Opera Feed

Music at Home

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Ok, being stuck at home sucks, but at least we have modern technology to get us through the day. And no, I don't mean bingeing Tiger King. There is a ton of great, free music streaming online, too much to list here. NPR Music has a great running tally here, which I use as my basic go-to guide. Below are some highlights (all times EDT).

Opera: Just yesterday, I watched John Adams conduct his own Nixon at China at the Met Opera, one of the Met's daily free live streams. Today's opera, Bizet's Pearl Fishers, will be available until tomorrow night. (Pro tip: as long as you start watching before 6:30pm, you can pause it and resume at some later point.) Among other opera companies, the Vienna State Opera is currently streaming Mozart's Marriage of Figaro. Meanwhile, the Met Museum is sharing their recent performance of Gertrude Stein and Virgil Thompson's The Mother of Us All at 7pm.

Classical: The Berlin Philharmonic continues to make its entire archive of high quality digital streams available for free. Closer to home, the NY Phil is offering select videos of past concerts here

Jazz: Fred Hersch has been doing a daily stream on Facebook every day at 1pm. At 7pm, Chick Corea is playing as part of the Live from Our Living Rooms festival, followed by Fabian Almazan and Linda Oh. At 8pm, Lizz Wright appears courtesy of SF Jazz (this one costs $5 for a 1-moth membership.) And, Christian McBride hosts a listening party at Jazz House Kids with Dee Dee Bridgewater, Cecile McLorin and Melissa Walker.

Lots of streaming shows from the rock, roots and experimental worlds listed here and elsewhere. 

 


The Music Stops

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"How do you keep the music playing?
How do you make it last?
How do you keep the song from fading
Too fast?"

- Alan and Marilyn Bergman, "How Do You Keep the Music Playing?"

Monday nights are usually quiet in New York: Broadway is shut, museums and galleries are closed, jazz clubs are either dark or have a house band playing. But, this Monday is different: there is no music, no art, no activity to be seen anywhere. Life as we know it has shut down for an unknowable period of time, thanks to this horrible, contagious, deadly coronavirus that has spread unchecked throughout the city, and around the world. Everything is on Pause.

Art and culture certainly come second to health and welfare, but looking at the impact COVID-19 is having just on music in New York City shows just how extraordinary and unprecedented a moment this is. As of today, both the Met and the Phil have canceled the remainder of their seasons, and the loss of income from ticket sales (estimated in the tens of millions of dollars) is compounded by the impact the concurrent stock market crash has had on their endowments. Carnegie and BAM and the Met Museum will try to reopen in May, but I wouldn't bank on it. All that planning, all those sets, all those bookings made years in advance - gone.  

Of course, these are major institutions with the resources to continue providing their employees with full benefits, if not at least partial pay. They should survive (I think.) But, what about all of the independent musicians: the new music peeps, the jazz players, the indie rockers, the bluegrass and old time fiddlers? Most of them get paid by the gig, and have little, if any safety net.

What about the clubs? Blue Note and the Vanguard aren't going anywhere, but what about Smalls or Smoke? I'm sure Bowery will be fine, but what about the standalone places, like LPR or Elsewhere, not to mention the dozens and dozens of bars that showcase live music on a nightly basis? I assume the better-capitalized new music venues like National Sawdust and Roulette are ok, while others can probably just go into hibernation and come out fine on the other side of this. 

Hopefully, this thing will blow over before long (though probably not as soon as some irresponsible leaders would like) and we'll all be back to gigging with a beer or two. In the meantime, go stream some opera, symphonies, or random bedroom gigs. And remember what live music brings to your life, now that we don't have it. DSC06308Stay safe, and remember to wash your hands.


"The Love Suicides at Sonezaki" at the White Light Festival

by Steven Pisano

Sonezaki_Shinju-hatsu_toku042.final_copyright Hiroshi Sugimoto-Courtesy of Odawara Art Foundation(© Hiroshi Sugimoto/Courtesy of Odawara Art Foundation)

2019 marks the 10th anniversary season of Lincoln Center's White Light Festival, offering works from around the world in music, theater, and dance that explore art’s power to "reveal the many dimensions of our interior lives." The festival opened this past weekend and continues through November 24.

The initial presentation, The Love Suicides at Sonezaki, is a Bunraku play written by the esteemed Japanese dramatist Chikamatsu Monzaemon (1653-1725). A soy sauce company sales clerk named Tokubei and a prostitute named Ohatsu are in love, but many forces conspire to keep them apart. So, they decide that if they cannot be together in this world, they will commit suicide and be together in the next life. The show was such a big hit when it was first presented in 1703, that numerous young couples were known to commit suicide in the nearby forest, which caused the Tokugawa shogunate 20 years later to prohibit any further performances--a ban that lasted until 1955 (232 years later!).

This U.S. premiere was created by artistic director Hiroshi Sugimoto, one of the world's most celebrated photographers and architects, as well as a theater producer. The music was written by Seiji Tsurusawa, who is known as a Living National Treasure.

Continue reading ""The Love Suicides at Sonezaki" at the White Light Festival" »


"The Love for Three Oranges" at Opera Philadelphia

by Steven Pisano

20190918-DSC03872(All photos by Steven Pisano.)

Opera Philadelphia's recent production of Sergei Prokofiev's "The Love for Three Oranges" was a frothy, fun concoction, less an opera than a zany musical comedy. Its source story had its origins in the commedia dell'arte, which Prokofiev, writing in the early 1920s, spiced up with a fair dose of absurdist surrealism.

In a nutshell, there is a handsome young Prince who mopes around in bed, his malaise brought on by reading too much serious poetry. The doctors in the court of the King of Clubs, the Prince's father, prescribe that he can only be cured by laughter. But though many in the kingdom try, none can make this sourpuss chuckle, until one day the witch Fata Morgana, who is involved sideways in a plot to kill the Prince, is knocked over and shows her underwear, which of course makes the Prince break out into an uproarious peal of laughter which finally breaks his grumpy mood. Pissed off at being laughed at, though, Fata Morgana curses the Prince to fall in love with three oranges.

Continue reading ""The Love for Three Oranges" at Opera Philadelphia" »