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    2021 in Jazz: Intimacy and Conversation

    Subscribe to Popcast!Apple Podcasts | Spotify | StitcherThroughout the coronavirus pandemic, jazz’s flexibility has become an asset. It informed how 2021 played out in the jazz world — the return of Pharoah Sanders with a new, unlikely collaborator, the electronic musician Floating Points; interesting intersections with hip-hop that call back to earlier jazz fusion; duet recordings that emphasize call and response, two artists communicating across the empty transom.On this week’s Popcast, a conversation about how the pandemic is continuing to shape the world of jazz recordings, how the genre revives its heroes and also some promising new artists.Guests:Giovanni Russonello, who covers jazz for The New York TimesMarcus J. Moore, who writes about music for The New York Times and othersConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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    Scrambling but Undaunted, the Met Opera Sings Through Omicron

    The variant has upended Broadway, ballet and concerts. But the Met has yet to miss a performance, thanks to strict rules, fill-in artists and luck.The Metropolitan Opera had to scramble to find a replacement for its “Magic Flute” conductor after she tested positive for the coronavirus last month. When a wicked stepsister in “Cinderella” tested positive shortly before a performance in late December, the Met enlisted a soprano from another production to sing the role from the wings while a dancer acted it onstage.And earlier this week, when the star of its new production of “Rigoletto,” the baritone Quinn Kelsey, exhibited cold symptoms, the Met insisted on using an understudy, even though Kelsey had not yet tested positive for the virus and had just received some of the best reviews of his career.The Met’s prudence paid off. Kelsey later tested positive, and the rest of the cast had been spared a close contact.The Omicron variant has toppled a slew of Broadway shows, disrupted dance productions, postponed festivals, forced the cancellation of dozens of concerts, and closed the mighty Vienna State Opera for almost a week. But it has yet to stymie the Metropolitan Opera, the largest American performing arts organization, which has not missed a performance this season.Undaunted by the sharp rise in coronavirus cases, the Met has staged more than three dozen performances since late November, including productions of “Tosca,” “The Magic Flute,” “Cinderella” and “Rigoletto.” More than 3,000 people, who wore masks and showed proof of vaccination, filled the auditorium on New Year’s Eve. Rehearsals are in full swing for another two dozen performances this month, each involving hundreds of people: solo singers, orchestra players, chorus members, dancers, actors, stagehands, follow-spot operators, dressers and makeup artists, among many others.More than 3,000 people, who wore masks and showed proof of vaccination, filled the Met for the premiere of “Rigoletto” on New Year’s Eve.Richard Termine for The New York Times“We’re doing everything we possibly can to keep the Met open,” Peter Gelb, the company’s general manager, said in an interview. “I’m determined not to cancel a performance.”The Met’s success so far in managing the surge can be attributed to a number of factors: strict health protocols, a robust system of understudies, the advantages that come from its structure as a large repertory company that mounts a different opera each day — and, to be sure, a dose of luck.“There’s a sense of, ‘We can do this!’” said Sarah Ina Meyers, who directed the revival of “The Magic Flute,” which completed a nine-performance run on Wednesday with the help of far more cover artists than usual. “We’re trying to lift each other up.”Still, Meyers added, after weeks of grappling with last-minute cast changes, drafting and then tearing up plans, “there is profound hope that we can go back to the normal level of crazy.”The Met’s health protocols are among the strictest in the performing arts. The company now gives all employees P.C.R. tests three times a week, recently began having singers wear face masks even at dress rehearsals, and soon will require employees and audiences to have received booster shots to enter its building.The company had a robust system of fallbacks even before the pandemic struck, since its singers must be at their physical best to fill its cavernous opera house without the aid of amplification, and illnesses, whether hay fever or flu, have always required last-minute substitutions. Unlike Broadway, where shows often assign one actor to serve as an understudy for multiple roles, the Met appoints at least one cover for every role, greatly reducing its chances of having to cancel.Being a huge repertory company helps, too. Since it stages a different opera each night, with several titles in rotation onstage and others in rehearsal at any given time, the Met has a large pool of singers and crew members to draw on when a crisis erupts.And since the company performs a great deal of standard repertory, often in productions that remain the same for years, when a singer falls ill it is usually possible to find another who already knows the part (and even the staging) well. There tend to be several days between performances of each title — so a mild illness might only require missing a couple of shows.By pushing forward, the Met’s leaders hope to signal that the opera house can get through the turmoil of the pandemic and beyond. “The fact that we are performing provides a beacon of hope to our audiences and to our donors,” said Gelb, who tested positive for the virus late last month and had to watch live feeds of several key rehearsals from home. “We just have to make sure we survive the pandemic.”Omicron came just as the company was beginning to feel more confident after losing over $150 million in anticipated revenues because of the pandemic. While ticket sales in the fall