Aurelia Butler

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    A Bargain at the Opera: Philadelphia Offers All Seats for as Low as $11

    Seeking new audiences, Opera Philadelphia is putting in place a pay-what-you-can model, one of the first of its kind by a major opera company.In Philadelphia, a night at the opera may now be cheaper than going to the movies.Opera Philadelphia, a company with a reputation for innovation and ambition, announced on Tuesday that it was putting in place a pay-what-you-can model for the 2024-25 season, with all tickets for all performances starting at $11. The initiative, which the company calls Pick Your Price, is aimed at attracting new audiences.“People want to go to the opera, but it’s expensive,” said Anthony Roth Costanzo, the celebrated American countertenor who became the company’s general director and president in June. “Our goal is to bring opera to more people and bring more people to the opera.”It immediately proved popular. On Tuesday, the day the initiative was announced, Opera Philadelphia said it sold more than 2,200 tickets for the coming season, compared with about 20 the day before. The tickets were originally priced at $26 to $300.High ticket prices have long been a barrier to audiences, and especially to newcomers. In recent years a number of performing arts groups, including Lincoln Center, the Chicago Sinfonietta and Ars Nova, the Off Broadway incubator, have experimented with pay-what-you-can approaches. Other opera companies have experimented with discounts, including rush tickets and deals offered to young people. But Opera Philadelphia’s approach was one of the boldest yet.Its website explains that all tickets start at $11 but that people will be given the option of choosing to pay much more, including the standard price.Like many nonprofit performing arts organizations, Opera Philadelphia gets much more of its revenue from philanthropy than through ticket sales. Radically lowering the prices could encourage more donations, which will no longer risk being seen as subsidizing an expensive art form that is out of reach for many people. And Costanzo said that the new model would allow the company to concentrate more on staging interesting works, and less on worrying about ticket sales.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

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    Man Charged With Tupac Shakur’s Murder Loses Bid for Release

    A judge declined to release Duane Keith Davis, whose trial is scheduled for March, after a dispute over the source of the bail funds.A judge in Nevada declined on Tuesday to release a man who was charged with the murder of the rapper Tupac Shakur after expressing concern that the money provided to bail him out from jail could be connected to a possible deal to tell his story in a TV series.The man, Duane Keith Davis, known as Keffe D, has said for years that he was a critical player in the gang-orchestrated shooting of the rapper, drawing scrutiny from prosecutors nearly three decades after the killing. A grand jury indicted Mr. Davis on one count of murder with use of a deadly weapon last year.Mr. Davis has pleaded not guilty, and his lawyer has said that those admissions of responsibility — which he made in a memoir and in videotaped interviews — were “for entertainment purposes” under the belief that he had been granted immunity from prosecution.Judge Carli Kierny of the Eighth Judicial District Court in Nevada declined to release Mr. Davis after a dispute over the source of the funds that would have been used for bail.Prosecutors had opposed his release, pointing to an interview on YouTube in which the man who posted the bail bond premium of about $112,000 said he would help out only if Mr. Davis agreed to do a TV series with him.“This is him getting paid from his retelling of his criminal past,” Binu Palal, one of the prosecutors overseeing the case, said at a court hearing in June.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

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    How the Politics of the Gaza War Engulfed the Melbourne Symphony

    The orchestra faced criticism for canceling a performance by a pianist who spoke about the war. Now a top leader has departed and the ensemble has opened an inquiry.The pianist Jayson Gillham was performing Beethoven’s “Waldstein” sonata and Ligeti’s études at a concert hall in Melbourne, Australia, earlier this month when the concert took an unexpected turn.When Gillham, 38, returned to the stage after intermission, he announced that he would depart from the printed program and play a world premiere: a piece called “Witness” by his friend, the composer Connor D’Netto, dedicated to journalists killed in Gaza.Speaking to the audience, Gillham blamed Israel for the deaths of more than 100 Palestinian journalists over the past 10 months, and said that “the killing of journalists is a war crime in international law, and it is done in an effort to prevent the documentation and broadcasting of war crimes to the world.”The next day, the Melbourne Symphony Orchestra, which had presented Gillham’s solo recital, informed him it was removing him from a planned concert with the orchestra a few days later, replacing his Mozart piano concerto with a Beethoven symphony. The ensemble said in a letter to audience members that Gillham had made “unauthorized statements” that represented an “intrusion of personal political views” on a piano recital.“I was really surprised,” Gillham said in an interview. “It felt like an overreaction.”A backlash followed: Artists, journalists and music fans in Australia denounced the Melbourne Symphony for canceling Gillham’s performance and defended his right to free speech. The orchestra backtracked, issuing a statement saying it had been wrong to cancel Gillham’s appearance and that it would work to reschedule it. It wound up canceling the Beethoven performance, citing “safety concerns.”But the fallout has continued.On Monday, the Melbourne Symphony announced that its managing director, Sophie Galaise, was departing. The ensemble said it was commissioning an outside investigation into the incident, to be led by Peter Garrett, the former lead singer of the Australian rock band Midnight Oil, who has also been a government minister.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

