UK nonprofit Lycaeum Music is raising money “to buy a double-decker bus and renovate it as a space for touring music lessons, workshops and concerts, visiting the most deprived areas of England.” The project is called Music on Wheels. — The Stage
Code Listen is part of a multi-dimensional sequence begun in 2016, including workshops, discussions, music making and performances. Liu uses music to catalyze dialogue and healing around urgent issues of our times. She seeks to reach beyond the traditional classical audience to a wider cross-section of the public. With Code Listen, Liu hopes to “create dialogue with homicide survivors and the wider community of people who have not (or think they have not) been directly impacted by homicide.” Her events see professionals joining with police officers, teens, school children and members of the public. Liu’s work challenges people towards reflection, innovation and change. – Exhale Lifestyle
Gupta told The Times that he will give up his seat as one of the L.A. Phil’s first violins to focus on his activism, to teach and to develop his nonprofit Street Symphony, which since 2011 has been performing free concerts for Los Angeles’ homeless and in county jails. His last concert as a full-time member of the L.A. Phil will be Sunday. – Los Angeles Times
Ken Robinson: “Schools operate as they do not because they have to but because they choose to. They don’t need to be that way; they can change and many do. Innovative schools everywhere are breaking the mold of convention to meet the best interests of their students, families, and communities. As well as great teachers, what they have in common is visionary leadership.” – KQED
IKAR’s services incorporate Sephardic and Mizrachi-style drumming, chanting and droning (using a low-pitched, sustained tone as a harmony) with what Tigay called a “catchy melody on top” as a way of “giving people a sense that they are entering into uncharted psychological territory and transcending the everyday.” Worshippers are induced “not to tolerate things as they are, but to climb the ramp higher and higher,” in order to be more godly — and more involved in the world. “The music,” he explained, “is a catalyst to effect personal and communal change.” – Jewish Week
“Calling themselves Nosotras Proponemos (nP), meaning ‘we propose,’ the group [of 100 women] published a manifesto-like list of 37 demands, asking that women receive equal representation in exhibitions, collections, and leadership positions in Argentina’s arts sector. One year later, nP is celebrating the significant changes their activism has made in Argentina’s art world” — even as much work remains to be done.
“Our mission is simple: to serve as an amplifier within the music community, and to advance the music economy through shared learning, collaboration and partnerships. I believe that music is important to the future of Detroit because it captures and elevates the city’s legacy and community voice through song, and it can also serve as a significant economic driver for the city.”
How do artists bend their art to help fight climate change and degradation of the environment? These six musicians have banded together to figure it out.
“Caption Awareness Week sees shows such as Mamma Mia and Les Miserables make use of live captions which give hearing impaired audiences greater enjoyment of the arts, with text displayed live throughout the performances. … There are calls for more venues to provide captions for around 11 million hearing impaired people in the UK, and a series of subtitled and captioned events is being held to promote greater accessibility.”
“When an institution does not evolve with best practices that include parent support, it risks suppressing, isolating, and driving out the most socially vulnerable regardless of their high professional capability and artistic potential. Our organization, Parent Artist Advocacy for the Performing Arts, is creating a National Handbook of Best Practices for institutions to support parent artists, collecting interviews with individuals alongside testimonies from institutions … to gain full perspective of harmful or healthy practice within the context of employment and caregiving.”
The David Herrera Performance Company is one of nine artists at ¡FLACC! — The Festival of Latin American Contemporary Choreographers — “[a] three-day festival exploring how political, economic, racial, and religious tensions impact Latinx communities, and how they can survive them. Pointedly, the event takes place in [San Francisco’s] predominantly Latinx Mission district, a neighborhood currently enduring a wave of gentrification, and in a venue trying to stay afloat with increasing rental costs.”
Artemisia’s Intent, a one-woman show created by a group calling itself The Anthropologists, tells the story of Artemisia Gentileschi’s rape, and her prosecution of her rapist, “in her own words, which are eerily akin to those of modern women going through similar struggles. … The company, a New York City-based theatre troupe that aims to inspire social action with their work, uses a collaborative and research-based approach, focusing on creating theatre directly from source materials.”
Nearly 40 applicant teams of directors and designers each created a production concept for an opera chosen from a curated repertoire list. Submissions included visions for staging, scenery, props, costumes and required personnel. These are the four team finalists.
