Latest news with #Harlem
The Independent
10 hours ago
- Entertainment
- The Independent
`This House' makes world premiere, exploring Black history through a family's legacy in Harlem
Near the end of 'This House,' a heart-wrenching opera given its world premiere last weekend, the matriarch Ida poignantly intones messages to her family on stage and to the audience. 'History's the only thing to survive,' soprano Adrienne Danrich sings before adding: 'You may have left us, but we will never leave you.' A rumination on love, aspiration, coping and the unyielding weight of the past, the roughly two-hour work that opened Saturday night at the Opera Theatre of St. Louis mixes the living and ghosts ambiguously in a Harlem brownstone. Ricky Ian Gordon's lush score brings to vivid life a libretto by Lynn Nottage and her daughter Ruby Aiyo Gerber, weaving impacts of the Civil War, Great Migration, Black Power movement, AIDS crisis and gentrification. There are five more performances through June 29. 'I just wanted to be able to tell all of these really important moments in Black history,' Gerber said, 'but as they relate to one family up into the current moment, so that there is not this erasure as if the past was the past, which I think increasingly now, especially as we see more and more censorship of Black history, is kind of this pervasive narrative.' Writing began when Gerber was a college senior Now 27, Gerber started 'This House' as a play in 2020 during her senior year at Brown while the coronavirus pandemic unfolded. Her mother, the only woman to win a pair of Pulitzer Prizes for drama, for 'Ruined' and 'Sweat, ' suggested Gerber adapt it with her into an opera composed by Gordon, Nottage's partner on 'Intimate Apparel' at Lincoln Center Theater. Opera Theater of St. Louis commissioned 'This House' for its 50th anniversary festival season as its 45th world premiere. 'Equal parts a family drama, a ghost story and a meditation on inheritance and memory,' company general director Andrew Jorgensen said. Ideas were exchanged when Gordon, Nottage and Gerber met at a Providence, Rhode Island, hotel. Among the changes, an escapist duet the librettists centered around Barcelona was changed to Valencia so as not to be similar to Stephen Sondheim's 'Company.' 'Being a mother-daughter you can be so honest,' Gerber said, recalling her mom telling her of one flowery passage: 'That's corny and I don't think it works.' Nottage still lives in the Brooklyn parlor house where Gerber grew up. 'We have different muscles. I'm someone that comes from the playwriting world,' Nottage said. 'Ruby's comfort zone is really poetry and language. and so I thought that between the two of us, we could divide and conquer in some ways.' Opera is set in Harlem brownstone In the resulting story, a house at 336 Convent Ave. was bought in 1919 by Minus Walker, a sharecropper's son. Zoe, a present-day investment banker (soprano Briana Hunter), and husband Glenn (tenor Brad Bickhardt) mull whether to move back to the house and subdivide the property. Zoe's brother, poetic painter Lindon (baritone Justin Austin), doesn't want to leave the house. and his lover Thomas (bass-baritone Christian Pursell) suggests they travel to Spain. Hunter tapped into anxiety, fear, pain and grief to portray Zoe. 'She's an ambitious woman, and she has been through a lot of really horrible, traumatic events through her family,' Hunter said. 'I understand the desire to kind of escape that. She's kind of a classic case of you can't avoid things forever.' Eight of the 10 characters are Black. There's a love triangle, pregnancies and surprise deaths. The house itself sings in 12-tone chords. Ida's Uncle Percy (tenor Victor Ryan Robertson) is a numbers runner who jolts the first act with an aria 'Drink Up!' 'Sportin' Life on steroids,' Gordon said, referring to the dope dealer in 'The Gershwins' Porgy and Bess.' 'We all are haunted by our past, and we all are haunted by our ghosts,' Gordon said. 'The question of living one's life is how does one reconcile the past and go on? How do you move into a future unbridled and free enough to be liberated and not imprisoned by the past?' Conductor has a penchant for contemporary works Daniela Candillari led her third world premiere in less than two years after Jeanine Tesori's 'Grounded' at the Washington National Opera and Rene Orth's '10 Days in a Madhouse' at Opera Philadelphia. Gordon originally envisioned the orchestra as chamber sized to hold down expenses, but Candillari pushed to add instruments. Conducting this is different from leading Verdi or Puccini. 'You can have two conductors read the score in a very different way,' she said. 'Having that direct source. a living composer who can tell you: This is what I heard and this is how I meant it and this is what this needs to be, that's incredibly invaluable.' Forty-eight players from the St. Louis Symphony Orchestra were in the deep pit at the Loretto-Hilton Center for the Performing Arts, a venue with a thrust stage and difficult acoustics. James Robinson, the company's former artistic director, returned to direct the performances and is likely to bring the staging to Seattle Opera, where he became general and artistic director in September 2024. 'It is kind of a ghost story, and I think that's the most important thing, knowing that we're able to bounce back and forth between time periods efficiently,' he said. For Danrich, portraying Ida has a special resonance. She is a St. Louis native and is staying at a hotel three blocks from where she grew up. 'My cousins, my grandmother, my grandfather, me, my sisters, we all lived in that big old house and we called it the big house,' she said. 'I was like, yep, this is my house. I'm actually basing her movements and her mannerisms off of my mother.'
