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      Trying to Capture the Life and Lyrics of That Wry Sage Leonard Cohen

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      The makers of a documentary on the singer-songwriter took a deep dive into his “writing and rewriting and erasing” to better understand the man.The documentary “Hallelujah: Leonard Cohen, a Journey, a Song” illuminates the unpredictable paths taken by a singer-songwriter and his music. The directors, Dan Geller and Dayna Goldfine (“Ballets Russes”), trace Cohen’s career from his early days in Montreal to his 21st-century renaissance, exploring his creative process, his spiritual search and how his perhaps best-known song, “Hallelujah,” took on a life of its own.Of the musician’s sagelike appeal, A.O. Scott wrote in a Critic’s Pick review, “His gift as a songwriter and performer was rather to provide commentary and companionship amid the gloom, offering a wry, openhearted perspective on the puzzles of the human condition.”I spoke with Geller and Goldfine about their insights into Cohen’s life and lyrical artistry, and his enduring mysteries.What did you learn about Leonard Cohen that surprised you most?DAN GELLER He was clearly struggling to find his sense of place in his life, his universe and his love life — and in his spiritual life. He was seeking so deeply over decades, and when that went away, as he said, “The search itself dissolved,” and a lightness entered his being. He couldn’t even explain why. And he didn’t want to examine it too much because he was afraid that by examining it, it might go away again.DAYNA GOLDFINE I had thought that the only reason he had gone back out on the road in his mid-70s, after a 14-or-15-year hiatus, was because he had had all his money ripped off, and it was a financial compulsion. But just as important was that Leonard felt as if he had never truly reached the same level as a performer as he thought he might have reached as a singer-songwriter. You really saw him then reaching this pinnacle that made a Leonard Cohen concert so deep and so spiritual.He’s amazing in archival interviews because he essentially speaks in lyrics. What is that wonderful phrase he casually drops, “the foothills of old age”?GOLDFINE Yes! “70 is indisputably not youth. It’s not extreme old age, but it’s the foothills of old age.” Isn’t that gorgeous? I found Leonard’s wit both immensely gratifying and also surprising. Especially in the first couple decades of his career, he was painted as this monster of gloom. But if you really hang with him and listen to what he’s saying, he’s one of the funniest guys ever. It’s a very droll, dry wit.Whenever possible, we tried to come up with something fresh so that even the most devout Leonard Cohen head would find something new in our film, or if we were going to use a piece of archival material that had been used in the past, we would try to reframe it. Rabbi [Mordecai] Finley, for instance, reframes some of the material in a really interesting way that gives you a fresh perspective.What were the biggest revelations about “Hallelujah” and Cohen’s writing process?GOLDFINE I hadn’t realized the sheer number of verses that Leonard was writing and rewriting and erasing and reconfiguring throughout the five or so years that it took him to write that song. And then the number of times that he reconfigured the song in performing it. I love in the film where he takes it from the King David Old Testament version of the song and moves it into a secular realm.GELLER There’s also the way that other people have responded to the song — listening to John Cale or Brandi Carlile or Eric Church, to hear why they resonated with the song. It’s given me a window into the souls of these other singer-songwriters.His notebooks are fascinating because there are versions of lines that have different resonances but are also super powerful. “When David played, his fingers bled, he wept for every word he said” — that’s an incredible line there, too! He could have stopped anywhere along the way and had maybe an equally powerful song.GOLDFINE You also see the very first incarnation of “Anthem,” one of his most famous songs, and the first time he ever wrote that line: “There’s a crack in everything.” That almost brought tears to my eyes when I saw it — the first infant steps of “Anthem.” Also in those notebooks you see his datebook, and the first time he met Dominique Issermann, the woman he considered the first great love of his life.Although you couldn’t interview Cohen, did you hear anything from him while making the film?GELLER The Dominique [interview] was interesting because she was staying with Leonard at the time when we were going to film her. She said that he asked her, “Look, if they start asking questions like, ‘Was it your kitchen chair that he was tied to when he wrote the song?’ don’t let them go down that path.” This is the only direct, or close to direct, feedback we ever got from Leonard. Of course, we would never ask that! But I thought, That’s good, because what he was really saying is: Don’t concretize the song and its lyrics. Leave it open to interpretation, and a mystery. Don’t make it specific to Leonard himself.What’s your favorite version of “Hallelujah”?GOLDFINE When I was embroiled in shaping the John Cale section, I just couldn’t get enough of the John Cale version. And Jeff Buckley was the first “Hallelujah” that I ever heard, and it blew me away. But at the end of the day, it’s Leonard Cohen singing it in those last five years’ worth of concerts and, night after night, getting down on his knees to start that song.GELLER Buckley’s haunting guitar arpeggios are so beautiful and exquisite. I love those and his gorgeous voice. But Leonard performing it live — we saw him do it twice at the Paramount Theater in Oakland. Just watching someone truly stand in the center of his song, a song that’s filled with the complications of yearning, of brokenness, of hopefulness, of love, of sex — all of it! More

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      Review: ‘The Mutes’ Gives Voice to Musical Outsiders

