Two excellent letters over the last couple of days.

First, Sydelle Gomberg, wife of the late, great Ralph Gomberg, takes issue with our coverage of James Levine's medical issues. "How could Geoff Edgers be so insensitive to publish Peg Monahan-Pashall's comments about James Levine? Did it occur to Edgers how Levine might feel reading the negative and critical words? Where are his feelings for a man facing serious problems? Levine deserves an apology."

Next, a New Hampshire man wonders why he can't lose himself in Beethoven's Ninth. Make sure to click on the comments.

Scanning the “25 Most Stylish Bostonians,” I was struck by the interview with João Ribas. In particular, I wondered about the claim by the new curator at MIT’s List Visual Art Center that he doesn’t own a pair of jeans. That doesn’t sound like the guy I talked to a few weeks ago. Ribas seemed personable and funny.

Turns out, he was surprised to see how he came across in the piece, too, and by the criticism he’s received on-line.

“I was poking fun at me being on the list,” he told me. “Because I’ve only been here for a month, and I thought it was great. I thought it was flattering and wanted to have fun …. If you feature me in something like this, my instinct is to ridicule my inclusion with people who probably are indeed stylish and fashionable. I’m a nerd.

On your blog today you put up a definition of “parody.”

Yeah, because I was parodying myself. Just parodying the idea of being someone who doesn’t really think that much about fashion.

If you could do it all again, would you have excised the word “couturier” from your vocabulary?

I would hope that things said in a joking matter and meant to be lighthearted and fun would be taken that way.

And this jeans thing you said… it’s kind of an exaggeration, right?

It’s a total exaggeration.

Your jeans, though, are they special? Do they have something on them that would make them special?

No, not at all. They’re just a pair of jeans.

You were taken aback and upset about the response to this feature by some people.

I was trying to have a sense of humor about it. I don’t spend a lot of my time thinking or dealing with fashion. But it was nice to be asked. I thought it was a great welcoming gesture.

João Ribas, newly minted curator at the MIT List Visual Arts Center, has been recognized as one of Boston's 25 most stylish, according to the Globe.

Read his entire interview here.

And then there's my favorite Q & A:

Where do you shop? I don’t. I detest the entire experience. I find it to be the most tedious activity. So most of my things are bespoke. I have a fantastic and brilliant couturier who I work with, Craig Robinson in New York. Either that or it’s been inherited from my father and grandfather. I have an abhorrence of both consumer culture and infantilism, which is why I don’t own a pair of jeans.

(Essdras M Suarez/Globe Staff)

Here's a reminder why we, the print industry, need to maintain a healthy stable of critics. Look at the contrast between Jeremy Eichler's view of the Lorin Maazel substitution with the Boston Symphony Orchestra and the sentiment of Allan Kozinn.

Eichler wasn't pleased with the man subbing for injured BSO music director James Levine. "The orchestra played brilliantly and with utter professionalism, but Maazel’s interpretations of the Sixth and Seventh symphonies left at least this listener decidedly unmoved," he wrote in his review of the Oct. 30 Symphony Hall performance.

Kozinn, in his review of the BSO's Carnegie Hall performance, wraps up with the following nugget:

Maybe destiny’s wires were crossed. Perhaps if Mr. Levine had taken over the Philharmonic, and Mr. Maazel had spent the last seven years in Boston, everyone would have been happier.

Today's award for best-titled event goes to the organizer's of "Goethe Your Hand Off My Heine." That's the German art song cabaret being held by OperaHub on Nov. 14 (in Boston) and 15 (in Harvard Square.) Give credit to Jordan Rodu, who is one of the company's original founders, for coming up with the title.

It has taken a while in his sluggish economy, but it appears that the Isabella Stewart Gardner Museum is pushing forward on its building project. Boston Business Journal reports on Moody's rating of the museum, which is going to use bonds to pay for the Renzo Piano building planned for the Fenway site. ArtDaily reports that the Gardner has raised more than $100 million for the project. The design of the new building should be made public in 2010.

The Daily News Tribune's account of the Rose Art Museum's opening portrays a pretty colorful night. You have Brandeis University President Jehuda Reinharz letting everyone know the "Rose is open." Then we have his wife not so pleased with students who aren't so sure of what exactly the opening signifies. Finally, we have a Brandeis graduate handing out pamphlets for a reading of her new book. It's title: "The Rape of The Rose."

