It’s time Peter Gelb stopped telling American audiences what the “right contemporary opera” is and let them decide for themselves.
Read More
This is how we got into queer musicology, and this is how we get out.
Read More
If 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 More
Now, 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 More
I 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 More
In Bucharest, I thought of Paul, and how strange and terrible and beautiful it is to love another’s love.
Read More
New music mourns with a strange and violent passion.
Read More