On Monday, the Staatsoper Berlin announced its 2019-20 program. Aside from a few potential highlights—René Jacobs leading Scarlatti and a new ballet by Georg Friedrich Haas—the programming reads like a parody of a conservative orchestra season, featuring yet another Beethoven cycle, Brahms cycle, and “Ring.” The soloists are of high quality, but belong firmly to […]
Author Archives: Jeffrey Arlo Brown
... has been an editor at VAN since 2015. His work has also appeared in Slate, The Baffler, The Outline, The Calvert Journal, and Electric Lit. He lives in Berlin.
Posted inReport
The Titan’s Shadow
Daniel Barenboim is a great musician and humanist. So why are so many people afraid of him?
Posted inInterview
Sound And Stasis
Using mostly the variable of finger pressure, Daniil Trifonov creates an astonishing variety of colors. Often, in the piano’s higher register, he makes the instrument sound metallic, as if it were prepared. Simple rhythmic accompaniments turn rich and propulsive. In one Shostakovich song, he somehow manages to give a Bösendörfer the exactly timbre of muted […]
Posted inInterview
Baby Work
In November, I traveled to Shenzhen, China for a conference on the future of Chinese classical music. Sponsored by Volkswagen China’s cultural initiative—which, full disclosure, paid for my flights—the conference gathered orchestral conductors, managers and administrators to the top floor of Shenzhen’s “Talent Park,” a brand-new pavilion looking out onto the bay. As panelists spoke […]
Posted inPlaylist
A Chinese Composers Playlist
Music has a way of slipping through the fingers of politicians. In his memoir Along the Roaring River: My Wild Ride from Mao to the Met, the bass Haojiang Tian writes of the way certain songs of the Cultural Revolution, once force-fed to the Chinese population, became sentimental ear-worms, even for the persecuted. The role […]
Posted inEssay
The Death and Life of Spectral Music
Something is killing spectral composers. Gérard Grisey, the pioneer of the genre, died of a stroke at age 52, immediately following the completion of his funereal work “Quatre chants pour franchir le seuil.” Claude Vivier, the Quebecois Jonathan van Ness of new music, was murdered at 34 by a man he picked up in a […]
Posted inRankings & Roundups
The Top 7 Clichéd Gestures of Opera
Opera is a remarkably durable art. Sitting through “Parsifal” in 100 degree heat at Bayreuth recently, and hearing the couple behind me making chitchat during the final chord, I was surprised to notice that I still was transported by the work. But if anything threatens to break the spell, it’s the stereotypical operatic gestures that […]
Posted inReport
Rules of Engagement
In Wieland Hoban’s composition “Hora’ot Pticha Be’esh (Rules of Engagement I),” from 2013-14, we hear distorted microtones, low glissandi, plucking, instrumental squealing. This music accompanies testimony by a Sergeant First Class in the Armored Corps of the Israeli Defense Forces during Operation Cast Lead in Gaza, in the winter of 2008-9. The soldier speaks in […]
Posted inInterview
Faked Silence
Listening to Salvatore Sciarrino’s “Sei Capricci” for solo violin might best be compared to spending 20 minutes in a butterfly garden. The music rustles, flickers, alights for the briefest moment somewhere, and then flies on. A similar texture lends his classic opera “Luci mie traditrici” (1998) a dreamlike quality. When, in one brief intermezzo of […]
Posted inInterview
The Human Comedy
“The dirty world printed in the newspapers is our own,” wrote Thomas Bernhard in his final novel, Extinction. The same might be said of Norman Lebrecht’s blog Slipped Disc, perhaps the only publication to write about classical music the same way people in the industry speak about it in private. Though the site has been […]