were overall about 10 to 20 percent below prepandemic levels, there were several successes: a popular new production, “Fire Shut Up in My Bones,” the company’s first work by a Black composer; the staging of a six-hour work, Wagner’s “Die Meistersinger von Nürnberg,” the longest in the Met’s repertory; and a revival of Puccini’s “La Bohème” that was a hit with audiences and critics.As Omicron began to spread, the Met moved to strengthen its virus-control measures. Since the beginning of the 2021-22 season, it has required employees and audience members to be fully vaccinated and to wear masks inside the opera house.Quinn Kelsey, standing, and Craig Colclough wore masks while rehearsing for “Rigoletto” last month.Julieta Cervantes for The New York TimesThen P.C.R. testing of employees and artists increased to three times a week, from twice. The Met began to more strictly enforce a policy prohibiting employees with cold-like symptoms from entering the opera house, even if they have tested negative for the virus. It has also discouraged its employees from attending indoor social gatherings.The rules have been burdensome, especially for singers, many of whom find wearing masks while rehearsing awkward. But after going without stable work for much of the pandemic, as the Met and other institutions were closed, they have complied.“It’s uncomfortable, it’s something that we wish we didn’t have to do,” Kelsey, the Rigoletto, said of the masking requirement. “But at the end of the day it just means we’re that much closer, we hope, to putting all this mess behind us.”Even with the health protocols, the coronavirus has wrought havoc, sidelining singers, orchestra players, dancers, actors and stage hands. Since Thanksgiving, 124 people have tested positive for the virus among the Met’s stage crew, construction, wardrobe, wig and makeup, and costume departments, though most are now back at work.In the orchestra, eight people have tested positive; they, too, are largely working again. The Met has a pool of extra musicians who play regularly even when there are no illnesses, making substitutions relatively easy. (New York City Ballet, which halted its jam-packed “Nutcracker” schedule on Dec. 21, had instituted a rule that three connected virus cases within the company would spur a shutdown, to prevent further spread.)When Kelsey came down with cold-like symptoms this week, his cover, Michael Chioldi, jumped into action, getting fitted for costumes and going over technical cues just a few hours before the performance.“It’s been very stressful,” Chioldi said in a telephone interview from his dressing room shortly before his debut on Tuesday. “We’re just really, really hoping and praying that the Met stays open and that we can fill in when people go out, because inevitably people are going to get the virus.”Linda Gelinas (right, with Maya Lahyani in green and Stephanie Blythe) jumped in to act one of the stepsisters in “Cinderella” while Vanessa Becerra sang the role from the wings.Met OperaWhen the singer playing the stepsister in “Cinderella” became ill, the Met brought in a soprano, Vanessa Becerra, who happened to be taking part in “The Magic Flute.” She sang the role from the wings while Linda Gelinas, a former Met principal dancer who had not performed with the company in six years, acted it.With only a few hours to prepare, Gelinas studied videos and raced to memorize stage directions.“I thought it was a joke, but then I very soon realized, ‘Oh my gosh, they’re serious,’” Gelinas said. “Once the decision was made, we just went full speed ahead.”With Omicron infections still rising, it is unclear whether the Met can maintain its streak — and whether audiences will continue to turn out in large numbers. Attendance has been uneven in recent weeks. While it was 87 percent at the New Year’s Eve opening of “Rigoletto,” “Tosca” is expected to end its run this month at just 55 percent.But opera fans have celebrated the Met’s ability to remain a bastion of live music even as other venues have taken a pause.JunHyeok Lee, 27, a student at Baruch College from South Korea who attended the “Rigoletto” opening, said he felt privileged to be there at a time of uncertainty about the virus.“It’s a great blessing,” Lee said. “I’ll go every time unless the Met stops.” More

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    2022 Grammy Awards Postponed Amid Covid-19 Surge

    The Recording Academy has not announced a new date for its 64th annual show, originally scheduled for Jan. 31 in Los Angeles.For the second year in a row, the Grammy Awards have been pushed back by the coronavirus pandemic.The 64th annual ceremony, which had been set for Jan. 31 in Los Angeles, will be rescheduled, according to a joint statement on Wednesday from the Recording Academy and CBS, as the Omicron variant has led to a surge in cases nationwide. The new date will be announced soon, the statement said, noting, “The health and safety of those in our music community, the live audience, and the hundreds of people who work tirelessly to produce our show remains our top priority.”Last year’s show was postponed by six weeks as cases spiked, and before vaccinations were widely available. Last week, Dr. Anthony S. Fauci, President Biden’s chief medical adviser, predicted that the latest wave of the pandemic may reach its peak in the United States by the end of January.This year the composer and bandleader Jon Batiste has 11 Grammy nominations, more than any other artist, and will compete for both album and record of the year. Other top nominees include Olivia Rodrigo, Justin Bieber, Billie Eilish and Doja Cat. No performers have been announced yet.In November, in an unusual move, the Recording Academy, the organization behind the awards, made a last-minute change to the nominations procedure. Just 24 hours before the nominations were announced, the group voted to expand the ballot in the top four categories — album, record and song of the year, and best new artist — to 