Wednesday, November 29, 2017
Live on the air, Savannah Guthrie, Lauer's co-host on Today, was visibly shaken by the news. She announced that "All we can say is that we are heartbroken. I'm heartbroken for Matt. He is my dear, dear friend and my partner and he is beloved by many, many people here. And I'm heartbroken for the brave colleague who came forward to tell her story and any other women who have their own stories to tell."
Following Lauer's firing, FOX News published an article on its website which featured Katie Couric admitting in a 2012 interview that Matt Lauer pinched her on the ass a lot.
Monday, November 27, 2017
Thursday, November 23, 2017
Hvorostovski learned to play the Metropolitan Opera, a gigantic house that scares many European-trained singers, and where he sang 180 performances. When I first heard him live his voice, though compact, beautiful and secure, sounded small: a perfect voice for a European opera house. His breathing between phrases was the loudest I had ever heard. His approach to a score, however, sounded like no one else: always the tell-tale sign of a great artist. As his voice matured his instrument became stronger, more secure, but the original beauty of his tone always remained. His performances at the MET, before his illness, were outstanding, and his lieder recitals always revealed a consummate artist comfortable being accompanied just with a piano. His performances of Russian folk songs and popular romantic songs were very important to him. In an interview with The New Yorker magazine, he remembered a concert he gave at the age of 22 in a bread factory in central Siberia, near the town of Krasnoyarsk, his birthplace, in below-freezing weather. The audience, wearing fur hats and warm boots, was in tears.
No one looked like him (his hair turned completely white by the time he was 30), no one sounded like him. Perhaps the complex role of Eugene Onegin, one of his specialties, suited him so well because he was as complex as the title role of that great Alexander Pushkin poem. Now that he has entered immortality, he will be missed.
Wednesday, November 22, 2017
PBS and Bloomberg have suspended airings of his show. Rose also co-hosts "CBS This Morning" and is a contributing journalist on the prestigious 60 minutes show. CBS has suspended Rose pending an internal investigation of these allegations.
Monday, November 20, 2017
Writer Umberto Eco, referring to the film Casablanca, once wrote that "two clichés make us laugh, a hundred clichés move us..." and that's what Coco boils down to. If you think it is a gringo version of a Mexico that has never existed, an antidote to Luis Buñuel's Los Olvidados, or Alejandro González Iñárritu's Amores Perros, then you are totally missing the point. Go to see it, and when a tear rolls down your eyes, you'll realize that you are watching an extraordinary little film.
Sunday, November 12, 2017
Kevin Spacey, who says he does not remember abusing Anthony Rapp, Tony Montana, or Harry Dreyfuss (son of Richard), has been dropped not only of Netflix's House of Cards, but also from the upcoming, completed movie All the Money in the World, where he was to play billionaire J. Paul Getty. He has been replaced by Christopher Plummer. There goes that Oscar nomination! And after this summer's Baby Driver, Spacey's career was going full-gear. The J. Paul Getty movie would have been the one-two punch he needed for Oscar gold, perhaps. I wonder if the Baby Driver DVD, Blu-ray sales are taking a beating. The scandal came out just as the film was being made available on home video.
Even though Hollywood seems to be cleaning house, as far as I know, Woody Allen's new movie Wonder Wheel is still slated to come out on December 1. The director continues to operate under the shadow of sexual abuse allegations. Also, when director Roman Polanski was arrested in Switzerland for the alleged rape of an underage girl, Woody Allen, Alejandro González Inárritu, Martin Scorcese, Wong Kar-wai, Wim Wenders, and Pedro Almodóvar, among others, signed a petition for his release.
It's not that Mr. Allen and Mr. Polanski have achieved the kind of clout that makes them untouchables, it's just the proven fact that America loves to knock down its heroes just to see them rise again. Celebrity second acts from Robert Downey, Jr., Mickey Rourke to sports announcer Marv Albert and Mel Gibson are legendary. They all spent years in Purgatory, and crawled out more popular than ever. Based on this, something tells me that the accused superstar of today will turn out to be the comeback kid one sunny day in the future.
Sunday, November 05, 2017
The latest film features a Thor (Chris Hemsworth) with a comic routine that's sillier and lighter than in the previous films. This is a winning directorial decision on the part of New Zealander
Saturday, November 04, 2017
Now, the movie has been turned into an opera, with a libretto by Tom Cairns based on the screenplay by Buñuel and the film's producer Luis Alcoriza. The music is by British composer Thomas Adès, who in 2012 brought his The Tempest to the Metropolitan Opera. After its premiere at the Salzburg Festival in the summer of 2016, his new opera is currently playing at the Met, with a production by the lyricist, and conducted by the composer himself.
The opera closely follows the film's plot, even using many of the same lines delivered by the actors. The composer and librettist have chosen English as the language of their adaptation, although Spanish is the film's original language. It's an interesting change, but ultimately a logical one: Mr. Adès and Mr. Cairns are both British (Cairns was born in Northern Ireland) and these days most singing actors are better trained in singing English than Spanish, a language often absent in the majority of opera houses around the world.
Mr. Adès's score is the expected atonal musical language of the twentieth century. The orchestration is big and diverse, even adding a theremin, that strange electronic Russian instrument that provides an unearthly sound without physical contact from its player. It is a perfect loopy addition for a surreal comedy. As is his custom, Mr. Adès insist on writing incredibly high tessitura challenges for the female voices, especially for the sopranos. Aesthetically, it is questionable whether the female human voice, reaching for notes beyond F above high C, is a very pleasant sound, but that does not stop the composer from providing ample bars containing these stratospheric high notes. That aside, without a doubt, the highlight of Mr. Adès's score is an interlude where musically he describes a dream/memory one of the characters has of a horrible train wreck. The driving orchestration that Mr Adès achieves, together with the unbelievably high volume that the Metropolitan Opera Orchestra is asked to reach once again places that musical ensembles as one of the most polished in the whole world.
Mr. Cairns's staging differs greatly from the film. Whereas Buñuel's mise-en-scène revels in baroque clutter, the present staging chooses a minimalist approach. Also missing in this adaptation are direct references to the Catholic Church, an important aspect of the director's work, and especially a key aspect of the film's conclusion. Buñuel was notoriously anti-clerical and fond of offending established institutions, especially religious ones. The choice to remove this aspect (as well as an anti-Semitic joke) smacks of political correctness, and tears at the very core of Buñuel's savagery.
The technology of the Metropolitan Opera House far surpasses the analog effects of the low-budget original film. A good example of this is the sequence when a severed hand appears crawling around the room. The film could only afford a rubber prop pulled by a string. But the hand in the opera is a clever computerized projection that seems to crawl all over the proscenium-like stage that serves as a key part of the scenery. The severed extremity is a close cousin of Thing T. Thing (often referred to by just his last/first name!) the lovable character in the Addams Family films.
After the performance, I was happy to see that the singers took no solo vows, but came out to receive the audience's applause as an ensemble. This opera, as the film, is truly an ensemble piece. The only one who took a solo vow last night was the composer/conductor, and I guess that's the correct move.
If you like the film, and want to know where opera is headed, or where it is these days, don't miss this production of this work.