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      In Paris, a moving and wistful performance installation by Lina Lapelyte gathers untrained singers for reflections on regret and inability.PARIS — The first time I sang, it was by ear. I imagine that’s often the case. Toddlers join their favorite characters in Disney movies or echo their parents with mumbled renditions of “Twinkle, Twinkle, Little Star.” When children begin to sing in school, they usually learn not from scores, but from lyrics memorized through repetition.Then things change. The melodies become notated. Some people develop into disciplined singers and instrumentalists; others abandon musical study altogether. What of that last category, those for whom singing is simply something to be enjoyed, regardless of whether they can carry a tune in the car or at karaoke?Those types of performances — the ones just for pleasure — are typically treated as unfit for the hallowed spaces of musical expression. But “The Mutes,” Lina Lapelyte’s moving, wistful and immersive installation at Lafayette Anticipations here, elevates that amateur naïveté to high art.“The Mutes,” organized by Elsa Coustou, takes place in an airy environment designed to subvert expectations at every turn, and unfolds on a roughly 50-minute loop for six hours a day, five days a week until July 24. The durational performance setup is reminiscent of “Sun & Sea,” Lapelyte’s much-traveled opera created with her fellow Lithuanian artists Vaiva Grainyte and Rugile Barzdziukaite, which won the top prize at the Venice Biennale in 2019.That work and the team’s “Have a Good Day!” (2013), a kaleidoscopic glimpse into the inner lives of cashiers, were expansive in scope. “Sun & Sea,” one of the most effective and indelible operas of this century, hides a sickening portrait of climate inaction in catchy, sedative melodies sung from an artificial beach — a set that could one day serve as a natural history exhibition of the Anthropocene’s leisure and laziness.Here, Lapelyte is working on her own, and by comparison “The Mutes” is much smaller. Yet the intimate scale is also more relatable, and more heartbreaking. With a libretto assembled from Sean Ashton’s novel “Living in a Land,” it expresses only the things its characters haven’t done. This is music of regret, of inability, music that can underscore the feeling that “we live in time not place.”The small ensemble of performers were auditioned with something like anti-musicality in mind; people who had been told explicitly that they were bad singers were the most ideal candidates. On Wednesday, they delivered the libretto’s English lines with heavy French accents and imprecise intonation. Some were more extroverted than others. One man forgot a line halfway through.Surrounding the performance is an installation of clustered nettles and sculptures that deal in subverted expectations.Marc Domage“I’ve never had mumps,” the first performer, walking through the installation, sings coolly. More never-have-I-evers follow: had a pen pal, learned a language, ate tapas, cried in the cinema, bought and sold at the right time, or at any time. “It is unlikely, is it not, that I shall ever be given the keys to the city,” an ensemble member declares into a microphone. Someone else offers, “It is unlikely, is it not, that I shall ever be invited back to my old school, to show what I have done with my life, what I have made of myself.”All these lines are given simple melodies, the kind you could learn easily by ear. More complicated are choral passages, especially antiphonal ones, a challenge for untrained performers but a compelling study in building harmony. These moments have the appearance of a community choir rehearsal — perhaps the most widespread form that music-making takes, if one that exists outside what is traditionally thought of as mainstream performance.The spirit of that deliberate contradiction — of a formal space given over to seemingly informal performance, and of perceived disorder giving way to balance — pervades the installation. Nettles, medicinally beneficial but disliked as prickly weeds, are clustered throughout an earthy landscape indoors. Slanted stones form a precarious ramp; so do sculptural shoes with uneven soles. But with complementary shapes, they together create a flat surface to stand on with stability.Visitors can explore the environment at will — though they can’t try on the shoes — before any performers enter, and continue to do so as the music unfolds. The singers move as if unaware of the audience members, who can follow any and all of them, and are responsible for staying out of the way.That opening line, about mumps, is joined by mentions of other diseases: measles, chickenpox, syphilis. And beneath vocal writing is a Minimalist score typical of Lapelyte, ostinatos executed with electronics and built from a rising two- or three-note motif, or a single tone at a steady beat. But where that formula had an almost somnolent effect in “Sun & Sea,” here it is complicated by added layers of improvisatory playing by Lapelyte and Angharad Davies on violin, along with John Butcher on saxophone, and Rhodri Davies on harp.Their instrumental contributions, prerecorded and played through speakers with meticulous spatial design, betray the emotions behind the straightforward singing. Jazzy riffs and percussive string techniques add an element of unsettled agitation and worry. Realizing, too late, that you’ve never “been canoeing” or “cultivated a vegetable garden” can be both sad and exasperating.But mostly these statements are sad, as life inevitably is, because of the people conveying them. Their sound unrefined and their performance effortful, these singers were compelling in a way professionals couldn’t be. Everything about them — their feelings, characteristics, appearances — was familiar. They reminded me of so many friends and relatives, and for that were more touching than, say, the protagonist of a Schubert song cycle or a Verdi tragedy.I wonder whether it was more difficult for them to sing together as adults than as children. When we’re young, we take up choral music uncritically, as if by instinct; later, a closer, more attentive kind of listening is required to achieve harmony. It’s as though, in learning everything else, we forget exactly the thing we should always remember.The MutesThrough July 24 at Lafayette Anticipations, Paris; lafayetteanticipations.com. More

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      Martin C. Dreiwitz, Who Took Student Musicians on World Tours, Dies at 91

