The Well-Tempered Ear
Can American film director Ron Howard make a sensitive and accurate biopic of Chinese superstar pianist Lang Lang? Or is it a cultural appropriation that deserves to be condemned?
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By Jacob Stockinger
The self-appointed PC diversity police have struck again.
This is getting silly and tiresome, insulting and embarrassing.
Some advocates of cultural diversity are crying foul over the latest project of the American and Academy Award-winning Hollywood film director Ron Howard: making a biopic of the superstar Chinese classical pianist Lang Lang (below).
The script will be drawn from the pianist’s bestselling memoir “Journey of a Thousand Miles” — which has also been recast as an inspirational children’s book — and the director and scriptwriters will consult with Lang Lang.
It seems to The Ear a natural collaboration, as well as a surefire box office hit, between two high-achieving entertainers. Check out their bios:
https://en.wikipedia.org/wiki/Lang_Lang
https://en.wikipedia.org/wiki/Ron_Howard
But some people are criticizing the project in the belief that because Ron Howard (below) is white and Western, he cannot do justice to someone who is Chinese or to Asian culture.
Here is an essay, found on the website of Classic FM, by one objector. She is Chinese film director Lulu Wang (below), who says she has no interest in doing the project herself: https://www.classicfm.com/artists/lang-lang/pianist-biopic-ron-howard-faces-criticism-lulu-wang/
Talk about misplaced alarm over “cultural appropriation.”
Don’t you think that Lang Lang will have a lot to say about how he is depicted?
Do you wonder if Wang thinks cultural appropriation works in reverse?
Should we dismiss Lang Lang’s interpretations of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann, Brahms, Tchaikovsky, Rachmaninoff, Prokofiev and Bartok simply because he is non-Western and Chinese rather than German, French or Russian?
Of course not. They should be taken on their own merits, just as the interpretations of any other Asian classical musician, and artists in general including Ai Weiwei, should be.
But however unfairly, cultural appropriation just doesn’t seem to work in reverse.
Mind you, The Ear thinks that cultural appropriation is a valid concept and can indeed sometimes be useful in discussing cross-cultural influences.
But it sure seems that the concept is being applied in an overly broad and even misdirected or ridiculous way, kind of the way that the idea of “micro-aggressions” can be so generously applied that it loses its ability to be truthful and useful.
Take the example of the heterosexual Taiwanese movie director Ang Lee. He certainly proved himself able to depict American culture in “The Ice Storm” and the gay world in “Brokeback Mountain.”
Let’s be clear. The Ear is a piano fan.
But if he objects to the project, it is because he doesn’t like Lang Lang’s flamboyant playing, his Liberace-like performance manners and showmanship, and his exaggerated facial expressions.
Yet there is no denying the human appeal of his story. He rose from a young and suicidal piano student (below) who was emotionally abused by his ambitious father – shades of the lives of young Mozart and Beethoven and probably many other prodigies – to become the best known, most frequently booked and highest paid classical pianist in the world.
Yet not for nothing did some critics baptize him with the nickname Bang Bang.
Still, the Curtis Institute graduate does all he can to foster music education, especially among the young and the poor.
And there is simply no denying his virtuosity. (See Lang Lang playing Liszt’s Paganini etude “La Campanella” in the YouTube video at the bottom.)
So there is plenty to object to about Lang Lang the Piano Star besides the ethnicity of Ron Howard, who also did a biopic of opera superstar Luciano Pavarotti, in telling his story.
What do you think?
Is it culturally all right for Ron Howard to direct a film about Lang Lang?
Do you look forward to the movie and seeing it?
What do you think of Lang Lang as a pianist and a celebrity?
The Ear wants to hear.
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Classical music: Which political campaigns have used classical music?
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By Jacob Stockinger
In the past, the music that political campaigns used was often jingles that reminded one of Madison Avenue advertising, even when they were composed by Broadway song master Irving Berlin.
These days, it seems to The Ear that most political campaigns use rock, pop or country music.
Sometimes folk music.
