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    Valery Gergiev, Shunned in West Over Putin Support, Will Conduct in Italy

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    Valery Gergiev, an ally of Vladimir V. Putin, is set to conduct in Western Europe for the first time since institutions there cut ties over Russia’s invasion of Ukraine.Valery Gergiev, the star Russian maestro who has been shunned in the West because of his close ties to President Vladimir V. Putin of Russia, will appear this month at a festival in Italy, his first engagement in Western Europe since Russia began its full-scale invasion of Ukraine in 2022.Mr. Gergiev, a staunch ally of Mr. Putin who has helped promote the president’s policies, is set to conduct on July 27 at the Royal Palace of Caserta, a historic site north of Naples, the Un’Estate da RE festival announced last week. He will lead an orchestra from Salerno, Italy, in a program featuring performers from the Mariinsky Theater in St. Petersburg, which Mr. Gergiev leads.The announcement drew protests from Italian politicians and activists, who expressed concern that Mr. Gergiev was being allowed to perform again in the West. Mr. Gergiev, whose extensive international career once made him one of the busiest maestros in the world, has been declared unwelcome in the United States and Europe since the Russian invasion.Mr. Gergiev did not respond to a request for comment.The decision to engage Mr. Gergiev also drew criticism because the festival is bankrolled by the European Union. Its funding flows, via Italy’s national government, to a company owned by the Campania region, where the festival takes place. The company funds several cultural events throughout the region, including Un’Estate da RE.Pina Picierno, a left-leaning Italian politician who serves as a vice president of the European Parliament, said that it was “unacceptable that European funds are being used to finance the performance of a Kremlin supporter.” In a post on X, she called on the festival and on regional officials “to take immediate action to prevent Valery Gergiev’s participation and ensure that taxpayers’ money does not end up in the pockets of a supporter of a criminal regime.”Vincenzo De Luca, the center-left president of the Campania region, defended the festival’s decision to engage Mr. Gergiev in a statement. He said the invitation showed that “dialogue between people can grow and the values of human solidarity can develop.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      At Comedy Shows in Lviv, Crowds Look for Humor Amid a Deadly War

