[Read all of our classical music coverage here.]
Readers! The big news this week was the premieres — both on Thursday — of new piano concertos by Thomas Adès and John Adams.
Josh Barone spoke with the composers beforehand:
And David Allen and I were there — in Boston for the Adès and in Los Angeles for the Adams — to review:
I was also in L.A. earlier this week for the premiere of Bryce Dessner’s wan meditation on Robert Mapplethorpe, “Triptych (Eyes of One on Another).” Josh covered a new concerto for Yo-Yo Ma and Wu Man at the New York Philharmonic. Seth Colter Walls was wowed by Roscoe Mitchell at the Park Avenue Armory, including a work that’s evolved over time:
I was sadly underwhelmed by “Rameau, Maître à Danser,” a program that the usually excellent ensemble Les Arts Florissants brought to the Brooklyn Academy of Music last weekend. The Rameau opera-ballets on the double bill were slight, to say the least, as was the staging; the singing was, for the most part, fine, but not remarkable; the music, played from the back of the stage, faded by the time it reached the audience. (The choruses, though, were tenderly handled, and a delicate passage that combined flute and pizzicato strings a perfect example of Rameau’s innovations.) ZACHARY WOOLFE
What was that sound? William Christie and Les Arts Florissants have introduced me to plenty of French Baroque repertoire over the years, but when they returned to the Brooklyn Academy of Music last week with “Rameau, Maître à Danser,” they also introduced me to an instrument I had not known before. When I first heard its drone poking through the ensemble, I thought for a second it might be a hurdy-gurdy. Then I thought bagpipe — but with a slightly mellower, English-horn-type sound. Finally the musician, François Lazarevitch, strolled across the stage playing what appeared to be a petite, elegant bagpipe. It was a musette, a bagpipe with bellows that was in vogue among 17th- and 18th-century French aristocrats. You can hear it in this video Mr. Lazarevitch made for Les Musiciens de Saint-Julien. MICHAEL COOPER
The John Zorn show came to the Miller Theater at Columbia University on Thursday. And it was most assertively a show. Though he did not perform himself, Mr. Zorn played the role of M.C. with relish, taking microphone in hand to introduce each successive grouping of players. He said a few words about each piece, encouraged applause, and then got off the stage. (Among his other attributes, Mr. Zorn is rare among new-music ringleaders in his frequent avoidance of energy-sapping intermissions.)
He had reason to be confident in his cast. The musicians who gathered to perform the hour-plus set of new and recent pieces was something of an all-star team. The JACK Quartet, the pianist Stephen Gosling, the percussionist Tyshawn Sorey and the vibraphonist Sae Hashimoto all made multiple appearances. Among the premieres, I was most struck by Mr. Gosling’s take on the piano-miniature series “Encomia,” which included tributes to composers as diverse as Charles Wuorinen and Debussy. And between its quick-changing volleys of Zornian exultation, “Konx Om Pax” — played by Mr. Gosling, Ms. Hashimoto, Mr. Sorey and the bassist Shanir Ezra Blumenkranz — also contained stretches of luminous brooding, suggestive of noir film music.
It probably won’t take very long for some of these pieces to appear on recordings from Mr. Zorn’s Tzadik label. But in the meantime, anyone looking for music similar to some of the works heard on Thursday should acquire “The Interpretation of Dreams” — a stirring 2017 disc that includes a piano quintet for the JACK players and Mr. Gosling, as well as some lights-out playing by Ms. Hashimoto and the rhythm section of Mr. Sorey and Mr. Blumenkranz. SETH COLTER WALLS
Like Caravaggio before her, the Baroque painter Artemisia Gentileschi knew how to build scenes of taut drama with far-from-idealized figures crammed into a constricted pictorial space and bathed in harsh light. The composer Laura Schwendinger and the librettist Ginger Strand achieve something similar in their potently claustrophobic opera “Artemisia,” which received its staged premiere at Trinity Wall Street’s St. Paul’s Chapel on Thursday (and repeats on Saturday).
Gentileschi’s life story could provide fodder for many hours of music drama. The daughter of a painter, she was raped by her teacher when she was a teenager. At a court trial, her assailant was convicted, but only after she had been subjected to torture to verify her testimony. She went on to attract the attention of Cosimo II de’ Medici, befriended Galileo Galilei and worked in London at the invitation of King Charles I.