Never jazz.
And, one supposes, you will never hear the blues since that would be a pretty downbeat message for politicians.
But leave it to our friends at WQXR-FM, the famed classical music radio station in New York City, to offer some samples of political campaign music, including some that used classical music.
Donald Trump (below), the current Republican nominee for president, has tried to use the famous opera aria “Nessum dorma” (None Shall Sleep) from “Turandot” by Giacomo Puccini.
Fittingly, in the opera the moving and beautiful aria is sung by a prince to woo a Chinese tyrant or despot.
The Ear especially loved the way it was used so appropriately during the carpet bombing of Cambodia by the U.S. in the movie “The Killing Fields.”
Trump used one of the best versions available – sung by Luciano Pavarotti, one of which has 38 million hits and which you can hear in a YouTube video at the bottom.
But the Pavarotti estate refused to grant him permission to use it and asked him to cease and desist. Good for them.
Now Trump uses something in the public domain: the Overture to the opera “The Thieving Magpie” by Giachino Rossini.
Anyway, here is a link to the story:
http://www.wqxr.org/#!/story/6-us-political-campaigns-set-to-classical-music/
Tags: advertising, American, Arts, blues, bombing, Broadway, Cambodia, campaign, China, choral music, Classical music, country, Donald Trump, folk, Folk music, Irving Berlin, Jacob Stockinger, Jazz, Luciano Pavarotti, Madison Avenue, Music, Nessun Dorma, New York City, nominee, opera, Orchestra, Overture, Pavarotti, political, Politics, pop, President, Puccini, Radio, Republican, Rock, Rossini, singer, song, The Killing Fields, Thieving Magpie, Turandot, U.S., United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, US, vocal music, WQXR-FM, YouTube
Classical music: Meet Mexican tenor Javier Camarena who got to perform an encore at The Met. Plus, today is your last chance to hear pianist Garrick Ohlsson and the Madison Symphony Orchestra in a program that gets raves from the critics
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ALERT 1: This afternoon at 2:30 p.m. in Overture Hall at the Overture Center, is your last chance to hear pianist Garrick Ohlsson and the Madison Symphony Orchestra under conductor John DeMain in a program of the Piano Concerto No. 1 by Johannes Brahms; the tone poem “Don Juan” by Richard Strauss; and the Symphony No. 1 by Steven Stucky. Critics have loved the performances.
Here is a link to a review by John W. Barker for Isthmus:
http://isthmus.com/music/enterprise-and-mastery-madison-symphony-orchestra/
Here is a link to a review by Lindsay Christians for The Capital Times:
ALERT 2: UW-Madison clarinetist Wesley Warnhoff will perform a FREE recital, with renowned UW-Madison pianist Christopher Taylor, on Tuesday night at 7:30 p.m. in Mills Hall. They perform a sonata by Johannes Brahms and a rhapsody by Claude Debussy among others. Here is a link to more information and the compete program:
http://www.music.wisc.edu/event/wesley-warnhoff-clarinet/
By Jacob Stockinger
At the Metropolitan Opera in New York City, not many singers get to stop the show — the big, complex and expensive show — and sing an encore aria.
In recent years, since 1942, there have been only three. There was Luciano Pavarotti and Juan Diego Florez, who astonished the audience by repeating the nine high C’s in Gaetano Donizetti’s “La Fille du regiment” (The Daughter of the Regiment).
But just recently there was a third.
His name is Mexican tenor Javier Camarena (below in a photo by Marty Sohl for The Met). He was singing in Don Pasquale,” also by Donizetti, one of the masters of the show-offy and impressively embellished “bel canto” or “beautiful singing” style.
Camarena wowed the crowd with a high D-flat, a half-step higher than the high C that his predecessors sang.
