The National Academy of Recording Arts and Sciences has added some new categories for next year’s Grammys, including an award for best rap song. “The rap arena continues to be strong and growing. There are more releases, more artists, more airplay and sales, and more importantly, there’s more creativity in that area.’ In addition, awards in the world music field have been doubled: Trophies will now go to best traditional world music album and best contemporary world music album.”
Tag: 06.07.03
Getting To The “Authentic” Shakespeare
What exactly is authenticity in Shakespeare? There are so many ways of interpreting, remaking, and reimagining the plays, stretching them in unaccustomed directions. So what exactly is authenticity in Shakespeare?
Early Music – Not Just For The Sound
Over the past 20 years the Early Music movement has revolutionized the way we perform and listen to early music. But renovating sound is not its main accomplishment. “It’s not really a matter of philosophical debates as to whether and exactly how we follow composers’ own conceptions of their works, or recover the precise aesthetic or sound of a long lost age. Far more important has been the recovery of lost repertoire and the reinvigoration of the familiar.”
Margaret Atwood, Chanteuse
As part of a fundraiser for the literary magazine Brick, Margaret Atwood (known for her pen) is planning to sing (something she’s not known for). Until late this week, it remained unclear just what Atwood would be singing and with whom (if anyone) when she appears at The Berkeley Church in east-end T.O. There had been talk of her interpreting Leonard Cohen’s Hallelujah, accompanied by fellow novelist André Alexis on banjo. Alas, this won’t come to pass. There also was a rumour that she’d be fronting a band featuring yet another novelist (and media maven) Evan Solomon on electric guitar. But this was denied as well. Now it seems Atwood will be singing a cappella, doing two original works.”
Met Removes Vilar’s Name From Building
The Metropolitan Opera has taken down patron Alberto Vilar’s name from the opera house after Vilar failed to make good on a number of promised donations. “The Vilar name had been affixed to the Grand Tier since 1998, when Mr. Vilar pledged $20 million over five years toward a $400 million endowment goal, as well as $5 million to match grants by others. The opera did not say how much he was in arrears or in what form, cash or stocks, but the statement suggested that the amount was substantial. The un-naming at the Met — a stinging rebuke in the genteel world of big-time philanthropy — was the latest sign that arts groups were losing patience with Mr. Vilar’s missed commitments and were willing to speak out, even at the risk of losing any future largesse.”