Aurelia Butler

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    Anna Netrebko, Shunned in U.S. Over Putin Support, to Sing in Palm Beach

    The star soprano, who lost work at American opera companies after Russia invaded Ukraine, will sing at a gala for Palm Beach Opera, her first American engagement since 2019.Since the Russian invasion of Ukraine, the superstar soprano Anna Netrebko has been persona non grata at cultural institutions in the United States, shunned for her past support of Russia’s president, Vladimir V. Putin.But in February, Ms. Netrebko will make her first appearance in the United States since 2019: She will perform in Florida at a gala concert at the Breakers Palm Beach hotel to benefit Palm Beach Opera, the company announced on Wednesday.Ms. Netrebko, one of the biggest stars in classical music, has in recent months returned to many top concert halls and opera houses in Paris, Milan, Berlin and elsewhere in Europe, prompting some protests but also winning ovations and strong reviews.But most American institutions, including the Metropolitan Opera, where she reigned as a prima donna for two decades, have continued to refuse to engage her because of her past support for Mr. Putin and her unwillingness to criticize him now. Her last performance in the United States was before the pandemic, when she headlined a gala New Year’s Eve performance at the Met Opera.In a statement, Ms. Netrebko said she was looking forward to singing in Florida.“I am honored to be lending my voice to the Palm Beach Opera’s annual gala,” she said. “I am excited to spend time in this beautiful community.”James Barbato, who leads the Palm Beach Opera, said in a statement that Ms. Netrebko was “more than a great artist with a magnetic stage presence and a voice of breathtaking beauty and power.”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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    Kneecap, Riotous Irish Rappers, Expect Their New Film to Shock

    Kneecap’s Irish nationalist rap has drawn ire from pro-British politicians and commentators. A new film dramatizing the group’s story looks set to do the same.“He gave me his wallet,” joked D.J. Próvaí, a member of the Belfast-based rap trio Kneecap, to explain why the group trusted the British filmmaker Rich Peppiatt to tell their story.Kneecap’s blending of hip-hop beats with Irish-language rap lyrics championing republican politics — seeking unity for the Ireland’s north and south — has won it fans on both sides of Ireland’s internal border. The group has also drawn wrath from both British and Northern Irish politicians, who have accused it of inciting sectarianism. But this only made the trio a more attractive subject for his first scripted project, Peppiatt said, and “Kneecap” — a riotous fictionalized retelling of the rappers’ origins — comes to U.S. theaters Friday.“They deal with serious subjects in a hysterical way and made headlines for saying things that no one else seemed to be saying,” Peppiatt said in an interview alongside two group members. Last year, Kneecap unveiled a cartoonlike mural in Belfast of a police vehicle on fire, accompanied by an anti-police message in Irish.“They also played the media very well, drawing fire from the media and politicians, but always turning it to their own advantage,” Peppiatt added.A former journalist, Peppiatt resigned from the British tabloid newspaper The Daily Star in 2011 and then made the documentary “One Rogue Reporter” about unscrupulous newspaper editors. In the Kneecap lads, he found kindred rebellious spirits, and they were reassured by Peppiatt’s own turbulent experience with the news media.In the feature film “Kneecap,” the trio play fictionalized versions of themselves.Ryan Kernaghan/Sony Pictures ClassicsWe 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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    Lyric Opera of Chicago Appoints Orchestra Veteran as New Leader

    John Mangum, who helped guide the Houston Symphony through the turmoil of the pandemic, will serve as the company’s next general director.John Mangum, a veteran orchestra manager who helped guide the Houston Symphony through the turmoil of the pandemic, will serve as the next general director of Lyric Opera of Chicago starting this fall, the company announced on Wednesday.Mangum, 49, will take the reins of Lyric, one of the premier opera companies in the United States, as it faces a series of challenges, including rising costs, cuts to programming and changes in audience behavior.Mangum said in an interview that he was joining Lyric because it is “one of the great opera companies in the country and really in the world.” He said he was confident that Lyric could find ways to expand its base of fans and donors.“Opera is about storytelling,” he said. “We have to remind people that this is what opera is built from, and there are ways for them to connect.”Mangum has not worked in opera before, but he is a veteran of the classical music industry. He has held posts at a number of institutions, including the San Francisco Symphony, the Los Angeles Philharmonic and the New York Philharmonic. Since 2018, he has led the Houston Symphony, helping increase fund-raising and expand community programs.Sylvia Neil, chair of Lyric’s board, said Mangum’s experience in the orchestral world would help the company as it works to broaden its audience.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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    Here’s Why ‘The Matrix’ Is More Relevant Than Ever 25 Years Later