“Artemisia” lasts just 80 minutes, but fits in big themes set to music of quivering intensity. The story of the rape is there, blended with Gentileschi’s unbearably compassionate painting of the biblical character Susanna, who was ogled and shamed in her bath. But larger questions of idea and form, image and projection, sight and gaze also find nuanced and intelligent treatment. CORINNA da FONSECA-WOLLHEIMB:
【梁】【夏】【回】【过】【神】【来】【道】：“【我】【决】【定】【谁】【也】【不】【杀】，【我】【们】【到】【那】【个】【落】【脚】【点】【便】【下】【去】，【利】【用】【所】【娑】【昆】。” 【刀】【疤】【男】：“【你】【想】【清】【楚】【了】【吗】？【他】【知】【道】【你】【不】【可】【告】【人】【的】【秘】【密】。” 【梁】【夏】【笑】【道】：“【你】【不】【也】【同】【样】【知】【道】【了】【我】【不】【可】【告】【人】【的】【秘】【密】，【我】【若】【杀】【了】【他】，【岂】【不】【是】【也】【要】【把】【你】【给】【杀】【了】。” 【小】【黑】【担】【忧】【声】【在】【脑】【海】【里】【响】【起】：“【梁】【夏】，【你】【真】【要】【想】【清】【楚】【了】。” 【梁】【夏】
【司】【澜】【双】【眸】【微】【眯】，【现】【在】【这】【样】【势】【均】【力】【敌】【并】【不】【能】【帮】【他】【拿】【到】【后】【半】【本】【禁】【书】，【唯】【有】……【以】【暴】【制】【暴】！ 【言】【阳】【看】【着】【司】【澜】【的】【头】【发】【一】【点】【一】【点】【变】【化】【成】【雪】【白】【色】，【只】【要】【他】【的】【眼】【睛】【变】【化】【成】【红】【色】【的】，【他】【的】【身】【份】【就】【确】【定】【了】，【制】【服】【这】【个】【天】【道】【不】【难】，【只】【是】…… 【言】【阳】【咬】【咬】【牙】，【最】【后】【身】【影】【牟】【然】【消】【失】【不】【见】，【于】【此】【同】【时】，【上】【面】【多】【了】【一】【个】【太】【阳】，【说】【是】【太】【阳】【其】【实】【不】【是】【太】【阳】149期买马资料与结果【纳】【瓦】【斯】【看】【着】【面】【前】【的】【卡】【里】【克】，【他】【突】【然】【生】【出】【了】【一】【种】【感】【觉】：【好】【像】【面】【前】【站】【着】【的】【不】【是】【一】【名】【对】【方】【球】【员】，【而】【是】【木】【雕】【泥】【塑】【一】【般】！ 【卡】【里】【克】【的】【脸】【上】【写】【满】【了】【风】【轻】【云】【淡】，【似】【乎】【对】【这】【次】【攻】【门】【无】【所】【谓】；【但】【是】【纳】【瓦】【斯】【又】【觉】【得】，【这】【个】【球】【好】【像】【自】【己】【怎】【么】【防】【守】【也】【守】【不】【住】。 【卡】【里】【克】【缓】【缓】【的】【后】【退】，【不】【慌】【不】【忙】【的】【后】【退】…… “【曼】【联】【队】【长】【卡】【里】【克】【会】【罚】【进】【这】【个】【球】【吗】
【不】【知】【怎】【的】，【帝】【居】【闪】【过】【一】【帧】【类】【似】【的】【影】【像】，【速】【度】【之】【快】，【来】【不】【及】【抓】【住】【它】【的】【尾】【巴】【便】【让】【它】【一】【闪】【即】【逝】。 “【帝】【氏】【的】【鸿】【图】【霸】【业】【已】【有】【百】【余】【多】【年】，【每】【一】【任】【帝】【家】【人】，【一】【向】【任】【人】【唯】【贤】，【痛】【恶】【结】【党】【营】【私】【你】【们】【真】【以】【为】【我】【不】【知】【道】【你】【们】【在】【背】【后】【搞】【的】【小】【动】【作】【吗】？” 【霸】【气】【侧】【漏】【的】【一】【番】【话】，【从】【一】【个】【面】【无】【表】【情】【的】【晚】【辈】【口】【中】【说】【出】【来】，【髣】【髴】【被】【针】【刺】【中】
【李】【二】【陛】【下】【看】【出】【胖】【儿】【子】【的】【疑】【惑】，【微】【抿】【嘴】【角】【淡】【淡】【一】【笑】，【说】【道】：“【是】【齐】【霖】【为】【其】【师】【所】【刊】【印】【的】【医】【书】【惹】【的】【祸】，【孙】【道】【长】【看】【过】【之】【后】，【前】【来】【找】【齐】【霖】【理】【论】【的】。” 【理】【论】？【是】【兴】【师】【问】【罪】【吧】？ 【李】【四】【胖】【苦】【笑】【了】【一】【下】，【说】【道】：“【只】【是】【齐】【霖】，【怕】【是】【难】【以】【招】【架】【吧】？” 【李】【二】【陛】【下】【嘿】【然】【而】【笑】，【说】【道】：“【那】【不】【正】【好】。【徒】【弟】【不】【行】，【师】【傅】【就】【该】【上】【场】【了】【吧】？”
“【机】【会】【只】【有】【一】【次】，【不】【是】【吗】？”【苏】【牧】【笑】【道】。 “【你】【也】【不】【用】【得】【意】【过】【早】，【就】【算】【我】【杀】【不】【了】【你】，【六】【道】【还】【会】【派】【其】【他】【杀】【手】【来】【杀】【你】【的】，【你】【知】【道】【你】【现】【在】【的】【身】【价】【到】【多】【少】【了】【吗】？” 【叶】【璃】【抿】【嘴】【一】【笑】。 【苏】【牧】【摇】【了】【摇】【头】。 “【已】【经】【过】【千】【万】【了】。” 【叶】【璃】【道】。 【苏】【牧】【双】【眼】【一】【眯】，【记】【得】【上】【一】【次】【见】【到】【叶】【璃】【时】，【他】【的】【悬】【赏】【身】【价】【才】【八】【百】【万】【金】【币】，【想】