The music awards show has followed in the footsteps of Canada’s Juno Awards, the GLAAD Media Awards, the Razzie Awards, the Kids’ Choice Awards and the ACM Awards.
Mar 17, 2020
AceShowbiz – The iHeartRadio Music Awards has been postponed due to the coronavirus pandemic and will not take place later this month.
The music awards bash, hosted by Usher, was set to take place on March 29 at the Shrine Auditorium in Los Angeles, but has been postponed as venue chiefs have announced they will be closed until at least the end of the month.
In a statement posted on Twitter, organisers and Fox network bosses wrote that they are postponing the show until an unspecified later date.
“The safety of our guests, employees, artists and partners is our main priority,” their statement reads. “iHeartMedia and Fox will plan to reschedule at the appropriate time and will provide more information and relevant updates as they become available. Refunds are being issued to ticketed guests.”
The spread of the virus across the world has caused the postponement or cancellation of prizegivings including Canada’s Juno Awards, the GLAAD Media Awards, the Razzie Awards, the Kids’ Choice Awards, and the ACM Awards.
Major gatherings in Los Angeles and other parts of California, one of the U.S. states hit hardest by the outbreak, have also been banned by government officials.

Performers at the event were set to include Usher, Halsey, Lizzo and Justin Bieber, with Ariana Grande, Bad Bunny, Billie Eilish, Camila Cabello, Cardi B, Lizzo, Post Malone, Taylor Swift, Selena Gomez, and Ed Sheeran among the nominees.

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The baritone Benjamin Appl remembers his teacher at 100, as one of the 20th century’s greatest singers and a complicated, conflicted man.One September morning in 2009, I glanced at my watch over and over, nerves fluttering in my chest. I was sitting in the front row of a packed concert hall in Schwarzenberg, Austria, surrounded by other vocal students. At precisely 10:30 a.m., the baritone Dietrich Fischer-Dieskau stepped onto the stage. It was the first day of his master class at the Schubertiade, and it was the moment I would meet the artist who had shaped my musical life.I was just 12, growing up in Bavaria, Germany, when I first heard Fischer-Dieskau. Leonard Bernstein had called him “the greatest singer of the 20th century,” and few would disagree. When my music teacher played us a recording of his interpretation of Schubert’s “Winterreise,” something stirred within me. This voice was different. Immediate. Truthful. Over the years, I listened to dozens of Fischer-Dieskau’s recordings, studied them, grew with them, and was continually astonished by them.Now I stood before him. The old video footage of that master class still shows how nervous I was: my vibrato wavering, my breath shallow, my stance unsure. What I did not realize at the time was how open and attentive he was with me. At the end of the course, he offered to work with me privately. For the next three years, I had the privilege of studying with him regularly at his homes in Berlin and Bavaria. Those hours remain among the greatest gifts of my life.In the months leading up to his centennial on Wednesday, I was granted access to his personal archive: letters, diaries, programs, photo albums. It was a journey to find out more about the man behind the name, affectionately known to his friends as FiDi. And it was an immersive experience that helped me to shape my new album “For Dieter: The Past and the Future.”This recording features songs that defined his artistic path; songs that shaped the singer who would became one of the most revered vocalists of his time, including works from his family circle; songs by Brahms, Schubert and Wolf; as well as compositions written especially for him by Britten and Barber. Through my access to his archive, I was also able to accompany the album with a book that offers a deeply personal portrait of a multifaceted, fascinating man.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Michael Volle puts his noble voice to delightfully undignified use as the title character in Robert Carsen’s still fresh production of “Falstaff.”There’s a lot of fat-shaming in Verdi’s “Falstaff,” but the opera has never really been a candidate for revision or cancellation, probably because the victim of those insults refuses to see himself as one. Eloquent and self-aggrandizing, Falstaff proudly identifies with his stature.