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Hojotoho, and happy Friday! This week, the soprano Christine Georke brought her much-hyped Brünnhilde to the Metropolitan Opera for the opening of Wagner’s “Die Walküre,” my favorite installment of the “Ring.”
Her arrival is remarkable if only because vocal troubles nearly pushed her to quit opera; you can read all about it in Michael Cooper’s profile of her:
Corinna da Fonseca-Wollheim, who reviewed “Die Walküre,” wrote that in Ms. Goerke, the Met “has found a Brünnhilde who marries vocal vitality and emotional presence in each radiant note.” I couldn’t agree more. Listen for yourself how she tosses off those howls of “Hojotoho!”
Expect more coverage of the “Ring” as the Met rolls its revival of Robert Lepage’s production. Anthony Tommasini has offered his thoughts on how Wagner’s epic always seems to be eerily resonant, especially now in this moment of divisive American politics.
But enough about Wagner (for now). Elsewhere this week, I attended the latest edition of the New York Philharmonic’s Nightcap series. These little concerts are meant to provide an intimate introduction to living composers — John Adams, in this case. The program Mr. Adams curated, however, was generous and illuminating, featuring only two of his works (“I Still Play” and “First Quartet”) to make room for ones by his younger colleagues.
So Mr. Adams presented music by people like Timo Andres — he also played the evening’s solo piano pieces — and Nico Muhly, as well as Gabriella Smith, who I hope will be heard at the Philharmonic again soon. Enjoy an excerpt from her “Carrot Revolution,” a sonically intrepid piece that has the impression of an image coming in and out of focus, joyously performed at Nightcap by the Attacca Quartet.
I was back at the Philharmonic on Wednesday for a one-night-only concert featuring Yuja Wang, as thrilling as ever, in Robert Schumann’s Piano Concerto in A minor. The great Maurizio Pollini was originally scheduled to appear, but canceled. As it happens, Ms. Wang is currently touring the work.
She was mesmerizing in a performance last month with the Boston Symphony Orchestra, where she struck a Martha Argerich-like balance of commanding precision and wildness. The scales tipped slightly at David Geffen Hall this week as she opened the concerto with a fiery run of chords. Which is not to say she gave a feral performance: She never appeared out of control as she navigated the piece’s changing moods and fickle attachment to Romantic and Classical styles. For an encore, she leaned into Romanticism with one of her standbys, Liszt’s stirring transcription of the Schubert song “Gretchen am Spinnrade.”
For those following Ms. Wang’s many appearances in New York this season, she’ll next play at Carnegie Hall on April 10, where her Perspectives series continues with a recital featuring the cellist Gautier Capuçon. On the program is Rachmaninoff’s Cello Sonata in G minor, a chamber work whose dreamy sound world I’m always happy to revisit. See you there. JOSHUA BARONE
If the opera world had awards like the Oscars, then in 1998 the tenor Anthony Dean Griffey would surely have won for best actor in a leading role, for his wrenching performance as the hulking, slow-witted Lennie in Carlisle Floyd’s “Of Mice and Men” at New York City Opera. (Here he is in the video above, in a 2011 production at Opera Australia.)
Mr. Griffey might even have picked up the award again in 2008, for the title role of Britten’s “Peter Grimes” at the Metropolitan Opera. His Grimes came across like a dangerously intemperate and painfully isolated man-boy.
Now a professor of voice at the Eastman School of Music, Mr. Griffey returned to New York for a recital last Sunday at the Morgan Library & Museum. He shared the program with the gifted, radiant-voiced young coloratura soprano Amy Owens (presented in collaboration with the George London Foundation). The Warren Jones was the elegant, superb piano accompanist.
