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      Review: ‘Il Trovatore’ at the Met Opera Doesn’t Catch Fire

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      The energy in Verdi’s classic must come from the singing, but the cast of this revival fails to convey the work’s passion.Verdi’s “Il Trovatore” begins with a group of soldiers keeping a weary patrol. “Drive off the sleep that hangs heavy on our eyelids,” they sing, begging their commander to entertain them with a story.His spine-tingling tale riles them up. But the sleepiness never quite lifts from the revival of “Il Trovatore” that opened at the Metropolitan Opera on Saturday afternoon. While this was only the first of 12 performances of David McVicar’s cement-gray staging — a long run — already on Saturday there was the worn-out feeling of a show ready to rest.The conductor Daniele Callegari kept things flowing in the orchestra pit. But particularly in the operas of the Italian bel canto tradition from which “Il Trovatore” (1853) emerged, the energy — in this piece, it’s closer to crazed passion — must come from the singing.The tenor Michael Fabiano is usually the kind of artist who provides that energy, even if his voice can seem tensely pressed out rather than smoothly natural. As Manrico on Saturday, though, he tended listless, sounding strained from his first offstage song. He occasionally made some attractively plangent sounds, but couldn’t conjure this character’s moody restlessness.As Azucena, the mezzo-soprano Jamie Barton sang with neither the raw power nor the varied, surprising colors needed to make this long-suffering woman’s plight feel truly central to the story. Igor Golovatenko, a baritone who has made a strong impression at the Met in Russian works and, last season, in Verdi’s “La Forza del Destino,” was gruffer than usual on Saturday as Count di Luna.Fabiano and Willis-Sorensen. As Leonora, she kindled some of the passion the production was otherwise lacking. Ken Howard/Metropolitan Opera“Il balen,” his monologue about his consuming love for the noblewoman Leonora, should unfold in long, aching lines but here was tired and blunt. Even putting a leading man, the bass-baritone Ryan Speedo Green, in the supporting role of Ferrando didn’t end up seeming like luxury casting; this part wants richer depths than Green’s voice provided on Saturday.The show did give reassuring signs about the continued health of the Met’s chorus under its new director, Tilman Michael. That group of soldiers early on sounded hearty and believably frightened, and the women of Leonora’s convent sang with evocative mistiness.Best among the soloists was the soprano Rachel Willis-Sorensen as Leonora. She wasn’t entirely comfortable when agility was required, and she didn’t have the vocal heft and commitment to give the “Miserere” in the final act its full stature. But along with some light-filled high notes, there’s a gentle creaminess to her tone that made the aria “D’amor sull’ali rosee” feel earnest and true.Thanks to Willis-Sorensen, some embers of passion glowed near the opera’s end. But it was too little, too late, for a performance that never caught fire.Il TrovatoreContinues through Dec. 6 at the Metropolitan Opera, Manhattan; metopera.org. More

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      Hear a Chopin Waltz Unearthed After Nearly 200 Years

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      Deep in the vault of the Morgan Library & Museum in Manhattan on a late-spring day, the curator Robinson McClellan was sorting through a collection of cultural memorabilia. There were postcards signed by Picasso, a vintage photograph of a French actress and letters from Brahms and Tchaikovsky.When McClellan came across Item No. 147, he froze:The Morgan Library & MuseumIt was a pockmarked musical scrap the size of an index card…… with tiny notation and a conspicuous name.The piece was marked “Valse,” or waltz.And a name was written in cursive across the top: Chopin.“I thought, ‘What’s going on here? What could this be?’” McClellan said. “I didn’t recognize the music.”McClellan, who is also a composer, snapped a photo of the manuscript and played it at home on a digital piano. Could it really be Chopin? He had his doubts: The work was unusually volcanic, opening with quiet, dissonant notes that erupt into crashing chords. He sent a photograph to Jeffrey Kallberg, a leading Chopin scholar at the University of Pennsylvania.“My jaw dropped,” Kallberg said. “I knew I had never seen this before.”After testing the manuscript’s paper and ink, analyzing its handwriting and musical style, and consulting outside experts, the Morgan has come to a momentous conclusion: The work is likely an unknown waltz by Frédéric Chopin, the great fantasist of the Romantic era, the first such discovery in more than half a century.Hear the full Chopin waltz, performed by Lang Lang at Steinway Hall in Manhattan.Mohamed Sadek for The New York Times More

