Aurelia Butler

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    How a Soprano With Dyslexia Rose to the Heights of Opera

    Elza van den Heever, a star of “Die Frau Ohne Schatten” at the Metropolitan Opera, no longer sees dyslexia as a hindrance — just a different way of learning.When the soprano Elza van den Heever was hired to sing the role of the Empress in Strauss’s “Die Frau Ohne Schatten” at the Metropolitan Opera, she was elated. It was a dream role — the kind that could cement her reputation as a leading singer.But van den Heever was also nervous. She has struggled with dyslexia since her childhood, in South Africa. And “Frau” is one of opera’s most daunting works, not least because of its dense libretto.“I just sort of assumed in life that I would never be able to sing this kind of complicated music,” she said. “I knew this would be my Mount Everest.”For three years, van den Heever followed a rigorous routine, learning the “Frau” music five to 12 measures at a time and studying the text “as if I were a toddler learning a new language,” she said.Then the pandemic hit, and the Met’s revival of “Frau” was called off.“I was devastated,” she said, “100-percent gutted.”Finally, van den Heever is getting her moment. “Frau” was rescheduled, and is now onstage at the Met through Dec. 19. Van den Heever has won praise for her shimmering voice and seamless virtuosity, and this run of “Frau” has been hailed by critics as a must-see opera.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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    Shadow of a Childless Woman: The Mythic Roots of Strauss’s ‘Frau’

    What’s behind the strange emphasis on childlessness in “Die Frau ohne Schatten,” the Strauss-Hofmannsthal opera now at the Met? Look to the ancients.Although the music of “Die Frau ohne Schatten” (“The Woman Without a Shadow”) is often transcendentally beautiful, it is among the least performed of the Richard Strauss and Hugo von Hofmannsthal operas at the Metropolitan Opera. Its relatively rare appearance on the Met stage is, I believe, in large part because of its weird, somewhat incomprehensible, and to some contemporary tastes offensive, libretto. The opera compounds the felony by being (at over four hours) the longest of all the Strauss-Hofmannsthal operas. Only “Der Rosenkavalier” comes close, but as “Rosenkavalier” is the best loved of all the pair’s operas, the length of “Frau” cannot be the only culprit.It’s the libretto. Any summary immediately brings to mind Anna Russell’s satire on the convoluted plot of Wagner’s “Der Ring des Nibelungen,” which she excused by remarking, “But that’s the beauty of Grand Opera: you can do anything so long as you sing it.”The “Frau” libretto concerns the Empress, the daughter of the invisible spirit god Keikobad and a mortal woman, who has married the Emperor (a mortal man) but cannot bear children. The sign of her defining lack is that she has no shadow; because she is part spirit, she doesn’t have enough substance to generate a shadow or a child.Many Strauss aficionados have long been uncomfortable with the opera’s strange emphasis on childlessness. But the return of “Die Frau” to the Met’s stage (through Dec. 19) comes at a fraught moment when audiences are dealing with abortion and transgender issues, not to mention concerns over a declining birthrate. They might be apt to criticize it for what they see as a natalist stance. Men and women, however, have been caught up in the convoluted dance of mortality and fertility since the dawn of history, and “Frau” draws upon that tradition, allowing us to see our present preoccupations in both the ancient wisdom and the ancient folly that still bedevil us.Mortality and fertility become real issues when the Empress learns that unless she gets a shadow within three days, her father, the god, will turn her husband, the Emperor, to stone. So she goes to the world of mortals to try to buy a shadow from the malcontented wife of a very nice but very poor man who wants children. He is named Barak, and he’s a dyer, which can be heard, for those listening in English translation, as “a dier,” one who dies, which is the defining characteristic of the dyer and his wife.Hugo von Hofmannsthal and Richard Strauss in 1912. Their opera “Die Frau ohne Schatten” premiered in 1919, in the wreckage of World War I.Fine Art/Heritage Images, via Getty ImagesWe 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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    ‘Maria’ Review: A Diva in Decline

