“Stakes for women artists of the time were stakes on a much different scale. You had to be a genius just for people to accept that you might be human.”
“Everyone comes together, then they just go to sleep. It’s an anti-rave.”
The iconoclastic composer discusses his newest opera, the differences between American and European music culture, and space aliens.
“My addiction has to do with performance, with creating a very real situation and then dealing with all the physical problems surrounding it.” —Matthew Barney
Great to see you as always. A few questions came to me, typically after all was said and done. I thought I’d send them over while our very interesting conversation was still fresh in my mind.
One hundred years after its first and only enactment, Victory Over the Sun has re-emerged.
Muhly chats with fellow composer, and Pulitzer Prize winner, David Lang about his recent work, love fail, at the Brooklyn Academy of Music from December 6 to December 8.
Cassie Peterson discusses deconstructions of form in Joseph Keckler’s I am an opera.
The composer and giant of contemporary music passed away on March 4, 2014. Here he reflects on the 2012 reinterpretation—in Spanish—of his epic opera of the ordinary, Perfect Lives.
The once-staid atmosphere of New York City Opera has lately received a dose of downtown experimentalism. Nick Hallett discusses what he sees as a welcome intrusion.
Joan La Barbara staged an excerpt from her opera-in-progress Angels, Demons, and other Muses last Thursday. Nick Hallett describes the otherworldly sounds she created with the experimental music community Ne(x)tworks.
“My dream was a synchronized sound of present, absent, and distant musicians choreographed across the audience via the elaborate placement and movements of the performers in the whole building.”
PERFORMA05 founder RoseLee Goldberg talks with Danish artist Jesper Just about his first-ever opera, True Love Is Yet to Come, which premiered this past spring in New York.
Artist William Wegman has been an early music aficionado since he was a graduate student in the mid-‘60s. when he met George Steel, the Miller Theatre’s impresario who started the encyclopedic Composer Portrait Series, they had plenty to discuss.
In 1999, Laurie Anderson mounted her operatic take, Stories and Songs from Moby-Dick, on Melville’s classic at the Brooklyn Academy of Music. Clifford Ross joined her for tea and conversation over Melville’s very own bible—marginalia included.
On the crest of the new British invasion, Sam Taylor-Wood’s surprising photographs and films catch their subjects in isolated moments, dramas, arguments. Her work is reminiscent of early Warhol, with an operatic style all her own.
Amidst the questions arising from the debate over what constitutes “Opera,” Stewart Wallace and Michael Korie have supplied their answer with a conjoining of the American cultural id and American myth.
Amistad, an opera commissioned by Philadelphia and Chicago, is not merely a musical remake of the film but a complex and conundrum-filled version of a tragic event.
At a time when a lot of artists get a lot of attention for acting out rock ‘n’ roll fantasies (or pretending to live the lives of starry-eyed groupies), it’s refreshing to see a young artist fantasizing about opera divas—and then realizing these fantasies in lifesize paintings of imaginary prima donnas