(Essdras M. Suarez/ Globe Staff/ File)

Yes, we have headed to Twitter. It's like a blog, except with less substance!

I hate it now. In fact, a few years ago I took my vinyl copy and threw it on my Victrola with one of those thick needles meant for a shellac 78. Ever tried that? The needle scrapes through the LP grooves leaving delicious, black, vinyl shavings behind. I can take Bruce in doses, but BITUSA needs to be sent to that sonic graveyard shared by Men Without Hats and Howard Jones. And please, don't tell me to listen to the demos!

Here's a box set I won't be owning... at least, until my next Powerball win.

Sony is putting out a Yo-Yo Ma set with his complete recordings. That's 90 CDs. And this thing ain't put together with balsa wood and Bubble Yum. The set comes in a velvet-lined box with a 312-page hardcover book.

And here's my favorite part. As some of you might know, reviewers often receive free copies of new releases. For the sake of scholarship. But Sony, naturally, can't do that with a project this expensive. Instead, Sony is offering the "friends and family" discount record company workers receive.

That means instead of paying the standard list price of $789, we experts could receive the box for $475.

Music Director James Levine will not be able to return by Oct. 30, the Boston Symphony Orchestra reports in a press release. That means the conductor, who recently had back surgery for a herniated disc, will miss the orchestra's entire Beethoven cycle. Lorin Maazel, most recently the music director of the New York Philharmonic, will conduct the BSO from Oct. 30 to Nov. 7, including the sixth, seventh, eighth and ninth Beethoven symphonies.

Just recently, Levine told the Globe he expected to return for the Oct. 30 concert.

Maazel is also going to conduct the BSO at Carnegie Hall on Nov. 2, which will include the sixth and seventh symphonies. The BSO, in its press release, states that Levine will be back Jan. 28 - his next scheduled appearance in Boston - for a program featuring works by Carter, Berlioz, and Ravel.

More from the press release:

In his first performances with the Boston Symphony since 1973, Mr. Maazel will lead the orchestra in Beethoven’s Sixth and Seventh symphonies on October 30 and 31, repeating that program at Carnegie Hall on November 2. Mr. Maazel will also conduct Beethoven’s Eighth and Ninth symphonies on November 5, 6, and 7. Soloists for Beethoven’s Ninth Symphony include soprano Christine Brewer, contralto Meredith Arwady, tenor Matthew Polenzani, and bass baritone Eike Wilm Schulte; the Tanglewood Festival Chorus, John Oliver, conductor, will also be featured. As previously announced, Julian Kuertiwill conduct Beethoven’s Third and Fourth symphonies on October 27 and 29. All of the BSO’s Beethoven cycle concerts, October 27-November 7, at Symphony Hall in Boston are sold out, with no tickets remaining for those programs.

"It would be a mistake 'to come back before my body is ready.' " -- James Levine, BSO and Metropolitan Opera Orchestra music director (Michele McDonald/ File)

A Far Cry readies to launch its season. But what's on Jae's iPod?

Do we need another Beatles tribute band? These guys say we do.

And there's an inspiring musical development at NEC and it's not on stage.

James Levine, on why he's waiting until Oct. 30 to return to Symphony Hall:

“My doctors think these things are unrelated to one another and that I am going to be back in the saddle. But one thing that would clearly be a terrible mistake is to come back before my body is ready.’’

Read more...

James Levine, BSO and Metropolitan Opera Orchestra music director (Michele McDonald/ File)

No, the "Hope Obama" artist had nothing to do with that balloon chase. But over the weekend, Shepard Fairey made big news with an admission: He lied about which images led to his famous Obama creation. The question now is how this will impact his lawsuit against the Associated Press. It certainly provides ammunition for the anti-Obey lobby.

The Associated Press photo of Barack Obama and right, Shephard Fairey's poster. Photo: AP

James Levine won't be back, as previously hoped, for the Boston Symphony Orchestra's first two programs of Beethoven symphonies, according to an announcement made this morning.

Levine abruptly announced late last month that he would need surgery for a herniated spinal disk, marking the third time in five years leading the BSO that he would miss time due to injury. His manager had said he would return most likely by Oct. 22, when the BSO began a cycle of Beethoven symphonies programmed by Levine.

