Explore " the met" with insightful episodes like "Moonstruck: Feral & Hand", "Revisiting Mozart’s Queen of the Night: Outrage Out of This World", "Love Takes Flight: Catán's Florencia en el Amazonas", "André Leon Talley: A Tribute w/ Norma Kamali & Robin Givhan (Season Finale)" and "Davis’s X: The Life and Legacy of Malcolm X" from podcasts like ""Tossed Popcorn", "Aria Code", "Aria Code", "The Laverne Cox Show" and "Aria Code"" and more!
Do you believe in life after Nicolas Cage? If we could turn back time, we wouldn't! Because Cher is perfect at every hour. SHE'S got US, babe. Tune in for pricey plumming, adulterous ancestors, and lupine love interests. The person most confused by the film this week was: the crying grandpa, bless him.
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When the Voyager spacecraft set off to explore the galaxy in 1977, it carried a recording to represent the best of humanity. The “Golden Record” featured everyone from Bach to Chuck Berry, but there was only one opera aria: the rage-fest and coloratura masterpiece from Mozart’s “The Magic Flute.”
As Kathryn Lewek reprises her role as Queen of the Night in this season’s holiday presentation of “The Magic Flute” at The Metropolitan Opera, we’re revisiting this episode. Host Rhiannon Giddens and her guests consider why the Queen of the Night’s big moment – “Der Hölle Rache” – is an out-of-this-world achievement, how Mozart created a profound fairy tale for adults and what it takes for a soprano to reach the stratosphere. You’ll witness Kathryn Lewek hit all those high notes onstage at the Met Opera and hear from Timothy Ferris, the man who produced NASA’s “Golden Record.”
The Guests
Soprano Kathryn Lewek describes singing “Der Hölle Rache” as throwing darts with your eyes closed. But after performing the part more than 200 times, she certainly knows how to hit the bullseye.
Harvard University professor Carolyn Abbate once took her son to see The Magic Flute and he declared it to be “bad, but not in the way I expected it to be bad.” Her latest book is A History of Opera: The Last Four Hundred Years.
Composer and author Jan Swafford was a graduate student when he spent his last $50 to buy a copy of The Magic Flute and immediately regretted it: He hated the opera. To say he’s warmed to Mozart over the years would be a wild understatement.
Timothy Ferris produced the Golden Record that went up with NASA’s Voyager space probes in 1977. It was the only record he ever produced, but he's written many books including Coming of Age in the Milky Way, which was nominated for a Pulitzer Prize.
It’s the early 1900s, and the steamship El Dorado makes its way along the Amazon River towards Manaus, a city in the heart of the Brazilian rainforest. Onboard is the world-famous opera singer Florencia Grimaldi. She’s got a gig at the opera house in Manaus, but that’s just a cover. She’s actually hoping for a reunion with her long-lost love, the butterfly catcher Cristóbal.
But on the journey, Florencia learns that Cristóbal went missing in the rainforest while in pursuit of a rare butterfly. From the deck of the ship — and now in quarantine due to a cholera outbreak — she delivers her final aria, calling out to him, the river and the rainforest that surround her: “Escúchame.” Hear me, listen to me. “From you my song was born,” she affirms — and in embracing her love for him, she is released and reborn.
Daniel Catán’s lush and lyrical score has become a staple of contemporary operas, and its staging marks the Metropolitan Opera’s first Spanish-language production in nearly 100 years. In this episode, host Rhiannon Giddens and her guests take us on a journey through natural wonder, transcendent love, and self-discovery.
THE GUESTS
Soprano Ailyn Pérez makes her Metropolitan Opera debut in her native language of Spanish as Florencia Grimaldi. She identifies with Florencia and the sacrifices that are sometimes necessary to pursue an artistic career.
Andrea Puente-Catán is a harpist, director of development at Ballet Hispánico, and the widow of “Florencia” composer Daniel Catán. She met Catán when she was 17 years old. Decades later, playing harp in that opera’s production at Palacia de Bellas Artes brought them back together.
