“As the repertoire ages, as the world changes, we will have ever fewer Fischers and Honecks, and ever more Dueñasas, Lims, and Chos. The outcome seems to me unpredictable. It could be a refreshment and it could be a dilution.“ A dozen years ago, Ivan Fischer came to Carnegie Hall
In the space of a week, we have lost two significant and iconic American institutions. But the shuttering of the Kennedy Center and the decimation of the Washington Post are neither isolated nor unrelated.
Olga Neuwirth has composed an opera, “Monster’s Paradise”, with a libretto written by her and Elfriede Jelinek. You can see in the photo above, what it’s about. It is premiering at the Hamburg Opera, before going to Zurich and Vienna, and on their website there’s a two-minute video that gives
At home we watch a lot of BBC-produced television. Some of it is very good, some of it is very silly, but we are entertained enough. Anyone who has seen older and newer episodes of shows will pick up on the fact that productions at the BBC have made an
As a sequel to my NPR show on Donald Trump’s incursions at the Kennedy Center, the NEH, and the NEA, here’s something Jimmy Kimmel said on TV the other night: Trump says he’s closing the Kennedy center for roughly two years, so it can be rebuilt into the finest performing
Existential crises have a way of forcing clarity. Whether the arts and the larger creative world are in crisis I leave for you to decide. But with weekly news of financial and organizational meltdowns, political pressures and an almost primordial angst about threats of AI, some things may be becoming
Diana Wyenn, Director, Choreographer & Creative Director of Interlochen’s Imagine US, shares her leadership strategy leading complex creative processes.
Wishing that Stephen Miller, Gregory Bovino, Tom Homan, Kristi Noem, J.D. Vance, bigmouth Trumpscheisse, and the rest of his ilk were frozen in one of these ice floes?
Yesterday Rebecca Lowe mentioned in a note how much she enjoys reading the philosopher G.A. Cohen. I do too, and it reminded me of his part in an interesting, and I don’t think ever resolved, debate in arts policy. I’ll get to Cohen later, but first some background. Most people (I know