10 spots, from eight, a move that benefited Taylor Swift, Kanye West, Lil Nas X and others. Two weeks later, Drake, who was nominated for two Grammys but has long expressed ambivalence about the awards, withdrew from the competition.This year, the Recording Academy had also scheduled the return of its high-profile annual pre-Grammy events, which take place in the days leading up to the show and feature stars mingling with music executives.A tribute to Joni Mitchell, benefiting MusiCares, a charity associated with the Grammys that helps musicians in need, was to feature performers like James Taylor, Herbie Hancock, Brandi Carlile and Batiste. Clive Davis, the 89-year-old music executive, also had plans to hold his annual gala the night before the ceremony. The Academy’s statement didn’t specify changes in plans for these events.The main ceremony has been scheduled for the Grammys’ usual home in downtown Los Angeles, which is now called Crypto.com Arena. (It was until late last month called the Staples Center.) Last year, performances and award presentations took place nearby, at the Los Angeles Convention Center, and largely outdoors. That show was hosted by Trevor Noah, who is returning this year.Reviews of the 2021 event — in which many artists faced each other on a stage built for multiple performances — praised it as a fresh new take. But ratings fell by 53 percent to 8.8 million, according to Nielsen, a new low for the Grammys. More

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    ‘Late Night’ Cancels Shows After Seth Meyers Tests Positive for Coronavirus

    The NBC host said, “I feel fine,” and that his program would most likely return in a remote format next week.The resurgent pandemic continues to take its toll on the performing arts in New York and to disrupt the late-night comedy programs produced here. On Tuesday, Seth Meyers, the host of NBC’s “Late Night,” said that he had tested positive for the coronavirus and that tapings of his program would be canceled through the end of the week.In a tweet posted on Tuesday morning, Meyers wrote: “The bad news is, I tested positive for COVID (thanks, 2022!) the good news is, I feel fine (thanks vaccines and booster!)” He added that “Late Night” would most likely return in a remote format next week, asking viewers to “tune in next Monday to see what cool location we will try and pass off as a studio!!!”Meyers, the “Saturday Night Live” alumnus, had just returned to “Late Night” on Monday after a holiday break, in a broadcast that featured a live studio audience and guests (including cast members from the NBC drama “This Is Us” and the musician David Byrne) who appeared in remote interviews.“Late Night” is one of several NBC programs produced at the network’s flagship New York headquarters at 30 Rockefeller Plaza, along with “S.N.L.” and “The Tonight Show Starring Jimmy Fallon.”The on-air talent at “Late Night” was being tested daily, and Meyers tested negative on Monday, according to someone familiar with operations at the show who was granted anonymity because that person was not authorized to speak publicly. NBC declined to comment beyond Meyers’s post on Twitter.Fallon, the “Tonight Show” host, said that he had tested positive for the coronavirus over the holidays and that he experienced “mild symptoms” while his program was on a scheduled break. He returned to host “The Tonight Show” on Monday.The final “S.N.L.” broadcast of 2021, which was shown on Dec. 18, was also significantly disrupted by the surging pandemic. It aired without a live audience or a musical guest, and with most of its regular cast members absent. More

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    Coronavirus Is Surging. Avant-Garde Arts Festivals Are Closing.

    Under the Radar, Prototype and the Exponential Festival, annual January beacons of experimental work, have canceled their in-person offerings.Last Wednesday, the staff of the Under the Radar festival agreed on a path forward.They would limit the number of performances in the festival. They would not offer food or drink. The Public Theater, the host of this annual celebration of experimental performance, had already mandated that audience members provide the results of a negative PCR or rapid antigen test, in addition to confirming full vaccination status.Everyone concurred that these measures would keep audiences, artists and staff safe amid the current coronavirus surge. The festival would be able to open on Jan. 12, as planned.But Mark Russell, Under the Radar’s artistic director, woke up on Thursday morning and realized he and his colleagues were wrong.“I was sort of in denial, riding down the river of denial for a while,” he said on a video call Friday afternoon. “We tried all the adjustments until the last minute, and put a lot of work into rejiggering again, and then rejiggering again.”With case numbers rising, jiggering only went so far. When he spoke on Friday, the Public had just announced the festival’s cancellation, citing “multiple disruptions related to the rapid community spread of the Omicron variant.” This was just after the Exponential Festival, a multi-venue, multi-arts program based in Brooklyn, had made the decision to go entirely online. And on Monday, Prototype, a festival of avant-garde opera and musical theater, largely spiked its 10th anniversary celebration that was meant to open on Jan. 7. (One Prototype show, “The Hang,” will still open, a bit later in the month than scheduled.)Developed to complement the annual Association of Performing Arts Professionals conference, these three January festivals have grown to fill an essential niche, introducing presenters and civilians to innovative theater and performance — local, national and international. It was announced on Dec. 23 that the conference would go digital, which made the subsequent cancellations less surprising, if no less sad.Kristin Marting and Beth Morrison, two of the founding directors of Prototype, spent Friday morning telling artists that, while the festival would pay out their contracts, they wouldn’t be able to perform.