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    When a Tale of Migration Is Not Just Fiction

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    The two teenagers on the screen trudging through the endless dunes of the Sahara on their way to Europe were actors. So were the fellow migrants tortured in a bloodstained Libyan prison.But to the young man watching the movie one recent evening in a suburb of Dakar, Senegal’s capital, the cinematic ordeal felt all too real. His two brothers had undertaken the same journey years ago.“This is why they refused to send me money to take that route,” said Ahmadou Diallo, 18, a street cleaner. “Because they had seen firsthand how dangerous it is.”Critics in the West have praised the film “Io Capitano” — nominated for the 2024 Academy Award for best international feature film — noting its visceral yet tender look at migration to Europe from Africa. It is now showing in African countries, and is hitting close to home in Senegal. That’s where the two main characters in the movie embark on an odyssey that epitomizes the dreams and hardships of countless more hoping to make it abroad.Last month, the film’s crew and its director, Matteo Garrone, took “Io Capitano” to a dozen places in Senegal where migration isn’t fiction. They screened it in youth centers, in schools, even on a basketball court turned outdoor movie theater in Guédiawaye, a suburb of Dakar, where Mr. Diallo and hundreds of others watched it at sunset on a big screen.Seydou Sarr, left, and Moustapha Fall, who play the lead roles in “Io Capitano,” in Guédiawaye, last month.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Night to Remember at the Opera, Complete With a Phantom

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      In the pitch-dark auditorium of Rome’s Teatro Costanzi, a high-pitched lament floated from the top galleries. Dozens of flashlights snapped on, their beams crisscrossing crazily, seeking the source of the sound.The shafts of light homed in on a spectral figure — a slim, dark-haired woman dressed in white, moving at a funereal pace and plaintively singing. In the audience, 130-odd children, ages 8 to 10, let loose squeals, some gasps, and one “it’s not real.” Several called out “Emma, Emma.”The children had just been told that the Costanzi, the capital’s opera house, had a resident phantom. No, not that one. This was said to be the spirit of Emma Carelli, an Italian soprano who managed the theater a century ago, and loved it so much that she was loath to leave it, even in death.“The theater is a place where strange things happen, where what is impossible becomes possible,” Francesco Giambrone, the Costanzi’s general manager, told the children Saturday afternoon when they arrived to participate in a get-to-know-the-theater-sleepover.The children reading clues of a treasure hunt.Alessandro Penso for The New York TimesMusic education ranks as a low priority in Italy, the country that invented opera and gave the world some of its greatest composers. Many experts, including Mr. Giambrone, say their country has rested on its considerable laurels rather than cultivate a musical culture that encourages students to learn about their illustrious heritage.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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      Film Academy Looks Overseas for Donors

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      The Academy of Motion Picture Arts and Sciences has announced a global $500 million campaign to shore up its financial future.The Academy of Motion Picture Arts and Sciences on Friday announced a global $500 million fund-raising effort to help diversify its base of support and ensure its financial future in a period of transformation for the film industry and the nonprofit cultural sector.“Both are going through radical business model shifts right now due to changing audience habits and revenue streams,” Bill Kramer, the chief executive of the Academy of Motion Picture Arts and Sciences, said in an email. “As a nonprofit, and like any healthy organization or company, the academy needs a sustainable and diverse base of support to allow for solid long-term planning and fiscal certainty.”Announced during a news conference in Rome hosted by the Italian film studio Cinecittà, the campaign is called Academy100, in honor of the 100th Oscars ceremony in 2028. The academy plans to use about $300 million of the new funds to bring its endowment to $800 million; the remainder will go toward operating expenses and special projects.The academy currently has an annual operating budget of about $170 million, 70 percent of which comes from its Oscars broadcast deal with Disney and ABC, which runs through 2028. About $45 million of the operating expenses are used by the Academy Museum of Motion Pictures.Given the challenges experienced by many cultural organizations, the academy has reason to want to shore up its finances. In March, for example, Joana Vicente of the Sundance Film Festival resigned after less than three years as chief executive amid questions about her fund-raising abilities. Last summer, Center Theater Group in Los Angeles announced a series of sharp cutbacks — including suspending productions at the Mark Taper Forum — to deal with drops in revenue and attendance. And the Metropolitan Opera in New York has withdrawn emergency funds from its endowment.The academy said in its news release that the money raised “will endow and fund programs that recognize excellence in cinematic artistry and innovation; preserve our film history; enable the creation of world-class film exhibitions, screenings and publications; train and educate the next generation of diverse global film artists; and produce powerful digital content.”More than $100 million has already been committed to the campaign, the academy said, including support from Rolex, which is based in Switzerland.As part of the effort, the academy plans to host gatherings and events in locations around the world to “become increasingly global,” press materials said, and help develop a global “pool of new filmmakers and academy members and support the worldwide filmmaking community.”The academy said its “expanded international outreach” will include Buenos Aires; Johannesburg; Kyoto, Japan; Lagos, Nigeria; London; Marrakesh, Morocco; Melbourne, Australia; Mexico City; and Mumbai. More

