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Today's Stories January 30 / February 1, 2009 Alexander Cockburn Michael Hudson Ismael Hossein-Zadeh Dave Lindorff Saul Landau Andy Worthington Subcomandante Marcos Robert Jensen Ron Jacobs Gareth Porter Allan Nairn Laura Carlsen Rev. William E. Alberts Christopher Brauchli Jules Rabin Col. Dan Smith Missy Beattie Tom Barry J. Michael Cole Manuel Garcia, Jr. Dan Bacher David Rosen Don Monkerud Binoy Kampmark Lorenzo Wolff Poets' Basement January 29, 2009 Peter Linebaugh Paul Craig Roberts Riz Khan M. Reza Pirbhai Wajahat Ali Gregory Vickrey Dina Jadallah-Taschler Alison Weir Alan Farago Walter Brasch Website of the Day
January 28, 2009 Norman Finkelstein Noam Chomsky Patrick Cockburn Rob Larson George Wuerthner Allan Nairn M. Junaid Stefan Simanowitz Charles R. Larson Website of the Day January 27, 2009 Winslow T. Wheeler Yigal Bronner / Joshua Frank Jordan Flaherty Ralph Nader Rev. José M. Tirado Benjamin Dangl Russell Mokhiber Martha Rosenberg C. G. Estabrook Website of the Day January 26, 2009 Paul Craig Roberts Deepak Tripathi Vijay Prashad Peter Lee Allan Nairn Uri Avnery John Sayen Dave Lindorff Lawrence R. Velvel David Macaray Roger Burbach Norman Solomon Website of the Day January 23 / 25, 2009 Alexander Cockburn P. Sainath Patrick Cockburn Saul Landau Sasan Fayazmanesh Alan Farago Christopher Brauchli Andy Worthington Ron Jacobs Lawrence Velvel Henry A. Giroux David Yearsley Raymond F. Gustavson Dave Lindorff Roberto Rodriguez Dina Jadallah-Taschler Fidel Castro J. Michael Cole Bob Fitrakis / Ramzy Baroud Mohammad Ali Shabani Richard Rhames Stephen Martin Lorenzo Wolff Kim Nicolini Poets' Basement Website of the Weekend January 22, 2009 Paul Craig Roberts Kathy Kelly Allan Nairn Lawrence Velvel Andy Worthington Peter Morici Joseph G. Davis Adriana Kojeve Benjamin Dangl Website of the Day January 21, 2009 Gabriel Kolko Harry Browne Michael Colby Lawrence R. Velvel Audrey Stewart Wajahat Ali Binoy Kampmark David Kεr Thomson John Ross Allan Nairn Sheldon Richman Website of the Day January 20, 2009 Chuck Spinney Kathy Kelly Raymond Deane Ralph Nader Audrey Stewart Jonathan Cook Harvey Wasserman Christopher Ketcham Robert Jensen Dave Lindorff David Macaray January 19, 2009 Kevin Alexander Gray Uri Avnery Kathy Kelly Mike Whitney Lawrence R. Velvel Mats Svensson Harry Browne Norman Solomon Jeffrey Sommers Kenneth Libby Peter Ewart Bob Sommer Website of the Day
January 16-18, 2009 Alexander Cockburn Caoimhe Butterly Audrey Stewart / Jeffrey St. Clair Ellen Cantarow Neve Gordon Vijay Prashad Jonathan Cook Rannie Amiri Andy Worthington Joshua Frank Dave Lindorff Brian Cloughley Belén Fernández Missy Beattie Fred Gardner George Ciccariello-Maher John V. Whitbeck Stephen Fleischman Mischa Gaus Saul Landau Norm Kent Alejandro López David Yearsley James McEnteer Lorenzo Wolff Kim Nicolini Poets' Basement Website of the Day
January 15, 2009 Pam Martens Karl Grossman M. Shahid Alam Jules Rabin Alan Farago Ron Jacobs Timothy Seidel George Ochenski Todd Chretien Bob Fitrakis / Website of the Day January 14, 2009 Henry A. Giroux Kathy Kelly Franklin Lamb Mike Whitney Paul Craig Roberts Glen Ford Aditya Chakrabortty Dave Lindorff Jonathan Cook David Swanson Martha Rosenberg Website of the Day
January 13, 2009 Norman Finkelstein Jonathan Cook Michael Neumann Coleen Rowley / Robert Sandels Saul Landau David Swanson Wajahat Ali Sam Bahour Stanley Heller Robert Jensen Robin Mittenthal Website of the Day
January 12, 2009 Uri Avnery Paul Craig Roberts Mike Whitney Ewa Jasiewicz Bill Quigley Dave Lindorff Bill and Kathleen Christison Jonathan Cook Andy Worthington Kara N. Tina Brenda Norrell Nour Kharma Website of the Day
