Miya-sama (though for this production, new English lyrics are substituted for the Japanese) – music which Puccini also appropriates in “Madame Butterfly.” (Miya-sama was not used in this production.)
“We took out what’s incomprehensible or inappropriate,” Bergeret says, who adds that Sullivan was a brilliant, classically trained musician who was well versed in all genres of music and composers from around the world. In “Mikado” Sullivan demonstrates his virtuosity in writing in many different forms.
Just as Gilbert incorporated contemporaneous digs, so too does this Ko-Ko, a “cheap tailor” (which means he made clothes for common people) taken from the county jail where he was scheduled to be executed (for flirting), and elevated to Lord High Executioner, update his “List” of those who shan’t be missed, to be as current as yesterday’s tweet, sometimes changing it each performance, surprising even the rest of the cast.
During our performance, Ko-Ko, brilliantly played by David Macaluso, who is not only brilliant at patter but physical comedy, inserts digs at A.I. and the “plagiarist” that got him on the list, and natural gas which somehow puts the “environmentalist” also on that long, long list as the scroll unfurls.
And The Mikado’s updated long list of who to punish and how, includes the Instagrammer “made to endure a dungeon cell without not one cellular bar” and “political pundits, who must sail for weeks on a boat full of leaks on a sea of alternative facts.” (That gets tremendous laughs.)
But Bergeret notes they do not want to do too much contemporizing. “We are proud to share this production, which upholds The Mikado’s musical score, setting, characters, storytelling, themes, and most of all its universal satire of human nature.”
So, the Mikado looks to execute Ko-Ko (the Lord High Executioner), Pooh-Bah (the “Lord High Everything” and Pitti-Sing (one of the “three little maids from school” for carrying out the Mikado’s orders to execute Somebody and unwittingly execute the Mikado’s son and heir to the throne, Nanki-Poo. The Mikado appreciates their effort (he only wishes he could have witnessed the execution) but insists they still should be executed for, well, killing the heir and looks for the entertainment value in their lingering death.
The Mikado justifies executing the three because, after all, this is an unfair world where the virtuous suffer and the undeserving succeed. This leads to the song that probably best sums up the moral of Gilbert & Sullivan’s “Mikado,” in which the three condemned sing, “See how the Fates their gifts allot/For A is happy, B is not/Yet B is worthy, I dare say/Of more prosperity than A…If I were Fortune which I’m not/B should enjoy A’s happy lot/And A should die in misery/That is, assuming I am B.”
In the end The Mikado is less a jab at all-powerful monarchal misrule, than a comic contemplation of what human beings do when in faced with existential situation. Their focus is on human nature and the human condition. In Mikado, we see self-preservation – even by Yum-Yum who is willing to marry Nanki-Poo who loves her so much he is willing to be executed after just a month, until she realizes that as the wife of an executed man, she would be buried alive.
This production makes another change at the end, stopping the show for a return to the Gilbert & Sullivan characters trying to figure out an ending that would not rely on a magical or fantastical device like the “magic lozenge” they used in their 1877 opera “The Sorcerer” and almost breaks up their collaboration. (Gilbert finally gets to use the device in “The Mountebanks,” written with Alfred Cellier in 1892). Instead, Gilbert comes up with an argument that actually makes sense given the circumstance: Any order by the Mikado must be carried out, so having given the order, it must have been carried out (not much more absurd than “Anything the President does is legal and immune from prosecution, even if he orders Seal 6 to kill his political opponent.”).
“The Mikado, or The Town of Titipu” – the ninth of Gilbert & Sullivan’s 14 collaborations – was immensely popular when it opened on March 14 1885 in London, running for 672 performances, the second longest run for any musical theater production. By the end of 1885, some 150 companies in Europe and America were performing the operetta. It even was widely performed in Japan (apparently they took no offense).
Indeed, “The Mikado” is one of the most popular productions of musical theater of all time. Performed for the last 135 years – by the D’Oyly Carte Opera Company, NYGASP and others including Joseph Papp’s Shakespeare in the Park festival – there were decades when “Mikado” was being performed somewhere in the English speaking world any day of the year. Some of its word inventions have entered the lexicon, such as “the grand Poo-Bah” and “Let the punishment fit the crime.” They have also been performed in languages including Yiddish and French, though Bergeret notes that the French don’t seem to get the jokes.
