The Us film-maker on creative burnout, working with Scott Walker and his new film starring Natalie Portman as a messed-up pop star
Having made his first, brazenly ambitious feature at the age of 27, and finding himself compared to the young Orson Welles, American writer-director Brady Corbet is used to being on the receiving end of the brutal P-words – “precocious” and “pretentious”. “Those are things you steel yourself for,” he says. Corbet, now 30, expects strong responses because, as he puts it, his films go for “operatic heights… When people totally hate a movie that I’ve made, I totally understand, and if they love it I also understand.”
In London to promote his second feature, Vox Lux, Corbet – pronounced “Cor-bay” – initially resembles your average indie bro: the regulation backwards baseball cap and fuzzy beard, coupled with a comfortable bulk, suggest a laid-back bar-band drummer. However, we’re absolutely not dealing with another Sundance brat.
Having made his first, brazenly ambitious feature at the age of 27, and finding himself compared to the young Orson Welles, American writer-director Brady Corbet is used to being on the receiving end of the brutal P-words – “precocious” and “pretentious”. “Those are things you steel yourself for,” he says. Corbet, now 30, expects strong responses because, as he puts it, his films go for “operatic heights… When people totally hate a movie that I’ve made, I totally understand, and if they love it I also understand.”
In London to promote his second feature, Vox Lux, Corbet – pronounced “Cor-bay” – initially resembles your average indie bro: the regulation backwards baseball cap and fuzzy beard, coupled with a comfortable bulk, suggest a laid-back bar-band drummer. However, we’re absolutely not dealing with another Sundance brat.
- 5/5/2019
- by Jonathan Romney
- The Guardian - Film News
The Metropolitan Opera's 2016-17 season, the 50thanniversary of its home at Lincoln Center, will feature 225 opera performances of 26 operas in a varied repertory that ranges from 18thcentury masterpieces to one of the most acclaimed operas in recent years. Repertoire for the company's 132ndseason will include the Met premiere of Finnish composer Kaija Saariaho's 2000 operaL'Amour de Loin, as well as new stagings of Wagner'sTristan und Isolde, Rossini'sGuillaume Tell,Gounod'sRomeo et Juliette, Dvoak'sRusalka, and Strauss'sDer Rosenkavalier. A gala concert on May 7, 2017 will celebrate the 50thanniversary of the company's Lincoln Center location with performances by opera's leading stars honoring the Met's past and future. Ticket prices will not increase, remaining the same as in the current season, and audience development programs instituted by the company in recent years will continue.
- 2/17/2016
- by BWW News Desk
- BroadwayWorld.com
Pluralism is the defining feature of music at the end of the 20th century – from the minimalist film music of Michael Nyman to the lush sounds of Toru Takemitsu to the spectralist works that explored sound itself, writes Gillian Moore
"We live in a time not of mainstream but of many streams," John Cage mused as he surveyed the musical scene shortly before his death in 1992, "or even, if you insist upon a river of time, then we have come to the delta, maybe even beyond a delta to an ocean which is going back to the skies … "
The 12th and final episode of The Rest Is Noise festival is called New World Order. It may still be too early to have the historical distance to tell what really mattered in classical music at the end of the 20th century. What is clear, however, is that in the closing decades...
"We live in a time not of mainstream but of many streams," John Cage mused as he surveyed the musical scene shortly before his death in 1992, "or even, if you insist upon a river of time, then we have come to the delta, maybe even beyond a delta to an ocean which is going back to the skies … "
The 12th and final episode of The Rest Is Noise festival is called New World Order. It may still be too early to have the historical distance to tell what really mattered in classical music at the end of the 20th century. What is clear, however, is that in the closing decades...
- 12/4/2013
- by Gillian Moore
- The Guardian - Film News
Royal Albert Hall, London
First performed in Berlin in 2009 and now given its UK premiere by the BBC Philharmonic under Juanjo Mena, Kaija Saariaho's Laterna Magica takes its name and inspiration from Ingmar Bergman's autobiography.