January 9/11, 2009 Alexander Cockburn Kathy Kelly Bill Quigley George Ciccariello-Maher Elaine C. Hagopian Mike Roselle Steve Hendricks Gary Leupp Jonathan Cook Karim Makdisi Rannie Amiri Peter Morici Peter Montague Ralph Nader Andy Worthington Nadia Hijab Dan Bacher Catherine Fenton David Macaray Valia Kaimaki Richard Morse David Yearsley Charles R. Larson Richard Rhames Stephen Martin Lorenzo Wolff Poets' Basement Website of the Weekend January 8, 2009 Jean Bricmont / Franklin Lamb Paul Craig Roberts Kevin Alexander Gray Chris Floyd Ewa Jasiewicz Steve Conn Harvey Wasserman Wayne S. Smith Linda Mamoun Adam Turl Chris Papaleonardos Website of the Day January 7, 2009 Saree Makdisi Franklin Lamb William Blum Belén Fernández Lawrence Davidson Allan Nairn Jonathan Cook Muhammad Idrees Ahmad Deepak Tripathi Cal Winslow Manuel Garcia, Jr. Dr. Hannah Safran Website of the Day January 6, 2009 Pam Martens Victoria Buch Neve Gordon Tami Sarfatti / Mike Whitney Alan Farago Gary Leupp Larry Everest Ron Jacobs David Macaray Stephanie Basile Stacey Warde Website of the Day January 5, 2009 Paul Craig Roberts Sousan Hammad Wajahat Ali Mats Svensson Jen Marlowe Muhammad Ali Khalidi Brian Cloughley Faheem Hussain William Cook Dr. Trudy Bond Christopher Ketcham Steve Early Dave Lindorff Website of the Day January 2 - 4, 2009 Alexander Cockburn Uri Avnery Jonathan Cook Paul Craig Roberts Brian Eno Ralph Nader Omar Barghouti Graham Usher P. Sainath Belén Fernández Deb Reich Gary Leupp Michael Yates Joanne Mariner Seth Sandronsky Cynthia McKinney Sonja Karkar Deepak Tripathi Robert Fantina John Ross Norm Kent Larry Portis Richard Rhames Dee C. Lubell David Yearsley Lorenzo Wolff Marc Catone Poets' Basement Website of the Weekend
January 1, 2008 Jennifer Loewenstein Oren Ben-Dor Wajahat Ali Saul Landau David Michael Green Website of the Day December 31, 2008 Pam Martens Neve Gordon / Ted Honderich Brian Cloughley Ron Jacobs Vijay Prashad Franklin Lamb Mike Whitney David Macaray Richard Thieme Mary Lynn Cramer Stephen Lendman Worthy Group of the Day December 30, 2008 Paul Craig Roberts Tariq Ali Robert Bryce Jonathan Cook Gary Leupp Dave Lindorff Brian McKenna John Walsh Ramzy Baroud Bob Sommer Worthy Activist of the Day
December 29, 2008 Jennifer Loewenstein Neve Gordon Joshua Frank George Salzman / Norman Solomon Ewa Jasiewicz Rob Larson Kenneth Libby Robert Weissman Elsa Johnson Nicola Nasser Belén Fernández Worthy Group of the Day December 26-28, 2008 Alexander Cockburn Dr Eyad Al Serraj Jeffrey St. Clair Bradley Simpson Ralph Nader Gary Leupp Ellen Cantarow Matt Landon David Macaray Patrick Bond Norm Kent Brian T. Ketcham Rannie Amiri Larry Portis Richard Rhames Stephen Lendman James L. Secor Ramzy Baroud Harold Pinter Cpt. Paul Watson Howard Lisnoff Michael Dee Steve Conn Poets' Basement Worthy Group of the Weekend December 25, 2008 Judy Gumbo Albert Rev. William E. Alberts Hannah Mermelstein Worthy Group of the Day December 24, 2008 Bill Quigley Saul Landau Sam Smith Brian Cloughley John Ross Eric Walberg Norm Kent Stephen Martin Worthy Group of the Day December 23, 2008 Michael Hudson Michael Yates Chuck Spinney Vijay Prashad Brian Horejsi David Macaray Neil Watkins / David Michael Green Worthy Group of the Day
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Weekend Edition The Musical PatriotWhen Orfeo and Euridice Lived Happily Ever After in Upstate New YorkBy DAVID YEARSLEY At this time of year in the 17th and 18th-centuries the princes and aristocrats of northern European would journey south over the Alps to Venice for Carnival Season. Innumerable and irresistible were its debaucheries and distractions, many of which were to be found in the city’s opera houses. These places promised pleasure for all the senses: opulent dining, sex, spectacular stage sets, and lavish singing by the titanic entertainment celebrities of the period, the Hollywood stars of their time. In Italy, and at the outlets for Italian opera blockbusters spread across the continent, the male heroes were sopranos. The great castrati were the anatomically altered Tom Cruises of their day—but taller, more talented and more manly. Up here in the centrally isolated outback of central New York, the Big Apple is our Venice, the East River our Grand Canal. But with snowstorms in the Poconos and a Subaru four-wheel-drive transmission singing its bloodcurdling death song, Manhattan was as out of reach as the tickets only a 18th-century potentate could afford. Like today’s Wall Street princes, many a Baroque box-holder was bankrupt but somehow they could still get credit. So instead of the Met it was the