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Forgotten Classics: Interest and Presence in Tove Jansson’s Summer Book
Despite her own failings, Sophia’s grandmother offers us a model of presence and love.
Despite her own failings, Sophia’s grandmother offers us a model of presence and love.
From Habsburg in Vienna to Jefferson at Monticello, this special exhibition focuses on the overriding power of the garden as a pendant in the life of civilized society.
Andrea Chénier‘s high melodrama and appealing theme of feminine self-sacrifice has proved more lasting and appealing than the true story it is based on—but this is how opera thrives.
History is a story that is at once true and false, a story in which truth sometimes requires us to record a falsehood, if only so we do not forget that a falsehood was once told.
A new book traces the words and deeds of eight leaders who devoted their lives to their fellow Jews.
A segment of Spanish society—the Left’s leaders, if not their voters—has been too quick to paper over the difference between lawful politics and violence.
Bernanos and Poulenc dare us to ask why men of differing opinions would condemn their fellow men to death, leading to new waves of chaos and destruction.
Robbins’ study of the Golden Age might be called a work of skepticism in that it “refuses to create a unitary narrative, a single interpretive vision” of the period, but instead dissects it piecemeal under a microscope.
On opening night, Cecilia Bartoli was awarded Austria’s highest operatic honor, the title of Kammersängerin by the Austrian government.
Much discussion of Yang’s work has focused on the ways that he expertly depicts the interplay (and clash) between East and West within the context of deeply human stories. However, far less ink has been spilled over the role that Christianity has in this interplay.
Defending tradition in an anti-traditional world such as ours requires both belief and boldness. Tim Stanley manifests both, combining wry humour and a sense of peace with the world unseen in many political polemics.
An honest sense of one’s own failings and shortcomings is part of what makes levity possible. One of the best books I know for inculcating humility through humor is Jerome K. Jerome’s novel, Three Men in a Boat (To Say Nothing of the Dog).
In The Crowd, Le Bon warns that when ideals are erased, cohesion is lost, individual characters weaken and develop excessive egoism, and, as their capacity for self-sufficiency diminishes, they become increasingly reliant on the government to direct them.
The program gave a splendid overview of ‘America’s Mezzo’ Susan Graham’s legendary career across the operatic firmament as well as in the jazzy tunes of the American Songbook. One only missed her triumphs in the operas of Richard Strauss.
Lohengrin, with its lush music and tragic exploration of trust, betrayal, and forbidden knowledge, has imaginative gifts to offer contemporary audiences. The music still soars, but only to the cave ceiling, not to the skies.
In his book The Disappearance of Rituals, Korean-German philosopher Byun-Chul Han presents a genealogy of the disappearance of rituals and its catastrophic effects on society.
For the Utopian, a unified and uniform mass of humanity is enabled by the “abolition of war,” which in turn can only be safeguarded by a “supranational agency, ultimately a world government.”
Strauss’s opera prizes innocence in a time of chaos, beauty over disorder, and the transcendence of suffering. Daphne is precisely the work that could lend itself to the revitalization of an opera company.
Banalysis was published in the shadow of the tsunami of stupidity that became the ‘pandemic’ and all that ensued. It did not get the attention it deserved then. It deserves to be read now.
The Spear serves as a lectio divina of sorts, that is, as an opportunity to imagine oneself in the action of the Holy Scriptures.
Ultimately, the founding and the success of the State of Israel can only be described in religious terms: the flourishing existence of today’s Israel is a miracle.
A step up from the very literal productions usually seen here, this co-production by Opéra de Monte-Carlo and San Francisco Opera removes the action from its usual eighteenth-century setting to the fateful year of 1914.
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