The Daily Beast: How Anthony Davis Put Malcolm X, and Black Power, Center Stage
Pulitzer-winning composer Anthony Davis on Malcolm X at the Met, challenging racism in opera, championing Black power in his work—and why artists must “step up” against bigotry.
In the opera, X: The Life and Times of Malcolm X (New York City’s Metropolitan Opera, to Dec. 2), the iconic title character sings, “As long as I’ve been living, you’ve had your foot on me, always pressing,” and “You’ve had your foot on me a very long time.” The words may have been written in 1986, but, as its composer Anthony Davis told The Daily Beast, they are piercingly prescient for baritone Will Liverman to sing in 2023.
“That’s George Floyd, that’s the image,” Davis said. “Unfortunately, that cycle of violence still exists, and it existed prior to Malcolm too. On stage you see the names of all the victims of that history of racist violence. That violence has always been with us; it is part of the legacy to slavery too. The opera puts it in a larger historical context, and then has a cathartic release too.”
Davis won the Pulitzer Prize for Music for his 2019 opera The Central Park Five, based on the high-profile 1989 case of five Black and Hispanic teenagers convicted and later exonerated of attacking a female jogger in Central Park. He is only the second Black composer to have their work presented by the Met. X—with a libretto by Thulani Davis, Anthony’s Grammy Award-winning cousin and longtime collaborator, and a story by his brother Christopher—premiered at New York City Opera in 1986, and it was “very exciting” to finally see it staged at the Met, said Davis.
The Daily Beast
By Tim Teeman
Pulitzer-winning composer Anthony Davis on Malcolm X at the Met, challenging racism in opera, championing Black power in his work—and why artists must “step up” against bigotry.
In the opera, X: The Life and Times of Malcolm X (New York City’s Metropolitan Opera, to Dec. 2), the iconic title character sings, “As long as I’ve been living, you’ve had your foot on me, always pressing,” and “You’ve had your foot on me a very long time.” The words may have been written in 1986, but, as its composer Anthony Davis told The Daily Beast, they are piercingly prescient for baritone Will Liverman to sing in 2023.
“That’s George Floyd, that’s the image,” Davis said. “Unfortunately, that cycle of violence still exists, and it existed prior to Malcolm too. On stage you see the names of all the victims of that history of racist violence. That violence has always been with us; it is part of the legacy to slavery too. The opera puts it in a larger historical context, and then has a cathartic release too.”
Davis won the Pulitzer Prize for Music for his 2019 opera The Central Park Five, based on the high-profile 1989 case of five Black and Hispanic teenagers convicted and later exonerated of attacking a female jogger in Central Park. He is only the second Black composer to have their work presented by the Met. X—with a libretto by Thulani Davis, Anthony’s Grammy Award-winning cousin and longtime collaborator, and a story by his brother Christopher—premiered at New York City Opera in 1986, and it was “very exciting” to finally see it staged at the Met, said Davis.
Read more here.
The Daily Northwestern: A feast of pianistic fantasy: Yulianna Avdeeva enchants with Chopin and Rachmaninoff
Against the lustrous backdrop of Lake Michigan, pianist Yulianna Avdeeva took the Galvin Recital Hall audience on a journey of imagination and rumination through the music of Frédéric Chopin and Sergei Rachmaninoff.
The winner of the prestigious 2010 International Chopin Competition, Avdeeva performed as part of Bienen School of Music’s Skyline Piano Artist Series.
Avdeeva opened with Chopin’s “Polonaise-Fantasie.” Rather than emphasizing the “Polonaise” — a traditional Polish dance — Avdeeva let dance rhythms accompany the wandering melodies and frequent tempo changes of the “Fantasie.” Sometimes Avdeeva’s right and left hands were subtly offset, an imaginative touch that created a sense of exploration.
The following piece, Chopin’s “Barcarolle,” a reimagination of Venetian boat songs, exemplified Avdeeva’s characteristic restraint and subdued grandeur.
After a nuanced, poignant performance of Chopin’s “Prelude in C-sharp minor,” Avdeeva launched without pause to his “Scherzo No. 3.” The interplay between serene spontaneity and tumultuous outbursts in the Scherzo mirrored the imaginative and fiery performance of Rachmaninoff that would come later.
The Daily Northwestern
By Ben Kim
Against the lustrous backdrop of Lake Michigan, pianist Yulianna Avdeeva took the Galvin Recital Hall audience on a journey of imagination and rumination through the music of Frédéric Chopin and Sergei Rachmaninoff.
