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      ‘Queen of Spades’ Review: A Fiery Soprano Breaks Through

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      At the Metropolitan Opera’s season premiere of Elijah Moshinsky’s production, it was the women who led, while a strong cast carried the patchwork plot.Tchaikovsky’s “Queen of Spades” tells the story of an addict, Hermann, whose obsession with cards leaves a trail of destruction. Along the way, some of the opera’s female characters become collateral damage. But at the Metropolitan Opera’s season premiere of Elijah Moshinsky’s stenciled historical-dress production on Friday, it was the women who came into focus.In large part this was because of the fiery performance of the soprano Sonya Yoncheva, who made her role debut as the aristocratic Lisa who breaks off an illustrious engagement to throw in her lot with the wild-eyed Hermann, clinging to him even after he uses deadly force to extract a supernatural gambling secret from her grandmother.“Young women often fall in love with” bad guys, Yoncheva noted in an earlier interview with The New York Times. On Friday, she drew on a wide range of vocal shadings to evoke flickers of girlish curiosity, fatalism and raw erotic longing that lent uncommon depth and agency to her character.Her commitment helped make sense of an opera that, with its collage of pastiche, quotations and narrative devices, can feel like a Frankenstein creation. Here, amid the cold glitter of a rococo-obsessed imperial court with people rigidly gliding about under towering wigs, Hermann and Lisa’s search for intense emotions seemed both nihilistic and perfectly plausible.Yoncheva might not have dominated the proceedings quite as much if she had appeared alongside a Hermann of equal stature. But the tenor Arsen Soghomonyan was dramatically stiff and vocally uneven in his house debut. Much of those jitters must be because he stepped into the role at short notice after the successive withdrawals of the tenors Brian Jagde and Brandon Jovanovich this month.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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      Israel’s Campaign to Win Eurovision Went All the Way to the Top

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      Government social media accounts and Prime Minister Benjamin Netanyahu joined a campaign to encourage people to vote for Israel’s entrant.Just minutes before Yuval Raphael went onstage to represent Israel at the Eurovision Song Contest final last weekend, the country’s prime minister, Benjamin Netanyahu, posted an appeal to his 1.5 million Instagram followers.“Vote #04 — New Day Will Rise” the prime minister’s post urged followers. “Vote 20 Times!” it added, a nod to the maximum number that viewers are allowed to cast under the contest’s rules.On a day when Israel’s military began mobilizing to advance farther into Gaza, and Israeli and Hamas negotiators were engaged in cease-fire talks, it was perhaps surprising that Netanyahu was weighing in on a spectacular, high-camp pop contest.Yet at a time when Israeli singers and artists are often shunned on the world’s stages over their country’s actions in Gaza, Eurovision appears to have grown in importance for Israel’s government.Eurovision fans vote for a variety of reasons, but Netanyahu’s direct plea was part of a wider effort by the government and pro-Israel groups to generate support for the Israeli contestant, via social media posts, email campaigns and YouTube ads.Israel secured the largest public vote at the final in Basel, Switzerland, which led to a nail-biting end to the show. Israel seemed poised to win right until the last minute of the vote count, when Austria, which had performed better in points from expert juries, leaped ahead.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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      Two Decades After Her Death, Celia Cruz Lives On for Her Fans

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      Celia Cruz reigned for decades as the “Queen of Salsa,” with her signature shout of “¡Azúúúcar!” expressing in Spanish her music’s brand of joy and optimism. Twenty-two years after her death, the Cuban powerhouse singer still captivates her fans.The petite woman with a raspy voice wore tight, glittering dresses and colorful wigs and danced in high heels while singing her hit Spanish-language songs such as “La negra tiene tumbao” and “Ríe y llora.”Born Oct. 21, 1925, Ms. Cruz began her career in Cuba in 1940 and continued it in exile, producing more than 70 international albums and winning multiple Grammy Awards and Latin Grammys.She moved to New York in 1961, and brought her musical Cuban roots and mixed them with Puerto Rican and later Dominican rhythms, helping to usher the birth of salsa as a popular Latino genre in the United States.“When people hear me sing,” she said in an interview with The New York Times in 1985, “I want them to be happy, happy, happy. I don’t want them thinking about when there’s not any money, or when there’s fighting at home. My message is always ‘felicidad’ — happiness.”Ms. Cruz died in 2003 at her longtime home in Fort Lee, N.J., from complications after a surgery for a brain tumor. She was 77. Following a tour of her coffin in Miami, masses of fans honored her at a public viewing in New York City.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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      Drummer and Music Agent Among 6 Killed in San Diego Plane Crash

