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Jutharat Pinyodoonyachet for The New York Times“Support Ukraine means listen to some Ukrainian songs, buy some Ukrainian brands, talk about Ukraine one minute a day, just in conversation.” Recently, Daria played her music at Le Bain, a club in The Standard, High Line hotel. More
Pierre Audi, the artistic director of the Park Avenue Armory, is coming into his own as the leader of the Aix-en-Provence Festival in France.AIX-EN-PROVENCE, France — On a recent Monday afternoon, the Grand Théâtre de Provence here was almost empty, a few hours before a concert performance of Monteverdi’s opera “L’Orfeo.”An organ was being tuned onstage, letting out a fluteish wheeze. In the wings, someone was warming up with the dashing brass fanfares at the start of the score.And Pierre Audi, the general director of the Aix-en-Provence Festival, which runs this year through Saturday and presented the Monteverdi, was painstakingly adjusting the lighting.“Warmer; it’s very dead,” he said to members of the festival’s technical staff as he stared at the glow on the back wall of the stage. The first act of “L’Orfeo” takes place in a meadow, which the performance would suggest with some treelike blurs of green behind the musicians. Audi wanted the color to be ever so slightly subtler, paler, more delicate.As the ensemble started to rehearse, he stood and watched, hands intertwined across his belly. The playing was spirited, but some of the singers’ bits of acting felt a tad awkward.“I haven’t done the staging,” Audi, 64, said under his breath in an accent not quite British and not quite French, with a sly smirk and an apologetic shrug. “I’m just doing the lights.”For the production “Resurrection” this year, Audi pushed for the abandoned Stadium de Vitrolles to be refurbished.Monika RittershausTaking it upon himself to do the lights for a mere concert wasn’t out of character for Audi — also the artistic director of the Park Avenue Armory in New York, the founder of the Almeida Theater in London, for decades the head of the Dutch National Opera in Amsterdam, and altogether one of the most eminent behind-the-scenes figures on the global performing arts scene.An experienced stage director as well as a renowned administrator, Audi doesn’t just work on grand strategy and schmooze with donors. He also gets into the details of craft, closely overseeing rehearsals. (The chatter this summer was that he particularly needed to help shape Satoshi Miyagi’s vaguely Kabuki production of Mozart’s “Idomeneo.”) Directors respect him because he’s one of them.After succeeding Bernard Foccroulle, who stepped down after 11 successful years at Aix, Audi was able to present just one iteration of this annual festival before the pandemic hit. But last summer, and this one, he delivered tenure-defining coups.In 2020, when all of Aix’s performances were canceled because of the pandemic, Audi managed to hold rehearsals for “Innocence,” a new work by Kaija Saariaho, with just a piano. And he was able to shift the premiere seamlessly to 2021, when it was acclaimed as one of the finest operas of the 21st century.This year, he opened the season at a new venue, which was also an old one: the Stadium de Vitrolles, a massive black concrete box built in the 1990s that had been sitting abandoned on a hilltop in an Aix suburb for over two decades.“When I arrived as director, I said to the technical people, ‘I want to see it,’” Audi recalled. “They kind of said it wasn’t possible — for a year and a half. And I had to be really tough: ‘If you don’t show it to me, I’ll stop being the director.’ It was the last day of my first festival, in 2019, and we went in with one lamp.”The premiere of Kaija Saariaho’s opera “Innocence” in 2021 was one of Audi’s tenure-defining coups at Aix.Jean-Louis Fernandez, via Festival d’Aix-en-ProvenceThe graffiti-strewn building was in sad shape, but Audi, who had transformed a former Salvation Army hall into the Almeida in 1980 and was used to programming a vast raw space in New York, realized its potential.“I saw the height of it,” he said, “and I immediately looked at the real estate being very similar to the Armory.”For two years, he courted the local government in Vitrolles, which would have to shoulder much of the cost of the refurbishment. Audi began to plan a daring premiere production for the stadium — “Resurrection,” Romeo Castellucci’s staging of Mahler’s Second Symphony as a 90-minute exhumation of a shallow mass grave — without knowing whether the renovation would be ready in time, and without doing an acoustic test in the space.“He called me,” said the conductor Esa-Pekka Salonen, “and I think he thought he would have to make a case, to somehow justify it to me: ‘We have a sort of outré idea that Castellucci will stage Mahler 2 in a half-derelict old building.’ And I just said, ‘Yeah, I’m in.’ I think he was disappointed it was so easy.”It wasn’t until last July that Vitrolles formally greenlighted the project. But Audi’s bet paid off: Work was completed on schedule, and while some debated Castellucci’s concept, “Resurrection” was generally applauded, a proof of concept at the start of a series of productions exploring the possibilities of the memorable, malleable space.“The stadium is the signature of Pierre Audi’s term,” said Timothée Picard, the festival’s dramaturg. “And it’s absolutely connected to everything he’s done from the beginning of his career. To imagine new relationships between works, space, stage directing, audience. Projects we couldn’t do in traditional venues.”Speaking to a small group of young artists during this year’s festival, Audi said, “I never looked at opera as something that had to deal with my trauma or my origins.” But he has linked his interest in repurposing unusual structures to growing up in Lebanon, a country that lacked theaters.At the Park Avenue Armory, Rashaad Newsome’s “Assembly” was “completely different than what you might think would be interesting to him,” the Armory’s president said.Mohamed Sadek for The New York Times“Opening the stadium, for me, it felt natural,” he said. “You have to take any building and make it a space.”Born into a wealthy family in Beirut, Audi was raised there and in Paris and was educated at Oxford University in Britain. He was in his early 20s when he founded the Almeida, turning it into a center of experimental theater and music. Starting in 1988, he served for 30 years as the leader of Dutch National Opera, a period during which he spent 10 years also in charge of the Holland Festival.