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      He combined his love for travel and music to turn the Long Island Youth Orchestra into a globe-trotting powerhouse.Martin C. Dreiwitz, who drew on his twin passions for travel and classical music to found the globe-trotting Long Island Youth Orchestra, conducting his student musicians before audiences as close as Great Neck and Brookville and as far away as Karachi and Kathmandu, died on June 20 at a hospital near his home in Oyster Bay, N.Y. He was 91.Steven Behr, the president of the orchestra’s board of directors, said the cause was a heart attack.The orchestra may have counted some 100 performers, but Mr. Dreiwitz (pronounced DRY-witz) was practically a one-man show: He raised the funds, he scouted for new members, he cajoled parents to bring snacks on rehearsal days, and he conducted every performance from its founding in 1962 to his retirement in 2012.He was also the orchestra’s travel agent. In addition to playing four concerts a year, mostly at a performance hall on the campus of Long Island University Post in Brookville, N.Y., the orchestra went on a summer tour, almost always abroad, with multiple stops and often on multiple continents. One trip, in 1977, took them to Greece, Kenya, the Seychelles, India, Sri Lanka and Israel, with every detail arranged by Mr. Dreiwitz.Though he trained as a classical clarinetist, Mr. Dreiwitz was, in fact, a travel agent by trade, and he used his skills and connections to plot intricate journeys that even a professional orchestra might shrink from. He took pride in being among the first Western orchestras to play in places like Pakistan and Nepal, performing sold-out shows with students who often had never before left Long Island.He treated his musicians like adults, and saw his mission as one less about pedagogy than about preparation for a professional music career. He eschewed the typical youth orchestra fare — Aaron Copland’s “Fanfare for the Common Man,” Samuel Barber’s “Adagio for Strings” — in favor of deep cuts from Mozart and Rossini and avant-garde composers like Virgil Thomson (a personal friend, who sometimes used the orchestra to test-run his latest work).He also tended to steer clear of Broadway scores, though he did have a soft spot for the music of George Gershwin, especially “Porgy and Bess,” and often included selections from that opera on the orchestra’s summer tour.Mr. Dreiwitz saw travel as another form of preparation. It was, he insisted, important for budding violists and clarinetists to learn how to perform at their best in strange new venues, in strange new cities, in front of strange new audiences.But he also simply loved the challenge of planning, say, a five-week trip for 85 students across five countries in East Asia. In between raising money and running rehearsals, during the school year he would dash off on reconnaissance trips, scouting each site for an upcoming tour — arranging hotels (or just as often private homes), checking out venues, even taste-testing restaurants. When the students arrived, months later, everything would be perfect.The orchestra ran on a shoestring budget, especially early on, when Mr. Dreiwitz refused to charge tuition. Instead, funds came from family donations, annual candy sales and, quite often, his own pocket. Every spring he offered a $2,500 scholarship to be split among the three best high school seniors, as judged by an outside panel.The Long Island Youth Orchestra in 1974. Alumni have gone on to play in most of the country’s major symphonies, and they populate countless chamber groups and academic music departments.Lester Paverman for The New York TimesMr. Dreiwitz’s hard work paid off. The orchestra’s 4,000 (and counting) alumni have gone on to play in many of the country’s major companies, including the Boston Symphony Orchestra, the New York Philharmonic, and the Philadelphia Orchestra, and they populate countless chamber groups and academic music departments.Mr. Dreiwitz could be stern and exacting on the podium, but, many of his former musicians said, he ran the orchestra like a family, fostering a vibe of collegiality instead of competitiveness.“I don’t twist anyone’s arm to join,” he told The New York Times in 1964. “They’re giving up their own time because they love music and want an opportunity to play. I don’t think you can find a more enthusiastic group of musicians any place.”Martin Charles Dreiwitz was born in Weehawken, N.J, on June 15, 1931, and raised in Brooklyn. His father, Samuel Dreiwitz, worked in the fur industry, and his mother, Charlotte (Silver) Dreiwitz, was a homemaker.He is survived by his two sons, Tuan Dinh and Dung Dinh.A gifted musician even as a child, he played clarinet and graduated from the High School of Music and Art in Manhattan (now the Fiorello H. LaGuardia High School of Music & the Arts), and he majored in music at the University of Chicago. Along the way he studied under woodwind luminaries like Simeon Bellison, the principal clarinetist for New York Philharmonic, and Anthony Gugliotti, who held the same post with the Philadelphia Orchestra.After graduating from college in 1953, he moved to Europe, where he traveled and studied to be a conductor, including a stint with Wilhelm Furtwängler in Vienna.He returned to the United States in the early 1960s and settled in suburban Long Island, hoping to find a job conducting. To make ends meet, he took a job as a travel agent and offered private clarinet lessons on the side.One day in 1962, one of his particularly talented students put down his instrument and frowned.“I’ve gotten this far,” Mr. Dreiwitz recalled the student saying, “and now I must wait years, until I get into a major orchestra, before I get some really good experience. Where do I go from here?”The seed was planted, and took root: Mr. Dreiwitz held auditions for what he initially called the North Shore Symphony Orchestra in September 1962. He started with just 52 musicians, and they held a concert the next spring. A few years later, he took them on their first trip, to Chicopee, Mass.It was stop and go in the early years, with Mr. Dreiwitz hitting up Nassau County music teachers to find promising players. But by the end of the 1960s, he no longer needed to. Eager students lined up outside his travel agency to audition, and every year he had a wait list. The orchestra went on its first overseas trip, to Europe, in 1971.He took emeritus status in 2012, handing the baton to Scott Dunn, a former student. He continued to come in to rehearsals at L.I.U. Post, though less and less often, and then not at all.But Mr. Dreiwitzhad one more hurrah. In 2018, hundreds of alumni returned for a concert in his honor, and he even mounted the podium, to conduct a selection from his beloved “Porgy and Bess.” More

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      ‘Hallelujah’ Review: From Leonard Cohen to Cale to Buckley to Shrek

