The Metropolitan Opera said on Tuesday that the new production of Verdi’s Otello that will open its season next month will not use blackface makeup on the white tenor singing the title role, breaking with a performance tradition of more than a century.”
New York Times Published: 08.04.15
“Nineteenth-century Black singers like Elizabeth Taylor Greenfield and Sissieretta Jones sang opera but gave recitals, because the opera houses weren’t hiring them. Black churches were doing Verdi’s Requiem with all-Black casts and musicians.”
Hyperallergic Published: 08.03.15
“[He] published his first short story just before his 40th birthday and went on to write two dozen books, but who became even better known as a longtime NPR book critic” on All Things Considered.
New York Times Published: 08.05.15
Moira Walley-Beckett: “This is the first time we’ve really seen the underbelly of a ballet company. And I feel like a lot of those movies have catered to the very glossy, ephemeral optical illusion that is ballet. And we rip the Band-Aid off.”
Los Angeles Times Published: 07.31.15
“They are ‘les danseurs,’ the professional male ballet dancers of the Paris Opera Ballet. They are the epitome of strength, their bodies acting as machines of poetry with each and every point of their toes.”
CNN Published: 08.03.15
“There’s another popular saying: Wherever there are Chinese people, there is Teresa Teng’s music. I never appreciated her symbolism as a child, back when her music seemed soft and ubiquitous. But it’s not hard to imagine how Teng’s songs about love and distance spoke to the various migrations and political estrangements throughout the Chinese-speaking world. For immigrants throughout the Chinese diaspora, her music was a reminder of their journeys, an excuse to indulge in nostalgia, three or four minutes at a time.
The New Yorker Published: 08.03.15
“In Afghanistan, women in uniform are widely seen in the airports and across bases heading to work. But watch a war movie and the roughly 300,000 women who have deployed in America’s post-9/11 wars are largely missing in action. These untold stories have consequences both for how America sees its women in uniform and how they see themselves.”
The Atlantic Published: 08.04.15
“You’ve heard of actors getting typecast. But there is no group more slighted, more narrowly cast, than the Muslim-American actors who earn virtually their entire livings pretending to hijack planes and slaughter infidels. Jon Ronson embarks on a soul-searching odyssey with the bad guys of Homeland, American Sniper, 24, and every other TV show and movie in which the holy warriors get mowed down before they even get to finish one good ‘Allahu Akbar!’“
GQ Published: 07.27.15
“The stash of books about ancient coins and Egyptian pyramids seemed to belong more in a 1950s library in Germany than on the back of a truck filled with shoulder-fired missiles. Then again, if you’re an Islamic State fighter with plans to loot and sell antiquities to the West in order to fund your cause, it helps to know which objects to look for.”
Atlas Obscura Published: 08.04.15
“The children around our house have a saying that everything is either true, not true, or one of Mother’s delusions. … The very nicest thing about being a writer is that you can afford to indulge yourself endlessly with oddness, and nobody can really do anything about it, as long as you keep writing and kind of using it up, as it were.”
The New Yorker Published: 07.31.15
“Awe is not an everyday emotion. You don’t wake up awestruck. A satisfying lunch doesn’t leave you filled with awe. Even a great day is unlikely to leave you in a state of jaw-dropped, consciousness-opening fear and trembling. Perhaps that’s why, up until about ten years ago, psychology had surprisingly little to say about awe.” So Jonathan Haidt and Dacher Keltner set out to change that.
Atlas Obscura Published: 07.27.15
Andreas Elpidorou draws an analogy with pain: almost none of us enjoy it, but not being able to feel it at all is dangerous.
Aeon Published: 07.30.15
“In an age of unprecedented foreign travel, tourists get quite a bad rap, not least from tourists themselves. Of course, many high-minded people would scoff at the notion that they are tourists, beholden to the same vulgar taste as the travelling masses, even though, as we shall see, that hierarchy is not a very convincing one.”
New Statesman Published: 08.04.15
“What quickly became apparent is that the local authority officers share our ambition to find ways of increasing the perceived “usefulness” of the arts and asking: if the regular audience to theatre comprises only 8% of the population, what might the other 92% be interested in?”
The Guardian (UK) Published: 08.03.15
A federal lawsuit filed by a group of independent artists is trying to change that, and lawyers in the case, in a filing last week, said they had found evidence in the yellowed pages of a nearly century-old songbook that proves the song’s copyright — first issued in 1935 — is no longer valid.