“Purell Piece” was among the shows presented online last year by the Exponential Festival.Cory Fraiman-Lott“It’s been a terrible day,” Morrison said on a conference call that afternoon. “Tears and, of course, understanding. But incredible disappointment.”The cancellations speak to the difficulties of producing live performance in New York during a pandemic, even assuming the most responsible health and safety practices. On Monday the Joyce Theater said it would not be able to go ahead with Ayodele Casel’s tap-dance work “Chasing Magic,” which had been scheduled to open on Tuesday. Broadway is reeling from closures — most recently, Manhattan Theatre Club halted “Skeleton Crew” through Jan. 9 — and the unconventional, small-scale work championed by the trio of January festivals has been even slower to resume in the city.Now audiences will have to wait another year, at least, before this bounty properly returns. And the individuals and ensembles who create experimental work — and are often dependent on the income from touring it — will have to wait that much longer for showcases.When asked about the decision to cancel their live shows, the directors of all three events listed risks to performers and audiences, as well as visa problems and supply chain delays. Theresa Buchheister, the artistic director of the Exponential Festival, cited the cost — in both time and money — of testing performers every day.Russell mentioned the high positivity rate among the Public’s staff. “I might have been in a place of telling someone they can’t go on, because we don’t have a technician to run the lights,” he said.Ironically, the festivals all managed to open last year, albeit digitally. Prototype programmed six shows, three of them world premieres and three new to the United States. Under the Radar offered seven shows, as well as an online symposium and access to works in progress. The Exponential Festival presented a staggering 31 events, “Corona Cam Show” and “Purell Piece” among them. But all of the artistic directors had bet on a return to live performance — a decision made this summer, after vaccines were widely available but before the Delta and Omicron surges.“Maybe we shouldn’t have planned to do so many things in person, but we really thought that it was a choice that could happen,” Buchheister said.Until very recently that risk felt small, especially compared to the potential rewards. “We’re live producers,” Morrison explained on Wednesday, when Prototype was still planning to go ahead. “We’re interested in live theater and live opera and singing in the room and bringing people together and feeling everybody’s heartbeat synced in the audience. That’s why we do what we do and why we love what we do.”Silvana Estrada was to have performed her “Marchita” as part of Prototype.Mariscal/EPA, via ShutterstockSilvana Estrada, a singer-songwriter and multi-instrumentalist from Mexico who had been booked to perform her “Marchita” at Prototype, described the frustrations of working digitally. “That’s something that I talk about a lot with my colleagues,” she said in a phone interview on Thursday. “Singing to a computer makes you feel so miserable. For me, having an opportunity to actually perform live again, it’s a fulfillment that I spent a long time without.”Prototype and Under the Radar had planned entirely live slates, feeling that a hybrid model would divert too many resources — artistic and financial. Only the Exponential Festival had preset an online option, with 15 shows to be presented live and four to be made available on YouTube. But in late December, after Buchheister tested positive, the decision was made to move Exponential online entirely. Seven of the live shows chose to adopt a digital format; eight opted to postpone.Dmitri Barcomi, the creator of “Case Studies: A New Kinsey Report,” didn’t seem too upset. “I think an even greater level of intimacy can be achieved through the added privacy of an at-home viewing,” he wrote in an email. Besides, he added, “so much of our generation discovered their queerness online, so it feels like a welcome back party!”But the online format didn’t work for everyone. “This play is meant to be experienced in person,” Marissa Joyce Stamps, the writer and director of “Blue Fire Burns the Hottest,” which had been booked for Exponential, wrote in an email. And Under the Radar and Prototype didn’t feel that their scheduled works could or should pivot at the last minute. Instead they both hope to return next year, perhaps in hybrid form, perhaps going all-in again on live.“This is what we do,” said Marting, the Prototype director. “Because art is meaningful in people’s lives. It’s not for special occasions. It’s for the fabric of our lives.” More

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    Under the Radar Theater Festival Canceled as Omicron Surges

    Putting off the Public Theater’s annual showcase for experimental work was the latest sign of the variant’s impact on live performance.As a surge of coronavirus cases driven by the Omicron variant takes a growing toll on live performance, the Public Theater on Friday announced it would cancel its Under the Radar festival, originally scheduled to begin on Jan. 12.In a statement, the theater cited “multiple disruptions related to the rapid community spread of the Omicron variant,” including effects on staff availability, cancellations by artists and audience members, flight interruptions and visa processing delays.Mark Russell, the festival’s director, said in a video interview that his team had worked on plans to streamline Under the Radar — the Public’s annual showcase for experimental work, and one of several New York festivals that have formed around the Association of Performing Arts Professionals conference — so that it could proceed despite the surge. But on Thursday morning, Russell said, he took stock of the test positivity rate and number of cases in New York, and decided it would be irresponsible to press on.