Aurelia Butler

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    He Made the Met Opera’s Chorus the Best in the World

    During the second intermission of the Metropolitan Opera’s gilded, gargantuan production of “Turandot” one Friday last month, Donald Palumbo raced up to a tiny broadcast studio on the top floor for an interview.Then he raced downstairs again. There was something he needed to do backstage before the curtain rose.Palumbo, 75, who is retiring this spring after 17 years as the company’s chorus master, wanted to run through the start of Act III with the quartet of heralds, drawn from the chorus, who hauntingly call out a warning from Princess Turandot.It was 13 performances into the season’s “Turandot” run, at 10 o’clock at night. But Palumbo, one of opera’s most mild-mannered yet most unrelenting perfectionists, was still making sure that the singers’ intonation was flawless, still fine-tuning the placement of the first note in a certain phrase.Palumbo conducting from the wings during a performance of “Turandot” at the Metropolitan Opera in April. Elliott Jerome Brown Jr. for The New York Times“You have to be very specific,” he had said earlier about the way he coaches his choristers, “but you can’t micromanage.”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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    Sexual Assault Suit Against Neil Portnow, Ex-Grammys Chief, Is Dismissed

    The plaintiff, who had filed her suit anonymously, told a judge that she feared the consequences if efforts to reveal her name during the proceeding were successful.A federal judge has dismissed a sexual assault lawsuit against the former head of the Grammy Awards, after the plaintiff fell out with her lawyers and said in court papers that she feared for her safety and well-being if her real name were revealed during the case.The suit was dismissed on Friday “without prejudice” by Judge Analisa Torres of Federal District Court in Manhattan, meaning it could be refiled again in the future.The plaintiff filed her suit anonymously in New York State Supreme Court in November, saying that Neil Portnow, the former chief executive of the Recording Academy, had drugged and raped her in a New York hotel room in 2018. Mr. Portnow, who led the Grammy organization from 2002 to 2019, denied the accusation, and in court papers his lawyers have said his encounter with the woman was consensual.The case was removed to federal court in January, and in April, Mr. Portnow’s lawyers said they would file a motion to compel the woman — who is described in court papers only as a musician from outside the United States — to use her real name.In response, the woman filed an unusual direct appeal to the judge, asking to have her case dismissed, and saying that she feared “potential grave harm” if her name became known. Her lawyers then asked permission to withdraw as her counsel, saying that “the attorney-client relationship has deteriorated beyond repair.”In her letter to the judge, the woman said that her lead attorney, Jeffrey R. Anderson, had actually resigned days earlier and told her in a letter: “Now that the defendants brought your case into the federal court where your anonymity and your name can no longer be protected, you are faced and we are faced with the possibility of grave further harm.”Lawyers for Mr. Portnow wrote to the judge saying that any dismissal of the case should be “with prejudice,” which would prevent her from bringing it again.The woman, they wrote, had engaged in “vexatious and harassing behavior that has caused substantial harm” to Mr. Portnow. Their response included what they said were excerpts from text messages and emails; they said the woman had proposed marriage to Mr. Portnow and asked him to write a letter of recommendation for an immigration application.In rejecting Mr. Portnow’s request, Judge Torres said that Mr. Portnow would not suffer “plain legal prejudice” if another case were brought. The judge also noted the text messages and emails he cited, saying: “Portnow’s one-sided characterization of the events at issue precedes discovery, and Portnow has not offered evidence that the litigation itself was filed with an ‘ill motive.’”In a statement, Mr. Portnow said, “These latest developments confirm what I have said over the past five years since the inception of these outrageous and damaging allegations: The claims against me were false and without merit. I look forward to moving on with my life and continuing to work on meaningful projects.” More

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    Ivan F. Boesky, Rogue Trader in 1980s Wall Street Scandal, Dies at 87