The New York Times Published: 08.04.15
“There’s my avoidance of readings, my fake enthusiasm as I swindle my own students out of their Friday nights to go to a lecture I won’t attend, my gag-triggering physical loathing of bookstores, my requirement that reading materials appear on my nightstand by benevolent conjury, without any consumer effort from me. There’s my acute failure as an educator to fill any tiny part of the role of writing-community steward that is assumed of me. There’s my own titanic hypocrisy most recently as I think about promoting a new book in the very community I can’t show love for. So here I am. In all my humility.”
The Atlantic Published: 08.03.15
“We at artnet News put our heads together, polled some art-world veterans for suggestions, and assembled this admittedly subjective, non-comprehensive list of colleagues who have changed the shape of the American art world.”
Artnet Published: 08.02.15
The city has made big investments in its arts. But it’s a time of transition as prominent leaders move on and arts institutions try to figure out what next.
Kansas City Star Published: 08.02.15
“I inherited a gallery manager who was extremely upset at everything. The invoice demands were flowing in – totalling at least half a million pounds – from a lot of irate people. I feel like a naive fool now.”
The Independent (UK) Published: 08.02.15
Five days before opening, all conventional efforts exhausted, the company resorted to trying to reach Swift on social media and in what may be a first, she granted the rights via Twitter just hours ago. While I suspect there are some contractual details to be worked out beyond “Permission granted,” presumably the tweet from Swift gives Belvoir Street enough comfort that they can proceed.
Howard Sherman Published: 08.04.15
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“There’s a live Bob Marley concert and Eugene Ormandy conducting the Philadelphia Orchestra, John Coltrane recordings and the Mormon Tabernacle Choir, part of a collection that for years the DJs wouldn’t discuss for fear that the bosses would order them to destroy them or ship the collection off the island, like other radio stations in the Defense Department broadcasting system.”
Miami Herald Published:08.03.15
“Even in the depths of summer, when New York theaters close up shop and dance companies go on break or on tour, the ballet teacher Zvi Gotheiner keeps going to work, though he may not call it that. And dancers keep flocking to work with him.”
New York Times Published:08.02.15
“On Monday, the orchestra announced it has extended its contract with Nelsons through the 2021-2022 season. The contract, which had previously run until 2019, also includes an evergreen provision allowing Nelsons and the orchestra to add additional years.”
Boston Globe Published:08.03.15
Alexis Soloski: “Mostly I’m in favour of dressing down. It seems democratising to me. Less elitist. It makes theatre seem like the kind of thing anyone and everyone can go do, which is what I devoutly wish. (Well, that and cheaper, better wine at the concession stands.)”
The Guardian Published:07.31.15
The company was looking to commission an adaptation of Ann Patchett’s novel Bel Canto. Jimmy López remembers getting a call about it from his friend, conductor Miguel Harth-Bedoya: “November 18th, 2010, I was having lunch and I got a call from Miguel. He said, ‘You need to go home and upload your vocal music to YouTube.'”
WFMT (Chicago) Published:07.27.15
“In a slim, Day-Glo orange book that caused a furor when it was published in Germany last year, … a 31-year-old German entrepreneur/professor/art adviser named Magnus Resch … argues that most galleries are undercapitalized and inefficient, and moreover, that with McKinsey-like business strategies … the entire art market could be turned into a profit-generating machine.”
The artists Gerard & Kelly “saw performer compensation ‘as a blind spot in how performance was entering [museum] collections’… They learned that the going rate museums paid performers in major 2010 exhibitions was about $20 an hour, which they found low and arbitrary. (This includes Marina Abramovic’s piece at the Museum of Modern Art, they said, and Tino Sehgal’s at the Guggenheim, the first performance piece that museum acquired.)” So they negotiated a wage formula for performers in their latest work, and included it in the license for any museum that wants to present it.
New York Times Published:07.31.15
The executive committee of the [San Luis Obispo Symphony’s] board of directors voted unanimously to terminate Feingold’s employment and he was let go Friday … Feingold’s departure comes less than three months after the ouster of former Music Director Michael Nowak, who had held that post for 31 years and was widely considered the public face of the symphony.”
The Tribune (San Luis Obispo, Cal.) Published:07.31.15