Now the Little Orchestra Society is honoring both him and Women’s History Month with “Vivaldi’s Virtuosas,” part of the L.O.S. The longtime musical director at the Ospedale della Pietà, a Venice home for foundlings, he trained many gifted girls for its acclaimed orchestra and choir. Vivaldi never married - he was ordained a Roman Catholic priest - but you can’t say he didn’t appreciate women. Like “The Bloody Child,” it stars Menkes’s sister, Tinka Menkes, who delivers an affectless, almost somnambulant performance as an impassive prostitute detained for a killing.
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The film, which enigmatically pivots around brusque Marines involved in a murder arrest, tosses out conventional rules of chronology, image and sound Menkes’s distanced compositions refuse to direct the eye, and as mixed, the dialogue often seems to misdirect the ear.Īlso showing daily, and similarly nonlinear, is “Magdalena Viraga,” which premiered in 1986 but apparently is receiving its first full run in New York. Writing in The New York Times in 2012, Dennis Lim, now the director of programming for the New York Film Festival, which played a restored version of Menkes’s “The Bloody Child” last fall, called the director “an outsider both on the indie film scene and in avant-garde circles.”įirst shown in 1996, “The Bloody Child” is one of two of her features receiving daily screenings at the Brooklyn Academy of Music starting on Friday as part of a broader, weeklong Menkes retrospective.
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The independent filmmaker Nina Menkes defies obvious categorization. In-person tickets are $25, and the show can be livestreamed for a price of your choosing at. Collier will appear with a slightly altered version of the band from the album: Jordan Williams on piano, Jeremiah Hunt on bass and Michael Shekwoaga Ode on drums. at Soapbox Gallery, an intimate concert space in Prospect Heights, Brooklyn, adorned with sculptures and pictures. With the release last year of “Cosmic Transitions,” a weighty LP featuring his quartet, the Chosen Few, he has established himself as an heir apparent to both the Chicago lineage and the post-Coltrane sax tradition: It’s in his rough, pinched tone and his penchant for minor-key incantation, which he uses to stir the group to action.Ĭollier, who last month released a darkly rousing, 13-minute-long rendition of “Lift Every Voice and Sing” (an outtake from the “Cosmic Transitions” sessions), will perform on Saturday at 8 p.m.
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The tenor saxophonist Isaiah Collier is the latest in line. It seems every year or two another blazing young improviser emerges from the Chicago jazz scene, boasting some uncanny maturity and a rangy freedom within the broader acoustic-jazz tradition.