“It was not a time for a festival,” he said. “A festival is a celebration. It’s supposed to be a coming together to celebrate this work, and it was not going to be a celebration.”Although last year’s Under the Radar was completely virtual, that took months of planning, Russell said, so it would not have served this iteration to attempt to go hybrid or digital so late. Oskar Eustis, the Public’s artistic director, said in the interview that all festival artists and staff will be paid as planned.The lineup for Under the Radar was to have included “Seven Methods of Killing Kylie Jenner,” by Jasmine Lee-Jones; “Our Country,” by Annie Saunders and Becca Wolff; “An Evening With an Immigrant,” by Inua Ellams; “Otto Frank” by Roger Guenveur Smith; and “Mud/Drowning,” with texts by María Irene Fornés.As part of Under the Radar’s On the Road initiative, “The Art of Theater” and “With My Own Hands,” two monologues by Pascal Rambert, will still be presented by Performance Spaces for the 21st Century in Chatham, N.Y. “An Evening With an Immigrant” is still expected be performed at Oklahoma City Repertory Theater (Jan. 22-23) and at Stanford University (Jan. 29-30), and “Seven Methods of Killing Kylie Jenner” is still planning a three-week run at Woolly Mammoth Theatre Company in Washington (Feb. 14-March 6).In December, the Public announced that it would require full vaccination and, through the end of January, proof of a negative Covid-19 test to access its theaters and restaurant. With no main-stage performances during that time, the policy was aimed mainly at Under the Radar, which had been scheduled to end on Jan. 30.Another presentation of experimental performance, the monthlong Exponential Festival, will be presented online, on the festival’s YouTube channel and Twitch. More

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    ‘Mrs. Doubtfire’ on Broadway Is Pausing to Avoid Closing

    The musical’s producer, eager to avoid a permanent shutdown amid the virus surge, is attempting a self-imposed nine-week hiatus.In a startling illustration of the financial damage a resurgent pandemic is causing on Broadway, the producer of a new musical adaptation of “Mrs. Doubtfire” has decided to close down his show for nine weeks, saying he sees no other way to save the production.Kevin McCollum, a veteran Broadway producer whose previous credits include “Rent” and “Avenue Q,” said he would close the musical comedy beginning Jan. 10, with a plan to reopen on March 14. The move will cost 115 people their jobs for that period; McCollum said he is committed to rehiring those who want to return.“My job is to protect the jobs long-term of those who are working on ‘Mrs. Doubtfire,’ and this is the best way I can do that today,” he said in an interview. “I can’t just sit idly by when there’s a solution, albeit unprecedented and painful. I can’t guarantee anything, but at this moment this is the most prudent thing I can do with the tools I have.”McCollum said that if he does not attempt the hiatus, the show would run out of money and be forced to close within three weeks. And there is plenty of reason to believe that is not hyperbole: Five Broadway shows in December decided to close earlier than anticipated, including the musicals “Ain’t Too Proud,” “Diana,” “Jagged Little Pill” and “Waitress,” as well as the play “Thoughts of a Colored Man.”McCollum’s move, which will enable the production to stop paying salaries and most other expenses, is a novel Broadway response to the Omicron surge, but has a parallel in London, where Andrew Lloyd Webber has shuttered his new “Cinderella” musical for at least seven weeks. (It is slated to reopen Feb. 9.)“Mrs. Doubtfire,” like all Broadway shows, has been battered by the coronavirus pandemic. The production, in development for years and capitalized for $17 million, had gotten through just three preview performances in March 2020 when Broadway shut down; it was closed for 19 months before resuming previews in October, and then opened in December, bolstered by a nearly $10 million grant from the Small Business Administration.The show opened to tepid reviews — and a pan in The New York Times — but sales were nonetheless promising, McCollum said, until the Omicron variant, which was detected in New York just days before the opening, caused a spike in coronavirus cases. (The Broadway League has stopped reporting show-by-show box office grosses, making it difficult to track a production’s ups and downs with any precision.)As coronavirus cases spread among Broadway workers, “Mrs. Doubtfire” had to cancel 11 performances during the normally lucrative holiday season, continuing to pay workers while losing all box office revenue. And then, McCollum said, the show, like many others, faced a high number of consumers canceling their tickets at the last minute because of concerns about safety, confusion about what was still open and difficulty complying with vaccination rules. (“Mrs. Doubtfire” is a family-friendly show, so it is particularly affected by the evolving vaccine mandates for children.)“You’re asking me to plant a sapling in a hurricane,” McCollum said.So long as “Mrs. Doubtfire” is open, its expenses are about $700,000 a week, whether or not performances actually take place, because employees are paid even if a performance is canceled. And expenses have recently risen because of increased testing, along with additional costs associated with keeping a show going when staff members test positive.McCollum said the show grossed about $900,000 from Dec. 27 to Jan. 2, which was more than its running costs but less than the $1.3 million he had expected for the holiday week. He added he was expecting the show’s weekly grosses to drop below $400,000 following the holidays — always a soft time for Broadway, and now even more so. He said he is hopeful that by March the pandemic will have eased and tourism and group sales will strengthen.The Coronavirus Pandemic: Key Things to KnowCard 1 of 4The global surge. More