Here is a story, with an interview, on NPR or National Public Radio, that gets you excited about the man and the event just by reading about them:
And here in a YouTube video is the aria he sang — and then sang again:
Tags: aria, Arts, Brahms, Christopher Talor, clarinet, Classical music, concerto, Debussy, Don JUan, Don Pasquale, Donizetti, Garrick Ohlsson, hel canto, Isthmus, Jacob Stockinger, Javier Camarena, John W. Barker, Juan Diego Florez, La fille du régiment, Lindsay Christians, Luciano Pavarotti, Metropolitan Opera, Music, New York City, NPR, opera, Overture Center, Pavarotti, Piano, Piano concerto, rhapsody, Richard Strauss, singer, Sonata, Steven Stucky, symphony, tenor, the Met, tone poem, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vocal music, Wesley Warnhoff, YouTube
Classical music: Is American tenor Bryan Hymel the new King of the High C’s after the late Italian tenor Luciano Pavarotti and the very active Peruvian tenor Juan Diego Florez?
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By Jacob Stockinger
For tenors, High C’s are the brass ring on the carousel of opera.
The late great Italian tenor Luciano Pavarotti and the very busy Peruvian tenor Juan Diego Florez both earned fame and fortune with their singing of the astonishing nine high C’s in Gaetano Donizetti’s bel canto opera “La Fille du Regiment.”
In fact, Florez repeated the same nine high C’s as an encore and it brought down the house.
But it seems there may be another King of the High C’s in the making.
He is a native of New Orleans (isn’t that fitting?) and he is America tenor Bryan Hymel (below, in a photo by Dario Acosta for Warner Classics), who was recently featured on the terrific blog “Deceptive Cadence” for NPR (National Public Radio).
You will surely be hearing more about him. The 35-year-old Hymel has already made his debut at the famed Metropolitan Opera, where he has sung in “Les Troyens” by Hector Berlioz — a role he also sang at the Royal Opera House in London. And he will open the Met’s 2018 season in “Samson and Delilah” by Camille Saint-Saens.
Here is a link to that story by Tom Huizenga. It is complete with sound samples from Hymel’s debut album “Héroïque” — in particular the difficult aria “Asile héréditaire” from the opera “William Tell” by Giachino Rossini — and the CD features a total of 19 high C’s. That led Huizenga to proclaim: “This is why we listen to opera!”
http://www.npr.org/blogs/deceptivecadence/2015/02/25/388783314/bryan-hymels-hefty-high-cs
The Amazon.com reader reviews of the new all-French album (below, with an audiovisual clip of the behind-the-scenes recording process) not only praise Hymel for his high C’s – and C-sharps and even D’s — but single out the quality of his singing.
You can hear that strong, pitch-accurate and seemingly effortless quality in one of The Ear’s favorite tenor arias: “Nessun dorma” from “Turandot” by Giacomo Puccini, which Hymel signs with the Jerusalem Symphony Orchestra in a YouTube video at the bottom.
Tags: Arts, bel canto, choral music, Classical music, Compact Disc, Donizetti, France, French opera, Giacomo Puccini, Gioacchino Rossini, Gioachino Rossini, High C's, Jacob Stockinger, Jerusalem, Jerusalem Symphony Orchestra, Juan Diego Florez, La fille du régiment, London, Luciano Pavarotti, Madison, Madison Symphony Orchestra, Metropolitan Opera, Music, Nessun Dorma, New Orleans, New York City, NPR, opera, Orchestra, Pavarotti, Royal Opera House, Samson and Delilah, tenor, Turandot, United States, Warner Classics, William Tell, YouTube
Classical music: Opera diva Deborah Voigt comes clean in her new memoir about her weight-loss surgery as well as her addictions to food, online dating and alcohol.
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By Jacob Stockinger
Talk about living a life that sounds like an opera.
Take opera diva Deborah Voigt (below).
Voigt is supremely talented.
And now it turns out that the opera star is also supremely honest. And boy, does she have some great stories to tell — stories that don’t always reflect well on the opera world, let alone herself.
In her new memoir, “Call Me Debbie: True Confessions of a Down-to-Earth Diva,” the opera star talks about her childhood, her career, her gastric by-pass weight-loss surgery in 2004 and other problems including her abuse of alcohol, her dangerous relationships with men she met online and of course her relationships with food and music.