Author, filmmaker, and fearless traveler Alycin Hayes knows a thing or two about Amazonian adventures. When she was 21, she hitchhiked from her home in Canada to South America, where she met up with other roving internationals to paddle along the Amazon River in a dugout canoe. She describes her adventures in her recent memoir "Amazon Hitchhiker."
Paul Rosolie is conservationist, writer, and wildlife filmmaker whose memoir “Mother of God” details his extensive work in the Amazon. He’s the founder and field director of Junglekeepers, a conservation outfit based in Peru, and he joins the show via a remote interview taped in the jungle.
Larger than life fashion journalist, stylist, creative director and editor André Leon Talley passed away unexpectedly on January 18, 2022. In this episode of love, respect, admiration and reflection, Laverne and her exceptional guests remind us why the world, the fashion world in particular, will miss the late great André Leon Talley. Iconic fashion designer and André’s longtime friend Norma Kamali shares stories starting from their early days in 1970’s New York City and Pulitzer Prize-winning Washington Post journalist Robin Givhan offers an industry perspective from the last 25 years of his life. Both are intimate, knowing, and candid, and say the same thing: there will never be another ALT.
A New Line: Robin Givhan Interviews André Leon Talley (2017) (courtesy of Washington Post Live Events)
Please rate, review, subscribe and share The Laverne Cox Show with everyone you know. You can find Laverne on Instagram and Twitter @LaverneCox and on Facebook at @LaverneCoxForReal.
As always, stay in the love.
More Links of Interest:
A.L.T. by André Leon Talley
Chiffon Trenches by André Leon Talley
The Gospel According to Andre (Documentary Official Trailer)
A Memorial for André Leon Talley (NYT)
André Leon Talley, the Pioneering Vogue Editor, Has Died at 73 (Vogue)
Norma Kamali: I Am Invincible (book)
Grace Jones Studio 54 New Years Eve Party (costume designed by Norma Kamali)
Jessye Norman (Opera Legends Documentary, YouTube)
ALT on Meeting Lagerfeld and Being Correct (YouTube)
John Fairchild, author of Fashionable Savages
Hilton Als' Profile (The New Yorker, 1994)
The Collection of André Leon Talley (Christie’s)
ALT Recent Auction (The Cut)
Laverne Cox and André Leon Talley on Watch What Happens Live 2015
Rihanna’s Savage X Fenty Show Reinvents Lingerie (TIME, 2019)
André Leon Talley Dishes on Galliano, McQueen, and Lagerfeld, Darling (Interview Mag, 2020)
Andre Leon Talley Day (WWD, 2022)
Other Episodes Mentioned Relevant:
The Spirituality of Club Culture w/ Honey Dijon
Diary: Where Fashion Meets Art
The Legendary Life of Connie Fleming, Part I and Part II
CREDITS:
Executive Producers: Sandie Bailey, Alex Alcheh, Lauren Hohman, Tyler Klang & Gabrielle Collins
Producer & Editor: Brooke Peterson-Bell
Associate Producer: Akiya McKnight
See omnystudio.com/listener for privacy information.
Malcolm X led many lives within his 39 years: as a bereaved but precocious child; as an imprisoned convict; as a firebrand spokesperson for the Nation of Islam and Black nationalism; and ultimately as one of the most pivotal figures of the Civil Rights movement. Today, he continues to inspire passion and controversy, his legacy as nuanced as the man himself.
Anthony Davis’s opera “X: The Life and Times of Malcolm X” seeks to gather Malcolm X’s many identities and hold them together in the way only an artistic work can. When the piece was premiered by New York City Opera in 1986, it broke ground not just for its unique melding of jazz and blues idioms with contemporary classical traditions, but also for the choice made by Davis and his cousin, the librettist Thulani Davis, to situate recent history on the operatic stage.
It turns out that a life as dramatic and urgent as Malcolm X’s is ripe for opera. In the aria “You Want The Story, But You Don’t Want To Know,” Anthony and Thulani Davis take the occasion of a police interrogation to let Malcolm X’s character reflect on the tragedies and injustices that have shaped his life up to that moment — and, in his refusal to deliver “easier” narratives, to presage the often tumultuous search for truth and righteousness that would direct his life in years to come. Host Rhiannon Giddens and her guests explore the drama and the passion of Malcolm X’s life and its inherent musicality upon the Metropolitan Opera’s premiere of this modern classic.