The winner of the prestigious 2010 International Chopin Competition, Avdeeva performed as part of Bienen School of Music’s Skyline Piano Artist Series.
Avdeeva opened with Chopin’s “Polonaise-Fantasie.” Rather than emphasizing the “Polonaise” — a traditional Polish dance — Avdeeva let dance rhythms accompany the wandering melodies and frequent tempo changes of the “Fantasie.” Sometimes Avdeeva’s right and left hands were subtly offset, an imaginative touch that created a sense of exploration.
The following piece, Chopin’s “Barcarolle,” a reimagination of Venetian boat songs, exemplified Avdeeva’s characteristic restraint and subdued grandeur.
After a nuanced, poignant performance of Chopin’s “Prelude in C-sharp minor,” Avdeeva launched without pause to his “Scherzo No. 3.” The interplay between serene spontaneity and tumultuous outbursts in the Scherzo mirrored the imaginative and fiery performance of Rachmaninoff that would come later.
Read more here.
KUSC Classical Californians: Sameer Patel
Our Classical Californian this week is Sameer Patel, Music Director and Orchestra Conductor of the La Jolla Symphony and Chorus. He’s also the Artistic Director of the San Diego Youth Symphony, and was named by Musical America “New Artist of the Month” this past April. He’s chosen a selection of pieces including a late Beethoven String Quartet, a choral work of empowerment by Caroline Shaw, an anguished song by Osvaldo Golijov. and more. There’s even a solo piano cover of a song by David Bowie.
KUSC
Our Classical Californian this week is Sameer Patel, Music Director and Orchestra Conductor of the La Jolla Symphony and Chorus. He’s also the Artistic Director of the San Diego Youth Symphony, and was named by Musical America “New Artist of the Month” this past April. He’s chosen a selection of pieces including a late Beethoven String Quartet, a choral work of empowerment by Caroline Shaw, an anguished song by Osvaldo Golijov. and more. There’s even a solo piano cover of a song by David Bowie.
Listen to highlights here.
The New York Times: Anthony Davis’s Malcolm X Opera Finally Arrives at the Met
The epigraph of Anthony Davis’s opera “X: The Life and Times of Malcolm X” is a quote from an interview in which, asked about the cost of freedom, Malcolm responds, “The cost of freedom is death.”
That tension — between hope and reality, between liberation and limitation — courses through a new production of “X” that opened at the Metropolitan Opera on Friday, in the work’s company premiere. This staging dreams of a better future, with a towering Afrofuturist spaceship that, at the beginning, appears to be calling Malcolm X home. But the beam-me-up rays of light are pulled away to reveal a floating proscenium, gilded at the edges and decorated with a landscape mural. It is a replica of the podium at the Audubon Ballroom in Manhattan, where he was assassinated on Feb. 21, 1965.
The New York Times
By Joshua Barone
The epigraph of Anthony Davis’s opera “X: The Life and Times of Malcolm X” is a quote from an interview in which, asked about the cost of freedom, Malcolm responds, “The cost of freedom is death.”
That tension — between hope and reality, between liberation and limitation — courses through a new production of “X” that opened at the Metropolitan Opera on Friday, in the work’s company premiere. This staging dreams of a better future, with a towering Afrofuturist spaceship that, at the beginning, appears to be calling Malcolm X home. But the beam-me-up rays of light are pulled away to reveal a floating proscenium, gilded at the edges and decorated with a landscape mural. It is a replica of the podium at the Audubon Ballroom in Manhattan, where he was assassinated on Feb. 21, 1965.
Read more here.
The New York Times: The Family That Turned Malcolm X’s Life Into Opera
“X: The Life and Times of Malcolm X,” which arrives at the Metropolitan Opera on Friday, was a family affair. The meditative yet dramatic work has a score by Anthony Davis to a scenario by his younger brother, Christopher Davis, and a libretto by their cousin Thulani Davis.
When they were working on the opera, in the early 1980s, the three were living in New York. Christopher appeared as Malcolm X in a play in Jamaica, Queens, and Anthony was playing experimental, improvised music in ensembles alongside Thulani’s poetry in productions downtown.
“There was a lot of energy in the air,” Christopher, 70, said in a recent interview at the Met alongside Anthony, 72 — with Thulani, 74, joining by video from her home in Madison, Wis.