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      Margaret Tynes, Soprano Who Soared in Verdi and Strauss, Dies at 104

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      Because there were few opportunities for Black singers in the U.S., she became a powerhouse in Europe, performing in operas like “Tosca” and “Carmen.”Margaret Tynes, an American soprano who was acclaimed in Europe but neglected in the United States at a time when Black singers were newly breaking into the operatic world, died on March 7 in Silver Spring, Md. She was 104.The death was confirmed by her nephew Richard Roberts, who said Ms. Tynes died in a nursing home.In the 1960s and ’70s Ms. Tynes, with her incendiary, full-throated voice, in roles like Aida and Salomé, sang at opera houses in Vienna, Prague and Budapest, earning high praise on the continent — “an exceptional voice, intense in every coloring, vibrant and dramatic,” Milan’s Corriere della Sera newspaper wrote — even while U.S. critics were cooler. The Süddeutsche Zeitung of Munich wrote of her performance in Benjamin Britten’s “The War Requiem” that “What Britten expects of a woman’s voice can only be achieved by a singer of Margaret Tynes’s caliber.”But she did not make her Metropolitan Opera debut until 1974, when she was 55, in a run of three performances as the title role in Janacek’s “Jenufa” that began and ended her career there.Ms. Tynes, right, in 1957 with Joya Sherrill and Duke Ellington when they recorded “A Drum Is a Woman,” for which Ms. Tynes gained a measure of American fame.Everette CollectionMs. Tynes grew up in the segregated South and gained a measure of American fame in the 1950s, recording “A Drum Is a Woman” with Duke Ellington, singing heartfelt renditions of “Negro Spirituals” on “The Ed Sullivan Show” and appearing with Harry Belafonte in the musical “Sing, Man, Sing.” She also sang at the funeral of the musician W.C. Handy and toured the U.S.S.R. with Mr. Sullivan’s show in 1958.Her breakthrough in opera, the genre that defined her career, came in Europe in 1961, when she sang Salomé in Luchino Visconti’s production at the Spoleto Festival in Italy. Time magazine described her as “moving about the stage with catlike grace, her rich, ringing voice zooming with ease through the high, precarious lines,” and as a “girl with veins of fire.”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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      Maurizio Pollini, Celebrated Pianist Who Defined Modernism, Dies at 82

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      His recordings of Beethoven and Chopin were hailed as classics, but his technical ability sometimes invited controversy.Maurizio Pollini, an Italian pianist of formidable intellectual powers whose unrivaled technique and unwavering interpretive integrity made him the modernist master of the instrument, died on Saturday morning in Milan. He was 82.His death, in a clinic, was announced by the Teatro alla Scala in Milan, where he performed frequently. The announcement did not specify a cause, but Mr. Pollini had been forced to cancel a concert at the Salzburg Festival in 2022 because of heart problems and had pulled out of a number of subsequent recitals.Mr. Pollini, who performed for more than half a century, was that rare pianist who compelled listeners to think deeply. He was an artist of rigor and reserve whose staunch assurance, uncompromising directness and steadfast dedication to his ideals were evidence of what his colleague Daniel Barenboim called “a very high ethical regard of music.”Whether he played Beethoven, Schumann or Stockhausen, Mr. Pollini was almost unmatched in his capabilities. He took perfect command of his instrument, a prowess that came across “as neither glib facility nor tedious heroic effort,” the critic Edward Said once wrote, but instead as a technique that “allows you to forget technique entirely.”There were, however, many listeners who could not forget that technique, and Mr. Pollini was long a subject of controversy. Detractors heard only cold objectivity, accusing him of being too distant, too efficient or too unyielding when compared with the great characters of the piano; one of his few equals in sheer ability, Sviatoslav Richter, privately complained of hearing Mr. Pollini play Chopin on the radio with “no poetry or delicacy (even if everything’s impeccably precise).”“It was not a very imaginative performance,” Harold Schonberg of The New York Times said in his review of Mr. Pollini’s Carnegie Hall debut in 1968, eight years after the pianist had stormed to victory in the sixth International Chopin Piano Competition in Warsaw — the first Westerner to do so, and at only 18. “With all his skill,” Mr. Schonberg continued, “Mr. Pollini failed to suggest that he was deeply involved in the music.”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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      Ira von Fürstenberg, Jet-Setting Princess and Actress, Dies at 83