“The thing about Pierre was, it wasn’t going to be traditional old-fashioned opera,” said the administrator and coach Matthew Epstein, who advised Audi during that early period. “It was the expanding of the repertoire — both backward, toward Handel and Monteverdi, which he directed and became famous for, and forward, toward so much contemporary opera. He’s a real impresario.”As the Foccroulle era moves further into the past, Audi’s Aix is coming into its own. He has added more productions to the three-week schedule and a denser lineup of concerts, expanding the budget to 27.5 million euros ($28.1 million) this year from 21.4 million euros in 2018, with plans for more, while maintaining the size of the staff; the increase is going into the art-making.He is presenting more Italian opera than had been the case here — “Tosca” in 2019; Rossini’s “Moïse et Pharaon” and a concert “Norma” this year; “Madama Butterfly” to come — and also more French works, including Meyerbeer’s “Le Prophète” next year. Aix’s vibrant commissioning program will continue, setting it apart from the Salzburg Festival, the grandest of European summer opera events, which has focused recently on revivals of rarely seen 20th-century pieces rather than new ones.Audi has “a never-ending curiosity,” said Nikolaus Bachler, another veteran artistic leader.Violette Franchi for The New York TimesA sustained relationship with Simon Rattle and the Bavarian Radio Symphony Orchestra will begin in a few summers. And Audi would like to convert the Château du Grand-Saint-Jean, just outside Aix, into a theater and a home for the festival’s young-artist program — but that project, unlike the Stadium de Vitrolles, would require an immense fund-raising effort, especially as public subsidies are a gradually ebbing percentage of the budget.As for the stadium, next summer it will be used for another ambitious project, but something completely different than “Resurrection”: a trio of films that will accompany Stravinsky’s epochal early ballets, played live by the Orchestre de Paris under Klaus Makela.“The important thing,” Audi said, “is not to imitate what we did this year.”This is in keeping with his general resistance to resting on his laurels, to doing what is expected of him. Nikolaus Bachler, another veteran artistic leader, said, “What I admire most about Pierre is he has a never-ending curiosity.” Rashaad Newsome’s “Assembly,” which Audi presented at the Armory earlier this year, was “completely different than what you might think would be interesting to him,” said Rebecca Robertson, the Armory’s president.But along with the curiosity comes a pragmatic side, a commitment to seeing those visions through. “He’s always anchored in some kind of technical reality,” Salonen said, adding, of “Resurrection”: “If he thought it could be done, I immediately thought this was something interesting.”“Honestly, this idea, coming from almost anyone, I would have said, ‘You’re out of your mind,’” Salonen said. “But when it came from him, I listened.” More
The pop singer and songwriter has been doing some emotional spring cleaning as she prepares to release her second full-length album, “Panorama.”The pop singer and songwriter Hayley Kiyoko’s fans call her “lesbian Jesus,” and she’s become known for boldly and unapologetically putting every facet of herself into her artistry. That wasn’t always the case, however.“Growing up I would write music in my bedroom with a guitar on my bed, or in my journal,” she said, “and I would use he/him pronouns, and it took a long time for me to obviously speak my truth, lyrically.”Kiyoko, 31, was born and raised in Los Angeles, and expressed her interest in music and performing at a very young age, acting in commercials, then in films and on TV. In 2007, she joined a girl group called the Stunners that also included the R&B singer Tinashe. After its 2011 split, she started carving out a solo career. Her 2015 EP “This Side of Paradise” provided a breakthrough moment with the electro-pop track “Girls Like Girls,” which was also a coming out of sorts. Kiyoko directed its video, a queer teen love story depicting a girl with a boyfriend falling for her best friend, which has 147 million views on YouTube.For her second album, “Panorama” (due July 29), Kiyoko said she’s presenting a more refined version of herself sonically, melodically and lyrically — the result of some crucial emotional spring cleaning. “You have a lot of stuff in your room and it’s like, do you really need all of that?” she explained. Part of the process involved taking down the walls she’d built as a young songwriter who was trying to mask what she was actually trying to say. “Hey, I’m comfortable with myself,” she said she realized. “I love myself and I’m at a place in my life where I don’t need you anymore.”For “Panorama,” Kiyoko brought back a few collaborators from her first album, “Expectations,” (the writers Nikki Flores and Brandon Colbein) and introduced some new ones (the producers Danja, Patrick Morrissey and Kill Dave). The album’s first single, “For the Girls,” is a bass-boosted anthem of empowerment that arrived with a queer “Bachelorette” parody music video, featuring a cameo from the real-life “Bachelor” contestant Becca Tilley. (Kiyoko and Tilley have been dating for four years.) On the mid-tempo thumper “Deep in the Woods,” Kiyoko softens her voice to describe meeting someone and feeling like you’ve known them forever. And on “Luna,” a love letter to a crush, Kiyoko jumps octaves as she sings, “You get me wild you know/I’ll chase your shadow.”