Posted inInterview

The Generator

I first met the composer Huang Ruo in 2017 at a crosstown bus stop in New York after a performance of Pierre Boulez’s “Repons” at the Park Avenue Armory. We talked about the effect of the chamber group situated in the middle of the audience, surrounded by the soloists and amplification, with waves of sound […]

Posted inReview

The Nobility and Carelessness of Humans

Così fan tutte” is a peculiar opera. The last of the Mozart-Da Ponte trilogy, it was the least performed in the creators’ lifetimes, then largely disappeared for most of the 19th and the first half of the 20th century. Successful performances after World War II at Glyndebourne brought new interest in the work, and its […]

Posted inOpinion

Is Beatrice Venezi’s Appointment Really Based on Merit?

Everywhere you look, politics are seeping into opera. In New York, Metropolitan Opera General Manager Peter Gelb, accompanied onstage by Democratic senator Chuck Schumer, gave a rousing opening-night speech defending freedom of artistic expression. The Met’s audience, not usually known for its progressiveness, booed Schumer for failing to endorse mayoral candidate Zohran Mamdani. Three weeks […]

Posted inEssay

Classical Music’s Weirdest Popularizer

Have you ever wondered what Richard Wagner would have looked like in a superhero costume? Or how Ursula Vaughan Williams jived on the dancefloor? Or how good Nikolai Rimsky-Korsakov was in bed?   Fifty years ago this month, Ken Russell’s “Lisztomania” was premiered in London. In this film, the most outrageous of the 12 pictures the […]

Posted inEssay

Gap Trap Laugh, Part II

PART II VI.Shimmering Ontology / (Laugh) Struck by the apparition, she burst out laughing. The laughter of childbirth.—Hélène Cixous and Jacques Derrida, Veils Kundry’s primal scene—the instant of her transformation into the figure of the eternal feminine pariah—takes place at the base of the cross: having laughed at the body of Christ, she endures as […]

Posted inOpinion

The Rhizome

Every piece of music has a political context, including the person or institution commissioning the work, the space in which the music is performed, the funding mechanisms and the audience’s social background. In the 20th century, complex contemporary music was generally associated with democracy, because it represented a form of individual expression that was unacceptable […]

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