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    Deaths in 2021: Headline Names Against the Backdrop of Pandemic

    Aaron, Sondheim, Dole and Didion. But the loss of Colin Powell from the virus spoke most directly to the moment the world is in.Hank Aaron was gone. So were Stephen Sondheim, and Bob Dole, and Cicely Tyson, and Larry King, and Joan Didion. Prince Philip, two months short of 100, was buried with all the royal pomp one would expect. But in a year that saw the deaths of a host of figures who helped shape our era in decades past, none spoke more to the still-perilous present moment than that of Colin Powell.His death came not just against the backdrop of a global pandemic in its second unrelenting year, but also as another casualty of it. And his case spoke to the vagaries of an elusive, mutating virus that has laid siege to the world. He had been vaccinated, after all, and was under the best of care at Walter Reed, and still he succumbed, his 84-year-old immune system compromised by multiple myeloma.Kenneth Lambert/Associated PressGeneral Powell joined a death toll that has surpassed 800,000 in the country he long served, both in the military and in the halls of government, and four million worldwide. He was probably the most prominent victim of Covid-19 in 2021, but there were others of influence who fell to it too.Ron Wright, a Texas conservative, in February became the first member of the House of Representatives to die of the virus. The author Donald Cozzens, a former priest who challenged the Catholic Church on its protection of child-molesting clerics, was another Covid victim, as was the music producer Chucky Thompson, a power behind hip-hop and R&B. And no fewer than four American talk-radio hosts, all having the ears of millions on the political right, died of the virus after dismissing the idea of getting vaccinated against it, echoing the message of their most prominent radio peer, Rush Limbaugh, who had compared the virus to the common cold. He died in February, too, of lung cancer.Plenty of luminaries in the obituary pages escaped the virus, of course, dying of more conventional but no less grievous maladies. But they had at least one thing in common: In a year when no one could get out from under the pall of the pandemic, they died in the midst of it, never to see its end.Back over on Capitol Hill, still staggered by the sacking of Jan. 6, respects were paid to some of its stalwarts: Harry Reid, the former Senate majority leader and former boxer whose mild public manner disguised a fierce legislative pugilist and tactician; Carl Levin, the Michigan Democrat who, peering skeptically over the top of his gold-rimmed eyeglasses, interrogated corporate America; John Warner, the genteel Virginia Republican forever identified as Elizabeth Taylor’s No. 6; Walter Mondale, the liberal Minnesota senator turned vice president whose White House ambitions were buried in a Reagan landslide; Carrie Meek, the first Black person elected to Congress from Florida since Reconstruction; and, of course, Mr. Dole, the Kansas Republican who carried his wounds from World War II into a half-century of public service under the very dome that soared above him as his body lay in state just weeks ago.Harry Reid in 2014, when he was the Senate majority leader. A former boxer, he became a fierce legislative pugilist and tactician.Stephen Crowley/The New York TimesSenator Dole was the last of his war generation to win a major party’s presidential nomination, in 1996, and his passing at 98 was another reminder that his former brothers and sisters in arms are a dwindling cohort. Even the youngest of those who fought at the Battle of the Bulge or at Iwo Jima and who still survive have now entered their 90s, their former commanding officers mostly long gone. But one company leader who did hang on until this year was Dave Severance. He led the Marine unit that raised that now-hallowed American flag over Iwo Jima itself in 1945. He was 102.Warriors for a CauseThe world at large lost a host of dignitaries whose battles were in the political arena. One was F.W. de Klerk, the South African president who tore down the barriers of apartheid erected by his Afrikaner forerunners, a white power structure that collapsed in no small part because a fellow Nobel Peace Prize honoree, Archbishop Desmond Tutu, had pounded at it from the pulpit. Farther north, one of apartheid’s nemeses, Kenneth Kaunda, a founding father of African independence and the first president of a liberated Zambia, died at 97, having so dominated his country for 27 years that some supporters had viewed him as a minor deity.Roh Tae-woo at his inauguration as president of South Korea in 1988. With a stern eye, he oversaw his country’s transition from dictatorship to democracy.The Asahi Shimbun/Getty ImagesHalf a world away, two former strongmen who led South Korea in back-to-back regimes in the 1980s and ’90s died within a month of each other: first, in October, Roh Tae-woo, a former general who oversaw, with a stern eye, his country’s transition from dictatorship to democracy; then, in November, Chun Doo-hwan, the bloodstained dictator who had seized power in a coup and later handpicked his friend Mr. Roh to succeed him.In Argentina, a country long in the grip of dictatorship, the charismatic Carlos Saúl Menem, the beneficiary of the first peaceful transfer of power there from one constitutionally elected party to another since 1916, died at 90, having presided over an astonishing economic recovery in his 10-year rule, 1989-99, only to tumble from grace, pulled down by corruption.In the Middle East, there were Abolhassan Bani-Sadr, who tried but failed to resist the rise of religious radicalism as the first president of the Islamic Republic of Iran; Ahmed Zaki Yamani (though he died in London), the schmoozing, globe-trotting Saudi oil minister who became a player in