THE GUESTS
It may have taken nearly forty years for composer Anthony Davis to see the Metropolitan Opera stage “X,” but he’s kept himself busy in the interim. This prolific composer, which The New York Times described as “the dean of African-American opera composers,” is also known for “Amistad,” “Wakonda’s Dream,” and “The Central Park Five,” the latter of which won him a Pulitzer Prize in 2020. If anyone was born to be a musician, it’s Davis: People tell him that the first time he played the piano was as a baby sitting in the lap of jazz pianist Billy Taylor.
Grammy Award-winning baritone Will Liverman was described by The Washington Post as a “voice for this historic moment.” Portraying Malcolm X in the Metropolitan Opera’s production of “X: The Life and Times of Malcolm X” is only his most recent artistic triumph. Others include his breakout performance as Charles in Terence Blanchard’s “Fire Shut Up In My Bones” and the premiere of “The Factotum,” an opera he both starred in and co-created. His hope for “X” is to help “kill some of the preconceived notions about who Malcolm X was and find the humanity in him.”
Zaheer Ali is the executive director of the Hutchins Institute for Social Justice at the Lawrenceville School and something of a Malcolm X expert (a Malcolm X-pert?). He served as the project manager of the Malcolm X Project at Columbia University and his work on the Civil Rights icon has been featured in documentaries like Netflix’s “Who Killed Malcolm X?” and CNN’s “Witnessed: The Assassination of Malcolm X.” He traces his fascination with Malcolm X back to an assignment given by his eleventh-grade English teacher.
If a loved one were to die, how far would you be willing to go to bring them back? Orpheus, the ancient Greek musician, goes to hell and back to have the love of his life, Eurydice, by his side again. The gods cut a deal with Orpheus: he can bring his love back from hell, but all throughout the journey, she has to follow behind him and he is not allowed to look back at her. Unable to resist, he turns to see her, and the gods take her for a second time. In a moment of overwhelming grief, Orpheus asks, “What will I do without Eurydice?”
Ahead of this season’s production of "Orfeo ed Euridice" by the Metropolitan Opera, we’re revisiting this episode, in which host Rhiannon Giddens and her guests reflect on Christoph Gluck's operatic adaptation of the Orpheus myth and the all-encompassing nature of both grief and love. At the end of the show, mezzo-soprano Jamie Barton sings “Che farò senza Euridice?” from the Metropolitan Opera stage.
The Guests
Mezzo-soprano Jamie Barton grew up in a musical family, with days full of bluegrass, classic rock, and music history quizzes about the Beatles. In her role debut as Orfeo, she searches for this hero’s vulnerability, dramatically and vocally, and figures out how to embody a version of this character that’s modeled on Johnny Cash.
Author Ann Patchett stumbled upon her love for opera while writing her book “Bel Canto.” But the Orpheus myth has been part of her life — and has influenced her writing — for a lot longer. She’s fairly certain that she would travel to the depths of hell to save her husband of 29 years.
Jim Walter lost his wife to cancer in 2015. He cared for her through some very difficult years, and kept hope alive even when things looked hopeless. He says that nowadays his grief usually isn’t as immediate and gut-punching as it once was, but he is still sometimes overcome with sadness at unexpected moments.
“L’Elisir d’Amore” — “The Elixir of Love” — is what’s known as an opera buffa, or comic opera. That means that we’re in for a happy ending.
But Donizetti knows that the payoff is only earned through the suffering of his protagonists. In one pivotal moment, our hero Nemorino glimpses his beloved shedding a single tear — and he concludes (crazily, but correctly) that it can only mean that she loves him back. The aria Nemorino delivers here — one of the most famous in the history of opera — expresses the singular moment when the agony of unrequited love shifts to the certainty of a blissful future.
