A couple of years ago, at the height of the #MeToo movement, when I found myself accusing myself of complicity in the case of the Metropolitan Opera conductor James Levine, an abuser I sort of knew was an abuser but whose victims I never gave any thought to, I mentioned some video I'd seen of him rehearsing the soprano Kathleen Battle, as an example of how an artist who is a bad man can also be a good man, and a great artist can also be a person of extraordinary tenderness and generosity, on the job, but I didn't post the video, or even look for it, and I just happened to run across some of the same tape, a longer thing featuring not only Battle but also the wondrous Jessye Norman, in the 1988 Met production of Strauss's Ariadne auf Naxos, and I wanted to post it now, for the record, by way of trying to explain the thing I couldn't articulate. I guess that means open thread.
Showing posts with label practicing and rehearsing. Show all posts
Showing posts with label practicing and rehearsing. Show all posts
Saturday, August 10, 2019
For the Record: Rehearsal
A couple of years ago, at the height of the #MeToo movement, when I found myself accusing myself of complicity in the case of the Metropolitan Opera conductor James Levine, an abuser I sort of knew was an abuser but whose victims I never gave any thought to, I mentioned some video I'd seen of him rehearsing the soprano Kathleen Battle, as an example of how an artist who is a bad man can also be a good man, and a great artist can also be a person of extraordinary tenderness and generosity, on the job, but I didn't post the video, or even look for it, and I just happened to run across some of the same tape, a longer thing featuring not only Battle but also the wondrous Jessye Norman, in the 1988 Met production of Strauss's Ariadne auf Naxos, and I wanted to post it now, for the record, by way of trying to explain the thing I couldn't articulate. I guess that means open thread.
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