the rise of Persian Gulf states to stratospheric heights of wealth; and A.Q. Khan, the so-called father of Pakistan’s nuclear bomb.Dr. Khan’s work left no doubt that his country had acquired weapons of mass destruction. But had Saddam Hussein’s Iraq? Yes, proclaimed Donald Rumsfeld (an assertion echoed by his colleague General Powell in the George W. Bush White House). Time would prove him and others in the administration wrong, but not before, as defense secretary, Mr. Rumsfeld had helped push the United States into another invasion, after Afghanistan, and into another war.Others who died this year had fought on entirely different fronts. Simple but courageous acts of defiance by both Martha White and Lucille Times in the Deep South of the 1950s, predating and presaging Rosa Parks, led to bus boycotts that in turn gave momentum to the civil rights movement and to warriors for the cause like Bob Moses. He endured brutality and jail in trying to register voters in Mississippi, where he “was the equivalent of Martin Luther King,” the historian Taylor Branch said.Margaret York had pushed open a door that had long been shut to women, becoming the highest-ranking woman in the Los Angeles Police Department (while inspiring a feminist version of a buddy cop show, “Cagney & Lacey”).LaDonna Brave Bull Allard in 2017. She led resistance in North Dakota to what she called “the black snake,” an underground pipeline that threatened tribal burial grounds. Jens Schwarz/laif/ReduxLaDonna Brave Bull Allard lived up to her name by establishing a “resistance camp” in North Dakota to block what she called “the black snake,” an underground pipeline that in its thousand-mile slithering would, she claimed, veer too close to sacred Native American burial grounds, one holding the remains of her son. The camp became the catalyst for a global protest movement that embraced issues of tribal sovereignty, environmental justice and more.And Madeline Davis became the first openly lesbian delegate to a national political convention in the United States, rising to speak before Democrats in Miami Beach in 1972 to argue, unsuccessfully, for an anti-discrimination plank in the party’s platform. “I am a woman and a lesbian, a minority of minorities,” she told what few delegates remained at the time, for it was 5 a.m. before her turn at the podium came. “Now we are coming out of our closets and onto the convention floor.”Some took the call for equal rights to athletic arenas. The Olympic gold-medal sprinter Lee Evans raised a Black fist from the winners’ platform in Mexico City to protest racism in the strife-torn America of 1968. Lee Elder’s mere presence at the 1975 Masters in Augusta, Ga., was symbolic enough — as the first Black golfer ever to compete in the tournament, and doing so in face of death threats.And Joan Ullyot, a competitive runner herself, became a powerful voice for women who sought to compete in marathons, producing research that irrefutably debunked assertions that women were not built for it and then pressing the International Olympic Committee to include a women’s marathon in the Games. The first was in 1984.Arenas and StagesElsewhere in sports, the coaching ranks took an unusually heavy toll. The N.F.L. lost, among others, John Madden, whose winning decade with the Oakland Raiders was just a prelude to a more sensational run as the most colorful of TV color commentators and a video-game king, and Marty Schottenheimer, the winner of 200 regular-season games with four N.F.L. franchises. College football lost Bobby Bowden, the architect of a powerhouse at Florida State; college basketball lost John Chaney, who led Temple’s Owls to 17 N.C.A.A. tournaments.John Madden in 2006. His Hall of Fame career coaching the Oakland Raiders was a prelude to a sensational run as a color commentator and video-game king.Matt Sullivan/ReutersAnd if baseball managers in the dugout can be lumped with head coaches on the sidelines, then a final tip of the cap must be paid to the irrepressible Tommy Lasorda, who had, as he liked to say with only slight hyperbole, bled Dodger blue.Henry Aaron’s death, of course, generated big headlines, accompanied by tales of his home run heroics and the racial animus they aroused among those who couldn’t countenance the idea of a Black man outslugging Babe Ruth. But other stars, too, fell, their exploits now sports lore: the ferocious Sam Huff of the football Giants; the acrobatic forward Elgin Baylor of the Lakers; the lightning-quick Rod Gilbert (“Mr. Ranger”), who dazzled hockey fans at Madison Square Garden. In auto racing, the brothers Bobby, 87, and Al Unser, 82 — born into the sport’s most illustrious family in the same decade — died seven months apart in the same calendar year.Performers of a different mold had left their imprint on stages and screens portraying anyone but their actual selves, yet we mourned their passing all the same as if we knew them. Christopher Plummer was Georg von Trapp, of course, in “The Sound of Music,” but also too many other characters to count in his rich seven decades as an actor — from King Lear to Sherlock Holmes to General Chang, the one-eyed Klingon in “Star Trek VI.”Cicely Tyson in 1973. She’s remembered as the unconquerable wife of an imprisoned Louisiana sharecropper in “Sounder” and the indomitable title character in “The Autobiography of Miss Jane Pittman.” Dennis Oulds/Central Press/Getty ImagesCicely Tyson was indelibly two characters: Rebecca, the unconquerable wife of an imprisoned Louisiana sharecropper in “Sounder,” and the seen-it-all title character in “The Autobiography of Miss Jane Pittman,” who survived into the civil rights era, to age 110, recalling her memories of slavery.Olympia Dukakis will forever be Rose, Cher’s sardonically wise mother in “Moonstruck”; Helen McCrory, the blue-blooded witch Narcissa Malfoy in a clutch of Harry Potter films; Cloris Leachman, the flighty landlady of Mary Richards in “The Mary Tyler Moore Show”; Hal Holbrook, a one-man-show