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    Review: Musicians of Color Reclaim Control in a White Space

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    In “Everything Rises,” the violinist Jennifer Koh and the bass-baritone Davóne Tines recount their complicated relationships with classical music.Not long into “Everything Rises,” which opened at the Brooklyn Academy of Music on Wednesday night, the bass-baritone Davóne Tines confronts the audience with an uncomfortable declaration.“I was the moth, lured by your flame,” Tines, who is Black, sings with disdain. “I hated myself for needing you, dear white people: money, access and fame.”“Everything Rises” is a timely collaboration, created by the Korean American violinist Jennifer Koh and Tines, that interrogates what it means to be a classical musician of color — to have chosen to make a creative life and professional career in a medium and a milieu that are overwhelmingly white, and to have tucked away fundamental elements of their identities in the process. The result of those inquiries is a compact, affecting and meditative multimedia work made entirely by people of color, including the composer and librettist Ken Ueno, the director Alexander Gedeon and the dramaturg Kee-Yoon Nahm.Koh and Tines conceived this show several years ago. Its debut was originally scheduled for spring 2020, but because of the pandemic it instead premiered this April at the University of California, Santa Barbara. What happened across the United States between those two dates — particularly in terms of racial violence perpetrated against Black and Asian Americans — made the enterprise seem even more pressing.The work begins with Koh and Tines dressed in typical concert dress: she in a wine-colored gown, crowned with demure dark hair, and he in a tuxedo. But he is also wearing a black blindfold, which leaves him feeling his way across the expanse of the Fishman Space stage at BAM. Early on, the audience sees a video clip of Koh’s winning performance as a 17-year-old at the 1994 Tchaikovsky competition in Moscow, an early highlight of what could have been a traditional career.Soon enough, however, Koh reveals her true, hot pink hair. Tines puts his customary earrings on. The duo wear fitted black tank tops with voluminous black skirts — a coming into their full selves, and a recognition of the parallels of their individual paths.Musically and narratively, “Everything Rises” underlines the fact that Koh and Tines, as well as their creative partners, are constantly code switching, depending on where they are and whom they are with. Ueno imaginatively expresses those frequent alternations between ways of being, drawing texts from their experiences and sampling audio recordings of interviews with the matriarchs of their respective families: Koh’s mother, Gertrude Soonja Lee Koh, who fled the Korean War to the U.S., and Tines’s grandmother, Alma Lee Gibbs Tines, a descendant of enslaved people.Ueno weaves clips of these women recounting chilling, graphic stories. Alma recalls the lynching of one of her relatives — “they killed him and hung him, cut his head off and they kicked his head down the streets” — while Soonja remembers, “I saw people being tortured and people on the trees, bodies hanging on the trees.”There are also moments of melancholic tenderness in “Everything Rises,” such as in the lullaby-like “Fluttering Heart,” and testaments to enduring resilience. Over the course of the show, Tines and Koh hold each other up literally and figuratively: hearing, acknowledging and amplifying each other’s stories.Ueno’s score nods to 19th-century Western idioms, traditional Korean music and shimmering contemporary electronica. The effect is not a pastiche, but a sonic code switching. He also allows Tines and Koh — exemplary technicians and artists of profound intensity — to explore their full tonal and textural ranges. Moments of racial violence are evoked by Koh playing growling, guttural scratch tones, often on her open G string, while Tines cycles from his rich basso profundo to an ethereal falsetto. (The day before “Everything Rises” opened, BAM named Tines as its next artist in residence, beginning in January.)The piece ends with a hopeful original song, “Better Angels,” which is preceded by a particularly haunting sequence. Ueno writes a new setting of “Strange Fruit,” the powerful song, made famous by Billie Holiday, that portrays violence against Black Americans and that, in part, led to Holiday’s prosecution by the U.S. government. It’s impossible not to imagine Holiday’s ancestral shadow as part of this work: Alongside Alma and Soonja, she becomes its third matriarch.Everything RisesThrough Oct. 15 at BAM Fisher, Brooklyn; bam.org. More

