Everybody's singing the same song It goes "tonight, tonight, tonight, tonight, tonight, tonight" I never realized these artists thought so much about dying
But truth be told we all have the same end Could make you cry, cry, cry, cry, cry But I'm telling you This is the best news you're getting all week
Oh sure it's ruling the airwaves What remains of the airwaves And we're frankly thankful for the market psychology you're hipping us to
And all the hits are saying the same thing There's only tonight, tonight, tonight, tonight, tonight, tonight And life is finite But shit, it feels like forever It feels like forever
Oh is everybody feeling the same stuff? We're all wild Except for you And you know who you are This is a love song
And you're getting older I promise you this; you're getting older And there's improvements unless You're such a winner That the future's a nightmare And there's nothing I can do Nothing anyone can do about this
And oh, I'm offering you a chance to get even But oh, you know very well the dialect of negation Sure enemies haunt you with spit and derision But friends are the ones who can put you in exile But that's not right
And you're too shocked to be used Or you're too shocked from being used By these bullying children of the fabulous Raffling off limited edition shoes
And what's it you do again? Oh I'm a reminder The hobbled veteran of the disk shop inquisition Set to parry the cocksure of men's sick filth With my own late era middle-aged ramblings Every lover favors the same things It's all "touch me, touch me, touch me, touch me tonight" We maybe realize what it is we need before we die
And luck is always better than skill at things We're flying blind Oh good gracious I sound like my mom
But out of the little rooms and onto the streets You've lost your internet and we've lost our memory We had a paper trail that led to our secrets But embarrassing pictures have now all been deleted By versions of selves that we thought were the best ones 'Till versions of versions of others repeating Come laughing at everything we thought was important While still making mistakes that you thought you had learned from And reasonable people know better than you That cost in the long run but they don't know the short game And terrible people know better than you They're used and abused of the once so dear listener So you will be badgered and taunted until death You're missing a party that you'll never get over You hate the idea that you're wasting your youth That you stood in the background oh until you got older But that's all lies That's all lies
It's gonna have to be good enough, I can't do this anymore, my brain won't work
I see the boys of summer in their ruin Lay the gold tithings barren, Setting no store by harvest, freeze the soils; There in their heat the winter floods Of frozen loves they fetch their girls, And drown the cargoed apples in their tides.
These boys of light are curdlers in their folly, Sour the boiling honey; The jacks of frost they finger in the hives; There in the sun the frigid threads Of doubt and dark they feed their nerves; The signal moon is zero in their voids.
I see the summer children in their mothers Split up the brawned womb’s weathers, Divide the night and day with fairy thumbs; There in the deep with quartered shades Of sun and moon they paint their dams As sunlight paints the shelling of their heads.
I see that from these boys shall men of nothing Stature by seedy shifting, Or lame the air with leaping from its heats; There from their hearts the dogdayed pulse Of love and light bursts in their throats. O see the pulse of summer in the ice.
But seasons must be challenged or they totter Into a chiming quarter Where, punctual as death, we ring the stars; There, in his night, the black-tongued bells The sleepy man of winter pulls, Nor blows back moon-and-midnight as she blows.
We are the dark derniers let us summon Death from a summer woman, A muscling life from lovers in their cramp From the fair dead who flush the sea The bright-eyed worm on Davy’s lamp And from the planted womb the man of straw.
We summer boys in this four-winded spinning, Green of the seaweeds’ iron, Hold up the noisy sea and drop her birds, Pick the world’s ball of wave and froth To choke the deserts with her tides, And comb the county gardens for a wreath.
In spring we cross our foreheads with the holly, Heigh ho the blood and berry, And nail the merry squires to the trees; Here love’s damp muscle dries and dies Here break a kiss in no love’s quarry, O see the poles of promise in the boys.
I see you boys of summer in your ruin. Man in his maggot’s barren. And boys are full and foreign to the pouch. I am the man your father was. We are the sons of flint and pitch. O see the poles are kissing as they cross.