“We spent a lot of time making sure that everything that you hear and experience is as close to and true to my experience,” she said.On a phone call from her studio at home in Los Angeles, Kiyoko shared a list of the things that continue to inspire her. These are edited excerpts from the conversation.1. “The Voice of Knowledge” by Don Miguel Ruiz I recently started reading and I’m not going to be ashamed to say that, because it’s just the truth. I fell in love with this book. It really supports you and helps you find a way to navigate those voices in your head, what is reality and what is your 5-year-old self afraid of, or your past trauma, or fears. It’s really helped my mental health a lot.2. Arcade Fire’s “Ready to Start” If I’m having a hard day or not feeling inspired I’ll go for a walk and listen to “Ready to Start” and it is like what that title is: It’s a reset for me. It invigorates me and inspires me to keep going. It validates my fears and my sadness. Arcade Fire is one of my favorite bands and I listened to them a lot growing up, so I think I find a lot of comfort and nostalgia listening to Arcade Fire, but then that song specifically, I really resonate with the lyrics.3. Her own fragrance, Hue Growing up as a queer kid in the closet, I had a really hard time having conversations with cute girls. My only way of having conversations with cute girls was when I smelled good. I would put on perfume and go to school and they’d be like, “Hey, you smell really good” or “What are you wearing?” It was a conversation starter and also boosted my confidence when I felt really insecure, so I wanted to create a perfume that could give my fans confidence and was gender inclusive. I think I’ve always struggled with my femininity and masculinity and which box I fit in, so I wanted to create a perfume that kind of symbolized and represented both my masculine and feminine energy in one bottle. It has this really nice balance of fruity floral and musk.4. “Friends” I probably watch three episodes every single night. Jennifer Aniston is like my safe space. I can always laugh and just decompress watching that show. I remember going through a hard breakup and I was living alone and I would just turn on “Friends” and felt like I was with a bunch of friends. I feel like I can watch that show and see little bits and pieces of my friends and family in the characters, so it’s just ever-evolving.5. Monopoly Deal It’s basically like a more convenient Monopoly but you can play it faster and you get your properties at random. It’s one of my favorite games because each card is worth millions of dollars. I used to play it all the time during the pandemic. I love playing it with my friends because you can charge your friends $11 million and they have to give it to you. I bring it with me everywhere in my purse.6. Journaling I have so many journals. Growing up, aunts, uncles or random parental friends would gift me journals and I’d be like, “What am I going to do with this?” They would just sit on my desk and then I began to love writing in them. It’s so incredible just to have a dialogue with myself for therapy. I also like to go back and read my journals because it reminds me of the things that I’ve overcome, especially during the dark times. It helps me feel centered in where I’m at, that I can keep going and that I’m resilient and strong. If I’m on a plane for six hours I’m not watching the TV, I’m journaling.7. Fried eggplant Growing up, I hated Japanese nights because my mom would make this fried eggplant and we’d have spinach and rice and ginger and all these things. There were so many plates. The soy sauce plate, the ginger plate, the edamame plate. Every time after Japanese night, my mom and dad would be like, “OK, kids, you guys can do the dishes.” And I remember being like, “No, I don’t want to do the dishes!” Now looking back, it’s one of my favorite meals and it’s a meal that I probably have once a week to comfort myself. If I’m stressed or just needing to feel love I’ll make that meal and I don’t complain about the dishes anymore.8. Premiere Pro I’m going to shout out Premiere Pro because as an artist, I became a director out of necessity. Wanting to be a storyteller and learning how to edit and having to kind of do everything myself, I was really grateful for Premiere Pro because it was a way for me to be able to tell my stories and have my stories come to life visually. It gave me the courage to be like, “Hey, I can direct, and I can do this.”9. Acupuncture Acupuncture has been a huge part of my healing process: taking care of my body and making sure that my blood circulation is good. I think I struggled with meditation, and acupuncture helped me get to that point of being able to practice meditating because when I go to acupuncture I just lay and I’m able to just be. It’s such an incredible reset for my body and my mind.10. Claude Monet I have always been inspired by color and I want to say a lot of that has to do with really connecting to Claude Monet’s Impressionism. My mouse pad is the sunrise painting and I have big Claude Monet paintings all over my apartment. Color has just always created a sense of ease, calm and safety. I think that translates in my music videos and directing — wanting to create a world where the color palette feels inviting, warm, safe and nostalgic. When I write music, and when I was working on “Panorama,” I always see color. I listen to a song and I’m like, “OK, this is like dark purple or this is like purple and lime green.” More
