Sharon Hospital cited new financial evidence in asking the state Office of Health Strategy to reconsider denying the request to close labor and delivery services.
SHARON — Sharon Hospital has petitioned the state Office of Health Strategy (OHS) to reconsider its Final Decision denying the hospital’s request to terminate labor and delivery service.
OHS issued its decision Feb. 5, determining that the application for a Certificate of Need (CON) failed to meet the statutory requirements intended to protect the “quality, accessibility, and cost-effectiveness of care” in the region served.
In its petition filed Feb. 20, the hospital cited new evidence regarding the current state of operations at the labor and delivery operation, as well as evidence relating to the financial health of Sharon Hospital and Nuvance Health, its parent.
The hospital also states that the Final Decision contains factual and legal errors that must be corrected, and that there is good cause to grant the petition “in order for OHS to work with Sharon Hospital to address significant new challenges to the sustainability of the L&D services in the same manner as OHS has to similarly situated providers.”
The petition, filed eight days before Northwell Health announced it planned to combine with Nuvance Health, cites updated evidence that shows the hospital is “on the precipice of having to temporarily suspend the service because it has lost essential physician coverage in recent months.
“The conditions at the Hospital related to the L&D service have meaningfully deteriorated from an already challenged state and further threaten the sustainability of the L&D service and the [hospital’s] ability to operate the L&D unit safely and reasonably.”
The petition also argues that the decision relies heavily on data about Nuvance Health’s finances in 2022, yet doesn’t account for 2023 and 2024 budgeted losses.
Sharon Hospital’s petition also states that OHS committed legal errors in applying certain statutory criteria. It also argues that OHS should reconsider its denial and negotiate conditions “for the closure of the L&D unit,” alluding to the recent agreement OHS entered with Windham Hospital in Willimantic that received approval to close its L&D unit “subject to certain conditions.”
Christina McCulloch, president of Sharon Hospital, confirmed that the announcement of Nuvance’s agreement with Northwell Health will not alter Sharon Hospital’s pursuit of permission to terminate its labor and delivery services.
“Nothing has been approved with Northwell Health,” said McCulloch. “It has to go through the regulatory process, which we think could take a year or more.”
She said that with regards to the petition for reconsideration, “nothing will change.” The petition for reconsideration, she said, is “just another step in the regulatory process with the Office of Health Strategy. And we await their response to that.”
D.H. Callahan
One hundred and twenty years ago, Carl and Ellen Stoeckel commissioned New York architect E.K. Rossiter to design The Music Shed in Norfolk, Connecticut. After nearly a decade of entertaining their friends and neighbors with the finest music of the day, they built a permanent home for their beloved Litchfield County Choral Union.
The commission and full funding of the construction was not unheard of in an era when great fortunes led to public enrichment. Railroad tycoon John D. Rockefeller was instrumental in funding institutes of higher education. Steel baron Andrew Carnegie was building libraries all over the country, and famously said that a man who dies rich is a disgrace, challenging his peers to give their fortunes back to the people.
But the Stoeckels went even further. They took it upon themselves to pay for everything from trains and coaches for American musicians to trans-Atlantic crossings for European composers, and even rented instruments when needed. They never told anyone what it all cost and worked hard to keep their names off the buildings and mastheads, instead directing all credit to the Litchfield County Choral Union.
Upon her death in 1939, widowed Ellen Battell Stoeckel bequeathed the entire operation to the Yale School of Music. Since then, Yale has operated the Norfolk Chamber Music Festival at the iconic property, with only modest renovations made in 2024.
This year, the Festival is looking to the past for inspiration as it presents its “Anniversaries” program, featuring performances dedicated to celebrating history. On Saturday, Aug. 1, the Festival looked back 200 years with pieces written in 1826 by Schubert, Beethoven and a 17-year-old Felix Mendelssohn. The previous evening focused on the Music Shed itself, with repeat performances of works by Sibelius, Coleridge-Taylor and even Rachmaninoff, all of whom graced the shed with their presence.
On Aug. 8, the festival will celebrate its final anniversary of the season: America’s 250th. The program will feature a world premier by Juilliard-trained composer and pianist Nahre Sol. The piece is part of the Festival’s Musical Bridges project, which commissions music inspired by the American West.
