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      in Movies

      With ‘Maria’ Biopic, Angelina Jolie Could Make Her Oscar Comeback

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      “Maria,” about the opera diva Maria Callas, plays to the star’s strengths. Its Venice Film Festival debut was timed so the actress could avoid Brad Pitt.She’s one of the most famous actresses to have ever lived, but how formidable is Angelina Jolie’s filmography?After winning the supporting-actress Oscar for “Girl, Interrupted” (1999), Jolie made a few big hits like “Lara Croft: Tomb Raider” and “Mr. & Mrs. Smith,” as well as a string of movies that remained steadfastly so-so. (Who remembers “Taking Lives,” “Come Away” or “Life or Something Like It”?) Jolie’s most recent movies, the mildly received “Those Who Wish Me Dead” and “Eternals,” were released back in 2021, and her only other Oscar nomination happened ages ago, for Clint Eastwood’s 2008 film “Changeling.”Jolie has said that she takes frequent breaks from acting to spending time with her family, but it’s still been awhile since a movie really leveraged all she has to offer. Perhaps that’s why journalists at the Venice Film Festival on Thursday were quick to herald a career comeback in “Maria,” which stars Jolie as the opera singer Maria Callas: Here, at last, is a project that knows how to take full advantage of her star persona.Directed by Pablo Larraín, “Maria” follows the soprano near the end of her life as she reflects on the pressures of fame, her tortured romance with the wealthy shipping magnate Aristotle Onassis (Haluk Bilginer), and a singing career that began to falter as Callas lost confidence in her voice. It’s a meaty role that lets Jolie switch between strength and tremulous vulnerability with a couple of operatic set pieces that have her singing directly to the camera, all but asking the viewer to marvel at that movie-star face.Musical biopics tend to be catnip for Oscar voters, and at Thursday’s news conference for “Maria,” the first question was whether Jolie suspected she might have a shot at gold when taking on this role. The actress demurred, saying the people she was most eager to please were the opera fans familiar with Callas.“My fear would be to disappoint them,” Jolie said. “Of course, if in my own business there’s response to the work, I’m grateful.”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

    • 175 Shares169 Views

      in Music

      A Bargain at the Opera: Philadelphia Offers All Seats for as Low as $11

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      Seeking new audiences, Opera Philadelphia is putting in place a pay-what-you-can model, one of the first of its kind by a major opera company.In Philadelphia, a night at the opera may now be cheaper than going to the movies.Opera Philadelphia, a company with a reputation for innovation and ambition, announced on Tuesday that it was putting in place a pay-what-you-can model for the 2024-25 season, with all tickets for all performances starting at $11. The initiative, which the company calls Pick Your Price, is aimed at attracting new audiences.“People want to go to the opera, but it’s expensive,” said Anthony Roth Costanzo, the celebrated American countertenor who became the company’s general director and president in June. “Our goal is to bring opera to more people and bring more people to the opera.”It immediately proved popular. On Tuesday, the day the initiative was announced, Opera Philadelphia said it sold more than 2,200 tickets for the coming season, compared with about 20 the day before. The tickets were originally priced at $26 to $300.High ticket prices have long been a barrier to audiences, and especially to newcomers. In recent years a number of performing arts groups, including Lincoln Center, the Chicago Sinfonietta and Ars Nova, the Off Broadway incubator, have experimented with pay-what-you-can approaches. Other opera companies have experimented with discounts, including rush tickets and deals offered to young people. But Opera Philadelphia’s approach was one of the boldest yet.Its website explains that all tickets start at $11 but that people will be given the option of choosing to pay much more, including the standard price.Like many nonprofit performing arts organizations, Opera Philadelphia gets much more of its revenue from philanthropy than through ticket sales. Radically lowering the prices could encourage more donations, which will no longer risk being seen as subsidizing an expensive art form that is out of reach for many people. And Costanzo said that the new model would allow the company to concentrate more on staging interesting works, and less on worrying about ticket sales.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Opera Doesn’t Have to Be for Elites. Here’s Why.

