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      Review: Sounds and Styles Playfully Collide in ‘Only an Octave Apart’

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      This show brings together two convention-inverting artists: the cabaret star Justin Vivian Bond and the opera singer Anthony Roth Costanzo.“Have you ever wondered what it’s like to be normal?” Justin Vivian Bond, the doyenne of downtown cabaret, asks the countertenor Anthony Roth Costanzo a few songs into their show, “Only an Octave Apart,” at St. Ann’s Warehouse.The gag, of course, is that both Bond and Costanzo — whose pristine and ethereal voice has been heard at venues like the Metropolitan Opera and the Palace of Versailles — are utterly singular artists.Bond, 58, is a veteran and pioneer of alternative live performance, polished in appearance but satisfyingly rough in voice and manner, a diva whose response to having seen it all is both a yawn and a wink. Costanzo, 39, who will return to the title role in Philip Glass’s “Akhnaten” at the Met this season, has demonstrated a voracious appetite for mashing up disciplines. Perhaps that is in response to the limited countertenor repertoire, “music written before 1750 or after 1950,” as he has said.Their teaming up came about by chance and circumstance, they banter in “Only an Octave Apart.” Costanzo recalls seeing one of Bond’s shows at Joe’s Pub and professing instant fandom; Bond remembers thinking Costanzo was hot. They became fast friends, and their relationship led to the St. Ann’s performance, which takes its name from a TV special the soprano Beverly Sills and the actress Carol Burnett recorded at the Met in 1976, in a campy meeting of so-called high and low culture.Conceived with and directed by Zack Winokur, “Only an Octave Apart” feels like something between “Honey, I Shrunk the Opera” and oversized cabaret. Or an operatic highlight reel wedged into a freewheeling stage revue. Or an improvised set of concept singles. Or maybe it doesn’t matter. The uneasiness of its hybrid form is part of the point, and reflective of its stars’ convention-inverting talents.Costanzo, left, and Bond in the show, which teases out the obvious humor and dissonant beauty in their sounds.Nina WesterveltA ventriloquist-style number inspired by “Singin’ in the Rain,” for example, plays off their bucking of gendered expectations: Costanzo sings from behind the curtain while Bond lip-syncs, aligning his countertenor with Bond’s high-feminine presentation. Then they switch. (“Act butcher!” Bond barks.)The show finds both obvious humor and a dissonant beauty in combining sounds. Under Thomas Bartlett’s brilliantly agile music direction, nimble arrangements by Nico Muhly and Daniel Schlosberg flit seamlessly from plucked strings to erotic disco beats. The stars’ voices at times collide to strange, glorious effect (as in a languid take on Antônio Carlos Jobim’s “Waters of March”); or they playfully intersect in ways that throw their differences into sharp relief.Bond thrills most in haunting ballads that animate the eerie exigencies of isolation (“Me and My Shadow”) and the melancholy in holding onto hope (“I’m Always Chasing Rainbows”). Cutting a glamorous figure beneath worshipful lighting by John Torres, Bond issues an enchanting warble, its gravelly depths echoing with comfortable wisdom.Costanzo also dazzles in solos that showcase his rich yet delicate voice, which glints and swoops like intricately painted blown glass. Before performing Lizst’s arresting art song “Über allen Gipfeln Ist Ruh,” Costanzo explains that it’s about despair, from poetry that Goethe is said to have carved into stone as he died alone.If the show speaks to the moment, it does not seem by design. The organizing principle of non sequiturs (“We’ve sung about flowers and water, now how about leaves?”) is charming to a point, though ultimately comes at the expense of assurance and momentum.Bond, a seasoned stage personality, is at ease riffing off the cuff and ribbing an insider crowd — but feels rather far away peering over the nine-piece orchestra, with a hand shielding the glare. Costanzo’s element is vocal storytelling; he’s less at ease, however, as a co-host, even though he’s clearly game.Their self-mythologizing repartee (an avant-garde legend and an opera star walk into a bar …) keeps the audience at a guarded remove, while the songs yearn for connection. It’s a paradox starkly rendered in fabric by the first of Jonathan Anderson’s costumes, velvety-soft, floor-length gowns that jut out at harsh angles, like front-turned bustles whose bell curves have been replaced by blunt machetes.Bond and Costanzo are extraordinary artists, though it’s not until the night is nearly over that they allow us to see them as vulnerable ones, too. “Only an Octave Apart” was meant to be a live show, then an album; the pandemic forced them to work in reverse. They poured themselves into creating this odd and beguiling record, they say, over the worst of the past year.Now onstage, they seem electrified, their nerves raw and frayed, dazed to be in communion again — in other words, more like the rest of us than they’d dare to let on.Only an Octave ApartThrough Oct. 3 at St. Ann’s Warehouse, Brooklyn; 718-254-8779, stannswarehouse.org. Running time: 90 minutes. More

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      Packing Your Purse (or Pockets) for a Night at the Opera

