I am surprised and so very sorry to learn Richard Tang Yuk died on Friday in Trinidad and Tobago, where he made his home. He was 65-years-old.
For years, Tang Yuk was instrumental in making Princeton a June destination for music-lovers, through his founding of The Princeton Festival in 2004. As executive and artistic director, he oversaw quality opera, musical theater, chamber music, Baroque, jazz, dance, and multi-media presentations.
The festival grew in scale under his leadership, from two events and four performances at its inception, to encompass eight events and 22 performances, in addition to 20 free lectures and workshops, in 2019. The coronavirus pandemic led to the cancellation of live musicmaking in 2020. The organization pivoted by offering material for online streaming, but Tang Yuk stepped down from the directorship a few months after the season, such as it was, concluded.
His opera performances at McCarter Theatre earned acclaim in such publications as Opera News and The New York Times. Repertoire during his tenure was always an engaging balance of the familiar and unusual. Tang Yuk and his crackerjack team of technicians presented uniformly excellent productions of “The Flying Dutchman,” “Peter Grimes,” “Porgy and Bess,” “The Rake’s Progress,” “Nixon in China,” Handel’s “Ariodante,” and a double-bill of “Gianni Schicchi” and Rachmaninoff’s “Francesca da Rimini,” among others.
At various points in his career, he also served on the music faculties of Westminster Conservatory of Music, Indiana University Bloomington, and Princeton University.
I interviewed him several times, on the air, and most recently for an oral history of The Princeton Festival for the Princeton Symphony Orchestra (which revived the enterprise in 2022, with performances over several weeks each June, including opera presented under a state-of-the-art performance pavilion on the grounds of Morven Museum and Garden).
Tang Yuk did much to enrich the musical life of his adopted hometown, here in Central Jersey. His passing comes as a shock. He preserved his youthful appearance, trim, sharp, and seemingly in good health when I saw him last year. I’m glad I got to see him again so recently and to tell him how much those opera performances at McCarter meant to me.
Thank you, Richard, and R.I.P.
Tag: Princeton
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Princeton Festival Founder Richard Tang Yuk Has Died
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Princeton University Orchestra Punches Above Its Weight
I’ve loved the music of Erich Wolfgang Korngold since I was a kid. I was humming the quarterstaff contest from “The Adventures of Robin Hood” (1938) before I knew a thing about classical music, thanks to enraptured television viewings of the Errol Flynn classic. On one memorable occasion, my best friend and I took down his mom’s curtain rods after the movie and sang Korngold’s gleeful fight music while dueling all over the house.
What I wouldn’t know until I was in high school, when I discovered the benchmark Charles Gerhardt LPs of his classic film scores, was that Korngold was one of classical music’s most gifted child prodigies. The toast of Vienna (Mahler declared him a genius and Richard Strauss was “terrified” by his talent), he was already writing operas in his teens. A contract with Warner Bros. brought further fame and fortune and likely saved his life. He was in Hollywood, writing the music for “Robin Hood,” when Hitler annexed Austria.Korngold remained in the U.S. throughout the war, providing scores for Flynn and Bette Davis vehicles. Davis’ “Deception” (1946) brought a noir sensibility to a sinister love triangle involving three musicians. Claude Rains plays an overbearing composer, who attempts to push a psychologically fragile cellist (Casablanca’s Paul Henreid), who survived a concentration camp, past the breaking point with the rigors of his new cello concerto! Naturally, music would play a central part in the story, and Korngold provided an onscreen concerto for the film’s dramatic center.
Once upon a time, Korngold’s postwar Violin Concerto (in 1947 witheringly dismissed by the New York Sun’s Irving Kolodin as “more corn than gold”) was something of a rarity in concert halls, but in recent decades a younger generation of performers has given it a boost into the standard repertoire. Korngold’s Cello Concerto and Piano Concerto for the Left Hand have not been so lucky. Because much of it had to be performed on screen, as part of the action of the film, the cello work is understandably shorter. It could be awkward and expensive to include it on a real-life classical music concert, with the orchestra having to pay a star soloist for a work only half the length of a standard concerto.