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      A new documentary tells the entwined stories of a songwriter and his best-known composition.Leonard Cohen’s final album, released in October 2016, is called “You Want It Darker.” He died on Nov. 7, the day before the U.S. presidential election, and in the years since, things have grown very dark indeed.Cohen wasn’t one to offer comfort. His gift as a songwriter and performer was rather to provide commentary and companionship amid the gloom, offering a wry, openhearted perspective on the puzzles of the human condition. “Hallelujah: Leonard Cohen, a Journey, a Song” is, accordingly, not a movie designed to make you feel better about anything, except perhaps Cohen himself. But this generous documentary is nonetheless likely to be a source of illumination for both die-hard and casual fans, and even to people who love Cohen’s most famous song without being aware that he wrote it.That’s “Hallelujah,” of course, which you can hear at weddings and funerals, on singing-competition reality television shows and in too many movies to count. The directors, Daniel Geller and Dayna Goldfine, wrap a circumspect biography of the singer — loaded with archival footage and interviews with sundry friends and admirers, including a rabbi and a Canadian government official — around the story of the song.It’s quite a story. “Hallelujah” took something like seven years to finish — Cohen’s own estimates varied. Larry Sloman, a music journalist who knew Cohen well and interviewed him often, surmises that there may be as many as 180 verses, starting with the one everybody knows. By now, we’ve all heard about the secret chord that David played, and it pleased the Lord.But “Hallelujah” did not please the executives at Columbia Records, who refused to release “Various Positions,” an album recorded in 1983 that also included the future classic “Dance Me to the End of Love.” John Lissauer, who produced the LP and who had worked on and off with Cohen since the early ’70s, recalls the label’s decision with dismay and surprisingly good humor, given the damage done to his professional prospects. (“Various Positions” was eventually released on a small American label.)At the time, Cohen had been recording for nearly 20 years, though he was also something of a musical late bloomer. He was past 30 when he turned to songwriting, having established himself as a poet and figure on the Canadian literary scene. The filmmakers sketch his early life and career, noting his privileged upbringing in the Westmount section of Montreal, his interest in Jewish and Zen Buddhist religious teachings and his reputation as a Casanova. (His fifth studio album is called “Death of a Ladies’ Man.”)Personal matters stay mostly in the background. Suzanne Elrod, his partner in the mid-70s, is briefly mentioned — we’re reminded that she was not the inspiration for the song “Suzanne” — and their children are glimpsed but not named. Dominique Issermann, the photographer with whom Cohen lived on the Greek island of Hydra, reminisces fondly about their time together. But “Hallelujah” is interested in Cohen’s private life mainly insofar as it suggests themes for his work.These could be divided up — spiritual, sexual, existential, emotional — but he specialized in tracing the entanglement of those categories of experience. Sloman, citing an unidentified critic, says that Cohen was most interested in “holiness and horniness.”“Hallelujah” is his great anthem of religious ecstasy and sexual longing. Some versions emphasize the sacred, while others dwell on what another poet called “the expense of spirit in a waste of shame.” “All I’ve ever learned from love/Is how to shoot at someone who outdrew you”: Some singers omit that line (and the one about being tied to a kitchen chair), but even when transcendence seems to prevail over cynicism, the tension between sacred desire and profane disappointment remains.The documentary’s account of the song’s fate, indebted to Alan Light’s book “The Holy or the Broken,” is a fascinating study in the mechanics and metaphysics of pop-culture memory. Bob Dylan, who admired Cohen, added “Hallelujah” to some of his set lists in the late ’80s. John Cale’s cover, recorded for a 1991 tribute album, brought the song to wider attention.“From Cale to Buckley to Shrek” is Sloman’s synopsis. Jeff Buckley’s full-throated rendition injected “Hallelujah” into the ’90s pop mainstream. “Shrek,” the DreamWorks animated blockbuster about a lovelorn green ogre, repurposed Cale’s glum version. The soundtrack album, which sold millions of copies, included another one, more in the melodramatic Buckley mode, by Rufus Wainwright. The floodgates were open.“It goes like this: the fourth, the fifth.” By the hundredth time, you might think the magic would be gone, but “Hallelujah” is one of those rare songs that survives its banalization with at least some of its sublimity intact.Cohen lived to see its triumph, and the last third of the documentary is devoted to his comeback, including generous clips from his later concerts. He is, throughout, a vivid, complicated presence — witty, melancholy, well-dressed and soft-spoken. By the end, he radiates wisdom, gratitude, and the kind of fulfillment whose elusiveness had always been his great subject.Hallelujah: Leonard Cohen, a Journey, a SongRated PG-13: She tied you to a kitchen chair. Running time: 1 hour 55 minutes. In theaters. More

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      How to Choose a Karaoke Song

