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92NY presents Philharmonia Baroque Orchestra with Richard Egarr and Reginald Mobley: Garden of Good & Evil Jan 25 2024
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92NY presents Philharmonia Baroque Orchestra with Richard Egarr and Reginald Mobley: Garden of Good & Evil Jan 25 2024

By Contributor — 7 months ago

92NY presents Philharmonia Baroque Orchestra with Richard Egarr and Reginald Mobley: Garden of Good & Evil Jan 25 2024

The 92nd Street Y, New York (92NY), one of New York’s leading cultural venues, presents Philharmonia Baroque Orchestra with Richard Egarr and Reginald Mobley: Garden of Good & Evil on Thursday, January 25, at 7:30 pm at the Kaufmann Concert Hall. Tickets start at $30 and are available at https://www.92ny.org/event/philharmonia-baroque-orchestra.

America’s premier Baroque ensemble joins with music director and harpsichordist Richard Egarr and countertenor Reginald Mobley, bringing their compelling program performed to acclaim in the UK. Centered on the creation story, Garden of Good & Evil pairs Handel arias with modern works for Baroque forces by celebrated composers Errollyn Wallen and Tarik O’Regan – jointly commissioned to write new music exploring an aspect of the Biblical creation story. Philharmonia Baroque Orchestra’s blend of authenticity and innovation and juxtaposition of old and new is beautifully illuminated in this musical examination of the most profound of themes.

Handel, Overture to Orlando

Handel, “Al lampo dell’armi” from Giulio Cesare

Handel, “Orride larve … Chiudetevi miei lumi” from Admeto

Handel, Concerto Grosso in A Minor, Op. 6, No. 4, HWV 322

Errollyn Wallen, The Forms (New York premiere)

Tarik O’Regan, The Golden Measure (New York premiere)

Handel, Concerto Grosso in B-flat Major, Op. 6, No. 7, HWV 325

Handel, “O sacred oracles of truth” from Belshazzar

Handel, “Se in fiorito ameno prato” from Giulio Cesare

ABOUT THE ARTISTS

Richard Egarr brings a joyful sense of adventure and a keen, inquiring mind to all his music-making—whether conducting, directing from the keyboard, giving recitals, playing chamber music, or indeed talking about music at every opportunity. After a successful career as Music Director of the Academy of Ancient Music for 15 years, where he succeeded founding director Christopher Hogwood, he joins Philharmonia Baroque Orchestra & Chorale as Music Director.

Richard also holds responsibilities as Principal Guest Conductor of Residentie Orkest The Hague and Artistic Partner at The Saint Paul Chamber Orchestra in Minnesota, after having served as Associate Artist with the Scottish Chamber Orchestra. As a conductor, Richard straddles the worlds of historically-informed and modern symphonic performance, making him an ideal fit for PBO’s parallel commitments to early and new music. Richard is already well-known to the musicians and patrons of PBO, having guest conducted the orchestra four times since 2012 in both regular season offerings and the PBO SESSIONS series. In addition to his conducting genius, he is a brilliant harpsichordist and is equally skilled on the organ and fortepiano.

Richard is a beloved teacher and has been on the faculty of The Juilliard School for eight years in their Historical Performance division, has conducted major symphonic orchestras such as London Symphony Orchestra, Lincoln Center Festival Orchestra, Seattle Symphony, and The Philadelphia Orchestra, and regularly gives solo harpsichord recitals at The Kennedy Center, Carnegie Hall, the Smithsonian, and elsewhere.

Born in Lincoln, England, Richard trained as a choirboy at York Minster, was organ scholar at Clare College Cambridge, and later studied with Gustav and Marie Leonhardt in Amsterdam, where he makes his home.

Under the musical direction of Richard Egarr in his second season as Music Director, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as “America’s leading historically informed ensemble” (The New York Times). Considered the most versatile ensemble of its kind, and performing on period instruments, PBO presents repertoire ranging from early Baroque to late Romantic, as well as new works and major operatic productions. The ensemble engages audiences through its signature Bay Area series, national and international tours, recordings, commissions, and education programs. Having celebrated its 40th anniversary last year, PBO was founded by Laurette Goldberg and led by Music Director Laureate Nicholas McGegan for the past 35 years. Philharmonia is the largest ensemble of its kind in the United States.

PBO’s musicians are leaders in historical performance and serve on the faculties of The Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford. It welcomes eminent guest artists including mezzo-sopranos Susan Graham and Anne Sofie von Otter, countertenors Anthony Roth Costanzo and Aryeh Nussbaum Cohen, violoncellist Steven Isserlis, and maestros Jonathan Cohen and Jeannette Sorrell. PBO enjoys longstanding artistic collaborations with The Juilliard School, the Mark Morris Dance Group, and the American Modern Opera Company (AMOC), and appears regularly at Disney Hall, Lincoln Center, Norfolk Chamber Festival and Tanglewood. In collaboration with Cal Performances in 2017, PBO produced a fully-staged period opera, Rameau’s Le Temple de la Gloire, and produced a fully-staged, reimagined production of Handel’s Aci, Galatea e Polifemo directed by Christopher Alden and featuring countertenor Anthony Roth Costanzo, bass-baritone Davóne Tines, and soprano Lauren Snouffer in eight sold out performances in January 2020. “Aci” was named Best Operatic Performance in the Bay Area by San Francisco Classical Voice in 2020. PBO also co-produced “Aci” with National Sawdust in Brooklyn, Cath Brittan and Anthony Roth Costanzo in 2017.

Among the most recorded orchestras in the world, PBO boasts a discography of nearly 50 recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson in Berlioz’s Les Nuits D’été, and a GRAMMY®-nominated recording of Haydn symphonies. The orchestra released the world premiere recording of the original version of Rameau’s Le Temple de la Gloire with the unedited libretto by Voltaire in 2018. In 2020, PBO released three groundbreaking recordings: a full collection of commissioned works by Pulitzer Prize winner Caroline Shaw, a selection of arias sung by rising star contralto Avery Amereau, and Handel’s Saul with countertenor Aryeh Nussbaum Cohen.

Noted for his ‘shimmering voice’ (BachTrack), GRAMMY-nominated American countertenor Reginald Mobley is globally renowned for his interpretation of baroque, classical and modern repertoire, and leads a prolific career on both sides of the Atlantic.

An advocate for diversity in music and its programming, Reginald became the first ever Programming Consultant for the Handel & Haydn Society following several years of leading H&H in its community engaging Every Voice concerts. He holds the position of Visiting Artist for Diversity Outreach with the Baroque ensemble Apollo’s Fire, and is also leading a research project in the UK funded by the AHRC to uncover music by composers from diverse backgrounds.

His American concert schedule includes solos recitals (New York at the Miller Theatre, Chicago (Collaborative Arts Institute)), concerts with orchestras performing Handel’s Messiah with, this year, the Pittsburgh Symphony, Philadelphia and Minnesota orchestras and Carmina Burana with the Chicago Symphony Orchestra as well as regular appearances with the most prestigious baroque ensembles: Philharmonia Baroque Orchestra, Early Music Vancouver, Collegium San Diego, Seraphic Fire, to name but a few. Recent and future highlights include his debut with the Boston Symphony Orchestra at Tanglewood Festival (Andris Nelson), with the Philadelphia Orchestra, and with Orchestre Métropolitain de Montreal, conducted by Masaaki Suzuki.

In Europe, Reginald has been invited to perform with Orchester Wiener Akademie, Balthasar Neumann Chor & Ensemble, Freiburger Barockorchester, I Barocchisti, Bach Society in Stuttgart, Holland Baroque Orchestra, Dutch Bach Society, Monteverdi Choir and English baroque soloists, as well as the City of Birmingham Orchestra and the Budapest Festival Orchestra for a series of performances as Ottone in L’incoronazione di Poppea. He has also engaged in a few projects together with the Academy of Ancient Music in Cambridge, singing the role or Disinganno in Il trionfo del Tempo e del Disinganno and devising a new programme, Sons of England, supported by UKAHRC, which reflects his research under their umbrella, which will be touring in April 2024. Reginald gave a Purcell, Handel and Sancho programme for his solo debut recital in Paris, which he repeated as part of the Bayreuth baroque opera festival in September 2023.

His first solo album with ALPHA Classics was released to great acclaim in June 2023 to coincide with a major series of concerts with pianist Baptiste Trotignon in Paris, York and Liverpool as well as part of both the Aix-en-Provence and BBC PROMS festivals. In addition, Reginald features on several albums with the Monteverdi Choir, Agave Baroque and Stuttgart Bach Society.

Highlights of the 2023/24 Tisch Music Season include:

  • Joshua Redman Group release concert of where are we featuring Gabrielle Cavassa
  • NY premieres of new work by Tyshawn Sorey and COTTON by composer Damien Geter
  • New York concert debuts of the Isidore String Quartet and pianist Tony Siqi Yun
  • Pianist Conrad Tao returns to 92NY as part of the global celebration of Rachmaninoff at 150
  • Ongoing partnerships continue with concerts from the Curtis Institute of Music, the New York Philharmonic, and Orpheus Chamber Orchestra with special guest artists
  • Art of the Guitar Series with Beijing Guitar Duo, David Russell and Manuel Barrueco
  • 2023/24 Lyrics & Lyricists series celebrating Howard Ashman, Laura Nyro, Stevie Wonder, andSheldon Harnick in a special event led by Ted Sperling honoring the legacy of three-time Tony Award winner, and Broadway legend, Jason Robert Brown, featuring a one-night-only appearance.
  • Expanded American Songbook offerings including exclusive concerts by Audra McDonald, Joshua Henry and Stephanie J. Block

For more information, please visit 92NY.org/Concerts.

