“Two things about shame. First: it is a feeling all about the face. Second: it is much more than a feeling.”
Read More"Or does revelation’s laying bare—as its etymology (from the Latin revelare) indicates—demand dehiscence, a cloven second body capable of turning to assess the dumb and naked first? In other words: who is laid bare and who does the laying bare?"
Read MoreIt has to do with heads. (Not literally, of course, but formally.)
Read More"Time:Spans is good old-fashioned concertizing that way, delivering on the elusive promise of “something for everyone” without pandering to the universal accessibility that has watered down so much of the contemporary American scene."
Read MoreI love loving Guibert through and alongside him, just like I love Gershwin through your eyes (all perforated and scribbles too).
Read MoreIt’s time Peter Gelb stopped telling American audiences what the “right contemporary opera” is and let them decide for themselves.
Read MoreThis is how we got into queer musicology, and this is how we get out.
Read MoreIf there were more productions of Cage and operas like it—presented not as token but as pride and honest beauty—we could maybe at last get back to actual aesthetic discourse without having to settle (beggars/choosers) for cheapened copies of the objects of our love.
Read MoreNow, take the brackets off. Let 29,313 dead Palestinians rush in. The Staatstheater Darmstadt only seats 956. What are we to do with the other 28,357?
Read More—[Albers’ three totems, each in their own turn; one at a time, carefully]
Read MoreI am not not talking about the music of Evan Johnson.
Read More“I’d love to hear you sing… I don’t know… Bellini?”—”Oh no you wouldn’t. I know what that sounds like. No you wouldn’t.”
Read More”You can’t swallow your spit.”
Read MoreIn Bucharest, I thought of Paul, and how strange and terrible and beautiful it is to love another’s love.
Read MoreNew music mourns with a strange and violent passion.
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