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      Choose something in your range. Avoid cold drinks to save your throat. “Don’t sing ‘I Will Always Love You’ if you cannot hit those notes,” says Garvaundo Hamilton, 33, who won the Karaoke World Championships in 2020. Just because you like a song does not mean you should sing it. Many classic songs should probably be avoided unless you’re a trained vocalist with an expansive range — including all of Whitney Houston, Mariah Carey, Celine Dion, Journey and Queen, particularly “Bohemian Rhapsody.” If you want to sound good, he also suggests caution when attempting “rap that’s really too fast for you.” Hamilton, a general manager at a print shop in Seattle, goes out to karaoke nearly every night of the week. He spends at least four hours a day singing to himself in the car, in the shower, at his desk and anywhere else he can. Use a karaoke app on your phone to practice. Hamilton keeps a list of go-to songs on his phone divided into different categories, including up-tempo, ballads and duets. His favorite is Alexandra Burke’s version of Leonard Cohen’s “Hallelujah.” For karaoke, you don’t need to have all the lyrics memorized, but it helps to have practiced a song until you can sing it confidently. Given the choice, Hamilton avoids private karaoke rooms, opting instead for the bar-style public ones where your audience includes strangers. If you’re shy or planning to sing something new, alcohol can sometimes ease nerves. Don’t overdo it, and choose a room-temperature drink. “Cold beverages aren’t good for your throat,” Hamilton says. You don’t have to be a great vocalist, but your skill level should be a consideration when choosing what to sing. An upbeat party song that prompts a singalong can be a good option for so-so singers who might struggle to carry a song alone.Karaoke varies by geography. Hamilton first started as a teenager in Jamaica, where, in his experience, audiences tolerated only accomplished singers. “They’ll boo you, they’ll stop you, they’ll kick you off the stage,” he says. Hamilton has found that some cities have more skillful singers (New York, Atlanta) and some lean more toward tone-deaf drunks (Los Angeles, Chicago). For the most part though, your fellow karaoke-goers are looking for joy and release; expect to be supported so long as you’re making a heartfelt effort. “Most people are there to sing and not to be judgmental,” Hamilton says. More

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      Patrick Adams, Master of New York’s Underground Disco Scene, Dies at 72

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      He produced, arranged or engineered many of the era’s biggest nightclub hits, even if his records rarely got much play on the radio.Patrick Adams, a producer, arranger and engineer who brought experimentation, sophistication and infectious grooves to countless soul and disco singles — his fellow producer Nile Rodgers called him “a master at keeping butts on the dance floor” — died on Wednesday at his home in Manhattan. He was 72.His daughter, Joi Sanchez, said the cause was cancer.If you’ve boogied the night away at a disco or circled a roller rink in the last 50 years, chances are you’ve done it to music that Mr. Adams helped shepherd into existence, even if his name doesn’t ring a bell. Despite his low profile, he left his fingerprints everywhere, often as an engineer or arranger, sitting behind the mixing board for acts like Gladys Knight, Rick James and Salt-N-Pepa.His greatest legacy, though, was the scores of tracks he produced in the 1970s for New York’s underground disco scene, the energetic, transgressive and insanely creative corner of a genre often written off as cheesy and uncreative. If radio stations in Cleveland and Topeka weren’t playing music he had produced, you could be sure that New York clubs like Gallery and Paradise Garage were.“He was very underground,” Vince Aletti, who covered disco for Record World magazine, said in a phone interview. “He was really popular on a club level. He rarely broke through above that, but that kind of made him even more like he was ours.”Mr. Adams’s style varied from album to album, but each release was expertly crafted and irresistibly catchy, at once lofty and raunchy — like Musique’s “In the Bush,” a summer-defining club hit of 1978 that one critic said was among “the horniest records ever made.”As with many of Mr. Adams’s studio acts, Musique was in a way just a front for his own musical prowess. After a record executive hired him to create a disco hit, he wrote the music and lyrics, arranged the instruments (many of which he played himself) and hired the singers.He did much the same with acts like Inner Life, Phreek, Cloud One, Bumblebee Unlimited and the Universal Robot Band — a stable of groups, often drawing from the same pool of personnel, that allowed him to spread his creative wings in different directions.Some singles, like Inner Life’s “I’m Caught Up (In a One Night Love Affair),” are classic strings-and-beat disco, while others, like Cloud One’s “Atmospheric Strut,” are trippy blends of sci-fi funk and proto-house.But if Mr. Adams was in control, he was never dictatorial; his studio was always a collaborative space.“He gave you room to develop, as long as he thought it was creative,” Christine Wiltshire, who sang lead vocals for Musique, said in a phone interview. “He was never ‘This is the way it’s supposed to go.’”Unlike many disco producers then and many dance producers since, Mr. Adams had little regard for beats and loops. Those came later. He emphasized the melody, the lyrics and above all the story his songs were trying to tell.“If you start with a great song that has an attractive melody, a lyric that tells a story people can relate to, you’re way ahead of the game,” he told The New York Observer in 2017. “If you start with a beat, which in reality is not much different than anything anybody else could contrive with Fruity Loops or other computer software, you’re just one of a million people making noise.”Mr. Adams was best known for his disco work, but he got his start with soul bands in the early 1970s, and in the ’80s, after disco faded, he was an engineer for some of the leading acts in New York’s emerging hip-hop scene, like Salt-N-Pepa and Erik B. & Rakim.“I always look at music as music, not necessarily having a genre,” he told The Guardian in 2017. “I was not trying to make a disco record. I was trying to make just a great record.”Mr. Adams was born on March 17, 1950, in Harlem, where he grew up four blocks from the Apollo Theater. His father, Fince, was a merchant seaman, and his mother, Rose, was a homemaker.Patrick was musically inclined at an early age: His father bought him a trumpet when he was 10 and gave him an acoustic guitar when he was 12. He sang in choir and played guitar in a band, the Sparks, when he was 16.But his real interest was production. He experimented with his father’s reel-to-reel tape deck to master skills like overdubbing. He hung out at studios, learning about mixing boards. He would dissect songs he heard on the radio, trying to understand their arrangements and structure.“I always shopped for records by producer, arranger and songwriter,” he was quoted as saying in a profile by the journalist Jason King for the Red Bull Music Academy website. “The way D.J.s shop for records now is how I used to shop for records when I was a kid.”Later he would hang around the back door of the Apollo, so often that Reuben L. Phillips, who conducted the in-house orchestra, let him distribute sheet music.In the late 1960s he began working for Perception Records as an entry-level jingle writer; by 1970, he was executive vice president. A year later he discovered his first big act, the group Black Ivory, which sang slow-soul hits like “Don’t Turn Around” and “Time Is Love.”Mr. Adams became known around New York for his lush, energetic string arrangements, and in 1974 he left Perception to start his own arranging and engineering company. A year later he and the music promoter Peter Brown founded a label, P&P Records, to release his underground music.Mr. Adams never married, but he was in a longtime relationship with Ms. Wiltshire, the mother of Ms. Sanchez. They later separated, but the two remained close. Along with his daughter, he is survived by a brother, Gus; another daughter, Tira Adams; a son, Malcolm Holmes; and six grandchildren. His brother Terry died in 2020.Mr. Adams in performance at the Alhambra Ballroom in Harlem in 2017. Krisanne Johnson / Red Bull Content Pool While Mr. Adams never won the sort of public acclaim given to fellow producers like Mr. Rodgers or Quincy Jones, he did enjoy a renaissance in the 1990s among D.J.s who fell in love with his innovative productions. He found a similar following among hip-hop artists like Mac Miller, Raekwon and Kanye West, all of whom sampled his music.Still, he seemed at ease with his relative anonymity.“You can tell a Nile Rodgers record a million miles away because it has an imprint that emanates from his guitar,” Mr. Adams said in a 2017 interview for the Red Bull Music Academy. “In my case I tried to avoid that. I didn’t want my records to sound the same.“Whether that was a positive thing or a negative thing, I don’t know. But at the same time there is a signature in my music — sometimes it’s harmonic, and sometimes it’s just in the quirkiness of things. And sometimes you just don’t hear it until somebody points it out to you and asks, ‘Oh, he did that record too?’” More