First Look: 'How To Dance in Ohio' opening this Sunday December 10 
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First Look: ‘How To Dance in Ohio’ opening this Sunday December 10 

By Suki Jefferson — 7 months ago

First Look: ‘How To Dance in Ohio’ opening this Sunday December 10

First look photos have been released from the new musical How to Dance in Ohio – inspired by Alexandra Shiva’s Peabody Award-winning documentary of the same name – which is set to open this Sunday, December 10 the Belasco Theatre (111 W. 44thSt). With book and lyrics by Rebekah Greer Melocik (she/her), music by Jacob Yandura (he/him), choreography by Mayte Natalio (she/her), and direction by Sammi Cannold (she/her) – all making their Broadway debuts – How to Dance in Ohio began previews on November 15, 2023.

Tickets are on sale at Telecharge.com.

Reprising their roles on Broadway from the world premiere engagement at Syracuse Stage, the cast was heralded by The Syracuse Post Standard as, “both reflecting and respecting neurodivergence, with every single actor onstage delivering a distinguished, joyous, jaw-dropping performance.” In the parts of the real-life autistic young adults featured in the HBO documentary, are a cast of seven autistic actors, all making their Broadway debuts: Desmond Edwards (he/they) as Remy, Amelia Fei [Yi-Hsuan Fei] (she/her) as Caroline, Madison Kopec (they/she) as Marideth, Liam Pearce (he/him) as Drew, Imani Russell (they/them) as Mel, Conor Tague (he/him) as Tommy, and Ashley Wool (she/her) as Jessica.

Broadway veteran Caesar Samayoa (he/him; Come from Away, Sister Act) stars as renown psychologist Dr. Emilio Amigo and Cristina Sastre (she/her; Legally Blonde at The Muny) plays his daughter Ashley Amigo. Also featured in the cast are Broadway veterans Haven Burton (she/her; Shrek the Musical, Violet) as Terry, Darlesia Cearcy (she/her; Shuffle Along, Once On This Island) as Johanna, Carlos L Encinias (he/him; Les Miserables), Nick Gaswirth (he/him; …The Great Comet of 1812), and Melina Kalomas (she/her; Young Frankenstein). Completing the cast are Jean Christian Barry (they/them; Stranger Sings), Collin Hancock (he/him), Hunter Hollingsworth (he/him), Marina Jansen (they/them), Martín Solá (he/him; On Your Feet!). Ayanna Nicole Thomas (she/her), and Marina Pires (she/her; Aladdin, On Your Feet!).

How to Dance in Ohio is a heartfelt and poignant new musical about the desire to connect and the courage it takes to put yourself out into the world. As a group of seven autistic young adults prepare for their first ever formal dance—they face a challenge that breaks open their routines as they experience love, stress, excitement, and independence. How to Dance in Ohio is a story about people on the cusp of the next phase of their lives, facing down hopes and fears, ready to take a momentous first step…and dance.

The musical was originally developed with the late, legendary Broadway director Harold Prince and is dedicated to his instrumental work on the project.

The full creative team includes Tony Award nominated scenic designer Robert Brill (Ain’t Too Proud, Thoughts of a Colored Man), Tony Award nominated costume designer Sarafina Bush (For Colored Girls…), two–time Tony Award winning lighting designer Bradley King (Hadestown; Natasha, Pierre, and the Great Comet of 1812) and sound designer Connor Wang (The Cher Show – assist). Orchestrations are by Tony Award winner Bruce Coughlin (The Light in the Piazza), Music Direction is by Lily Ling and Scott Rowen (Hamilton) is the production stage manager. The production is cast by Benton Whitley, CSA & Micah Johnson-Levy of Whitley Theatrical. General management is by ShowTown Theatricals, Music Consultation is by Mary-Mitchell Campbell, Production counsel is Doug Nevin/ Klaris Law and the Production Manager is Bethany Stewert (What the Constitution Means to Me).

How to Dance in Ohio played its World Premiere engagement at Syracuse Stage in the fall of 2022 with The Syracuse Post-Standard declaring it “an exhilarating, groundbreaking, celebratory musical. You’ll walk out of the theater wiping your eyes. You’ll pause in the lobby to catch your breath, clear your head, and see if anyone else is as giddy as you are. How to Dance in Ohio is the musical you’ll talk about for the rest of your life.”. The News House calls the show “joyful and uplifting …celebrating the trials and tribulations of human connection,” and The Ithaca Times says, “tender, funny, and charming in the best sense, How To Dance In Ohio offers a fresh look at the musical genre.”

Through a dedication to authentic autistic representation, the musical’s creators adhere closely to the documentary’s narrative and spirit, offering a visible platform for autistic actors in a way that has never happened before in a new musical, either on or off the stage. Ava Xiao-Lin Rigelhaupt (she/her) serves as the production’s Autistic Creative Consultant with Becky Leifman (she/her) as the Director of Community Engagement. The Accessibility Team also includes Jeremy Wein (Associate Producer) and Nicole D’Angelo (Assistant Music Director).  The How to Dance in Ohio production has also been developed to be inherently sensory-friendly (an environment accommodating to individuals with sensory sensitivities), and the team is working on several elements in the theater to ensure an experience that is accessible for as many audience members as possible. Elements that have been implemented and are being developed include: advance information (videos & maps) about the theater experience, sensory tool kits, cool-down spaces, and a performance sensitivity list. Updates and announcements regarding accessibility will be posted on the show’s website and social media pages. In addition to guidance from the show’s Accessibility Team, the production uses the resources found here.

Tickets and Performance Schedule: Tickets for How to Dance in Ohio are now on sale via Telecharge.com. The ticket range is $39-$179. The regular performance schedule is: Tuesdays, Thursdays, Fridays @ 7pm; Wednesday & Saturdays @ 2pm & 7:30pm; and Sundays @ 3pm. Holiday weeks may vary, check howtodanceinohiomusical.com for the most up to date schedules.

Wine Pro Alan Tardi Returns to NYC for Beyond Bubbles Class December 13
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NYC Wine: Wine Pro Alan Tardi Hosts Popular NYC Wine Classes: Beyond Bubbles on December 13

By Contributor — 7 months ago

Wine Pro Alan Tardi Returns to NYC for Beyond Bubbles Class December 13

Alan Tardi has worked as a chef, a restaurateur, a sommelier, a consultant to some of New York City’s biggest and best fine dining restaurants.  He’s also written for magazines and publications, such as Wine Spectator, Wine and Spirits, Decanter, of course, the New York Times.

This past fall, Alan Tardi taught his very popular Italian Wine class, The Many Faces of Sangiovese.

Today Wine Expert Alan Tardi returns for a conversation about his new Champagne, Prosecco and Lambrusco sparkling wine class Beyond Bubbles on December 13 at New York Wine Studio.

NYC Wine: Wine Pro Alan Tardi Hosts Popular NYC Wine Classes: Beyond Bubbles on December 13

NYC Wine: Wine Pro Alan Tardi Hosts Popular NYC Wine Classes: Beyond Bubbles on December 13

Alan, thank you so much for coming back. You have a new class called Beyond Bubbles.

Can you just give us an idea of Beyond Bubbles about the class itself?

Alan Tardi:  The class is going to take place on December 13th. That’s a Wednesday from 6 – 7:30pm. And the venue is  the New York Wine Studio located at 126 East 38th Street between Park and Lexington, so a couple blocks away from Grand Central Station in New York City.

It’s going to be called Beyond Bubbles. I’m really focusing on three archetypal sparkling wines. Champagne, Lambrusco, Prosecco.

And I have to say Prosecco from the original growing area, Cornigliano Valdiviadene, not the extended one right now.

These are the sparkling wines that, to me, took their own path and they can, in the case of Lambrusco and Prosecco they’re really ancient grape varieties that have been going on for a very long time. 

Champagne, they’ve been making wine for a very long time. But as we’ll talk about, which is really fascinating, they’re adjacent to Burgundy and they’re both in close proximity to Paris where the King and the royal kingdom was. They were very competitive with their wine.

The counts in Champagne and the Dukes in Burgundy. They were really vying for their wine for the favor of the King. But Champagne, like Burgundy, began making it for a long time, hundreds of years, still wines. And when, and that was what they made for a long time.

 

Pouring sparkling wine

In your class Beyond bubbles, can you give us an idea of how many bottles are going to be tasting from and learning about, and maybe one or two that are extra special to you?

Alan Tardi: We’re going to be tasting 10 wines. Three from Lambrusco, a very misunderstood wine.  The grapes for Lambrusco are wild. Prosecco and Champagne.

The class is Beyond Bubbles. Wednesday, December 13th, tickets are on sale. Now it’s coming up very quickly. 

Let’s really dive deep for a second and just get to know champagne’s history.  The whole idea of sparkling wine was an accident.

 

Alan Tardi: Yes. It was originally considered a flub because they were trying to make still wines to be in competition with Burgundy and they were very good at it. The still wines of Champagne were highly regarded.

So it did happen by accident.  What happened is that Champagne is much further North than Burgundy. It’s at the breaking point beyond 45 degrees North where grapes can’t grow anymore. So they had a hard time making wine.  it got very cold after harvest. One of the big customers for champagne was England and they shipped a lot of wine in barrel to England.