    Angelina Jolie plays the opera star Maria Callas in a movie that can’t figure her out.There is a moment, a little way into “Maria,” when you realize it shares a cinematic universe with another of the director Pablo Larraín’s recent films. This movie’s main character is the celebrated opera singer Maria Callas (Angelina Jolie). In a flashback rendered in monochrome, we see the night she met the absurdly wealthy business magnate Aristotle Onassis (Haluk Bilginer) — and he’s the future husband, we know, of Jackie Kennedy, who was the subject of Larraín’s 2016 film “Jackie.” Onassis, still married to his previous wife, claims he’s fallen in love with Callas through his opera glasses and invites her and her husband aboard his yacht; she seems lightly amused and a little irritated. “There’s a point where self-confidence becomes a kind of insanity,” she tells him.Obviously that “cinematic universe” is just reality: Famous people know other famous people and go to the same parties and fall in love with one another. Callas and Onassis spent nine years together before he left her for the widowed Jackie Kennedy. But in this case, the link reminds the viewer that Larraín has made a better movie in his so-called diva trilogy — two better ones, actually. In “Jackie,” Natalie Portman played the bereaved first lady as she carefully crafted a legend out of her assassinated husband’s legacy. “Spencer,” which came out in 2021, was not good — but it was interesting, starring Kristen Stewart as Princess Diana in the throes of a Christmastime existential crisis.Yet “Maria” is a bit of a slog, even for an opera lover (like me). Callas here is at the end of her life, and she is not well. She lives in Paris with her long-suffering butler (Pierfrancesco Favino) and housemaid (Alba Rohrwacher), lies to them about how many pills she’s taking, and hallucinates enough of her day that she qualifies as an unreliable narrator. Her longing for Onassis, or perhaps her visions of him, is one narrative thread in “Maria.” Here are some others: her need for adulation; her fading voice; her addiction to various prescription drugs; her obsessive proclivity for ordering her butler to move the piano around her home; her slip-sliding memory; her refusal to listen to anyone’s advice other than her own; her almost pathological insistence on dying for her art.This is, in other words, about the sun setting over a once-shining prima donna, a woman who wowed the world with her voice and then faded from view. The movie skips over most of her scandals, flashing back to performances on the world’s great stages and, even earlier, in her youth (Aggelina Papadopoulou plays the young Callas). Those performances are sumptuously staged, as are several dreamlike sequences involving choruses and orchestras on the streets of Paris, in one case performing “Madama Butterfly” in the pouring rain. There’s no lack of effort here. Jolie trained for seven months to sing some of the music, and while she is lip-syncing to some of Callas’s famous performances, she is completely immersed in all 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

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    The Best Genre Movies of 2024

    We look at the finest in science fiction, horror, action and international films, all available to stream.Science Fiction‘Furiosa: A Mad Max Saga’It’s been an odd year for science fiction. One of the best such narratives was the Broadway musical “Maybe Happy Ending,” set in 2064 Seoul and in which two obsolete robots fall in love. Streaming series gave us an astounding range of stories and aesthetics, from “Sugar” to “Fallout” to “Dune: Prophecy.”Feature films, on the other end, tended to be split between insipid or downright inept mega-budget productions and indies that often recycled similar premises.Thank God, then, for George Miller, whose “Furiosa: A Mad Max Saga” reminded us what cinema can do. This prequel to “Mad Max: Fury Road” recounts how Furiosa (Alyla Browne as a kid, Anya Taylor-Joy as a young woman) ended up in the Citadel run by Immortan Joe (Lachy Hulme), and how she lost an arm.The movie is in a constant escalation of one-upmanship, though Miller is only competing with himself at this point. Why settle for one madman, for instance, when you can stick your heroine in a power struggle between two of them? So the director introduces the warlord Dementus, played by a Chris Hemsworth unabashedly flirting with camp. While it is operatically berserk, “Furiosa” also has a stylish, virtuosic classicism. Miller did not wreck his legacy.— ELISABETH VINCENTELLIStream “Furiosa: A Mad Max Saga” on Max.Horror‘In a Violent Nature’Ry Barrett in the film “In a Violent Nature.”Pierce Derks/IFC Films/ShudderIn a year of humdrum haunted houses and soulless spirits, Chris Nash’s slasher film “In a Violent Nature” was a brutal knockout — a surprise too, considering that it’s as placid as it is gruesome.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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    Nicole Kidman on Watching ‘Babygirl’ and the Loss of Her Mother

