Monthly Archives: May 2012

Eisenhower Memorial Update

The Eisenhower grandchildren gave their official response to the latest round of design changes to the proposed Eisenhower Memorial, which came from Frank Gehry’s office earlier this month. It’s distressing to see Interior Secretary Ken Salazar call for slowing the process down, which is exactly what the Eisenhower family wants. It’s distressing to see the Obama administration put the 34th President’s grandchildren in the position of vetoing the work of one of this country’s greatest architects. But the Eisenhower Memorial Commission, and Gehry, have been  very gentlemanly about this process, rising above Susan Eisenhower’s invocation of Hitler’s death camps and Stalinist design in an effort to tarnish Gehry’s work. And they are once again attempting to address the family’s concerns and move the process forward. That probably sets a bad precedent in the future for empowering distant family members to determine the shape of what should be public monuments and memorials. But it is the well-mannered thing to do and is no doubt the politically expedient course of action. We’ll see if it works.

Credit: Image courtesy of Gehry Parterns, LLP, May 2012

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Jasper Johns at the Phillips Collection

I was exhausted by the end, in a good way. The Phillips exhibition, which focuses on Johns’ print works, is dense and rich, and even though it occupies only a few rooms, you leave more than surfeited. I reviewed it in today’s The Washington Post, with special attention to the work shown here, one of his very first experiments with lithography.

 

 

 

Credit: Jasper Johns, Target, 1960. Lithograph, 22
½ x 17 ½ in. Published by Universal
Limited Art Editions. John and Maxine
Belger Foundation © Jasper Johns and
ULAE / Licensed by VAGA, New York,
NY

 

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Silence is not the problem

Another cliche-riddled story about how to fix classical music is making its rounds on Facebook. I tried to muster some sympathy for Richard Dare’s Huffington Post piece, “The Awfulness of Classical Music Explained,” but found it a long straw-man argument with no redeeming insight. Dare, a financier who is now head of the Brooklyn Philharmonic, argues the old line, that the rituals of classical music are off putting, without acknowledging any value in them. Why can’t listeners react spontaneously, shout and clap when they want to?

But this [is] classical music. And there are a great many “clap here, not there” cloak-and-dagger protocols to abide by. I found myself a bit preoccupied — as I believe are many classical concert goers — by the imposing restrictions of ritual behavior on offer: all the shushing and silence and stony faced non-expression of the audience around me, presumably enraptured, certainly deferential, possibly catatonic; a thousand dead looking eyes, flickering silently in the darkness, as if a star field were about to be swallowed by a black hole.

He then goes on to compare all these rituals to authoritarianism and North Korea.

The most common practices in classical musical venues today represent a contrite response to a totalitarian belief system no one in America buys into anymore. To participate obediently is to act as a slave. It is counter to our culture. And it is not, I am certain, what composers would have wanted: A musical North Korea. Who but a bondservant would desire such a ghastly fate? Quickly now: Rise to your feet and applaud. The Dear Leader is coming on stage to conduct. He will guide us, ever so worshipfully through the necrocracy of composers we are obliged to forever adore.

Yikes. And this guy is head of an orchestra.

In fact, there are a few good reasons for the protocol of classical music. Silence allows one to hear the music. It is a sign of respect both for the musicians and fellow audience members. Silence encourages close listening, and not clapping between movements gathers a multi-piece musical work into an organic whole, allowing its parts to be appreciated together (each movement revising the one before, subtly altering the memory of the experience) rather than as disconnected parts. The reason people sometimes shush noisy audience members is because music lovers deeply value the experience of listening, and don’t want it ruined by thoughtless and rude behavior.

And people often do shout with joy in the concert hall and opera house. A good lusty bravo after a well-sung aria is a thrill to hear. A riotous ovation gets the blood pumping.

Just wait until the music is over.

And this guy is going to save classical music?

Unfortunately, discussion of classical music has become so rote and tribal that Dare’s piece isn’t really about a problem or solutions. It’s a litmus test of how one thinks about preserving culture.

