Atom Egoyan On Directing His First Chinese Opera

“I think I was really aware of being able to use a different dramaturgy than I would with a Western opera. … It’s not naturalist by any means. It’s very expository and that was one of the huge challenges. … You’re also dealing with two different traditions, one [singer] is coming from Beijing opera, one is coming from Sichuan opera, and they have their own very different gestures and different ways of approaching character work.”

The Fearmonger’s Guide To Robot Composers (A Defense Of Software That Writes Its Own Music)

“We already use computers to edit films, process photographs, record and enhance music. Artists actually have a great working relationship with technology. So what’s the hang up with introducing computers into music composition? … [M]usic is different. It’s so rooted in math and science that it seems to make more sense to trust computers with it.”

The Deepest Problem With Britten’s Billy Budd: The Closet

Zachary Woolfe: “Billy Budd is a product of the gay closet. It is an opera composed by a closeted gay man, to a libretto written by Forster, a closeted gay man, based on a novella by a man who scholars often suggest was closeted and that revolves around the attractions of men to other men. … [The opera] reveal[s] a great truth about the closet: It’s boring to watch. Like any magic realm with its languages and codes, it is wholly engrossing only when you’re inside it.”

Piano Rolls For the 21st Century: Composer Knits Scarves That Control Disklavier

“By weaving conductive thread into the yarn, [Jeff] Bryant found that he could manipulate the fiber to control a musical instrument … So, with help from a costume designer, Bryant knit a few conductive scarves and asked a dancer to wear them. As the dancer performed Bryant’s push_push … the scarves activated the piano’s keys through wireless signals.”