Why so mean?
In regards to Marc Hirsch’s review of Taylor Swift (“Swift delivers strutting, confident pop spectacle,” Metro, July 28), I would beg to differ. I alongside every crazy Swift fan there quite frankly had the time of their lives and see Taylor as a fantastic, life-changing talent. Her vocals were great, so don’t try to create flaws that weren’t there. Sorry if the actual live concert experience wasn’t to your standards. No need to make yourself the topic of her next song about mean people.
Low tide on ‘The Vineyard’
I must say, Matthew Gilbert’s review of “The Vineyard” (“ ‘The Vineyard’: Mannequins on the beach,” g, July 23) had me in stitches.
Laughing at the ludicrous idea that America will fall for, and perhaps in love with, these people.
Gagging at the idea that my favorite place in the world, Martha’s Vineyard, of course, will be portrayed in a way that I cringe at.
Becoming so annoyed at all of the Vineyard Viners and people who could really care less about the true love and beauty the island has to offer (i.e. the cast of “The Vineyard”).
Rolling my eyes at the few who are now on the show who have actually known each other for years.
I am so relieved to know that brilliant journalists like yourself are so well aware of this dynamic.
Just wanted to thank Matthew Gilbert for stating the oh-so-obvious about “The Vineyard.” I was born and raised on the island, and I do find the show offensive. I can smell the stink from it all the way down in North Carolina, where I now reside.
I will hope that this series is short-lived and does not give the island a bad reputation. I am going to pass my sentiments on to ABC Family and hope they decide to fill that time slot with something a lot better.
“Repulsive” was the first word that popped into my head way before I got to the paragraph where Matthew Gilbert used it. How about “pathetic”? Or should that be reserved for people who become “fans” of this “reality” show?
A way with words
I enjoyed Jeremy Eichler’s piece about Andris Nelsons (“Living in the moment of creation,” Page A1, July 21). Lots of interesting information to be sure, but the writing in and of itself warrants great praise: “The words at his disposal are vessels too flimsy for the full weight of the message he is trying to get across.” Great stuff, Mr. Eichler!
Here’s Johnny’s wardrobe!
I’m writing in response to Mark Feeney’s piece about Johnny Carson and his fashion (“Coats of many colors,” SundayArts, July 21). Excuse me, Mr. Jackass. Maybe you are not old enough to remember what men’s fashion looked like back in the day, but the clothing that you speak of in your rather condescending piece was actually the style at the time. To say that Johnny Carson didn’t have a clue about fashion during his heyday is just plain ignorant. He was wearing what most fashionable males were wearing. When’s the last time you looked in a full-length mirror to take account of what you’re wearing? If your readers could see what you’re seeing, you might be surprised at the criticism it would generate.
Unfair to opera
I write to critique a Globe critic. On Sunday, I attended a wonderful opera production of Nicolai’s “Merry Wives of Windsor.” On Friday, it got panned by Jeffrey Gantz (“ ‘Merry Wives’ is modest midsummer pleasure,” Metro, July 26). I’d like to return the favor.
Opera in Boston fights an uphill battle: It has no permanent stage; audience interest is mixed; production costs are high. Adding the hurdle of callous criticism seems unnecessary.
After reading Gantz’s review, I expected a flop. Instead, I was surprised by a wonderful performance. Gantz criticized diction; I could hear most words. He said nothing about musicality; there were a number of stunning duets. In general, the singing was inspired.
Being critical is easy. We learn how to in school. We are rewarded for it professionally. We practice it at home to the delight of therapists. Crushing good artistry with autopilot negatives is unfair and beneath the Globe. When Gantz wakes up on the wrong side of bed again, please ask him to take the day off.
ANDREW E. CLARKSON
Director of Music
St. Paul’s Episcopal Church
I appreciated Janine Parker’s review of “House” (“At Jacob’s Pillow, L-E-V’s ‘House’ mystifies as it seduces,” g, July 27).
I agree it is no masterpiece, which to my aesthetic should be transporting and eye-opening for its beauty of form and content. This was not a transcending experience for me. It was a dark indulgence, like vampires and gothic horrors. What can I say? I was not “in the middle” about this work. I wouldn’t pay to see it again.
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