Let me tell you a story. No, let me show you one. No, again: let me sew you one. So you won, says the boy to the ocean who laps at his castle of sand; never mind, I will build it again. So they dance, this pair of unlikeliest lovers, always different and every time […]
Author Archives: Ty Bouque
… writes about opera: its slippery histories, its sensual bodies, and the work of mourning for a dead genre. Elsewhere, Bouque sings in various solo, ensemble, and opera configurations around the world. Bouque lives in Chicago.
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Booth (Richard Barrett’s “elsewhen”)
There is a phrase in new music—the colloquial kind, one of those oral indexes traded among colleagues in post-show chatter and off-hand remarking, a shorthand signifier loosely comprehensible but sparingly specific—that goes: “This is a music that teaches you how to listen to it.” Implied in the phrase, though never said outright, is a patience […]
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Church (Liza Lim’s “The Oresteia”)
1987 was a somewhat innocuous year for new music. Neither Orwell nor the Berlin Wall, it straddled the change-years, when the high-rollers of ‘60s and ‘70s European music slowed, gradually uncovering a younger, less stodgy, more disseminated and global avant-garde. Europe as an idea—though it wasn’t sure how yet—was under considerable revision, and the aesthetics […]
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ELISION Dossier
If I say it’s an experiment, you might think me overeager to abdicate on certitude’s authority. So I won’t say that. What I will say is that a report seemed inadequate to the scale of what took place. ELISION Ensemble—Australia’s premiere new music group, ranking members alongside Austria’s Klangforum Wien, Germany’s MusikFabrik, and France’s Ensemble […]
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Bar (ELISION Ensemble at 40)
It’s been 40 years of counting tuplets together; at this point, Daryl Buckley and Peter Neville just talk over one another. Constantly. The conversation looks and feels something like this: So how did the two of you come to know each other? Neville: “Well, we met at VCA!” Buckley: “Yep, right.” “And was that in […]
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Drawer (Archive)
As if the uphill battle ELISION faced was ever in doubt, two reviews from the first concert on a small New Music festival in Melbourne in October of 1986, on which Daryl Buckley played Milton Babbitt’s “Composition for Guitar.” Neither reviewer is much impressed with the work, a reminder of how far New Music criticism […]
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The Vicissitudes of Concept
Her voice precedes her; this, at least, is no surprise. It is among opera’s oldest tricks, for an onstage character to “overhear” the future object of their desire in advance of both their own and the audience’s sight; falling in love on voice alone is, after all, the very premise of the genre. In “Salome,” […]
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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 […]
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Gap Trap Laugh
for Seth Brodsky PART I: STRANGE THINGS I. getting it just right Every act of reading is a difficult transaction between the competence of the reader (the reader’s world knowledge) and the kind of competence that a given text postulates in order to be read in an economic way.—Umberto Eco, Interpretation and Overinterpretation All artists play […]
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The Tomb or the Mouth
Dead or alive, neither dead nor alive, I am the opening, the tomb or the mouth, the one inside the other. —Jean-Luc Nancy, Corpus pre-face Difficulties: with that word. How to read it? Two options. The first and most obvious suggestion is of a sustained consideration, long overdue, to the knotty, the many, and the […]