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    9 Surprising Songs Sampled in Classic Hip-Hop Tracks

    Hear where moments of Kraftwerk, Enya, Herb Alpert and more ended up in producers’ deft hands.Kraftwerk.Cyril Zingaro/Keystone, via Associated PressDear listeners,Today’s playlist is a celebration of a tried-and-true method of discovering new-to-you music: identifying the samples in hip-hop songs.In his recently released book “Hip-Hop Is History,” Questlove recalls a story from his childhood that speaks to this experience. When he couldn’t fall asleep, he’d listen to the radio in the middle of the night, when D.J.s were free to play the most outré sounds. “During those years,” he writes, “I heard a song that was bizarre synth music, completely compelling, pure hypnosis on the airwaves.” He tried to tape it but could never correctly anticipate when it would come on. Several years passed and he still hadn’t figured out what that elusive song was, but then one day he heard it — or something like it — at a roller rink birthday party. When he asked about it, the D.J. was so taken with his curiosity, he gifted him the 12-inch single. “It was ‘Planet Rock,’” he writes, referencing the legendary track by Afrika Bambaataa & Soulsonic Force. “It sampled the Kraftwerk song I had heard, which I learned was called ‘Trans-Europe Express.’ That party and that 12-inch made my day, my year and part of my life.”These days it’s much easier to track down the source of a sample, thanks to Google searches, apps like Shazam and websites like the invaluable database WhoSampled.com. But samples are still powerful portals between genres, cultures and music’s past and present. Sampling is the reason Dr. Dre is one degree of separation from the Scottish composer David McCallum, and why we know that Enya is a fan of the Fugees — and vice versa.There are so many great and unexpected samples in classic hip-hop songs that today’s playlist should be considered only a brief introduction. (Perhaps a sequel will arrive in a future Amplifier, too.) If you’re a true hip-hop head, listen to the playlist before reading the descriptions below and see how many tracks you can name from hearing the source material of their samples. And if you’re more familiar with the originals than the songs that sampled them, make sure you also check out the hip-hop classics linked in the descriptions below.We so tight that you get our styles tangled,LindsayListen along while you read.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

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    A Pianist Who’s Not Afraid to Improvise on Mozart

    Robert Levin has long argued that Mozart would have made up new material while performing, and he follows the master in a series of dazzling recordings.Robert Levin playing an excerpt of Mozart, whose complete works for keyboard and orchestra he has recently finished releasing on disc.Cadenzas are a concerto soloist’s time to shine: the moments when the rest of the orchestra dramatically drops out and a single musician gets the chance to command the stage.For about half of Mozart’s piano concertos, cadenzas he wrote have been preserved, and those are what you usually hear in concerts and on recordings. Other composers later filled in the gaps with cadenzas that have also become traditional. Some performers write their own.But 250 years ago, when Mozart was a star pianist, he wouldn’t have performed prewritten cadenzas — even ones he had composed.“When Mozart wrote his concertos, they were a vehicle for his skills,” the pianist and scholar Robert Levin said by telephone from Salzburg, Austria — Mozart’s hometown — where he teaches at the Mozarteum University. “He was respected as a composer and lionized as a performer, but it was as an improviser that he was on top of the heap.”Levin, 76, has long argued that Mozart, as a player, made up new cadenzas and ornaments in the moment. And he has sought to revive that spirit of improvisation in a landmark cycle of the concertos on period instruments, a 13-album project begun more than 30 years ago with the Academy of Ancient Music, led by Christopher Hogwood.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

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    Is This Massive Attack Concert the Gold Standard for a Green Gig?

    Coldplay and Billie Eilish have tried to drive down carbon emissions while touring, but the British band Massive Attack has tried to take the efforts even further.When the British band Massive Attack was halfway through a West Coast tour in 2019, flying from show to show, the rapper and singer Robert Del Naja had a moment of crisis. Given all the carbon emitted by moving the band and its equipment around, he recalled wondering: Can I justify this anymore?Not long afterward, the band made a decision. It would work with climate scientists to develop a model for touring that made as little climate impact as possible.On Sunday, Massive Attack staged a daylong 35,000-person festival in the band’s home city of Bristol, England, to showcase the carbon-cutting measures it has developed with the Tyndall Center for Climate Change Research, a British organization, and A Greener Future, a nonprofit focused on lowering the music industry’s emissions.The concert on Sunday was powered by batteries charged from wind and solar energy.Sandra Mickiewicz for The New York TimesFans were encouraged to travel to the show by walking, cycling or using public transportation.Sandra Mickiewicz for The New York TimesWhereas other bands, including Coldplay, have staged attention-grabbing stunts to draw awareness to the industry’s climate impacts, they have sometimes ignored the main sources of emissions from gigs, such as audience travel and venues’ power supplies. With its show on Sunday, Massive Attack wanted to show how to tackle all of the polluting parts of a show.In an interview a few days before the event, Del Naja said that previous music industry efforts to cut emissions had not been in line with the United Nations-agreed goal to stop average temperatures rising more than 1.5 degrees Celsius, or 2.7 Fahrenheit.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