Mr. Griffey brought robust sound, tenderness and his trademark crisp diction to songs by Frank Bridge, John Jacob Niles, Charles Ives and others. He paid tribute to Mr. Floyd, now 92, singing Sam’s Aria from “Susannah,” which he once performed at the Met with Renée Fleming in the title role. Mr. Griffey also expressed gratitude to André Previn, who died last month, for giving him career-changing opportunities, including casting him as Mitch in the premiere of the opera “A Streetcar Named Desire” (which also starred Ms. Fleming). Mr. Griffey then sang a wistful performance of Mitch’s revealing aria. ANTHONY TOMMASINI
【本】【来】【很】【暖】【昧】【的】【气】【氛】【被】【茯】【天】【才】【突】【然】【的】【大】【吼】【打】【破】，【玖】【雅】【捂】【住】【双】【耳】【痛】【苦】【的】【后】【退】【坐】【到】【凳】【子】【上】。 “【啊】……【我】【这】【一】【双】【耳】【朵】【是】【彻】【底】【废】【了】，【你】【不】【是】【学】【音】【乐】【的】【吗】？【这】【样】【对】【我】【你】【就】【不】【怕】【自】【己】【聋】【了】【吗】？” 【玖】【雅】【揉】【着】【耳】【朵】，【抱】【怨】【着】【茯】【天】【才】【的】【无】【理】【取】【闹】。 “【我】【是】【学】【音】【乐】【的】【没】【错】，【但】【我】【是】【天】【才】，【无】【师】【自】【通】【那】【种】，【最】【值】【钱】【的】【是】【手】，【又】【不】【是】【用】【耳】
【白】【芷】【听】【得】【入】【了】【迷】，【恍】【惚】【看】【到】【了】【二】【十】【几】【年】【前】【所】【发】【生】【的】【一】【切】，【怒】【由】【心】【中】【起】，【一】【双】【拳】【头】【握】【得】【咯】【吱】【作】【响】。 “【这】【王】【八】【蛋】【鬼】【皇】【帝】，【若】【让】【老】【娘】【给】【碰】【着】，【见】【他】【一】【次】【打】【一】【次】，【非】【得】【扒】【了】【他】【的】【皮】【不】【可】！” 【这】【个】【故】【事】【她】【缠】【着】【美】【人】【婶】【儿】【听】【过】【好】【些】【次】，【可】【每】【次】【都】【忍】【不】【住】【想】【掐】【死】【那】【皇】【帝】。【还】【真】【不】【是】【一】【家】【人】【不】【进】【一】【家】【门】，【那】【皇】【帝】【跟】【皇】【后】【夫】【妻】【俩】【恶】【毒】
【这】【本】【书】【写】【到】【现】【在】【仍】【旧】【没】【有】【任】【何】【起】【色】。【每】【个】【月】【拿】【着】【全】【勤】【心】【里】【很】【不】【是】【滋】【味】【儿】，【倒】【不】【是】【因】【为】【嫌】【弃】【钱】【少】。【而】【是】【觉】【得】【对】【不】【住】【一】【直】【照】【顾】【我】【的】【编】【辑】【大】【大】！ 【毕】【竟】【没】【创】【造】【什】【么】【价】【值】，【没】【给】【大】【大】【带】【来】【什】【么】【收】【益】。【再】【这】【样】【混】【全】【勤】【实】【在】【于】【心】【不】【忍】。【写】【到】【现】【在】【只】【好】【停】【了】！ 【再】【有】【就】【是】【有】【了】【孩】【子】，【开】【销】【忽】【然】【增】【加】【了】【许】【多】，【靠】【教】【师】【微】【薄】【的】【收】【入】【已】【经】【不】香港赛马现场直播j2台【当】【法】【库】【雷】【斯】【特】【公】【爵】【喊】【出】【为】【了】【奥】【特】【兰】【克】，【所】【有】【人】【没】【有】【任】【何】【惊】【讶】【的】【表】【现】，【都】【是】【淡】【淡】【的】【看】【着】【公】【爵】，【放】【佛】【就】【在】【意】【料】【之】【中】。 “【开】……【炮】！！”【坦】【瑞】【德】【一】【声】【令】【下】，【身】【边】【的】【指】【挥】【打】【出】【旗】【语】。 【十】【几】【艘】【早】【已】【一】【字】【排】【开】【的】【战】【舰】【开】【火】，【再】【给】【海】【岸】【线】【来】【了】【一】【场】【硝】【烟】【的】【洗】【礼】，【不】【给】【任】【何】【敌】【人】【侥】【幸】【存】【活】【的】【机】【会】。 【东】【部】【和】【西】【部】【的】【两】【大】【阵】【营】【早】【已】
【何】【雯】【有】【着】【和】【何】【武】【非】【常】【相】【像】【的】【五】【官】【轮】【廓】，【举】【止】【谈】【吐】【也】【很】【大】【方】。【在】【做】【了】【自】【我】【介】【绍】【之】【后】【她】【朝】【沈】【慕】【诗】【伸】【出】【手】：“【你】【好】，【我】【叫】【何】【雯】，【可】【以】【进】【来】【跟】【你】【说】【话】【吗】？” 【这】【是】【一】【个】【年】【纪】【在】【四】【十】【出】【头】【的】【女】【人】，【没】【有】【过】【多】【的】【名】【牌】【傍】【身】，【也】【没】【有】【咄】【咄】【逼】【人】【的】【气】【势】，【简】【单】【的】【妆】【容】【衣】【着】【就】【像】【是】【一】【个】【普】【通】【的】【职】【场】【女】【性】。 【但】【这】【个】【人】【的】【突】【然】【到】【访】【和】【她】【对】【自】
【硝】【烟】【散】【尽】，【露】【出】【了】【北】【寻】【冥】【雄】【伟】【的】【身】【躯】。 【只】【见】【他】【衣】【衫】【破】【损】，【发】【型】【凌】【乱】，【看】【其】【身】【体】【状】【况】，【在】【荒】【人】【大】【帝】【自】【爆】【下】【仅】【仅】【受】【了】【些】【轻】【伤】。 【北】【寻】【冥】【缓】【缓】【起】【身】，【抬】【起】【头】【望】【向】【天】【空】【中】【突】【然】【出】【现】【的】【这】【位】【异】【人】。 【他】【从】【这】【面】【色】【黝】【黑】【双】【角】【双】【翼】【的】【男】【人】【身】【上】，【没】【有】【感】【受】【到】【一】【丝】【一】【毫】【的】【气】【息】，【但】【正】【因】【为】【如】【此】，【才】【令】【他】【如】【临】【大】【敌】。 【仿】【佛】【这】【人】【被】