Apart from the anniversaries, there’s still more music to come. Friday, Aug. 7 will feature pieces by Haydn, Holcomb, Schoenberg and Shostakovich. On Aug. 14, works by Beach, Childs and a little more Haydn will be performed with Melvin Chen on piano. Oboeist Stephen Taylor will join William Purvis and the Norfolk Fellows for an evening of Johann Sebastian Bach’s Brandenburg Concertos on Saturday, Aug. 15. The culmination of the season happens on Saturday, Aug. 22 with a musical tour of choral masterworks from the Renaissance through today, featuring the Norfolk Festival Chamber Choir and Orchestra.
Of note is the Festival’s new collaboration with locally based fashion brand BODE. While no robber barons — or even modern-day rocketship billionaires — it’s nice to know the spirit of musical altruism lives on in Norfolk.
To learn more, head to norfolkmusic.org.
D.H. Callahan
Henry Klimowicz with his sculpture, “Partial Pillar 1”
On Saturday, Aug. 1, Geary Gallery opened its doors in Salisbury for two unique shows in its first- and second-floor gallery spaces. Art lovers flooded both floors over the course of the afternoon, giving the events a vibrant feeling that enhanced the importance of the art.
On the first floor is a show by Chicago-born, Colorado-based photographer Summers Moore, titled “Lobitos: Pueblo Fantasma,” or “Lobitos: Ghost Town.” The work centers around her daughter’s current hometown in Peru. Moore herself found a home away from home in Colorado in the mid-1980s and encouraged her children to seek out new places outside of their comfort zones.
Her daughter found Lobitos, a small surfing village on Peru’s coast that has taken on multiple identities throughout its history, including a booming era as an oil town in the 1800s and later as a military outpost before becoming the small fishing and surfing community it is today.
While visiting her daughter, Moore befriended a local artist named Inti. The bulk of the photos on display are of murals Inti painted on Lobitos’ crumbling infrastructure, as well as the horses who live at the equine therapy retreat where Moore’s daughter works and lives.
Directly above Moore’s photography exhibition is “Methods of Proceeding,” a show by local multi-disciplinary artist and curator, Henry Klimowicz. Coming from a room full of photographs of easily decipherable places, people and animals, Klimowicz’s work is anything but obvious.
The room is carefully populated with amorphous structures made from shreds of cardboard and hot glue. The cardboard was sourced from a furniture shop in Millerton, just down the road from Klimowicz’s own art space, the Re Institute.
The Re Institute is known for making the inaccessible accessible. Its “gift shop” features a wide variety of artworks, all priced under $750. “Methods of Proceeding” seems to do the opposite — taking one of the most common materials available in our modern era of online shopping, and the shipping waste that comes with it, and making it less accessible by forming it into curious structures that can resemble a panoply of ideas depending on the viewing angle.
Larger structures are mostly called “Partial Pillars,” with smaller “Truffles” and “Pebbles” scattered around the ledges and corners of the room. Alongside the cardboard and glue sculptures is a series of colorful monoprints that mirror the wild patterns of the sculptures.
Both shows will remain on view at the gallery until Sept. 27, when Moore will return for a discussion about her work. For more information about the artists and the gallery, visit geary.nyc.
Jennifer Almquist
Participants in a 2024 Great Mountain Forest Woodland Academy workshop at Yale Camp.
Great Mountain Forest (GMF) will host its first Nature Writing Retreat at the historic Yale Camp in Falls Village from Aug. 7-9, 2026. Writers of all levels are invited to draw inspiration from one of New England’s most notable forest landscapes. GMF envisions the retreat becoming an annual event celebrating writing, conservation and the relationship between people and forests.
This immersive three-day retreat reflects on the legacy of Hal Borland, the American writer and New York Times nature columnist whose work was deeply connected to this landscape. The retreat explores how wilderness shapes language, strengthens close observation and fosters environmental consciousness.
Six workshops, led by nationally recognized authors, poets and environmental experts, will take place throughout GMF’s 6,400-acre forest. Participants will engage in field observation, writing and discussion focused on description, ecological literacy, eco-poetry and nature-based storytelling.
According to Michael Zafros, GMF executive director, “There are few uses of a forest more sustainable than serving as inspiration. Hosting writers and artists is a great way to explore and provide this use of our forests. This new program demonstrates how Great Mountain Forest can be an antidote to the challenges facing our world. The retreat brings people together, builds community in the forest, gets participants outside and off their screens, and uses nature sustainably to heal and inspire minds and souls.”
