The Jerry Springer show -- that mesmerizing, down-market, slugfest -- has inspired an opera, and the first reviews are in: it’s good.
In today’s New York Times, Ben Brantley writes:
“If the real “Jerry Springer Show” turns its rowdy, angry guests into objects of sneering sport, 'Jerry Springer: The Opera' sees them as figures of passion, whose impulses, however base, translate into song that reaches for the stars.”
My friend Carl Pultz pointed me to The Idler’s website. Tom Hodgkinson (a.k.a “The Idler”) writes about his efforts to -- as he beautifully puts it -- “return dignity to the art of loafing.” But I don’t believe Tom is a great idler. He’s too productive. His recent article about Facebook in The Guardian newspaper is long and well researched. It explains why Tom despises Facebook, the online social networking site with 59 million current users and 2 million new ones each week.
I was going to write a blog today that started with the line, “facebook is evil.”
But I need more time on that subject. Check back later.
Instead, here's an interesting news item about the Rochester Philharmonic Orchestra.
Less than 1 percent of the repertory that orchestras played last year was composed by a black or Latino composer. The RPO has joined a new, national consortium of orchestras to commission major orchestral works from minority composers.
It’s enigmatically named the Sphinx Commissioning Consortium.
WXXI's annual Kids Who Write are Bright writing contest for students in grades K-12 is underway, with this year's topic being "If I Could Change One Thing." From now until April 10, the contest deadline, WXXI's education department will receive hundreds of entries ranging from picture entries from the very young to thought essays from high school students.
The one thing that all of these submissions will have in common is the heartfelt desire for change of some sort from the writer. In general, it certainly seems that change is in the air.
On Saturday night, the Rochester Philharmonic Orchestra opened with Fantasia on an Ostinato by John Corigliano, a short piece based on a famous repetitive passage by Ludwig van Beethoven (the second movement of Symphony No. 7.)
I loved it, but others reacted differently.
A Rochester blogger who went to the concert with her husband wrote,
I’ve been busier than usual at work and pretty happy about it.
This week I filed a feature story for NPR, interviewed guitarist Sharon Isbin, and listened to about forty audio tributes to homicide victims. The last thing was not at all fun, and I still have ten more to go. I’m preparing to interview photographer Will Yurman, who spent 2007 documenting the lives of all the murder victims in a single year in Rochester, NY.
Imagine. Everytime someone was murdered, Will drove his gear to the neighborhood, the house, the cemetery.
People who know me, know I'm rarely early to anything. Punctual, yes. Late, sometimes. Early, nope.
But WDKX's Liz Medhin and I finished up shooting a promo for Brizard: Square One in record time yesterday (despite a few extra takes - all my fault) and I hit all the green lights going over to the Democrat & Chronicle offices for a meeting. The parking gods were on my side, guiding me to an open spot not too far from the front door. Heck, I had 15 minutes to kill.
I decided to stay in the car for a few of them. I didn't expect it to be a particularly insightful experience; I just didn't feel like feeding the meter any more nickels than I had to.
But then I saw him. The drug dealer on Broad Street.
“She sang equally well lying on her back or kneeling atop her lover. This technique reduced Masetto to an obedient puppy – and probably many Eastman Theatre patrons as well.”
- the D & C’s Stuart Low, writing about Mercury Opera’s recent production of Don Giovanni
What do you want to read about in a review? Background info on the musicians? What about the hall, the crowds, or the color of the conductor’s hair? Critics debate about this stuff all the time. Some say they should stick to the music and only the music. Others want to capture the flavors, sights, and smells of the hall.
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I’ve been trying to cozy up to Joseph Schwantner’s music in preparation for an hour-long, national special I’m producing about the composer. But it’s been harder than I expected, and recent blogs I’ve read about approaching classical music from the outside give me new sympathy for those who can’t drum up much enthusiasm for it.
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