“Special,” her second major-label album, gestures toward complexities that would broaden her image as the queen of the mirror pep talk, but retreats to her comfort zone.Since her charismatic breakout hit “Truth Hurts” dominated the Hot 100 in 2019, the music of the Houston-raised singer, rapper, songwriter and flutist Lizzo has been a pop cultural omnipresence — a glossy sonic lacquer ready to provide any humdrum moment with a hater-repellent sheen.That signature spirit of uplift is all over “Special,” Lizzo’s fourth album, and the follow-up to her 2019 major-label debut, “Cuz I Love You.” “In case nobody told you today, you’re special,” Lizzo sings on the title track, briefly abdicating her role as the rap game Mae West to become a millennial Mister Rogers. Later, on the bouncy, brassy “Birthday Girl,” she asks, “Is it your birthday, girl? ’Cause you looking like a present.” Another propulsive, synth-driven track succinctly captures Lizzo’s bawdily empowering ethos in its title: “I Love You Bitch.”As a self-described “big grrrl” preaching unapologetic sex positivity and self-love, Lizzo, 34, is a refreshingly radical personality, on red carpets and on social media, where she is candid and outspoken. But the cultural ubiquity of her recent music emphasizes its general agreeability and attests to its political limitations: Now many Lizzo songs have come to signify the treat-yourself mood major corporations wish to capture when they want you to buy something. In the past few years, Lizzo’s music has appeared in advertisements for several competing technology companies, alcoholic beverages and soft drinks, a food-delivery app and the rebranded Weight Watchers (for which she was criticized by some fans and semi-apologized, stating, fairly, “I deserve the space to learn from my actions”). The “Cuz I Love You” diversity anthem “Better in Color” accompanied a 2021 commercial introducing the many hues of iMacs.In 2022, there’s no such thing as selling out — everyone is entitled to make money in a challenging music industry — but artists run the risk of diluting their message. Perhaps it is unsurprising, then, that on “Special” Lizzo often sounds caught between the personal and the personal brand. Occasionally, on songs that chronicle her less-than-ecstatic feelings, she gestures toward complexities that challenge the one-dimensional image of her as the high priestess of the mirror pep talk — only to retreat back to the anodyne comfort zone of songs like “Special” (which debuted as part of a Logitech ad campaign early this year) and “Birthday Girl,” which features a spoken-word segment of people gleefully shouting out their astrological signs.Like her irresistibly fun 2019 single “Juice,” many of Lizzo’s best songs cruise in the same lane that Bruno Mars skillfully dominates: uncannily reproduced ’70s-funk and ’80s-pop simulacra, updated for the present moment with slangy, winking vocals. Her current hit, the disco-lite summer jam “About Damn Time” (produced by her “Truth Hurts” collaborator Ricky Reed and Blake Slatkin) is a bit Lizzo-by-Numbers: a showy flute solo, relentlessly vampy delivery, lyrics that could double as Instagram captions. But the bass line’s gummy groove holds all the disparate parts together, allowing Lizzo to glide elegantly from arch, semi-rapped verses to a belted-out bridge that shows off the full range of her vocals. When it works, it works.And when it doesn’t, well … you get a song like overzealous-ally anthem “Everybody’s Gay,” which aims for Paradise Garage euphoria but lands closer to Target’s collection of Pride month apparel. The energy of the opening track, “The Sign,” somehow manages to be both relentless and listless, Lizzo’s usual cheeky wit blunted by generic lines like, “I live inside his head and pay no rent, yeah/It’s lit, yeah.” The best thing about the abrasive, Beastie Boys-sampling “Grrrls” is that it is the shortest song on the album.“Grrrls” is one of several tracks on “Special” centered around an interpolation of another older and more famous song, which, repeated often on a relatively short pop album, starts to feel less like homage and more like an overreliance on other people’s hooks. The soulful, midtempo “Break Up Twice,” produced by Mark Ronson, draws out a melodic line from Lauryn Hill’s “Doo Wop (That Thing)” to address a disappointing partner, but after the dueling “Ex-Factor” samples in Drake’s “Nice for What” and Cardi B’s “Be Careful” in summer 2018, interpolating the untouchable Hill has come to feel like an overused trope. “Coldplay” features a sped-up and ill-fitting sample of “Yellow,” which Lizzo later shouts out as her go-to soundtrack for nursing a broken heart: “It made me sad, I cried,” she sings over a skittish, jazzy beat, “Singin’ Coldplay in the night.”“Coldplay,” the album’s final track, concludes the loose thematic arc of “Special,” which finds Lizzo wondering if all this work on her self-confidence has made it more difficult to let her guard down and allow herself to be swept away by romantic love. “I’ve learned to love me as myself,” she sings on the searching ballad “If You Love Me,” “But when I’m with somebody else/I question everything I know.” On the energetic “2 B Loved (Am I Ready),” which has a bright, synth-driven chorus reminiscent of Laura Branigan’s “Gloria,” the antic butterflies of a new romance make Lizzo question her hard-won identity as an independent single woman. “I’m good with my friends, I don’t want a man, girl,” she sings, before the ringing of her phone upends that stability: “And now he callin’ me, why do I feel like this? What’s happenin’ to me?”What happens when the woman who proclaimed she would “put the sing in single” finds herself in a monogamous relationship? Or when the queen of empowerment pop wakes up feeling something less than good as hell? In its more tantalizing moments, “Special” articulates these questions but falls short of committing to an answer. On her major-label albums, Lizzo has yet to risk traveling to a depth from which she cannot immediately pull herself up, with triumphant fanfare, on the very next song.Lizzo“Special”(Nice Life Recording Company/Atlantic) More
