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      in Music

      Paul Sperry, Tenor Who Specialized in American Song, Dies at 90

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      He carved out a niche by singing songs by living composers from his own country, and was praised by critics at home and abroad.Paul Sperry, a tenor who championed little-known American art song and spiky contemporary works, and was praised for his incisive performances of the classics, died on June 13 in Manhattan. He was 90.His death, in a hospital, was caused by heart failure, his son Ethan said.In a discipline where his peers tended to stick to tried-and-true German and French classics from the 19th and 20th centuries, Mr. Sperry carved out a niche, singing songs by living composers from his own country. But he also took on some of the most difficult late-20th-century Europeans, like Karlheinz Stockhausen and Hans Werner Henze, who had been shunned by many singers. That boldness earned him steady work, his son recalled.Mr. Sperry, a Harvard Business School graduate who eschewed a career in real estate and turned to singing, his first love, in his late 20s, was a low-key performer who consistently earned high marks from music critics over three decades. They cited his intelligent approach to song, his understanding of texts, and his imaginative programs.“Paul Sperry is a true connoisseur’s singer — he may not have the most glamorous tenor voice imaginable, but he does some wonderful things with it, and his programing is always interesting and exploratory,” the critic Peter G. Davis wrote in The New York Times in 1975 about a recital of lieder, including by little-known 18th century composers who preceded Schubert.Mr. Sperry in 1985. After graduating from Harvard Business School, he turned to singing, his first love.via Sperry familyWhen critics found fault with his voice — Mr. Sperry was most comfortable in deeper registers — they still praised the intellect and musicianship behind 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

    • 125 Shares189 Views

      in Television

      Where New Yorkers Start Being Polite and Stop Getting Real

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      The Portal, a video art installation connecting the city with Dublin, is open again, now with safeguards. But does changing the rules change the artwork?At 2:45 p.m. on a sunny Wednesday in a plaza near the Flatiron Building, a crowd of a few dozen was watching, and appearing in, New York City’s most infamous new reality show.On a round video screen, encased in a porthole-like structure behind a railing, they could see a livestream of onlookers across the Atlantic, in the center of Dublin. “They can see you just like you see them!” a staff member minding the exhibit told the crowd.Therein lay the attraction, and the problem. The Portal, a two-way-video art installation, opened on May 8, then promptly closed down on May 14, because of “inappropriate behavior.”On the American side, an OnlyFans model had flashed her breasts at Dublin, a stunt that, she later said, netted her a boost in subscribers worth tens of thousands of dollars. From the Irish side, people displayed images of swastikas and of the 2001 World Trade Center attack. The transgressions went viral, not the sort of global connection and sharing that the organizers were hoping for.Who, besides everyone, would have thought that some people would behave badly given access to a public live camera? When the Portal reopened on May 19, it had new hours — 6 a.m. to 4 p.m. New York time — and new safeguards, including a “proximity-based solution” that would blur the livestream if anyone or anything got too close.Today, the crowd was keeping it on, keeping it all on. At least on this side of the ocean. Onscreen in Dublin, a pair of high-spirited lads lifted their shirts and exposed their bellies to America. In a few minutes they graduated to full topless, whirling their shirts over their heads, before they were seemingly encouraged to leave by security.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