Here is pre-surgery Fat Debbie:
Here is post-surgery Thin Debbie, playing Brunnhilde in Richard Wagner‘s “Ring” cycle for the Metropolitan Opera:
Voigt also comes off as a thoughtful woman who does not shun her own individual responsibility for her problems, but who sees them in a social and even sexist context, such as the double standard in opera for heavy men like the legendary and obese tenor Luciano Pavarotti (below) and heavy women like herself.
The Ear offers you a roundup of reviews and interviews about the new book.
Here is an interview with Scott Simon on NPR or National Public Radio:
http://www.npr.org/2015/01/17/377503009/a-down-to-earth-diva-confronts-her-flaws-and-good-fortune
Here is a piece from The Wall Street Journal with a Q&A interview:
http://www.wsj.com/articles/opera-singer-deborah-voigt-an-anti-diva-bares-it-all-1421358335
Here is the take in the popular People magazine:
http://www.people.com/article/deborah-voigt-memoir-call-me-debbie-food-addiction
And here is a nitty-gritty account in The New York Post:
http://nypost.com/2015/01/11/too-fat-opera-singer-lost-the-weight-but-found-a-world-of-troubles/
But let’s not forget the talent and great voice that make all these other things noteworthy. So here is Deborah Voigt’s most popular video on YouTube:
Tags: Arts, Classical music, diet, diva, fat, gastric by-pass surgery, Jacob Stockinger, Luciano Pavarotti, Metropolitan Opera, Music, New York City, New York Post, NPR, opera, Pavarotti, People, Richard Wagner, soprano, The Ring, The Wall Street Journal, thin, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vocal music, Wall Street Journal, weight loss, YouTube
Classical music: Opera diva Renee Fleming will sing the National Anthem to open the NFL Super Bowl XVIII (48) next Sunday. But WHY and HOW did that happen and WHAT does it mean for professional music and professional sports?
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By Jacob Stockinger
What is THIS all about?
Next Sunday -– a week from today – is Superbowl XVLIII (that’s 48 in plain English numerals — does the NFL think Latin adds class to football?)) between the Seattle Seahawks and the Denver Broncos. It will be held in bad cold weather in New Jersey’s MetLife Stadium in the Meadowlands. That’s the football game where the best seats are going for more than $25,000. (Where are you now, Tony Soprano?) Not that a wealth gap exists between professional sports like football (below) and the rest of America. Oh, no — never that.
And guess who will sing the national anthem, the tricky “The Star-Spangled Banner,” to open the show – and it is a show. None other than superstar soprano Renee Fleming (below).
Yep, the lovely and gifted opera diva herself.
Now, I am not about to complain about a classical music star getting a chance for such exposure. But it does makes you wonder how it happened.
Did her agent approach the NFL?
Or did the billionaire-packed NFL decide on its own — somewhere in its posh 280 Fifth Avenue headquarters (below top is the exterior, below bottom is the interview its tacky half-Football Desk) that are tax-exempt – that it would buy some highbrow class and at the same time help the cause of classical music and maybe build a new audience?
The Ear can’t imagine it was done by popular choice, under pressure from the fans.
And WHY was it done?
Did a lot of classical music presenters, who already realize that it is commercial suicide to hold a concert on Super Bowl Day, think to put some class into the Super Bowl and not risk bad attendance?
Was it just out of a taste for variety?
Fleming, who has a deep background in jazz and popular music, will probably nail it of course.
But will Renee Fleming create the same kind of rowdy, over-the-top atmosphere that is appropriate to the occasion as some bluesy-gospel, pop-rock or hip-hop star rendition would? Sure, Fleming sells a lot of records and tickets — but nowhere near as much as the superstars in those others genres of music do.
I guess we will see.
If she goes over well, maybe they can book her for the half-time act in a couple of years. But someone like superstar pianist Lang Lang (below), who will perform with metal rockers Metallica at this year’s Grammy Awards to be broadcast live tonight, seems a more likely candidate. Why book Rubinstein when you can get Liberace?