ENGLEWOOD CLIFFS, N.J. — Hidden along a commercial strip north of the George Washington Bridge, surrounded by car dealerships and characterless corporate offices, is hallowed ground for jazz.There, tucked in a one-acre wooded lot, sits a squat concrete-block structure built in 1959 by Rudy Van Gelder, the polymathic former optometrist who became the genre’s most influential recording engineer. On thousands of albums made at his studio there by the likes of John Coltrane, Horace Silver, Dexter Gordon and Bill Evans, Van Gelder developed ways to capture sound with renowned clarity and depth, earning the respect of musicians and the envy of other engineers.“History was made there,” Herbie Hancock, who recorded at Van Gelder’s studio numerous times, said in an interview. “History that defined what jazz was then and what jazz is now. The roots of it are from those records that were made at Rudy’s studio.”Yet after Van Gelder died in 2016, at age 91, the future of his studio — known to jazz fans everywhere from LP credits, but seen by few besides the musicians who recorded there — was left in doubt. Van Gelder willed the property to his longtime assistant, Maureen Sickler, but gave her no instructions about what to do with it. Sickler remembers only that her mentor had been devastated by the demolishment of his parents’ house in nearby Hackensack, where he began his recording career, capturing Miles Davis and others in the family living room.Van Gelder at his recording console in the late 1980s. The building housing his studio was designed by David Henken, an apprentice to Frank Lloyd Wright.James Estrin/The New York TimesAfter about five years of work to restore Van Gelder’s equipment and obtain historic-property status for the building, Sickler and her small team — including her trumpeter husband, Don, and Perry Margouleff, another audio engineer and studio owner — are now midway through a plan to make Van Gelder’s haven a full-service recording studio once again, and create a nonprofit organization that would assume ownership of the space and ensure its longevity.How that transition will work — and even whether the contemporary music industry will have use for a 63-year-old studio built for acoustic jazz — is an open question. In recent months, the Sicklers, with Margouleff’s help, have been busy booking sessions, tidying up the overgrown grounds and even getting the studio answering machine working again. But Sickler, 76, said she is determined to see it through.“I feel very strongly that musicians should have the opportunity to record in that incredible acoustic space, and to feel the history and the inspiration that lives there,” she said. “Musicians who come into the space are awed about who has recorded there. They need the opportunity to make their own history in that unique room.”INSIDE VAN GELDER’S studio, the sense of history can be almost overwhelming.The building was designed by David Henken, an apprentice of Frank Lloyd Wright, and its wide, square main room has a cathedral-like ceiling of cedar planks, supported by four Douglas fir arches that meet at a 30-foot apex. Most recording studios are windowless caves; Van Gelder’s has calming views of trees in the backyard. One recent sunny afternoon, a Hammond C-3 organ that was played by Ray Charles and Jimmy Smith sat uncovered on one side of the live room. Inside an isolation booth was a 1950s Steinway grand, in what looked like perfect condition save for some marks gouged on its lid — by Thelonious Monk.The Van Gelder console today. In recent months, Maureen Sickler, who is overseeing the studio, and a small team have been busy booking sessions.Vincent Tullo for The New York TimesUnusual among major studios, Van Gelder’s was purpose-built and not adapted from another space, like Abbey Road in London or Columbia Records’ former studio on East 30th Street in Manhattan, which had once been a church, the jazz historian Ashley Kahn said. It was also owned and operated by one man, and doubled as Van Gelder’s home, with a modest but spacious apartment just up a set of stairs from the studio floor.Many jazz fans would immediately recognize the studio interior from photos on albums released by labels like Blue Note and Impulse!, two of Van Gelder’s biggest clients. The cover of “A Love Supreme” pictures Coltrane in front of a railing just outside the studio door. The master saxophonist’s recording, captured on Dec. 9, 1964, is perhaps the most famous one made there.A visionary engineer who always sought out the most advanced microphones and other equipment, Van Gelder was also a persnickety character who forbade most musicians from touching anything. Hancock remembers the time, after years of recording there, when Van Gelder, speaking from behind glass in the control room, finally gave him permission to plug in his headphones.“I looked around at the other musicians; they were staring at me,” Hancock recalled. “‘Did Rudy say I could actually plug it in?’ ‘Yeah, we heard that, too.’ So I did. I was like, ‘Wow, I finally rose to the top!’”Van Gelder was secretive about how he achieved his sound; over the years that secrecy has become the audio equivalent of urban legend, with stories circulating that mingle fact and fiction. Did he really substitute “dummy” microphones when photographers came to shoot sessions? Probably not. Did he wear white gloves when handling equipment? Maybe, though the truth is unclear. “White gloves was an exaggeration,” Sickler said. “Reality is different.” She did not elaborate.From left: Maureen Sickler, her husband, Don, and the audio engineer Perry Margouleff. All three are working to restore Van Gelder’s haven as a full-service recording studio and create a nonprofit organization that would ensure its longevity.Vincent Tullo for The New York TimesBefore Van Gelder brought on Sickler as his assistant in 1986, he had long run the studio entirely by himself, even setting up the musicians’ chairs. Sickler’s apprenticeship began modestly — “I got to set up chairs,” she said — but he soon showed her the ropes of all of the studio equipment. If anyone knows Van Gelder’s recording secrets, it is her.