    • 113 Shares149 Views

      in Music

      Sean Combs Accused of Sexual Assault in New Lawsuit

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      A former model sued the hip-hop mogul and accused him of forcing her to perform oral sex in 2003 at his recording studio. Mr. Combs has not yet responded.A former model filed a lawsuit on Tuesday accusing the hip-hop mogul Sean Combs of forcing her to perform oral sex on him at his New York City recording studio in 2003.In the complaint, Crystal McKinney says that when she was 22, an unnamed fashion designer invited her to attend a Men’s Fashion Week event at a restaurant in Manhattan, where she met Mr. Combs, who was a well-known record label impresario and host of the MTV reality show “Making the Band.”Later that night, according to the lawsuit, Mr. Combs invited her to his recording studio, where Ms. McKinney says she was given alcohol and marijuana that she later came to believe was laced. She says Mr. Combs led her to the bathroom, shoved her head down to his crotch and, after she refused, forced her to perform oral sex on him. Soon after, the lawsuit says, she lost consciousness, later awakening in a cab and realizing that she had been sexually assaulted.Representatives for Mr. Combs did not immediately respond to requests for comment on the lawsuit.Mr. Combs, 54, has been facing deepening legal troubles since his former girlfriend, Casandra Ventura, known as Cassie, filed a lawsuit against him last year in which she accused him of sexually and physically abusing her for years. The lawsuit was settled in one day, but three more suits followed from women who accused him of rape. In March, two of Mr. Combs’s homes were raided as part of an investigation that officials said is at least in part a human trafficking inquiry.The producer and businessman, who is known as Puff Daddy and Diddy, has called the allegations against him false and “sickening,” and he has described the plaintiffs as looking for “a quick payday.”Mr. Combs’s conduct has come under intense scrutiny in recent days after CNN published footage from 2016 in which he is seen striking, kicking and dragging Ms. Ventura, corroborating part of her lawsuit filed last year. On Sunday, he apologized, saying in a video posted to Instagram, “My behavior on that video is inexcusable.”Ms. McKinney, who filed her lawsuit in Federal District Court in Manhattan, said learning of the other lawsuits against Mr. Combs led her to file her own. Because the allegations are more than two decades old, which is outside the statute of limitations, the lawsuit is bringing the claim under New York City’s Victims of Gender-Motivated Violence Act, which, for a limited period of time, allows accusers to file civil complaints involving claims after the statute of limitations has run out.A lawyer representing Mr. Combs, Jonathan Davis, argued in a separate assault lawsuit that the gender violence act should not be used to allow such suits to go forward because another state law specifically extending the statute of limitations for sexual assault had expired. More

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      in Theater

      Does a Smash Hit Like ‘Lion King’ Deserve a $3 Million Tax Break?

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      Broadway is still recovering from the pandemic. A state tax-credit program has helped, but watchdogs say it aids some shows that don’t need a boost.There is no greater success story on Broadway than “The Lion King.” It is reliably among the top-grossing stage shows in New York, where it has brought in nearly $2 billion over its 26-year run; its global total is five times that amount.The musical’s producer is the theatrical division of the Walt Disney Company, an entertainment industry behemoth that earned $89 billion in revenue during its last fiscal year.And yet, the show was one of roughly four dozen productions that have received millions of dollars in assistance from New York State under a program designed to help a pandemic-hobbled theater industry in New York City.Over the three years since the program was established, New York State has bestowed over $100 million on commercial Broadway productions.“The Lion King,” along with other juggernauts like “Aladdin,” “The Book of Mormon” and “Wicked,” each got the maximum $3 million subsidy.The program was initiated by Gov. Andrew M. Cuomo at the height of the coronavirus pandemic, as theaters were nervously preparing to reopen after being shut for a year and a half. It was later tripled to $300 million by Gov. Kathy Hochul, who is now considering whether to seek an extension when it expires next year.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

    • 150 Shares119 Views

      in Theater

      Broadway Opened 12 Shows in 9 Days. Here’s What That Looked Like.

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      Even at a challenging time for a pandemic-weakened industry, they found razzle-dazzle.Broadway Opened 12 Shows in 9 Days. Here’s What That Looked Like.Broadway is in the midst of a rolling celebration — of artistic expression, of audience enthusiasm, of song and dance and storytelling itself.The overlapping runs constitute a risky bet by producers and investors, who have staked tens of millions of dollars on their ability to sell seats. Even in the best of times, most Broadway shows fail, and these are not the best of times: Production costs have soared, and season-to-date attendance is 18 percent below prepandemic levels.But the shakeout comes later. First: fanfare and flowers, ovations and optimism.WEDNESDAY, APRIL 17‘The Wiz’Easing on down the road … to BroadwayDeborah Cox, left, who plays Glinda the good witch, and Nichelle Lewis, who plays Dorothy, at the opening night of “The Wiz.” Many of the 1,600 in attendance wore green for the Emerald City.A revival of a 1975 musical that reimagines “The Wizard of Oz” for an all-Black cast.Of course “The Wiz” was going to have a yellow carpet. The show’s recurring song is “Ease on Down the Road,” and that road is the yellow brick one — the path to Oz, but also, to self-discovery.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