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      When I was in graduate school in Manhattan, my friend Bernard and I went to the opera without eating supper.Bernard and I had met at a fancy food market in SoHo where we both had part-time jobs behind the bread station. I was going to be a famous writer and he a famous set designer. But in the meantime, we spent our bread wages on the cheapest Family Circle tickets at the Metropolitan Opera, then hummed the arias from “Eugene Onegin” and “La Bohème” while we sliced seven grains and stacked up the baguettes.Our shift lasted past dinnertime, and the sandwiches and flutes of Champagne at the intermission bars were beyond our students’ budget. So we always came packing snacks — hearty, filling bites that could sustain us through “Götterdämmerung” but were small enough to stash inside my vintage beaded purse.Ready for intermission with, from left, brownie shortbread bars, almond-stuffed dates and hand pies. Don’t forget the napkin.Winnie Au for The New York Times. Food Stylist: Jade ZimmermanIn nice weather, we munched egg salad sandwiches and homemade chocolate truffles perched at the edge of the fountain in Damrosch Park adjacent to Lincoln Center. When it was stormy, we would eat leaning against the rails of the balcony, watching fancy patrons savor their intermission baked alaskas at the Grand Tier restaurant below, assuming that one day in the distant future, that would be us.That distant future has arrived, and I’m still toting intermission nibbles to the Met in the same vintage purse. I plan to continue this season as well (the Met reopens Monday). But these days, I’m accompanied by my husband, Daniel, whose essential contribution is a (possibly illicit) flask full of bourbon or pre-mixed Manhattans tucked into his pocket.By now we could spring for sandwiches and Champagne at the bar, or even the Grand Tier, but we rarely do. My picnics, which are made to order — and, I think, a much more fun way to pass the 30 to 40 minutes of an average Met intermission — have become part of the opera ritual. And this year, picnicking offers another advantage: pulling your mask down to eat outside at Damrosch Park can be a Delta variant-savvy way to go.Ms. Clark with the countertenor Anthony Roth Costanzo. Before his days of starring as Akhnaten at the opera, he picnicked on a bench, too.Winnie Au for The New York TimesOver the years of Falstaffs and Salomes, I’ve learned a few best practices when it comes to packing these petite opera tidbits.The first and foremost is to minimize the mess by avoiding sloppy, saucy morsels. I like to think of opera snacks in the same way that I’d choose hors d’oeuvres for a party. Neat, self-contained finger foods that can be nibbled in one hand while you hold a drink in the other work best, preferably things that taste good at room temperature.I’m partial to small tea sandwiches stacked with onion, cucumbers or smoked salmon for the first intermission, followed by some kind of sweet bite — say, almond-stuffed dates or homemade brownie shortbread bars, for a sugar jolt — to get me through that final act. Phyllo pastries filled with anything from ground lamb and feta to butternut squash and mint, or all manner of sweet or savory hand pies, could also work well.Then there are maki rolls, as long they’re filled with vegetables or something cooked. You don’t want raw fish sitting under your seat for the entire 100 minutes of the first two acts of “Don Carlos.”At top: savory options, including hand pies, kimbap and tea sandwiches. Below, the sweet: truffles, stuffed dates and brownie shortbread bars. On the side, a tin of sea salt and a flask, for washing it all down.Winnie Au for The New York Times. Food Stylist: Jade ZimmermanThe countertenor Anthony Roth Costanzo, who is reprising his star turn as Akhnaten in the 2021-22 season, used to bring homemade kimbap or avocado-cucumber maki to eat on a bench in the park back when he was a student, and these are an excellent option that you can either make or buy.“I certainly picnicked a lot when I used to attend the opera as a youth,” he said. “As a performer, backstage picnicking is a whole other level of intrigue with meals that will make you sing well but not look zaftig in your costume.” (Perhaps particularly because Mr. Costanzo spends part of Akhnaten with almost no costume at all.)Once you’ve decided which snacks to bring, you should consider the packing vessel (you’ll want something that can fit in a small purse or bag). That old plastic yogurt container may work just fine, but a cute and colorful bento box or metal tiffin container is a lot snazzier to set atop your lap. And a thin linen napkin can save your opera finery from splashes and drips.One thing you must avoid is ever going to the opera hungry. The mid-20th century writer Joseph Wechsberg describes the consequences at the Viennese opera house in his epicurean memoir, “Blue Trout and Black Truffles.”Egg salad sandwiches have the protein to sustain you.Winnie Au for The New York Times. Food Stylist: Jade ZimmermanMr. Costanzo has to snack smartly backstage, given his revealing costume.Winnie Au for The New York Times“Sometimes my stomach would start to make rumbling noises just as the tenor sang a pianissimo, and everybody looked at me. Some well-fed people made ‘shsh-t!’ It was very embarrassing,” Mr. Wechsberg wrote.His response was to bring raw bacon sandwiches sprinkled with paprika to munch during the first act of “Die Walküre.”“While Siegmund and Sieglinde sang their beautiful duet about sweet Love and Spring, the sweet scent of paprika seemed to descend, like light fog, all over the fourth gallery.”It’s best to bring the sort of finger foods that can be nibbled in one hand while you hold your drink (or your food stash) in the other.Winnie Au for The New York TimesOf course, eating in the auditorium during the opera at the Met is always forbidden, and especially now. But eat paprika-sprinkled sandwiches at the second interval, and the sweet scent will carry you most of the way through Act III.Bernard and I once made one of Mr. Wechsberg’s opera sandwiches, though I admit that after much deliberation, we cooked the bacon before showering on the paprika, and stuffed it all in between slices of sourdough, courtesy of the fancy food shop where we worked.We were still wrapped in our light fog of paprika as Brünnhilde fell to dreaming in her magic ring of fire, our bellies content, all our senses alert, our hearts full.If only my past self could see what a culinary gift was passing down to future me. And an entire tier of opera patrons has been saved from indiscreet rumblings during the pianissimos. More

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      ‘Aria Code’ Explores the Meaning Behind the Music