The Iraqi city was the largest one that the violent extremist group conquered, and while it was liberated last year, there is still wreckage (physical and psychic) everywhere. Late last month, a group from the Iraqi National Symphony organized an orchestral concert in Mosul, and the city is hosting more cultural events as well — not least to get attention from international donors who could fund reconstruction.
“Shannon O’Loughlin, the executive director of the Association on American Indian Affairs, argues that curators ‘did not consult with affiliated tribal representatives to perform their due diligence, but their first mistake was to call these objects art’. She adds, ‘Most of these items are not art: they are ceremonial or funerary objects that belong with their original communities and could only have ended up in a private collection through trafficking and looting’. The Met counters that it has regularly conferred with Native American representatives.
The field of scientific art conservation is not a crowded one; James Martin, who set up the first for-profit art lab in the US, has been consulted in nearly every major fraud case in the past 25 years, often working alongside the FBI or other investigators. When he is described as the premier forensic detective working in art today, the accolade comes not only from people such as John Cahill, a New York lawyer who has managed dozens of art transactions, and who called Martin “hands-down the best in the business,” but also from those on the other side of the fence, so to speak.
Everybody talked to Studs. Tennessee Williams, Luciano Pavarotti, Aaron Copland, Leonard Bernstein, Paul Robeson, Lotte Lehmann, Georg Solti, Elisabeth Schwarzkopf, Jon Vickers, and Buckminster Fuller come to mind among those gone now but were in their prime when they sat with him at WFMT. By the time Studs left the station in 1997, he had amassed more than 5,600 reel-to-reel interviews and mixdowns filled with insights he teased out of his guests from 45 years behind the mic.
To some theater veterans, the success of “Potter” — a 5½ hour extravaganza set in the world of a Hollywood mega-franchise — is cause for concern. Is this, they wonder, what it takes to make it here now? Shows based on known properties are mounting an offensive on the New York stage. And some in this old guard worry a sacred American institution — and a time-honored way of doing business — is becoming endangered.
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What Makes a Great Opera Singer?
>AJBlog: OperaSleuth Published 2015-08-24
The Stone Residency: Harris Eisenstadt’s rhythm/melody feast
AJBlog: Jazz Beyond Jazz Published 2015-08-24
Another Happy New Year
AJBlog: Infinite Curves Published 2015-08-24
Jazz images Made in Chicago: PoKempner sees Steve Coleman, Greg Ward & Onye Ozuzu, Gary Bartz and more
AJBlog: Jazz Beyond Jazz Published 2015-08-23
“Sony Pictures is planning a film adaptation of the Broadway musical … Tom Hanks and his producing partner Gary Goetzman will produce through their Playtone banner along with Paul Blake, the lead producer on Broadway.”
David Cronenberg, on one ickily Cronenbergian moment in his Maps to the Stars: “That scene definitely freaked out several actresses. With Julie it wasn’t even a discussion.”
Laurie Spiegel: “I was playing music, I was improvising, I was making stuff up, and at a certain point I wanted to learn to write things down so I wouldn’t forget them. So I started trying to teach myself to write stuff down. One of my roommates in the house that I lived in pointed out to me that they call that composing. You make things up and write them down.”
Bergen was 84. According to critic Rex Reed, “Bergen was a legendary ‘A-list, New York Oscar party host’ — he remembers watching the Oscars one year on Bergen’s bed while sitting in between Paul Newman and Lucille Ball — but Bergen was even more passionate about women’s rights.”
“Projections of ever-longer life spans assume no incredible medical discoveries—rather, that the escalator ride simply continues. If anti-aging drugs or genetic therapies are found, the climb could accelerate. Centenarians may become the norm, rather than rarities who generate a headline in the local newspaper.”
“The Nashville Ballet is embarking on an unprecedented public fundraising campaign to finance an expansion project to grow studio space, renovate its Sylvan Heights headquarters and dramatically increase the number of students.” The campaign, called ELEVATE, “has already raised $3.7 million out of its goal of $5.5 million.”
Fans of the bestselling author/public radio legend will know that he is obsessed with picking up the litter along the roadsides near his West Sussex home. Now the local council has honored him in the most fitting way possible.
“To the extent that anyone can articulate a sense of aesthetics for this new landscape, it’s all very superficial: It should twinkle at night, bustle by day, have some nice green things here and there, and mainly not impose very much on our eyes or mind. The new Silver Line stations do all of that, and they do it well.”