Well, at least folks at the Super Bowl can feel as classy as the Metropolitan Opera folks for a couple of minutes –- until the concussions start.
I don’t know if we will ever get the back story about the why and the how. But here is a link to the story that NPR’s excellent Deceptive Cadence blog had about Renee Fleming and the Super Bowl.
It is good, short and to the point, even if it doesn’t move beyond the headlines.
See what you think.
And for True Fans, here is a link to the official NFL Super Bowl 48 site, loaded with information and complete with a clock counting down to the coin toss and kickoff:
http://www.nfl.com/superbowl/48
What would be a good, an appropriate opera aria to mark the Super Bowl? How about Puccini’s “Nessum dorma” (“No one sleeps”) from “Turandot,” below in a popular YouTube video with almost 9 million hits. It features tenor Luciano Pavarotti, who made it his signature aria, and it shows the last time he sang it in 2006 at the Winter Olympics in Torino, Italy. Look at the sets. Listen to the crowd going wild. It seems in keeping with the Super Bowl, no?
But if you can suggest another choice, The Ear wants to hear it.
Tags: Classical music, Denver Broncos, football, Grammy Award, Italy, Jacob Stockinger, Lang Lang, Luciano Pava, Meadowlands, MetLife Stadium, Metropolitan Opera, Music, National Football League, Nessun Dorma, New Jersey, NFL, NPR, Olympics, Park Avenue, Pavarotti, Piano, professional sports, Puccini, Renée Fleming, Seattle Seahawks, Sports, Star-Spangled Banner, Super Bowl, Super Bowl XLVIII, Torino, Winter Olympics
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The Well-Tempered Ear 
Classical music: Why does Pavarotti – the man and now the movie – fascinate us?
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
By Jacob Stockinger
This weekend a lot of people nationwide will go see the movie “Pavarotti,” the documentary by Ron Howard about the legendary Italian tenor who died 12 years ago.
Luciano Pavarotti (below) was and remains a superstar, a major cultural phenomenon, which is why Decca Records is cashing in by releasing not only the soundtrack to the documentary film but also a new 3-CD compilation of Pavarotti’s best singing.
It’s all so curious, especially if you compare Pavarotti’s artistic accomplishments against those of, say, Placido Domingo.
Pavarotti couldn’t read music.
He couldn’t act very convincingly.
The roles he learned were relatively limited in number.
He made major personal and professional missteps.
Yet we remain deeply drawn to Pavarotti.
Why?
It certainly has to do with his extraordinary voice, the tone and power of which could make your neck hairs stand on end, give you goosebumps, bring tears to your eyes and make you sob out loud.
Just listen to his singing of Puccini’s “Nessun dorma,” the crowd-pleasing signature aria from “Turandot” that Pavarotti performed over and over again in concerts, operas and at the famous “Three Tenors” stadium concerts. (You can hear it in the YouTube video at the bottom.)
But there is more to Pavarotti as a cultural phenomenon, much more, that tells us about ourselves and about the appeal of opera in general.
Without question, the best cultural analysis of Luciano Pavarotti that The Ear has ever seen or heard came recently from the critic Zachary Woolfe in The New York Times.
As Woolfe deconstructs “this hulking, sweaty man with stringy hair, a patchy beard and an unforgettable sound,” you learn much about the popular appeal – both high and low — of opera as well as the commercial and artistic appeal of Pavarotti.
Here is a link to Woolfe’s “Critic’s Notebook” analysis, which is well worth reading on its own or either before or after you see the new film.
https://www.nytimes.com/2019/06/03/arts/music/pavarotti-ron-howard.html
And here is the official trailer for the film, with comments from many of his colleagues, which gets mixed reviews:
What do you think of Zachary Woolfe’s analysis of Pavarotti?
Why do you think the singer was so popular?
What is your favorite performance of his?
And if you saw the film, what did you think of it? Do you recommend seeing it?
Leave a comment.
The Ear wants to hear.
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