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      Friends paid tribute to Daniel Williams, a former drummer for the metalcore band The Devil Wears Prada, and Dave Shapiro, a music agent who worked with Sum 41, Hanson and other bands.They were two rock music veterans who were excited to fly together from New Jersey to San Diego.One was Daniel Williams, a former drummer for the metalcore band The Devil Wears Prada. The other was Dave Shapiro, a music agent who worked with Sum 41, Hanson, Jefferson Starship and other artists, and was also a pilot who ran his own aviation business.In an Instagram story posted on Wednesday night, Mr. Williams shared a photo of their plane, a Cessna Citation, on a tarmac and two more photos of himself in the co-pilot’s seat.“Here we goooooo,” he wrote.But after crossing the country, the jet hit power lines and crashed in a residential neighborhood as it prepared to land in dense fog in San Diego early on Thursday morning.All six people aboard were killed, eight people on the ground were injured and 10 homes were damaged, the authorities said. It was not clear if Mr. Shapiro was piloting the Cessna when it crashed or if Mr. Willians was a co-pilot.Daniel Williams of The Devil Wears Prada at the Rockstar Energy Drink Mayhem Festival in 2012 in San Bernardino.Chelsea Lauren/Getty ImagesThe music executive Dave Shapiro last year in Nashville.Stephanie Siau/Sound Talent Group, via Associated PressOfficials on Friday did not release all of the names of the victims, but Mr. Shapiro, 42, was killed as were Emma Lynn Huke, 25, and Kendall Fortner, 24, two employees at Sound Talent Group, the company Mr. Shapiro co-founded, the company said.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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      Karol G’s Ode to Curves, Plus 7 More New Songs

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      Hear tracks by Alejandro Sanz and Shakira, St. Vincent, Stereolab and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Karol G: ‘Latina Foreva’The Colombian singer and rapper Karol G cheerfully fends off some unwanted male attention by praising Latin women instead: “Those curves don’t even exist in NASCAR.” The inventive pop-reggaeton production stays light and changeable, with little keyboard blips and string lines making sure the familiar beat is always laced with bits of melody.Alejandro Sanz featuring Shakira: ‘Bésame’Husky meets breathy in “Bésame” (“Kiss Me”), the new duet by Alejandro Sanz, from Spain, and Shakira, from Colombia: a 20-years-later reconnection after their 2005 megahit “La Tortura.” They trade endearments over a track that connects Latin pop to Nigerian Afrobeats — and, in the bridge, tosses in some flamenco handclaps for more trans-Atlantic fusion.Guedra Guedra: ‘Drift of Drummer’Abdellah M. Hassak, the Moroccan electronic producer, records as Guedra Guedra. Guedra is a Tuareg dance that shares its name with a cook pot that becomes a drum when covered with an animal skin. “Drift of Drummer” mixes field recordings that Hassak gathered in his travels across Africa with hand drum machines and synthesizers. Juggling ever-changing layers of percussion over a brisk implied pulse and a terse bass line, the song is a cauldron of rhythms, humanized by snippets of speaking voices.St. Vincent featuring Mon Laferte: ‘Tiempos Violentos’St. Vincent is joined by another high-drama songwriter and singer, Mon Laferte, for a third iteration of “Violent Times,” which appeared on her 2024 album “All Born Screaming” and its Spanish-language version, “Todos Nacen Gritando.” The ominous horns, looming drumbeats and James Bond-theme chords of the original track remain. Where Laferte takes over certain lines, she brings her own sharp-clawed sweetness.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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      Billy Joel Announces Brain Disorder and Cancels All Concerts

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      Joel said he had normal pressure hydrocephalus, which has led to “problems with hearing, vision and balance.”Billy Joel, the arena-filling Everyman singer-songwriter, has canceled all of his upcoming concerts, including a large-scale tour scheduled for this year and next, because of a brain disorder known as normal pressure hydrocephalus, he announced on Friday.“This condition has been exacerbated by recent concert performances, leading to problems with hearing, vision and balance,” said a statement that was posted to the singer’s social media accounts. “Under his doctor’s instructions, Billy is undergoing specific physical therapy and has been advised to refrain from performing during this recovery period.”Normal pressure hydrocephalus, or N.P.H., is a rare condition that occurs when excess cerebrospinal fluid builds up in the brain, causing symptoms that include trouble walking and controlling one’s bladder. It can also lead to cognitive impairment, including memory problems.If the disease is diagnosed early enough, it can be treated successfully through surgery that creates a path for the fluid to flow out of the brain, alleviating symptoms. But in later stages, some of its effects can become irreversible.In his statement, Joel, 76, added, “I’m sincerely sorry to disappoint our audience, and thank you for your understanding.” A representative for Joel declined to comment further.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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      Dudamel and the New York Philharmonic Play Philip Glass