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      BAM’s Next Wave Festival Returns With an Ivo Van Hove Production

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      The American premiere of the brutal play “A Little Life,” a drag-infused Hamlet and an immersive celestial installation highlight the festival’s latest iteration.The Brooklyn Academy of Music’s artistic director, David Binder, who is programming the 13 shows for the Next Wave Festival, is mixing “incredible light” and darkness, he said.It is the first in-person edition of the festival since 2019 and it will run from Sept. 28 to Dec. 22. The highlight will be the U.S. premiere of the stage adaptation of Hanya Yanagihara’s novel “A Little Life” (Oct. 20-29) — a coming-of-age tale about four young men that includes depictions of self-harm, domestic violence, child abuse and suicide.“There’s optimism and there’s things that speak to the challenging world we all live in,” Binder said in a phone interview on Wednesday. “So I think it relates to one piece of all of that mosaic.”Ivo van Hove’s production of Yanagihara’s Kirkus Prize-winning novel, which is set to be presented in Dutch with English supertitles at BAM’s Howard Gilman Opera House, runs just over four hours and features a live video screen to show close-ups of agonizing moments, like a character burning his own arm — and pouring salt in the wound. (Yanagihara is the editor in chief of T: The New York Times Style Magazine.)“It’s an extraordinary production that challenges the audience,” said Binder, who saw the world premiere production in Amsterdam in 2018. “Much like the whole season.”Even though it’s long, he said, “I guarantee you it holds you every moment.”This is just the second Next Wave Festival that Binder, who started as BAM’s artistic director in 2018, has programmed, after the 2020 and 2021 events were canceled because of the pandemic. He told The New York Times in 2019 that his focus for the first event would “move it forward by adding in a whole new slew of artists,” and that emphasis continues this year, with 13 programs created in eight countries featuring dance, music and theater. Nine of the 13 artists and companies are performing at BAM for the first time.“That was our guiding principle,” he said this week, “to cover a lot of ground with lots of international new artists.”One of the returning artists is the German director Thomas Ostermeier, whose riotous production of Shakespeare’s “Hamlet” will come to BAM’s Harvey Theater stage this fall (Oct. 27-Nov. 5). In Ostermeier’s staging, Ophelia and Gertrude are played by the same actor — as are many of the other characters; the play features just six performers. (The Guardian called the production of it in Berlin, which mixed pop music and drag shows with duels, “kookily funny and coolly self-aware.”)Next up at the Harvey will be the U.S. premiere of the Brazilian choreographer Lia Rodrigues’s carnivalesque dance piece “Encantado,” whose title refers to spirits of healing — the encantados — and which features 100 colored blankets that transform the stage (Nov. 8-9). Meanwhile, at the Howard Gilman Opera House, another dance piece, the Greek director-choreographer Dimitris Papaioannou’s dreamlike concoction “Transverse Orientation,” pairing experimental, painterly choreography with music by Vivaldi, will have its New York premiere, Nov. 7-11.Then the main stage shifts to opera with the U.S. premiere of Ong Keng Sen’s “Trojan Woman,” a queer Korean operatic take on the Greek tragedy (Nov. 18-19). The production, performed in Korean with English subtitles, fuses the traditional Korean musical storytelling form of pansori with K-pop music. (The “Parasite” composer Jung Jae-il composed the music in collaboration with the renowned Korean pansori master Ahn Sook-sun.)Binder also programmed work from within the United States, including an orchestral hip-hop performance by the Los Angeles producer and rapper Flying Lotus, the composer and D.J. Miguel Atwood-Ferguson and Wordless Music Orchestra that is being billed as a rendition of their Hollywood Bowl performance in Los Angeles this summer (Oct. 6-7).The festival is set to wrap up with an immersive installation by the Brooklyn-based interactive-electronics artist Andrew Schneider, whose world premiere of “N O W I S W H E N W E A R E (the stars)” at BAM Fisher may be the closest a New Yorker will come to clear-sky stargazing (Nov. 29- Dec. 22). Visitors will enter a completely dark space and be guided by an unseen voice as 5,000 programmed points of light, which the artist has said are inspired by Yayoi Kusama’s “infinity” mirror room, respond to everyone individually.The season also features the American premiere of the Belgian theater collective FC Bergman’s wordless production of “300 el x 50 el x 30 el” (Sept. 28-Oct. 1), which follows the inhabitants of a small village fearful of an impending disaster. (The title refers to the dimensions of Noah’s Ark.) The Argentine choreographer Constanza Macras will showcase “Open for Everything,” which sheds light on contemporary Romany people, at the Harvey (Oct. 5-8). The Grammy-winning violinist Jennifer Koh and the bass-baritone Davóne Tines’s staged musical work “Everything Rises,” which seeks to “replace abstract slogans and inert diversity statements with lived experience and direct engagement,” will be at BAM Fisher (Oct. 12-15). More