So it’s very seldom done, and frankly, even for a Korngold admirer like myself, I always regarded it as something of a poor stepchild. Not that I don’t adore the melodic content (of a character I am certain would NOT please Kolodin). There are some heart-meltingly lovely moments, like pools of sweet refreshment disturbed by intermittent squalls. Following in the footsteps of Liszt (who wrote no cello concertos), Korngold takes elements of the standard concerto form and compresses them into a vertiginously brief span, roiling with dramatic tension. On recordings, the overheated soloist is often pushing back against aggressive tutti passages.
I’ve only heard it performed live once before, so it was with great anticipation that I attended Friday evening’s concert of the Princeton University Orchestra at Richardson Auditorium, on which Korngold’s concerto formed the centerpiece of the program (which was repeated on Saturday night). Now, this is a student orchestra, mind you, but the young musicians play as if they’ve long ago forgotten the fact. Michael Pratt, the ensemble’s music director since 1977, has no qualms about programming the most challenging and at times esoteric works in the repertoire. Granted the personnel turns over all the time, as the students graduate, but I’ve heard this group tackle “Ein Heldenleben,” the complete “Daphnis and Chloé,” several Mahler symphonies, and “The Dream of Gerontius!”
The Korngold soloist was Max Salzinger, now a Princeton sophomore, and he played beautifully, with all the assurance of someone who had clearly internalized the score. The performance was spacious, sumptuous, and wistfully romantic. Lyrical passages breathed. Soloist and orchestra offered a more expansive account, or the appearance of one, than those to which I had grown accustomed. The experience was luxurious and revelatory. Suddenly the piece sounded less like a made-to-order Hollywood film concerto and more like an honest-to-goodness concert work that, yes, really does deserve to take its place alongside the Violin Concerto. This was the Korngold I didn’t know I needed. Listening to it made me feel like a teenager again.
Keep in mind, few of these university performers are music majors. Most of them are pursuing degrees in other fields. Salzinger is an aspiring economist. But clearly the cello is central to his being. He’s already had a ton of experience playing with the orchestra of Indiana’s Hotchkiss School (from which he graduated in 2025), the Hartford Symphony, and the Indianapolis and Interlochen Youth Orchestras, among others. Last year, he won Princeton’s Concerto Competition. It was not the first contest in which he’s come out on top.
Equally impressive was the concert’s opening performance, of Alberto Ginastera’s “Pampeana No. 3,” a piece evocative of the pampas, the grasslands of the composer’s native Argentina, which was played at a near-professional standard. Seriously, this was as fine a performance of this piece as I will likely ever experience, especially live. And what a battery of percussion at its center! I’d be lying if I said I was shocked by the quality of the playing, but it was still a great pleasure to be reminded of just how good these student musicians can be – 80+ performers, with two harps, piano, celesta, and three percussionists, putting their shoulders to it. The woodwind playing, especially some flute duets, played by Liam Browne and Hugh Choi, lent idiomatic color.
The second half of the program, consisting of Dvořák’s Symphony No. 8, was markedly wilder and woollier, which made me wonder if the bulk of the rehearsal time had been devoted to the other, less familiar pieces. Any kind of shading in the first movement was out the window, with most of the music played at one dynamic – loud – so that many felicitous details of the composer’s score were overwhelmed. I would be remiss, however, not to to give credit to trumpeters Austin Clinard and Matt Cline, who nailed their exposed fanfares both here and in the last movement, which must have taken not only technique, but nerves of steel.
The middle movements were better, especially the second, which was presented with more variety and shading, and all the soloists hit their marks and played with confidence. The third movement, an elegant waltz, was a little underarticulated, but mostly successful. But in the last movement, we were back to everyone going full tilt, subtlety be damned. But my goodness, what an exciting noise!
With the crazy chromaticism of Dvořák’s coda, just as the players are required to really bring on the steam, it already seems as if the entire work is about to fly off the rails (by coincidence, Dvořák was a great admirer of trains), but pile on the youthful energy of the Princeton University Orchestra, with timpanist Milo Salvucci, and you really experience the terror of the sublime. The sensation was so harrowing, I couldn’t help but burst into laughter. What great fun!
So, they’re not the Czech Philharmonic. Who cares? Put your hands together for these kids. They did a great job.
The next set of concerts will take place on November 20 & 21, and will include Benjamin Britten’s “Four Sea Interludes” from “Peter Grimes” and Tchaikovsky’s Symphony No. 6 “Pathétique.”
