Yesterday,as I said on Fridaay, the radio opera wasn’t an opera – it was a Requiem Mass and a movement from a symphony. But the orchestra was the Met Orchestra, and the Chorus was the Met Chorus, and the soloists – four for each pieces wereall Met Opera stars, and the conductor was the Met Opera Music Director. And, as I listened to the Mozart Requiem, and Beethoven’s Ode to Joy from the Metropolitan opera, I realized it was the second anniversary of the (insert adjective here) Russian war on Ukraine. (At least for now, my adjective is “despicable.”)- Well, the General Manager of the Opera is married to a Ukrainian-American, so it should surprise noone that the Metroplitan Opera does not forget Ukraine.
This has been on my mind. What is so different about it is that the murderers were children – not only the victim..
We already know – those of us who are alert to real news and intelligent enough to think about it – that the two partiea are not the same. So it’s no surprise that these contrasting arguments do not have the same legitimacy.
Yesterday, the radio opera was Verdi’s “Un Ballo in Maschera.” It’s loosely based on an actual assassination which happened in Sweden in 1792. As with “Rigoletto,” an opera about the assassination of a monarch put Verdi at odds with the censors. So early performances of it were set in America (Boston IIRC), prior to the Revolution, which is not as far fetched as I used to think – Sweden (under Gustav III) was the first country not directly involved in the fighting to diplomatically recognize the US. But I digress. The assassination really happened, but I will not vouch for all the hoo-hah surrounding it in the opera – the fortuneteller predicting that the first man who shakes the king’s hand will kill him, the king being in love with his prime minister’s (who is also his best friend) wife, she silently returning his love but wanting nothing more than to be freed of her obsession, the meeting in the graveyard at midnight, The Prime Minister showing up not knowing that the woman with the king is his own wife, the king’s orders to escort her without learning her name, the couple stopped by the potential assassins, the wife revealing her identity only so they won’t kill her husband, the husband refusing to believe she is faithful and switching sides to help the assassins – all that is just too fortuitous. And that’s not even mentioning the page boy (a “trouser role”) who would be adorable if the plot as a whole was not so weighed down with inevitability – and the final irony of the king’s last act being to write out orders of transfer for the Prime Minister so that the king and the wife will be at least physically removed from temptation.
Nameless, was it you who commented on a Biden ad about NATO that they should have included Reagan? Whether or not, I’m happy to report that VoteVets took care of that.
This from Talking Points Memo is a deep dive into Chesebro and his involvement. If it bores you, I’m sorry – it can be helpful sometimes to get details – easier to speculate how the jury (or the judge in a bench trial) will decide.
Yesterday, I didn’t have to read up on the opera – in fact I may sleep theough it – because it’s not a full opera but a selection of love duets for Valentine’s Day. I am so much intp opera as a vehicle for storytelling and plot that I can’t get excited about selections. But if anyone is interested in a sampler, it bradcasts at 1:00 pm EST, 12 noon CST, 11:00 am Mountain, and 10:am Pacific. All of those are the same time. KCME.org will broadcast, as aell as WFMT.com in Chicago, WQXR.org in New York. I wasn’t able to confirm KUSC.org in Los Angeles (though as active as LA OPera is I’d be surprised if it doesn’t), but if you are listening on the internet, the sound isn’t any better from somewhere close than is is from the other side of the country.
I expect everyone’s heard of Trump**’s plan to alter the hiring criteria for Federal civil service so that he can fire anyone he doesn’t think is “loyal” enough and replace them with someone he thinks is. The Project on Government Oversight (POGO) takes a hard look at the implications of this here.
I know crap when I see it, and I presume y’all do also. But, sadly, Steve is still right.
Yesterday was another quiet day, which is fine with me.
Harry T. Burleigh, born in 1866, was a black man with a desire to become a classical composer. With the encouragement and assistance from Frances McDowell, the mother of Edward McDowell (“To a Wild Rose” and much more), he was admitted to the New York Conservatory of Musicon work study as a janitor. While he swept the halls, he would sing Spirituals, and was heard by Antonín Dvořák (New World Symphony), who was enchanted, and requested Burleigh to sing for him as much as possible. (Contrary to myth, Dvořák did not use any actual spirituals in The New World Symphony, though he was good enough at working in the style to make people think he did, and a later Black American wrote words to the most recognizable theme therein and called it “Going Home.”) Burleigh graduated and had a career as a composer, writing both instrumental and vocal music. In particular he composed songs to poems by “Laurence Hope” (a pseudonym for a woman, – and not only was it next to impossible for a woman to get published then in her own right, but a lot of those poems were pretty hot stuff for the day) including a set called “5 Songs of Laurence Hope.” Jim Ginsburg, the son of Marty and Ruth (Bader) Ginsburg, and the founder of Cedille Records, is featuring a record of music by Black composers, called “Dreams of a New Day,” sung by Will Liverman (the baritone protagonist of choice of today’s Black opera composers) which includes Burleigh’s “5 Songs of Laurence Hope,” and the first of them is available on Spotify at this link. Call me a name-dropper, but I think those are some names worth dropping even when it’s not Black History Month.
