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The Met’s #MeToo moment – ‘Tosca’

The Metropolitan Opera’s new production of Giacomo Puccini’s “Tosca” – an opera about sexual harassment – was rocked by that now seemingly ubiquitous phenomenon. Already reeling from the loss of the original stars and conductor, the production took a giant step back when the second conductor, former music director James Levine, was hit with sexual abuse allegations and suspended a little less than a month before the New Year’s Eve premiere. Ten days after Levine’s suspension, Bryn Terfel, scheduled to play the villain, withdrew, citing vocal fatigue.

Sometimes, however, you get not what you want but what was meant – or who was meant. That The Met pulled off this ‘Tosca’ is a relief. That it’s as wonderful as it is, is nothing short of a miracle. ...

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Whose art is it anyway?

The painting shows a young black man in a coffin, his face a blur of color in the manner of Abstract Expressionist art – and violent death.

The departed, then, is not just someone who has succumbed to the ills that the flesh is heir to. Emmett Till was just 14 years old when he was lynched by two white men for flirting with the wife of one of them. “Open Casket, “ on view at the Whitney Biennial, is Dana Schutz’s 2016 painting of a mutilated Till in the open casket his mother, Mamie Till Bradley, insisted on. The work has drawn protests and condemnation from black artists and writers, who question the right of a white woman to appropriate a searing moment in black history. ...

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