    • 125 Shares99 Views

      in Music

      Mariinsky Dancers Barred From Youth Ballet Gala in New York

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      Two dancers from the Russian company were set to perform at a benefit for a prestigious competition for young dancers, but they were sidelined after protests by pro-Ukrainian activists.Two dancers from the Mariinsky Theater in Russia were barred from performing at a youth ballet gala in New York this week after their participation drew criticism from pro-Ukrainian officials and activists.The dancers had been set to take part in two performances, at the David H. Koch Theater at Lincoln Center, that celebrate the 25th anniversary of Youth America Grand Prix, a prestigious ballet competition and scholarship program based in New York.But Youth America Grand Prix’s leaders removed the dancers from the program after critics said the organization was lending support to the Russian government by hosting the artists. The Mariinsky is a state-run theater in St. Petersburg led by the conductor Valery Gergiev, a close ally of President Vladimir V. Putin.Youth America Grand Prix said in a statement that the decision “gives us great pain.” It said that in the hours before the first performance on Thursday, it had learned — along with Lincoln Center and others in the ballet world — of possible protests. After consulting with New York City Ballet, which operates the Koch Theater, it said that “it was agreed to cancel the performances of the scheduled Mariinsky Ballet dancers.”“Art should unite us, not divide us,” Larissa Saveliev, the founder of Youth America Grand Prix, said in a statement. “In a difficult period, ballet should be healing. This is terribly sad.”Since Russia invaded Ukraine in 2022, Russian artists and institutions have come under intense scrutiny on the global stage. The Bolshoi Theater in Moscow and the Mariinsky have faced cancellations abroad and have lost prestigious partnerships. Some stars, including Gergiev, who also leads the Bolshoi, and the soprano Anna Netrebko, have been shunned in the West because of their ties to Mr. Putin.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

    • 113 Shares189 Views

      in Music

      Lincoln Center’s Summer Festival to Focus on Civic Bonds

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      The third edition of Summer for the City will feature hip-hop, comedy, classical music and more, under the motto “life, liberty and happiness.”Lincoln Center said on Wednesday that it would devote its summer festival to themes of community and civic participation, with a mix of hip-hop, comedy, dance, classical music and more under the motto “life, liberty and happiness.”The festival, Summer for the City, will feature premieres of anthems about contemporary hopes and struggles. Classical music concerts will be more participatory than in the past; at one event, audience members will be asked to vote on the program. And civil rights will be prominent, with the New York premiere of an opera about Eric Garner, who died in 2014 at the hands of police officers on Staten Island.“We know the performing arts have a role in strengthening our community and strengthening our civic bonds,” Shanta Thake, Lincoln Center’s chief artistic officer, said in an interview. “This is a time where we can really be together and celebrate the ideas and ideals that we all share.”The third edition of the festival, which will run from June 12 to Aug. 10, is part of the center’s efforts to appeal to a younger, more diverse crowd, in part by promoting a broader array of genres, including pop music and social dance.Under Henry Timms, Lincoln Center’s president and chief executive, the center has shifted its focus from classical music and international theater, prompting some criticism that it is not doing enough to promote traditional offerings. (Timms will depart his post in August; a search for his successor is in progress.)After eliminating the Mostly Mozart Festival, a summer fixture since the 1970s, Lincoln Center renamed the Mostly Mozart Festival Orchestra, saying that it was time to reimagine the ensemble for a modern and more inclusive age. This season, the Festival Orchestra of Lincoln Center, as the ensemble is now called, will convene for the first time under the rising conductor Jonathon Heyward.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