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      The podcast hopes to extend the appeal of opera, “an art form that comes with a fair bit of baggage,” to a larger audience.For many fans, the highlight of any opera is a standout aria, like “O mio babbino caro” from Puccini’s “Gianni Schicchi” or “Vesti la giubba” from Leoncavallo’s “Pagliacci.”But there’s more to these works than one intense tune, and many listeners are turning to opera-themed podcasts to better understand the layers of this emotion-filled art form.One such podcast among many is “Aria Code,” a collaboration by the classical music radio station WQXR and the Metropolitan Opera in New York and hosted by Rhiannon Giddens. A singer, composer and musician originally from North Carolina, Ms. Giddens studied opera at the Oberlin Conservatory of Music and helped found the Carolina Chocolate Drops, a string band in which she sang and played fiddle and banjo.Rhiannon Giddens, a singer, musician and composer, said she jumped at the chance to host “Aria Code,” in part because of “the sheer universality of opera.”Karen Cox for The New York Times“Aria Code” uses the tagline “The magic of opera revealed, one song at a time” and humorous episode titles like “Once More Into the Breeches: Joyce DiDonato Sings Strauss” and “Breaking Mad: Donizetti’s Lucia di Lammermoor.”The series has expanded its audience in this, its third season: Downloads of the podcast have increased more than 20 percent from season 2, according to its co-creator and lead producer, Merrin Lazyan.The podcast has also helped the Met reach its audience while the opera house was shut down for nearly 18 months by the Covid-19 pandemic. (The opera officially reopens on Monday, although it played host to an audience on Sept. 11 for a live performance of Verdi’s Requiem.)Gillian Brierley, assistant general manager of marketing and communications at the Met, said by email that the podcast was one way the Met was “reaching out not only to opera lovers but also to new audiences, bringing to life the range of emotions in opera through vivid storytelling and interviews as well as treasured recordings from our audio archives.”The seed of the idea for “Aria Code” came from Ms. Lazyan, who studied classical voice performance at the Royal College of Music in London. At WQXR in 2017, she suggested a segment in which a Met artist would explain the “Queen of the Night” aria from Mozart’s “The Magic Flute,” scored using the Met’s archival recordings. But colleagues saw wider potential, proposing a series “that could potentially open up an art form that comes with a fair bit of baggage to a wider audience,” she wrote in an email.Merrin Lazyan, the show’s co-creator and lead producer, planted the seed for the podcast with an idea in 2017.Rick StockwellAs the format evolved, Ms. Lazyan said, a team from WQXR and WNYC Studios (the podcast division of New York Public Radio) hit upon including multiple guests and people from outside the opera world to make the topics more relevant to modern lives. (Episodes conclude with a recorded Met performance of the selected aria.)“We realized that the best version of this show would be one that delights existing opera fans, but is also accessible to an audience that’s new to opera, or perhaps even skeptical of it,” she said. “We didn’t want to water it down, but we did want to break through the barriers.”In choosing an aria for an episode, Ms. Lazyan works closely with the Met. “Prepandemic,” she said, “all of the selected arias and artists were featured in the Met’s current onstage season, and we did our best to align episode releases with their production schedule. This year, we chose arias from both their canceled and upcoming seasons.”To keep “Aria Code” interesting, producers aim for a mix of well-known operas and what Ms. Lazyan called more obscure gems, along with a variety of voice types and even languages.“When it comes to the other guests on the show — the musicologists and dramaturges, the scientists and doctors, the athletes and writers and more — I choose them,” she said, sometimes with input from Ms. Giddens and others.Finding the right host was also key, she said, calling Ms. Giddens a “dream host for so many reasons.”“It was important to us to find someone who understands and appreciates this music, but is not necessarily an opera insider,” Ms. Lazyan said, but a guide for “lifelong opera lovers, people who are curious but have only dipped a toe in, and people who thought it was all a bunch of senseless caterwauling.”Ms. Giddens’s “focus in her own music is on excavating the past and telling bold truths about our present,” Ms. Lazyan said, “which is exactly what ‘Aria Code’ aims to do as well.”Ms. Giddens in the studio at WQXR, which produces “Aria Code” with the Metropolitan Opera.Max Fine/WQXRMs. Giddens said she jumped at the chance to host in part because of “the sheer universality of opera — these deeply emotive stories reflect the best and the worst of human nature, done with mind-bending talent and artistic collaboration.”She added that she has always been interested in equal access to the arts. “If given the chance,” she said, “people who hate the idea of opera could actually love it, if exposed to it in the right way.”That’s not always easy. “Helping listeners connect to the emotion within opera can be a challenge offstage,” Ms. Lazyan conceded.“For some arias, the sheer athleticism of opera performance is front and center,” she said. “Singing is such a personal and internal process, and it can be difficult to verbalize the nuanced inner workings of an artist’s technical and interpretive approach.“But hearing a singer describe how hitting the high note at the end of an exuberant coloratura passage feels like being up in the heavens among the stars, and simultaneously hearing that final high note ring out like a bell as the singer is talking about it, makes this process immediate and thrilling for listeners.”Other arias “welcome a much more personal and intimate kind of storytelling,” Ms. Lazyan said. “For those, I seek out guests with a personal experience that parallels the events or the emotional heart of the music.”For “Madama Butterfly,” the psychotherapist Kyoko Katayama “told the story of her mother, whose love affair with an American G.I. who abandoned her, pregnant, in Japan was an uncanny parallel to the abandonment and betrayal of Cio-Cio San in the opera,” Ms. Lazyan said.“Throughout the episode, you hear Kyoko’s story in parallel with the ‘Butterfly’ story. You hear how deeply personal it is, and that really opens the door to a different way of feeling the power of this music.”While the music and its composer can be the main draw, what about the librettists who fashioned the words?“Aria Code” certainly doesn’t ignore them, but the opera director Keturah Stickann, based in Knoxville, Tenn., puts them squarely in the spotlight in another podcast, “Words First: Talking Text in Opera.” She highlights librettists, she said by email, “because I feel like they sort of disappear when talking about a work. I like to make sure we say their names.” More

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      The Podcasts Opera Pros Tune To

