One of the most highly anticipated events of the New York cultural season—The Tempest by British composer Thomas Adès—blows onto the stage of the Metropolitan Opera this week. The work, based on the Shakespeare play about betrayal, retribution, and the redeeming power of love, had its premiere in 2004 at London’s Royal Opera House and garnered for the 32-year-old Adès critical acclaim and popular success. Since then, the contemporary work has made a strong bid for a place in the operatic repertoire, and after productions in Germany and the American premiere by the Santa Fe Opera, The Tempest arrives in New York, in a staging by Robert Lepage.
The three bands harnessed the magic of the U.S. rail system for an eight-day, 2,400-mile concert tour by train—from California to Louisiana. The tour was heralded The Railroad Revival, because it was intent on celebrating the—albeit seldom used—U.S. railway, and urging others to hop on board for their own travels. At each stop, the bands set up a stage, summoned fans to come watch, and delivered an all-out performance in the train station.
Members of the band, from left: Ed Droste, Chris Bear, Chris Taylor and Daniel Rossen
Ed Droste—front man of the Brooklyn-based indie-rock band Grizzly Bear, whose long-awaited fourth album Shieldscomes out on September 18—reflects on some of his favorite destinations and findings from around the world.
Q: It’s been three years since the band’s last album, what can we expect from Shields? A: It’s charged, and sort of raw, energetic and exposed. I started out work shopping ideas in Todos Santos, Mexico with our drummer Chris Bear. We often go on little writing retreats together. We went there for a month and wrote ten songs, then the whole band reconvened in Marfa, Texas for a month to start recording.
Just as most summer music festivals are winding down in the United States and abroad, the Stresa Festival at Lake Maggiore, set on the southern banks of the Italian Alps kicks into high gear. The festival runs a fortnight, August 24-September 8, and although this year marks its 51st season, the Settimane Musicali di Stresa may still be one of the best-kept secrets in the music world. But not for long.
Mostly Mozart, the 46-year-old summer festival at New York City’s Lincoln Center for the Performing Arts, is in full swing and more vibrant than ever. Significantly, this year’s edition marks the tenth anniversary season of French conductor Louis Langrée as music director who, along with Jane Moss, artistic director, has been responsible for revitalizing Mostly Mozart, in particular, its heartbeat, the festival orchestra. He's credited with raising its playing standards and adding inventive programming that features soloists, both established and debut artists, period instrument bands, and contemporary music ensembles.
Year to year, the mix may include dance, sound installations, film, video. This year, Mostly Mozart takes up the theme of birds, “the originators of song and an inspiration for countless composers,” according to Moss, as a point of departure for a range of programming. Indeed, in the age of twitter, birdsong may never sound as pure. T+L spoke with Louis Langrée earlier in the season during a stopover in New York en route to Paris about Mostly Mozart, a conductor’s role, American audiences, and why the festival remains popular with travelers and New Yorkers alike.
Q: What are your thoughts on your 10th anniversary?
As part of its 75th anniversary season, Tanglewood, the summer home of the Boston Symphony Orchestra located in Western Massachusetts, is celebrating in grand and generous style by offering an extraordinary gift to listeners: the Tanglewood festival and the BSO is presenting 75 free digital streams of performances from a storied 75-year history and unique audio archive. One stream is offered each day of the season (through September 2) at Tanglewood.org. The daily gratis performance is available starting at 8 a.m. EST for 24 hours; after the stream has ended, listeners can purchase it as a download. What’s more, you can listen at a desktop computer, through a home music system, or mobile device—all you need is internet access.
I have a problem. When I find a song I really enjoy, I listen to it to death. I’m not even slightly exaggerating. Sometimes I’ll play it two or three times on a single 30-minute commute home. For serious. And then, of course, after a bit of time passes, I inevitably get bored with it and need to give it a rest until it feels like new again. As a result—and my friends can attest—I regularly post, both to my Facebook and Twitter accounts, pleading for my friends to send me new music suggestions.
So I was excited to hear about a new free app called MusicBunk (Android; iOS) Basically, it’s a simple way to get music recommendations from your friends, but without having to bother them. (Or have them send you a bunch of songs you already have.) Not to mention, if you're on the road, you might just not have the time to sit around and wait for responses. So it's a perfect way to time manage while traveling, without having to give up on that desire for new tunes.
Bossa nova diva Bebel Gilberto loves Caipirinha cocktails, sexy Narciso Rodriguez gowns, and remote Brazilian beaches. Born in Manhattan and raised in Rio, the singer-songwriter frequently bops between the two. This Saturday, July 21, she headlines a free concert 3-7 p.m.on Central Park's SummerStage to kick off Brasil Summerfest, a week-long festival celebrating the newest generation of Latin American musicians. Gilberto, who contributed a track to Red Hot + Rio, will perform favorites like Bob Marley’s “The Sun is Shining."
Gilberto tells T+L where she cools off during summer tour breaks:
The world’s most famous peripatetic band has finally set down some roots. Today, the complete Grateful Dead archive opens at the legendarily laid-back UC Santa Cruz. The collection—housed in the newly renovated McHenry Library and free to the public—includes coffee-stained contracts, original lyric manuscripts, fan mail, and Stanley Mouse poster art.