In this episode, host Rhiannon Giddens and her guests unpack the potential for heartbreak that lies within every happy ending and why Donizetti might be one of the most underrated opera composers. Tenor Matthew Polenzani brings it home with a rendition of “Una furtiva lagrima” from the Met stage.
THE GUESTS
Over the course of a career spanning more than 30 years, tenor Matthew Polenzani has sung the role of Nemorino on opera stages all over the world. He has a family of barbershop quartet singers to thank for his introduction to music.
Fred Plotkin is the author of “Opera 101: A Complete Guide to Learning and Loving Opera.” As a proud Donizetti fanboy, he believes that the psychological insight Donizetti brings to his characters is nearly unmatched in the work of other composers.
When she’s not teaching French at St. Mary’s College of Maryland, Laine Doggett is brushing up on her medieval lore. As the author of “Love Cures: Healing and Magic in Old French Romance,” she knows a thing or two about magical elixirs.
Judith Fetterley is a former professor, master gardener, and writer. She’s got a love story of her own that involves elixirs. You might have read it in the New York Times’ “Modern Love” column under the title, Was She Just Another Nicely Packaged Pain Delivery System?
What does redemption mean to a man sentenced to death? Is capital punishment justice or vengeance? Could anyone ever forgive a murderer?
These are just some of the questions behind the true story of the nun who became a spiritual adviser to men on death row at the Louisiana State Penitentiary. Dead Man Walking was first a 1993 memoir by the Catholic nun and fervent death penalty abolitionist Sister Helen Prejean; later, it was adapted into an Oscar-winning movie. Sister Helen’s story inspired a national conversation around the death penalty — and the opera duo Jake Heggie and Terrence McNally. Their adaptation of Sister Helen’s story has become one of the most celebrated operas of the 21st century, and, with the last federal execution taking place as recently as 2021, feels as timely as ever.
In her aria “This Journey,” Sister Helen’s character reflects on her religious calling as she makes her way to the Angola prison for the first time. In this episode, host Rhiannon Giddens and her guests take us deeper into the true story that inspired the opera and the experiences that continue to inform Sister Helen Prejean’s ministry.
The Guests
The Metropolitan Opera’s 2023 production of Dead Man Walking marks the fifth time mezzo-soprano Joyce DiDonato has sung the role of Sister Helen. She describes the role as one that’s impossible to emerge from without feeling changed. Having embodied Sister Helen so many times, DiDonato feels “much less comfortable turning a blind eye to things.”
American composer Jake Heggie is best known for Dead Man Walking, the most widely performed new opera of the last 20 years. In addition to 10 other full-length operas and numerous one-acts, Heggie has composed more than 300 art songs, as well as concerti, chamber music, choral, and orchestral works. When librettist Terrence McNally proposed adapting Dead Man Walking into an opera, Heggie’s “hair stood on end” and he immediately “felt and heard music.”
Sister Helen Prejean is a Roman Catholic nun, the author of the memoir Dead Man Walking, and a leading voice in the effort to abolish the death penalty. She’s served as a spiritual counselor to numerous convicted inmates on Death Row as well as to families of murder victims and survivors of violent crimes. Despite her wisdom, Sister Helen claims to know “boo-scat” about opera.
At last! After much anticipation, Aria Code returns! We’re guiding listeners through highlights from the Metropolitan Opera’s 2023-2024 season, pairing beloved classics with investigations into modern masterpieces.
So get ready for a night at the opera — from the comfort of your own home. (Or wherever!) Arias from the likes of Jake Heggie’s Dead Man Walking and Anthony Davis’s X: The Life and Times of Malcolm X will tackle some of the most complex social and ethical questions head-on, while classics like Bizet’s Carmen and Gounod’s Roméo et Juliette plunge us into the thick of opera’s favorite themes of desire, love, and longing.
Hosted by Grammy Award-winner, MacArthur “Genius” Fellow, and (most recently) Pulitzer Prize-winning musician Rhiannon Giddens, each episode features a signature combination of music and riveting storytelling, paired with Met Opera performances by world-renowned opera stars, including Joyce DiDonato, Matthew Polenzani, Will Liverman, Clémentine Margaine, Diana Damrau, and Ailyn Pérez.