Associated Press
10 hours ago
- Entertainment
- Associated Press
`This House' makes world premiere, exploring Black history through a family's legacy in Harlem
ST. LOUIS (AP) — Near the end of 'This House,' a heart-wrenching opera given its world premiere last weekend, the matriarch Ida poignantly intones messages to her family on stage and to the audience. 'History's the only thing to survive,' soprano Adrienne Danrich sings before adding: 'You may have left us, but we will never leave you.' A rumination on love, aspiration, coping and the unyielding weight of the past, the roughly two-hour work that opened Saturday night at the Opera Theatre of St. Louis mixes the living and ghosts ambiguously in a Harlem brownstone. Ricky Ian Gordon's lush score brings to vivid life a libretto by Lynn Nottage and her daughter Ruby Aiyo Gerber, weaving impacts of the Civil War, Great Migration, Black Power movement, AIDS crisis and gentrification. There are five more performances through June 29. 'I just wanted to be able to tell all of these really important moments in Black history,' Gerber said, 'but as they relate to one family up into the current moment, so that there is not this erasure as if the past was the past, which I think increasingly now, especially as we see more and more censorship of Black history, is kind of this pervasive narrative.' Writing began when Gerber was a college senior Now 27, Gerber started 'This House' as a play in 2020 during her senior year at Brown while the coronavirus pandemic unfolded. Her mother, the only woman to win a pair of Pulitzer Prizes for drama, for 'Ruined' and 'Sweat, ' suggested Gerber adapt it with her into an opera composed by Gordon, Nottage's partner on 'Intimate Apparel' at Lincoln Center Theater. Opera Theater of St. Louis commissioned 'This House' for its 50th anniversary festival season as its 45th world premiere. 'Equal parts a family drama, a ghost story and a meditation on inheritance and memory,' company general director Andrew Jorgensen said. Ideas were exchanged when Gordon, Nottage and Gerber met at a Providence, Rhode Island, hotel. Among the changes, an escapist duet the librettists centered around Barcelona was changed to Valencia so as not to be similar to Stephen Sondheim's 'Company.' 'Being a mother-daughter you can be so honest,' Gerber said, recalling her mom telling her of one flowery passage: 'That's corny and I don't think it works.' Nottage still lives in the Brooklyn parlor house where Gerber grew up. 'We have different muscles. I'm someone that comes from the playwriting world,' Nottage said. 'Ruby's comfort zone is really poetry and language. and so I thought that between the two of us, we could divide and conquer in some ways.' Opera is set in Harlem brownstone In the resulting story, a house at 336 Convent Ave. was bought in 1919 by Minus Walker, a sharecropper's son. Zoe, a present-day investment banker (soprano Briana Hunter), and husband Glenn (tenor Brad Bickhardt) mull whether to move back to the house and subdivide the property. Zoe's brother, poetic painter Lindon (baritone Justin Austin), doesn't want to leave the house. and his lover Thomas (bass-baritone Christian Pursell) suggests they travel to Spain. Hunter tapped into anxiety, fear, pain and grief to portray Zoe. 'She's an ambitious woman, and she has been through a lot of really horrible, traumatic events through her family,' Hunter said. 'I understand the desire to kind of escape that. She's kind of a classic case of you can't avoid things forever.' Eight of the 10 characters are Black. There's a love triangle, pregnancies and surprise deaths. The house itself sings in 12-tone chords. Ida's Uncle Percy (tenor Victor Ryan Robertson) is a numbers runner who jolts the first act with an aria 'Drink Up!' 'Sportin' Life on steroids,' Gordon said, referring to the dope dealer in 'The Gershwins' Porgy and Bess.' 'We all are haunted by our past, and we all are haunted by our ghosts,' Gordon said. 'The question of living one's life is how does one reconcile the past and go on? How do you move into a future unbridled and free enough to be liberated and not imprisoned by the past?' Conductor has a penchant for contemporary works Daniela Candillari led her third world premiere in less than two years after Jeanine Tesori's 'Grounded' at the Washington National Opera and Rene Orth's '10 Days in a Madhouse' at Opera Philadelphia. Gordon originally envisioned the orchestra as chamber sized to hold down expenses, but Candillari pushed to add instruments. Conducting this is different from leading Verdi or Puccini. 'You can have two conductors read the score in a very different way,' she said. 'Having that direct source. a living composer who can tell you: This is what I heard and this is how I meant it and this is what this needs to be, that's incredibly invaluable.' Forty-eight players from the St. Louis Symphony Orchestra were in the deep pit at the Loretto-Hilton Center for the Performing Arts, a venue with a thrust stage and difficult acoustics. James Robinson, the company's former artistic director, returned to direct the performances and is likely to bring the staging to Seattle Opera, where he became general and artistic director in September 2024. 'It is kind of a ghost story, and I think that's the most important thing, knowing that we're able to bounce back and forth between time periods efficiently,' he said. For Danrich, portraying Ida has a special resonance. She is a St. Louis native and is staying at a hotel three blocks from where she grew up. 'My cousins, my grandmother, my grandfather, me, my sisters, we all lived in that big old house and we called it the big house,' she said. 'I was like, yep, this is my house. I'm actually basing her movements and her mannerisms off of my mother.'