“I think I was closer to Rudy than I ever was to my own father,” Sickler said.After decades of running sessions almost daily, Van Gelder began to slow down in the mid-2000s, as his health deteriorated. Even then, his studio was little known outside music circles. “It was hiding in plain sight all these years,” said Jennifer Rothschild, a local historic preservation consultant.One Sunday afternoon in August 2016, Rothschild and other members of the Bergen County Historical Society met Van Gelder at his studio, after one jazz-loving member placed a cold call. They encouraged the engineer to apply for state and national status that would designate the property a historic building, but he wasn’t persuaded, Rothschild said, and the historians decided to return with a sharper pitch. Four days later, Van Gelder died in the apartment upstairs.By then, the studio was cluttered with medical equipment, and the custom Neve recording console that had been installed in 1972 was in rough shape — only six of its 24 channels were functioning properly. In 2018, Sickler met Margouleff, who was well versed in Van Gelderiana but had never set foot inside the studio. “Rudy wouldn’t let other engineers in the door,” said Don Sickler, who works with his wife in booking and running the space.During the pandemic, Margouleff, a Neve specialist, renovated the console piece by piece in his workshop. His dream, like that of the Sicklers, is for the facility to return to its former glory.“The idea is to make sure that this studio lives in perpetuity,” Margouleff said, “as a facility for people to continue to record music together in an ensemble fashion and in an acoustic environment.”Recently, the studio has had at least one recording session a week, Sickler said. In April, a few weeks after winning the Grammy Award for album of the year, Jon Batiste, the jazz pianist and bandleader, booked a one-day session at the Van Gelder studio, after learning that the place he had seen cited on countless records that had shaped him as a musician was finally available.“To visit and record there was a pilgrimage,” Batiste said in an interview. “There’s some sort of spiritual, metaphysical reality there that makes it feel like you’re stepping into a ritualistic space.”Instruments and equipment at Van Gelder’s studio.Vincent Tullo for The New York TimesTHAT FEELING OF awe will certainly be the greatest calling card for the revitalized studio. But it may also be an obstacle, said Kahn, who, with Rothschild, helped write the studio’s applications for the New Jersey and National Registers of Historic Places. (It was added to both listings this spring.)“The challenge for the Van Gelder studio now is how to deal with its history and also go forward as a commercial enterprise,” Kahn said. “You don’t want people to come in there only saying, ‘I want the studio where Coltrane recorded.’ You want it to be a studio that can meet present-day standards, and not marginalize it as just a historic shrine.”The building’s presence on the state and national registers does not protect it from being altered or even demolished by a future owner, Rothschild said. To gain that protection, Sickler has applied for a preservation easement, which would be attached to the property’s deed and involve periodic inspections. It also costs $10,000, and Sickler said that the studio’s recent recording work has raised only enough money to cover the property tax, which is nearly $40,000 a year.One decision facing Sickler and any future operators is whether to stick to jazz, or open the studio to other kinds of music. Jazz, of course, was Van Gelder’s great passion, and what the facility was designed for. But even at its peak, the space was also used for blues, folk music, polka and spoken word; the first recording session there, in July 1959, was with the West Point Cadet Glee Club.Don Sickler, who has been devoted to classic jazz repertory for decades, said he favored sticking with acoustic jazz, and gruffly dismissed the idea of recording Broadway cast albums or rock ’n’ roll. (For Weezer’s latest album, “OK Human,” released in early 2021, a string section was recorded at the Van Gelder studio.)Batiste also urged the Sicklers to hold fast to jazz. “Sticking to their guns of it being acoustic music, making it something that is an outlier in the culture, is what will actually be the right thing to do,” he said.Sickler is more open-minded about what the future of the Van Gelder studio might bring.“Of course, musicians familiar with the studio’s history, and with the work of Rudy Van Gelder, should have access,” she said. “But the live room loves all sounds.” More
The authorities said they found dozens of oxycodone tablets and $75,000 in cash while searching the rapper’s car after he was pulled over in Fort Lauderdale on Friday.The rapper Kodak Black was arrested on Friday in South Florida on felony drug charges, the authorities said. It was the latest in a long string of legal woes for Black, 25, who was serving prison time on weapons charges when President Donald J. Trump commuted his sentence on his last day in office last year.At about 4:30 p.m., Florida Highway Patrol troopers saw Black driving a purple Dodge Durango in Fort Lauderdale with tinted windows that appeared darker than allowed under state law.The troopers confirmed that the car’s registration was expired. After pulling Black over, they observed “a strong odor of marijuana” coming from inside the car, the Highway Patrol said in a statement. The troopers searched the car and found a clear bag containing 31 oxycodone tablets and nearly $75,000 in cash, the Highway Patrol said.Black, whose legal name is Bill Kapri, was arrested and taken to the Broward County jail in Fort Lauderdale. He was released on Saturday on a $75,000 