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      Tyshawn Sorey: The Busiest Composer of the Bleakest Year

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s NotebookTyshawn Sorey: The Busiest Composer of the Bleakest YearAn artist straddling jazz and classical styles had perhaps the most exciting fall in new music.Tyshawn Sorey, a composer and multi-instrumentalist, conducting his song sequence “Cycles of My Being” in a filmed presentation by Opera Philadelphia.Credit…Dominic M. MercierJan. 1, 2021“Everything Changes, Nothing Changes”: Tyshawn Sorey wrote the string quartet that bears that title in 2018. But the sentiment is so tailor-made for the past year that when the JACK Quartet announced it would stream a performance of the work in December, I briefly forgot and assumed it was a premiere, created for these tumultuous yet static times.I should have known better. Mr. Sorey already had enough on his plate without cooking up a new quartet. The final two months of 2020 alone brought the premieres of a pair of concerto-ish works, one for violin and one for cello, as well as a fresh iteration of “Autoschediasms,” his series of conducted ensemble improvisations, with Alarm Will Sound.Mr. Sorey leading a rehearsal for Alarm Will Sound’s virtual performance of “Autoschediasms,” one of his series of conducted ensemble improvisations.Credit…via Alarm Will SoundThat wasn’t all that happened for him since November. Mills College, where Mr. Sorey is composer in residence, streamed his solo piano set. Opera Philadelphia filmed a stark black-and-white version of his song sequence “Cycles of My Being,” about Black masculinity and racial hatred. JACK did “Everything Changes” for the Library of Congress, alongside the violin solo “For Conrad Tao.” Da Camera, of Houston, put online a 2016 performance of “Perle Noire,” a tribute to Josephine Baker that Mr. Sorey arranged with the soprano Julia Bullock. His most recent album, “Unfiltered,” was released early in March, days before lockdown.He was the composer of the year.That’s both coincidental — some of this burst of work was planned long ago — and not. Mr. Sorey has been on everyone’s radar at least since winning a MacArthur “genius” grant in 2017, but the shock to the performing arts since late winter brought him suddenly to the fore as an artist at the nexus of the music industry’s artistic and social concerns.Undefinable, he is appealing to almost everyone. He works at the blurry and productive boundary of improvised (“jazz”) and notated (“classical”) music, a composer who is also a performer. He is valuable to ensembles and institutions because of his versatility — he can do somber solos as well as large-scale vocal works. And he is Black, at a time when those ensembles and institutions are desperate to belatedly address the racial representation in their programming.From left: Mr. Sorey, the soprano Julia Bullock and the flutist Alice Teyssier in Da Camera’s presentation of “Perle Noire,” inspired by Josephine Baker’s life and work.Credit…Ben DoyleHe’s in such demand, and has had so much success, that the trolls have come for him, dragging him on Facebook for the over-the-topness of the biography on his website. (Admittedly, it is a bit adjective-heavy: “celebrated for his incomparable virtuosity, effortless mastery,” etc.)The style for which he has been best known since his 2007 album “That/Not,” his debut release as a bandleader, owes much to the composer Morton Feldman (1926-87): spare, spacious, glacially paced, often quiet yet often ominous, focusing the listener purely on the music’s unfolding. Mr. Sorey has called this vision that of an “imaginary landscape where pretty much nothing exists.”There is a direct line connecting “Permutations for Solo Piano,” a 43-minute study in serene resonance on that 2007 album, and the first of the two improvised solos in his recent Mills recital, filmed on an upright piano at his home. Even the far briefer second solo, more frenetic and bright, seems at the end to want to settle back into gloomy shadows.