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      Review: Before Riccardo Muti Leaves Chicago, a Verdi Farewell

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      “Un Ballo in Maschera” is the last in a series of Verdi operas led in concert by the Chicago Symphony’s music director, who departs after next season.CHICAGO — Mortality, the fragility of life, permeates Verdi’s “Un Ballo in Maschera” from its lonely first measures.As the opera opens, a crowd sings while a ruler sleeps. For those who love him, it is a state that should bring him rest and refreshment. For those who conspire against him, it is a premonition of his hoped-for death. That battle — between vitality and the grave — continues to the score’s crushing finale.It was particularly hard to avoid thinking of endings during the Chicago Symphony Orchestra’s sumptuous performance of “Ballo” here on Thursday evening. Riccardo Muti, the ensemble’s music director since 2010, will depart after next season. And after more than a decade dotted by acclaimed concert versions of his beloved Verdi in Chicago, this is his last opera with this superb orchestra. (Saturday and Tuesday bring two final chances to hear it.)More proof of life’s fragility: Covid-19 very nearly derailed the run.After missing performances here in April because of a positive test, Muti tested positive again last Thursday, leaving that weekend’s concerts to another conductor and putting “Ballo” — which requires more rehearsals than a normal subscription program — in serious jeopardy.But on Thursday, there was Muti, who turns 81 next month. While the bags under his eyes looked heavier than usual, even from a seat in the balcony, he was still stomping on the podium and vigorously pumping his arms downward to draw out the weightiest marcato emphases. He was still crouching nearly to the floor when he wanted the volume softer, and reaching toward the ceiling to summon thunderous climaxes.Muti brings a gleaming, even fearsome clarity to Verdi’s operas.Todd Rosenberg/Chicago Symphony OrchestraVerdi is his life’s work. Few who chat with him for more than a minute or two avoid a passionate lecture about how this composer’s scores remain underrated for their sophistication: messily conducted, vulgarly sung and damnably staged.This positions Muti conveniently in the role of savior: finally wiping the grime from long-dirty windows. Whatever he may think, he is not the only conductor who tries to do Verdi justice, but there is no question that he brings to these operas a gleaming, even fearsome clarity.And stretching back to his performances of the Requiem as the Chicago Symphony’s music director designate in 2009, Verdi has provided a series of exclamation points on his tenure here. Never have I attended an opera performance as breathtakingly focused and ferocious as their “Otello” in 2011. “Macbeth” (2013) was a grimly propulsive march, and “Falstaff” (2016) a witty wonder, a smile in the shape of a symphony orchestra. Only “Aida,” in 2019, struck me as excessively controlled and arid.A tense tale of disguises and deceptions, “Ballo” is by far the strangest of this collection, a product of Verdi’s middle-period experimentations in emotional ambiguity and sometimes jarring juxtapositions of tone. (It premiered in 1859, after “Les Vêpres Siciliennes” and “Simon Boccanegra,” and before “La Forza del Destino.”)The opera is an eerie combination of melodrama and lighthearted, operettalike moments, with a homoerotic whisper over its central love triangle: Renato kills his best friend, Riccardo, because Riccardo is in love with Renato’s wife, Amelia, but it can be hard to tell which one of them arouses Renato’s jealousy more.The quality of the singers, in some of opera’s most fiendishly difficult roles, has varied in the Verdi pieces Muti has led here. But the work of his orchestra has been consistently agile and virtuosic, an ideal vehicle for his goal of bringing out rarely heard details without stinting overall blend and drive.So in this grand but tight “Ballo,” you heard — as you usually don’t — the slight, sour instrumental harmonies under the conspirators’ bitter laughter. Later, as those assassins plotted, their crime was sternly echoed in the resonance and unanimity of the evocative combination of harp and plucked double basses.Meli, left, as Riccardo, with Yulia Matochkina as Ulrica.Todd Rosenberg/Chicago Symphony OrchestraAs Amelia admitted her love to Riccardo, the strings trembled with a softness as palpable as it was audible; those strings had earlier roared with sinewy bristle when Riccardo asked a fortune teller who his killer would be. The prelude to the second act mingled lyrical expansion, somber brasses and a strangled stutter in the cellos; the Chicago winds these days combine artfully, their variety of textures united by their shared phrasing.Especially memorable on Thursday were the understated eloquence of John Sharp’s cello solo during Amelia’s aria “Morrò, ma prima in grazia,” and the spine — sometimes strong, sometimes shadowy — provided by the timpanist David Herbert. “Ballo” is full of simmering quiet, from which the full orchestra was able, time and again, to suddenly explode with savage, Mutian precision.The Chicago Symphony Chorus — prepared by Donald Palumbo, here for a stint after the end of the season at the Metropolitan Opera, where he is the chorus master — sounded richly massed, and sometimes terrifyingly robust, but not turgid. Even forceful phrases did not cut off abruptly; consonants and vowels alike felt rounded and full.Best among the featured singers were the mezzo-soprano Yulia Matochkina, commanding as the soothsayer Ulrica, and the soprano Damiana Mizzi, sprightly but silky as the page Oscar, a rare Verdian trouser role. The baritone Luca Salsi was an articulate, occasionally gruff Renato. The tenor Francesco Meli — like Salsi, a Muti favorite — was brash and ringing as Riccardo; his generosity faltered only occasionally at the very top of his range.When the accompaniment was spare and the vocal line floating, the soprano Joyce El-Khoury sang Amelia with soft-grained delicacy, though her tone narrowed as more pressure was placed on it. With her sound brooding, she effectively projected her character’s pitifully unmitigated sorrow. But she and Meli were pressed to their limits by the ecstatic end of their Act II duet.Singing the main conspirators were two talented bass-baritones: Kevin Short and (especially solid) Alfred Walker. The baritone Ricardo José Rivera; the clear, forthright tenor Lunga Eric Hallam; and the sweet-sounding tenor Aaron Short showed the care with which the orchestra cast even tiny roles.But the star of the show was never in doubt. This was not Muti’s final performance in Chicago, not by a long shot. There was nevertheless special poignancy near the end, hearing — from the voice of a character named Riccardo, no less — a dying farewell to “beloved America.”Un Ballo in MascheraRepeats Saturday and Tuesday at Symphony Center, Chicago; cso.org. More