On February 26 & 27, winners of this year’s concerto competition will be heard.
In the spring, on April 15 & 16, Pratt will conduct Mahler’s Symphony No. 9.
For more information, visit https://orchestra.princeton.edu/current-season/ -
Korngold in Princeton
And suddenly, for me, the 2026-27 concert season gets underway. I know performing arts organizations have been busy for the past few weeks, but this weekend is the first that my dance card is on fire. How could I resist this program by the Princeton University Orchestra? Ginastera, Korngold, and my favorite Dvořák symphony!
Conductor Michael Pratt, the orchestra’s music director since 1977, is a genius at getting his students – few of whom are actual music majors (most of them are pursuing degrees in astrophysics, bioengineering, computer science, linguistics, sociology, philosophy, and other pointy-headed Princeton fields) – to play the most demanding repertoire. I’ve heard them perform “Ein Heldenleben,” the complete “Daphnis and Chloé,” several Mahler symphonies, and “The Dream of Gerontius,” among others. They’re always very good, and sometimes they even excel themselves. Furthermore, they play in Princeton’s intimate and historic Richardson Auditorium. Yowzers!
The cello soloist in the Korngold concerto is Max Salzinger (’29), winner of this year’s orchestra concerto competition. Korngold wrote the concerto for the 1946 Bette Davis-Claude Rains music-noir “Deception.” In the film, Paul Henreid (Casablanca’s Victor Laszlo) appears to play the solo part, but really he’s just making facial expressions, as in the closer shots, his hands are actually tied behind his back. Two professional cellists crouch behind him, one of their arms in either sleeve of a specially designed coat to give the actor’s pantomimed performance greater verisimilitude.
The cellist on the film’s soundtrack, the one that’s actually heard, is Eleanor Aller, the wife of Felix Slatkin (concertmaster of the 20th Century Fox studio orchestra and founder of the Hollywood String Quartet) and mother of conductor Leonard Slatkin. She was pregnant with her other son, Frederick Zlotkin, at the time. Zlotkin also grew up to be a professional cellist.
I’ve only ever heard the concerto performed live in concert once before. Naturally, I am very much looking forward to hearing it again, as Korngold is also one of my favorite composers.
Right here in my own backyard, too!
The Princeton University Orchestra program will be presented at Richardson Auditorium on both Friday and Saturday at 7:30 p.m.
For more information, visit:
https://music.princeton.edu/events/2026/princeton-university-orchestra-ginastera-korngold-dvořák
The other night? Why, Dalia Stasevska conducts the Philadelphia Orchestra in Sibelius’ “Pohjola’s Daughter” and Respighi’s “Pines of Rome,” with Gil Shaham the soloist in Saint-Saëns’ Violin Concerto No. 3, at Philadelphia’s Kimmel Center for the Performing Arts. I’m a lucky boy! -
Two Butterflies for the Price of One at the Princeton Festival
Not all the drama at Friday night’s performance of “Madama Butterfly” at the Princeton Festival was on stage. Friday afternoon, it was learned that soprano Toni Marie Palmertree, who performed the title role at the Met this season, and floored the audience with her big voice and passionate commitment in last year’s festival production of “Tosca,” would not be able to sing. So Brenna Markey, who had been cast as Kate Pinkerton – a much more modest role, with the character appearing only in the final act – stepped up to assume the vocal part while standing with the orchestra, somewhere behind the shoji that serves as the backdrop for much of the action, as Palmertree seamlessly lip synched and embodied the character physically.
Believe it or not, this is not an unknown occurrence in opera. It’s not an everyday experience, by any means, but it happens with more frequency than, say, a shark attack.
Even so, this proved to be an especially harmonious piece of collaboration and improvisation. Palmertree performed her part, as Markey did her thing, with as much conviction as she would have, had the entire portrayal rested with her. Consider the challenges, the innumerable interpretive choices that a singer makes, practically intuitively. Any number of these would necessarily have been different from what Palmertree herself might have chosen. They had to be fielded – absorbed, assimilated, and responded to – instantaneously.
Also of concern, naturally, was how a pantomimed Butterfly would meld with the rest of the ensemble, as the other singers would also have to react and blend their voices to match a backstage performer totally invisible to them. Yet to a person, they all supported the illusion, while expressively meeting the demands of their individual roles, which could not have been easy. We’re talking about some serious “Roger Rabbit” interaction here.