G&S were very popular in their own time – all their 14 shows were popular and “Mikado” was one of most popular written out of their 14 (one, “Thespis,” was lost). Their nods to classical and digs at British society and conventions and their union of witty lyrics and lyrical music, appealed to high and low class. Both wrote with others but were never so successful as when they collaborated together. “They were very different characters – Sullivan was a lady’s man” – aspects that come through in the specially written “Prologue” to Mikado.
“The only one who doesn’t like Gilbert was Queen Victoria, Bergeret tells us. “We are not amused,” Queen Victoria once commented. The Queen knighted Sullivan as the “savior of English classical music.” (Her son, King Edward VII, knighted Gilbert.)
Gilbert & Sullivan actually invented musical theater. At the time Gilbert & Sullivan were writing, there were opera, light opera and music hall theatricals, but nothing like a musical show with story – music that had both class and pop – with real story lines, music advanced the story, Bergeret tells us. This is where musical theater started,. Watching “Mikado” you see a straight line to Rogers & Hammerstein and Stephen Sondheim.
Since its founding in 1974, the company has presented over 3,000 performances of the G&S masterpieces throughout the United States, Canada, and the U.K. delighting audiences of all ages.
The company’s celebrated ensemble of G&S experts, developed by introducing new singers each year from New York’s immense pool of vocal and theatrical talent, has collaborated with such guest artists as world-renowned G&S exponent the late John Reed, O.B.E. in numerous comic baritone roles, Tony winner John Rubinstein and Frank Gorshin both as King Gama in Princess Ida, John Astin as Sir Joseph in H.M.S. Pinafore, Hal Linden and Noel Harrison as the Major General in The Pirates of Penzance, Pat Carroll as Little Buttercup in H.M.S. Pinafore, and Steve Allen as The Mikado.
The company’s repertory consists of 13 complete G&S operas (cast, orchestra and crew of 50-80 people), special versions of the most popular operas designed for children’s audiences, and a variety of charming sextet concert programs. The company has also produced a cabaret act. I’ve Got a Little Twist, created and directed by David Auxier, won a 2010 Bistro Award, has toured the country and appeared at Lincoln Center’s 2011 Atrium series.
NYGASP Founder/Artistic Director/General Manager, Albert Bergeret is a career-long professional specialist in the works of Gilbert & Sullivan, having performed, staged, conducted and designed every opera in the repertoire since the company’s founding in 1974. He has conducted and staged all 13 of the works in the G&S canon as well as the company’s smash hit production of George Gershwin’s Of Thee I Sing.
New York Gilbert & Sullivan Players are worthy of a Tony Award.
Coming up, NYGASP will present G&S’s “The Sorcerer” and “Trial by Jury” on April 6-7.
Also, NYGASP regularly tours its shows, and this year is featuring “Pirates of Penzance”:
Feb. 28: An Evening of G&S Favorites, Lincoln Center, Fort Collins, CO
Feb. 29: The Pirates of Penzance in One Act/Evening of G&S Favorites, Lone Tree Arts Center, Lone Tree, CO
Mar. 3, 2024, The Pirates of Penzance, Popejoy Hall, Albuquerque, NM
Mar. 5: The Pirates of Penzance, Mesa Arts Center, Mesa, AZ
Mar. 7: The Pirates of Penzance, Gallo Center for the Arts, Modesto, CA
Mar. 8: The Pirates of Penzance, Clark Center for the Performing Art, Arroyo Grande, CA
Mar. 9: The Pirates of Penzance, Torrance Cultural Arts Center, Torrance, CA
Mar. 10: The Pirates of Penzance, McCallum Theatre, Palm Desert, CA
Apr. 26: The Pirates of Penzance in One Act/Evening of G&S Favorites, Harry M. Cornell Arts & Entertainment Complex, Joplin, MO
May 10: The Pirates of Penzance, Mayo Performing Arts Center, Morristown, NJ