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Massenet’s “Werther” at the Washington National Opera

It’s always encouraging to find Emmanuel Villaume in the orchestra pit, especially so when the repertoire is French. Villaume conducted last night’s performance of Massenet’s Werther, and the orchestra of the Washington National Opera never sounded so good. Massenet is easily condescended to, as a cheap romantic and theatrical fluff artist. But his operas are full of surprises, evocative and innovative orchestration and dramatic idiosyncrasies. Villaume underscored the rich coloristic elements in Massenet’s score, and found almost expressionistic power in its expostulations. The brass snarled, the strings produced haunting chorale-like sounds, as if channeling Bruckner at a whisper, and the woodwinds (including the saxophone) were free to play with engaging personal freedom. The extended orchestral preludes and interludes that serve as psychological bridges between acts and scenes were some of the best things all evening.

 

Massenet gets hammered for his distortion of Goethe’s original, and the distortion is so profound that it’s best—if possible—to forget about the 18th-century novella when watching the 19th-century opera. In the Massenet, Albert becomes a bit of a thug and Werther and Lotte are equally in love from the beginning, forcing the latter into a classic conflict of duty and desire.

Most egregious, in the last act, while Werther lingers on from his self-inflicted gun shot wound, the two engage in an entirely superfluous final love scene.  And there are absurdities in the text that reflect a hybrid of Goethe and the French team that wrote the libretto. In act three Werther reminisces about his friendship with Lotte, and the time they spent together (a vestige of the novella); but the libretto has them fall in love almost immediately, and whatever companionship they enjoyed is lost between the interstices of the First and Second acts.

 No matter. Despite one of the most static first act’s in opera, Massanet’s score is often exquisite, and despite having one of the best known endings in all of literature, the denouement is still shocking. Unfortunately, while the cast can’t be faulted on purely vocal grounds, none of the singers really inhabited his or her character.  Francesco Meli’s Werther seemed cobbled together from rote vocal and dramatic gestures. He has the voice, but not the dramatic sensibility for the role. Sonia Ganassi’s Charlotte wanted more vocal heft, but the mezzo rose to occasion in Act III, especially in the monologue that opens the scene.

 Michael Yeargan’s set design, especially the transparent walls that fused together an 18th century drawing room with the natural world outside, was particularly well done. But Barila’s decision to costume the singers as if for a stage production of The Great Gatsby (frocks for Charlotte were particularly unflattering) was arbitrary, like so many decisions about updating opera. Charlotte’s sister Sophie (well sung by Emily Albrink) became a flapper rather than a flighty teenager. Werther looked dumpy in his striped sweater. And the basic tension between the enlightenment and the romantic sensibility explored in the original novella was lost by the updating. Why? But then there’s never any rationale for these things.

 So go for the orchestra. And for Massenet. There were a distressing number of empty seats on Friday night, and it would be a shame if anyone concluded from that a lack of interest in the magnificent operas of Massenet.

Credit: Francesco Meli as Werther and Sonia Ganassi as Charlotte. Photo by Scott Suchman

 

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Maya 2012

While in Philadelphia to see the Barnes collection a few weeks ago, I popped over to the Penn Museum to take in a new exhibition devoted to the Maya. The exhibition is billed as an examination of the supposed Maya doomsday prediction, which is all the rage in the darker corners of the Internet. That’s a bit pop-culty for my taste, a strawman that the curators indulge only to repeatedly knock down. But the museum does a good job with something more fundamental, immersing visitors in the complicated visual world of Maya carving, and the even more dizzying calendar systems that underpinned their political and philosophical world. It’s worth visiting, and may have particular appeal to younger audiences.