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      If opera at its best aspires to a different world, then we need to cultivate an anti-elite approach to how it is created and performed.Is opera a standard-bearer or a pallbearer of the status quo?It’s easy to assume the former: From its less-than-humble origins as a private event in Italian courts over 400 years ago, opera boasted a spare-no-expense theatricality that projected the power and wealth of the work’s supporting patrons. Spectacle was a form of political justification, and extravagance became self-serving. Before long, the equating of display and dominance seeped into opera’s DNA.Today, opera still seems to many a reflection of a hierarchical and exclusionary society.Thinking about opera as burying or at least challenging the status quo may seem antithetical to its nature. Yet opera always fares best when it goes against the grain: flaunting resistance to the beauty standards erected by mass media; fitting uneasily, if at all, with the rapid demands of the attention economy; feeling completely out of place with how we consume other art.For every composer affirming authority in their work, opera’s history offers counterexamples: creators so committed to establishing a new world order in sound that they resisted all conventions and invented their own instruments, their own ensembles or their own theaters. Opera often appears to ratify the reigning ideology, but the art form is most exciting and viable when it is a subversive act.The status quo in opera is elitism, and the art form’s elitist tendencies (viewing audiences in large swaths differentiated by class) all too easily eclipse its aspirational potential (the art form’s ability to speak to a single spectator and support their process of individuation). To nourish opera’s aspirational quality, its ability to serve as a mechanism for imagining a different world, we need to cultivate an anti-elite approach in the spaces where opera is performed and in the way the artists create the work.Opera was not always perceived as elitist in the United States: It wasn’t so long ago that opera singers were featured on mainstream television, like on “The Ed Sullivan Show” or “The Muppet Show.” The “Looney Tunes” sendup of Wagner remains for many as much opera as they’ve ever experienced. The director Peter Sellars once shared with me a childhood memory of a handyman pulling up to his home in a pickup truck with the Met Opera broadcast playing on his radio.It’s easy to view this situation cynically, as though the bejeweled televised appearances of beloved sopranos like Beverly Sills and Leontyne Price represented a mainstream co-opting of opera to sell an image of upward mobility after World War II. But when Leonard Bernstein and Maria Callas appeared on prime-time television, they did not reduce classical music to a mere signifier of economic advancement.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      5 Breakout Artists at the Salzburg Festival

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      The Salzburg Festival is synonymous with excellence and fame. But it’s also a place where artists on the cusp of stardom can shine.The Salzburg Festival has, since its founding more than 100 years ago, been known as a gathering place for the world’s finest musicians.That’s still true: During a visit there earlier this month, I heard Grigory Sokolov play Bach with unfussy authority; Jordi Savall lead his period orchestra in magisterial accounts of Beethoven’s final two symphonies; Igor Levit muscle through another Beethoven symphony, the bacchic Seventh, with just a piano.But Salzburg is also a proving ground for artists on the cusp on stardom. The soprano Asmik Grigorian, for example, was busy but hardly world famous until she gave a career-making performance as Salome there in 2018.This year, there were breakthroughs to be found throughout Salzburg’s theaters. If you looked past the top billing, past the Cecilia Bartolis and Teodor Currentzises, they were even at some of the most high-profile events this summer. Here are five of them.Lukas SternathThe pianist Lukas Sternath performing with the Mozarteum Orchestra Salzburg, under the conductor Adam Fischer.Marco Borrelli/Salzburg FestivalIn a bit of scheduling serendipity, Levit’s recital took place during the same weekend that the Austrian pianist Lukas Sternath, his former student, was debuting with the Mozarteum Orchestra Salzburg. It was touching to see Levit in the balcony of the Mozarteum’s ornate Grosser Saal, looking down as Sternath eloquently performed Mozart’s Piano Concerto in D minor (K. 466) under the baton of Adam Fischer.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      This Is My Voice One Year on T