The New York Times
By Zachary Woolfe
“X: The Life and Times of Malcolm X,” which arrives at the Metropolitan Opera on Friday, was a family affair. The meditative yet dramatic work has a score by Anthony Davis to a scenario by his younger brother, Christopher Davis, and a libretto by their cousin Thulani Davis.
When they were working on the opera, in the early 1980s, the three were living in New York. Christopher appeared as Malcolm X in a play in Jamaica, Queens, and Anthony was playing experimental, improvised music in ensembles alongside Thulani’s poetry in productions downtown.
…
ANTHONY DAVIS When we moved to New York, Thulani and I were part of this scene of music and poetry, what were called choreopoems; Ntozake Shange’s “For Colored Girls” was the most famous. And Thulani and I worked with Ntozake and Jessica Hagedorn on “Where the Mississippi Meets the Amazon.” We ran at the Public Theater for several months.
Read more here.
Gramophone: Video of the Day: Weiyin Chen performs Mozart at London Fashion Week
Pianist and fashion designer brings the worlds of music and haute couture together
Today's video of the day takes us to London Fashion week where pianist and designer Weiyin Chen gave a piano recital with a couture twist. The international pianist performed at the ballroom at the Savile Club in Mayfair surrounded by a total of nine concert gowns designed by Chen herself based on each of the works in the recital. Between each piece she changed into the gown that represented the relevant work.
Gramophone
Pianist and fashion designer brings the worlds of music and haute couture together.
Today's video of the day takes us to London Fashion week where pianist and designer Weiyin Chen gave a piano recital with a couture twist. The international pianist performed at the ballroom at the Savile Club in Mayfair surrounded by a total of nine concert gowns designed by Chen herself based on each of the works in the recital. Between each piece she changed into the gown that represented the relevant work.
Read more here.
Oregon Arts Watch: Choose your own adventure: Oboist Ben Price talks about their life at the Curtis Institute of Music
Discussing American and European oboe styles, musical studies, dry halls and the Curtis Sound with the Portland-raised musician.
Ben Price, age 19, is an oboist in their second year of studies at the Curtis Institute of Music in Philadelphia where they hold the Anderson and Daria Pew Fellowship at Philadelphia’s Curtis Institute of Music. Price performs as a member of the Curtis Symphony Orchestra, and as a soloist and chamber musician in the Curtis Student Recital Series.
…
Oregon ArtsWatch: What led you to playing the oboe?
Ben Price: I had a couple of false starts. I played violin for about five minutes when I was three, but I was more interested in the keychain around my violin teacher’s neck than the violin. I started playing piano when I was five, but the practicing aspect of that turned me off initially. Then I really started studying piano when I was eight. I studied piano with oboe for nine or ten years. We all take piano lessons here at Curtis once a week as well. So, I still study piano, but it became clear pretty early on that oboe would become my primary instrument, especially after I heard a recording of the Philadelphia Orchestra playing Scheherazade. That really got to me.
Oregon Arts Watch
By James Bash
Discussing American and European oboe styles, musical studies, dry halls and the Curtis Sound with the Portland-raised musician.
Ben Price, age 19, is an oboist in their second year of studies at the Curtis Institute of Music in Philadelphia where they hold the Anderson and Daria Pew Fellowship at Philadelphia’s Curtis Institute of Music. Price performs as a member of the Curtis Symphony Orchestra, and as a soloist and chamber musician in the Curtis Student Recital Series.
…
Oregon ArtsWatch: What led you to playing the oboe?
Ben Price: I had a couple of false starts. I played violin for about five minutes when I was three, but I was more interested in the keychain around my violin teacher’s neck than the violin. I started playing piano when I was five, but the practicing aspect of that turned me off initially. Then I really started studying piano when I was eight. I studied piano with oboe for nine or ten years. We all take piano lessons here at Curtis once a week as well. So, I still study piano, but it became clear pretty early on that oboe would become my primary instrument, especially after I heard a recording of the Philadelphia Orchestra playing Scheherazade. That really got to me.
Read more here.
Portland Tribune: Bang on a man: A night at the symphony like no other
Andy Akiho, the Oregon Symphony's composer-in-residence, plays 'Sculptures: Concert for Orchestra and Video' in response to Jun Kaneko’s art
Bashing away on a giant head is one way to get butts in seats at any American symphony, as the appetite for another night of Mahler in tuxedoes wanes. The Oregon Symphony is working hard to make its concerts more edgy, more postmodern and even a little more diverse.