bond, the Broward County Sheriff’s Office said.Black was charged with one count of trafficking oxycodone and one count of possession of a controlled substance, according to the Broward County Clerk’s Office. He pleaded not guilty and requested a jury trial, court documents show.Bradford Cohen, Black’s lawyer, said on Twitter that there were “always additional facts and circumstances that give rise to a defense, especially in this case.” Cohen did not immediately respond to a request for comment.Black’s lawyers filed a motion on Sunday to “inspect, weigh and independently test” the tablets that the authorities have identified as oxycodone pills.Black, who is from Pompano Beach, Fla., topped the Billboard album charts in December 2018 with his album “Dying to Live.” But his career suffered as he has faced various drug, weapons, sexual assault and robbery charges over the years. Early Monday morning, he posted his mug shot on Instagram with the caption, “Not Again.”In 2019, Black pleaded guilty to federal weapons charges, admitting that he lied on background check forms while buying firearms earlier that year. Prosecutors said two of the guns were later found at crime scenes.Black had served about half of a 46-month prison term when Trump commuted his sentence in the final hours of his presidency.Shortly after his release, Black put out a song called “Last Day In,” expressing his hopes for the future: “This my first day out the joint, so that’s my last day in.” More
The Puerto Rican superstar earns his fifth week at the top, but “Wasteland,” an unexpected drop from the Maryland R&B singer, made a statement.The top album on the Billboard chart this week is Bad Bunny’s “Un Verano Sin Ti,” a streaming juggernaut that is notching its fifth time at No. 1.But just as notable is what lands at No. 2: “Wasteland” by Brent Faiyaz, an R&B singer from Maryland who eschewed the major-label route and has released his music independently, a path that usually means earning a bigger slice of a smaller pie. After putting out songs last year with guest spots by Drake and Tyler, the Creator, Faiyaz released “Wasteland” on July 8, with little advance notice. For the last week, the music industry has been focused on Faiyaz to see if he could not only topple Bad Bunny — one of the standard-bearers for streaming-driven superstardom — but also perform the rare feat of taking an entirely independent project to No. 1.“Wasteland” didn’t quite make it to the summit. But it got close enough to make a statement that will surely be heard by every new artist contemplating accepting a major-label deal. “Un Verano Sin Ti” had the equivalent of 105,000 sales in the United States, including 147 million streams, while “Wasteland” had 88,000 sales, including 107 million streams, according to the tracking service Luminate. Weekly equivalent sales for “Un Verano” have never dipped below 100,000 since its release in May, and it has racked up a total of 2 billion streams in the U.S. alone.Even though many artists today control their recording rights, and may have labels or imprints of their own, the majority of high-charting albums still pass through the major-label system. Each of the three global music conglomerates — Universal, Sony and Warner — operate large distribution arms that specialize in releasing music by independent acts. Bad Bunny, for example, may be signed to Rimas Entertainment, a company controlled by his manager, but Rimas has a distribution deal with the Orchard, owned by Sony.To release “Wasteland,” Faiyaz went through Stem, one of several indie-distribution platforms. The last No. 1 album that bypassed the major-label infrastructure was “Skins” by the rapper XXXTentacion in late 2018, via the independent music company Empire.Also on the chart this week, Aespa, a four-woman K-pop group, opens at No. 3 with the mini-album “Girls,” which had 56,000 sales, mostly as CDs. Harry Styles’s “Harry’s House” is No. 4 and Morgan Wallen’s “Dangerous: The Double Album” falls one spot to No. 5. More
“Let’s do a Rossini comedy that doesn’t exist yet,” the head of the Glimmerglass Festival said. Coming soon: Ken Ludwig’s “Tenor Overboard.”Comic operas tend to be crowd-pleasers: At last, a break from all the tragic deaths and doomed lovers. The problem is there aren’t that many to choose from. Opera companies can program “Così Fan Tutte,” “Il Barbiere di Siviglia” or “L’Elisir d’Amore” and a handful of others only so many times.So Francesca Zambello, the artistic and general director of the Glimmerglass Festival, came up with a novel idea. “I just said, ‘Let’s do a Rossini comedy that doesn’t exist yet,’” she said in a recent video conversation.In other words, a jukebox opera — “Tenor Overboard,” which is to have its premiere at the festival, in Cooperstown, N.Y., on Tuesday and run through Aug. 18.While the jukebox format is common enough on Broadway, it is much rarer in opera houses. Baroque opera lends itself to the genre better than most styles, from the “pasticcio” of yore, which recycled pre-existing works, to “The Enchanted Island” in 2011, a Metropolitan Opera commission in which the librettist Jeremy Sams inserted music by Handel, Vivaldi, Rameau and others into a plot borrowed from Shakespeare plays.Undaunted by this relative dearth, or maybe stimulated by it, Zambello called the playwright Ken Ludwig last summer to ask if he would be interested in writing the libretto for the project. He was a good candidate on two counts: He wrote the book for “Crazy for You,” the Tony-winning Gershwin jukebox musical, and his most famous play, “Lend Me a Tenor,” is a farce involving an opera star in the 1930s. (His new “Lend Me a Soprano,” with lead female characters in the same basic plot, opens at the Alley Theater in Houston in September.)Ludwig, an opera buff, jumped on the opportunity to collaborate, sort of, with Rossini. He decided to set “Tenor Overboard” in the 1940s and to cram it with what he called “the great tropes of comic opera.”