An amazing example of how context and sharing space affect perception is playing out in Wall Street. When Arturo di Modica’s Charging Bull stood alone, it meant something to the passers-by. When Kristen Visbal’s Fearless Girl was placed next to it, now it means something else. The energy is coming from the dialogue between the two statues. But –which of the statues keeps its specific message regardless of the context? Check the article at Artnet.com
It is now two months since the Pocket Opera Players premiered under my musical direction Michael Dellaira’s The Death of Webern, alongside John Eaton’s Rerouted, in New York City’s Symphony Space. In a way, both operas commented, one tragically and the other farcically, on the future of high art. Now Michael Dellaira sends me a wonderful article on his opera that offers both a summary and a context for his insightful work. It is worthy reading for those opera lovers […]
As you know by now, the crux of my research and creative activity is that music can be presented in interdisciplinary and interartistic ways. Colleagues are investigating the impact of social media in the identification and cultivation of an audience. Some of this may have simple marketing objectives. However, it may also reveal new ways of interacting with an audience as an artist. For some interesting reading, see here and here.
Categories: art and society
…or “Woman” composer, (or “Latin American” composer, for that matter) gets a perspective from composer Kristin Kuster here. It is worth reading her opinion piece in the New York Times alongside the piece she quotes from NewMusicBox. Much of what she says about women composers applies to women conductors, and both contingents are underrepresented in the high-level circles of the profession that receive the most performances or conduct the elite ensembles. She is right that women have sought to separate […]
Gabriela Ortiz, the composer of ¡Unicamente la verdad! has sent us the fantastic review written by Opera News after its California premiere with the adventurous Andreas Mitisek and Long Beach Opera, with the new title Camelia la tejana: Only the Truth!. I invite you to revisit the notes on the conceptualization and premiere in 2008 at Indiana University of ULV, more than an opera, a work of interdisciplinary art. It is wonderful to see the different directorial approaches, one sardonic […]
What a great opportunity for the lovers of this Trilogy! My favorite is still the first film of the three, Koyaanisqatsi. I still remember viewing for the first time just by accident, as it was broadcast late one night (perhaps on PBS?) in 1984. I have rarely been more grateful for insomnia. I was immediately fascinated, and I ended telling my fellow students the next day that I had viewed the art of the future. I think Koyaanisqatsi is extremely […]
A piece of news is rapidly circulating among classical musicians, and particularly, choral conductors and composers. Eric Whitacre, a favorite composer of choral music, has signed with Storm Models, just as he is entering a new phase in his career that includes his YouTube virtual choir and collaborations with film composer Hans Zimmer for the music for Pirates of the Caribbean 4. Classical composers are likely to have one of two reactions: some will declare that Whitacre has abandoned all […]