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      With her aristocratic lineage, high-profile husbands and famous friends, she embodied a chic life of luxury as an international social figure.Ira von Fürstenberg, who came as close as one can get to having it all as an Italian-born princess descended from Charlemagne, an heiress to the Fiat fortune, a Vogue model, a big-screen ingénue and a globe-trotting bon vivant, died on Feb. 19 at her home in Rome. She was 83.Her son, Hubertus von Hohenlohe, said she died after breaking ribs and perforating her lungs in a domestic accident.Blending the gilded privilege of the old-world European aristocracy with the élan of the midcentury film and fashion peerage, Ms. von Fürstenberg seemingly defined the term “jet setter,” bouncing between homes in Rome, London, Paris and Madrid and on Lake Geneva.“My only real home is on airplanes,” she said. “I spend so much time going from country to country that my children suspect that I’m really a flight attendant.”She shared a surname with the renowned fashion designer Diane von Fürstenberg, who married the princess’s fashion designer brother, Egon, in 1969. “When I first met Egon, she was the famous sister,” Diane told Women’s Wear Daily last month. “She had gotten married in Venice and was a movie star.”Ms. von Fürstenberg in Monte Carlo in 2007. Descended from Charlemagne and the founder of Fiat, she lived a lavish life, including as an actress, model, artist and fashion executive.Hubertus von HohenloheWe 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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      Paolo Taviani, Half of a Famed Italian Filmmaking Duo, Dies at 92

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      He and his brother Vittorio made films, including “Padre Padrone,” that mixed neorealism with a lyrical, almost magical sense of storytelling.Paolo Taviani, who with his brother Vittorio made some of Italy’s most acclaimed films of the last half century — including “Padre Padrone,” which won the top prize at the Cannes Film Festival in 1977 — died on Feb. 29 in Rome. He was 92.His son, Ermanno Taviani, said the cause of his death, in a hospital, was pulmonary edema.The Taviani brothers emerged in the late 1950s as part of a generation of Italian filmmakers — including Bernardo Bertolucci, Pier Paolo Pasolini and Gillo Pontecorvo — who were inspired by the country’s Neorealist movement but determined to push beyond it. (Vittorio Taviani died in 2018.)Though the brothers came from an urbane, intellectual family — their father was a lawyer, their mother a teacher — their work celebrated traditional life in the Italian countryside, where they were raised. “Padre Padrone,” for example, tells the story of a boy’s struggle between the demands of his overbearing father, who wants him to be a farmer, and his own dreams of becoming a linguist.The Taviani brothers’ “Padre Padrone” won the top prize at the Cannes Film Festival in 1977.Radiotelevisione Italiana, via Everett CollectionThey injected their films with a sense of spectacle that set them apart from the austerity of Neorealist predecessors like their idol, Roberto Rossellini, who in turn championed their work and, as the president of the Cannes jury in 1977, helped ensure that “Padre Padrone” won the festival’s coveted Palme D’or prize. It was a surprise victory in a field that included another Italian film, “A Special Day.”“Rossellini allowed us to understand our own experiences, to truly comprehend what we had lived,” Paolo Taviani told The International Herald Tribune in 1993. “To comprehend it in a way which would have been impossible had we not seen his films. And we felt that if film had this sort of power, we wanted to master film.”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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      Sandra Milo, Who Had Star Turns in Fellini Films, Dies at 90

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      She was called Fellini’s muse. She claimed she was his lover. In a long career, she was best known for her performances in his movies “8 ½” and “Juliet of the Spirits.”Sandra Milo, who was best known internationally for her roles in Federico Fellini’s movies “8 ½” and “Juliet of the Spirits” — and whose tumultuous love life churned headlines in Italy — died on Monday at her home in Rome. She was 90.Her children announced the death on her official Facebook page. No cause was given.Ms. Milo’s screen debut, alongside the comic actor Alberto Sordi in “Lo Scapolo” (“The Bachelor”) in 1955, coincided with the golden age of Italian cinema. She went on to work alongside some of Italy’s most famous leading men, including Marcello Mastroianni, Vittorio Gassman and Vittorio De Sica, and for some of the country’s most renowned directors, including Roberto Rossellini, Dino Risi and later Pupi Avati and Gabriele Salvatores.But her primary claim to stardom was the two films she made with Fellini, with whom, she claimed in a 1982 book, “Caro Federico,” she had an offscreen romance that lasted nearly two decades. Fellini, who died in 1993, never spoke publicly about that claim. The Italian media called her Fellini’s muse.Ms. Milo and Fellini on the set of “Juliet of the Spirits” in 1965. She played the free-spirited next-door neighbor of the film’s protagonist, played by Fellini’s wife, Giulietta Masina.Pierluigi Praturlon/Reporters Associati & Archivi, via Mondadori Portfolio, via Getty ImagesFellini, who fondly called Ms. Milo “Sandrocchia,” had also wanted her to play the role of the glamorous Gradisca in his semi-autobiographical 1973 film, “Amarcord,” but, she told interviewers, her husband at the time had objected because he knew she was fond of Fellini.“He knew I loved him,” she said in a 2019 documentary about her life.She also said she knew that the production would take her away from her children. “Am I first a woman, or first a mother?” she mused in the documentary. “Maybe I am first a mother, so I didn’t do it.”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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      An American Soprano on the Importance of Opera