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On recommending books

    We do it enthusiastically, breathlessly, when we’re young, with no worries about whether or not the friend to whom we recommend a book will find anything at all meaningful in it. Have you read this? You must read it. I don’t recommend books very often any more, and I try to discipline myself in conversation: Never ask someone if he has read something or not. It makes you look pretentious and many people interpret the question as a challenge, or a taunt.
    As you grow older learning contributes to isolation, which you feel all the more keenly if you’re inclined to look back nostalgically at early adulthood. Young minds happily take direction from anyone, as if any imprint from the outside world is a step in the right direction, like kneading is an improvement to dough no matter shape it must ultimately take. When I was young, when all too many books simply baffled me, I admired anyone who was passionate about a book. That was all the recommendation necessary. I still have a collection of books I keep only because close friends were insistent that they would change my life.
    Now, much older, that seems a very inefficient way of getting what one needs from reading. But it’s sad every so often when a book moves you in the way books moved you as a youth. The instinct to recommend them is powerful, but checked by the sad reality that most people are too busy, too deep into their own idiosyncratic habits of reading, to put down what they must read in favor of a superfluous book. I was just reading…well, it doesn’t matter… but as soon as the vestigial thought fluttered up (“You must read this…”) came the more pragmatic realization: It appeals to me for reasons so private and particular to what has happened in the past few weeks and years that my enthusiasm can’t be trusted as an endorsement.
    Book reviews sometimes tell us that we ought to read a particular book. But they are too much bound up with the commerce of books to be entirely trusted. A book gets reviewed when it’s new, when there’s some chance that you might see it on the shelves of a bookstore (bookstore: noun: A place of business where books are the main item for sale, also called bookshop), or in the hands of someone on the Metro, or hear about it on radio or television. The premise of every book review, however, is that the book is new and therefore necessarily under consideration. A very different thing from the passionate recommendation of book we have just discovered.
    One imagines a post-professional paradise, where everyone reads again entirely for pleasure and disinterested learning. And recommendations are happily received and given, with no worry that one might be violating some nicety of etiquette. A community of learning rather than a hermitage.

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The Met Relents

Reaction was obviously swift, furious and focused, and now the Metropolitan Opera has sent word that Opera News will indeed continue to review new Met productions. An emailed statement came from Lee Abrahamian:

May 22, 2012

Opera News Will Continue to Review Metropolitan Opera Productions

In view of the outpouring of reaction from opera fans about the recent decision to discontinue Met performance reviews in Opera News, the Met has decided to reverse this new editorial policy. From their postings on the internet, it is abundantly clear that opera fans would miss reading reviews about the Met in Opera News. Ultimately, the Met is here to serve the opera-loving public and has changed its decision because of the passionate response of the fans.

The Met and the Met Opera Guild, the publisher of Opera News, have been in discussions about the role of the Guild and how its programs and activities can best fulfill its mission of supporting the Metropolitan Opera. These discussions have included the role of reviews in Opera News, and whether they served that mission.  While the Met believed it did not make sense for a house organ that is published by the Guild and financed by the Met to continue to review Met productions, it has become clear that the reviews generate tremendous excitement and interest and will continue to have a place in Opera News.

That’s good news. But something  more is needed. Peter Gelb needs to make a personal, affirmative statement that he endorses the magazine’s editorial freedom. This isn’t about demanding a groveling apology. It’s about the basic dynamics of censorship.

Censorship works through fear, and it instills fear asymmetrically. The censor doesn’t need to read every word, monitor every statement, or enforce a long list of directives. Quite the opposite. The censor merely needs to make writers, editors and publishers nervous. The more vague the censor is about what is and isn’t allowed, the more power he or she has to enforce control over expression.

I’ve spent a lot of time in countries where freedom of the press is nonexistent. Journalists in authoritarian countries speak of “red lines,” invisible, vague, but powerful gray zones that keep expression constrained. They talk about the red lines as if they’re tangible, but also admit that no one knows exactly where they lie. And that’s the point.

A threat to free speech is never a single, isolated act. It casts a pall, and the people threatened carry that sense of fear with them, self-censoring.