They were put into barrels once the fermentation stopped, because it got very cold and then they would ship them to England eventually in the springtime..

Because they finished their fermentation too early because it got cold, the fermentation stopped. Once it got warm again, the ferment: the remaining sugar went to work on the remaining yeast and it created bubbles in a closed container. 

So when people opened up the barrel, it was fizzy.

When that happened in France, people did not like it because it was considered a flaw. England didn’t have a problem with that. 

Eventually the producers said, wow, these people really want to have the bubbly wine. The King of France became very fond of this wine.  So it really took off from there, but it happened in England first. 

 

Talk a little bit about who “The Father of Champagne” was and how he tried to prevent this from happening.

 

Alan Tardi: It’s a really great story. Dom Perignon is considered to be the father of champagne. He was a chef and while he was a monk, he took over as the steward.

The convent had a lot of land given to them as dues to the church. He was managing the winery there in order to sell wine to support the monastery. 

He would select different grapes from different places. He created fractional blending and fractional pressing of the grape so it’s very gentle and soft, which is very important for the development of champagne. But this was a still wine.

He was trying to make a still wine. When it spontaneously started sparkling, he considered it a flaw.  He tried to avoid it with everything that he could possibly do. 

It became extremely popular.

Dom Perignon champagne

He said, “Brothers, I see stars in my glass.” And he was supposed to be blind by that point. 

This whole thing of Don Perignon being the the father of champagne and seeing stars was made up as a marketing ploy by Robert de la Vogue, who was the head of a major champagne house.  So they created this story around it.  It’s a great story. I love it.

I wonder if that’s one of the reasons why champagne does swell during the holidays. When there’s decorations out and it really is a celebration.

Alan Tardi: I think it is. Sparkling wines bring something with them. There’s this effervescence, It’s like shooting stars. When they’re in the glass and you’re, you put them in your palate and they’re tingling and that’s all good.

Once the sparkling version was approved around 1725 by the King, it expanded throughout the world, it was a worldwide phenomenon.

 

You’ve mentioned the words method and process, share more about traditional champagne method?

Alan Tardi:  It is a very stable process. You have to make a base wine. So you ferment grapes. They started sourcing different grape varieties from different areas throughout the extensive Champagne area. They would blend them together to make a decent wine.  That’s the first fermentation.  

Then they add a liqueur, called the tirage in French, it consists of primarily sugar, could be beet sugar or cane sugar; and yeast. 

They’re put in individual bottles and then the bottle is sealed with a crown cap to keep the wine in the bottle.  They would sit in a cellar for a period of time to create the secondary fermentation in a closed container. Like the initial fermentation process where the sugar goes to the yeast that is added to it. That creates a combination of sugar and yeast creates alcohol and carbon dioxide.

The carbon dioxide goes up, the alcohol stays in, and that’s how wine is made. But because [in still wine] it’s in an open container, the carbon dioxide goes out. 

In a closed container [like in sparkling wine], in this case, a bottle, the carbon dioxide that was given off from the second fermentation was trapped inside the bottle. So once you open the bottle, the carbon dioxide would come up and out. And that’s where it comes from. That is what gives it the sparkle. 

In Champagne, their method is known as the Method Champenoise. 

Pouring sparkling wine at Popular NYC Wine Classes Beyond Bubbles

They carry out the secondary fermentation in a closed bottle. Then, in the third part, they make the method Champenoise. It’s removing the sediment from the wine.  There are many different ways to do it. 

The most important common grapes for sparkling wine are Pinot Noir, Pinot Meurnier, Chardonnay.  But your class reveals “lost grape varieties”.  Tell me more about that.  

Alan Tardi: These were grape varieties, typical of the area, that were used initially, but then people just put them by the side. The most important grape varieties were Chardonnay and Pinot Noir.  Meunier was used as a workhorse, a filler, but it didn’t have the same identity that that Chardonnay and Pinot Noir had.  Those are the three principal ones. Then [there was] these other varieties.

There’ve been major changes in the past 10 – 15 years in Champagne.  It was driven by the Maison.  Thousands of growers who supplied grapes to the Maison.  Many times they would actually press the grapes, vinify the wine and then send the wine to the Maison.

They produced it for the houses. They didn’t have their own labels.  That changed. A lot of the grower producers started labeling and selling their wine on their own. They got a lot of attention.

Some of these people were very loyal to the old grape varieties that were left on the side – they like Pinot Blanc, Pinot Gris – not very rare grape varieties, but people are not aware they are part of the grape varieties of Champagne.

Some people are really trying to promote those because it’s part of their culture. It’s part of their history. 

There’s two others, Petit Mellier and Arban. It brings a whole new aspect to Champagne.

So we’re talking with Alan Tardi. On Wednesday, December 13th he hosts his new class Beyond Bubbles.  One of those bubbles we’re going to be talking about is Prosecco. Frizzanti, Spumanti. Help us understand what these words mean, the region, how it all relates 

Alan Tardi: Prosecco is one of the most misunderstood wines out there. There’s a lot more to it than most people are aware of. It’s not just a base for a Bellini or a cocktail, or just a cheap fix. There’s a lot more going on there than often meets the eye.

It’s a very old wine growing area.  The original area is Conigliano Valdobbiadene. Fifiteen towns that make up the area in the hills just at the foot of the Dolomites in Veneto. They’ve been making wine there for a long time.

I have a feeling that the people who originally planted grape vines there were members of this  Celtic Ligurian tribe that were up in Northern Italy, like in the Botellina and over in Liguria. They have this amazing capacity to plant vines in places where it’s very difficult.

Prosecco is very different from Champagne.  I was living in Italy. I was going to Prosecco a lot because I did a story for Wine and Spirits Magazine about the Cartice area in Val di Biadena.

It blew my mind away. At the same time, I was starting to go to Champagne to research my book and I spent a lot of time there. I was finding a lot of similarities between these two very different wines.

Champagne began as a still wine called Coteaux Champenois.  It had another wine in between. A sparkling wine, but a softer, lower amount of pressure called Cremant de Champagne. 

In Prosecco, the traditional way of making wine was fermenting the wine.  Then, they would put it in a container, either a barrel or a cement tank or in a bottle. The same thing happened. The fermentation would stop prematurely because it got too cold. Then, in the spring, when the temperature rose, the wine would wake up and the sugar would go back to work on whatever yeast was left.

Being in a closed container it would be fizzy. Now, in the bottle. The Italians had no problem with the sediment in the bottle. 

I remember going there in 2013, I heard about this kind of Prosecco where the sediment was left in the bottle and people were a little bit embarrassed to show it. 

This is actually called the Method Ancestral like they did in Limu. 

They left the sediment in the bottle. It was just part of the wine. m In 1895, someone at Vinicultural Research Research Center in Asti named Martinotti, figured out they had a lot of sparkling wines in that area like Moscato.

Martinotti invented a system instead of having to do this process in the bottle, he created a large container with a top under pressure where the second fermentation could take place under pressure and then bottle it from there. It’s called the Martinotti Method that he created and patented in 1895. 

Then 15 years later, in France he applied a sterilizing system.  It’s referred to as the Sharma Method. That is the typical Way to make Prosecco not the traditional way.

Most producers in the area did not advance their methods until after World War II happened.

Mionetto, a very big Prosecco producer, only started using autoclaves in 1987. 

At my tasting in New York on December 13, we’re going to taste three Prosecco’s. One is a still version from a winery called Bortolomeo, one of the most significant wineries of the area

After World War Two, he was very instrumental in creating a small group of producers and protecting their tradition of making wine in the area. 

Now their daughters are running the winery. They’re still making a Prosecco. It’s part of the disciplinary of the rules for Prosecco Cornigliano Valdobbiadene. 

That used to be the same with Coteau Champenois, the still wine of Champagne. You would not find those around. 

While we’re talking about Prosecco, tell us about their growth —  between the DOCG and the DOC?

Alan Tardi: One thing I want to say is that in the very small area of Corneliano, Corneliano about to be out in a Prosecco, DOCG.  In about 2009, because of the large demand for Prosecco, and because of the fact that people were growing grapes and making wine outside 

That appellation covers the entire region of Friuli and three quarters of the region of Veneto. So it’s a huge area, mostly flat. Higher yields, most of the vineyards can be worked, can be harvested mechanically. It’s a very different wine and that accounts for the vast majority of the 500 million bottles that are being produced.

The little area up in the hills has a much more complex growing area, soil to topography. 

It hasn’t really been touched since the earth rose when that, when the sea and the sea receded on the other side of Cornigliano, there was a glacier that happened up in the north and it came down and just took all the land with it.

If you look at the map, the part is very narrow and the Cornelia part spreads down and is very wide and lower altitudes.  So you have two very different soil makeups and different sections within the area.  So it’s much more complex. 

In 2009, they created the DOC and that’s when the original area, called Prosecco, changed its name to Corneliano Valdobbiadene and they were elevated to a higher level, a DOCG category.

They created subzones within this very small area. 43 different areas within the overall territory. If grapes come from one of those areas, they can have the name of that on the label. 

At Beyond Bubbles on December 13, we’re going to be tasting the Tranquilo Prosecco from Botolomeo.  We’ll taste a Colfondo from a young guy who’s been carrying on his family’s winery.

He always made wine in the cofondo method, and he just also started using the method traditionnel as well.