“This is my kingdom,” he proclaims, patting his belly, “I will enlarge it.”On Sunday, in the Metropolitan Opera’s revival of Robert Carsen’s winning production, the baritone Michael Volle delivered the line in a room at the Garter Inn surrounded by butler’s carts spilling over with ravaged plates and wine-stained tablecloths. Falstaff’s kingdom — as within, so without. Such sly touches litter Carsen’s production set in the 1950s. A decade after its company premiere, it still looks fresh and earns the kind of enthusiastic laughter rarely heard in an opera house.Beyond the appealing visuals — the yellow-chartreuse kitchen cabinets and flattering cinched-waist dresses — Carsen has provided opportunities for profundity. His lighting design with Peter Van Praet, in particular, offers clues — the raw naturalism for Falstaff’s pessimistic aria “L’onore! Ladri!” or the dusky sunset for Falstaff’s humbled reflections at the top of Act III.Volle’s Falstaff leans into those subtleties. In his most recent Met assignments — as a futilely disempowered Wotan in the “Ring” cycle and a salt-of-the-earth Hans Sachs in “Die Meistersinger” — Volle has shown himself to be a Wagnerian of long, graceful focus. As Falstaff, he puts the noble grain of his voice to deliciously undignified use. This booming, endlessly interesting antihero comports himself as an entitled, well-bred gentleman who has tired of wearing dirty long johns and waiting for the universe to right his fortunes. His solution: some Tinder Swindler-style manipulations with two well-to-do married women.Expounding a personal philosophy of honor and its uselessness in “L’onore! Ladri!” Volle sang with professorial authority, his voice emerging as if from a deep well. His smug “Va, vecchio John” flowed with syrupy self-satisfaction. When he waxed poetic about his salad days as the page of the Duke of Norfolk, his voice turned light, proud and assured — grandiloquent, yes, but also creditable.The conductor Daniele Rustioni matched Volle’s conception, leading the orchestra in a rousing, confidently shaped performance. Verdi goes for deep sarcasm in his masterfully comic score — when the men make fools of themselves in bombastic monologues, the orchestration only intensifies — and there was nothing cutesy in Rustioni’s account of it. When the brasses trilled, they belly laughed. The bassoons galumphed; the strings ennobled passages of sincerity; and the horns had it both ways, sometimes jocular, sometimes expressive.The opera’s female characters, never taking themselves — or the threat posed by badly behaved men — too seriously, often sing in ensembles rather than solos. Even so, Ailyn Pérez provided warm, elegant leadership as Alice with a glowing lyric soprano. Her rise as one of the Met’s leading ladies has been a pleasure of this season. The contralto Marie-Nicole Lemieux, clearly having a ball onstage as Mistress Quickly, received exit applause for her uproarious scene with Falstaff, in which she flashed some leg and flaunted a lot of plumpy tone. The mezzo-soprano Jennifer Johnson Cano was a mettlesome Meg, and as Nannetta, Hera Hyesang Park revealed a soprano as limpid as fresh water, even if a few top notes sounded hard and unsteady.As Ford, Christopher Maltman sang with a toughened baritone. Bogdan Volkov’s Fenton was sweetness itself.The relentless patter of Verdi’s vocal writing against a full, busy orchestra presents distinctive challenges. The women anchored the double vocal quartet of Act I when the men started to rush the tempo, but otherwise, ensemble singing was admirably tight. The final fugue had astonishing transparency — Lemieux’s pitched guffaws cut through effortlessly — and Carsen’s staging neatly introduced each new voice as it joined the increasingly dense musical texture on a crowded stage.Act III begins in a lonelier way — with Volle’s Falstaff crumpled in a small corner of a vast, empty space, where he is drying off and licking his wounds after being dumped unceremoniously in the Thames. A kindly waiter gives him a cup of warm wine, and he sings its praises with quietly arresting beauty. In that moment, the Wagnerian in Volle poked through, turning the humanity of Falstaff’s humbling into something sublime.FalstaffThrough April 1 at the Metropolitan Opera; www.metopera.org. More