    One scene reflects the themes — A.I., fake news, transgender lives and Gen X — that make the film a classic.Neo, the hero of “The Matrix,” is sure he lives in 1999. He has a green-hued cathode-ray-tube computer screen and a dot-matrix printer. His city has working phone booths.But he’s wrong: He lives in the future (2199, to be exact). Neo’s world is a simulation — a fake-out version of the late 20th century, created by 21st-century artificial intelligences to enslave humanity.When we first saw Neo, though, it really was 1999. The idea of A.I. feeding on human brains and bodies seemed like a thought experiment. But the movie’s warnings about A.I. — and everything else — have sharpened over time, which explains why it’s been harnessed by all kinds of people in the years since: philosophers, pastors, techno-boosters and techno-doomers, the alt-right. Judged solely on cultural relevance, “The Matrix” might be the most consequential release of 1999.The genius of the movie — what makes it incredibly rewatchable 25 years later — is that the writer-directors Lilly and Lana Wachowski didn’t try to control the meaning. Instead, they seeded symbolism throughout.Look with me at how one introductory scene manages to draw together many thematic threads, explaining why in today’s world of pervasive internet, A.I., fake news and extremism, “The Matrix” feels more relevant than ever.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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    At Sundance Lab, Movie Economics Can’t Be Ignored This Year

    Funding is a perennial problem for the indie filmmakers who workshop their latest works here. But now Sundance itself is feeling the financial pressure.The storied Sundance Directors Lab has helped develop the early films of Quentin Tarantino and Paul Thomas Anderson, Ryan Coogler and Ava DuVernay. But when this year’s cohort of filmmakers arrived for the intensive workshop, the setting could easily have felt ominous. For the first time, the lab was taking place not at the Sundance Mountain Resort in Utah but in Colorado, at the Stanley Hotel, known more as the inspiration for “The Shining” than for fostering little movies that could.Contrary to the inn that gnawed at Jack Torrance’s sanity, the hotel in Estes Park is actually a thriving operation and as good a place as any to collaborate and create in peace. Yet the behemoth in the Rockies — with its seances, ghost sightings and, yes, a hedge maze — can’t help but seem like a symbol for an especially chilling moment for Sundance and the movie industry at large.This year the Sundance Directors Lab was held at the Stanley Hotel in Estes Park, Colo.Jimena Peck for The New York TimesThe advisers gathered twice a day to compare notes. Jimena Peck for The New York TimesFOR MORE THAN FOUR DECADES, the Sundance Film Festival has been a beacon to hungry filmmakers with stories that often proved there were moviegoers beyond those Hollywood courted. The festival remains the bright object that the Sundance Institute presents to the world. But it is the organization’s founder, Robert Redford, and the artist-support programs to which he is committed — for Indigenous filmmakers, for financiers, for producers and others — that have quietly, steadfastly nurtured the young talents so many associate with the festival’s breakout films.Of all the programs, the flagship Directors Lab embodies the Sundance Institute’s long game. Since 1981, a carefully chosen cohort of filmmakers and an equally curated group of veteran advisers, along with small crews and actors, have regularly convened to shoot scenes from the up-and-coming artists’ screenplays.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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    Richard Crawford, Leading Scholar of American Music, Dies at 89

    American Music was a marginal subfield in the 1960s when he began his research as a student, and then as a faculty member, at the University of Michigan.Richard Crawford, a longtime professor of musicology at the University of Michigan who helped legitimize and popularize the study of American music, died on July 23 in Ann Arbor, Mich. He was 89.His wife, Penelope (Ball) Crawford, said the cause was congestive heart failure.“He was a pioneer who shaped the scope of American music research,” Mark Clague, a musicologist and professor at Michigan who studied with Mr. Crawford, said in an interview. “It wasn’t about celebrating an unchanging canon, but about opening up the magic of musical experience.”While studying at Michigan in the early 1960s, Mr. Crawford began examining a trove of papers that had been acquired by the school’s library concerning the 18th-century musician Andrew Law, who taught singing and compiled hymnals in Connecticut. The study of American music was a marginal subfield at the time; most scholars considered music history to be about the European classics. (The “American” part of the American Musicological Society, founded in 1934, referred to the nationality of its members, not their subject of inquiry.)Whereas Mr. Crawford’s adviser, H. Wiley Hitchcock — also a major force in American music studies — had traveled to Europe for his doctoral research on Baroque opera, Mr. Crawford preferred not to uproot his young family.So despite the potential career risk, he wrote his dissertation — and then a 1968 book — on Law, becoming one of the first scholars to dedicate his life’s work to music of the United States.His timing was fortuitous: Preparations for the 1976 U.S. bicentennial celebration spurred a new public interest in reviving early American music, and Mr. Crawford helped build its scholarly infrastructure. He was a founding member of the Sonneck Society, later renamed the Society for American Music; wrote the first biography of the Revolutionary-era composer William Billings, with David P. McKay in 1975; and, through painstaking bibliographic work, excavated large swaths of repertory from the beginnings of American sacred music.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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    An Epic Summer Olympics Playlist