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      ‘Elvis’ Review: Shocking the King Back to Life

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      Austin Butler plays the singer, with Tom Hanks as his devilish manager, in Baz Luhrmann’s operatic, chaotic anti-biopic.My first and strongest memory of Elvis Presley is of his death. He was only 42 but he already seemed, in 1977, to belong to a much older world. In the 45 years since, his celebrity has become almost entirely necrological. Graceland is a pilgrimage spot and a mausoleum.Baz Luhrmann’s “Elvis” — a biopic in the sense that “Heartbreak Hotel” is a Yelp review — works mightily to dispel this funerary gloom. Luhrmann, whose relationship to the past has always been irreverent and anti-nostalgic, wants to shock Elvis back to life, to imagine who he was in his own time and what he might mean in ours.The soundtrack shakes up the expected playlist with jolts of hip-hop (extended into a suite over the final credits), slivers of techno and slatherings of synthetic film-score schmaltz. (The composer and executive music producer is Elliott Wheeler.) The sonic message — and the film’s strongest argument for its subject’s relevance — is that Presley’s blend of blues, gospel, pop and country continues to mutate and pollinate in the musical present. There’s still a whole lot of shaking going on.As a movie, though, “Elvis” lurches and wobbles, caught in a trap only partly of its own devising. Its rendering of a quintessentially American tale of race, sex, religion and money teeters between glib revisionism and zombie mythology, unsure if it wants to be a lavish pop fable or a tragic melodrama.The ghoulish, garish production design, by Catherine Martin (Luhrmann’s wife and longtime creative partner) and Karen Murphy, is full of carnival sleaze and Vegas vulgarity. All that satin and rhinestone, filtered through Mandy Walker’s pulpy, red-dominated cinematography, conjures an atmosphere of lurid, frenzied eroticism. You might mistake this for a vampire movie.It wouldn’t entirely be a mistake. The central plot casts Elvis (Austin Butler) as the victim of a powerful and devious bloodsucking fiend. That would be Col. Tom Parker, who supplies voice-over narration and is played by Tom Hanks with a mountain of prosthetic goo, a bizarre accent and a yes-it’s-really-me twinkle in his eyes. Parker was Presley’s manager for most of his career, and Hanks portrays him as part small-time grifter, part full-blown Mephistopheles.“I didn’t kill Elvis,” Parker says, though the movie implies otherwise. “I made Elvis.” In the Colonel’s mind, they were “the showman and the snowman,” equal partners in a supremely lucrative long con.Luhrmann’s last feature was an exuberant, candy-colored — and, I thought, generally underrated — adaptation of “The Great Gatsby,” and the Colonel is in some ways a Gatsbyesque character. He’s a self-invented man, an arriviste on the American scene, a “mister nobody from nowhere” trading in the unstable currencies of wishing and seeming. He isn’t a colonel (Elvis likes to call him “admiral”) and his real name isn’t Tom Parker. The mystery of his origins is invoked to sinister effect but not fully resolved. If we paid too much attention to him, he might take over the movie, something that almost happens anyway.Luhrmann seems more interested in the huckster than in the artist. But he himself is the kind of huckster who understands the power of art, and is enough of an artist to make use of that power.Butler with Tom Hanks, left, as Col. Tom Parker, Presley’s manager. The film depicts him as a small-time grifter and full-time Mephistopheles.Warner Bros.As a Presley biography, “Elvis” is not especially illuminating. The basic stuff is all there, as it would be on Wikipedia. Elvis is haunted by the death of his twin brother, Jesse, and devoted to his mother, Gladys (Helen Thomson). Relations with his father, Vernon (Richard Roxburgh), are more complicated. The boy grows up poor in Tupelo, Miss., and Memphis, finds his way into the Sun Records recording studio at the age of 19, and proceeds to set the world on fire. Then there’s the Army, marriage to Priscilla (Olivia DeJonge), Hollywood, a comeback broadcast in 1968, a long residency in Las Vegas, divorce from Priscilla and the sad, bloated spectacle of his last years.Butler is fine in the few moments of offstage drama that the script allows, but most of the emotional action is telegraphed in Luhrmann’s usual emphatic, breathless style. The actor seems most fully Elvis — as Elvis, the film