Slashdot: Microsoft acquires Winternals and Sysinternals. Regardless of how you feel about Microsoft, this is great news for Winternals the company and Mark Russinovich the industry figure. (For those that don’t recognize the name, think Sony BMG: Russinovitch’s blog at Sysinternals blew the whistle on Sony BMG’s rootkit.)
It’s clear that this is a talent acquisition; Microsoft has said they are aware of some product overlap with Winternals’s product line, which generally means some sort of phased migration plan is in order.
I think the Slashdot advice to download the free Winternals utilities now is a very very good idea. I always forget that Regmon exists until I need it, and then I wonder how I lived without it.
I also find the statement that they’ll rationalize the Sysinternals community features with Microsoft.com offerings somewhat disturbing. If the value of Mark’s blog, for instance, is its refusal to spout the Microsoft party line and thus carrying a strong reputation for truthful investigation into technical issues, aren’t they destroying some value by bringing him into the fold? Or are they afraid of having another high-profile blogger get too much of an independent rep, as Scoble did?
As I was looking through the Feedster and Technorati listings for reviews of the Gurrelieder concert, I was pleased to run across a couple of other people who have been blogging about (and from!) the TFC:
- Rishi, who performed in February’s and July’s Gurrelieder
- Carol Minor at Minor Music, who attended the performance last weekend and with her keen eye noted some details of Levine’s conducting
- Five O’Clock Shadow, who attended the February performance and appears to be a Boston student
- Maury D’Annato of My Favorite Intermissions, who joins the chorus of bloggers and reviewers griping about balance problems with the soloists
- Kelly Corcoran of, um, her MySpace, who sang with us in July (and whom I didn’t realize was a conductor)
- fanw, who writes intelligently about the trade-offs involved in singing in a major work like the Gurrelieder as an amateur chorister
- Andrea, who sang in the February Gurrelieder and wrote about some of the logistical challenges of singing the last five minutes of a 130-minute-long work
- Marie, whose dad is in the TFC and who wishes she could sing like Karita Mattila (don’t we all?)
- Willowfinn, who had an impromptu Gurrelieder dance party with his/her friends in the back row at Symphony Hall back in February, and who also points out the real reason for the piece’s magnificence: “Schoenberg + zombies + a dude named Waldemar + a veritable forest of violins = WIN!”
I don’t always go back and gather links to the reviews of concerts that I’m in, but it’s a habit that I’m trying to get into. Not because I’m egocentric (though as e.e.cummings once wrote, I have yet to run into a peripherally situated ego), but because for years I sang in groups that didn’t get reviewed and I’m trying to make up for lost time.
This time the first review I saw was Sunday’s Albany Times-Union story, which was Page 1. The New York Times and Boston Globe reviews followed yesterday. Mercifully, all three avoided the temptation to use the common review of the Tanglewood Festival Chorus, “as usual, the chorus sang superbly and from memory.”
- Albany Times-Union: Cantata by BSO, singers classy: “The huge male chorus (and the women when called upon) sang superbly, especially in the “Wild Hunt” section. By the time, the final chorus to the sun rang out, the music of “Gurrelieder” was anything but ugly or boring.”
- New York Times: At Tanglewood, James Levine Transforms Students Into Pros (about both the Gurrelieder and the following night’s Strauss Elektra performance): “Even in the orchestral prelude, which evokes the natural world with plangent harmonies, glowing strings and twittering woodwinds, Mr. Levine paid heed to the harmonically restless bass lines, glints of dissonance and ominous stirrings amid the musical bliss. The orchestral and choral textures are often daringly thick in this music. Schoenberg had to manufacture special manuscript paper with 48 staffs to notate the work. (That oversize manuscript is on display this summer at the Pierpont Morgan Library and Museum in Manhattan.) Yet though the textures are dense, they are never gloppy. In a good performance all the inner voices and details should come through, and this performance was superb. The Boston Symphony continues to sound like one of the glorious ensembles of the world under Mr. Levine. He was joined by the impressive Tanglewood Festival Chorus and some noted vocal colleagues from the opera world.”
- Boston Globe: BSO’s ‘Gurrelieder’ is luminous, heartfelt: “The men of the Tanglewood Festival Chorus really pumped out the sound in their demanding music. The work is a favorite of Levine’s; he knows how it works and how to make it work. The orchestra responded to the conductor and to the challenges of the music with playing that told the story and bathed it in an ardent glow.”
- The Patriot Ledger: CONCERT REVIEW: Levine carries off grueling task with a flourish: James Levine is definitely back. Just a week after his return to the podium after months-long recovery from a fall and rotator cuff surgery, the Boston Symphony Orchestra’s music director led thrilling back-to-back performances of two blockbuster scores during the weekend at Tanglewood, a daunting feat for any conductor… orchestra and chorus sounded glorious in this opulently orchestrated score richly depicting nature and a vast range of human emotions. The love theme bloomed with memorable depth and sheen, while the Wild Hunt with the ricocheting men’s chorus sounded frighteningly unleashed. The mixed chorus made the concluding sunrise a stunning soundburst.
- Berkshire Eagle: Unforgettable Schoenberg: “John Oliver’s festival chorus — and especially the men, who sang in three antiphonal groups and carried most of the choral burden — wakened heaven and earth with its outcries and murmurs. But perhaps the real star of the performance was the BSO, which, under Levine’s knowing ministrations, took a narrator’s role of its own and delivered it in sonic splendor. The delicate opening invocation to nature, the shouts of passion, the eerie rumblings and seethings: All told a tale of undying love.”
I wrote a nice long screed yesterday about the joys of traveling in and out of Logan now that the tunnels are closed. I didn’t get to post it thanks to a very long day out of Internet contact, but here are the highlights:
- No parking at Alewife—I wanted to avoid the nightmares at the Callahan and Sumner tunnels and take the T, but the parking garage was totally jammed at 10 am (which I should have foreseen). I drove to Harvard Square, which was the closest T location with pay parking garages that I could think of (never mind that they cost $24 a day).
- The Silver Line—It’s been said before, but honestly: the Silver Line is a bus and shouldn’t get equal billing with the Red, Green, Orange, etc lines. And that lack of air conditioning thing? Not nice.
- JetBlue—I liked this carrier, and some days I still do. Yesterday—not one of them. I don’t know if it was their fault or Logan’s that they put so much fuel in the plane yesterday that they would have exceeded their landing weight at JFK and had to idle on the tarmac for 45 minutes (after already arriving 45 minutes late) to burn it.
- Finally, Amtrak. I took the train back because I figured there was no way I could get back to JFK in time for my flight. But the Acela was capped at 80 MPH because of the effect of the heat on the rails. I certainly don’t want any trains to derail, but good god! Had the designers never experienced an Atlantic coast summer? Didn’t they know that things get really hot?
Bottom line: left the house at 9, back at 12:15 am when I should have been back by 9 pm. I’ll take the 3 hour shlep to the Berkshires any day.