multiplex for us. Last year the Metropolitan Opera House began simulcasting a series of their Saturday matinee performances to selected theatres across the country and abroad. On the 24th of January it was Christoph Willibald Gluck’s Orfeo ed Euridice at the Met and on two screens at the Ithaca Mall. Instead of the sparkle of the Met’s grand foyer, the pop of champagne corks, the flash of decolletage and diamond cufflinks, and the heady competition of expensive perfumes, it was salt-caked snow boots, the scent of popcorn, and the mute stares of cardboard cutouts of the latest action heroes, both human or canine. With the amenities of free parking and stadium seating on offer, the Holy Roman Emperor himself might have given up his box at the Teatro San Giovanni Grisostomo. At twenty bucks, the tickets simulcast are three times as much as the matinee price for the movies, but a tenth of a decent seat down in New York. On a recent trip to this same mall, in truth a penitentiary for the feral youth of the region, I deposited my two kids in High School Musical 3 and shuttled back and forth between that harmless romp and the Met simulcast of John Adams’ Dr. Atomic. On that Saturday afternoon there was no way I was going to convince my preteen charges that the gloom of Oppenheimer’s Los Alamos had more to offer them than the chaste celebration of adolescent song and dance over in theatre six. But among the many charms of Gluck’s 1762 opera is its length. At a running time of ninety minutes, Orfeo ed Euridice is that rarest of creatures: a short opera. With one daughter already committed to a so-called play-date in Ithaca’s centro storico, I enlisted my eleven-year-old, long fascinated by the strange spectacle that is opera, to accompany me. With the endlessly inventive Mark Morris acting both as choreographer and director, and his friend Issac Mizhravi designing the costumes, this promised to be kid-friendly opera with lots of glitz. The simulcast tries to offer the mallgoers something that theatergoers down in New York City don’t get: a look behind the scenes. The live feed provided views of the chorus lining up in the wings, and pre-curtain interviews with Maestro James Levine and Mark Morris, the latter sporting an impressive belly and a bright pink scarf. In bringing dance back to the center of Gluck’s opera, Morris achieved his avowed goal of restoring choreographed movement to its proper place in musical theatre of the period. His warm and witty interview with a mezzo-soprano Joyce DiDonato was equally refreshing. After opening his remarks by describing himself as “ a life-long opera queen,” Morris concluded with the oft-forgotten truth that “it don’t mean a thing if it ain’t got that swing.” Praised in the 18th-century for its careful attention to the contours of the characters’ emotions, Gluck’s opera would here be restored to its lilt and liveliness. The opera is in three compact acts, the second of which takes place in the Elysian Fields. This setting prompted Morris to have the chorus—a crucial player in Gluck’s dramas in contrast to the serious opera of the first half of the 18th century—be comprised of a hundred or so famous historical figures. This gave costume designer Mizravi the chance of lifetime to dress up Abraham Lincoln, Genghis Khan, and Cleopatra and other celebrities of the past. These figures were displayed on scaffolding so that each could be seen in full-length view, as history’s greats looked down at Orfeo as he mourned the loss of his love and set about retrieving her from beyond Lethe. This riot of fashion statements yielded an effect more foolish than zany, though it was undeniably fun to pick the far-flung personages as the simulcast camera scanned the ranks of the walking dead, treating us to the rare sight of Gandhi rubbing shoulders with Napoleon. Gluck keeps Orfeo on stage virtually the entire ninety minutes. The opera demands that the lead carry the show. Nowadays it’s typically a trouser role sung by a woman, in this case Stephanie Blythe. She has a rich, powerful voice that has something of that mysterious, looming power so often attributed to the sound of the castrati of the 