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      At the Cultural Defense shows in Lviv, comedians and audiences look for humor amid a deadly conflict. Don’t mind the air raid alarms.LVIV, Ukraine — Some morsels of news are so grim and absurd that they sound like they were conceived in the warped imagination of bored satirists. Like the headline from Belarus a few weeks ago, reporting that 10th graders there were being taught how to aim rifles — using shovels.“What do you think about that?” asks the comedian Vadym Dziunko.Dziunko is onstage with two other comedians and a well-known singer. All are seated and holding microphones, gamely trying to find humor in a place and at a moment when the tragic is trouncing the funny by a spectacular margin.It’s a recent Saturday night at the Cult Comedy Hall, a comedy club in downtown Lviv, near Ukraine’s relatively peaceful western border. Some 100 people have spent about $13 apiece to eat, drink and listen to comics riffing about whatever crosses their minds, which is often the latest news about the war with Russia. Or in the case of this shovel-as-rifle business, the topic is the oddness of life in Belarus, a dictatorship a mere 150 miles to the north.“What do you expect from a country where a potato is a weapon?” says the comedian Oleksandr Dmytrovych. Then he imagines an instructor, giving tips to the kids.“‘We can’t give you rifles yet — —”“‘Because we only have one,’” finishes the third comic, Maksym Kravets.From left, Maksym Kravets, Oleh Luzanov, Bohdan Vakhnich and Oleksandr Dmytrovych riff on whatever crosses their minds.Emile Ducke for The New York TimesThis is Cultural Defense, an evening of unscripted and free-flowing humor staged in Lviv every few nights. It began two weeks after the Russian invasion, when Kravets, a Ukrainian intelligence officer by day and a comedian by night, called the co-creator of the show, Bohdan Slepkura, and pointed out that the Cult Comedy Hall was in a basement.“I said, ‘You know, the place is a bomb shelter,’” recalled Kravets, a burly and bearded 42-year-old.Kravets, wearing a T-shirt with “Wildness” on it, and Dmytrovych were sitting in another room in the club after the show recently. Initially, they said, they were not sure anyone in the country was in the mood for chuckles. The shock of the invasion was then fresh and hundreds of thousands of residents from the eastern part of the country were flowing into the city.“Before the first show, we thought, maybe this isn’t the right time for comedy,” said Dmytrovych, who is 30 and bearded, too. (“Without beards we’re ugly,” he explained.)“We were petrified,” he went on. “But after the first show, we came and sat in this room and realized, people want to laugh. They want to hear jokes about our enemy. From that first night, we understood this would be bigger than we had thought.”The shows are held in a basement space that is certified as a bomb shelter.Emile Ducke for The New York TimesThere has been exactly one international breakout star in Ukrainian comedy and he happens to be the president of the country, Volodymyr Zelensky. If this puts pressure on others in the business, it wasn’t obvious onstage on this Saturday, when nobody seemed especially pressed to land on a punchline and a singer, Mykhailo Khoma, spent a lot of time ruminating about his childhood.Ukraine has long had a modest live-comedy scene, though anyone accustomed to the standard setup at American clubs will find novelty in the show’s format. There’s no warm-up act, and at no point is anyone standing onstage alone. There are different guests every night. The evening starts with four men leading a raucous call and response in Ukrainian, like the rest of the show.Hosts: “Glory to the Nation!”Audience: “Death to enemies!”Hosts: “Ukraine!”Audience: “Above all else.”Hosts: “Putin!”Audience: Unprintable putdown!After that, the stars take their seats and start to talk.Some of the humor is self-deprecating. In a previous show — they’re all available on YouTube — Dmytrovych riffed about the news that Ukrainian soldiers had mastered a “single use” antitank missile called an NLAW. This was amazing, he said, because by nature and necessity, Ukrainians are accustomed to reusing everything, over and over.“I got slippers in a hotel in Egypt a year and a half ago and I’m still wearing them,” he said. “When they got dirty, I washed them. When they fell apart in the washing machine, I glued them together. Now these are slippers I offer to guests.”Kravets is a Ukrainian intelligence officer by day and a comedian by night.Emile Ducke for The New York Times“For as long as we’re laughing, we’re not giving up,” Dmytrovych said.Emile Ducke for The New York TimesThere are plenty of jokes at the expense of President Vladimir V. Putin of Russia, who is scorned as a blustery idiot who underestimated the spirit and resolve of Ukrainians. The Russian military, on the other hand, is largely spared. The point, explained Dmytrovych, isn’t to belittle the invading forces, which Ukrainians regard as formidable and horrifying. It’s to lift the spirits of people who are not on the front lines, or who might have once lived near the front lines and have since relocated.So during one show, Kravets extolled the surprisingly polished beauty of checkpoints in Lviv (“I would not be surprised if they served lattes”), some of which have exceptionally long lines. (“I thought at the beginning they would take my order and at the end I’d be handed a Big Mac.”)Internal politics are a recurring theme. During a show a few weeks ago, a poll was cited that found 90 percent of Ukrainians want to join the European Union.How the Ukraine War Is Affecting the Cultural WorldCard 1 of 6Gavriel Heine. More