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      A transgender music critic explores the change in their singing voice after taking testosterone.When I started taking testosterone last year, I was eager for the effects it would have on my speaking voice. I imagined talking in a voice that was low, smooth, soothing. But my high singing voice felt somehow sacrosanct. I didn’t really want it to change.Maybe that’s because growing up listening to opera I was always drawn to the sound of countertenors — the highest of male voice types — like Anthony Roth Costanzo and Klaus Nomi. In that ethereal, almost genderless sound, I recognized myself.What is it about the voice that carries such emotional weight? Such potential for self-recognition? The word “voice” is so tied up with identity as to be nearly synonymous with it. My writing has a voice. The cello, my primary instrument, is sometimes described as closest to the human voice.All voices evolve over the course of a lifetime. Boys’ voices drop during puberty. Opera singers have noticed how their voices change during and after pregnancy. And menopause brings hormonal changes that can lower voices. Our voices can even fluctuate in pitch over the course of a day, depending on whom we’re speaking to, whether that’s a child or a friend.When I started taking testosterone as part of my transition, I wondered not just how my voice would change, but also what that shift would mean. Would I be the same person with a different voice?I’m a cellist-turned-critic but I’ve always sung for pleasure. It wasn’t until two years ago, though, at 26, that I started voice lessons with a countertenor. I was already thinking about taking testosterone, but before that I wanted to experience my voice, as it was, at its full potential.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Vienna Bids Farewell to Magnate Who Brought Stars to Its Opera Ball

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      Sophia Loren, Kim Kardashian, Priscilla Presley and Jane Fonda were among the stars Richard Lugner enticed, and often paid, to appear at the Vienna Opera Ball.The Vienna Opera Ball, a glittering, glamorous affair, always attracts politicians, business executives, artists and socialites. But in a high-profile crowd, none reigned quite like Richard Lugner, a billionaire Austrian construction magnate who died this week at 91.Lugner was famous for showing up at the ball each year with megawatt Hollywood stars, whom he often paid to appear with him. His guests over the years included Sophia Loren, Goldie Hawn, Brooke Shields and Kim Kardashian. They were usually, but not always, women: He brought Harry Belafonte one year, and Roger Moore another. When Jane Fonda went in 2023, she was quoted as explaining that he had offered to pay her “quite a bit of money” to appear as his guest. At this year’s ball in February, Lugner appeared with Priscilla Presley, the former wife of Elvis Presley.Karl Nehammer, the chancellor of Austria, wrote on X that Lugner, who also tried his hand at politics, was “an Austrian original.” In a statement, the Vienna State Opera expressed its “sincere condolences to Richard Lugner’s family.”Here’s a look at Lugner’s appearances at the Vienna Opera Ball over the years.Faye Dunaway and Lugner in 1999.Herwig Prammer/ReutersKim Kardashian, Lugner and Kris Jenner in 2014.Gisela Schober/Getty ImagesPriscilla Presley danced with Lugner at this year’s ball.Christian Bruna/EPA, via ShutterstockLugner, in 2000, flanked by the actress Jacqueline Bisset, center, and the television presenter Nadja Abd el Farrag. His fourth wife, Christina, is on the left.Pool photo by ReutersAndie MacDowell and Lugner in 2004.Sean Gallup/Getty ImagesFarrah Fawcett, center, drinking wine with the Lugners in 2001.Miro Kuzmanovic/Agence France-Presse — Getty ImagesLugner and Geri Halliwell of the Spice Girls arriving at their opera box in 2005.Leonhard Foeger/ReutersRaquel Welch and her husband Richard Palmer joined the Lugners in 1998.Herbert Pfarrhofer/Agence France-Presse — Getty ImagesElle Macpherson, left, accompanied Lugner and his companion to the Vienna Opera Ball in 2019.Florian Wieser/EPA, via Shutterstock More

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      in Music

      Has the Composer Mieczyslaw Weinberg’s Time Finally Come?