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      Many favor shows about classical music, of course, but they also listen to shows about pop songs, “The Moth” and Conan O’Brien.“Aria Code” is an increasingly popular podcast. But what else do opera professionals listen to? Here are some recommendations. (Their comments, by email, have been edited and condensed.)Merrin Lazyan, co-creator and lead producer of “Aria Code”:I’ve enjoyed the podcasts produced by Glyndebourne Opera and LA Opera, as well as the new one from San Francisco Opera called “North Stage Door.” The Met’s other podcast, “In Focus,” is a great source of information about the history and context of various operas.Another music podcast that I enjoy, which features some opera but isn’t opera-specific, is “Soul Music” from the BBC. It’s a little like “Aria Code,” in that each episode includes several people talking about a single song and capturing its emotional resonance. But when I’m out for a run, there’s no Maria Callas or Marian Anderson, just Madonna and Michael Jackson.Sondra Radvanovsky, a co-host of the “Screaming Divas” podcast, performing in a recital in Spain in 2019.David Borrat/EPA, via ShutterstockKeri Alkema, Ms. Radvanovsky’s co-host on “Screaming Divas,” onstage in “Tosca” in London in 2016.Robbie Jack /Corbis, via Getty ImagesNicky Spence, tenor who will sing the role of Laca in “Jenufa” starting Tuesday at the Royal Opera House in London:Opera singers are often plagued with earworms of the music we’re in the midst of learning or performing, so I often take solace in the world of spoken-word podcasts. I’m a huge fan of Jess Gillam’s podcast “This Classical Life,” where she chats casually about classical music in a really accessible way with a fellow young musician. They don’t try to make classical music hip, but they are very cool with some great content. It’s the perfect gateway into the genre.Another lovely, informative podcast is “AA Opera!” headed by two young ladies — Ash and Avi — who manage to interview the starriest names in opera but make it sound like you’re just sitting at their kitchen table, which joyfully demystifies the concept of opera’s being grand.My guilty aural treat is “Screaming Divas” with opera royalty Sondra Radvanovsky and Keri Alkema. They take on my favorite folk in interview including Jamie Barton, Ben Heppner and Kate Lindsey as they pick through everything from popular culture, turning left at sex toys and of course, opera!Cori Ellison, an opera dramaturge who is a member of the Vocal Arts faculty at the Juilliard School and has appeared on “Aria Code” and other podcasts:“Aria Code” is absolutely top of the heap, intriguingly and beautifully curated, with high production values. “He Sang She Sang” is a slightly older but also terrific opera podcast by the radio station WQXR [co-hosted and produced by Ms. Lazyan]. Also very worthwhile are the “OperaHERE” podcasts by the Michigan Opera Theater and podcasts by the English National Opera; Opera North from Leeds, England; “The In-Tune A-Z of Opera” by the BBC; LA Opera; Seattle Opera; Minnesota Opera; and Glyndebourne in Sussex County, England.Charlie Harding, left, and Nate Sloan, co-hosts of “Switched on Pop.”Ellyn JamesonGillian Brierley, assistant general manager of marketing and communications at the Met:“Switched on Pop,” produced by Vulture, is a great music podcast that analyzes pop songs, interweaving musicological tidbits in a very approachable way. They had a great four-part mini-series with the New York Philharmonic called “The 5th” about Beethoven’s Symphony No. 5 in celebration of the composer’s 250th birthday.“Conan O’Brien Needs a Friend” is among the non-music podcasts favored by the soprano Amy Burton.Team Coco/Earwolf, via Associated PressAmy Burton, New York-based soprano who has sung at the Met and the White House and teaches at Juilliard and the Mannes School of Music:Opera can be intimidating to people who don’t speak foreign languages, or who are put off by the grandeur and scale of it all — the gigantic forces, the lengthy evenings, the audacity of the emotions expressed. “Aria Code” could really help people find their way into the art form. And for those who already love opera, it may provide a deeper understanding.However, my tendency after a day of teaching opera singers is to listen to podcasts about subjects other than music. By listening to poets, comedians, filmmakers and other artists, I feel it recharges my batteries creatively, both as a singer and a teacher. I wish I could recommend other music podcasts, but in my free time my focus is more on language — “The Writer’s Voice,” “The Plot Thickens,” “The Moth,” “Coffee Break French” — and “Conan O’Brien Needs a Friend” because I need laughter. More

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      The Surveillance Apparatus That Surrounded Britney Spears

