The Olympics, noble as they are, create a certain amount of silliness too. Not sure which category a live feed of the torch relay fits in, but was fun to watch a bit of it. It’s got its own tour bus entourage!
Remarkable photo essay on three international stories: applicable word maybe be courage, even beyond pride.
All the photos available at the Boston Globe’s Big Picture.
Not for the timid! Decca Aitkenhead (a magnificent name, no?) is up to the task in The Guardian. In addition to spouting lots of showily transgressive, obscenity-laden nonsense (sexual and otherwise), he makes a few trenchant points.
I try to steer Žižek on to the financial crisis, and to the role his admirers hope he will play in formulating a radical response.
“I always emphasise: don’t expect this from me. I don’t think that the task of a guy like me is to propose complete solutions. When people ask me what to do with the economy, what the hell do I know? I think the task of people like me is not to provide answers but to ask the right questions.” He’s not against democracy, per se, he just thinks our democratic institutions are no longer capable of controlling global capitalism. “Nice consensual incremental reforms may work, possibly, at a local level.” But localism belongs in the same category as organic apples, and recycling. “It’s done to make you feel good. But the big question today is how to organise to act globally, at an immense international level, without regressing to some authoritarian rule.”
Makes me wonder what an interview of Karl Marx by Oscar Wilde would have been like.
Full piece at http://www.guardian.co.uk/culture/2012/jun/10/slavoj-zizek-humanity-ok-people-boring?INTCMP=SRCH
“Writing is a little door. Some fantasies, like big pieces of furniture, won’t come through.” –Susan Sontag. Agreed, but unfortunately you don’t know in advance what will fit.
Stanford collaborates with an online platform to facilitate conversation among the 400,000 students taking its online iTunesU courses.
Not remarkable in itself, but the numbers are amazing.
Social Network for Class of 400,000
June 19, 2012 – 3:00am
Stanford University began sharing recordings of events and faculty presentations on iTunes U in 2005, and since then it has steadily increased its online offerings. With the launch of the updated iTunes U app in January, Stanford began to offer supplemental materials, such as assessments, quizzes and exams, with its 13 courses.
“Nessun dorma” is getting its regular 15 minutes of fame again. The tenor showpiece from Puccini’s last opera Turandot was a Pavarotti trademark and turns up in lots of contexts that evoke literal or metaphorical triumph. In the opera, it’s the tenor who triumphs, at least if he can sing the full high B that closes the aria. He also wins the heart of the icy soprano (who basically has a sing-off with him in the previous act.)
The music appears pretty regularly in pop culture; remember the 1990 World Cup? It was an effective signature tune for that, and one senses Puccini probably was smiling. What’s caught my ear more recently is it appearance on TV talent competitions over the last couple of years, including last month’s “American’s Got Talent.”
To wit, two examples:
Here’s Paul Potts from Britain’s Got Talent: 1k08yxu57NA
Or Luiz Meneghin from the U.S. version.
Generally, I’m all for any visibility for opera at all. Although neither of these people really sing the aria all that well, it hardly matters. They are both amiable types and the Brazilian guy has some character to his voice. More power to them. Nobody who loves opera should turn up his or her nose at competitions, as they are certainly prevalent in this art form and in classical music generally. We should be so lucky that millions might get as engaged in the plight of young operatic talent as they do with the contestants on the “Idols” and Got Talents. Maybe a viewer will watch and get intrigued? The YouTube counter on Potts is at an astonishing 95 million.
The problem for me is that what these 95 million are watching is barely barely “Nessun Dorma,” but a ridiculous truncation of it. In its original form, it’s not a long aria: about three and a half minutes. Apparently that is 90 seconds too long for TV, as the contestants cut the middle out.
Is the fear that audiences will bail because it’s ‘operatic’ and thus broadcast poison? Is this most direct and accessible of opera composers really too recondite? Does every aspect of music have to fit the Procrustean bed of a TV show format?
I don’t know what effect the shortened version of the aria would make on somebody who hadn’t heard it before. Although the studio audiences and judges certainly seem pretty verklempt after hearing only the opening and the last bit. To me, that triumphal high B doesn’t make musical or dramatic sense in the shortened version, as nothing builds to it. Is three minutes really beyond our attention span for music (although not for the surrounding talk)? Did the audience in the theater actually hear the whole thing? Then why not show it?
Whatever the reason, everybody’s seem a little scared of the full three and a half minutes of romantic vocal glory. The great Swedish tenor Jussi Björling wasn’t, and you shouldn’t be either. Here he is.
I’ll leave it for another post to talk about what made Björling’s voice so affecting.
Jeremy Nicholas on the ‘Lost Romantics,’ composers lauded in their era and after who are now footnotes: Spohr, Meyerbeer, perhaps even my beloved CPE Bach. This ‘falling out of the canon’ is more common than one would think in all realms of endeavor: John Sutherland has a recent wonderful Sir Walter Scott piece in TLS. The first superstar best seller, now largely forgotten except for the odd legacy of a “Waverly” Street or Avenue in thousands of U.S. cities. Nicholas makes the case for Ludwig Sphor (could it be the unfortunate name that did him in for posterity?). Calls his clarinet concerti delightful, a judgement that Naxos Music Library confirms.
The Lost Romantics
In his opening number, the eponymous Mikado in Gilbert & Sullivan’s operetta sings of the music-hall singer who attends a series of ‘masses and fugues and ’ops / By Bach, interwoven / With Spohr and Beethoven, / At classical Monday Pops.’ Yes, Ludwig (or Louis as he called himself in his autobiography) Spohr was a familiar enough name to be cited alongside Beethoven and Bach. True, Gilbert needed a composer with a single-syllable name to fit his verse scansion, but neither Gluck, Grieg, Liszt, Raff nor even Johann Strauss conveyed the desired effect quite as effectively as Spohr. Spohr was simply part of the canon in those days.