    An inspiration for the Gordon Gekko character in the movie “Wall Street,” he made a fortune from insider trading before his downfall brought a crashing end to a decade of greed.Ivan F. Boesky, the brash financier who came to symbolize Wall Street greed as a central figure of the 1980s insider trading scandals, and who went to prison for his misdeeds, died on Monday at his home in the La Jolla neighborhood of San Diego. He was 87.His daughter Marianne Boesky said he died in his sleep.An inspiration for the character Gordon Gekko in Oliver Stone’s movie “Wall Street” and its sequel, Mr. Boesky made a fortune betting on stock tips, often passed to him illegally in exchange for suitcases of cash. His guilty plea to insider trading in November 1986 and his $100 million penalty, a record at the time, sent shock waves through Wall Street and set off a cascade of events that marked the end of a decade of frenzied takeover activity and the celebration of conspicuous wealth.As federal investigators closed in on Mr. Boesky, he agreed to cooperate, providing information that led to the downfall of the investment bank Drexel Burnham Lambert and its junk bond king, Michael Milken.Mr. Boesky brought an aggressive style to the once-sleepy world of arbitrage, the buying and selling of stocks in companies that appear to be takeover targets. Sniffing out impending deals, he amassed stock positions at levels never seen before.At the top of his game in the mid-1980s, he had a net worth of $280 million (about $818 million in today’s currency) and a trading portfolio valued at $3 billion (about $8.7 billion today), much of it financed with borrowed money. Home was a sprawling estate in Westchester County, N.Y., its main house adorned with a Renoir and carpets embossed with his monogram, “IFB.” (The estate was once owned by the Revson family, founders of Revlon cosmetics and, before that, the family behind Macy’s, the Strauses.)Besides a Manhattan pied-à-terre, there was a retreat on the French Riviera, a lavish Paris apartment and a condo in Hawaii. Through his first wife, Seema Boesky, he was part owner of the celebrated Beverly Hills Hotel, a lush pink concoction favored by Hollywood stars as well as by titans of finance attending the Predators’ Ball, Drexel Burnham’s annual get-together.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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    Trump Biopic Hits Cannes Film Festival: ’The Apprentice’

    The film covers Donald J. Trump’s relationships with the fixer Roy Cohn and his first wife, Ivana, and tries to explain the future president, at least as a young man.Would Donald J. Trump enjoy Cannes? It’s possible, since the extravagant displays of wealth here — all the yachts and glamour — are typically his thing.But would Cannes enjoy Donald J. Trump?You might be tempted to say no, since the Cannes Film Festival draws the sort of liberal-leaning artists that reliably vote against the former president and his allies. But that clash of sensibilities lent a frisson to Monday’s premiere of “The Apprentice,” starring Sebastian Stan as a young Trump.Directed by Ali Abbasi (“Border,” “Holy Spider”) and written by the author Gabriel Sherman, this origin story of sorts begins with Trump in his late 20s as he aspires to greatness but mostly putters around collecting overdue rent for his father’s real estate company. (One angry tenant responds by hurling a pot of boiling water at him.) Trump is a man in need of a mentor, and he finds it in the lawyer Roy Cohn (Jeremy Strong), who takes an immediate liking to this young striver. And why wouldn’t they spark to each other? On one visit, Trump hops out of a car emblazoned with the license plate “DJT” and sees that Cohn’s own plate reads “RMC.” Game recognizes game.The closeted Cohn character has complicated reasons for keeping Trump close: There’s a one-sided attraction there, and when giving Trump an expensive suit, he tells the younger man, “If you look like a million bucks, I look like a million bucks.” But mostly, he sees Trump as an appreciative vessel for his lessons in venality. Cohn teaches him how to use dirty tricks to succeed in business and imparts three rules that will become Trump’s modus operandi: Always be on the attack, deny everything and never admit defeat.But in its own way, theirs is a “Star Is Born” dynamic: As Trump rises, Cohn falls on harder times, and the protégé who was once so easily impressed now seems sickened to spend time with someone no longer on his level. By the time we reach the 1980s, Trump has married his first wife, Ivana (Maria Bakalova), and broken ground on his crowning real estate achievement, Trump Tower. Still, Cohn won’t be dispatched from his high-flying life quite so easily.Is the movie sympathetic to Trump? Not exactly, though it labors to at least explain him. At first, Stan’s performance feels surprisingly toned down: Though young Trump is certainly full of himself, he seems more abashed in Cohn’s outsize presence. But as Trump gets hooked on success (and speedlike diet pills), Stan transforms into the man we know today, who leads with bluster and arrogance. “The Apprentice” suggests he’s little more than a MAGA magpie, stealing his famous “Make America Great Again” phrase from a Reagan operative and even modeling his orange complexion on Cohn, who liked to tan himself to a radioactive umber.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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    ‘Stax: Soulsville, U.S.A.’ Review: Looking for a Little Respect