This column is a rant, and an exceedingly righteous one at that, IMO. I could wish I’d said it first … but it’s better this way, since he has the larger following. Basically, he compares and contrasts encouraging news with the discouraging words in which the media presents it. Certainly we should never take winning for granted. But the media seems to want us to take losing for granted, and that is a bridge too far for us to be going over. I did get some encouragement myself from Hubbell’s counterarguments, and hope you also will.
Yesterday, the radio opera was “X: The Life and Times of Malcolm X” by Anthony Davis. Most of us probably remember Malcolm X, if not in great detail. The important parts of his life were not published at the tiem, and after his death mostly in books, which fewer people read than read newspapers or the equivalent. At that time there were some real journalists, and I can’t help wondering what they would have come up with for public consumption at the time if only black people had been considered to have any importance. I don’t expect we’ll ever know. There was, as Lona predicted, a choke-up moment – according to the opera Malcolm’s last words were “As-Salamu Alaikum” – peace be upon you – and then the gunfire. Those who were closest to him at the time don’t agree, but the variants they remember, although in English, are actually pretty close. Musically – well, I’ve said for years the man can write music, and I stand by that. I was reminded a little of Lin Manuel Miranda discussing how he determined in what style to write all the Hamilton characters’ music – partly by their ages. “X” covers several decades, and Davis nods to that specifically in the jazz styles. In a different way, it struck me that three operas I have heard which were writtin by black composers about black people have all included a boy soprano to play the protagonist as a child. I don’t recall any other opera depicting that, and I have to wonder why not.
Also yesterday, I saw Heather Cox Richardson’s “Letter from an American” from Friday, since it came, as always, late in the day. I got a feeling of deja vu, and quickly realized it was because it was the same information Beau provided in the video in February 3’s Open Thread – except that Heather’s letter was in National-Security-speak whereas Beau’s was in Beau-speak. Still, it was cool to revisit the same story in different words.
I subscribe to newsletters from both the Atlanta Black Star and The Root – not just for Black History Month, but all the time, because it helps keep me on track with the perspective. For some reason, every time I attempt to load a full article at The Root, the screen goes white after a short time (I know, I know, past time for an upgrade. But it will have to wait until I am ready.) It’s long enough for me to get inough detail to search for the story elsewhere, and this time it was long enough to tell me that MSN had reprinted the story – for which I was most grateful. It helps to clarify the difference between money and votes. Yes, they go together, sort of – but they are not each other, and the one is not necessarily a predictor of the other. And the one will not win elections. But the other one will. Jaime Harrison is a rising star in the Democratic Party, and I believe his opinions are worth a listen. And I deeply believe we need to show more love than we are currently showing to black Democrats. Especially now, going into an election which we cannot win without them.
Yesterday, as I expect everyone knows, the radio opera was “Dead Man Walking” by Jake Heggie. I said so much yesterday that there may not be much to add. I was a little surprised no one mentioned Joyce’s own prison eork. Siter Helen was quoted as having said, “No one gets me ike Joyce.” Now, I’m confident that much of that is because Joyce di Donaato is such a consummate artist, dedicated to her calling to the point even the ushers can see it (An usher in Santa Fe told me that, no matter how late the performance ends, she won’t sleep before getting on the phone with her voice coach to improve the next night’s.) But I still can’t thinking those prior esperences – well, let’s say don’t hurt. (And I can see why Joyce would not want them mentioned.) She may have discused that with Sister Helen (they have become friends) but Sister Helen would never out her. I must say, as emotionally draining as just listening was, I would not trade it. And I would love to actually be able to see it (streaming would be acceptable.)
I’m not ready to pick up with the Erinyes – and may not ever be. Yes, from time to time there will continue to be articles which are both important and sharable in full. And which don’t need the aegis of the Erinyes. And because there’s no Erinyes, and Nameless is in recovery from surgery, I don’t see the point of an email today.
https://joycevance.substack.com/p/if-congress-can-do-this
For now, I’d like to share this by Joyce Vance – I think she is on to something. Last November, a bipartisan pair of Senators introduced a bill to provide direct and indirect victims of one specific act of terrorism access to view the court proceedings connected with that act. Feel free to drop your jaw shen you see the numbers by which it passed. And it either gave Joyce the idea, or more likely, suggested something fairly obvious which she has been behind for some time – and that is that we need to provide that service to all victims of all federal offenses going through the courts. Read her argument and see what you think.