We’re going to taste his Cofondo, and then we’re going to taste Prosecco, Brut Nature, no sugar added, from the Cornigliano side, different softer, denser soil, lower altitude.

You can taste the difference.

That sounds incredible. We’re celebrating Beyond Bubbles, Alan Tardi’s new class coming up December 13th. One of the bottles, the Lambrusco. Can you talk a little bit about its reputation? 

 

Alan Tardi: I think we should feel very excited.  In the United States people still think about Lambrusco as a sweet, red, bubbly wine.

Lambrusco has really changed and it’s very complex.  Usually wines don’t do well in flat areas, but in the Po Valley, that’s where they come from, they started out as wild vines.

They were cultivated by this old ancient tribe who lived in the area from about 12 to 6  BC, and then they just disappeared  There are 12 different Lambrusco grapes. Three of them are really the most important because they have their own distinct identity and growing area. 

Sorbara comes from the town of Sorbara, takes its name after it, and it has its own appellation. 

Grasparosa di Casavetro, down in the south, it’s flat, but it starts to go up a little bit into the hills. 

And then Salomino, in the north, which is the powerhouse of the three.

It’s really fascinating.  They’re considered to be the most elegant because they’re all red grapes. In Champagne, it’s mostly white grapes.  in Prosecco, the grapes are also predominantly white. There’s Pinot Noir that was one of these international grapes. It was permitted but only as a 

The Sorbara is very light, transparent, elegant.  There’s a lot of finesse to it.

The Graspa Rosa is dark red, juicy, fruity, floral, intense, foamy.

The Salomino is the workhorse, Sorbata is not self pollinating. And Solomino is often the pollinator for Sorbata.

At Beyond Bubbles on December 13, we’re going to be talking about unusual bottles.  Tasting a Salomino wine from a winery called Lini 910,  a wine is made using the method Traditionnelle.  This wine is going to be 2006 vintage, and it’s spent nearly 14 years on the lees.

At our Beyond Bubbles class, I’m going to start with the Lambrusco, the oldest of the wines. Then the Prosecco.  Then the Champagne. So there’s a buildup to that. 

After the champagne, there’ll be a still champagne from the Valley de la Marne from the Mounier grape, and the Philipponat Champagne vintage.

After that, I thought it would be really interesting to look at two wines from made by people who went to the champagne area in the turn of the 20th century and they fell in love with champagne and they were compelled to go back to where they came from and make a wine using the champagne style method in their own way.

A wine from Trentino, Giulio Ferrari.  And the other one is RTOs in in Catalonia in Spain, compare.

Alan Tardi’s class Beyond Bubbles will take place December 13, 2023 at New York Wine Studio.  126 East 38th Street New York, NY 1001. Readily accessible between Park and Lexington Avenue, just minutes from  Grand Central Station.

For tix and more information visit NewYorkWineStudio.com

 

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DOC NYC 2023: Grand Jury Prize Winner ‘Total Trust’ Opens Theatrically Dec 8

By Contributor — 8 months ago

DOC NYC 2023: Grand Jury Prize Winner ‘Total Trust’ Opens Theatrically Dec 8

For two decades, China has implemented cutting-edge security and surveillance to monitor its citizens. In this fascinating and chilling documentary, Jialing Zhang (co-director of ONE CHILD NATION) immerses us in this daily reality: half a billion cameras pointed at the populace, invasive neighborhood watch programs (“Sharp Eyes”), employees monitored for stress levels, and a “social credit” point system that rewards for community service and penalizes perceived societal infractions.

With the assistance of dozens of anonymous locals, Zhang focuses on three courageous women fighting for civil liberties and justice, including independent journalist Sophia Xueqin Huang, one of the first Chinese reporters to investigate #MeToo accusations and subsequently arrested for “inciting subversion of state power.” A bracing portrait of a society for whom privacy is all but extinct and a warning for democracies employing surveillance tools in unprecedented ways.

Zhang is an Emmy-Award nominated independent Chinese filmmaker based in the U.S. She produced IN THE SAME BREATH in 2021 (Oscar® shortlisted); and co-directed/produced the 2019 Film Forum premiere, ONE CHILD NATION (Sundance Grand Jury Prize winner, Oscar® shortlisted). Zhang was nominated for two PGA Awards for Outstanding Producer of Documentary and a DGA Award for Outstanding Directorial Achievement in Documentary. She won a Ridenhour documentary Prize in 2020, a duPont-Columbia Award, and a Peabody Award in 2022.

TOTAL TRUST (2023)

Directed by: Jialing Zhang

Produced by: Filmtank (Knut Jäger, Michael Grotenhoff),

Saskia Kress, Jialing Zhang

Co-Produced by: Witfilm, Interactive Media Foundation, ZDF/arte, NTR Cinematography by: Cuier (Anonymous), RCS (Anonymous), J.V. Chi (Anonymous)

Edited by: Barbara Toennieshen

Genre: World Cinema/Documentary

RT: 97 minutes

Language: Chinese with English Subtitles

DOC NYC ANNOUNCES JURY AWARDS
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DOC NYC ANNOUNCES JURY AWARDS FOR 2023; Big Winners Mediha, Total Trust

By Katie Macken — 8 months ago

DOC NYC ANNOUNCES JURY AWARDS FOR 2023

DOC NYC, America’s largest documentary festival, revealed the 2023 award winners for its juried U.S. Competition, International Competition, Metropolis, Kaleidoscope, Shorts, Short List: Features, and Short List: Shorts sections, as well as the #MyJustice Film Award (complete list below). The festival’s Audience Award winner will be announced in the coming days.

TOTAL TRUST RECEIVES INTERNATIONAL COMPETITION GRAND JURY PRIZE

TOTAL TRUST RECEIVES INTERNATIONAL COMPETITION GRAND JURY PRIZE

The awards announcement comes on the eve of the closing night of the festival’s hybrid 14th edition. DOC NYC’s online screenings run through November 26, with some 90 features available to stream across the United States, including eight of the festival’s award-winners and more than 100 of the festival’s short films, including all six shorts award-winners. Many of the award winners also have in-person screenings in the final two days of the festival.

For a full schedule of available films, see www.docnyc.net. Ticket and pass information is below.

LUCHA: A WRESTLING TALE TAKES METROPOLIS GRAND JURY PRIZE

LUCHA: A WRESTLING TALE TAKES METROPOLIS GRAND JURY PRIZE

For DOC NYC’s competitive sections, five juries selected films from the festival’s U.S. Competition, International Competition, and Kaleidoscope sections, as well as its long-running Metropolis and Shorts lineups, to recognize for their outstanding achievements in form and content. The Short List: Features program—a selection of nonfiction films that the festival’s programming team considers to be among the year’s strongest contenders for Oscars and other awards—vied for awards in five categories: Directing, Producing, Cinematography, Editing, and Score, with a Directing prize also awarded in the Short List: Shorts section. The Short List awards were voted on by two juries of filmmaker peers. New for 2023, the DOC NYC U film student screenings were restyled as a competition. 

ZINZINDURRUNKARRATZ WINS KALEIDOSCOPE GRAND JURY PRIZE

ZINZINDURRUNKARRATZ WINS KALEIDOSCOPE GRAND JURY PRIZE

JURIED AWARDS, FEATURE FILMS

U.S. Competition: The jury selected from among 10 new American nonfiction films in this section.

Grand Jury Prize: Mediha, directed by Hasan Oswald and produced by Hasan Oswald, Annelise Mecca, Fahrinisa Campana, Alexander Spiess, and Stephen Nemeth. (World Premiere)

Jurors’ statement: “Mediha is a person and a film that you will think about long after it ends. Hasan Oswald’s portrait of Mediha, one of many women and children survivors of the ISIS orchestrated genocide against the Yazidis, is a truly collaborative project in which Mediha tells her own harrowing story, and finds her own activist voice in the process. The film shines a light on the trauma of war and the difficult struggle to overcome it, while exploring the psychological complications of captivity of these women and children. This extremely careful and nuanced portrait of the experience of different generations of women resonated deeply with us. We are proud to give the U.S. Competition Grand Jury Prize to Mediha, and we sincerely congratulate the talent and courage of the team in bringing this story to the world.”

Available online through November 26.

Special Mention: Happy Campers, directed/produced by Amy Nicholson. (World Premiere)

Jurors’ statement: “Amy Nicholson’s Happy Campers is a truly cinematic film with a strong directorial sensibility and a genuine auteur’s stamp that celebrates, mourns, and memorializes a beloved working-class seaside refuge about to undergo redevelopment. The film beautifully captures the life, spirit, and charm of the Inlet View Campground. The U.S. Jury chose it for special mention as the film is a genuine delight to watch in today’s turbulent times.”

Available online through November 26.

Jurors: Violet du Feng (Emmy-winning filmmaker), Meredith Kaulfers (EVP of Current Production, Imagine Documentaries), David Winn (Head of the News & Documentary Emmy Awards) 

Films featured in the U.S. Competition section: 36 Seconds: Portrait of a Hate Crime, The Cowboy and the Queen, Happy Campers, How to Come Alive With Norman Mailer, Mediha, Obsessed With Light, The Riot Report, Shaken, Taking Venice, and Tomorrow, Tomorrow, Tomorrow.

International Competition: The jury selected from among 10 new international productions in this section.