“Everything Changes, Nothing Changes,” a hovering, lightly dissonant 27-minute gauze, is in this vein, as is the new work for violin and orchestra, “For Marcos Balter,” premiered on Nov. 7 by Jennifer Koh and the Detroit Symphony Orchestra. Mr. Sorey insists in a program note that this is a “non-certo,” without a traditional concerto’s overt virtuosity, contrasting tempos or vivid interplay between soloist and ensemble.Xian Zhang conducting the violinist Jennifer Koh and the Detroit Symphony Orchestra in Mr. Sorey’s “For Marcos Balter.”Credit…Sarah Smarch“For Marcos Balter” is even-keeled, steadily slow, a commune of players rather than a metaphorical give-and-take between an individual and society. Ms. Koh’s deliberate long tones, like cautious exhalations, are met with spectral effects on the marimba. Quiet piano chords amplify quiet string chords. At the end, a timpani roll is muted to sound almost gonglike, with Ms. Koh’s violin a coppery tremble above it.It is pristine and elegant, but I prefer Mr. Sorey’s new cello-and-orchestra piece, “For Roscoe Mitchell,” premiered on Nov. 19 by Seth Parker Woods and the Seattle Symphony. There is more tension here between discreet, uneasy minimalism and an impulse toward lushness, fullness — more tension between the soloist receding and speaking his mind.The piece is less pristine than “For Marcos Balter,” and more restless. The ensemble backdrop is crystalline, misty sighs, while the solo cello line expands into melancholy arias without words; sometimes the tone is passionate, dark-hued nocturne, sometimes ethereal lullaby. “For Roscoe Mitchell” feels like a composer challenging himself while expressing himself confidently — testing the balance of introversion and extroversion, privacy and exposure.The cellist Seth Parker Woods and the Seattle Symphony perform the premiere of “For Roscoe Mitchell.”Credit…James Holt/Seattle SymphonyBut it’s not right to make it seem like an outlier in this respect; Mr. Sorey’s music has never been solely Feldmanian stillness. In Alarm Will Sound’s inspiringly well executed virtual performance of “Autoschediasms,” Mr. Sorey conducted 17 players in five states over video chat, calm at his desk as he wrote symbols on cards and held them up to the camera, an obscure silent language that resulted in a low buzz of noise, varying in texture, and then, excitingly, a spacey, oozy section marked by keening bassoon tones.And he isn’t afraid of pushing into a kind of Neo-Romantic vibe. “Cycles of My Being,” featuring the tenor Lawrence Brownlee and texts by the poet Terrance Hayes, nods to the ardently declarative mid-20th-century American art songs of Samuel Barber and Lee Hoiby, just as “Perle Noire” features, near the end, a sweetly mournful instrumental hymn out of Copland.“Cycles,” which felt turgid when I heard it in a voice-and-piano version three years ago, bloomed in Opera Philadelphia’s presentation of the original instrumentation, which adds a couple of energizing strings and a wailing clarinet. And after a year of protests, what seemed in 2018 like stiffness — in both texts and music — now seems more implacable strength. (Opera Philadelphia presents yet another Sorey premiere, “Save the Boys,” with the countertenor John Holiday, on Feb. 12.)The cellist Khari Joyner playing in “Cycles of My Being.”Credit…Dominic M. MercierThe violinist Randall Goosby.Credit…Dominic M. Mercier“Perle Noire” still strikes me as the best of Sorey. Turning Josephine Baker’s lively numbers into unresolved meditations, here is both suave, jazzy swing and glacial expanse, an exploration of race and identity that is ultimately undecided — a mood of endless disappointment and endless wishing. (“My father, how long,” Ms. Bullock intones again and again near the end.)In works this strong, the extravagant praise for which some have ribbed Mr. Sorey on social media — that biography, for one, or the JACK Quartet lauding “the knife’s-edge precision of Sorey’s chess-master mind” — feels justified. And, anyway, isn’t it a relief to talk about a 40-year-old composer with the immoderate enthusiasm we generally reserve for the pillars of the classical canon?AdvertisementContinue reading the main story More

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      A ‘Great Cultural Depression’ Looms for Legions of Unemployed Performers

