1. In 2014, The Classical World Still Can’t Stop Fat-Shaming Women : Deceptive Cadence : NPR:


After a week full of discussions about gender and the newsroom in the U.S., a pile of weekend reviews arrived from London, courtesy of five older male critics writing about an emerging Irish mezzo-soprano named Tara Erraught. Erraught is singing Octavian in the Strauss opera Der Rosenkavalier at the Glyndebourne Festival, which opened Saturday night.
What is stunningly apparent is just how much a woman’s body matters onstage — way more, if these five critics are to be believed, than her voice, her technique, her musicality or any other quality…
——————-
I find it astounding that across five widely read publications, not a single editor saw fit to go back to the writer and challenge what he had written. Yes, visuals matter — even more now, in the age of live broadcasts — but these critics have seized this as license to forget why anybody shows up at an opera house to begin with.

    In 2014, The Classical World Still Can’t Stop Fat-Shaming Women : Deceptive Cadence : NPR:

    After a week full of discussions about gender and the newsroom in the U.S., a pile of weekend reviews arrived from London, courtesy of five older male critics writing about an emerging Irish mezzo-soprano named Tara Erraught. Erraught is singing Octavian in the Strauss opera Der Rosenkavalier at the Glyndebourne Festival, which opened Saturday night.

    What is stunningly apparent is just how much a woman’s body matters onstage — way more, if these five critics are to be believed, than her voice, her technique, her musicality or any other quality…
    ——————-
    I find it astounding that across five widely read publications, not a single editor saw fit to go back to the writer and challenge what he had written. Yes, visuals matter — even more now, in the age of live broadcasts — but these critics have seized this as license to forget why anybody shows up at an opera house to begin with.
  2. incidentalcomics:

    What Happens After the Great Operas?

    Illustrations for "Liberating the Librettos" by Anthony Tommasini in the 11/10 NY Times. 

    Reblogged from: incidentalcomics
  3. vintageblackglamour:

Marian Anderson, the elegant and groundbreaking contralto who was the first African American to sing at the Metropolitan Opera, was born 116 years ago today in Philadelphia. She is probably best known to this generation for singing before a crowd of 75,000 at the Lincoln Memorial in 1939, after being refused permission to sing at Constitution Hall by the Daughters of the American Revolution. DAR has made the effort to make up for the slight ever since, inviting Ms. Anderson to sing at the hall on many occasions soon after the infamous 1939 incident. In this photo, Ms. Anderson is shown arriving at Victoria Station in London on November 11, 1936, for her performance at Queen’s Hall. Photo: Bettman/Corbis

    vintageblackglamour:

    Marian Anderson, the elegant and groundbreaking contralto who was the first African American to sing at the Metropolitan Opera, was born 116 years ago today in Philadelphia. She is probably best known to this generation for singing before a crowd of 75,000 at the Lincoln Memorial in 1939, after being refused permission to sing at Constitution Hall by the Daughters of the American Revolution. DAR has made the effort to make up for the slight ever since, inviting Ms. Anderson to sing at the hall on many occasions soon after the infamous 1939 incident. In this photo, Ms. Anderson is shown arriving at Victoria Station in London on November 11, 1936, for her performance at Queen’s Hall. Photo: Bettman/Corbis

    Reblogged from: vintageblackglamour
  4. lincolncenter:

(Photo by William Struhs)
Composer Kaija Saariaho’s Émilie “makes a triumphant New York debut at Lincoln Center Festival,” wrote Marion Lignana Rosenberg for The Classical Review today. The opera will be performed at the Gerald W. Lynch Theater through this Sunday.

This opera sounds amazing.  Hopefully I’ll get to watch it performed someday.

    lincolncenter:

    (Photo by William Struhs)

    Composer Kaija Saariaho’s Émiliemakes a triumphant New York debut at Lincoln Center Festival,” wrote Marion Lignana Rosenberg for The Classical Review today. The opera will be performed at the Gerald W. Lynch Theater through this Sunday.

    This opera sounds amazing.  Hopefully I’ll get to watch it performed someday.

    Reblogged from: lincolncenter
  5. legrandcirque:

Carl Van Vechten, Marian Anderson, 1940.
Source: Library of Congress

    legrandcirque:

    Carl Van Vechten, Marian Anderson, 1940.

    Source: Library of Congress

    Reblogged from: legrandcirque
  6. doubleadoublek:

Opera advertising goes negative.

    doubleadoublek:

    Opera advertising goes negative.

    Reblogged from: doubleadoublek
  7. BBC iPlayer - Music Feature: Why Do Women Die in Opera?

    I’d never really considered this, even in my limited music history studies… but it is a very good question. (h/t author @matthewgallaway)

    This is especially interesting as I’m reading The Finkler Question, in which one of the main characters is obsessed with the idea of a weak, beautiful woman dying in his arms, just like they do in his favorite operas. 

  8. In a glowing and perceptive review of her performance as Desdemona in Verdi’s “Otello” at Covent Garden in London in late 1957, the critic Andrew Porter, writing in The Financial Times, commended her for not “sacrificing purity to power.” This is “not her way,” Mr. Porter wrote, “and five years on we shall bless her for her not endeavoring now to be ‘exciting’ but, instead, lyrical and beautiful.”
  9. Remembering 'La Stupenda' : Deceptive Cadence : NPR

    On Joan Sutherland.

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