Grand Jury Prize: Total Trust, directed by Jialing Zhang, produced by Knut Jäger, Michael Grotenhoff, Saskia Kress, Jialing Zhang. (U.S. Premiere)

Jurors’ statement: “Courageously told with spectacular access, Total Trust speaks to power in its story of the stifling effect that Chinese government surveillance has on its citizens–while also highlighting the voices of resistance. Though the film provides a wealth of new insight into the regime’s policies, the judges were even more captivated by its use of character and emotionally rich scenes to reveal the human consequences of surveillance society. They commended its delicate balancing of the personal and political, notably contrasted in the claustrophobic sense conveyed in the small spaces occupied by its characters and wide shots capturing the massive spectacle of state displays. This is a film that not only explores government’s monitoring as an issue, it skillfully demonstrates its repercussions, particularly on the children who will inherit its legacy. Citing its bravery and artistry, the judges bestow Total Trust with this year’s International Jury Award.”

Available online through November 26.

Special Mention: Al Djanat – The Original Paradise, directed by Chloé Aïcha Boro, produced by Frédéric Féraud, Aïcha Boro, and Faissol Gnonlonfin. (U.S. Premiere)

Jurors’ statement: “Beautifully crafted and edited, Al Djanat – The Original Paradise, follows filmmaker Chloé Aïcha Boro as she returns to her homeland, Burkina Faso, after the death of her uncle. The judges praised Boro’s engaging and seamless tracing of conflicts—family, political and philosophical–in a story that’s both specific and personal yet deeply universal.”

Available online through November 26

Jurors: Michael Graversen (filmmaker), Ruchi Mital (producer and founder of Solani Media), David Siev (filmmaker).

Films featured in the International Competition section: Al Djanat – The Original Paradise, The Caravan, Dalton’s Dream, Dancing On The Edge Of A Volcano, The Dmitriev Affair, The Home Game, Le Spectre de Boko Haram, Neirud, Someone Lives Here, and Total Trust.

Metropolis: The jury selected from among eight films in this section, which is dedicated to stories about New Yorkers and New York City.

Grand Jury Prize: Lucha: A Wrestling Tale, directed/produced by Marco Ricci. (World Premiere) 

Jurors’ statement: “The story of four members of the Taft High School women’s wrestling team, the Bronx-set Lucha: A Wrestling Tale landed the Metropolis Award for its compelling characters, sense of community, and intimate, but not imposing, approach to the verite style. The judges were especially impressed with the way the film doesn’t shy from the difficult realities faced by the young women, who are allowed to struggle and show their flaws – making them more powerful. Director Marco Ricci follows the story over the course of three years, which allows us to witness the characters’ growth and change, but we never sense intrusiveness, as the film instead bravely lets its moments play out, even the toughest ones.”

Available online through Sunday, November 26.

Jurors: Giselle “Hush” Bailey (filmmaker), Julia Solomonoff (filmmaker and chair of NYU Tisch Grad Film), Amanda Spain (VP of Longform Acquisitions, MSNBC Films).

Films featured in the Metropolis section: Ashima, Confessions of a Good Samaritan, Diversity Plaza, Holding Back The Tide, Lucha: A Wrestling Tale, Nathan-ism, Psychedelicized: The Electric Circus Story, and Scooter Laforge: a life of art.

Kaleidoscope: The jury selected from among five films in this section, which showcases essayistic and formally adventurous documentaries.

Grand Jury Prize: Zinzindurrunkarratz, directed/produced by Oskar Alegria. (New York Premiere)

Jurors’ statement: “In Oskar Alegria’s dreamlike documentary Zinzindurrunkarratz (a brilliant onomatopoeia word) we journey with the filmmaker through a Basque countryside that is transformed into a metaphysical landscape as he attempts to retrieve memories using an old camera. Alegria encourages us to contemplate the distinct dichotomies between past and present, rural and urban, haptic and cerebral. In this way, the film comes together somewhere amidst Alegria’s mind, the screen and our consciousness. In the process, we find ourselves in an ecstatic awareness of the way that silence, sound and image can be together and apart, always transforming. Both entrancing and poignant, Zinzindurrunkarratz made us ponder what constitutes a film, and closely observe our perception. For all of these reasons, we recognize it as the winning Kaleidoscope film at 2023 DOC NYC.”

Available online through November 26.

Jurors: Irena Kovarova (film programmer, producer and writer); José F. Rodriguez (senior film programmer, Tribeca Festival), Lynne Sachs (filmmaker and poet). 

Films featured in the Kaleidoscope section: Grasshopper Republic, Megaheartz, The Walk, A Wolfpack Called Ernesto, and Zinzindurrunkarratz. 

SHORT LIST: FEATURES AWARDS

DOC NYC’s Short List for Features puts the spotlight on 15 documentaries representing the best of the year.

Directing Award: While We Watched, directed by Vinay Shukla.

Jurors’ statement: “This superbly crafted story of a broadcast journalist in India who is battling a tide of disinformation uses intimate cinematography to drive a gripping dramatic tension. The story is local and yet completely universal. As the film progresses we are reminded that struggles for freedom and protection of truth are occurring all around the world. For its elegant yet painfully perceptive storytelling, the Directing Award goes to While We Watched.”

Available online through November 26.

Producing Award: While We Watched, produced by Vinay Shukla, Khushboo Ranka, and Luke Moody.

Jurors’ statement: “This film seeks the truth behind the veil of politicized ethics, ideology and propaganda. Against the backdrop of a crumbling newsroom, we witness exceptional courage and perseverance day after day. Despite death threats and condemnation, we find a vulnerable and beautiful vision that holds both craft and story close. The Producing Award is presented to While We Watched.”

Available online through November 26.

Editing Award: Going to Mars: The Nikki Giovanni Project, edited by Terra Long and Lawrence Jackman.

Jurors’ statement: “To bring the life, times and work of a fearless American original to the big screen, it takes a rich, deep and wild visual language. The unfettered imagination on display in this film’s editing beautifully evokes the vision of the woman at its heart. The Editing Award goes to Going to Mars: The Nikki Giovanni Project.

Cinematography Award: The Mother of All Lies, cinematography by Hatem Nechi.

Jurors’ statement: “Shooting a tightly focused personal film about a family is difficult; capturing big political events in a compelling way is just as demanding. But when long-ago public crimes poison the home life of three generations, making the connection visible is a virtuoso achievement. For the evocative image-making—of faces, of memories, of re-created, revised and rebuilt history—that makes the political vividly personal, the Cinematography Award goes to The Mother of All Lies.”

Available online through November 26.

Score Award: The Eternal Memory, music by Miguel Miranda and José Miguel Tobar.

Jurors’ statement: “The heart-piercing and unforgettable score for The Eternal Memory exhibits the type of playful togetherness we imagine is at the core of all eternal romances. As we journey through this world, the score is one continuous movement and an expressive thread, crafted with intimacy and delicate respect.”

Special Mention for Editing: The Disappearance of Shere Hite, edited by Eileen Meyer.

Jurors’ statement: “This film weaves together a cinematic tapestry that is as elegant as its protagonist. The result is an immersive story that reveals the true story of a woman the patriarchy tried to erase. For its lyrical creativity, a special mention for editing is presented to The Disappearance of Shere Hite.”

Jurors: Su Kim (producer), Mary Manhardt (editor, professor and consultant), Dawn Porter (filmmaker and founder of Trilogy Films).

SHORT FILM AWARDS

Shorts Competition: All new short films playing at the festival were eligible for the Shorts Grand Jury Prize, with the exception of DOC NYC U showcases and Short List: Shorts selections. 

Grand Jury Prize: Mountain Man, directed/produced by Arun Bhattarai. (North American Premiere)

Jurors’ statement: “The beautifully crafted, observational Mountain Man impressed the jury with its intimate and almost fable-like story of a glaciologist in Bhutan who regularly leaves his family behind to trek into the country’s sacred mountains to measure the rapidly melting glaciers. With a subtle approach, and an inter-generational lens to this one family’s tale, the jury noted how filmmaker Arun Bhattarai thoughtfully brings the audience a story about climate change and our global interconnectedness to this urgent issue.”

The 2023 winning Short film qualifies for consideration in the Documentary Short Subject category of the annual Academy Awards® without the standard theatrical run (provided the film otherwise complies with the Academy rules).

Special Mention: When a Rocket Sits on the Launch Pad, directed by Bohao Liu, produced by Bohao Liu and Gene Gallerano. (NYC Premiere)

Jurors’ statement: “Exquisitely shot and artistically styled, When A Rocket Sits On The Launch Pad earned the judges’ admiration for its insightful depiction of the hurdles and challenges that Chinese culture places in front of a typical teenage girl.”

Mountain Man screens online as part of the Shorts: Our Climate/Our Crisis program; When a Rocket Sits on the Launch Pad screens online as part of the Shorts: Changing Tides program; both are available through November 26. 

Jurors: Aurora Brachman (director/cinematographer), Nick Canfield (filmmaker), Debra McClutchy (filmmaker and archival producer).

Short List: Shorts: DOC NYC’s Short List for Shorts highlights 15 documentary shorts that the festival’s programming team considers the year’s leading awards contenders.

Directing Award: Ayenda, directed by Marie Margolius, produced by Marie Margolius and Connor Schell. 

Jurors’ statement: “Thrilling but never sensationalized, Ayenda traces the story of the members of a girls soccer team who flee their home country of Afghanistan—and the Taliban—to continue their pursuit of the sport. The judges praised the filmmaking as elegantly observed and empathetic, commending director Marie Margolius for the intimacy achieved in her interviews, as well as their cinematic execution. The danger feels imminent, and the action unspools humanely, a credit to both the artistry and directive of Margolius and her team in crafting an honest testament to the girls’ bravery.”