Mark Twain; Michael K. Williams, the swaggering, openly gay hoodlum of “The Wire”; and Ed Asner, who else but Lou Grant?You could also say that Larry King was a performer, hosting talk shows on radio and TV seemingly forever, but he never played anyone but his loquacious, inquisitive and ingratiating self. Ditto Jackie Mason and Mort Sahl: stand-ups performing as themselves — or at least very funny versions of themselves. (Their fellow jokester Norm Macdonald was an exception, as comfortable alone on a stage as he was in a “Saturday Night Live” sketch or his own sitcom.)The proscenium stage knew no greater loss in 2021 than that of Stephen Sondheim, who, if he rarely took a curtain call bow from one, could nevertheless bask in the applause of a grateful theater world enriched by his music and lyrics.Stephen Sondheim in 1990. His music and lyrics enriched the theater world.Fred R. Conrad/The New York TimesAnd where performance is nothing but wordless drama (or sometimes comedy) in exhilarating motion, there were farewells to the magnetic Jacques d’Amboise, who may have done as much as anyone to popularize ballet in America, and the daring ballerina Patricia Wilde — both of them eternally linked to the great choreographer George Balanchine of New York City Ballet.The classical music stage, and the orchestra pit, were bereft with the deaths of James Levine, the maestro of the Metropolitan Opera whose brilliant career was darkened in the end by a sex scandal, and two of opera’s most illustrious singers in the last half of the 20th century: the virtuosic Slovak soprano Edita Gruberova and the German-born mezzo-soprano Christa Ludwig, a radiant fixture at the Met for years.A Drummer and a RapperIn a vastly different musical sphere, Charlie Watts, the solemnly aloof drummer of the Rolling Stones, became the second member of that age-defying band to die, at 80 (after Brian Jones a half-century ago). Mary Wilson was the second to do so among Motown’s original three Supremes (after Florence Ballard). Michael Nesmith left just one of the four Monkees still standing (Micky Dolenz). And with the death of Don Everly seven years after that of the younger Phil, the Everly Brothers will survive now only in their hit recordings of yesteryear.The drummer Charlie Watts in 1965. He was the second member of the age-defying Rolling Stones to die.George Wilkes/Hulton Archive/Getty ImagesMore fresh in memory were the explosive lyrics of the rapper Earl Simmons, a.k.a. DMX, who had channeled the mean streets of his boyhood Yonkers into No. 1 albums and onto the stage before pumped-up thousands. He was just 50.Chick Corea, a jazz pianist at heart, found a new audience by infusing his music with rock. And the flutist, composer and bandleader Johnny Pacheco, one of a raft of Latin musicians to die this year, spread salsa far and wide as its unofficial ambassador.If Mr. Pacheco was intent on expanding a genre, Larry McMurtry, in the world of letters, was out to subvert one — the western — by scrapping the cowboy and outlaw mythologies of dime-store novels in favor of unvarnished stories like “Lonesome Dove” and “The Last Picture Show.”Anne Rice, meanwhile, was revivifying a moribund branch of the book world — the Gothic horror tale — with stories of vampires. Beverly Cleary was a virtual children’s-book cottage industry as she found unlikely drama and mystery in middle-class America. And no one could dissect any and all aspects of American life with a more exacting eye than Joan Didion, though the unsparing journalism of Janet Malcolm could give her a run for her money (even while questioning the very ethics of journalism itself).Janet Malcolm in 1981. Her unsparing journalism examined American life even while questioning the very ethics of journalism itself. Nancy Crampton via Malcolm familyThe world said goodbye to them all, but in 2021 any death reported in the obituary columns was always set against that bigger story that never seemed to leave the front page. It was a disorienting phenomenon for the second year: noting the passing of this famous person or that one, from cancer or heart attack or the infirmities of old age, in the midst of a plague — a scourge that continued to take one life after another from all corners of the world while leaving everyone else, or almost everyone else, masked up and wondering if they’d ever get theirs back.Inevitably, despite the skeptics and the deniers, we turned to the scientists, knowing that they’re the ones who must finally give us the weapons to get us out of this. Many trailblazers from that community died in 2021, among them Nobel Prize winners who helped unlock the secrets of the universe (Toshihide Maskawa’s eureka moment, in understanding why the Big Bang didn’t destroy said universe, came in the bathtub) and explorers, like E.O. Wilson, who uncovered clues to human nature in the biosphere.E.O. Wilson found clues to human nature in his explorations of the biosphere.Hugh Patrick Brown/Getty ImagesBut there were also those whose time in the labs had more practical goals. One was Helen Murray Free, who helped develop a simple paper strip that when dipped in urine made it easier to detect diabetes — a revolution in diagnostic testing. Millions have benefited.And there was Andrew Brooks, a Rutgers researcher who, in the early dark days of the pandemic in 2020, came up with the first saliva test for the coronavirus, a breakthrough that was rolled out after getting emergency approval from the federal government. This was before there were vaccines and before testing protocols were revised once the airborne nature of the virus was fully understood. But as the governor of New Jersey said at the time, Dr. Brooks’s contribution to the cause “undoubtedly saved lives.”We’ve continued to turn to the Dr. Frees and the Dr. Brookses, and they’ve responded with alacrity with vaccines and treatments. But as the pandemic races on, the entreaty to them remains the same, still urgent but hopeful: Please, do more. More