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      An account by a former employee of the security team hired by Ms. Spears’s father created the most detailed portrait yet of the singer’s life under 13 years of conservatorship.Britney Spears’s father and the security firm he hired to protect her ran an intense surveillance apparatus that monitored her communications and secretly captured audio recordings from her bedroom, including her interactions and conversations with her boyfriend and children, according to a former employee of the security firm.Alex Vlasov, the employee, supported his claims with emails, text messages and audio recordings he was privy to in his nine years as an executive assistant and operations and cybersecurity manager for Black Box, the security firm. He came forward for a new documentary by The New York Times, “Controlling Britney Spears,” which was released on Friday.Recording conversations in a private place and mirroring text messages without the consent of both parties can be a violation of the law. It is unclear if the court overseeing Ms. Spears’s conservatorship was aware of or had approved the surveillance. Mr. Vlasov’s account, and his trove of materials, create the most detailed portrait yet of what Ms. Spears’s life has been like under the conservatorship for the past 13 years. Mr. Vlasov said the relentless surveillance operation had helped several people linked to the conservatorship — primarily her father, James P. Spears — control nearly every aspect of her life.“It really reminded me of somebody that was in prison,” said Mr. Vlasov, 30. “And security was put in a position to be the prison guards essentially.”In response to detailed questions from The Times, a lawyer for Mr. Spears issued a statement: “All of his actions were well within the parameters of the authority conferred upon him by the court. His actions were done with the knowledge and consent of Britney, her court-appointed attorney, and/or the court. Jamie’s record as conservator — and the court’s approval of his actions — speak for themselves.”Alex Vlasov, a former employee of Black Box Security, decided to share his information after hearing Ms. Spears’s speech to the court in June. He said a surveillance operation had helped several people linked to the conservatorship control nearly every aspect of Ms. Spears’s life.Victor Tadashi SuarezEdan Yemini, the chief executive and founder of Black Box Security, also did not respond to detailed questions. In a statement, his lawyer said, “Mr. Yemini and Black Box have always conducted themselves within professional, ethical and legal bounds, and they are particularly proud of their work in keeping Ms. Spears safe for many years.”Ms. Spears’s lawyer, Mathew S. Rosengart, said in a statement: “Any unauthorized intercepting or monitoring of Britney’s communications — especially attorney-client communications, which are a sacrosanct part of the legal system — would represent a shameful violation of her privacy rights and a striking example of the deprivation of her civil liberties.”“Placing a listening device in Britney’s bedroom would be particularly inexcusable and disgraceful, and corroborates so much of her compelling, poignant testimony,” Mr. Rosengart said. “These actions must be fully and aggressively investigated.”Mr. Vlasov said his superiors had often told him that the severe surveillance measures were necessary to properly protect Ms. Spears and that she wanted to be in the conservatorship. He said he had felt compelled to share his information after hearing Ms. Spears’s comments to the court in June, when she excoriated the judicial system, her conservators and her managers. She called the arrangement abusive.Ms. Spears’s father, who is known as Jamie, was appointed conservator in 2008, shortly after Ms. Spears was twice taken to the hospital by ambulance for involuntary psychiatric evaluations amid a series of public struggles and concerns around her mental health and potential substance abuse. He was given broad control over her life and her estate, including the power to retain round-the-clock security for Ms. Spears.Mr. Spears and others involved in the conservatorship have insisted that it was a smooth-running operation that worked in the best interest of his daughter. But in the wake of Ms. Spears’s comments in court in June, the judge authorized her to choose her own lawyer, Mr. Rosengart, for the first time. Mr. Rosengart swiftly filed to remove Mr. Spears as the conservator of the singer’s estate. After consistently arguing that there were no grounds for his removal, Mr. Spears abruptly asked the court on Sept. 7 to consider whether to terminate the conservatorship entirely.Mr. Rosengart’s and Mr. Spears’s requests are expected to be considered at a hearing scheduled for Sept. 29.The security companyThe security team’s role has long been a mystery.Mr. Yemini, the Black Box Security founder, was born in Israel, and is described on a company website as having a background in the Israeli Special Forces. The Spears account helped Black Box grow from a tiny operation to a prominent player in the celebrity security industry. It counts the Kardashians, Miley Cyrus and Lana Del Rey among its clients.Mr. Vlasov joined Black Box in 2012 as a 21-year-old college student, excited by the opportunity to master the security industry. He started as Mr. Yemini’s assistant and grew into a role that encompassed wide responsibilities over operations and digital management. “I did everything from write his messages, write his emails, to be on all phone conversations in order to take notes for him,” Mr. Vlasov said. “I was the only person at Black Box that knew everything, really.”He generally worked at Black Box’s office in the Woodland Hills area of Los Angeles and seldom saw Ms. Spears in person, he said. But through the surveillance apparatus and his close work with Mr. Yemini and his colleagues, Mr. Vlasov said, he had a uniquely comprehensive view of her life.Edan Yemini with Ms. Spears in 2009. Mr. Yemini is the chief executive and founder of Black Box Security.AlamyMr. Vlasov said that Ms. Spears’s phone had been monitored using a clever tech setup: The iCloud account on her phone was mirrored on an iPad and later on an iPod. Mr. Yemini would have Mr. Vlasov encrypt Ms. Spears’s digital communications captured on the iPad and the iPod to send to Mr. Spears and Robin Greenhill, an employee of Tri Star Sports & Entertainment Group, the former business manager for the singer’s estate.This arrangement allowed them to monitor all text messages, FaceTime calls, notes, browser history and photographs.“Her own phone and her own private conversations were used so often to control her,” Mr. Vlasov said.In response to questions about the surveillance operation, a lawyer for Tri Star Sports & Entertainment Group said: “These allegations are not true. Ms. Greenhill was only involved in Ms. Spears’ security to the extent Ms. Spears requested her involvement, as well as Tri Star’s role of issuing the payments to the security company.” The lawyer did not respond to follow-up questions specifically asking whether Ms. Greenhill had ever received copies of or reports on the contents of Ms. Spears’s text communications.Mr. Vlasov said the reason Mr. Yemini had given for monitoring Ms. Spears’s phone was to protect her from harm and bad influences. But Mr. Spears monitored his daughter’s text-message conversations with her mother, her boyfriend, her close friends and even her court-appointed lawyer, according to screenshots of messages provided to The Times.Mr. Vlasov’s accounts of how Ms. Spears’s life was controlled by the security team were confirmed by others with firsthand knowledge of the conservatorship who requested anonymity. They said Ms. Spears essentially could not leave her home without the presence of security personnel, who would inform Mr. Yemini, Mr. Spears and Ms. Greenhill of the singer’s movements via group chat.Ms. Spears with her father in 2013. As part of the conservatorship, Mr. Spears was given broad control over his daughter’s life and her estate, including the power to retain round-the-clock security.RS-Jack/X17online.comAs conservator of the estate, Mr. Spears controls his 39-year-old daughter’s nearly $60 million fortune and has the authority to employ workers for her.Mr. Vlasov said Mr. Yemini and another Black Box employee had once given him a portable USB drive and asked him to delete the audio recordings on it.