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyA ‘Great Cultural Depression’ Looms for Legions of Unemployed PerformersWith theaters and concert halls shuttered, unemployment in the arts has cut deeper than in restaurants and other hard-hit industries.Soon after the pandemic struck, a year’s worth of bookings vanished for the acclaimed violinist Jennifer Koh, who found herself streaming concerts from her apartment.Credit…Elias Williams for The New York TimesDec. 26, 2020Updated 5:32 a.m. ETIn the top echelons of classical music, the violinist Jennifer Koh is by any measure a star.With a dazzling technique, she has ridden a career that any aspiring Juilliard grad would dream about — appearing with leading orchestras, recording new works, and performing on some of the world’s most prestigious stages.Now, nine months into a contagion that has halted most public gatherings and decimated the performing arts, Ms. Koh, who watched a year’s worth of bookings evaporate, is playing music from her living room and receiving food stamps.[embedded content]Pain can be found in nearly every nook of the economy. Millions of people have lost their jobs and tens of thousands of businesses have closed since the coronavirus pandemic spread across the United States. But even in these extraordinary times, the losses in the performing arts and related sectors have been staggering.During the quarter ending in September, when the overall unemployment rate averaged 8.5 percent, 52 percent of actors, 55 percent of dancers and 27 percent of musicians were out of work, according to the National Endowment for the Arts. By comparison, the jobless rate was 27 percent for waiters; 19 percent for cooks; and about 13 percent for retail salespeople over the same period.In many areas, arts venues — theaters, clubs, performance spaces, concert halls, festivals — were the first businesses to close, and they are likely to be among the last to reopen. “My fear is we’re not just losing jobs, we’re losing careers,” said Adam Krauthamer, president of Local 802 of the American Federation of Musicians in New York. He said 95 percent of the local’s 7,000 members are not working on a regular basis because of the mandated shutdown. “It will create a great cultural depression,” he said.The new $15 billion worth of stimulus aid for performance venues and cultural institutions that Congress approved this week — which was thrown into limbo after President Trump criticized the bill — will not end the mass unemployment for performers anytime soon. And it only extends federal unemployment aid through mid-March.The public may think of performers as A-list celebrities, but most never get near a red carpet or an awards show. The overwhelming majority, even in the best times, don’t benefit from Hollywood-size paychecks or institutional backing. They work season to season, weekend to weekend or day to day, moving from one gig to the next.The median annual salary for full-time musicians and singers was $42,800; it was $40,500 for actors; and $36,500 for dancers and choreographers, according to a National Endowment for the Arts analysis. Many artists work other jobs to cobble together a living, often in the restaurant, retail and hospitality industries — where work has also dried up.They are an integral part of local economies and communities in every corner of rural, suburban and urban America, and they are seeing their life’s work and livelihoods suddenly vanish. Terry Burrell, an actor and singer in Atlanta, saw the tour of her show “Angry, Raucous and Gorgeously Shameless” canceled after the virus struck.Credit…Lynsey Weatherspoon for The New York Times“We’re talking about a year’s worth of work that just went away,” said Terry Burrell, whose touring show, “Angry, Raucous and Gorgeously Shameless,” was canceled. Now she is home with her husband in Atlanta, collecting unemployment insurance, and hoping she won’t have to dip into her 401(k) retirement account.Linda Jean Stokley, a fiddler and part of the Kentucky duo the Local Honeys with Monica Hobbs, said, “We’re resilient and are used to not having regular paychecks.” But since March hardly anyone has paid even the minor fees required by their contracts, she said: “Someone owed us $75 and wouldn’t even pay.”Then there’s Tim Wu, 31, a D.J., singer and producer, who normally puts on around 100 shows a year as Elephante at colleges, festivals and nightclubs. He was in Ann Arbor, Mich., doing a sound check for a new show called “Diplomacy” in mid-March when New York shut down. Mr. Wu returned to Los Angeles the next day. All his other bookings were canceled — and most of his income.Mr. Wu, and hundreds of thousands of freelancers like him, are not the only ones taking a hit. The broader arts and culture sector that includes Hollywood and publishing constitutes an $878 billion industry that is a bigger part of the American economy than sports, transportation, construction or agriculture. The sector supports 5.1 million wage and salary jobs, according to the U.S. Bureau of Economic Analysis. They include agents, makeup artists, hair stylists, tailors, janitors, stage hands, ushers, electricians, sound engineers, concession sellers, camera operators, administrators, construction