Opera News, over the years, has grown into a remarkably independent publication, and it deserves great credit for defining its mission not only as a voice for the Metropolitan Opera, but as a voice for opera in America and beyond. It performs a valuable service for opera lovers, many of whom will never buy a ticket or attend a performance at the Metropolitan Opera. This rather idiotic (and failed) effort to limit its editorial freedom can lead to two possible futures for the magazine. If Gelb doesn’t affirm the magazine’s freedom from in-house editorial control, Opera News will go forward under a cloud. If Gelb can be coaxed into a genuine statement in support of the magazine’s independence, it will emerge stronger, and will be well positioned to continue its admirable mission of service not just to the Met, but to opera everywhere.

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The Met censors…and loses

The Metropolitan Opera has decided not to allow Opera News, published by the Metropolitan Opera Guild, to review any more Met performances. Unhappy with occasional negative (and sometimes quite pointed) reviews, the Met’s general manager Peter Gelb pulled the plug on a tradition dating back to the 1970s. From now on, the Met’s own publication, and the classical music magazine with the largest circulation in the United States, will say nothing negative about the Met. The New York Times reports:

“As of the June 2012 issue, Opera News is not reviewing Metropolitan Opera productions,” F. Paul Driscoll, the magazine’s editor in chief, said in a terse telephone interview. He declined to elaborate but acknowledged that no other opera company had been banished from its pages.

The decision makes another fine artistic institution look simply corporate, more concerned with message and brand control than the free play of art and creativity. The Met loses the input of critics with long institutional knowledge, disappears from a section of the magazine that is lively and well read, and demonstrates to its loyal fan base that it is a nervous, prickly, bureaucratic organization.

Good criticism is an endangered species in American journalism. It has all but disappeared from most American newspapers, and is now yet more circumscribed within the pages of the last vigorous classical music publication in the country.

It’s easy for critics, like me, to become tribal and protective about criticism, without explaining why it matters. One reason it matters is that, when done well, it provides a template for how to listen and remember. The latter, remembering, is key. Criticism isn’t just part of the public memory of a musical performance, it is a demonstration of how to process and analyze a complicated aesthetic experience, what to take note of, and how to organize those memories into something that may stay with you long after the performance. Often, I believe the greatest danger art faces in our busy, chaotic, jangling world is that most people feel that the experience is ephemeral. The curtain comes down, they head to the subway and by the next morning, they legitimately wonder: What do I remember? What stays with me? Criticism, done well, doesn’t just document how one writer remembers a performance, it offers guidance in the kind of thinking and observation that helps everyone remember.

It is about making sure that art isn’t forgettable, in all senses of the word. The Met, as one the most important old-guard artistic institutions in the country, would be better served by actively supporting criticism, not limiting it.

UPDATE: The Met Relents

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Barry Apologizes…by tweet

            It came by tweet, one of the most condensed and seemingly reductive forms of modern communication. But it had something sincere about it, an apology that actually felt like an apology, an expression of moral regret that sounded as if genuinely the result of moral awakening. In a world of carefully parsed, conditional apologies that shift blame to the victim and reek of calculated insincerity, Marion Barry gave an apology that cut through the usual political noise with a clarion note of authenticity.

            Love him, hate him, Marion Barry said “sorry,” at 8:03 p.m. on Sunday evening, via Twitter: “I also thank outstanding medical staff, incl. kind professional Filipino staff. I stand corrected. I truly didn’t mean 2 hurt or offend.” He had just been treated for a potentially lethal blood blot, which may have formed while he was traveling to Las Vegas for a convention. The addressee of his apology were Filipino health care workers, whom he had denigrated on April 23 in comments that were ostensibly about building up job opportunities in his ward, but which read like another item in a long litany of careless race baiting by the four-term former mayor: “[I]f you go to the hospital now, you’ll find a number of immigrants who are nurses, particularly from the Philippines,” said Barry. “And no offense, but let’s grow our own teachers, let’s grow our own nurses, and so that we don’t have to go scrounging in our community clinics and other kinds of places, having to hire people from somewhere else.”