Available online in the Shortlist Shorts: New Beginnings program, through November 26.

Jurors: Mark Becker (director, story consultant and editor), Katja Esson (filmmaker), Tyler Walk (editor).

DOC NYC U Competition.  DOC NYC U features ten short documentaries from students across the five boroughs. Restyled as a competition for the first time this year, this year’s program featured finalists from Brooklyn College, Columbia University, Hunter College, The New School, New York Film Academy, Pratt Institute, and the School of Visual Arts.

This year’s inaugural competition was adjudicated by veteran documentary and TV series director and producer R.J. Cutler, founder of This Machine.

DOC NYC U Award: I Told You So, directed by Malak AlSayyad and Amaan Stewart, produced by Malak AlSayyad, Amaan Stewart, and Loren Townsley. (Columbia University)

R.J. Cutler’s statement on the selection of I Told You So for the DOC NYC U Award: “For its deep empathy, its boldly personal yet universal honesty, and its unleashing of the power of cinema verite storytelling.”

Available online in the Shorts: DOC NYC U – Portraits program, through November 26.

Special Mention: It Smells Like Springtime, directed/produced by Mackie Mallison. (Pratt Institute) 

R.J. Cutler’s statement on the special mention for It Smells Like Springtime: “For its poetic cinematic power, as well as its stunning use of visual and aural landscapes.”

Available online in the Shorts: DOC NYC U – Rebirth program, through November 26.

Subject Matter: DOC NYC partnered with Subject Matter to present a $20,000 grant from Subject Matter to 36 Seconds: Portrait of a Hate Crime, directed by Tarek Albaba, to support the film’s audience outreach and impact efforts, along with a corresponding grant of $20,000 to Our Three Winners, a nonprofit organization that is addressing the topics featured in the film. DOC NYC audience members joined Subject Matter in supporting Our Three Winners with over $4,000 in donations at the world premiere of the film.

#MyJustice: DOC NYC partnered with Odyssey Impact® to present the #MyJustice Film Award to Breaking Silence, directed by Amy Bench and Annie Silverstein, and produced by Amy Bench and Monique Walton. The award comes with a $10,000 cash prize and an Odyssey Impact National Social Impact Campaign, and is made possible with generous support from Paramount/Content for Change Academy.

Odyssey Impact® Statement: “For a female-directed, short documentary
giving viewers, by way of a healed relationship between a deaf father and hearing daughter, a unique insight into the incarcerated deaf community and an inspiring father’s quest to help others and reunite his family. The film reverberates with kindness and compassion that drive towards advocacy for the communication challenges faced by prisoners with hearing disabilities, gives hopeful opportunities for prison reform and healing for families and people carrying unresolved trauma. Breaking Silence’s urgent and uplifting delivery earned it top prize this year for a stand out social justice film with a clear call to action to inspire change.

“Breaking Silence” is available online in the Shorts: Inside and Out program, through November 26.

TICKETS AND PASSES
Festival tickets and passes may be purchased at docnyc.net/tickets-and-passes. 

In-person Screenings: 

Closing Night (South to Black Power) screening: $30 General Public/$25 IFC Center Members 

Other festival films: $20 General Admission/$18 Seniors & Children/$16 IFC Center Members, unless otherwise noted.

All screenings in the Short List: Features, Short List: Shorts, and DOC NYC U sections, as well as all Monday-Friday screenings starting before 5:00pm: $13 General Admission/$10 IFC Center members 

Online screenings: 
$13 General Public/$9 IFC Center Members  

Passes and Ticket Packs:  
Online Film Pass $250 
Grants access to all the films screening on the festival’s virtual platform, November 8-26. 

Online Shorts Pass $49 
Grants access to all short films screening on the festival’s virtual platform, November 8-26. On sale November 1. 

Five-Ticket Package for Online Screenings $50
Ten-Ticket Package for Online Screenings $90 
A package of 5 or 10 online tickets at a special discount price. 

DOC NYC PRO Day Pass $125 
Grants access to a single DOC NYC PRO day-long programming track, plus complimentary access, space permitting, to the Festival Lounge for that day, including the day’s Breakfast and Happy Hour.

SPONSORS

The festival is made possible by:

Leading Media Partners: New York Magazine; The WNET Group 

Major Sponsors: A&E IndieFilms; HBO Documentary Films; Netflix

Supporting Sponsors: National Geographic Documentary Films

Signature Sponsors: 11th Hour Racing; Bloomberg Philanthropies; Consulate General of Canada in New York; Frankfurt Kurnit; Hulu; NBC News Studios; National Geographic; NYC Mayor’s Office of Media & Entertainment; Participant

Signature Media Partners: The New Republic; WNYC

Event Sponsors: Amazon MGM Studios; Cowan, DeBaets, Abrahams & Sheppard LLP; 30 for 30 / ESPN Films; Fox Rothschild LLP; Impact Partners; JustFilms | Ford Foundation; Kickstarter PBC; MTV Documentary Films; Odyssey Impact®; Portrait Creative Network; Prestige Custom Awards; Reavis Page Jump LLP; Screen Nova Scotia; Subject Matter; SVA – MFA Social Documentary Film; Telefilm Canada; Village East by Angelika; Wheelhouse Creative

Friends of the Festival: Agile Ticketing; CineSend; DCTV; Fever Content; Posteritati; Ptex; Shiftboard

DOC NYC is produced and presented by IFC Center, a division of AMC Networks.

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DOC NYC 2023: Shari and Lamb Chop World Premiere Nov 11

By Contributor — 8 months ago

DOC NYC 2023: Shari and Lamb Chop World Premiere Nov 11.

Shari Lewis was a dancer, singer, and magician but is best known as the ventriloquist behind sock puppets Charlie Horse, Hush Puppy and, of course, Lamb Chop. This lively doc charts the life, loves, and career hits and misses of this spunky perfectionist, who forever changed the face of children’s television. Featuring ventriloquists who she inspired and nostalgia-inducing clips, this upbeat portrait of brilliant Bronx native turned beloved TV personality brims, like Lewis, with warmth and charm. – Karen McMullen

The first screening will be followed by a Q&A with director Lisa D’Apolito, subject’s daughter Mallory Lewis, and special guest Lamb Chop. The second screening will be followed by a Q&A with Lisa D’Apolito.

This film contains the following accessibility options for viewers:
Closed Captioning for in-person screenings at IFC Center and Village East by Angelika
Descriptive Audio for in-person screenings at IFC Center and Village East by Angelika
Closed Captioning for online screenings

All in-person screening venues provide sound amplification headphones upon request with venue management. IFC Center can also provide a T-Coil loop for compatible devices.

Director: Lisa D’Apolito
Executive Producer: Nigel Sinclair, Jeanne Elfant Festa, Joseph Mellicker, Jordan Walker-Pearlman, Bob Valentine, Sophia Dilley, Wesley Adams, Michael Cho, Mimi Rode, Tim Lee, Caitlin Gold, Naomi McDougall Jones, Lindsay Lanzillotta, Carlene C. Laughlin, Steve Cohen, Paula Froehle, Benjamin J. Murphy, Robert Dietz (Co-Executive Producer), Scott Pascucci (Co-Executive Producer), Charles Hopkins (Co-Executive Producer)
Producer: Cassidy Hartmann, Nicholas Ferrall, Morris Ruskin, Douglas Warner, Lisa D’Apolito
Cinematographer: Anne Etheridge
Editor: Andrea Lewis
Language: English
Country: United States of America
Year: 2023
Sales Agent: CAA
Zayn Malik launches a custom Lychee Martini flavor, joins Mixoloshe
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Zayn Malik launches a custom Lychee Martini flavor, joins Mixoloshe as Chief Creative Officer and Co-Owner

By Katie Macken — 8 months ago

Zayn Malik joins Mixoloshe as Chief Creative Officer and Co-Owner

The global superstar launches a custom Lychee Martini flavor, with a unique can design inspired by his own tattoos.

The fast-rising, award winning non alcoholic beverage brand, made with clean ingredients and nothing artificial will make its retail debut at Walmart, launching across the US with the retailer by end of October

Mixoloshe, a female founded and award winning non-alcoholic beverage brand, announces its partnership with celebrated award-winning artist and entrepreneur Zayn Malik, who has joined the company as the Chief Creative Officer (CCO) and Co-Owner. 

The partnership will center around reshaping the narrative of the non-alcoholic beverage industry, as well as deep creative collaboration on marketing initiatives and upcoming flavor launches. 

Additionally, Mixoloshe will launch in 500 Walmart stores across the country, marking the brand’s anticipated retail debut. 

Zayn’s first flavor launch is a non-alcoholic Lychee Martini, a refreshing and exotic drink, that is sweet, floral, and slightly tropical. The can design is also captivating and unique, featuring replica illustrations of his own most beloved tattoos.

Mixoloshe was founded in 2022 to redefine the booming non-alcoholic drink category with a clean, alcohol-free take on cocktails and premium spirits that taste like the real thing. 

Their collection offers a non-alcoholic range of popular cocktails, such as a Mojito, Old Fashioned, Gin & Tonic, and Margarita, as well as non-alcoholic Tequila, Whisky, and Gin, all made with real ingredients, and low in sugar, calories. 