Today, the BSO announced that Levine's doctors want him to delay his return until Oct. 28. The Oct. 22, 23 and 24 concerts (Beethoven Symphonies 1, 2 and 5) will be conducted by Rafael Frühbeck de Burgos, and the Oct. 27 and 29 concerts (Beethoven Symphonies 4 and 3) by BSO Assistant Conductor, Julian Kuerti.

The BSO states that Levine will return for the rest of the Beethoven cycle, starting Oct. 30.

“We’re thrilled that James Levine is well on the road to recovery from his back surgery, and we look forward to having him return to the BSO podium for performances of Beethoven’s Sixth, Seventh, Eighth, and Ninth symphonies at the end of the month,” said BSO Managing Director Mark Volpe in a statement. “Though we are all disappointed that he will miss the first two programs of the BSO’s Beethoven cycle, Jim’s full recovery is the first priority. We look forward to his return to the BSO podium and to the incredible focus, drive, and commitment we’ve all come to expect from his singular music making with the BSO. We are very grateful to Rafael Frühbeck de Burgos and Julian Kuerti for graciously stepping in to cover the first two Symphony Hall Beethoven programs.”

Dudamania may be all the way across the country but the US-based branch of El Sistema, the successful, Venezuelan music education program the conductor was involved with as a boy, is heading to New England Conservatory.

Ten grad-level musicians have been picked to head to NEC as the school launches the Abreu Fellows training program, one of the first major initiatives of El Sistema USA. These fellows will spend a year studying at NEC and in Venezuela so they can learn how to run music education centers throughout the world.

And the fellows are...

Daniel Berkowitz, a Northwestern University graduate, who studied trombone with Michael Mulcahy, Randall Hawes and Charles Vernon. Along with playing music, over the last year he's live in London working "as an entrepreneur developing the infrastructure for Morningstar’s Pan European and Asian Fund research endeavor."

Jonathan Andrew Govias, who holds a Bachelor of Music (BM) degree with distinction from the University of Victoria (Canada), a certificate in arts administration from the International Institute of Culture Management (Munich), and a Master of Music (MM) degree in orchestral conducting from the University of Denver.

Music teacher and librarian Lorrie Heagy, based at Glacier Valley Elementary School in Juneau, Alaska, works to "integrate and advocate the arts for all kids."

New York born Rebecca Levi splayed piano and flute at the Mannes and Manhattan School of Music Preparatory Divisions. She attended Yale and, since her graduation in 2007, has lived in Peru working "in a home for abused children and teaching music and English classes."

Clarinetist David Malek is from Texas. He made his solo debut in 1987 with the San Antonio Symphony performing Debussy’s Premiere Rhapsody. Along with his playing career, he joined the United States Air Force Band in San Antonio, Texas as principal clarinet. He works with children in rural America, the inner-city and with the Harmony Project with students in South Central Los Angeles.

Dantes Rameau, who was born in Ontario, Canada, is of Haitian and Cameroonian descent. A basoonist, hH earned a Master of Music from Yale in 2007 and has performed with Charleston Symphony, Wallingford Symphony and Aspen Chamber
Symphony. He's taught at the Yale School of Music Outreach program been a coach at the Carnegie Mellon University Basketball camp.

Álvaro Rodas, born in Guatemala City, Guatemala, is a percussionist, teacher and arts administrator. From 1992 to 2004 he was principal percussionist at the Guatemala National Symphony. Since 1997, he has been deeply involved in the replication of El Sistema in Guatemala.

Georgia native Stanford Leon Thompson studied trumpet with members of the Atlanta Symphony Orchestra and Georgia State University. He's since appeared as soloist with the Atlanta Symphony Orchestra, Ocean City Pops Orchestra and the North Springs Philharmonic. He also manages professional music ensembles, runs a trumpet studio and counsels musicians.

At Northwestern University, Christine Witkowski studied horn performance and also volunteered for Youth Organizations Umbrella Inc. She eventually became program director for “Breakfast Club,” a mentoring and tutoring program for disadvantaged youth.

Kathryn Wyatt served as director of education and community engagement for the North Carolina Symphony from 2007-2009. "Her call to leadership in the arts was inspired by YOA’s joint performances with the Símon Bolívar Orchestra of Caracas, VZ in 2005. The power and success of El Sistema moved her to begin thinking how and where else this passion for music could translate to benefitting communities."