crews, designers, writers, directors and more. “If cities are going to rebound, they’re not going to do it without arts and cultural creatives,” said Richard Florida, a professor at the University of Toronto’s Rotman School of Management and School of Cities.Steph Simon, a hip-hop artist from Tulsa, had been booked to perform at South by Southwest when the virus hit and eliminated the rest of his gigs for the year. Credit…September Dawn Bottoms/The New York TimesThis year, Steph Simon, 33, of Tulsa, finally started working full time as a hip-hop musician after a decade of minimum-wage jobs cleaning carpets or answering phones to pay the bills.He was selected to perform at the South by Southwest festival in Austin, Texas, played regular gigs at home and on tour, and produced “Fire in Little Africa,” an album commemorating the 1921 massacre of Black residents of Tulsa by white rioters.“This was projected to be my biggest year financially,” said Mr. Simon, who lives with his girlfriend and his two daughters, and was earning about $2,500 a month as a musician. “Then the world shut down,” he said. A week after the festival was canceled, he was back working as a call center operator, this time at home, for about 40 hours a week, with a part-time job at a fast-food restaurant on the weekends.In November, on his birthday, he caught Covid-19, but has since recovered.Performers on payrolls have suffered, too. With years of catch-as-catch-can acting gigs and commercials behind her, Robyn Clark started working as a performer at Disneyland after the last recession. She has been playing a series of characters in the park’s California Adventure — Phiphi the photographer, Molly the messenger and Donna the Dog Lady — several times a week, doing six shows a day.“It was the first time in my life I had security,” Ms. Clark said. It was also the first time she had health insurance, paid sick leave and vacation.In March, she was furloughed, though Disney is continuing to cover her health insurance.“I have unemployment and a generous family,” said Ms. Clark, explaining how she has managed to continue paying for rent and food.Many performers are relying on charity. The Actors Fund, a service organization for the arts, has raised and distributed $18 million since the pandemic started for basic living expenses to 14,500 people.“I’ve been at the Actors Fund for 36 years,” said Barbara S. Davis, the chief operating officer. “Through September 11th, Hurricane Katrina, the 2008 recession, industry shutdowns. There’s clearly nothing that compares to this.”Higher-paid television and film actors have more of a cushion, but they, too, have endured disappointments and lost opportunities. Jack Cutmore-Scott and Meaghan Rath, now his wife, had just been cast in a new CBS pilot, “Jury Duty,” when the pandemic shut down filming.“I’d had my costume fitting and we were about to go and do the table read the following week, but we never made it,” Mr. Cutmore-Scott said. After several postponements, they heard in September that CBS was bailing out altogether.Many live performers have looked for new ways to pursue their art, turning to video, streaming and other platforms. Carla Gover’s tour of dancing to and playing traditional Appalachian music as well as a folk opera she composed, “Cornbread and Tortillas,” were all canceled. “I had some long dark nights of the soul trying to envision what I could do,” said Ms. Gover, wholives in Lexington, Ky., and has three children.She started writing weekly emails to all her contacts, sharing videos and offering online classes in flatfoot dancing and clogging. The response was enthusiastic. “I figured out how to use hashtags and now I have a new kind of business,” Ms. Gover said.But if technology enables some artists to share their work, it doesn’t necessarily help them earn much or even any money.The violinist Ms. Koh, known for her devotion to promoting new artists and music, donated her time to create the “Alone Together” project, raising donations to commission compositions and then performing them over Instagram from her apartment.The project was widely praised, but as Ms. Koh said, it doesn’t produce income. “I am lucky,” Ms. Koh insisted. Unlike many of her friends and colleagues, she managed to hang onto her health insurance thanks to a teaching gig at the New School, and she got a forbearance on her mortgage payments through March. Many engagements have also been rescheduled — if not until 2022.She ticks off the list of friends and colleagues who have had to move out of their homes or have lost their health insurance, their income and nearly every bit of their work.“It’s just decimating the field,” she said. “It concerns me when I look at the future.”AdvertisementContinue reading the main story More