“I had them tell me what was on it,” Mr. Vlasov said. “They seemed very nervous and said that it was extremely sensitive, that nobody can ever know about this and that’s why I need to delete everything on it, so there’s no record of it. That raised so many red flags with me and I did not want to be complicit in whatever they were involved in, so I kept a copy, because I don’t want to delete evidence.”The drive, he discovered, contained audio recordings from a device that was secretly placed in Ms. Spears’s bedroom — more than 180 hours of recordings. Mr. Vlasov said he had thought the timing was curious because some of the recordings were made around the time that a court investigator visited Ms. Spears to perform a periodic review in September 2016.The New York Times reviewed the recordings to confirm their authenticity.When asked why he had continued working with Black Box despite harboring so many concerns, Mr. Vlasov said he had feared the amount of power Mr. Yemini and others had, and the possibility that they could damage his job prospects in the industry.After Ms. Spears’s impassioned remarks to the court in June, Mr. Vlasov said, his mind-set changed.Choosing to leave Black Box in April was the best decision of his life, he said, and he believes going public is the right thing to do. “I don’t know what’s going to happen tomorrow, but I’ve never regretted it,” he said.‘She did not want to be there’Ms. Spears spent time at a mental health treatment facility in 2019 — a stay that appears to have been a turning point in the conservatorship. Who exactly sent her there, for what reason and whether she went on her own volition are in dispute.Mr. Spears and others involved with the conservatorship have said that she consented to go to the facility and that she was aware that no one could force her to stay. Conservators are not allowed to force a conservatee into a mental health treatment facility against their will.“She did not want to be there,” Mr. Vlasov said. “I heard this from multiple people, including Robin and Jamie themselves when they would talk on the phone to Edan. I overheard multiple conversations where they knew Britney didn’t want to be there.”The Times obtained text messages that Ms. Spears had sent from the facility that said she felt she was there involuntarily and that she could not leave, noting that security personnel were at the door at all times. Ms. Spears told a judge later in 2019 that she had felt she was forced into the facility, according to a transcript of the closed-door hearing. She repeated that claim to the court publicly in June.Mr. Vlasov shared digital communication that showed how Ms. Spears, while in the facility, had tried to hire a new lawyer to replace her court-appointed lawyer — and that Mr. Spears and others had monitored that effort.Ms. Spears with Robin Greenhill, an employee of Tri Star Sports & Entertainment Group. Mr. Vlasov said that Ms. Spears’s phone had been monitored using a clever tech setup: The iCloud account on her phone was mirrored on an iPad and an iPod.AlamyThe prospective lawyer asked Ms. Spears if he could come talk to her. Ms. Spears responded that she didn’t think the security personnel would let her see him. “They will say no for sure to me seeing a new lawyer on my side,” she said, and proposed that he tell the security personnel that he was a plumber instead. The lawyer declined that plan. “You have to be approved by the court before I hire you, but I don’t understand how can I know I want to hire you unless I meet with you first?” Ms. Spears wrote.“Yes, it’s a Catch-22 situation,” the lawyer said.In a text message sent a week after the initial exchange with the lawyer, Ms. Spears said that Mr. Spears had taken away her phone after finding out that she had been talking to a lawyer.The lawyer confirmed to The Times that the correspondence provided by Mr. Vlasov was accurate.Mr. Vlasov recalled that “one of the biggest ‘aha,’ red-flag moments” in his tenure at Black Box had happened in August 2020, when Ms. Spears’s court-appointed lawyer, Samuel D. Ingham III, sent an email to Mr. Spears’s lawyers and Mr. Yemini asking for written confirmation that Ms. Spears’s new phone was not being monitored.“Ethically, I need to get written confirmation that no one other than my client can access her calls, voice-mail messages or texts directly or indirectly,” Mr. Ingham wrote in the email, which was reviewed by The Times.Geraldine Wyle, a lawyer for Mr. Spears, responded: “Jamie confirms that he has no access to her calls, voice-mail messages, or texts.”Ms. Spears in Paris for her “Piece of Me” tour in 2018. The following year, the singer spent time at a mental health treatment facility — a stay that appears to have been a turning point in the conservatorship.Marc Piasecki/Getty ImagesIn response to questions from The Times about the exchange, Ms. Wyle said, “Mr. Spears’ actions have always been proper, and in strict conformity with the law, and the orders of the Los Angeles Superior Court.”Mr. Ingham did not respond to requests for comment.Mr. Spears was particularly interested in Ms. Spears’s boyfriends, Mr. Vlasov said. The security team tailed her boyfriends in a continuing effort to look for incriminating behavior or other evidence that they might be a bad influence on Ms. Spears, he said.“There was an obsession with the men in Britney’s life,” Mr. Vlasov said.Her boyfriends were required to sign strict nondisclosure agreements, Mr. Vlasov said. An agreement signed in 2020 by her boyfriend at the time, Sam Asghari, who is now her fiancé, technically forbade him to post on social media about Ms. Spears without Mr. Spears’s prior written approval.In a confidential report by a court investigator that was obtained by The Times, the investigator wrote in 2016 that Ms. Spears had told her that she could not befriend people, especially men, without her father’s approval and that the men she wanted to date were “followed by private investigators to make sure their behaviors are acceptable to her father.”Mr. Vlasov said that Black Box Security had billed more than $100,000 in 2014 for investigating and surveilling Ms. Spears’s boyfriend at the time. The boyfriend, David Lucado, told The Times that he had been aware at the time that he was being followed by private investigators, and he said he had called 911 twice because of dangerous tailing situations. He said he believed he might have been more of a target because he was encouraging Ms. Spears to understand her legal rights under the conservatorship.‘Free Britney’ draws attentionAnother object of intense interest among those controlling Ms. Spears’s life, Mr. Vlasov said, was the so-called Free Britney movement, a growing cohort of fans that in recent years has brought heightened attention to the conservatorship case. Black Box Security sent investigators to infiltrate the group at a rally in April 2019 and to develop dossiers on some of the more active participants.“Undercover investigators were placed within the crowds to talk to fans to ID them, to document who they were,” Mr. Vlasov said. “It was all under the umbrella of ‘this is for Britney’s protection.’” He shared surveillance photographs with The Times that corresponded to photos posted by Free Britney participants that day.Megan Radford, a member of the so-called Free Britney movement, was classified as “a high risk due to her creation and sharing of information.”via Megan RadfordBlack Box prepared a “threat assessment report” dated July 2020 that included background information on several fans within the movement, including people who had popular podcasts and social media accounts like “Britney’s Gram,” “Eat, Pray, Britney,” “Lawyers for Britney” and Diet Prada. One activist, described as a young mother in Oklahoma, Megan Radford, was classified as “a high risk due to her creation and sharing of information.”An email from August 2020 sent by Mr. Yemini discussed the possibility of surveilling Kevin Wu, a fan who runs the prominent Twitter account Free Britney L.A.“They were extremely nervous, because they had zero control over the Free Britney movement and what’s going to come out of it,” Mr. Vlasov said.The fees for surveilling Ms. Spears’s boyfriend and the Free Britney participants, Mr. Vlasov said, were billed to Ms. Spears’s estate. More

