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      American Modern Opera Company Arrives at Lincoln Center

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      The stage of the David H. Koch Theater at Lincoln Center had been transformed into a split-screen tableau depicting ancient Rome and contemporary New York. A harpsichordist was playing ominous chords at furious speed. Singers, dressed in capes, suspenders and robes, scaled a rotating set.This was the start of the American Modern Opera Company taking over Lincoln Center for a residency from Wednesday through mid-July.“The Comet/Poppea” is a pairing of George Lewis’s opera adaptation of the W.E.B. Du Bois story “The Comet” and Monteverdi’s “L’Incoronazione di Poppea.”Shuran Huang for The New York TimesThe company, known as AMOC, is an experimental collective of singers, dancers and instrumental players. And the project it was putting together at the Koch Theater is the New York premiere of “The Comet/Poppea,” a work that pairs George Lewis’s adaptation of the W.E.B. Du Bois story “The Comet” and Monteverdi’s “L’Incoronazione di Poppea.”Directed by Yuval Sharon, “The Comet/Poppea” is classic AMOC fare: an irreverent mash-up of stories that unearths difficult questions about race, society and art. “We’re getting it,” the countertenor Anthony Roth Costanzo, a star and producer of the show, told his fellow cast members while frolicking in a golden cape at the end of a rehearsal on Sunday. “It’s all coming together.”Anthony Roth Costanzo, left, and Tines, two members of the American Modern Opera Company.Shuran Huang for The New York TimesWe 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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      Stefan Herheim, Opera Provocateur, Puts Down Roots in Vienna

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      For decades, Stefan Herheim worked as a freelance opera director on the highest-profile stages of Europe, with a reputation for complex, entertaining productions that combined bold spectacle with thought-provoking ideas. Then, three years ago, he decided to put down roots.He took on the position of artistic director at Theater an der Wien, a renowned theater in Vienna that once hosted the premieres of works by Beethoven and operettas like “Die Fledermaus” and “The Merry Widow.”“It was time I tried,” Herheim, 55, said in an interview, “to build up something with a bigger continuity than what I ever achieved going from house to house.”His first order of business was to oversee a two-year, 80-million-euro (about $91.1 million) renovation that the theater, built in 1801 and last renovated in 1962, needed badly. After some delays, Theater an der Wien’s main stage reopened in January. And on Friday, Herheim’s the season concluded with “Voice Killer,” a new opera by Miroslav Srnka based on the true story of an American soldier who becomes a murderer while stationed in Australia during World War II.In late May, Herheim sat in his office with a canned energy drink in hand while a rehearsal for “Voice Killer” unfolded several floors below. His face bright with excitement, he described the music in Srnka’s opera as “a psychotic room you’re entering where the sound takes you somewhere you’ve never been.”An exploration of femicide, the darker aspects of the human psyche and the repercussions of violence, “Voice Killer” is an unusual pick for an old opera house. But it is exactly the kind of work Herheim can commission as the artistic head of a stagione theater, where only one production is presented at a time, for a limited run.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 Question for the Sean Combs Jurors: What Qualifies as Coercion?

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      When the jurors deliberate Sean Combs’s fate in the coming weeks, they will confront a vast trove of evidence from two women who say his treatment of them for years swung between tender affection and sexual subjugation.At the core of the panel’s review will be the question of whether the women — both put forward by prosecutors as sex-trafficking victims — were willing participants in sex marathons with male escorts that lie at the center of the federal case against Mr. Combs.The women have testified for days that while they were in romantic relationships with Mr. Combs, they complied with his requests for voyeuristic, drug-fueled sex nights because they feared the retaliation of a man who wielded immense power over them.Casandra Ventura said she was repeatedly beaten and feared he would make sex tapes of her public as he had threatened. “Jane,” who testified under a pseudonym, said she was repeatedly pressured to have sex with hired men — once after vomiting, another time on her birthday. She said she worried that, given his pattern of behavior, she would seriously displease him if she stopped, leading him to stop paying the $10,000-a-month rent on the home where she lives with her child.“It was many, many blurred lines of love and affection mixed with emotional pressure to perform these things that my lover really desired,” Jane said of her relationship on the stand last week, “and so I wanted to fulfill my duties as a good girlfriend.”Mr. Combs has vehemently denied the sex-trafficking and racketeering conspiracy charges against him. The heart of his defense is consent. His lawyers spent hours asking the women to review messages in which they expressed love for Mr. Combs and, at times, interest in the sex sessions.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 Sean ‘Diddy’ Combs’s Trial, Talk of Baby Oil, Guns and a Guest: Kanye West