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      Three New Books Make the Case for Music as Medicine

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      Three new books make the case for music as medicine. In “The Schubert Treatment,” the most lyrical of the trio, a cellist takes us bedside with the sick and the dying.My colleague Dwight Garner is a great connoisseur of the quotation. I find myself stumbling around this week in the dark corners of the misquotation. Music may indeed have charms to “soothe the savage beast,” as is oft-declared, but the line actually ends “a savage breast,” and is attributable not to William Shakespeare, but to William Congreve, from his 1697 play “The Mourning Bride.”Now you know.Music’s soothing and stimulating effect — its use as a kind of medicine — is the subject of at least three books published this year. This is not a new therapy, but a blooming hot spot of research.I’ve been poking around there for a while, curious to figure out why my mother, a retired professional violist and pianist with advancing dementia, retains so much of her memory (including the ability to sight-read) in this particular realm. She still plays weekly string quartets and piano duos and sings in perfect harmony with Alexa’s somewhat middlebrow choices, though an old game of name-the-composer has faded.THE SCHUBERT TREATMENT: A Story of Music and Healing (Greystone, $24.95), by the cellist and art therapist Claire Oppert, is a slim but shimmery account of performing on her “forever instrument” for a series of patients with varied afflictions, including the inevitable final one.Oppert’s father was a beloved company doctor for several theaters in Paris, who himself played the piano, and she has worked with Howard Buten, a professional clown, novelist and psychologist specializing in autism. (This field teems with polymaths.) Though she tangles dutifully with charts, data and analytics, her philosophy is holistic: “trust and gratitude before the splendor of all things: This is life’s foundation, its bedrock.”Or, more bluntly: “Ten minutes of Schubert is the equivalent of five milligrams of oxy,” the chief of the palliative care unit at a Paris hospital tells her. (Maybe this is why Donald J. Trump played “Ave Maria” at that recent rally-turned-swayfest.)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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      Lil Durk Is Accused of Conspiring to Kill a Rival. What We Know About the Case.

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      The rapper Lil Durk was arrested at the airport in Miami this week after he had been booked on flights to three international destinations, federal prosecutors said.The Grammy-winning rapper Lil Durk was arrested on a federal charge near Miami International Airport on Thursday over accusations that he conspired to kill a rap rival, resulting in the fatal shooting of another person.Lil Durk put out a bounty on the life of another rapper, identified only as T.B. by prosecutors, as retaliation for the 2020 killing of the rapper King Von, a member of the hip-hop collective Only the Family, which Lil Durk founded, according to the federal criminal complaint filed in the U.S. District Court for the Central District of California.An F.B.I. affidavit also says that Lil Durk had been booked on at least three international flights that were leaving on Thursday — to Italy, Switzerland and the United Arab Emirates — in an attempt to flee the United States.Lil Durk, 32, whose legal name is Durk Banks, appeared in the U.S. District Court for the Southern District of Florida on Friday. He remained in federal custody and was expected to be arraigned in Los Angeles in the coming weeks, according to prosecutors. He was charged with conspiracy to use interstate facilities to commit murder for hire resulting in death.The news of his arrest comes weeks before the scheduled release of his new album, “Deep Thoughts,” on Nov. 22. Earlier this year, he won a Grammy Award for Best Melodic Rap Performance for his song “All My Life,” featuring J. Cole.Representatives for Lil Durk had not responded to a request for comment.Here’s what we know about the case so far:Lil Durk is alleged to have co-conspirators.Lil Durk’s arrest comes on the heels of a recently unveiled federal indictment in Los Angeles charging five other men affiliated with Only the Family, or O.T.F., with the murder-for-hire plot, alleging that they conspired to “track, stalk, and attempt to kill” a rapper identified as T.B. 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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      Sean ‘Diddy’ Combs’s Empire: Winnowed, but Still Weighty

