A STAR WARS RING

“Plácido Domingo, the new artistic director of the Los Angeles Opera, announced today that George Lucas’s special effects company, Industrial Light and Magic, would design a new version of ‘The Ring.’ The epic, beginning with ‘Das Rheingold’ in 2003, will span two seasons.” New York Times

MAESTRO VS ORCHESTRA

This weekend Kurt Masur takes up his new post as principal conductor of the London Philharmonic. The relationship between the traditionalist maestro and the experimenting and pragmatic LPO could generate sparks. Good thing. Perhaps “the bizarre, almost century-long seclusion of orchestras from the real energies of cultural life is coming to an end. The orchestra is about to become interesting, a place of argument and contestation, just as it was in the Romantic era.” – The Times (UK)

THE PLACIDO PLAN

Domingo announced plans to transform the Los Angeles Opera with a series of initiatives, including an ongoing relationship with the Kirov. “In addition, Domingo promises to make good on his previously expressed intentions to tap the Hollywood talent pool and reach out to the Latino community, as well as to expand the company’s training program for young artists.” – Los Angeles Times

OPERA MARATHON

Over the next three months the English National Opera has set itself a challenge –  “celebrating 400 years of Italian opera in no fewer than ten new productions. They will hire seven directors, six costume designers and five lighting designers. There will be just one master-designer presiding over the entire project – Stefanos Lazaridis. – The Times (UK)

DOWNLOADING DONS

Attorney General Janet Reno said Tuesday that organized crime’s intellectual property infringement should be prosecuted as vigorously as other serious crimes like drug trafficking and money laundering. Recent busts (like last week’s in New York in which 35,000 counterfeit CDs were seized) have shown organized crime’s turn from drugs to software for profits. – Wired 09/12/00

WHAT MEANING ART?

Divisions between high and low culture (or “art-” and “popular-” culture) are increasingly irrelevant. “How are we to judge what more powerfully influences us and, hence, what is stronger or better? See Schoenberg’s ‘Moses and Aaron’, ‘Madam Butterfly’, ‘Phantom of the Opera’ or Elvis Presley at Las Vegas, and how do we set about judging differences? The cultural diktat of our day still tells us that Schoenberg is superior to Presley; many people go along with that. But is this any more than obedience to hierarchies laid down before popular culture gave itself a true chance to be compared? – The Guardian 09/12/00