“Times change” is a time-dishonored argument for justifying moral lapses, whether they’re #MeToo transgressions (Plácido Domingo) or retention of antiquities that were likely looted (Philippe de Montebello). Those accustomed to the old rules need to get with the new program: The operative slogan has changed from “Times change” to “Time’s up!” – Lee Rosenbaum

As with most really good ideas, it’s not terribly complicated. It’s simply a ‘note to self’ to check in on all past engagement relationships on a regular (at least annual) basis. This simple habit has the ability to accomplish a wide variety of good things. – Doug Borwick

When Janet Eilber, artistic director of the Martha Graham Dance Company, stepped through Jacob’s Pillow’s front curtain to introduce the group’s performance, she mentioned that this was the 94th year of the MGDC, which made it the oldest dance company in the United States. – Deborah Jowitt

It’s not quite fair to call City Ballet principal Sara Means a force of nature because she’s so hard-working and disciplined, but it’s tempting. – Deborah Jowitt

Remembering Bob Wilber, and celebrating Gunhild Carling. – Doug Ramsey

In a 4-3 decision that’s likely to satisfy no one, the board elected to cover the Life of Washington mural without destroying it. The estimated cost: $875,000. Wouldn’t that money be better spent on education, not obliteration? – Lee Rosenbaum

My own views on this contretemps are conflicted. By all accounts I’ve seen by art professionals, this is a powerful work, intended by the Russian-American artist to be seen as a critique of the historic cruelty suffered by African-Americans and Native Americans. In cases like this, I give myself what I call the Holocaust Test. – Lee Rosenbaum

The gray-haired man standing outside Jacob’s Pillow’s Ted Shawn Theater during intermission is explaining his reaction to Andrea Miller’s Boat to two attentive listeners. The members of her company, Gallim, he says, never stand still! He can’t get over that. – Deborah Jowitt

That Levant was what he seemed was doubtless a key to his appeal. His authenticity has never appeared more exceptional: no present-day mainstream media personality – not even our President — is as heedlessly controversial as was Levant every time he opened his mouth. – Joe Horowitz

It’s difficult to remember when I first met Iris Murdoch and John Bayley – in my experience, they were inseparable. – Paul Levy

We have learned that the superlative clarinetist and soprano saxophonist Bob Wilber died at his home in England earlier this month. – Doug Ramsey

Getting to know opera via recording is like on-line dating — no reason why it shouldn’t work, and it often does. Then you walk into something like Korngold’s Das Wunder der Heliane with well-founded hopes, and you leave trying to reconcile what you thought it was on recording with what you’ve just experienced. – David Patrick Stearns

I didn’t read any of the program notes for the Wendy Whelan-Maya Beiser-Lucinda Childs-David Lang piece the day at Jacob’s Pillow. I didn’t even read the spoken text. Why then, did I find tears pricking at my eyes as the piece neared its end? – Deborah Jowitt

It’s been two years since I posted my effort at categorizing the benefits of the arts. The subject is an urgent one because of both the social and political pressures to justify funding and our need to be able to articulate the inherent value of the arts to a disbelieving (or at least bemused) public. So, again, here goes. – Doug Borwick

When I watch a dance that I’ve also seen a few years earlier, I perceive it differently. Has it changed? Maybe. Have I changed? Of course. I’ve viewed and written about all but one of the Kyle Abraham works works performed this past week at Jacob’s Pillow, and things catch my attention that evaded it before. (And here’s another question: do I only remember what I wrote about and forget what I didn’t mention earlier?) – Deborah Jowitt

Professional colleagues with sharp political and philosophical differences would do well to learn about the virtues of civility and respectful disagreement from Jane Panetta and Rujeko Hockley, co-curators of the controversy-plagued Whitney Biennial. They deftly double-teamed me during the following interview. – Lee Rosenbaum

How did Aaron Copland’s film music attempt to counteract the Hollywood influence of Erich Korngold? To what degree did he draw inspiration from the master Mexican populist Silvestre Revueltas? How did the Red Scare change Copland’s style in the 1950s? – Joe Horowitz

I’ve been to every single 2019 production at the stupendous opera house facing the Getty family’s cricket ground at Wormsley. The Garsington/Wormsley experience is thrilling, partly because, in addition to the high musical standards, there’s a remarkable level of service. – Paul Levy

Preparing an August 15 PostClassical Ensemble program for The Phillips Collection in DC, I discovered myself newly entranced by one of the most magical figures in the history of Western music. – Joe Horowitz

Aside from the charming town of Ystad itself, what’s up with the music? – Doug Ramsey

That is, Boris Johnson – now the Prime Minister of the UK. – Jan Herman

The resistance got its way: Warren Kanders, whose weapons-related business activities were attacked by protesters, has resigned from the Whitney Museum’s board. Therein lies a big problem, not just for the Whitney, but for the museum field as a whole. – Lee Rosenbaum

Yoko Miwa Trio, Keep Talkin’ (Ocean Blue Tear Music)
Greg Reitan, West 60th (Sunnyside)
– Doug Ramsey

Here’s a list of problems that sounds way too familiar to me in my work attempting to get arts organizations to understand the long road that needs to be walked to build relationships. – Doug Borwick

I love food, but I love cooking even more. So it was remarkably upsetting to see food repeatedly announced yet never enjoyed in Jack Thorne’s new play the end of history… at the Royal Court. Each of the three acts takes place at a meal that is destined to remain uneaten. – David Jays

I’m a longtime Rossini skeptic, but his rock-star status during his lifetime couldn’t have been a fluke. Could the key to making his operas (beyond the two or three popular comedies) appealing lie in historical performance practice, as happened with Handel? In this case, the answer is yes. – David Patrick Stearns

Williams’s stage direction describes it as a canvas hammock, but in Rae Smith’s design it is all rope – knotted, unstable, full of holes, an anchorite’s flail, a nest and a cage. Williams’s characters know how all of those things feel. – David Jays

A lone loan of Jerome for Leonardo’s 500th anniversary. – Lee Rosenbaum

“Morris plays delicious games with Satie’s variegated material.” – Deborah Jowitt