    An HBO series tells the triumphant, tragic story of the record label Otis Redding, Isaac Hayes and the Staple Singers called home.Multipart music documentaries come at us these days with the insistence and abundance of the old K-tel collections, scrambling to satisfy the cravings of every variety of pop nostalgist. Recent months have added “James Brown: Say It Loud” (A&E), “In Restless Dreams: The Music of Paul Simon” (MGM+), “Kings From Queens: The Run DMC Story” (Peacock) and “Thank You, Goodnight: The Bon Jovi Story” (Hulu), among others, to the rotation.That’s four Rock & Roll Hall of Fame acts right there. But if you are looking for something even bigger — the arc of America across the 1960s and ’70s, set to a rough and infectious soundtrack — I know a place: “Stax: Soulsville, U.S.A.,” premiering Monday on HBO.The stormy, relatively short history of Stax Records (it went from founding to bankruptcy in 18 years) is rich material, shaped by a serendipitous blend of personality, geography and studio acoustics and propelled by the regional dynamics of race, class and music in Memphis, away from the record-industry centers of New York and Los Angeles.The director Jamila Wignot, who has profiled Alvin Ailey for “American Masters” and directed episodes of Henry Louis Gates Jr.’s “Finding Your Roots,” brings more organizational sense than imaginative flair to the four-episode series. “Soulsville, U.S.A.” gives a conventional talking-heads treatment to a story that calls out for more. But that story, tracking from innocence to cynicism and triumph to calamity, is so involving that Wignot’s straightforward approach isn’t fatal.And the interviewees doing the talking are a notably varied and engaging group. They include the white farm boy Jim Stewart, earnest, folksy and disastrously naïve, who founded the label with his sister Estelle Axton; the charismatic Black businessman Al Bell, who came on as promotions director and saved the company when it seemed doomed, only to preside over its eventual demise; and Booker T. Jones, leader of the house band Booker T. and the M.G.’s, who looms over the early episodes like a cool, cryptic, scholarly guru of soul.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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    Taylor Swift Beats Gunna on the Chart. Her Next Rival? Billie Eilish.

    “The Tortured Poets Department” logs a fourth week at No. 1. Next week’s competition is a battle between two stars with multiple versions of their LPs for sale.Taylor Swift stays at No. 1 on Billboard’s album chart for a fourth time, easily holding off a new release by the Atlanta rapper Gunna. But next week she may face a challenge from Billie Eilish — and its result could come down to fans’ appetites for buying multiple “versions” of the stars’ albums.“The Tortured Poets Department,” Swift’s latest studio album, holds atop the Billboard 200 with the equivalent of 260,000 sales in the United States, including 282 million streams and 41,000 copies sold as a complete package, according to Luminate, a data tracking service. Since its record-breaking opening last month, “Tortured Poets” has racked up about 3.6 million equivalent album sales.Gunna’s “One of Wun,” released only in digital form — though Gunna’s website also sold CDs and vinyl LPs that it said would be sent to fans later this year — starts at No. 2 with the equivalent of 91,000 sales, most from its 119 million streams.On Friday, Eilish released “Hit Me Hard and Soft,” her third LP, and the first since she won two Oscars and added two more Grammys to the seven she already had. The music industry is watching the album’s progress closely, in part to see if Eilish’s latest can end Swift’s dominance on the chart.Most of the 31 tracks on “Tortured Poets” have begun to trickle down the daily charts of the major streaming services, while Eilish’s new songs — there are only 10 — have opened strong. For next week’s chart, the key differentiator may be both women’s releases of multiple versions of their albums, on rainbows of vinyl or in digital editions with extra goodies to goose fans’ interest.Swift made “Tortured Poets” available in four variants across physical formats, each with an extra track; these were also sold in special editions from Swift’s website with autographs and collectibles like magnets and engraved bookmarks. Eilish, who has complained about artists’ excessive marketing of physical media — saying in a recent Billboard interview that it was “wasteful” to release “40 different vinyl packages that have a different unique thing just to get you to keep buying more” — put “Hit Me” out in eight colored vinyl variants, as well as other formats like a CD decorated with paint “splattered by Billie.” (Eilish defended her release plans by promoting an “eco-friendly” approach to manufacturing, saying her releases would use recycled materials.)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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    Lily Gladstone in the Spotlight at the Kering Women in Motion Dinner