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      The rapper formerly known as Kanye West, one of the few celebrities to publicly defend Mr. Combs, was denied access to the courtroom and briefly watched on closed-circuit video.At about 11:20 a.m. on Friday, there was a commotion at the entrance to the Federal District courthouse in Lower Manhattan when Ye, the rapper and provocateur formerly known as Kanye West, entered the building where Sean Combs is standing trial.Ye, wearing sunglasses and a white denim jacket and pants, was accompanied by Mr. Combs’s son Christian. When he was asked by a reporter if he was there to support Mr. Combs, Ye said yes — though he stayed in the courthouse for only about 30 minutes, and was never seated in the courtroom.For months, Ye has been one of the only major celebrities to offer public support for Mr. Combs, who is charged with sex trafficking and racketeering conspiracy. Prosecutors have said that employees of Mr. Combs, including security staff, worked on his behalf as part of a “criminal enterprise” to commit a variety of crimes, including kidnapping, arson and obstruction of justice. Mr. Combs has pleaded not guilty.The presence of Ye — who has become a pariah in the music industry in recent years for issuing brazen antisemitic comments — was brief, but it electrified the building.When he tried to enter the 26th-floor courtroom where Mr. Combs’s trial was underway, Ye was told that he was not on the approved list for the day, which is held by court officers and includes reporters and members of the public who arrive early.So Ye was directed to a mostly empty overflow room three floors down. There, with Christian Combs and Charlucci Finney, a friend of Mr. Combs, Ye watched a closed-circuit video feed as the proceedings were set to resume after a break.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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      Foday Musa Suso, 75, Dies; Ambitious Ambassador for West African Music

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      A master of the kora who worked with Herbie Hancock and Philip Glass, his career was powered as much by experimentation as by reverence for tradition.Foday Musa Suso, a griot, kora virtuoso, multi-instrumentalist and composer whose work with artists like Herbie Hancock and Philip Glass helped thrust West African musical traditions into conversation with the world, died on May 25 in his native Gambia. He was 75.The percussionist Stefan Monssen, a mentee of Mr. Suso’s, confirmed the death, in a hospital. He did not specify a cause, but said Mr. Suso had been in ill health in recent years after suffering a stroke.Mr. Suso was born into a long line of griots, the caste of musician-storytellers who are traditionally responsible for retaining oral histories in the areas of West Africa where the Mande languages are spoken. He traced his lineage back to Jeli Madi Wlen Suso, who is said to have invented the kora centuries ago by attaching 21 strings and a cowhide to a large calabash gourd.Mr. Suso was the rare musician who learned to play in the various regional styles of griots from around West Africa. In a tribute published in Gambia’s major newspaper, The Standard, Justice Ebrima Jaiteh of the country’s high court wrote, “Jali Foday was more than a musician, he was a living archive, a teacher, and a symbol of continuity in a rapidly changing world.” (The honorific “Jali” refers to Mr. Suso’s status as a griot.)And yet Mr. Suso’s career was powered as much by his will to expand as by reverence for tradition.He added three bass strings to his kora’s traditional 21, allowing him to hold a steady beat and make its sound more danceable — and therefore more appealing to young listeners in the 1970s.He wrote many of his own compositions. He also learned to play more than a dozen other instruments, including the balafon (an African predecessor of the xylophone), kalimba (also known as the thumb piano), nyanyer (a one-stringed violin-like instrument), ngoni (an early West African banjo) and talking drum. After moving to the United States, he began experimenting with electronic instruments as well.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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      Arthur Hamilton, Who Wrote the Enduring ‘Cry Me a River,’ Dies at 98