 

Mixoloshe’s soft seltzers and non-alcoholic spirits have been recognized globally as best in class, and in 2023 they were honored with the Bartenders Spirits Gold Award, Ascot Award Gold for Taste, and the SIP Awards in Gold, Silver, and Bronze, to name a few. Their collection includes 8 canned non-alcoholic cocktail varieties, including the newly launched Lychee Martini flavor, and three bottled non alcoholic premium spirits.

 

“The non-alcoholic beverage market is ready for disruption, which can create immense growth potential. We see consumers already shifting preferences towards healthier and alcohol-free alternatives, which provides an opportunity for a brand like MIXOLOSHE to redefine this industry. I could not be more excited about the chance to make some noise in the category of non-alcoholic beverages and build one of the most talked about drinks in the world.” – Zayn Malik

 

“Zayn is a creative visionary both in music and beyond. His passion for innovation and his ability to captivate audiences will undoubtedly help us redefine the narrative around the non alcoholic beverage category, with a fresh perspective on making healthy lifestyle choices and living well, irrespective of your beverage preferences,” said Kristina Roth, MIXOLOSHE Founder and CEO. “I’m looking forward to working alongside him and shaping a future for this category where the glass is always half full of possibilities.”

Soft seltzers are available in a 12 pack, and retail for $29.99. Non-alcoholic spirits are available in a 750 ml bottle and retail for $29.99.

 For more information, please visit: mixoloshe.com.

Mixoloshe is a female-founded line of non-alcoholic seltzers and spirits that are formulated to taste and smell boozy without the booze. Whether you’re booze-free forever or just for the night, these drinks are the perfect inclusive answer to an age old question—what are we drinking? High in flavor and low in calories, MIXOLOSHE packs a party into every can of soft seltzer and bottle of non-alcoholic spirits. With a mission and ingredients that are anything but fake, the brand offers booze-free cocktail alternatives that taste like the real thing. Party tonight with no regrets tomorrow.

 

 

“Sip For Solidarity” To Support Israeli Wineries and Raise Money For Israeli Relief Efforts
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“Sip For Solidarity” To Support Israeli Wineries and Raise Money For Israeli Relief Efforts

By Contributor — 8 months ago

“Sip For Solidarity” To Support Israeli Wineries and Raise Money For Israeli Relief Efforts

The world of wine in Israel, perhaps the oldest wine-producing region in the world, has always represented a sense of peace and goodwill but has become collateral damage of the horrible atrocities that occurred on October 7th.

The world of wine in Israel, perhaps the oldest wine-producing region in the world, has always represented a sense of peace and goodwill but has become collateral damage of the horrible atrocities that occurred on October 7th.

To raise awareness and in support of Israel and Israeli wineries, the Israeli Wine Producers Association (IWPA), a trade organization promoting Israeli wineries through wine education and events, is asking consumers to “Sip For Solidarity.”

“Sip For Solidarity”

The massacre has had an immediate, concrete impact, particularly on picking, sorting and winemaking teams. Harvest had begun shortly before the attacks, which meant that the sorting, crushing and fermentation processes, were, in many cases, done under the constant threat of attack and bombardment.

For many wineries, production teams have been hollowed out as the young men and women who normally would be shepherding the crucial winemaking process have called up to help defend the nation.

“Winemaking has its own schedule, unlike other industries where you can pause production or run with limited staff. Grapes grow and ripen when they do; the winemaking process is very hands-on. Without staff, many wineries face an impending crisis.” said Joshua Greenstein, the Vice President of the IWPA.

“Additionally, wine is usually something enjoyed when you go out to eat or to a party, and people in Israel aren’t feeling particularly celebratory these days. It’s catastrophic not just for this years’ sales, but for the vintages harvesting now that won’t be ready for sale for years to come.”

 “Buy a bottle of Israeli wine.

…we’re donating 10% of every case shipped from November 1, 2023 – December 31, 2023 to Israeli relief efforts.

Joshua Greenstein,

Vice President of the IWPA

Asked what people can do to help, Mr. Greenstein said:

 “Buy a bottle of Israeli wine. Not only will the purchase help the wineries, but we’re donating 10% of every case shipped from November 1, 2023 – December 31, 2023 to Israeli relief efforts.

“…With the wine consuming public’s support, these challenges are surmountable, and wineries will still craft wines that accurately and deliciously reflect the character of the vintage and of Israel, just as they always have.”

#DrinkIsrael

Israel has been able to blend their ancient history with the most modern technology to produce some of the finest wines available and become one of the fastest-growing winemaking regions in the world.

The Israeli Wine Producers Association (IWPA) represents Israeli wines with a unified voice. To communicate, educate, market, and expose US customers and consumers to Israel as a world-class wine region. The IWPA represents 30+ Israeli wineries ranging from boutique to the largest producer. Follow @IsraeliWine for the latest from the IWPA.

Hunted Alba White Truffles -- Chilli No. 5 Unveils Limited Great Taste Award-Winning Hot Sauce
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Taste Hunted Alba White Truffles — Chilli No. 5 Unveils Limited Award-Winning Hot Sauce

By Katie Macken — 8 months ago

Hunted Alba White Truffles — Chilli No. 5 Unveils Limited Great Taste Award-Winning Hot Sauce

Chilli No. 5 launches a new batch of 50 bottles of magnificent White Truffle Hot Sauce to compete with Truff, the industry leader and USA truffle sauce master.

The only difference is Chilli No. 5 uses real white truffles from Alba in the Piemont and has won the Great Taste Award in 23.

Priced at £25/30€/$ per 100ml, it solidifies its position as one of the priciest and fanciest hot sauces in the global market.

 

Every October, Chilli No. 5 founder Rumble Romagnoli visits Alba in Northern Italy to hunt and handpick white and black truffles that are used to make a yearly batch of the Chilli No. 5 White Truffle Hot sauce.

Truffle Hunter - Renzo, and Lagotto Romagnolo truffle dog - Charlie

Truffle Hunter – Renzo, and Lagotto Romagnolo truffle dog – Charlie

The team has a dedicated Truffle Hunter – Renzo, and Lagotto Romagnolo truffle dog – Charlie to find the best truffles in the world. They also benefit from access to the truffle forest that has belonged to Renzo’s family for generations.

“Truffles are like diamonds. They cannot be made.

You have to find them.

Rumble Romagnoli

founder

“…Each one is unique. Close your eyes and bring the forest to life with this uber-umami white truffle sauce unmatched so far in the industry.” – Rumble Romagnoli founder says.

Romagnoli adds “You can understand that no expense was spared in sourcing the finest white truffles, carefully handpicked to ensure their unparalleled quality and aroma. Blended with a mix of fresh mushrooms such as Porcini, Ceps, Chantrelles, Girolles, and Morilles, this creation is a true culinary gem.”

According to the Great Taste Award Judges “It becomes clear very quickly that this sauce has been made with real skill. The truffle is very much present but tamed at all times. The additional mushrooms combine for a really characterful sauce that offers umami in spades but has some acidity, tang and sweetness too. On top of all this artistry, there’s the late and subtle arrival of chilli heat to round it all off. This is a very complex sauce, but very accessible too.”

This unique White Truffle Hot Sauce will be a versatile addition to kitchens, grills, and BBQs all over the world used not only as a condiment, but also as marinade, and a BBQ sauce. Traditionally, truffle is used on plain pasta, risotto, or grilled meats to enhance the complexity of this unique flavour. The intoxicating aroma and robust, earthy flavour of white truffles create a truly sensory experience that will transport you to a world of culinary luxury.

Chilli No. 5’s White Truffle Sauce is a limited-edition offering, available for a limited time as only 50 bottles are produced each season. This new batch left the Chilli No. 5 kitchens today, so don’t miss the opportunity to add this rare delight to your upcoming culinary repertoire.

Chilli No. 5’s White Truffle Sauce is the perfect choice for discerning home cooks, food enthusiasts, and those seeking to impress guests with a touch of decadence. Whether you’re celebrating a special occasion, hosting an intimate dinner party, or simply indulging in a gourmet home-cooked meal, this sauce will leave a lasting impression.

This limited-edition White Truffle Hot sauce goes with everything and is perfect for a chilli sauce gift in its designer sustainable packaging.

To explore the rich flavors of Chilli No. 5’s White Truffle Sauce and elevate your culinary creations, visit Chilli No. 5’s Website.

 

Legendary Restauranteur Joseph Costanzo Jr. Reveals all in Fine Dining Memoir "On The Rocks"
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Legendary Restauranteur Joseph Costanzo Jr. Reveals all in Fine Dining Memoir “On The Rocks”

By Contributor — 9 months ago

Legendary Pittsburgh Restauranteur Joseph Costanzo Jr. Reveals all in his Tasty Memoir with “On The Rocks”

On the Rocks chronicles the real-life journey of restaurateur Joseph Costanzo Jr., from his rise to success in the 1990s as a owner of the highly acclaimed Primadonna Restaurant, radio host, columnist, and aspiring politician to his sharp fall in the early 2000s, ending in an investigation and a stint in federal prison.

Costanzo is a complex character, whom readers will admire for his confidence and rebuke for his arrogance, will love for his generosity and despise for his egotism, and will learn from in both his attention to detail and lack thereof.

This driven, not-your-average-Joe is an unforgettable character who achieves the seemingly impossible but can’t help getting in his own way. Come along with Joe for a bumpy ride on the rocks

On the Rocks: The Primadonna Story, co-written by Maria C. Palmer and Ruthie Robbins is available now on Amazon, BarnesandNoble.com, Walmart, Target.  Signed copies at the Heinz History Center. Also follow them on Facebook and Instagram.

