January 14, 2011— As the Met replaces a staple production by Franco Zeffirelli, an archive interview with the director illuminates the rich grandeur that opera requires, and the wisdom of “certain liberties.” Via WQXR, read more
Author Archives: Caroline M Cooper
Helvetica: Your Biggest Fan Just Turned 80
Helvetica is one of the world’s most ubiquitous fonts. We read it, stare at it, and pass by it every day. The font is especially prevalent in New York, where the city’s Metropolitan Transportation Authority uses the commonly seen, round-lettered type in its maps and signs. Via WNYC, read more
Love that Symphony? Your Brain Does Too
January 10, 2011— New research suggests the music you love doesn’t just sound good, it can provoke natural chemical reactions in the brain associated with pleasure and positive feeling. Via WQXR, read more
From Deep in a Mountain, a Cache of Classics
January 10, 2011—A huge number of musical gems are now being transferred in what the Library has described as “a major gift to the nation.” Via WQXR, read more
Raphael Hillyer, Juilliard Quartet Violist, Dies at 96
January 7, 2011—Raphael Hillyer, a founding violist of the Julliard String Quartet, died on Dec. 27 in Boston. He was 96. Via WQXR, read more
Sing for Your Life: The National Council Auditions
Nathaniel Peake distinguished himself early on with a rich, earnest delivery of “Ah, la paterna mano” from Verdi’s Macbeth, while Rachel Willis-Sørensen provided a searching account of “Einsam in trüben Tagen” from Wagner’s Lohengrin. Via The Metropolitan Opera, read more
Kentridge: “Are both a credible nose?”
“We knew we wanted the nose dancing and we had the footage of Anna Pavlova. But in the film she is a white figure against a black background,” Kentridge said, explaining the difficulties of creating the best effect for projection. “We inverted the image so she becomes a negative, a dark figure against a white background. We animated that with the nose on top of her, and then re-inverted the image.” Via The Metropolitan Opera, read more
Maestro Muti in Attila Rehearsals
Maestro Riccardo Muti lightly raised his baton and then paused. “I know I am supposed to say I am very happy to be here, but it is true—I am very happy to be here.” Then he began leading the orchestra through the Attila prelude. Occasionally he stopped, injecting quick direction: “Don’t delay.” “It’s a bit faster.” “Now! Fortissimo! Boom!” Via The Metropolitan Opera, read more
Oh, You Know, Just the Met’s First-Ever Cocktail Competition
Nearby, Ryan McGrale of the Flatiron Lounge balanced rose petals atop his cocktail. “The petal represents what Hoffmann went through,” McGrale commented. “His struggle with love. I thought, what would I want to drink if I were in his shoes? Something strong, a bit tender, but doesn’t go down easy,” McGrale said, pushing his glass forward. “We’ve all been there.” Via The Metropolitan Opera, read more
Of Tosca, Change and Booing
Speakers deliberated on the phenomenon of the boo, even demonstrating and analyzing the acoustic carrying power of the word itself … a sign of passion preferable to quiet muttering. “[It’s] a good thing that’s creating a conversation about the nature of what we’re doing,” [Bartlett Sher] Via The Metropolitan Opera, read more
Caroline M Cooper 