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      With an opera at the Salzburg Festival and recordings on Deutsche Grammophon, the music of Mieczyslaw Weinberg may be taking root.It’s difficult to define a comeback in classical music. A neglected composer may be championed by the artists of one generation only to be ignored by the next, or resurface during an anniversary only to return underground.Take the works of Mieczyslaw Weinberg (1919-96), a Polish-born composer who found refuge in Soviet Russia, but whose reputation in the West is largely overshadowed by that of his good friend Dmitri Shostakovich. There has been increasing interest in Weinberg this century, and there are signs that his music is finally taking root in the repertoire.The latest milestone is an excellent revival of his opera “The Idiot” at the high-profile Salzburg Festival in Austria under the baton of Mirga Gražinytė-Tyla, a conductor with a Deutsche Grammophon contract who has, with scholarly authority, brought Weinberg’s works to something like the mainstream.Still, as a figure in music history he remains mostly unknown to modern listeners: a Jewish composer who wrote with unwavering beauty and peace in the face of some of the 20th century’s worst atrocities; whose identity and experiences suffused more than 150 works, as well as dozens of soundtracks that await attention and interpretation; who, under no outside pressure, according to his family, converted to Christianity at the end of his life.Weinberg was born in Warsaw but fled in 1939, after hearing on the radio that a German invasion of the city was imminent. (He traveled alone; it wasn’t until the 1960s that he learned his family had been murdered in a concentration camp.) He went to the Soviet border, and settled in Minsk. Nearly two years later, he left there as the Nazis pushed eastward, joining the wartime refugee community in Tashkent, Uzbekistan.He ultimately made it to Moscow, with the help of composers including Shostakovich, who had secured an invitation for Weinberg from the State Committee on the Arts. He enjoyed some modest prosperity and rising prominence, but a Stalinist crackdown on music, combined with institutionalized antisemitism, led to his arrest in early 1953.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      As Ukraine War Goes On, Where Is Teodor Currentzis’s Red Line?

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      Teodor Currentzis, whose MusicAeterna receives funding from a Russian state bank, has eluded censure at the prestigious Salzburg Festival.When Russia invaded Ukraine in 2022, the classical music world’s reaction was swift. Artists with ties to President Vladimir V. Putin, or those who had publicly supported his war efforts, were dropped by orchestras and opera houses across the West.One person who seemed to elude such punishment, though, was Teodor Currentzis, who is leading concerts and a production of Mozart’s “Don Giovanni” at the prestigious Salzburg Festival in Austria. More than two years into the war, his continued presence there is frustrating to many, raising uncomfortable questions about what is acceptable in service of music.Currentzis, who was born in Greece, was given Russian citizenship by Putin’s government in 2014, the year Russia invaded the Crimean peninsula. Two decades ago, he founded MusicAeterna, a small musical empire that started as an orchestra and now includes a choir and dance company in St. Petersburg.MusicAeterna doesn’t have any direct affiliation with Putin, but it came under scrutiny after the 2022 invasion because of support from the state-controlled VTB Bank (which has been penalized by the United States), as well as other government-related donors. Currentzis has been silent about the war, neither denouncing Russia nor supporting Ukraine.And he has lost some work as a result. Earlier this year, the Wiener Festwochen in Austria canceled an appearance by him and the German SWR Symphony Orchestra after fierce criticism from the Ukrainian conductor Oksana Lyniv, who appeared at the same festival with Ukrainian musicians.Salzburg has stood by Currentzis but not by his Russian musicians. The “Don Giovanni” here is a revival of a production that originated in 2021, with him conducting. Then, the pit ensemble was MusicAeterna. Now it’s Utopia, the all-star group, in the spirit of the Lucerne Festival Orchestra, that he started in 2022; pointedly, it is based in Western Europe.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