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luís soares

Blog do escritor Luís Soares

tonite

LCD Soundsystem's new album 'american dream' featuring "call the police" and "tonite" will be released on September 1. 

Directed by Joel Kefali: http://www.joelkefali.com

 

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

La Valse

Yekwon Sunwoo plays Ravel's La Valse

 

Gold Medalist of the 15th Van Cliburn International Piano Competition.

Every four years, the Van Cliburn International Piano Competition convenes the most promising rising star pianists from around the world for 17 days of intense competition.

The winners of this year’s edition come to The Greene Space at WQXR for their first public appearance as winners.

An Evening With Nico Muhly

From September 2013:

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

 

PROGRAM:

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

Skip Town (Nico Muhly, piano)

PHILIP GLASS: Etude 12 (Nico Muhly, piano)

Anna Caterina Antonacci sings the Habanera

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.

Quarrel

From NPR:

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."

The track quickly wells into a complex polyphony. Sumney's long-time collaborator, Thundercat, appears on bass, and Jamire Williams (Miguel Atwood-Ferguson Ensemble) joins on drums to lay down a constantly changing R&B groove. Paris Strother (KING trio) flips between flickering, piercing synth lines and jazz-flaired piano solos, and Cam O'bi (known for his work with Chance the RapperNonameVic Mensa) partners with Joshua Willing Halpern (Beck) to produce the track.

"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