Aria Code is produced by WQXR in partnership with The Metropolitan Opera. This season, we’ll be releasing episodes on a biweekly basis, starting October 4.
It's the late 1940's and the Metropolitan Opera has come to the "jinx town" of Atlanta. The cast lets out a sigh of relief after the final splendid night comes to a close with no mishaps. Unfortunately for one cast member though, the curtain will never rise again.
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Our oldest modern dance company, the Australian Dance Theatre, has been delighting and challenging audiences for nearly 60 years. Now Wiradjuri dancer and choreographer Daniel Riley is at the helm, becoming the first Indigenous man to lead the company.
Also, Larrakia founder of the NT Dance Company, Gary Lang, shares what's on his Top Shelf and after wowing audiences at the Royal Albert Hall and The Metropolitan Opera in New York, Australian soprano Helena Dix is back on home soil.
Performer James Thiérrée takes audiences into surreal worlds that leave us pondering some big questions about life on Earth. As the son of two pioneers of contemporary circus and the grandson of Charlie Chaplin, it's no wonder James sees the world differently. His latest mind-bending work of physical theatre is called Room.
Also, Richard Jordan drops by to share the story of an actor who once starred in two productions simultaneously at London's National Theatre and we're joined by the author of Verdi, Opera, Women, Susan Rutherford, to discuss what women in the 19th century might have thought of La Traviata's ill-fated courtesan protagonist, Violetta.
In Episode #65, Ross is joined by Teemu Suviala, Global Head of Brand Design for Reality Labs at Meta.
Reality Labs is a diverse group of developers, researchers, engineers, and designers that leads the expansive work being done at Meta in building the next computing platform and bringing the metaverse to life. Before joining Meta Teemu led creative work at brand and design agencies, Collins, as ECD and Wolff Olins as CD in New York. He is also a co-founder of design agencies Kokoro & Moi and Syrup Helsinki and a partner at footwear brand Tarvas.
In this episode, Ross and Teemu discuss the history of surrealism and its return to mainstream attention, and how the Metaverse will change brands. He also shares what he’s learned by being at the intersection of creativity and technology.
Highlights from the conversation
The metaverse will accelerate surrealistic fantasy-shaped ideas
AI tools that are connected to the metaverse will change how we design
It comes down to making sure that [your] core positioning and values are in a great place
Dada and Surrealism were reactions to similar things that we're seeing today
Oddness, surrealism, and escapism are starting to bleed out into popular culture
As reality was getting weirder and weirder and sometimes even unrecognizable art did the same thing
More about Teemu Suviala
Teemu Suviala is the Global Head of Brand Design for Reality Labs at Meta. This diverse group of developers, researchers, engineers and designers leads the expansive work being done at Meta in building the next computing platform to help people connect, find communities and grow businesses - bringing metaverse to life. Reality Labs' work spans a number of breakthrough technologies such as Meta Quest, Meta Horizon, Meta Portal and Ray-Ban Stories and touches sectors ranging from entertainment and gaming to commerce, education and work. Teemu sits in the creative intersection of product and marketing focusing on strategic and conceptual foundations for how these brands come to life. He and his team develop brand strategies, design & identity systems as well as brand elements and experiences from custom typography and sonic logos to immersive retail environments and in-product brand moments across AR and VR, among other things. At Meta, brand design teams work at the very edge of the discipline, imagining how brands will be expressed in emerging environments — including some that don’t yet exist.
Before joining Meta Teemu led creative work at brand and design agencies Collins as ECD and Wolff Olins as CD in New York. He is also a co-founder of design agencies Kokoro & Moi and Syrup Helsinki and a partner at footwear brand Tarvas.