Kudos to the sound crew, which must have really had to ride Markey’s microphone to keep the blend realistic (the rest of the cast was unamplified) and at a level that, for anyone in the audience who happened to walk in late and miss the announcement, unobtrusive, in purely musical terms. I doubt, if one were to close his or her eyes that, on a superficial level, he or she would have noticed the difference – except perhaps for one element. More about that in a bit.
In particular, tenor Victor Starsky, who made such a strong impression last year as Cavaradossi (and held his own opposite internationally renowned soprano Sondra Radvanovsky at the festival last week), impressed with more than just his voice. It can’t be easy to exchange those ardent phrases believably with a vocal partner who isn’t actually standing in front of you.
I was also blindsided by mezzo-soprano Kayla Nanto, whose Suzuki really snuck up on me. Her characterization broke my heart well before the final curtain’s coup de grâce. Of course, a lot of that is already baked into the work’s construction. But it sure does help to have performers of this caliber!
In fact, I am hard pressed to think of anyone in a major role, or even in a walk-on, who didn’t please. Bass-baritone Nan Wang brought the necessary authority to Bonze. He has one scene, but his shunning of Ciao-Ciao-San continues to resonate in her poverty and isolation.Tenor Nicholas Nestorak – who sang Spoletta, Scarpia’s right-hand man, in last year’s “Tosca,” and was one of the vocal soloists in Stravinsky’s “Pulcinella” when the Princeton Symphony Orchestra performed it at Richardson Auditorium this past season – played the opportunistic marriage broker Goro, who seemed more genial and less conniving than usual. But maybe I was just distracted by his fun-and-flirty costume. (More on that coming also.) He was in good voice, though.
Baritone Joel Balzun was solid as Pinkerton’s friend, the American consul Sharpless, who repeatedly cautions against his cavalier manner and the perils of fishing in forbidden waters. “This might be a joke to you,” he warns, “but she believes it.”
“A vagabond Yankee enjoys himself and does business without concern for risk,” Pinkerton sings.
Of course, this statement has increased resonance in 2026, and revisiting the opera the other night, it seemed astonishingly contemporary in other unanticipated ways. I mean, Butterfly was always 15 at the start, but now with the Epstein files being so much in the news, it’s hard not to have current events unwittingly color one’s reactions.
Clearly, the production could have gone at it with a heavy hand, but the details are still left to speak for themselves. It’s the audience’s perception of the material that’s shifted to a perhaps unexpected degree, with what Pinkerton represents bringing a stronger kick (and ick) than might have been the case in the past.
That’s no reflection on Victor Starsky’s characterization. The tenor also sings it straight. Pinkerton’s a young man, footloose and fancy free in what was then referred to as the Orient. Life’s a lark and he indulges his passions in what he perceives as a kind of fairy tale pleasure garden. So intoxicated is he, he confides, he’s not even sure if it’s a whim or if he really is in love.
In his meeting with Sharpless, he raises his glass to toast, “America forever!” He also has his friend drink to the day he “marries for real to a true American wife.” It’s hard to feel any sympathy for this character – he’s frustrating as hell and his actions are despicable – but he shouldn’t be played as a villain. He’s just clueless, self-centered, and oblivious to consequences. Even at the end, although he is devastated by the results of his actions, his capacity for empathy proves limited. Everything is always all about him.
I have to say, this production makes some very peculiar aesthetic choices in the costume department (the costume designs are by Neil Fortun), and many of them come across as misguidedly whimsical.
Pinkerton makes his entrance in a white jacket emblazoned with a stylized American flag and red, white, and blue arm band, for me conjuring associations with an Evel Knievel stunt suit.
Sharpless’ attire bears a similar design, but on a gray frock coat, suggesting his diplomatic position.
Perhaps most amusing of all is Butterfly’s would-be suitor, Yamadori (baritone Jacob Hanes), who shows up looking like glam elf Legolas. Don’t get me wrong, I would have loved to have worn that get-up, if I could have pulled it off. But I will never be blond enough or have so much hair again. Not a criticism of Hanes, but the costume made him memorable for all the wrong reasons. But I could tell he was digging it at the curtain call (as I would have too!).