Bergman's discovery of the magic lantern, an early form of projector that uses multiple drawings or photographs to create the illusion of movement when its handle is turned, triggered his first experiments with film. Saariaho, accordingly, rings changes on ideas of stasis and speed in a score that deploys constantly shifting tempi and rhythms beneath orchestral sonorities of considerable refinement.
Fragments of Bergman's text, whispered by the players, are added to the textures. Pervasive horn chords, meanwhile, refer specifically to the unforgettable seepage of red through Cries and Whispers, though the music does not replicate the film's gruelling tone. The BBC Philharmonic played it with great finesse for Mena, who was very much...
First performed in Berlin in 2009 and now given its UK premiere by the BBC Philharmonic under Juanjo Mena, Kaija Saariaho's Laterna Magica takes its name and inspiration from Ingmar Bergman's autobiography.
Bergman's discovery of the magic lantern, an early form of projector that uses multiple drawings or photographs to create the illusion of movement when its handle is turned, triggered his first experiments with film. Saariaho, accordingly, rings changes on ideas of stasis and speed in a score that deploys constantly shifting tempi and rhythms beneath orchestral sonorities of considerable refinement.
Fragments of Bergman's text, whispered by the players, are added to the textures. Pervasive horn chords, meanwhile, refer specifically to the unforgettable seepage of red through Cries and Whispers, though the music does not replicate the film's gruelling tone. The BBC Philharmonic played it with great finesse for Mena, who was very much...
- 7/18/2012
- by Tim Ashley
- The Guardian - Film News
New York -- Mikhail Baryshnikov, Cate Blanchett and Alan Cumming will be among the stars in this summer's Lincoln Center Festival.
The festival announced Wednesday that the offerings will include Baryshnikov in the new play "In Paris" and Blanchett in the Sydney Theatre Company's production of "Uncle Vanya." Cumming will star in the National Theatre of Scotland's one-person "Macbeth."
There will be a total of 72 performances by artists and ensembles from seven countries, running from July 5 through Aug. 5. The shows will be held in seven venues on and off the Lincoln Center campus.
Kaija Saariaho's "Emile," an 80-minute opera starring soprano Elizabeth Futral, will be given three performances in July. The monodrama, which premiered at the Opera de Lyon in France two years ago, is based on Emilie du Chatelet, Voltaire's mistress.
A one-night-only event on July 20 will pay tribute to Curtis Mayfield, who would have been 70 this year.
The festival announced Wednesday that the offerings will include Baryshnikov in the new play "In Paris" and Blanchett in the Sydney Theatre Company's production of "Uncle Vanya." Cumming will star in the National Theatre of Scotland's one-person "Macbeth."
There will be a total of 72 performances by artists and ensembles from seven countries, running from July 5 through Aug. 5. The shows will be held in seven venues on and off the Lincoln Center campus.
Kaija Saariaho's "Emile," an 80-minute opera starring soprano Elizabeth Futral, will be given three performances in July. The monodrama, which premiered at the Opera de Lyon in France two years ago, is based on Emilie du Chatelet, Voltaire's mistress.
A one-night-only event on July 20 will pay tribute to Curtis Mayfield, who would have been 70 this year.
- 3/22/2012
- by AP
- Huffington Post
Courtesy Ice Claire Chase
There’s a 1976 recording of James Galway playing Paganini’s “Moto Perpetuo” on his golden flute, in which you never once hear him draw breath.
At the time, it was lauded as an almost superhuman feat; a virtuosic example of circular breathing, a technique that allows wind players to simultaneously inhale air through the nose while breathing it out through the mouth. (Galway later confessed the recording had been spliced together.) In 1997, saxophonist Kenny G used...
There’s a 1976 recording of James Galway playing Paganini’s “Moto Perpetuo” on his golden flute, in which you never once hear him draw breath.
At the time, it was lauded as an almost superhuman feat; a virtuosic example of circular breathing, a technique that allows wind players to simultaneously inhale air through the nose while breathing it out through the mouth. (Galway later confessed the recording had been spliced together.) In 1997, saxophonist Kenny G used...
- 1/28/2012
- by Corinna da Fonseca-Wollheim
- Speakeasy/Wall Street Journal
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