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      An American soprano who sang when the United States rejoined UNESCO weighed in on the agency’s addition of Italian opera singing to a heritage list.Is opera an endangered art form that needs to be protected and preserved for the generations to come?For a group of about 30,000 Italian music professionals and practitioners, the answer was yes. Consisting of singers, musicians, scholars, composers, conductors and directors, the group formed a committee supported by Italy’s leading opera houses and musical institutions, then persuaded UNESCO to add “the practice of opera singing in Italy” to its Representative List of the Intangible Cultural Heritage of Humanity. The inscription was made official in December.The list identifies what UNESCO, the United Nations cultural organization, calls “fragile” nonphysical elements that play a crucial role in “maintaining cultural diversity in the face of growing globalization.”Five months earlier, UNESCO celebrated the U.S. rejoining of the organization in a ceremony in Paris attended by the first lady, Jill Biden. (The United States had withdrawn from UNESCO during the Trump administration.)Pool photo by Bertrand Guay At the ceremony, “The Star-Spangled Banner” was sung by a leading American soprano, Lisette Oropesa. In a recent phone interview, Ms. Oropesa discussed the UNESCO inscription (which she played no part in) and what is special about opera. The conversation has been edited and condensed.How do you feel about this UNESCO inscription?Delighted. Any opportunity where opera and classical music are brought into the limelight is important.What’s significant about opera, and what I love about it, is that it’s the last truly human art form. It’s sung by voices, unamplified, and created by human beings who compose the music and play an instrument in an orchestra. The costumes are designed and made by people. Opera is directed by people, and is meant to resonate in an acoustic and natural space built by people. That’s what’s special about it.Will this UNESCO distinction help protect it in the future?I certainly hope so. Opera can often be stereotyped as this archaic museum piece. We think of it as very elitist nowadays. But it was originally a people’s art form. Just a few generations ago, it was in cartoons: The youngest of the young were learning about characters such as the Barber of Seville.Nowadays, a lot of young people when first exposed to opera say, “This is so pompous and old-fashioned, and it doesn’t speak to me.” What is your response?I believe opera doesn’t get marketed properly. I don’t think there has ever been a generation that wasn’t interested in history. If history is presented well, and interestingly, everybody wants to know. People watch “The Crown,” “Downton Abbey.” People want to be transported. What alienates young people is how opera can often be presented. If you just say, “Opera is about romance and beauty and passion and fabulous costumes,” you take all the meat off the bone. There are plenty of extremely forward-looking pieces that have been written about women, power struggle, class struggle, race.Opera is all narrative. The stories are there: You’re reading lines, and you’re following what’s going on. It’s like reading a book. And the sound of the voice is simply the sound of the trained voice.Now, it’s not to everybody’s taste. I get that not everybody likes it. But not everybody likes the sound of rock singers, or the sound of country singers. There is an ear for everything. Ultimately, nine times out of 10, the music sells people on opera, because the music is simply divine.Are you personally concerned about opera’s future?During the pandemic, I was really concerned about it. I thought that gathering in theaters would be the last thing to come back — that people would say: “This is so unnecessary. Let’s drop it. We’re going to put everything online, and stream it, and it’ll be the same thing.” We learned that it’s not the same thing, that you don’t have the same experience.What concerns me nowadays is that we have to compete for people’s time.The committee that applied for UNESCO inscription felt that opera was in danger.In Europe, opera and the arts are generally funded by the government. So there’s an assurance that the art form will go on, because there’s funding for it. In the United States, there’s very little state funding for high art. You have to ask people to give money to it. And it often operates on a flimsy budget. So the business model of opera in the United States is very unsustainable.When it comes to the arts in general, people feel like there are more important things to spend time and money on. They’re not wrong. But I can also tell you that without a safe emotional outlet for pain and negativity and suffering, all you will have is more pain, negativity and suffering.If you take music away from your everyday person — going to work, coming home, and taking care of their family — all they will be left with is politics, war, pain, suffering, disease and poverty. If you take away music and drama and theater and movies, you rob people of their ability to process and cope with the more important things. More