             When a man knows he is to be hanged, Dr. Johnson said, it “concentrates his mind wonderfully.” The tweets sent by Barry shortly after his ordeal have the concentration of a man who was likely genuinely scared of imminent death. His apologetic tweet was followed by several others that continued the theme of remorse. “Being sick brings religion,” tweeted Barry four minutes after his initial mea culpa. “There’s more t/b achieved with w/love&unity than divisive words. I am truly sorry.”

            Apparently aware of the multiple layers of oddity and irony in his sudden embrace of Filipino hospital staff, Barry tweeted: “So I got my religion in Vegas. Go figure.”

            Barry has become a study in the surreal politics of Washington, a champion of gay rights who came out against gay marriage, a civil rights leader who is now equally well known for his crude and divisive racial language. His Dickensian encounter with mortality, like Scrooge waking up after ghost number three, was as surreal as the saga of D.C.’s Mayor for Life gets. It would be easy to be cynical, as people have been cynical for centuries about deathbed conversions.

            But the tweets don’t feel Machiavellian. At one point yesterday, Barry tweeted a photograph of his nurse, with a small nugget of information that seemed so genuinely apt and true that it gives the color of truth to all his other hospital tweets: “Nurse Deanna who initially was a little “frustrated” w/me(ok I was a little grouchy) now she’s my best friend here!TU!”

            Sickness doesn’t just concentrate the mind; it tears down its defenses. It places us absolutely in the hands of other people, and thus reveals our capacity to trust. Sick people do indeed often bark at their caregivers, and good caregivers have the exceptional capacity to empathize so grandly that they can see beyond the barking invalid to the scared child that is brought to the surface by illness.  Barry’s apology for whatever may have “frustrated” nurse Deanna suggests his self-awareness at a time of crisis.

            And his tweets suggest a deeper self-awareness, that perhaps his racially tinged comments (and the firestorm they’ve elicited in the past few months) were weighing on his conscience. Illness often catalyzes unformed or nascent moral awakenings.

            Tweeting is indeed reductive, but sometimes a small quantum of information is all that is necessary to speak one’s mind. In Barry’s case, it revealed the rapid processing of small bits of information, a real-time evolution of his thoughts about what constitutes decency and kindness in public and private life.  The standard political apology, issued after days or weeks of contorted explanations and posturing, usually feels worked up by committee, a document rather than a genuine speech act of remorse. Barry’s tweets, like all tweets, don’t have the capacity to get deep into the weeds of obfuscation and dog-whistle subtleties.

            But they don’t need to be any longer. Many political questions are intensely complicated and require long consideration and extensive explication. But much of our moral life comes about in small epiphanies, for which tweeting proves to be an ideal conveyance. The essence of the moral life is applying basic rules—do unto others…—to everyday behavior. Moral revelation is often intensely simple: The old rule applies now, here, to these people. We might think that it takes a novelist to convey moral truths deeply. But novels are built of small nuggets of data, small apercus such as the ones Barry sent out over the past two days.

            Even Barry, who is an active tweeter, seemed to realize that he has found his perfect form. Among his hospital tweets were thanks to the Twitter community, and to Twitter in general: “1 final thing- 4 better or worse comments,& I DO receive my share of worse, I love Twitter&it’s ability 2 let people communicate real talk.”

            Barry skeptics won’t likely change their view of the man. But it is rare in political life to sense a capacity for moral growth, to see someone genuinely prove himself susceptible to the teachable moment. A man may get many, many things wrong, but if he shows the capacity to improve, he is redeemable.

            There are other groups who will likely feel that Barry owes them some Twitter love. And most everyone who followed the ex-Mayor’s strange and terrifying adventure in Sin City will likely agree: Sometimes, what happens in Vegas shouldn’t, in fact, stay in Vegas.

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The Barnes Foundation

This story got lost in the Sunday mix (even I had a hard time finding it and I know how to search). But I reviewed the new building and installation of the Barnes Foundation collection in today’s Sunday Post. I think the new facility is beautifully done, even with the pall of controversy that hangs over the entire project. Here.

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