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
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
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.
The Ghana-born, L.A.-based Moses Sumney has released a second track from his first full-length record, Aromanticism, featuring a stellar line-up and stunning, soulful meditations.
"Quarrel" starts with a slow burn — just vocals over downtempo electronics and acoustics. "He who asks for much / has much to give," Sumney opens. "I don't ask for much / just enough to live," he continues, and a fluttering harp wanders in, punctuating his lyrics. Sumney tells NPR, after seeing harpist Brandee Youngeron YouTube, he "flew to Harlem last summer just to record her."
"Quarrel" is just as thematically complex as it is musically, touching themes of isolation and pent-up anguish: "Don't call it a lover's quarrel," Sumney dares, "We cannot be lovers / 'Cause I'm the other." The accompanying visuals, done by Sam Cannon, feature a rose trapped in amber. Sumney explains that he wanted something that was simultaneously romantic and a send-up to romanticism— the rose is "preserved against its will, but still manages to decay."
He who asks for much Has much to give I don’t ask for much Just enough to live But in the light Morning will reveal the spoils of night Through the walls of Jericho Lies a heart of stone
With you half the battle Is proving that we’re at war I would give my life just for the privilege to ignore
Don’t call it a Lovers’ Quarrel
To whom much is given Much is required Luxurious liver You never inquire
It ain't right, you see Who is your family? If I dont have tools to fight Calling this a quarrel isn’t right
Quoting this a quarrel So immorally implies We’re equal opponents And we both antagonize
Don’t call it a Lovers’ Quarrel Don’t call it a Lovers’ Quarrel
We cannot be lovers Cuz I am the other We cannot be lovers Long as I’m the other