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She’s The Serge Diaghilev Of The 21st Century

Beth Morrison and her company have produced dozens of new operas and music-theater works since they launched in 2005, including such prize-winning, audience-thrilling pieces as Missy Mazzoli’s Breaking the Waves and Du Yun’s Angel’s Bone. In a Q&A, she talks about how and why she crossed over from singing into production, how she chooses projects, and where she sees the art form heading. (And by the way, “Nothing’s easy about producing opera. Nothing at all. It’s expensive, it’s challenging, everything about it is hard.”) – San Francisco Classical Voice

Hobby Lobby, Christie’s, And The U.S. Government Are All Fighting Over The ‘Gilgamesh Dream Tablet’

The 3,600-year-old, 6×5-inch clay fragment contains the section from the Epic of Gilgamesh in which the hero recounts his dreams to his mother. The U.S. Dept. of Homeland Security seized it from the Museum of the Bible last fall after determining that it had been illegally trafficked from Iraq; Hobby Lobby, which purchased the tablet for the Museum from Christie’s in 2014, is suing the auction house for fraud; Christie’s says that a unidentified dealer admitted to authorities after the fact that the tablet’s provenance documents were forged and may launch a suit of its own. – The New York Times

Germany’s First Post-COVID Classical Concert With An Audience Was On Monday. Here’s How It Went

At the State Theater of Hesse in Wiesbaden, bass Günther Groissböck and pianist Alexandra Goloubitskaia gave a recital of Schubert and Mahler before about 200 people in a 1,000-seat auditorium — with plenty of hand sanitizer around the building and intermission snacks outside the front door. (Thank heaven the weather was good.) The audience, such as it was, “was ecstatic.” – The New York Times

Texas Ballet Theater Cuts Budget, Salaries, Season Due To COVID

The company, which performs in Fort Worth and Dallas, is reducing its total budget from $10.8 million to $8.5 million, reducing dancer and staff pay on a scale from 5% to 20%, changing dancer contracts from 40 to 38 weeks, and postponing the start of next season until the holiday run of The Nutcracker, thus cutting programming from five to four productions. – The Dallas Morning News