18th-century. Gluck famously eschewed the showy singing of the period for a more nuanced, simpler style, requiring that his singers convince through register and shading, exploring the infinite gradations of the highly-trained human voice. Influenced during his London years in the 1740s by the naturalistic acting of David Garrick, Gluck similarly demanded a believable representation of emotion through facial expression and gesture, even singing. As a singer Stephanie Blythe makes for an Elysian Orfeo, and as an actor she has a quite an impressive range, from the grief-stricken to intrepid. But the central problem of the production resulted from the goofily diverse make-up of the chorus. Blythe is a big woman, more Wagnerian than Gluckian. More problematic, though, is her striking physical similarity to Babe Ruth, with her big body, round face and even the same dimple. When, about halfway through the second act, I spotted Ruth’s old teammate Lou Gehrig up in the top row of the chorus, I began to think that Morris and Mizravi might even be rather mischievously and unkindly playing with this affinity between Blythe and the Babe. Blythe’s bobbed, jet black hair clinched the connection to Babe. Yes, Blythe musically hit the classic numbers from the opera out of the park. No longer able to endure the nagging of Euridice that she be looked at and assured that her beauty has not withered in Hades, Orfeo sings “Che farò senza Euridice?” (What shall I do without Eurydice). Blythe performance pushed at the edges of that famous arias decorum, its gracious major harmonies and symmetrical phrases made majestic with noble pathos. Especially for modern audience not schooled in the seemingly staid naturalism of the gallant style of the 18th-century, this aria can fall victim to its own melodic and metrical formulas. Blythe found the lonely, echoing depths behind its classical facade. Euridice is a relatively small role in the opera, and the libretto is not particularly kind to her. The uninterrupted flow of vanities that escape her lips when Orfeo is reunited with her, makes one almost wish she be banished to Hades again. The part was taken by Danielle De Niese, whose supermodel figure, huge and glamorous smile, facial features so gorgeous that they seem almost to have been statistically generated, light brown skin, and dark tresses threatened to make Blythe’s Orfeo look ridiculous even in the few short minutes they share together on stage. The production seemed rather meanly to exploit Del Niese’s almost alarming physical perfection to Blythe’s detriment. Mizravi covering Del Niese’s form in plunging feather white gown as against Dance all-black tails. The uncomfortable tension lessened Del Niese’s tendency to overact. If she had been more convincing the mockery would have been unbearable. In the event, however, the moment when Orfeo gives in and looks at his spouse and she dies all over again is brutal for its suddenness, and one feels all the emotional power of Gluck’s simplicity. I glanced at my daughter and could see a lone tear caught in the light from the big screen. But just as quickly Amor—sung with an infectious humor by Heidi Grant Murphy sporting a pink polo short, white capri pants, and tennis shoes—appears and brings Euridice back to life yet again. The lieto fine ensues filled with the graceful counterpoint of Morris’ dance, a grand final chorus, and the reuniting of the lovers. This is a reversal of mood as quick and opportunistic as anything even churned out by Hollywood. My daughter turned to me, wiping the tears from her cheek. “I like happy endings,” she said. In real life most of historical members of the chorus didn’t have that luxury, but they wereall smiling too. In the opera house as in the multiplex feeling good is what it’s all about. David Yearsley teaches at Cornell University. A long-time contributor to the Anderson Valley Advertiser, he is author of Bach and the Meanings of Counterpoint His latest CD, “All Your Cares Beguile: Songs and Sonatas from Baroque London”, has just been released by Musica Omnia. He can be reached at dgy2@cornell.edu |
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