Posted: Thursday, July 3, 2014
For arts institutions, engaging the younger demographic seems to be on everyone's mind. All eyes are on the twenty-somethings, and while those capricious millennials are important, it's the kids—the seven- to sixteen-year-olds seated next to their parents, still curious and open-minded—who are truly the ones with the potential to become loyal and life-long art fans.
Posted: Friday, June 27, 2014
There's a corner you turn in the Egyptian Wing of the Metropolitan Museum where the labyrinth of galleries suddenly opens up into a staggering vista of The Temple of Dendur. Though I now always know what I'm about to see, turning that corner is still a powerful experience. Walking into Alarm Will Sound's first rehearsal for I Was Here I Was I at the Temple, I was struck by what an incredible thing it is to be creating art at the Met. We created I Was Here I Was I expressly for The Temple of Dendur, using it not only as venue, but as subject.
Posted: Friday, June 13, 2014
When Kate Soper's adventurous score for I Was Here I Was I fills The Temple of Dendur in The Sackler Wing on June 20, the gallery itself will be at the center of the performance. The Temple of Dendur has long been an unrivaled venue for concerts, but for this dramatic and unprecedented finale to Alarm Will Sound's yearlong residency, the Temple will be the principal character in a story that spans two millennia and three different storylines.
Posted: Friday, May 30, 2014
"Feel the World Stand Still"
This phrase is currently emblazoned on subway ads across New York City promoting the Arvo Pärt Project at St. Vladimir's Seminary, which will bring the Estonian composer to New York for the first time since 1984. While this kind of dramatic hyperbole often surrounds any discourse regarding Pärt's music—"mystical," "heavenly," "timeless" are frequently used—the overwhelming acceptance of his work is a rare occurrence in the landscape of contemporary concert performance. His is a music that seamlessly bridges the gap between the modern and the ancient, minimalism and Gregorian chant, making the comparisons often cited between Pärt's music and that of both Phillip Glass and Josquin dez Prez the equivalent of an artist being equally heralded alongside Rothko and Caravaggio.
Posted: Friday, May 23, 2014
The opera Gloria—A Pig Tale, which will run for three performances at the Met between May 29 and June 1, is a wicked twist on the classic fairy tale—featuring a heroine pig, an unlikely (and wild) knight in shining armor, and a prince with an ulterior motive.
The Grace Rainey Rogers Auditorium stage will be inventively converted into a farm where the story can unfold in true operatic style, with rich, multilayered sets, a vaudevillian and dynamic score composed by HK Gruber, and unforgettable costumes. Designed by Doug Fitch of Giants Are Small and presented as part of the inaugural NY PHIL BIENNIAL, Gloria will be brought to life with incredible detail in an unprecedented transformation of the Met's main stage.
Posted: Tuesday, April 29, 2014
This morning, Director Thomas P. Campbell announced the 2014–15 season of performances and talks at the Met programmed by Concerts and Lectures General Manager, Limor Tomer. The third year of Met Museum Presents programming by Tomer, this new season will include groundbreaking commissions, New York premieres, and adventurous performances in iconic galleries—something our audiences have come to expect at the Met. A thrilling "new normal."
Posted: Friday, April 18, 2014
The mid-nineteenth century was a period of incredible stagnation for French music, especially for those composers working in the vocal arts. Only five new French operas were commissioned by the Opéra Comique in Paris between 1852 and 1870, and France had yet to forge their own style of art song, despite the widespread interest German composers had developed in the musical form earlier in the century. However, the passage of multiple revolutions and failed empires in the mid-nineteenth century gave French artists across all disciplines a spectrum of intense emotions to convey, and the wealth of art song in the country quickly began to accumulate.
Posted: Tuesday, April 8, 2014
Posted: Tuesday, February 18, 2014
Three days into a weeklong series of rehearsals, choreographer John Heginbotham had already created seven minutes of choreography for Fly By Wire, a ten-minute, site-specific performance that will premiere at the Metropolitan Museum on February 20. The piece will be a highlight of the evening-length program Twinned, and will be performed in the Museum's Charles Engelhard Court by his young company, Dance Heginbotham, alongside the Met's artists in residence, Alarm Will Sound. The program features an original score by contemporary composer Tyondai Braxton, as well as music by Aphex Twin and Edgard Varèse.
Posted: Tuesday, October 8, 2013
This year's Artist in Residence program brings Alarm Will Sound, one of the most creative ensembles working today, to the Met. Just beyond the cutting edge of music, dance, and theater, this hugely respected and highly accomplished group of performer-composers turns its collective imagination for one year to the Met's permanent collection and galleries.