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      Kate Soper’s tender, whimsical “Orpheus Orchestra Opus Onus,” a tribute to the orchestra, had its premiere on Thursday with its composer as soloist.“Is there anything like that first strike of the bow?” Kate Soper asks at the start of her new piece for the New York Philharmonic. “A hundred players moving as one! All that splendor, all that might!”She is describing the wonders of an orchestra, and you don’t have to take her word for it. In Soper’s sweet, clever “Orpheus Orchestra Opus Onus,” which had its premiere at David Geffen Hall on Thursday under Gustavo Dudamel’s baton, the ensemble illustrates her words as she says them, “Peter and the Wolf” style.“The highs got higher, the lows got lower,” she says, explaining the development of instruments, and we hear ethereal pitches, then loud rumbles. “Wood was lacquered,” she goes on, to delight in the oboe and clarinet. “Metal bent” elicits a horn fanfare and trombone slide.Soper soon proclaims, with disarming plainness, “That’s right everyone: I’m Orpheus!” In this half-hour monodrama for a mostly speaking, sometimes singing soprano, she offers a tender retelling of the legend of the great musician of Greek mythology. Her story blends into a poetic reflection on music’s meaning, what it can do (offer glimpses of the sublime) and what it can’t (most anything else).Soper does all this in quirkily postmodern style. Her eclectic, quick-shifting sounds, including touches of memorably ancient-feeling bass flute, are woven into a quilt of quotations from famous settings of the Orpheus myth by Monteverdi and Gluck, as well as lesser-heard ones by Sartorio, Landi, Campra and others. There are also flashes of Bach, Vivaldi, Beethoven, Mozart and Grieg in the mix, and the text, mostly original, interpolates passages from Rilke’s “Sonnets to Orpheus.”Modern music lovers may be reminded of Luciano Berio’s more chaotic collage “Sinfonia.” For fans of Soper, especially in her composer-performer mode, “Orpheus Orchestra Opus Onus” will recall brainy, winsome works like “Ipsa Dixit” (2016), which she began by posing the spoken question, “What is art?” and attempted to answer through snippets of writers like Aristotle, Lydia Davis and Freud.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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      3 Unsettled Questions in the Sean ‘Diddy’ Combs Trial

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      The major outlines of the prosecution of the music mogul Sean Combs have taken shape in a Manhattan courtroom. But several issues at the core of the case remain unanswered.After two weeks of testimony in the racketeering conspiracy and sex-trafficking trial of Sean Combs, the rapper and producer known as Diddy, much of the prosecution’s central narrative is clear. Mr. Combs, they say, used his power and wealth, along with violence and threats of blackmail, to coerce women into complying with his elaborate sexual demands that included commercial sex workers.Such coercive behavior was enabled, the government argues, by members of his staff, who helped to arrange and stock the marathon sex sessions known as “freak-offs” and to clean up any fallout from Mr. Combs’s entanglements.The groundwork of the defense’s counternarrative has been laid firmly, as well. Mr. Combs, they have argued, while jealous, aggressive and drug-addicted, had nontraditional but consensual sex with long-term girlfriends. That may have led to damaging, interpersonal chaos but it was not sex trafficking, Mr. Combs’s lawyers have argued.Even as some of the contours of the case have become more clear through the testimony of Casandra Ventura, Mr. Combs’s former girlfriend, and others, major lingering questions will remain when the trial continues next week. Below are three unresolved issues that could affect how the trial, which is estimated to last about six more weeks, pans out.What happened to ‘Victim-3’?Before trial, the government repeatedly referred to a woman it called Victim-3, saying that she was subjected to sexual coercion by Mr. Combs outside of any freak-off activity. She was listed prominently in the indictment as an additional person whose experience would demonstrate that Mr. Combs’s conduct hurt people beyond Ms. Ventura, the singer known as Cassie who is the prosecution’s star witness.But for reasons that have yet to be explained publicly, Victim-3 is no longer expected to take the stand, according to the lawyers involved. The trouble first surfaced two weeks ago when prosecutors told the court they were having a hard time reaching her lawyer.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