James Turrell’s Roden Crater Set To Open After 45 Years And New Funding (Including $10M From Kanye West)

Roden Crater is located in the Painted Desert region of Northern Arizona, and has been under construction for 45 years. In the early 1970s, Turrell spent the night in the bowl of the extinct volcano in Arizona. Since then, he has set about buying and turning the crater into a celestial observatory connected to a series of spaces and installations.  – ArchDaily

Are We In A Post-Truth Era? That’s An Absurd And Ahistorical Suggestion

The history of ideas, in fact, suggests the opposite… The assumption that the last 50 years or so have marked some unprecedented break with a previous age of truth reflects both an inattention to history and an attitude that might be labeled “pessimistic narcissism,” since it yet again focuses attention on the generation that came of age in the 1960s and ’70s. — The Nation

Why Joel Grey Decided To Direct Yiddish ‘Fiddler On The Roof’ Without Speaking A Word Of Yiddish

“I was having lunch in a restaurant above the theatre at the Museum of Jewish Heritage and I saw the Statue of Liberty in the harbor, and I thought, O.K., there’s a Yiddish word I do know — beshert [destiny]. And I said yes, I’m going to do this. … I listened to a couple of the songs from the recording of the Yiddish version that was done more than 50 years ago in Israel, and I liked the sound of it. It seemed to me to be exactly right.” — Playbill

Harry Christophers To Step Down As Artistic Director Of Boston’s Handel & Haydn Society

The British conductor — the second man to lead the oldest performing arts organization in the U.S. since it made the switch to period instruments and a small-ish professional chorus in 1989 — will have been with H&H for 12 seasons and recorded a dozen albums with the group when he steps down at the end of the 2020-21 season. — WBUR (Boston)

Where The Baltimore Symphony Contract Negotiations Went Wrong — And How They Could Go Better

“When an orchestra faces an existential threat — that’s understandably how the players see this — you have to deal with it in a fundamentally different way. You don’t just follow some symphony industry playbook and toss an incendiary contract offer onto the table. In the midst of the concert season, no less. Seems to me this situation demanded a fresh approach.” Tim Smith offers some ideas for such an approach. — Tim Smith