“Often they are stories about love that can’t be fulfilled because the older generation is trying to stand in the way of the sexual urges of the younger generation: ‘You can’t marry that boy,’” he said in a video chat. “I also wanted a storm — they often change the story, as they did in ‘Barber of Seville’ and ‘The Italian Girl in Algiers.’”Rossini “was such a comic genius,” Ludwig said. “And I’ve tried to write a libretto that is comic in the same way, and in the same way my plays normally have that sense of rhythm.”Adrianna Newell for The New York TimesLudwig cooked up a story involving two New York sisters, Gianna (Reilly Nelson) and Mimi (Jasmine Habersham), trying to escape their domineering father and an arranged marriage for Mimi. They end up joining — in cross-dressing disguise, a narrative device beloved by Shakespeare, opera and screwball comedy alike — an all-male quartet called the Singing Sicilians on a ship sailing to Sicily. Naturally, mayhem ensues.“Tenor Overboard” relies more on theatrical dialogue than on the usual operatic recitative, so Ludwig’s libretto had to be fairly extensive — and funny. “Rossini has given you moments that clearly land comically because he was such a comic genius,” Ludwig said he told the singers. “And I’ve tried to write a libretto that is comic in the same way, and in the same way my plays normally have that sense of rhythm.”Ludwig also retooled the supertitles that accompany the arias, which are sung in Italian, trying to give some of them “rhyme and rhythm,” as he put it. “Opera supertitles do need to convey to people something and you want people to be looking at the stage,” said Zambello, who is directing the production with Brenna Corner, “but these also have a little bit of extra Ludwig humor.”From left, Matt Grady and Gavin Grady, with Stefano de Peppo. “Tenor Overboard” was hatched in about a year. “Rossini wrote his operas sometimes in a month so why shouldn’t we?” Francesca Zambello said.Karli Cadel/The Glimmerglass FestivalAfter a general synopsis had been agreed upon, the hardest part was still to come: It had to be filled with music — which, in the end, came from 15 different sources.“We wanted to be absolutely sure that we weren’t just rehashing famous arias of Rossini,” Joseph Colaneri, Glimmerglass’s music director, said on Zoom. “Yes, we have the ‘Barbiere’ duet, but we wanted this piece to also represent lesser-known music by Rossini.”Colaneri became part detective, tracking down obscure versions of obscure operas online and in libraries, and part MacGyver, adapting some vocal scores to make them work in their new context. The text of the “Barbiere” duet, “Dunque io son,” that Colaneri referred to, for example, was slightly adjusted to make sense in the story. And because Ludwig’s main couple is made up of a mezzo and a baritone (a nod to “Dunque io son”), some transposing was required — Rossini tended to pair a tenor and a soprano for the love duets of his comic operas.Another challenge was the scene introducing the Singing Sicilians, whom we first meet at a Y.M.C.A. — because why not? Colaneri looked at male quartets in Rossini operas but couldn’t find anything suitable. So he turned his attention to short pieces the composer wrote for “soirées musicales” after he stopped writing operas, and spotted the patter song “La Danza” (recorded by Luciano Pavarotti, among others).Colaneri had to write a vocal arrangement for two tenors, a baritone and a bass — and more. “It has to work again in the second act because two of the men are replaced by the two women who are in disguise as men,” he said. “They’re singing in the female range, but I designed the piece so that it could work with mixed vocal styles.”“Some people would say, ‘How can you transpose Rossini?’” Colaneri said. “But Rossini did this himself all the time.”For Act 2, Colaneri had to find a basso buffo aria for the sisters’ father, Petronio (Stefano de Peppo). Instead of the popular “A un dottor della mia sorte,” from “Il Barbiere,” he chose “Io, Don Profondo” from “Il Viaggio a Reims” (an opera Rossini himself had harvested for parts, reusing some of it in “Le Comte Ory”). “To me, it’s the greatest of these buffo arias,” Colaneri said. “Rossini kind of went over the top with it. We knew we were going to have Stefano and that he would be able to pull it off.”Contreras and Reilly Nelson in this jukebox opera.Karli Cadel/The Glimmerglass FestivalColaneri and his cast also had to deal with the vocal embellishments and ornamentation that are part of performing Rossini. The conductor suggested that the singers listen to Ella Fitzgerald’s live version of “How High the Moon” for an example of masterful improvisation, which he described as “harmonically off the charts.” He also worked closely with them to come up with ornamentations that fit their register and roles. “You can’t write ornamentation for someone until you hear what they can do,” Colaneri said. “You have to kind of suss that out.”As with most comedies, speed and timing are of the essence onstage and even off — “Tenor Overboard” was hatched in about a year. “Rossini wrote his operas sometimes in a month so why shouldn’t we?” Zambello said.Fans should be reassured that they will laugh with Rossini, not at him. “We are seeking to perform these pieces with all the musical integrity necessary to make them come off,” Colaneri said. “We’re taking it all musically very seriously, and putting a spin on it.”Still, it’s clear that Zambello wants this work, part of her last season as the head of the Glimmerglass Festival (she remains the artistic director of the Washington National Opera), to be unabashedly festive. “It’s Italy, Sicily, food — things that people love.”When asked if she was willing to embrace Ludwig’s love of farcical shenanigans and have someone hurl a plate of spaghetti for a laugh, Zambello smiled. “I’m resisting that,” she said. “But I think it’s going to work its way in.” More