Opera audiences are well acquainted with all manners of intrigue — whether political, romantic or psychological. The exciting American composer Nico Muhly is updating that paradigm to the 21st century with his opera Two Boys.
This work, commissioned by the Metropolitan Opera, is loosely based on a true story from the 1990s, just at the birth of online culture. It delves into a curious and still very timely tale: a detective's investigation into the stabbing of one teenage boy by another, a crime that unspools within a web of chat room activity. Upon the piece's world premiere at the English National Opera in June 2011, New York Times critic Zachary Woolfe described Two Boys as "Muhly's best work yet." Two Boys arrives for its American premiere at the Met in October.
On May 14, Muhly teamed up with a spectacular group of friends for an intimate evening performance produced by the Met and (Le) Poisson Rouge that anticipates Two Boys' American debut. The performers represented the incredible range of Muhly's musical fluency: tenor and Two Boys star Paul Appleby; soprano Jennifer Zetlan, who starred in Muhly's 2011 chamber opera Dark Sisters and is also slated to sing in Two Boys at the Met; indie folk singer/songwriter Sam Amidon; frequent Muhly collaborator, violist (and Q2 host) Nadia Sirota; and duo violinists Angela and Jennifer Chun. With Muhly's entertaining and illuminating running commentary — and many exciting performances — this was definitely an evening to remember. -- ANASTASIA TSIOULCAS
All music by Nico Muhly unless otherwise noted
Hudson Cycle (Nico Muhly, piano)
Etude 3 (Nadia Sirota, viola; Nico Muhly, piano)
JOHN ADAMS: Am I in Your Light (Jennifer Zetlan, soprano; Nadia Sirota, viola; Nico Muhly, piano)
Two Songs: "Last Words" and "Empty House" (Jennifer Zetlan, soprano and Nico Muhly, piano)
"I'm Scared for My Life" from Two Boys (Jennifer Zetlan, soprano; Nadia Sirota, viola; Nico Muhly, piano)
Etude 1 (Nadia Sirota, viola; Nico Muhly, piano
SAM AMIDON: "Wild Bill Jones," "Short Life," "As I Roved Out," and "Saro" (Sam Amidon, voice, guitar and banjo; Nico Muhly, piano
Honest Music (Angela and Jennifer Chun, violins; Nico Muhly, piano)
"I'm Only Sixteen" from Two Boys (Paul Appleby, tenor; Nadia Sirota, viola; Nico Muhly, piano
In my craft or sullen art Exercised in the still night When only the moon rages And the lovers lie abed With all their griefs in their arms, I labor by singing light Not for ambition or bread Or the strut and trade of charms On the ivory stages But for the common wages Of their most secret heart.
Not for the proud man apart From the raging moon I write On these spindrift pages Nor for the towering dead With their nightingales and psalms But for the lovers, their arms Round the griefs of the ages, Who pay no praise or wages Nor heed my craft or art.
The Habanera is the aria Carmen sings when she first appears on stage. It is also known as 'L'amour est un oiseau rebelle'.
Carmen was based on a popular novella of the same name by Prosper Mérimée, which enticed French readers with exotic tales of Spain. Its heady combination of passion, sensuality and violence initially proved too much for the stage and Georges Bizet's opera was a critical failure on its premiere in 1875. Bizet died shortly after, never learning of the spectacular success Carmen would achieve -- it has been staged over 500 times at Covent Garden alone.
Carmen contains many well-loved numbers, such as Carmen's seductive Habanera and Escamillo's rousing Toreador's song, in which he celebrates the thrill of the bullfight. Richly coloured designs capture the sultry heat of the Spanish sun, while ranks of soldiers, crowds of peasants, gypsies and bullfighters bring 19th-century Seville alive. This combination of memorable music, vivid setting and dramatic story have made Carmen one of the most popular operas in the world.