The broader sartorial vibe suggests a utopian science fiction movie, an indeterminate land, though the shoji, paper lanterns, and some of the hair styles anchor it in Japan.
Conditions are very different now than they were at the time of the opera’s first performance, more than 125 years ago. We’re living in a more reflective, internationally-conscious age. Or some of us are. “Butterfly” is an opera that, more than most, draws criticism for, among other things, a tendency for Westerners to play the East Asian parts. And while I am sensitive to that concern, I’m not sure handing out Pagliacci party pajamas, raided from Ringling Brothers clown college, is the solution.
This production has no “yellow face” or uncomfortably-pronounced attempts at “Asian” make-up. (Butterfly has wavy auburn hair.) But with the quasi-kimonos and would-be nihongami hairstyles, it is unquestionably set in Japan. So what’s the point of the costumes? Are we supposed to be in Oz? Hanging with Willy Wonka? At a Lord of the Rings birthday party? (There are balloon-like patterns on everything.) If they wanted to go full-on Jedi “sweet 16” sleepover, they should have just done it.
By contrast, the scenic designer Blair Mielnik came up with a fairly traditional, functional set, with aforementioned shoji, complete with sliding door, a porch, and a kind of rustic boardwalk at stage left, which allowed not only for character entrances and exits, but also created another tier for the singers.
Despite the use of the aisles for some character entrances and exits and processionals to and from the stage, nothing really exploited the unique dimensions of the performance pavilion to the degree of last year’s spinetingling moment when the audience suddenly found itself surrounded by a choral procession at the Basilica di Sant’Andrea della Valle. But “Butterfly” is a different opera, lacking the political machinations and ecclesiastical grandeur that heighten the human drama at the heart of “Tosca.”
Silhouettes against rice paper are nothing new, but the punctuation mark of a cascade of cherry blossoms at the end was a nice touch (Eve Summer is the stage director), a visual expression of the emotional final blow.
Puccini really twists the knife in this one (literally and figuratively). Butterfly sings of her namesake, “They say overseas if it falls into someone’s hands it is pierced with a pin.” Her excruciating downfall is almost too much to bear. Why do we continue to do this to ourselves? Why do audiences voluntarily, eagerly subject themselves to these sado-masochistic, verismo tragedies? Because Puccini is seldom less than swooningly beautiful. The music at times would be downright saccharine if it wasn’t composed with such sincerity, and if every note didn’t convey such authentic (albeit heightened) human emotion.
But even under the best of circumstances, “Butterfly” is rough: three acts of relentlessly heartbreaking degradation. Yet here I was, still haunted by the “Humming Chorus” the next morning. It’s an undeniably powerful piece of theater, and a beautiful one, but it is hard.
It’s also a peculiar choice for this summer of America’s Sesquicentennial. Of all the operas, they had to choose one in which the United States is shown at its selfish, imperialist, consequences-be-damned worst. Lieutenant Benjamin Franklin Pinkerton, who serves on the gunboat USS Abraham Lincoln, is supported by grotesque distortions of the “Star-Spangled Banner.”
I understand American operas aren’t likely to pack the house, but if they were going to do Puccini, couldn’t they have gone with “La fanciulla del West” (“The Girl of the Golden West”) – perhaps the world’s first spaghetti western – set in a California mining town? The music is equally beautiful, local color is emphasized over politics (foreigners resent U.S. imperialism, but they sure are fascinated by cowboys), and it has a happy ending. Also it’s set in the mountains in winter, allowing everyone to think cool thoughts.
Be that as it may, the orchestra played “Madama Butterfly” with emotion, momentum, and striking unanimity for its 3-hour-plus running time, under Rossen Milanov’s assured direction, which surely demonstrated their extraordinary commitment to the score – which was all the more remarkable, as they were essentially hot-boxed between shoji and large screen, on which were projected colors and shades according to the dramatic demands of the moment, at the back of the tent. On Friday, the heat index by late afternoon had hit 100.
Soprano Aubry Ballarò covered for the unexpectedly promoted Markey. Ballarò, as I noted following her appearance with the PSO earlier this past season (when she appeared with Nestorak in “Pulcinella”), has a smaller voice. The character of Kate Pinkerton doesn’t have a lot to do, which is unfortunate, because Ballarò proved that she has more to offer when she is given other singers to work against. She has a beautiful voice, but on Friday, I could barely hear her.