The weekend includes journaling and campfire conversation on Friday, a guided nature walk and workshops on Saturday, and a closing reflection on Sunday.
Borland wrote, “I challenge anyone to stand on a hilltop and fail to see a new expanse not only around him, but in him, too.” Organizers hope participants in the inaugural retreat will experience just such an epiphany.
The 2026 Great Mountain Forest Nature Writing Retreat is made possible in part through support from H. Bruce McEver, Roshy and Dalton Dwyer, and Housatonic Heritage. The retreat is curated by Tom Shachtman.
Enrollment is limited. An optional post-retreat online anthology of participant work will also be offered. For more information and to enroll, visit greatmountainforest.org/writing-retreat-2026.
Want more of our stories on Google? Click here to make us a Preferred Source.
Natalia Zukerman
Artist Adam Van Doren and curator Donna Hassler talk to a group of visitors at the Berkshire Botanical Garden. A Stephen Proctor vessel sits to their left.
This summer, the Berkshire Botanical Garden in Stockbridge has hosted “Grounded in Nature: Paintings by Adam Van Doren,” an exhibition exploring the intimate relationship between architecture and the natural world.
On view for only a few more weeks in the Leonhardt Galleries, the exhibition features more than 35 watercolor and oil paintings by the New York-based artist, architect, author and Yale professor, curated by art historian Donna Hassler, director emerita of Chesterwood. The works span three distinct places that have shaped Van Doren’s artistic practice: New York City, Cornwall, Connecticut, and his travels throughout Europe.
Hassler first encountered Van Doren’s work years ago, when they crossed paths through their shared connection to the American Academy in Rome. Years later, when she was considering artists whose work would complement Berkshire Botanical Garden’s focus on art and nature, his paintings immediately came to mind.
“When I heard about Steve Proctor’s show, I immediately thought about Adam’s work,” Hassler said, referring to the ceramic artist whose monumental vessels and sculptures are also on view at the Garden. “Everything that is on exhibit here has some aspect of nature in it. And thinking about the built environment — buildings are not built in a vacuum. The landscape is important to the overall impression of the building in a particular setting.”
After visiting Van Doren’s New York studio and reviewing hundreds of works, Hassler decided to organize the show geographically, allowing viewers to trace how different landscapes have influenced the artist.
The first gallery focuses on Van Doren’s life in New York City, where he has maintained a studio on West 57th Street, near Central Park. His watercolors capture architectural details and urban landscapes, from Central Park bridges and fountains to Greenwich Village townhouses and the former Carnegie Mansion, now home to the Cooper Hewitt, Smithsonian Design Museum.
“He has a studio on West 57th Street, right down the block from Carnegie Hall,” Hassler said. “Within a couple of blocks of Central Park, you see a number of watercolors — a fountain, details of the balustrade, bridges in Central Park, cityscapes.”
The exhibition then moves to Cornwall, where Van Doren has spent summers throughout his life on a family farm originally purchased by his grandparents, writers Mark and Dorothy Van Doren. Surrounded by fields, streams and historic buildings, this landscape, which will be familiar to many, has become one of his most enduring subjects.
The Cornwall gallery is housed in Berkshire Botanical Garden’s historic Center House, an 18th-century building whose preserved character echoes the themes of Van Doren’s work.
“I like that they’re in here,” Hassler said. “It’s not a white gallery space. The raw material of this older building is still here.”
Many of Van Doren’s Cornwall paintings explore the interplay of architecture, land and light, including views of the Bradford homestead, an 18th-century farmhouse surrounded by weathered barns and stone walls.
The final section of the exhibition follows Van Doren’s travels abroad, particularly in Italy, France and England. Influenced by his architectural training at Columbia University and the classical watercolor techniques of the École des Beaux-Arts, Van Doren has long used watercolor to capture historic buildings within their landscapes.
“He paints mainly outdoors,” Hassler said. Working en plein air, the artist often paints with a portable stool, watercolor paper and palette, capturing changing light and atmosphere in real time.
Hassler noted the difference between Van Doren’s watercolor and oil paintings, a few of which are displayed side by side in the exhibition.
“He uses pure color,” she said of his watercolor technique. “It’s your eye that then fills in the form that he’s creating.”
The exhibition also includes works from Van Doren’s time as a visiting artist at the American Academy in Rome, where he painted ancient ruins, gardens and architectural views. His Rome paintings later inspired the poet John Tagliabue’s collection “An Artist in Rome.”