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      The Score of Final Fantasy Gets Its Due at the Concert Hall

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      The beloved music for this video game and others have been covered on YouTube for years. Now some are performed at classical music’s grandest venues.LONDON — At a recent concert here, the bows of the Royal Philharmonic Orchestra rose and fell like the mighty sword of Sephiroth, the silver-haired villain of Final Fantasy VII. Onstage, a 32-person choir thundered the antagonist’s name: “Sephiroth!”The audience in the 19th-century theater burst into applause when it recognized the opening notes of “One-Winged Angel,” a battle theme from the game that merges Latin opera, influences from Stravinsky’s “Rite of Spring” and caustic rock music.Almost 6,000 people of all ages attended this Final Fantasy VII Remake concert at the Royal Albert Hall on Sunday, which showcased the soundtrack to the seventh installment of the hugely popular Japanese video game.Aine McColgan dressed in cosplay for the concert.Alex Ingram for The New York TimesCharlotte Ball as the game’s protagonist, Cloud Strife.Alex Ingram for The New York TimesA group of concert goers dressed as Final Fantasy VII characters, including Rufus Shinra, Cloud Strife and Scarlet.Alex Ingram for The New York TimesAt the concert, the two worlds of gaming and classical music merged, and while some concertgoers wore suits and bow ties, others dressed in cosplay as their favorite characters from the game.Charlotte Ball, 27, attended the evening dressed as the game’s protagonist, Cloud Strife, an ex-soldier and mercenary. She spent hours laboriously researching and designing her costume, a sleeveless turtleneck with embroidered brown braces, one shoulder of armor made from foam, and a short-haired blond wig that could easily belong to a member of BTS.“Whenever I hear its music, it brings me back to when I was a kid,” Ball said of the game. “It’s a homage to my childhood.”The audience burst into applause when it recognized the opening notes of “One-Winged Angel,” a battle theme from Final Fantasy.Alex Ingram for The New York TimesFinal Fantasy VII was released in 1997 on PlayStation, and has now been bought more than 11 million times across all major platforms. The enormous popularity of its electronically synthesized score by Nobuo Uematsu evidences the huge impact video game music can have.The Final Fantasy games have an interactive, role-player format, which immerses gamers in the journeys of its heroic protagonists. These journeys are interwoven with music throughout, like a film score. As a result, “you do not just watch a game. You play it, you feel it, you embody it,” said Melanie Fritsch, a professor in media and cultural studies at Heinrich Heine University in Düsseldorf, Germany. “Sometimes, people start crying when there is a good moment in a game that’s nicely implemented with the music.”Because of this emotional connection, the influence of these scores extends far beyond the games themselves. Since 2007, there have been more than 200 official Final Fantasy concerts across 20 countries, according to Square Enix, the company behind the game.At the Tokyo Olympics opening ceremony this summer, athletes marched to songs from popular games including Dragon Quest, Kingdom Hearts, Sonic the Hedgehog and Final Fantasy, music described by its organizers as “a quintessential part of Japanese culture that is loved around the world.”Uematsu, now 62, single-handedly composed the first nine installments of Final Fantasy scores, creating music that remains a nostalgic rabbit-hole for many fans. A self-described musical omnivore without formal musical training, Uematsu’s work draws on influences from an eclectic mix of progressive rock, Led Zeppelin, Elton John, Celtic and classical music.But video game scores have often been dismissed by devotees of mainstream classical music. Even in Japan, the birthplace of modern video game music, “up until after the millennium, it was regarded as a lesser type of music,” said Junya Nakano, 50, the co-composer of the Final Fantasy X soundtrack.Yoko Shimomura, a prolific video game composer.Osamu NakamuraNobuo Uematsu, who single-handedly composed the first nine installments of Final Fantasy scores.David Wolff-Patrick/Redferns, via Getty Images“There are some melodies I composed almost 30 years ago I’ve almost forgotten,” the composer Junya Nakano said. “But fans are still playing them.”Kosuke Okahara for The New York TimesGrowing up as a video game fan who also had classical music training, Nakano aspired to join the early generation of game composers, like Uematsu and Koichi Sugiyama.For the tenth installment of Final Fantasy, Nakano worked with Uematsu on the game’s score. Released in 2001, it was the first game in the franchise to use voice actors for its characters. The challenge for Nakano was to compose the music, along with Uematsu and Masashi Hamauzu, with only a “very rough outline” of the narrative for each movie scene. “We really had to create music based on our imagination,” Nakano said. Along with its sequel, Final Fantasy X sold more than 14 million copies.Writing video game scores isn’t always respected by those in the classical music fields. After majoring in piano at the Osaka College of Music, Yoko Shimomura, 53, applied for a job as a video game composer, a career path that her professors discouraged, she said.“Adults in my generation back then had little awareness about game music,” Shimomura said in a video interview. “So they had no concept to compare it to whatsoever.”But Shimomura went on to become one of the most prolific female video game composers in the world. Her magnum opus is the eclectic score for Kingdom Hearts, first released in 2002, which combines her signature piano, opera and opening music sung by the Japanese American singer, Hikaru Utada.Outside of Japan, the “hegemonic thinking” that elevated classical music at the expense of video game compositions has also persisted, according to Fritsch, the media and cultural studies professor.“There is so much music out there in the world that is not composed by white males with wigs. And it’s good music,” said Fritsch, who also works in ludomusicology, a nascent field of academic research dedicated to the study of video game music.Since 2007, there have been more than 200 official Final Fantasy concerts across 20 countries.Alex Ingram for The New York TimesThe first installment of Final Fantasy, released in 1987, used technology that initially meant the music was limited to a handful of electronic sounds. As the technology of the game systems evolved, the music metamorphosed with it. The arrival of Final Fantasy VIII in 1999 allowed Uematsu to use recordings from a live orchestra and choir for the first time. “The fans were always aware of the quality of music,” Nakano said.Online, those fans are now giving the music new life. Previously, illegal MP3 downloads, expensive CD imports from Japan and sheet music were the only way video-game-music enthusiasts could replay their favorite songs. Now, a community of fans post videos to YouTube of covers, tutorials and their own compositions, providing a way into the often inaccessible world of classical music.“There are some melodies I composed almost 30 years ago I’ve almost forgotten,” Nakano said, “But fans are still playing them.”For 18 years, Kyle Landry has created piano arrangements of music from various anime, video games and movies on YouTube, gaining more than 700,000 followers. Shimomura’s music, and Uematsu’s in particular, have been gold mines of inspiration.“Nobuo Uematsu’s compositions have been touching my life since 2003, and contributed much inspiration for me over the years,” said Landry.Among the most prolific cover artists is the mysterious “Zohar002,” a Japanese pianist whose covers of music from Chrono Trigger — a 1995 RPG game considered the greatest of the 16-bit era — enticed a huge following on YouTube from 2007, until the account was mysteriously removed, sparking mournful odes to Zohar002’s brilliance, and rumors that they were in fact the game’s composer, Yasunori Mitsuda.“I never dreamed such a great variation would be created by so many fans,” Shimomura said of the online renditions, adding that some fan compositions were better than the originals. “It’s a really great honor for me to say that people love my music.”Hisako Ueno contributed reporting. More