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    Mariah Carey Says Her Mother and Sister Died on the Same Day

    Ms. Carey, who has spoken and written extensively about her complicated relationship with her family, said the deaths had led to an “impossible time.”Mariah Carey’s mother, Patricia, and sister, Alison, died on the same day over the weekend, the pop star announced. It was unclear what caused their deaths or when exactly they died.“My heart is broken that I’ve lost my mother this past weekend,” Ms. Carey said in a statement. “Sadly, in a tragic turn of events, my sister lost her life on the same day.”Ms. Carey said that she had been able to spend the last week with her mother, adding, “I appreciate everyone’s love and support and respect for my privacy during this impossible time.”Patricia Carey, who was previously married to Alfred Roy Carey, was a Juilliard-trained opera singer and vocal coach. She and Mr. Carey, who was half Venezuelan and half Black, had two daughters, Alison and Mariah, and a son, Morgan Carey. Alfred Roy Carey died in 2002.Over the years, Ms. Carey, 55, has described the challenges she faced as a biracial child growing up on Long Island. She wrote more extensively about them in her 2020 memoir, “The Meaning of Mariah Carey.”She dedicated the book to her twins, Monroe and Moroccan Cannon, and her mother, writing: “And to Pat, my mother, who through it all, I do believe actually did the best she could. I will love you the best I can, always.”Ms. Carey, who established herself as one of pop music’s leading stars since emerging in the early 1990s, wrote that her relationship with her mother and siblings was fraught, saying that she at times felt like “an A.T.M. with a wig on” to her family.At one point, when Ms. Carey was exhausted, she sought refuge at a cabin she had purchased for her mother, who responded by calling the police. “She gave them an odd, knowing look,” Ms. Carey wrote, “which felt like the equivalent of a secret-society handshake, some sort of white-woman-in-distress cop mode.”The singer wrote that, like many aspects of her life, her relationship with her mother had been “anything but simple.”“Our relationship is a prickly rope of pride, pain, shame, gratitude, jealousy, admiration and disappointment,” Ms. Carey wrote. “A complicated love tethers my heart to my mother’s.”It was through singing that she often found a connection to her mother. Together they performed “O Come All Ye Faithful/ Hallelujah Chorus” in 2010 on Ms. Carey’s Christmas special on ABC.Ms. Carey’s relationship with Alison, her sister, was also strained. Alison Carey died at her home in Greene County, N.Y., more than 130 miles north of New York City, according to The Times Union. The Times Union said she was 63.Mariah Carey wrote in her memoir that at age 12, her sister had drugged her with Valium, offered a pinkie nail full of cocaine, inflicted her with third-degree burns and tried to sell her to a pimp.Ms. Carey wrote that she felt “emotionally and physically safer” not having any contact with her siblings. More

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    Oasis Announces Reunion Tour After 15 Years of Brotherly War

    Liam and Noel Gallagher’s 1990s Britpop band will play dates in Britain and Ireland in 2025.In the list of rock bands considered least likely to bury their hatchets long enough to successfully reunite, the British group Oasis has always been near the very top.At its peak in the 1990s, Oasis — led by the brothers Liam and Noel Gallagher — exemplified the soaring appeal of Britpop, with anthemic hits like “Wonderwall,” “Live Forever” and “Champagne Supernova” that could produce mass singalongs in any pub or arena. In 1994, the group’s debut, “Definitely Maybe,” rocketed to the top of the British pop chart and became a zeitgeist-defining moment for a new wave of English rock.But the band kept crashing down to earth, largely through the fisticuffs — verbal and physical — of the Gallagher brothers. In 1995, a 14-minute unofficial CD was released of Noel and Liam getting sidetracked during a journalist’s interview to bicker with each other, loudly and ruthlessly if not quite comprehensibly.The band split up in 2009 — “I simply could not go on working with Liam a day longer,” Noel said at the time — and over the years the Gallaghers have continued to lob public insults at each other.Now they seem to have reconciled sufficiently to announce a comeback tour in summer 2025, which is to include shows throughout Britain and Ireland, including at least four nights at Wembley Stadium in London. The band announced the tour on its website. In a statement, the band said plans were underway for dates on “other continents outside of Europe later next year.”“The great wait is over,” the statement added: “Come see.” The announcement was no surprise. Over the weekend, Oasis posted Tuesday’s date on its website and social media accounts, after days of gossip on social media and detailed reporting from anonymous “industry insiders” in the British news media about an imminent tour announcement. Liam Gallagher himself boosted those rumors. When one fan said he was “scared” about the news to come, Liam answered, “Your scared how do you think I feel.” Streams of the band’s catalog spiked in anticipation.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