Shakespeare & Company, central to the artistic life of the Berkshires for more than three decades, is facing a cash crunch so severe it would need to raise $2.3 million just to survive until next March and could be unable to meet its payroll as soon as this month, according to a report released today.

Leaders of the Lenox-based company acknowledged the crisis after the release of a 37-page report from the Nonprofit Finance Fund, a service agency that examined Shakespeare & Company financial books and laid out a stark picture of the organization. It is saddled in debt and has built up an accumulated deficit of $4.75 million over the last five years.

The organization’s liabilities now exceed its assets by a ratio of almost seven to one, according to the report.

But Shakespeare & Company's leaders, who had requested the report to establish a baseline to help them develop a recovery plan, said they don't expect the organization to close and have already put in place cost-cutting measures to keep it alive.

"The way the report is structured today is that if we do nothing then these are the bad things that will happen," said Tony Simotes, the company's artistic director. "I couldn’t agree more. The good news is that we are not only not doing nothing but we’ve already put some changes in place, many of which this report suggests and others which will come down the road."

These changes include a staff cuts, a hiring freeze and performance schedule shifts that will cut down on days the theater needs to be closed during its prime summer season. The company is also in talks to restructure its nearly $8 million in loans with Century Bank of Medford.

Countess Olivia (Elizabeth Raetz) and Sir Andrew Aguecheek (Ryan Winkles) in Shakespeare & Company’s production of “Twelfth Night.’’ (Kevin Sprague)

Eight local artists are getting $15,000 each from the Boston Foundation in the first wave of fellowships given out in honor of Brother Thomas Bezanson, a Benedictine monk and ceramic artist who was represented by a Boston gallery. From here on out, Brother Thomas grants will be given out every two years. The judges, this time around, were former Institute of Contemporary Art curator Nicholas Baume; Emilya Cachapero, director of artistic programs for the Theatre Communications Group; Michael Cain, an associate professor at Brandon University in Manitoba, Canada; Kwame Dawes, a professor of Liberal Arts at the University of South Carolina Arts Institute; Caridad Svich, a teacher at Bard College, Rutgers University and the University of Rochester; Judith Tannenbaum, Curator of Contemporary Art at the Rhode Island School of Design Museum; and Joe Zina, retired executive director of the Coolidge Corner Theatre.

The first wave of Brother Thomas grants will go to:

Filmmaker and playwright John Oluwole ADEkoje, whose film, “Street Soldiers” has been shown at the Cannes Pan African Film Festival and the Roxbury Film Festival.

Composer Kati Agóc, a member of the faculty at the New England Conservatory.

Poet Richard Hoffman, a writer in residence at Emerson College who has previously won the Barrow Street Poetry Prize for the book “Gold Star Road: Poems.”

Poet Barbara Helfgott Hyett, author of “Rift: Poems” and a visiting scholar at the Harvard Graduate School of Education and Tufts University.

Video artist Brian Knep, the first artist in residence at Harvard Medical School and the subject of this Globe profile.

Moscow-born Alla Kovgan, a filmmaker whose work has been screened at international film festivals in Paris, Melbourne, Durban, Athens and Roxbury.

Documentarian Tracy Heather Strain, who is working on a film about writer and activist Lorraine Hansberry, author of “Raisin in the Sun.”

Jeweler Heather White, whose work is in the collections of the Museum of Art and Design in New York City and the Museum of Fine Arts in Boston.

Our story on the various versions of "The Laramie Project" neglected to mention one local production. Westford Academy Theater Arts - one of only two high school theater programs across the country selected to participate in tonight's event - will be sponsored by The Theater Collaborative of Westford, a newly formed not-for-profit theater organization. The performance takes place at the Westford Academy Performing Arts Center.

From a release:

"Artistic Director Michael Towers will direct a cast of twelve Westford Academy Alumni whose range of WA attendance spans a twenty five year period. Joining the ensemble cast are special guests Janet Keirstead (WA English Department), Larry Sousa (WATA Guest Director) and Donna Wresinski (Artistic Director, Framingham High School Drama Company and MHSDG President.)

Tickets for the production will be available for purchase one hour prior to curtain as well as online at www.mvarts.info. Tickets are $10.00 for general admission and $5.00 for students and seniors. Proceeds from the production benefit the Matthew Shepard Foundation."