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      The music mogul’s business portfolio has shrunk, in part because of multiple sex abuse allegations, but his wealth remains a critical factor as his criminal case unfolds.In arguing to keep Sean Combs in jail until his trial on federal racketeering and sex trafficking charges, prosecutors have portrayed him as a lavishly wealthy, well-connected music mogul who would be well positioned to flee. In court papers, prosecutors cited media reporting that estimated his wealth at close to a billion dollars.But as Mr. Combs’s reputation has unraveled amid a wave of high-profile lawsuits and criminal charges, so has his business portfolio. Once a major brand ambassador and chairman of a media platform, he has been forced to withdraw from those roles. In June, several months before Mr. Combs was indicted, Forbes estimated his net worth at $400 million, down from $740 million in 2019.Mr. Combs’s fortune has been at the forefront of his public persona since the 1990s, when the success of his hip-hop and R&B label, Bad Boy Entertainment, meant he was known as much for his high-flying, champagne-popping lifestyle as the music he produced.One year ago, Mr. Combs, who is known as Diddy, was at the helm of an ever-growing portfolio: He was a record label founder, a liquor promoter, a cable TV and digital media chairman, a philanthropist and a fashion executive with a label called Sean John.Mr. Combs has gained prominence as a record label executive, a liquor promoter and the founder of a cable TV and digital media platform.From left: Theo Wargo/WireImage, via Getty Images; Stan Honda/Agence France-Presse — Getty Images; Dimitrios Kambouris/Getty Images for Revolt TV“He was a larger-than-life marketer,” said Dessie Brown Jr., an entertainment consultant who long viewed Mr. Combs as a model for building a career. “He always talked about being like a ringleader in a circus.”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 Lesson From John Lennon

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      The ecstasy and agony of an original Beatles fan.It started in April 1963, when friends of my parents returned to New Jersey from a trip abroad with a present for me. It was something a record shop clerk in London had recommended as the perfect thing for a 13-year-old girl.I prepared myself to act surprised and grateful, even if I didn’t like it. But when I opened it, I gasped. The four young men on the album cover were the cutest guys I had ever seen.This album, “Please Please Me,” was not available in the United States. And the group, the Beatles, was unknown here. I loved them immediately.My classmates thought my new obsession was weird, except for one girl, Sharon, who was open to new things. In the months before the first stirrings of Beatlemania in America, Sharon and I spent the after-school hours listening to the album and gazing at the cover. We could never decide which Beatle was our favorite, because our opinions changed by the day.One afternoon I noticed a sticker on the inside of the cardboard sleeve with the address for the Beatles Fan Club. I mailed a letter to 13 Monmouth Street, London, and began waiting.That summer I spent eight homesick weeks at a sleep-away camp in Maine. With every letter home, I asked if I had gotten a reply from the Beatles. With every letter back, there was a no.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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      Bryan Ferry Enjoys the Kansas City Chiefs’ ‘Outfits’

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      As the Roxy Music frontman readies a boxed set of his solo work, he reflects on the cultural inspirations that keep him fueled with glamour and drama.While Bryan Ferry was picking songs for “Retrospective: Selected Recordings 1973-2023,” — a new boxed set recapping his long solo career apart from Roxy Music, the pioneering British art-rock band he led — the singer noticed a recurring theme. “There’s a lot of love songs, a lot of romantic songs,” he said, speaking by video from his London recording studio.Ferry’s love songs, though, tend to be fraught with anxiety and blue with longing. The boy doesn’t get the girl; instead, the boy pines for the girl and can’t get her out of his mind. “But those are always the best love songs, aren’t they?” he asked with a chuckle. “I do like music that’s introspective, and a bit on the sad side.”The set begins with material from “These Foolish Things” (1973), on which Ferry brashly covered a broad array of songs, including one of Bob Dylan’s prolix metaphorical rambles and “It’s My Party,” Lesley Gore’s campy teen heartbreak lament. Ferry had studied at art school with the British Pop Art provocateur Richard Hamilton, who believed there was no hierarchical distinction between high and low culture, an idea the singer has sustained throughout his work.Last month, Ferry turned 79, and he’ll have a new album next year, but indicated that his touring days might be over: “As you get older, the travel is a bit tiring.” The singer grew up working class outside Newcastle — his father tended to horses that worked in local coal mines — but as Roxy Music gained popularity and cultural cachet in the 1970s, he developed appreciations for all things luxe. His list of 10 essential inspirations mixes the urban and the rural, the modern and the old-fashioned, with a consistent eye for glamour and drama. These are edited excerpts from the conversation.1His own recording studioI’ve worked in a lot of studios and it’s great to finally have this place. Prince used this studio for an album he did with a girl band [“Plectrumelectrum,” by Prince and 3rdEyeGirl], and they were really good. I like to think some of it might’ve rubbed off.2His gardenOn weekends, I get out of London and go to the country for fresh air. If you’re a musician, you can be trapped indoors for days on end and it’s nice to have some respite from that. I’ve got a beautiful garden with an apple orchard, and at this time of the year, the fruit is getting ready to pick.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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      Phil Lesh’s Life in Pictures