“Grounded in Nature: Paintings by Adam Van Doren” is on view through Aug. 23 at Berkshire Botanical Garden. For more information, visit berkshirebotanical.org
D.H. Callahan
Emily Gallagher, soprano, is one of the performers pairing wine with opera at Stissing Center.
When old-world elegance calls to mind both opera and fine wine, “Opera Uncorked” answers with both. On Saturday, Aug. 8, at Stissing Center in Pine Plains, carefully curated wines from Fulton and Forbes Wine and Spirits in Ancram will be paired with classical arias from beloved operas.
The wines will mostly be drawn from the regions where many famous operas were born.
Both Germany and Austria share a claim to one of the most formidable opera composers of all time. In 1791, at Schikaneder’s theatre in Vienna, Wolfgang Amadeus Mozart’s “The Magic Flute” first graced the ears of music enthusiasts. Since then, Germany has produced countless additional operatic masterpieces, including Carl Maria von Weber’s romantic “Der Freischütz,” and Richard Wagner’s epic “The Ring Cycle.”
During his lifetime, Wagner dominated the opera scene. His prolific work is known to have inspired French composer Claude Debussy to write his only opera, “Pelléas et Mélisande.” But Debussy’s work is overshadowed by the crown jewel of French opera: Georges Bizet’s “Carmen.”
Jacopo Peri was an Italian composer and vocalist working in the late 16th century, during the late Renaissance and early Baroque periods. In 1597, his opera “Dafne” premiered in Florence. It is widely recognized as the first opera ever created and performed. Since then, composers such as Puccini and Rossini have kept Italy at the forefront of opera with works like “La Bohème” and “The Barber of Seville,” respectively.
The fourth wine region is home to a majority of the performers at “Opera Uncorked”: California. Emily Gallagher, of Los Angeles, is a soprano whose work has been described as “harmonically appealing and splendiferous.” Devony Smith is a California-born, Grammy-nominated mezzo-soprano whose voice has been called “sensual” and “strong” by The New York Times.
Rounding out the performers are award-winning Puerto Rican-American baritone Brian James Myer, who has worked with the Metropolitan Opera in New York City, and Peter Lake, who recently wrapped up a tour as Old Deuteronomy in the hit Broadway classic, “Cats.”
The program will be led by accompanist and conductor Caleb Yanez Glickman, also of Los Angeles, alongside Fulton and Forbes’ Rachelle Merriam, who has carefully selected the wines.
With wine and opera paired so expertly together, there seems to be only one thing missing. But fear not: cheese and crackers will be provided by local favorite Chaseholm Farm, bringing this international evening right back to its center in Dutchess County.
For tickets, visit thestissingcenter.org
Thomas Jensen
Saturday, July 25, in the Shed at Tanglewood, the BSO took the stage with pianist Paul Lewis for Mozart’s “Piano Concerto No. 27 in B-flat major” (K. 595). This was Mozart’s final piano concerto, completed in January 1791. Mozart died on Dec. 5, 1791.
Premiered by Mozart himself on March 4, 1791, it was his final public appearance as a soloist.
Unlike Mozart’s fiery or dramatic minor-key concertos, this concerto features a transparent, sparse texture, quiet lyricism and a calm, resigned, autumnal mood. It has three movements: Allegro, Larghetto and Allegro.
In the first movement, Allegro, Mozart is in no hurry to introduce the piano; his introduction is as long and lavish as can be. This gentle, graceful orchestral introduction presents four main themes, beautifully played by the BSO musicians.
Lewis waited, and then his time arrived with a quiet (sotto voce) entrance by the solo piano, followed by a rich, chromatic development section with frequent key changes.
The second movement, a Larghetto in E-flat major, provided a serene, calm and deeply lyrical contrast to the opening movement. In his element, Lewis carried on with fine playing while the orchestra supports this gentle movement. We all need soothing, gentle music from time to time, and this section is a tonic.
The third movement, an Allegro, takes the form of a cheerful, playful and dancing rondo. Lewis delivered the principal theme, famously derived from Mozart’s own song “Sehnsucht nach dem Frühling” (“Longing for Spring”), K. 596, with elegance.
There was no encore by Lewis, which one must consider in good taste and a sign of respect for Mozart. It was truly quite enough to satisfy all.
Want more of our stories on Google? Click here to make us a Preferred Source.
Want more of our stories on Google? Click here to make us a Preferred Source.