Today, we’re having a conversation with all three: Joseph Costanzo Jr., co-writers Maria C. Palmer and Ruthie Robbins.

The conversation has been edited for clarity and length.  Find the un-edited conversation on our FlavRReport YouTube channel.

Something that I find amazing, this book has been 17 years in the process. Is that an accurate piece of trivia?

Maria C. Palmer: 100%. Yes, that is a very accurate piece of trivia.

So way back 17 years ago, what sparked this for you?

Maria C. Palmer: A couple of things. I think that because the restaurant was such a significant part of our lives, and it was always the highlight of my father’s life. Once it went away, the spark kind of went away, too. And I wanted to bring that back in my Dad. So I started asking him lots of questions about his life. Specifically for a family history. At the time, being a writer myself, in addition to grant writing, I’m also a writer and I can really spot a good story that has commercial value.

On The Rocks co-author Maria C. Palmer

On The Rocks co-author Maria C. Palmer

There were just so many wonderful elements to his story. So I started recording some vignettes of different things that had happened throughout his life. But not really knowing and or intending at the time that it would be a book. 

But as we went on, I saw that the potential was there and I was lucky enough to still be in contact with my former teacher, Ruthie Dines Robbins and brought the project to her and asked her if she would be willing to work on it with me.

It was really from there that we decided it would become a book and that we would work together diligently for probably 10 years together.

Ruthie Robbins: I’m only 7 years.

Joseph Costanzo Jr.: They had it in Maria’s voice originally. Ruthie was in a book club and they said, “Put it in Joe’s voice and they had to go back and change the whole book.”  I watched 11, 000 emails back and forth. 

Ruthie Robbins: We were not primarily emailing. We were mostly talking and texting, and that year was the pandemic year. So I was off teaching that winter and the following fall.

 

Before we get into the restaurant itself, what was the writing process like?

Maria C. Palmer: I can speak to the family history and just the overall process of it. It was really challenging. Because whenever you’re writing a memoir or a biography, You’re not writing a Wikipedia page. So it’s not from the time somebody is born until the time that they pass away.

You’re picking the most poignant time in their lives. Not only cherry picking all the good things that happened during that time period, but you’re picking some of the challenges too, because that’s what makes a good story. 

It was challenging to figure out what the storyline was going to be and sometimes to tell those hard parts of the story.

What was even more challenging, was just the nebulous nature of the publishing industry.  I just thought you wrote a book, it’s on Amazon and then people buy it. And that could not be further from the truth. Query letters.  Polished one page, a 90,000 word manuscript.  A whole book proposal.  An entire business plan of why we’re writing the book and why it’s going to sell into the market. Requiring that much to not even get a thanks,, but just no response whatsoever.

Ruthie Robbins: Totally agree. The writing was not arduous part because Maria and I get along so well.. We’re real partners, but this publishing thing.  We really didn’t understand the process, so it is difficult, and especially in this genre, [competing with] the celebrities and athletes and reality stars who wrote memoirs.  They want a name on the shelf that someone will pick up in a bookstore. 

 

Mr. Costanzo, one of my favorite parts of this book is the wine mentions.  Tell us your “Pin on the wall” story.

Joseph Costanzo Jr.: Yeah we’re in a tough neighborhood, but we brought in a lot of people outside the area and upscale people,  limos, what have you. 

I had a bus boy and he was a really good worker. He became a server and he came to me after he got the drink order and said, ”what’s a pin on the wall?”

I never heard of a “Pin on the Wall”. So we went to the bartender. He didn’t know either.  We looked it up, nothing. 

So I went out there to ask the customers, so we could make it for them  – and one of the most mortal sins at the Primadonna was making Joe Costanzo look bad – I said, excuse me what’s in a Pin on a Wall and they all started laughing. The guy said, “Pinot Noir.”

They’re laughing at me.  That’s bad. So I went in and I really did a job on this kid.  My wife grabbed me by my tie and pushed me downstairs to my office.

I was in this kid’s face because he really wasn’t real serious about the situation.  If you’re going to be the best at what you’re doing, you can’t be messing up like that.

He ended up being great.  Chris, who was the server, became a maitre’d and a great employee of mine.  He was very loyal. I really went overboard with him and I did feel bad about it. 

 

Reviews are incredibly important.  The amount of work and effort you put in to get your Four Forks Review. Tell us a little bit about what happened.

Joseph Costanzo Jr.: Because the area was an old steel town which had a reputation of a lot of fighting, a lot of drinking, a lot of drugs, nobody would come into that area to eat.

I knew I needed credibility, and the only way I would get credibility was through the Pittsburgh Post, because the dining critic, Mike Kalina,  who was a syndicated columnist, had tremendous credibility. KDKA TV, Post Gazette, New York Daily News.

For two and a half years, I kept reaching out to him.  This is in a time before cell phones and emails.

But I knew if he comes down and gives us a good review, people from outside the area, from the upscale areas of the city are going to come in.  That’s what happened. 

But he did say to me, “You deserve four, but I’ll only give you three because you’ll never handle the business.” 

That Friday night, June 3rd 1988, he was 100 percent right. People were lined up at the door. I was used to doing 10-15 dinners a night. We did over 200 dinners that night and it was a total joke. People waited two and a half hours. When food came out of the kitchen, people actually applauded. People were begging me to get him a bottle of vodka because they couldn’t get a drink at the bar. 

We were short of service. We were short of bartenders. I made it all work in the next couple of weeks and I hired people.

 

I don’t want to ruin the upcoming movie or TV series, but when you trimmed it down, how much heartbreak was there in cutting out so many stories?

Joseph Costanzo Jr.: It was very tough. We had a book signing in August. I kept telling people they were in the book, and they were in the draft I read.  But there were final touches that I didn’t see and we lost a lot of names and alot of stories.  So I really felt bad. I found the actual early draft and sent copies to those people.  This should be in a book, but it will be in the movie, I guarantee you.

Ruthie Robbins:  It was so hard. We did a lot of fact checking when we wrote, because memories are so unreliable. We talked to people who were in the original book [draft] and they expected to be more.  And on top of that, you try to end the chapter on a cliffhanger.  When you take out a story that changes the number of pages in the chapter, it changes the pace of the book.  That was a terrible editing challenge.

Maria, what was that like for you as the author and the daughter?

Maria C. Palmer: Originally the book was written partially in my voice and partially in my Dad’s voice. It started chronologically for me in my twenties and [had] flashbacks because the story starts in 1986 and I was very young at that time.  It was confusing and it didn’t work.  Everything that I wrote and all that I put my heart and soul into  was all cut from the book. So now I have another book project that I’m working on.

But I will echo what my father and Ruthie said. It was hard because everybody did have a significant piece to the Primadonna story.  

 

Mr. Costanza, it would be an easy assumption to say you’ve lived a big life. Are there one or two things you would have done differently in the stories of the book now looking back on them?

Joseph Costanzo Jr.: Sure. When you are hitting all home runs, you tend to believe that everything that you do is gonna be a home run.  I had the most popular restaurant in Western Pennsylvania. Maybe I’m going to do something else, maybe I’ll go into politics.

I spent about $300,000 of my own money to put my name out there. Most people loved Joe Costanzo, but now when you get into politics it’s not that way. So that was probably my biggest regret.

My wife begged me not to do it. She said, Joe, we have a miracle here and you’re going to try for another miracle. And she was right. You may or may not like Joe Costanzo when you read the book, but you will love Donna Costanzo.

Joseph Costanzo Jr.: And that’s bottom line. Everybody says the same thing. Joe, it was great. What he did is impossible, but his wife was a saint for putting up with all this stuff that a restaurateur has to go through. 

The theme of hospitality comes out in the book, but you so clearly love people.  What has it been like getting all these people’s responses to this story?

Joseph Costanzo Jr.: This has been unbelievable for me. People are very happy that this all happened this way.  I treated people really well and people wanted to reciprocate.  So exhilarating to me. My life has been very boring, but now it’s really gotten to the point where it’s been great thanks to Maria and Ruthie.

Ruthie Robbins: It’s heartwarming. Especially from former students, the outpouring has brought me to tears sometimes.  It’s reconnecting with people over the book. That has really been so wonderful

Maria C. Palmer: This has been such a 17 year journey. I always believed that there was something special about this story.  Seeing that exactly what I felt in my gut for 17 years is actually playing out in real life.

Whenever we’re in Pittsburgh, it is almost surreal because people are talking about “On The Rocks and it’s really cool and crazy to know that something that you created means so much for people.

Joseph Costanzo Jr.: The big thing which is amazing to me is that the book came out August 8th, 2023. For two weeks, the book was the number one bestselling ebook on Amazon for culinary memoirs. Ahead of Anthony Bourdain’s, Kitchen Confidential and Stanley Tucci’s Taste “On the Rocks” for over two weeks was the number one overall best-selling ebook. Now that’s hard to believe because this was just a Western Pennsylvania thing and Bourdain and Tucci are worldwide known authors and entertainers.

Tell us where we can find the book and all the ways we can keep in touch with this story.

Maria C. Palmer: So the book is really wherever books are sold.  We’re on Amazon, BarnesandNoble.com, Walmart, Target. We’re also at most bookstores.   Also on Facebook and Instagram.

Ruthie Robbins: There’s also signed copies at the Heinz History Center. 

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