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      Phil Lesh, the bassist and a charter member of the Grateful Dead who was 84 when he died on Friday, will be remembered as a versatile musician and a pioneer for his instrument of choice.Lesh co-wrote songs and was an occasional lead vocalist across his 30-year career with the rock band. But his skill at soaring improvisation and his chemistry with the band’s lead guitarist, Jerry Garcia, ensured that Lesh would also be seen as a main character.Here are some snapshots from Lesh’s life and career.Paul Ryan/Michael Ochs Archives, via Getty ImagesPhil Lesh, Bob Weir and Jerry Garcia in 1965 as the Warlocks before they became the Grateful Dead.Ron Rakow/Retro Photo ArchiveLesh on Ashbury Street in 1968.Associated PressThe Grateful Dead with reporters in San Francisco in 1967.Don Paulsen/Michael Ochs Archives, via Getty ImagesFrom left, Bill Kreutzmann on drums, Lesh and Weir at the Cafe Au Go Go in New York in 1967.Leni Sinclair/Getty ImagesFrom left, Garcia, Lesh and Weir in Ann Arbor, Mich., in 1967.Malcolm Lubliner/Michael Ochs Archives, via Getty ImagesSan Francisco, 1968.Chris Walter/WireImage, via Getty ImagesThe Dead in 1970, clockwise from top left: Weir, Lesh, Bill Kreutzmann, Ron McKernan, Mickey Hart and Garcia.Robert Altman/Michael Ochs Archives, via Getty ImagesSan Francisco, 1970.Bettman/Getty ImagesThe Dead in the late ’60s.Ed Perlstein/Redferns, via Getty ImagesFrom left, Garcia, Weir and Lesh in Golden Gate Park, San Francisco, 1975.Ron Rakow/Retro Photo ArchiveLesh at Hollywood Bowl, 1974.Mark Sullivan/Getty ImagesLesh, at right, with David Crosby, left, and Ned Lagin, who both played briefly with the Dead.Ed Perlstein/Redferns, via Getty ImagesSan Francisco, 1978Roger Ressmeyer/Corbis and VCG, via Getty ImagesWeir and Lesh.Roger Ressmeyer/Corbis and VCG, via Getty ImagesWeir and Lesh at a recording studio in San Rafael, Calif.Roger Ressmeyer/Corbis and VCG, via Getty ImagesThe Dead in 1982, from left: Brent Mydland, Lesh, Kruetzmann, Weir, Garcia and Hart.Tim Mosenfelder/Getty ImagesRed Rocks Amphitheatre in Colorado in 1987.Thearon W. Henderson/Getty ImagesHart, Wier and Lesh with the mascot of the San Francisco Giants in 2011.Jason Henry for The New York TimesLesh at Terrapin Crossroads in San Rafael, Calif.Associated PressThe Dead at Soldier Field in Chicago in 2015.Jason Henry for The New York TimesLesh at Terrapin Crossroads in 2015.Astrida Valigorsky/Getty ImagesAt the Great South Bay Music Festival in Patchogue, N.Y., last year. More