The three stops in Austria on the pop star’s Eras Tour were canceled after the authorities discovered a terrorist plot targeting the concerts.Taylor Swift said Wednesday that she was devastated by the cancellation of her Eras Tour concerts in Vienna, adding that the terrorist plot that had targeted her shows there had filled her “with a new sense of fear, and a tremendous amount of guilt because so many people had planned on coming.”In an Instagram post celebrating the end of the European leg of her tour, Ms. Swift offered her first public comments about the three derailed shows, which were called off after officials in Austria said they had arrested two men accused of plotting a terrorist attack. One of the men, they said, had recently pledged allegiance to the Islamic State online and had focused on the Eras Tour as a potential target.Nearly 200,000 people had been expected to attend the Vienna concerts, which were to start on Aug. 8.In her social media post published on Wednesday, Ms. Swift said she was grateful to the authorities, “because thanks to them, we were grieving concerts and not lives.”“I decided that all of my energy had to go toward helping to protect the nearly half a million people I had coming to see the shows in London,” she said of the next stop on her tour. “My team and I worked hand in hand with stadium staff and British authorities every day in pursuit of that goal, and I want to thank them for everything they did for us.”“Let me be very clear: I am not going to speak about something publicly if I think doing so might provoke those who would want to harm the fans who come to my shows,” she continued. “In cases like this one, ‘silence’ is actually showing restraint, and waiting to express yourself at a time when it’s right to. My priority was finishing our European tour safely, and it is with great relief that I can say we did that.”Thousands of fans who had been eager to spend a few hours with Ms. Swift in Vienna — including many who traveled great distances to see her — shed tears over the canceled concerts. Many others who had planned to see her the following week in London endured anxious days, worrying both about their personal safety and about whether the highlight of their summer would also be called off.But Ms. Swift’s shows went on as planned, a fact that she celebrated in her Instagram post.“All five crowds at Wembley Stadium were bursting with passion, joy, and exuberance,” she said. “The energy in that stadium was like the most giant bear hug from 92,000 people each night, and it brought me back to a place of carefree calm up there.” More

The suit about the 1991 album had been dismissed because of the statute of limitations. But an appeals court ruled that it could proceed, noting that the album had been reissued in 2021.A federal appeals court ruled against the grunge rock group Nirvana on Thursday, reviving a lawsuit about the band’s use of a naked baby on the cover of its 1991 album “Nevermind.”A district court judge had dismissed Spencer Elden’s lawsuit that said he was a victim of child sexual abuse imagery, ruling that the complaint had not been filed within the 10-year statute of limitations. But a three-judge panel on the United States Court of Appeals for the Ninth Circuit reversed that decision, finding that “each republication” of an image “may constitute a new personal injury.”The appeals court noted that Mr. Elden’s 2021 complaint says Nirvana has reproduced the album cover within the past 10 years, including the band’s September 2021 rerelease of “Nevermind.”“The question whether the ‘Nevermind’ album cover meets the definition of child pornography is not at issue in this appeal,” the court wrote in a footnote.The case will now return to the district court.A lawyer for Mr. Elden did not immediately respond to a request for comment. Bert H. Deixler, a lawyer for Nirvana, said in a statement that the opinion was a “procedural setback.”“We will defend this meritless case with vigor and expect to prevail,” Mr. Deixler said.Mr. Elden was 4 months old when he was photographed in 1991 by a family friend at the Rose Bowl Aquatics Center in Pasadena, Calif. His parents were paid $200 for the picture, which was later altered to show the baby chasing a dollar, dangling from a fishhook.In the decades that followed, Mr. Elden seemed to celebrate his appearance on the classic album cover, recreating the moment — though not in the nude — for several of the album’s anniversaries.But in the lawsuit, Mr. Elden said he had suffered “permanent harm” because of his association with the album, including emotional distress and a “lifelong loss of income-earning capacity.”The lawsuit did not detail the losses but said that Nirvana, the producers of the album and others had all profited at Mr. Elden’s expense.Lawyers for Nirvana argued that Mr. Elden had benefited financially from the album cover by re-enacting the photograph for a fee and making public appearances parodying the image. They have also denied that the picture in question was an example of child sexual abuse imagery, noting that the photograph is present in the homes of millions of Americans.Maria Cramer More