Yesterday, I worked on educating myself for today’s opera – “Dead Man Walking” by Jake Heggie. Obviously it is based on the book, but has probably also taken a thing or two from the movie. The book was published in 1993, the movie produced in 1995, and the opera premiered in 2000. Considering all that, I’d say the Met was dragging its feet. And I’m not alone in that – because this season is being different. Thankfully. The book is purely non-fiction, and includes Sister Helen’s experiences with two death row inmates … and their families. For both the movie and the opera, these two men were conflated into one and given the name Joseph de Rocher, which is far from close to either real name.It struck me as interesting (probably meaningless) that at the premier in San Francisco Sister Helen was sung by Susan Graham and the convict’s mother by Frederica von Stade. In the 2023 Met production 23 years later, Susan Graham is singing the convict’s mother and Sister Helen portrayed by Joyce di Donato – she’s a trifle older than Graham was when she sang it, but she also has real experience working with convicts in at least one prison that I know of – Sing Sing in New York. This opera is set in the Louisiana State Penitentiary, which, if you are aware of it, it’s probably under another name – Angola. Wikipedia has a fairly detailed sumary, and I will probably keep it open while listening. It certainly doesn’t appear that the opera shies away from anything. And, as if to demonstrate that capital punishment is an issue which has not gone away, here is a petition written by Sister Helen herself, sponsored/promoted by Move On, with whom Robert Reich works so much.
I haven’t mentioned Loper Bright v. Raimondo yet, but you may have heard about it anyway. It’s been before the Supreme Court this week. If it is decided wrongly (and of course the crazy justices are leaning that way), regulatory agencies will not be allowed to regulate. I can hardly begin to describe how catastrophic that would be. Little Sammy is calling regulation “the administrative state” as if it were a bad thing. It actually isn’t – it’s far preferable to an “anarchic state,” which is what we are likely to get. This quote is from Wonkette’s newsletter , and is chock full of links to blogs by people who actually have the credentials to have opinions:
What smart things do we need to know about Loper Bright v. Raimondo (the Supreme Court case in which they’re probably about to ban “agencies doing regulations”) today? Here’s Madibe K. Dennie on Samuel Alito’s latest power grab disguised as a legal theory. (Balls and Strikes) Here’s Justice Kegs pretending not to understand that agencies have different policies during different administrations because voters chose a new administration to make different policy — plus some bullshit on the “major questions doctrine” (made up) and delegation. (Dorf on Law) The Only Republicans Are Allowed to Govern Doctrine. (Lawyers Guns & Money) Chris Geidner says it’s one of the most disingenuous arguments he’s ever seen. It must have been SOMETHING. (Law Dork)
https://www.cbsnews.com/news/no-labels-party-2024-presidential-ballot-access-effort-complaint/
Some people are saying that “No Labels” has lost, or is losing, it’s collective mind. Personally, I am not sure that No Labels has a mind to lose. It has made a complaint to DOJ with the premise that anyone who doesn’t want to see their candidate, whoever that may be (they don’t even have a clue yet), on the November ballot is part of a RICO conspiracy against them. The Justice Department has not yet responded. Hopefully someone will tell them that, because the Constitution directs them to, states have laws in place covering every aspect of elections, including who may and may not appear on the ballot, and that if the No Labels candidate doesn’t qualify, it is the duty of the state not to put them on it.
Yesterday’s radio opera was “La Bohème,” Puccini’s breakout opera. You will hear people who are into opera claim that one cannot hear it too many times (a few will even claim that it is not possible to hear any of Puccini’s operas too many times.) Although it’s not true for everyone, they’re not totally wrong. Even for someone who still loves it, performance flaws can hit the boredom button. But it still is not unpleasant. And it certainly has proved to be enduring. I assume everyone here knows it was the inspiriation for “Rent,” with AIDS substituted for tuberculosis and of course modern young people for 19th century “Bohemians.” (Though actually a late 19th century opera, it was set in the first half of the 19th century.) My nomination for the best performance, both vocally and visually, is actually available on DVD as well as streaming from the Met. It was recorded on Januaty 16, 1982, and features Teresa Stratas, Renata Scotto, Jose Carreras, Richard Stillwell, Allan Monk, and a very young James Morris. Everything I have seen Stratas in, I have marvelled at how she can sing like that and still project an aura of such fragility. (In the last scene one is inclined to wonder whether she has in fact died – it is that convincing.) And everyone else plays around that perfectly. But I digress. In yesterday’s performance, Rodolfo was played by Stephen Costello, whom I am inclined to like for the same reason that Virgil strongly dislikes Daniel Barenboim (pianist and conductor), because of the circumstances of his divorce from Jacqueline du Pre. In Stephen’s case, it was the circumstances of his divorce from Ailyn Perez. She initiated the divorce and he experienced a psychatric crisis which lasted apparently years (based on his absence.) Yes, i realize du Pre could be difficult (but, dammit, she had cancer, and it killed her, and he had left her), and I’m sure so can Stephen. But he had won the Richard Tucker award a couple of years earlier, and appeared to be promoting her, and then she won the same award – he sang as a guest at her award concert – and it actually was a few years, but seemed like it was the next day she was gone. The optics were – not good. But he is better now and back to opera. And I wasn’t there, and don’t know all the details. So I should probably try to let it go. Now, next week, it will be “Dead Man Walking.” That will be a change.
In other news, Axios broke this – “Scoop: John Kerry to leave Biden administration, help campaign.” Kerry isn’t wrong. Of course it’s not only the climate but the survival of democracy itself which is on the line.
Kerry is welcome by me to continue to be a climate hawk as long as his efforts also help save democracy.