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      A hit for Julie London in 1955, it was later recorded by — among many others — Ella Fitzgerald, Barbra Streisand and Michael Bublé, who praised it for its “darkness.”Arthur Hamilton, a composer best known for the enduring torch song “Cry Me a River,” which has been recorded by hundreds of artists, died on May 20 at his home in Los Angeles. He was 98.His death was announced this month by the American Society of Composers, Authors and Publishers and the Society of Composers & LyricistsMr. Hamilton’s long career included an Oscar nomination for best original song. But his most famous composition by far was “Cry Me a River.”It was one of the three songs he wrote for the 1955 film “Pete Kelly’s Blues,” which starred Jack Webb as a jazz musician fighting mobsters in Prohibition-era Kansas City, Mo. At the time, Mr. Webb was also playing his most famous role, Sergeant Joe Friday, on the television series “Dragnet” (1951-59).Peggy Lee, who played an alcoholic performer in the film, sang Mr. Hamilton’s “Sing a Rainbow” and “He Needs Me.” Ella Fitzgerald, who was also in the film, sang “Cry Me a River,” but her rendition was cut by Mr. Webb, who was also the director and producer.“Arthur said to me that the irony was that when Ella recorded it” — years later, for her 1961 album “Clap Hands, Here Comes Charlie!” — “he thought she made one of the greatest recordings of it ever,” Michael Feinstein, the singer and pianist, said in an interview. “But Jack felt she didn’t have the emotional bandwidth to do it justice.”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 Musical Mysteries Brian Wilson Left Behind

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      The Beach Boys mastermind has been the subject of pop scholarship and major boxed sets, but some corners of his oeuvre remain unreleased.Though Brian Wilson was one of pop’s most studied artists, he largely remained an enigma. The Beach Boys leader, whose death at 82 was announced this week, made music for the masses with an artisan’s eye for detail. While his biography was well known, questions about what drove him to the top of the charts — and ultimately deep into darkness — could never definitively be answered.Since the start of the CD era, Wilson’s legacy has been burnished by a series of deep-dive archival efforts, including the 1993 “Good Vibrations” boxed set, the revelatory “Pet Sounds Sessions” collection from 1996, a series of early 2000s reissues focused on the band’s Brother label years, and ultimately the holy grail: the release of his abandoned mid-60s masterwork, “Smile,” in 2011.“Everything Brian created is worth hearing and it all has a kind of historical value in terms of understanding his life,” said David Leaf, the Beach Boys historian who published “Smile: The Rise, Fall & Resurrection of Brian Wilson” this spring.In more recent years, that effort has continued with sets focused on the Beach Boys’ overlooked and often deceptively strange 1970s work. “These projects continue to come out with all this new and unheard material,” said the author Peter Ames Carlin, who wrote a 2006 biography of Wilson, “Catch a Wave.” “It’s a testament to just how creative and prolific Brian was — despite the many ups and downs of his life.”Even with the consistent release of music from the vaults, there are fascinating corners of Wilson’s oeuvre that have yet to see the light of day. Here’s a rundown.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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      Wayne Lewis, Singer With the R&B Mainstay Atlantic Starr, Dies at 68

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      The group reached No. 1 on the Billboard Hot 100 in 1987 with the ballad “Always” and went on to leave a lasting impression on modern-day artists.Wayne Lewis, the dapper vocalist and keyboardist who was a founder of the group Atlantic Starr, a fixture of the 1980s rhythm and blues scene, died on June 5 in Queens. He was 68.His brother Jonathan Lewis confirmed the death but did not specify a cause. He said that Wayne Lewis collapsed while running on a treadmill at a gym and was taken to a hospital, where he was pronounced dead.A suave performer with piercing eyes and a rollicking sense of humor, Mr. Lewis served as one of the singers and songwriters of Atlantic Starr, whose ballad “Always” topped the Billboard Hot 100 chart in 1987 and whose other hits included “Secret Lovers” and “Circles.” The band was nominated for three Soul Train Awards and an American Music Award.Writing with his brothers Jonathan and David, Mr. Lewis translated the universal emotions of love, lust and heartbreak into evocative verses backed by lush arrangements. His performances of the sentimental soul ballad “Send for Me,” released in 1980, became a calling card.Fluent in the sartorial language of showbiz, Mr. Lewis meticulously color-coordinated the group’s outfits, Jonathan Lewis said. His own suits — flashy, textured and patterned — were often showstoppers.Reviewing a concert for The Washington Post in 1982, Mike Joyce noted the “pop sheen romanticism” at the heart of Atlantic Starr’s music. As Wayne and David Lewis took center stage, he observed, they brought with them “a heartthrob appeal akin to the Jacksons’.”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