    Nicole Kidman’s eyes widened. “Haven’t you been to the Rockettes?” she asked. “I go every year. Oh yeah, I’m obsessed!”Over celery root soup at the Empire Diner in Manhattan last week, the 57-year-old Oscar winner regaled me with stories about the high-kicking Christmas spectacular, which she had attended the night before with her children and husband, the singer Keith Urban: “I was saying to my husband, ‘Why do we love it so much?’ And he said, ‘Because it’s a memory. You’re remembering the kid in you.’”Lately, Kidman has been thinking a lot about this sort of thing, tracing her life and career as part of a continuum. Her new film, “Babygirl,” is one such reconnection: Though she has recently been seen in splashy streaming series like “The Perfect Couple” and “Lioness: Special Ops,” it marks a return to the kind of risky, auteur-driven filmmaking she used to be acclaimed for.Directed by Halina Reijn, “Babygirl” stars Kidman as Romy, a put-together chief executive with a doting husband (Antonio Banderas) but an unsatisfying sex life: Afraid to explore her desire to be dominated, Romy finds her kink fulfilled by a young intern (Harris Dickinson) with whom she embarks on a tumultuous affair. “It’s very exposing,” Kidman admitted of the sexually charged film. When she watched it for the first time with an audience, she felt so naked and vulnerable that she buried her head in Reijn’s chest.Nicole Kidman said she was able to shoot the intimate sex scenes by telling herself, “Don’t think of this being seen by anybody.”“Babygirl” could earn Kidman her sixth Oscar nomination and has already won her the prestigious Volpi Cup for best actress at the Venice Film Festival in September, though Kidman had to miss that ceremony after the death of her mother, Janelle, at 84. The two were quite close and her passing has put Kidman in a contemplative mood: Over the course of our conversation, she discussed not just “Babygirl” but also her mother’s unrealized ambitions and the difficulties that thwart female fulfillment, tackling those topics in a surprisingly unguarded way.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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    ‘The Bibi Files’ Review: The Case Against Netanyahu

    This documentary about Prime Minister Benjamin Netanyahu of Israel looks at the corruption investigation and his enduring grip on the government.“The Bibi Files” opens by promising to show viewers leaked videos from the police investigation of Prime Minister Benjamin Netanyahu of Israel (ubiquitously known as Bibi), who is currently standing trial on corruption charges. The videos, a title card says, “are being shown for the first time in this film.”But in some ways the interrogation footage is the least interesting part of this documentary, directed by Alexis Bloom (“Divide and Conquer: The Story of Roger Ailes”). After decades in the public eye, Netanyahu and his wife, Sara, are both practiced stonewallers, while their son Yair accuses the officers questioning him of being “a police force of Mafiosos” and participating in a “witch hunt.” More surprising are the snippets from the investigators’ interviews with Miriam Adelson and husband, Sheldon, the hotel and casino magnate who died in 2021. These longtime Netanyahu allies here sound, in admittedly brief clips, like they’re trying to distance themselves from Bibi and Sara.Beyond the videos, the movie takes a thorough, methodical approach to laying out the case against Netanyahu, even if few of its arguments are new. Bloom and her camera subjects trace, over decades, his strengthening grip on the Israeli government, his apparent taste for luxury items and his aggressiveness in stifling criticism. Avi Alkalay, the former editor in chief of the news website Walla, owned by a Netanyahu associate, recalls being pressured to make the publication’s coverage less critical. (The code words, he says, were “less paprika.”) Netanyahu is described as expending precious political capital with John Kerry, then the U.S. secretary of state, to get a visa renewed for the producer Arnon Milchan, who, according to prosecutors, had given the Netanyahus hundreds of thousands of dollars’ worth of gifts.And if claims about back-scratching, cigars and champagne may seem inconsequential in the grand scheme of Netanyahu’s rule, the film furthers the oft-made case that his methods of avoiding accountability have jeopardized Israel’s security. The documentary examines his alliance with far-right politicians and his continued pursuit of the war in Gaza, which, multiple interviewees argue, no longer has any achievable objective.Many of the most potent statements come from Raviv Drucker, an investigative reporter and a producer of the documentary, and Uzi Beller, a childhood friend who began speaking out against the prime minister. (The first time we see him, he makes clear that he wants to distinguish between two men: He calls them “my kind of Bibi,” rather than “the crowd kind of Bibi,” and “Netanyahu.”)Less persuasive is the film’s portrayal of Sara Netanyahu as a kind of Lady Macbeth figure. (“I think Bibi is afraid of Sara,” says Hadas Klein, a former assistant to Milchan.) That may or may not be accurate, but the characterization has the effect of making excuses for Netanyahu’s own maneuvering. “He knows what he’s doing,” Beller says. “It’s not that he doesn’t know.”The Bibi FilesNot rated. Running time: 1 hour 55 minutes. In theaters. More