suggests, was most truly himself — in front of an audience. Those hips don’t lie, and Butler captures the smoldering physicality of Elvis the performer, as well as the playfulness and vulnerability that drove the crowds wild. The voice can’t be imitated, and the movie wisely doesn’t try, remixing actual Elvis recordings rather than trying to replicate them.At his first big performance, in a dance hall in Texarkana, Ark., where he shares a bill with Hank Snow (David Wenham), Snow’s son, Jimmie (Kodi Smit-McPhee), and other country acts, Elvis steps out in a bright pink suit, heavy eye makeup and glistening pompadour. A guy in the audience shouts a homophobic slur, but after a few bars that guy’s date and every other woman in the room is screaming her lungs out, “having feelings she’s not sure she should enjoy,” as the Colonel puts it. Gladys is terrified, and the scene carries a heavy charge of sexualized danger. Elvis is a modern Orpheus, and these maenads are about to tear him to pieces. In another scene, back in Memphis, Elvis watches Little Richard (Alton Mason) tearing up “Tutti Frutti” (a song he would later cover) and sees a kindred spirit.The sexual anarchy and gender nonconformity of early rock ’n’ roll is very much in Luhrmann’s aesthetic wheelhouse. Its racial complications less so. “Elvis” puts its hero in the presence of Black musicians including Sister Rosetta Tharpe (Yola), Big Mama Thornton (Shonka Dukureh) and B.B. King (Kelvin Harrison Jr.), who offers career advice. An early montage — repeated so often that it becomes a motif — finds the boy Elvis (Chaydon Jay) simultaneously peeking into a juke joint where Arthur Crudup (Gary Clark Jr.) plays “That’s All Right Mama” and catching the spirit at a tent revival.There’s no doubt that Elvis, like many white Southerners of his class and generation, loved blues and gospel. (He loved country and western, too, a genre the film mostly dismisses.) He also profited from the work of Black musicians and from industry apartheid, and a movie that won’t grapple with the dialectic of love and theft that lies at the heart of American popular music can’t hope to tell the whole story.In the early days, Elvis’s nemesis is the segregationist Mississippi senator James Eastland (Nicholas Bell), whose fulminations against sex, race-mixing and rock ’n’ roll are intercut with a galvanic performance of “Trouble.” Later, Elvis is devastated by the assassinations of the Rev. Dr. Martin Luther King Jr. (who was killed “just three miles from Graceland”) and Robert F. Kennedy. These moments, which try to connect Elvis with the politics of his era, are really episodes in his relationship with Colonel Parker, who wants to keep his cash cow away from controversy.Alton Mason as Little Richard in the film. Early rock’s sexual anarchy and gender nonconformity are in Luhrmann’s wheelhouse, our critic writes, but the music’s racial complications are not.Kane Skennar/Warner Bros.When Elvis defies the Colonel — breaking out in full hip-shaking gyrations when he’s been told “not to wiggle so much as a finger”; turning a network Christmas special into a sweaty, intimate, raucous return to form — the movie wants us to see his conscience at work, as well as his desire for creative independence. But Luhrmann’s sense of history is too muddled and sentimental to give the gestures that kind of weight.And Elvis himself remains a cipher, a symbol, more myth than flesh and blood. His relationships with Vernon, Priscilla and the entourage known as “the Memphis mafia” receive cursory treatment. His appetites for food, sex and drugs barely get that much.Who was he? The movie doesn’t provide much of an answer. But younger viewers, whose firsthand experience of the King is even thinner than mine, might come away from “Elvis” with at least an inkling of why they should care. In the end, this isn’t a biopic or a horror movie or a cautionary parable: It’s a musical, and the music is great. Remixed, yes, and full of sounds that purists might find anachronistic. But there was never anything pure about Elvis Presley, except maybe his voice, and hearing it in all its aching, swaggering glory, you understand how it set off an earthquake.Like a lot of people who write about American popular culture — or who just grew up in the second half of the 20th century — I’ve spent a lot of time thinking about Elvis. “Elvis,” for all its flaws and compromises, made me want to listen to him, as if for the first time.ElvisRated PG-13. Rock ’n’ roll, sex, drugs. Running time: 2 hours 39 minutes. In theaters. More