A member of the Oregon Symphony’s Creative Alliance, Andy Akiho is the Oregon Symphony’s Composer-in-Residence. The Nov. 4-6 show at first glance looks like a night of old chestnuts such as Tchaikovsky’s “Pathétique” and Dvořák’s “Othello Overture,” but it also contains Akiho’s “Sculptures: Concert for Orchestra and Video.”
Portland Tribune
By Joseph Gallivan
Andy Akiho, the Oregon Symphony's composer-in-residence, plays 'Sculptures: Concert for Orchestra and Video' in response to Jun Kaneko’s art
Bashing away on a giant head is one way to get butts in seats at any American symphony, as the appetite for another night of Mahler in tuxedoes wanes. The Oregon Symphony is working hard to make its concerts more edgy, more postmodern and even a little more diverse.
A member of the Oregon Symphony’s Creative Alliance, Andy Akiho is the Oregon Symphony’s Composer-in-Residence. The Nov. 4-6 show at first glance looks like a night of old chestnuts such as Tchaikovsky’s “Pathétique” and Dvořák’s “Othello Overture,” but it also contains Akiho’s “Sculptures: Concert for Orchestra and Video.”
Read more here.
Oregon Arts Watch: Footloose and fancy free: Leonard Slatkin with Oregon Symphony
After a gap of many years, the conductor/composer/author returns to Portland for a concert of Mason Bates, Beethoven, and Elgar’s ‘Cello Concerto’ with Joshua Roman.
Leonard Slatkin is footloose and fancy free. No longer tethered to the music directorship of a particular orchestra, the internationally acclaimed conductor can pick and choose which orchestra he gets to lead. This weekend (October 14-16), it will be the Oregon Symphony in a program that includes works by Beethoven, Elgar, and American composer Mason Bates.
Over a 50-plus-year career, Slatkin has racked up six Grammy awards, 35 Grammy nominations, over 100 recordings, and directed every major orchestra around the world. And the concerts in Portland are not the first time that he has visited the Rose City.
Oregon Arts Watch
By James Bash
After a gap of many years, the conductor/composer/author returns to Portland for a concert of Mason Bates, Beethoven, and Elgar’s ‘Cello Concerto’ with Joshua Roman.
Leonard Slatkin is footloose and fancy free. No longer tethered to the music directorship of a particular orchestra, the internationally acclaimed conductor can pick and choose which orchestra he gets to lead. This weekend (October 14-16), it will be the Oregon Symphony in a program that includes works by Beethoven, Elgar, and American composer Mason Bates.
Over a 50-plus-year career, Slatkin has racked up six Grammy awards, 35 Grammy nominations, over 100 recordings, and directed every major orchestra around the world. And the concerts in Portland are not the first time that he has visited the Rose City.
“My parents were members of the Hollywood String Quartet and used to play a series in Portland,” he said in a Zoom conversation. “That would have been in the ‘50s. I know that I came to Portland with them at least once.”
Read more here.
The Berkshire Edge: Preview: Dover String Quartet in new lineup at South Mountain, October 15
Pittsfield — Up until just a few weeks ago, the Dover String Quartet’s reputation was excellent. But now it is about to soar, as Julianne Lee has departed the Boston Symphony Orchestra to join the group as violist. Lee played in the BSO’s first desk of second violinists, having joined the orchestra in her early 20s before she had even graduated from New England Conservatory. A wunderkind of staggering talent, Lee plays violin and viola with equal ease.
The Berkshire Edge
By David Noel Edwards
Pittsfield — Up until just a few weeks ago, the Dover String Quartet’s reputation was excellent. But now it is about to soar, as Julianne Lee has departed the Boston Symphony Orchestra to join the group as violist. Lee played in the BSO’s first desk of second violinists, having joined the orchestra in her early 20s before she had even graduated from New England Conservatory. A wunderkind of staggering talent, Lee plays violin and viola with equal ease.
All members of the Dover Quartet studied at the Curtis Institute of Music, Philadelphia’s uber-elite school for prodigies. So, yes, they all play at Lee’s level. Still, notwithstanding their proximity at Curtis to innumerable viola virtuosos, they must be pinching themselves over their extraordinary luck at welcoming Lee into their group.
Read more here.