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    ‘The Texas Chain Saw Massacre’ Score, a Noisy Gem, Will Arrive at Last

    Fifty-one years after the smash horror movie, its groundbreaking and unconventional music — long a “holy grail” — will arrive on vinyl.In 1996, years before helping to found the experimental rock institution Animal Collective, David Portner and Brian Weitz were Baltimore high school pals who diligently hunted for the soundtrack album that perfectly meshed their love of the unorthodox sound worlds of musique concrète and the thrills of horror movies: “The Texas Chain Saw Massacre.” “It wasn’t really till years later that I found out that it had never been released,” Portner said.“The Texas Chain Saw Massacre” changed the horror business when it splattered out in 1974, turning a spartan budget into a $30 million juggernaut and laying groundwork for the blood-soaked slasher genre that dominated the 1980s. Among its many innovations was its unconventional score, an abstract suite of bone-chilling scrapes, metallic clanks, ominous drones and mysterious stingers.This symphony of discordance, recorded by the film’s director Tobe Hooper and the sound man Wayne Bell, emerged three full years before the first commercially available industrial music from Throbbing Gristle. It anticipated the tape-traded noise music underground that flourished in places like Japan in the 1990s and the American Midwest in the ’00s. But with the master tapes ostensibly lost and Hooper seemingly uninterested in an official release, the “Chain Saw” score survived mostly as a bootleg, often just the entire 83-minute film dubbed to audio cassette from a VHS or Laserdisc.That half-century of tape hiss and YouTube rips will end in March with a vinyl release on the boutique soundtrack label Waxwork Records. (Pre-orders start this week.)The movie was created on a spartan budget but turned into a $30 million juggernaut.Bryanston Distributing“It was kind of like a holy grail. Was it even possible to do it?” said the Waxwork co-founder Kevin Bergeron, who had been doggedly pursuing the release for more than a decade. “Everyone has asked. Literally every label from Sony to Waxwork. Major labels to independents to randos living with their parents. Everyone wanted to release it. What would it take to make it happen? No one had any sort of intel, like what would it cost or what would it take.”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 ‘Her Story,’ a Feminist Comedy, Came to Rule China’s Box Office

    “Her Story” touches on sensitive topics in China, like censorship and gender inequality. But its humorous, nonconfrontational approach may have helped it pass censors.The movie calls out stigmas against female sexuality and stereotypes about single mothers. It name-drops feminist scholars, features a woman recalling domestic violence and laments Chinese censorship.This is not some indie film, streamed secretly by viewers circumventing China’s internet firewall. It is China’s biggest movie right now — and has even garnered praise from the ruling Communist Party’s mouthpiece.The success of “Her Story,” a comedy that topped China’s box office for the last three weeks, is in some ways unexpected, at a time when the government has cracked down on feminist activism, encouraged women to embrace marriage and childbearing and severely limited independent speech. The film’s reception reflects the unpredictable nature of censorship in the country, as well as the growing appetite for female-centered stories. Discussion of women’s issues is generally allowed so long as it does not morph into calls for rights. “Her Story,” which some have called China’s answer to “Barbie,” cushions many of its social critiques with jokes.The director of “Her Story,” Shao Yihui, has emphasized at public appearances that she is not interested in provoking “gender antagonism,” an accusation that official media has sometimes lobbed against feminists.At a time of sluggish growth and anemic ticket sales, movie producers — and perhaps government regulators — have been eager to attract female audience members, an increasingly important consumer base. Other recent hit movies have also been directed by and starred women, including the year’s top box office performer, “YOLO.”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