    Hear triumphant tracks from John Williams, Whitney Houston and, of course, Celine Dion.Celine Dion performing at the 1996 Atlanta Olympics.Mike Hewitt/Getty ImagesDear listeners,I just got out my thermometer to confirm and, yep, it’s official: I have Olympic Fever.Like much of the world, I have been glued to my TV watching the Paris Olympics for the past few days. I confess that I am, at best, a fair-weather fan of most of the sports that take place during the Summer Games, but one symptom of Olympic Fever is suddenly caring deeply about things you recently knew next to nothing about. Several days ago, if you asked me to name a male gymnast who is currently competing at the elite level, I would have stared at you blankly. But after Monday, when the U.S. men’s gymnastics team won its first medal in 16 years thanks in part to the bespectacled pommel horse specialist Stephen Nedoroscik, everything has changed. Don’t even get me started on the U.S. women’s rugby team.Today’s playlist, naturally, is a soundtrack for Olympic Fever: A collection of past Summer Olympic songs from the likes of Whitney Houston, Gloria Estefan and Björk, among others — plus a certain Èdith Piaf song that took on new resonance at this year’s opening ceremony.Subtlety is not exactly a virtue when it comes to an Olympic song, so be warned that this playlist contains grandiosity, majesty and even a little schmaltz. But it also has the power to transform whatever you’re doing into an Olympic event, whether that’s running a 100-meter sprint, successfully flipping a pancake or — like Nedoroscik, man of many talents — trying to solve a Rubik’s cube in under 10 seconds. Use it wisely.I want one moment in time,LindsayListen along while you read.1. John Williams and the Berlin Philharmonic: “Olympic Fanfare and Theme”Let’s begin with some fanfare. The prolific composer John Williams — best known for his film scores — has written four different Olympic themes over the years. But his first, composed for the 1984 Los Angeles Olympics, is still probably the most widely recognizable. “Olympic Fanfare and Theme” is guaranteed to bring a sense of triumphant grandeur to whatever you’re doing. Put this on at the end of a run and you will be physically unable to slow down.▶ Listen on Spotify, Apple Music or YouTubeWe 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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    ‘Deadpool & Wolverine’ Is the Type of of Superhero Movie the Franchise Once Mocked

    Making fun of schlocky, overwrought superhero movies used to be the Deadpool signature. But with “Deadpool & Wolverine,” and Disney’s push into the Marvel Universe, that thread is lost.Deadpool movies might as well begin with a fun qualifier for audiences: This isn’t a typical superhero movie; in fact, all genres and tropes are ripe for mocking by this foul-mouthed mercenary hero.In the first “Deadpool,” in the midst of a fight that includes decapitation and maiming, Ryan Reynolds’s Deadpool says, “I may be super, but I am no hero. And yeah, technically this is a murder. But some of the best love stories start with a murder. And that’s exactly what this is: a love story.” In the sequel, Deadpool says, “Believe it or not, ‘Deadpool 2’ is a family film. True story,” as he creatively murders a whole warehouse of Russian criminals. Dolly Parton’s “9 to 5” plays in the background.We’ve got a violent superhero movie that’s also a low-key sendup of tender rom-coms, then another violent superhero movie that pokes fun at the loving family film. So what’s “Deadpool & Wolverine”? Nothing as exciting — just another formulaic Marvel Cinematic Universe movie with a saucier rating.This third installment of the Deadpool franchise fails to deliver on that same knowing play with genre. The jokes are mostly about leaning heavily into the rules and standards of the superhero genre as orchestrated by Marvel — a bad omen for the Deadpool brand, formerly of 20th Century Fox before Disney acquired it in 2019.The new movie picks up a thread from the previous one when Deadpool uses a time-travel device to save the love of his life, Vanessa (Morena Baccarin). It’s a blatant deus ex machina, and the film casually undercuts its own emotional arc in order to make meta jokes about whether time travel could have changed the trajectory of Reynolds’s career.“Deadpool & Wolverine” seems to have forgotten its own joke about the earnest use of cheap plot devices like that — it dives headfirst into the commercial wholesomeness, overextended plotlines and shameless fan service that have come to define the majority of the Marvel Cinematic Universe in the last few years. In the latest film, Wolverine’s back from the dead (see the end of “Logan” to catch up), thanks to the multiverse, and he and Deadpool team up to keep Deadpool’s timeline from being decimated by the Time Variance Authority (see “Loki” to catch up).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