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      Qué pasa cuando una minivan se transforma en una máquina musical

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      En una bochornosa tarde de agosto en Randalls Island, me encontraba en un campo de Honda Odysseys y CR-Vs, carros equipados con filas de tweeters y subwoofers: altavoces especializados de altas frecuencias y de subgraves. Las bocinas estaban colocadas en los techos de los automóviles o alineados en los maleteros de los vehículos como artillería […] More

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      Review: The Philharmonic Tries Out Another Temporary Home

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      After opening its season at Alice Tully Hall, the orchestra found more congenial surroundings at the Rose Theater.Maybe it was the surge of adrenaline that the New York Philharmonic felt at finally returning to live concerts at Lincoln Center after a year and a half. Maybe sizing down symphonic power for a temporary venue — Alice Tully Hall, with just over a third of the seats of the orchestra’s usual theater across the street — was a work in progress on opening night.Whatever the reason, the Philharmonic’s clenched, loud performance of Beethoven’s Piano Concerto No. 4 last week left me jangled and headachy. From my seat close to the action — maybe that was part of the problem, too — the performance seemed in line with the worst impulses of Jaap van Zweden, the orchestra’s music director, who announced just before the season that he would leave his post in 2024.That bullied, blatant Beethoven swept up even a normally suave soloist, Daniil Trifonov, who huffed and pounded. It didn’t bode well for the remainder of this season, much of which will be held at Tully as the Philharmonic’s home, David Geffen Hall, undergoes renovations.Not so fast. On Thursday — the orchestra’s nerves perhaps settled, and now at the Rose Theater at Jazz at Lincoln Center, another temporary home much smaller than Geffen, but airier in feel than Tully — a different Beethoven piano concerto, the Third, was superb.Yes, I know: Another week, another Beethoven concerto. But it’s slightly easier to forgive unimaginative programming when the performance is as spirited and full-bodied as it was with Yefim Bronfman as soloist.Beloved by this orchestra, particularly in this composer, Bronfman built imperceptibly through the first movement to organ-like grandeur in his cadenza. Then his tone receded into pearly dreaminess before ending in a shivery trill. His serene poise at the start of the Largo (later recalled in his encore, Chopin’s Nocturne No. 8 in D flat) was matched by silky strings. The Rondo finale had dash all around, but Bronfman never seemed to be putting phrases in italics or boldface; this was easygoing playing, in the best sense.The concerto followed Hannah Kendall’s “Kanashibari” (2013), which has a few ethereal moments before falling into a long stretch of John Adams-esque chugging strings and brassy fanfares, with the odd slap of wood. But the orchestra played it with focus and polish.Opening with a contemporary work of seven or eight minutes that’s swamped by the subsequent hour of Beethoven and Haydn, the program was in the classic mode of an ensemble that’s profoundly cautious yet wants to appear progressive.A slight complication is that while Beethoven’s Third Piano Concerto is frequent fodder for the Philharmonic, Haydn’s Symphony No. 92 in G (“Oxford”) isn’t. It’s standard repertory, sure, but not for this orchestra, which until trying it out this summer hadn’t played it in almost 20 years.Van Zweden leading Haydn’s Symphony No. 92 in G (“Oxford”).Hiroyuki Ito for The New York TimesIt made you, as performances of his symphonies often do, want to hear them all the time. Particularly when they gleam like the “Oxford” did on Thursday, the phrases at the start sculpted but not overly managed. Perhaps, going for crispness, van Zweden occasionally erred on the side of curtness, and the final movement sometimes tipped into feeling more driven than witty. But the playing was largely rich and good-humored: balanced and gentle in the second movement, then graceful and patient, and with even a hint of mystery, in the third.Based on first impressions, it seems that, of the Philharmonic’s two main residences this season, the intimate yet spacious Rose Theater might give the orchestra and its sound more room to breathe.New York PhilharmonicProgram repeats Friday and Saturday at the Rose Theater at Jazz at Lincoln Center, Manhattan; nyphil.org. More