    The juror found herself at the center of the Kering Women in Motion dinner, a year after she was a little-known guest for “Killers of the Flower Moon.”At the Cannes Film Festival, much is made of the standing ovation. Every round of applause earns breathless headlines, with outlets racing to report which movie received the most prolonged cheers.But sometimes at Cannes, where you sit is just as important as when you leap to your feet.This is something Lily Gladstone found out Sunday night at Kering’s annual Women in Motion dinner, a star-studded bash that drew the likes of Michelle Yeoh, Julianne Moore, Isabelle Huppert and the jury president, Greta Gerwig. As one of Gerwig’s fellow jurors, Gladstone will help decide the winner of the Palme d’Or. It’s a prestigious position that also represents a full-circle moment for the actress, whose profile was turbocharged last year when “Killers of the Flower Moon” debuted at Cannes.The day after that premiere last May, Gladstone found herself at the Women in Motion dinner. At one point, she made her way to the party’s center table to greet her co-star Leonardo DiCaprio and perched next to him on an empty chair reserved for the festival’s president, Iris Knobloch.Recounting the story to me on Sunday, Gladstone grinned. “Iris and I were just laughing about that, that she had to kick me out of her chair last year and now I’m sitting next to her,” she said. In fact, this year Gladstone had been assigned what could be considered the party’s most prestigious spot, the chair between Knobloch and the Cannes artistic director, Thierry Frémaux.“I’m the Leo this year!” Gladstone said, chuckling. “I’m totally in his seat.”At this point in the festival, Gladstone and her fellow jurors have seen almost half the films in competition. “Last year, I only had to be concerned with one film,” Gladstone said. “This year, it’s 22.” And her jury experience comes after several months spent on the awards circuit for “Killers of the Flower Moon,” which earned her a best actress Oscar nomination.But though Gladstone’s dance card is full — she’ll soon star in “The Memory Police,” a sci-fi film scripted by Charlie Kaufman, as well as a remake of Ang Lee’s “The Wedding Banquet” that will co-star Bowen Yang — she said that taking time out for Cannes has recharged her artistic battery.“I’m ready to get back to work and shift that gear, and immersing yourself in other people’s creativity is a great way to kick-start it again for yourself,” she said. “So I’m enjoying the hell out of it.” More

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    Emma Stone, Jesse Plemons and Willem Dafoe on Yorgos Lanthimos’s New Film

    In the new Yorgos Lanthimos film “Kinds of Kindness,” a character played by Emma Stone recounts a dream in which she was the denizen of a bizarre world. “There, dogs were in charge,” she murmurs. “People were animals, animals were people.” But being brought to heel by their canine masters wasn’t as bad as it sounds, she says: “I must admit, they treated us pretty well.”Compared with how the human beings treat each other in “Kinds of Kindness,” a dark new comedy that just premiered at the Cannes Film Festival and is in theaters June 21, the dogs would surely be an improvement.Comprised of three separate stories with the cast members recurring in different roles, “Kinds of Kindness” begins with the tale of Robert (Jesse Plemons), a corporate underling whose every interaction in life — including what to eat, how to speak or even who to marry — is controlled by a boss (Willem Dafoe) whose decisions send poor Robert into a tailspin. The second story follows Daniel (Plemons again), who becomes convinced that his wife (Stone) is not who she claims to be and coaxes her into insane tasks to prove herself.And in the third sequence, cult members played by Stone and Plemons search for a woman able to wake the dead, though the whims of their guru (Dafoe) dictate that this mysterious woman also be a certain height and weight and have an identical twin. (Even when it comes to awesome supernatural powers, there are dealbreakers.)Dafaoe and Stone worked on Lanthimos’s “Poor Things” together, for which she won the best actress Oscar. “I still don’t know what that was,” Stone said. “That was cuckoo bananas.”Sam Hellmann for The New York TimesOn Saturday afternoon in a hotel here in Cannes, I met with Stone, Plemons and Dafoe to try to make sense of this triptych. According to the actors, Lanthimos isn’t keen to give too much away. “Yorgos says he likes it when people have different takes on the movie,” Dafoe said. “I think that’s the strength of it.”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