Find Teemu here: Twitter | LinkedIn | Instagram
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One More Question is a podcast by Nicework. We are on a mission to build purposeful Web3 brands that people care about.One of the things we do best is to ask the right questions. This podcast exists because we want to share some of the best answers we have heard over the last 15 years. Our clients range from a venture studio and Hollywood film producers to the inventors of the hamburger, to name a few. We have had the honour of talking to guests like Micheal Bierut, Natasha Jen, Bruce Mau, Jack Butcher, Aaron Draplin, Marina Willer and Fredrick Öst. Their work has shaped our industry over the last 40 years. The aim is to share useful perspectives, insights and inspiration you can use as you go about building your brand. Hosted by our founder Ross Drakes.
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An operatic adaptation of Hamlet by the celebrated Australian composer Brett Dean this year made its North American debut at the famous Metropolitan Opera in New York. Brett joins us to reflect on his career and the challenge of bringing Shakespeareâs famous Dane to the opera stage.
Also, we hear a scene from Dorr-e Dari, a celebration of love expressed in poetry, music and stories drawn from the Persian-speaking world and we delve into the golden age of radio drama with Peter Philp, author of Drama in Silent Rooms: A History of Radio Drama in Australia from 1920s to 1970s.
After wowing audiences at the Royal Albert Hall and The Metropolitan Opera in New York, Australian soprano Helena Dix is back on home soil to sing the challenging title role of Lucrezia Borgia.
Also, Arts Minister Tony Burke is taking submissions and holding town hall meetings across the country to inform the Government's new National Cultural Policy and economist David Throsby and Nyoongar/Yamatji curator Clothilde Bullen share their perspectives on what the arts sector needs right now.
Will Sullivan, former Head of Visitor Experience for the Metropolitan Museum of Art joins the podcast to discuss how making true connections and creating a trusted work environment can help lead teams to success.
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I ask Jake about the advice he would give his younger self, his heroes and influences, his piano playing, and how he tries to balance his schedule.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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In Part 2 of our conversation, I ask Jake about how he composes, his thoughts on composing, being in "the zone" while composing, orchestration, and being authentic as a composer and human being.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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Jake Heggie is the composer of 9 operas, including Dead Man Walking and Moby Dick and has written nearly 300 art songs. In addition, he is a fine pianist who has worked with singers such as Joyce DiDonato, Renee Fleming, Frederica von Stade, and Jamie Barton, among others. In our conversation we talk about his life in opera, composing, the three ingredients of success, and even ... coffee and sleep!
Jake Heggie’s story is truly exceptional ... luck followed by exceptionally hard work and talent. So we begin by my asking him to recount how he came to write his first opera, Dead Man Walking, which has been called “the most celebrated opera of the 21st century,” with over 75 international productions, a truly exceptional story! We then use Dead Man Walking to talk about the process of getting an opera produced, beginning with the composition and collaboration with the librettist, followed by the numerous steps of workshopping and rehearsals.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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E.L. Konigsburg's From the Mixed-Up Files of Mrs. Basil E. Frankweiler has endured on library shelves as many older Newbery books often do. In this episode we talk about whether the 1967 mystery cum adventure story still earns that spot on the shelf. We discuss Claudia Kincaid as a role model and possible queer feminist icon and also have a lot of feelings about the Met's admission policies. We look at epistolary writing style, parentless child tropes, and discuss whether inflation and technology have ruined madcap children's adventures. We also consult an expert who has served on the Newbery Award committee and Audrey and Kelsey fight over a Face Vase.
These Books Made Me is a podcast about the literary heroines who shaped us and is a product of the Prince George's County Memorial Library System podcast network. Stay in touch with us via Twitter @PGCMLS with #TheseBooksMadeMe or by email at TheseBooksMadeMe@pgcmls.info. For recommended readalikes and deep dives into topics related to each episode, visit our blog at https://pgcmls.medium.com/.
We cover a lot of ground in this episode and used some books and articles as jumping off points. Here’s a brief list of some of them if you want to do your own further research:
The Met's not free anymore: https://www.nytimes.com/2018/01/04/arts/design/met-museum-admissions.html
Great garage sale finds: https://www.mentalfloss.com/article/618643/amazing-yard-sale-finds
What happened to automats?: https://www.atlasobscura.com/articles/automat-history
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