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      in Music

      For U.K. Bands, Touring Europe Is Now a Highway to Brexit Hell

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      It’s not just that musicians need visas. Band merchandise is now a complicated export, and most tour vans are only allowed to make three stops.LONDON — When the British rock band Two Door Cinema Club began playing shows across Europe a decade ago, the group’s three members would jump in a van, throw their instruments in the back and drive from their then hometown, Belfast, Northern Ireland, to sweaty clubs in Amsterdam, Berlin, and Paris.“We did that hundreds of times,” Kevin Baird, the group’s bassist, said recently by phone. “Everything was at a moment’s notice,” he added.Now, it’s not so simple for Two Door Cinema Club — or any British act — to tour Europe. Last Friday, the band headlined the Cruïlla music festival in Barcelona, Spain, playing to an audience of 25,000 screaming fans. But because of Britain’s 2020 departure from the European Union, known as Brexit, the band spent weeks beforehand applying for visas and immersing themselves in complicated new rules around trucking and exporting merchandise like T-shirts.Visas and travel within Britain to apply for them cost 7,500 pounds, about $10,400, for the band, two extra musicians, and an eight-person crew, Baird said. New rules mean that a British tour van carrying audio and lighting equipment, or merchandise, can only make three stops in mainland Europe before it must return home.Before Britain left the E.U., Two Door Cinema Club would head off on tour at a moment’s notice. Samuel Aranda for The New York Times“It’s proved a headache when there was never a headache before,” Baird said. “If we were a band starting out, we wouldn’t have done it,” he added.For much of this year, Brexit has been an even bigger talking point in Britain’s music industry than the coronavirus pandemic. Since Jan. 1, when a trade deal between Britain and the European Union came into force, hundreds of British musicians — including Dua Lipa and Radiohead — have complained that the deal makes touring the continent more costly for stadium acts, and almost impossible for new bands.The new rules are “a looming catastrophe” for young musicians, Elton John wrote on Instagram in June. “This is about whether one of the U.K.’s most successful industries, worth £111 billion a year, is allowed to prosper and contribute hugely to both our cultural and economic wealth, or crash and burn,” he added.Even musicians who supported Brexit have complained. Bruce Dickinson, the lead singer of Iron Maiden, told a TV interviewer in June that, although he welcomed Britain’s departure from the European Union, he found the new rules unreasonable. He then addressed Britain’s government: “Get your act together,” he said.The furor over the regulations has led to a blame game between Britain’s government and the European Union over which side is responsible for the new barriers, and who made viable offers when negotiating the trade deal.Regardless of who is responsible, the issue has become an embarrassment for the British government. Prime Minister Boris Johnson has said his government is working “flat out” on the issue. “We must fix this,” he told lawmakers in March.Yet so far, there hasn’t been enough progress to appease musicians. In June, Britain agreed to new trade deals that the government said would allow musicians to tour easily in Norway, Iceland and Liechtenstein. This was met with disdain: “Ah those infamous tours of mountainous Liechtenstein with its total lack of airport,” Simone Marie of the band Primal Scream wrote on Twitter.“We’re all becoming increasingly despondent,” said Annabella Coldrick, the chief executive of the Music Managers Forum, a trade body. In June, she helped launch Let the Music Move, a campaign for the government to compensate artists for the new extra costs and renegotiate the tour rules.Rebecca Swann drove her truck from Britain to Spain, carrying the band’s equipment.Samuel Aranda for The New York TimesThe band’s equipment, which now can make only three stops in mainland Europe before it must return home.Samuel Aranda for The New York Times“The problems are only just starting to become clear,” as the coronavirus pandemic eases and bands start booking tours, Coldrick said. The biggest sticking point was the regulation that vans and trucks can only stop three times before they must return to Britain, she added.Several British music trucking businesses have already moved some of their operations to Ireland to get around the rules. But Coldrick said this was not a viable solution: Trucks would also have to make longer journeys to pick bands up, increasing costs. It also seemed like a poor outcome for Britain, she said, because the country was losing companies and workers.For Two Door Cinema Club, the main issue was visas, said Colin Schaverien, the band’s manager. In June, a member of the band’s crew was rejected for a visa on a technicality related to his job title, so he had to reapply. Another band member, based in Belfast, was told they had to fly to Scotland for a visa appointment.Despite the band’s problems before traveling to Spain, Two Door Cinema Club’s show last Friday went off without a hitch.“All the things we were worried about didn’t materialize,” said Baird, the bassist. The band’s equipment, traveling in a truck from London, cleared customs on the British side in 25 minutes; checks at the border in France took only 10. The band, whose members flew to Barcelona, had no problems at the airport.Once in, the group was so excited to be playing a show after months sitting at home during the coronavirus pandemic, they took selfies of every moment, Baird said.Fans, mostly in face masks, enjoying Two Door Cinema Club’s show at the music festival.Samuel Aranda for The New York TimesThe crowd was equally excited, said Marc Loan, 36, a fan who was in the audience. “I made sure I didn’t drink much, so I didn’t have to miss anything,” he added.“It was amazing,” Baird said of the night.Brexit was the last thing on his mind during the gig, Baird added, but it reared its head the next day when the band and crew headed to the airport to fly home. Members of the group with Irish passports, which everyone born in Northern Ireland can hold as well as a British one, breezed through passport control; those with British passports were stuck in line for only an hour.The band was pleased with the trip but Baird was worried about how a more complicated schedule would work. “We’re all well aware this was a one-off concert,” he said. “What we’re apprehensive about is next year when we’re playing three different countries in three days. I expect that will be a lot harder.” More