Unquestionably, it was a great night for Markey, but Starsky reminded me of what was missing from an otherwise admirable performance, and that was the visceral power of the human voice emanating from a singer on stage, projecting into the audience. Friday, it couldn’t be helped. The show went on, the drama was intact, and Markey really did save the day.
There’s one more performance of “Madama Butterfly” at the Princeton Festival, Sunday, June 14, at 4 p.m. Whether or not Palmertree will recover her voice, Markey will sing from the wings, or if she can be costumed and drilled sufficiently in the blocking so that she herself can appear onstage, remains to be seen. But no matter who assays the title role, you can be guaranteed to experience the opera with really first-rate singers and an orchestra that does them – and Puccini – proud.
The Princeton Festival runs through June 21 at Morven Museum & Garden, 55 Mercer Street (Route 206), in Princeton. For tickets and information, visit princetonsymphony.org/festival.
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Stunning Radvanovsky Worth the Wait, After Rain Delay at the Princeton Festival
Because of safety concerns regarding the ill-timed thunderstorms that battered the region last night not long before curtain, it was nearly 9:00 before soprano Sondra Radvanovsky took the stage of the performance pavilion at Morven Museum & Garden for the second night of The Princeton Festival. But boy, when she did, did she deliver.
The program was perfectly tailored to suit her voice, with selections by Verdi (“La forza del destino”), Giordano (“André Chénier”), and Puccini (“Tosca” – which she’ll be singing at the Met next season – and an imperious Turandot). Her control was riveting, her dramatic presence hypnotic, and when she was under full sail, she flooded the tent with a magisterial voice that stirred overwhelming emotion.
She was joined by rising tenor Victor Starsky, a Princeton Festival veteran, who sang Cavaradossi in last year’s production of “Tosca” and will return next week as Pinkerton in “Madama Butterfly.” Starsky had his time in the spotlight with “Celeste Aida” and that old standby, “Nessun Dorma.” Nothing sets a crowd wild like a tenor in full voice.
But even more compelling, for me, personally, were his duets with Radvanovsky (from “Un Ballo in maschera” and “Manon Lescaut”), which allowed his passion to bubble over. I was left shaken by their concluding “Vicino a te s’acqueta,” from “André Chénier,” in which the couple anticipates fulfillment of their love in their impending death at the guillotine (“Viva la morte insiem!”) – so much so that, as I was chatting with some people behind me afterward, I nearly broke down.
No doubt there would have been encores, but it was already pushing 11:00. I’m sure a lot of contracted employees are going to be getting overtime.
Rossen Milanov conducted The Princeton Symphony Orchestra, in support of the singers, but also supplied the overtures and interludes by Verdi, Mascagni, and Leoncavallo. It was a late night, so I was thankful for having imbibed a strong cold brew beforehand. Even so, I think it would have been impossible to nod. It was definitely worth sweating it out in the car for an hour, waiting for the thunder and lightning to subside.
Today is the festival’s Community Day, with Yoga in the Garden (to live musical accompaniment) already underway. That will be followed this afternoon by family friendly activities, including an instrument “petting zoo,” a musical story time, a quilting exhibition, “Harriet Powers: American Icon,” with the Princeton Sankofa Stitchers Modern Quilt Guild, and American Repertory Ballet‘s 30-minute “Swan Lake Experience,” an accelerated story of the ballet with audience participation, from 12-3 p.m.
This evening, Milanov and the PSO will return to join the dancers for a program that will feature pas de deux from Tchaikovsky’s “Swan Lake” and “The Sleeping Beauty,” Samuel Barber’s “Adagio for Strings,” and a world premiere choreographed to music by Pulitzer Prize winner Caroline Shaw. But especially interesting to me will be a ballet set to Jean Françaix’s Piano Concerto, with Steven Beck the soloist. The event will commence in the performance pavilion on the Morven grounds at 7 p.m.
Morven Museum & Garden is located at 55 Stockton Street (Route 206) in Princeton, NJ.
The Princeton Festival runs through July 21. For tickets and information, visit princetonsymphony.org/festival.
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I didn’t take any pictures last night. I’ll add a more pertinent photo once the Princeton Festival makes one available!
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