New York Times
16 hours ago
- General
- New York Times
Trash Containerization Comes to Harlem
Good morning. It's Tuesday. Today we'll look at the start of a pilot program to put trash in bins. It's part of an effort to rid New York City sidewalks of a notorious scene: rat-infested mounds of smelly, black garbage bags. City officials are calling it a 'trash revolution.' A pilot program in the West Harlem neighborhoods of Morningside Heights, Manhattanville and Hamilton Heights is providing residents with large, blocky, lock-tight garbage containers in an attempt to rid the sidewalks of messy, oozing garbage bags. The plan calls for residential buildings with 31 units or more to use oversize bins that can hold 800 gallons of trash, and for buildings with fewer than 10 units to use smaller 'wheelie bins.' Buildings with 10 to 30 units can choose between the two options. Food waste must be placed in designated brown bins or other sealed containers, in line with the city's new composting rules, while recycling, which attracts fewer rats, can still go in clear bags. One casualty of the container pilot is parking. One bin is the size of about half a car and takes the place of roughly 28 garbage bags, according to a spokesman for the Sanitation Department. The rows of oversize bins — some 1,000 of them in the pilot program — have taken up hundreds of parking spots. Double-parking in front of the bins can cause problems, too, since 16 new side-loading garbage trucks are supposed to scoot up to them three times a week to empty their contents. Expanding the program citywide would require the removal of more than 50,000 parking spots, city officials said. There is also the expense: Buying enough bins and trucks could cost hundreds of millions of dollars over the next decade. Want all of The Times? Subscribe.
Yahoo
2 days ago
- Entertainment
- Yahoo
Al Foster, Virtuoso Jazz Drummer to Miles Davis and Herbie Hancock, Dies at 82
Al Foster, 1988 () Al Foster, the jazz drummer who played in bands led by Miles Davis, Sonny Rollins, Herbie Hancock, among others, has died. Foster's daughter Kierra Foster-Ba shared the news on Instagram and his longtime partner, Bonnie Rose Steinberg, told NPR that he died 'from a serious illness.' He was 82. Born in 1943 in Richmond, Virginia, Aloysius Tyrone Foster grew up in Harlem, the second oldest of five siblings. His first musical idol was bebop drummer Max Roach, whose 1955 recording of 'Cherokee' inspired a 12-year-old Foster to begin practicing every day on the drum kit his father had previously gifted him. The budding musician got his first experience working as a studio musician on Blue Mitchell's 1964 album The Thing to Do, which also featured a young Chick Corea. Foster's big break, however, arrived a few years later, when Miles Davis saw him perform at a jazz club on New York's Upper West Side and recruited the drummer to join his band. Foster toured with Davis until the latter's temporary retirement in 1975, and his work can be heard on live albums such as In Concert, Agharta, and Dark Magus. He also played on the Davis several studio LPs On the Corner and Big Fun (1974). The extended jazz-funk jam 'Mr. Foster,' recorded during the On the Corner sessions, was named in his honor. Saxophonist Sonny Rollins had previously fired Foster from his band after their first gig together in 1968, but would bring him on tour in Europe a decade later, and even claimed that 'Harlem Boys,' from his 1979 album Don't Ask, was inspired by the two musicians' similar upbringings. Throughout the late '70s and '80s, Foster also backed up pianists Hancock, McCoy Tyner, and Horace Silver. In 1978, he became one of four members in the Milestones Jazzstars—a label-made supergroup that also featured Rollins, Tyner, and bassist Ron Carter—and in 1985, both he and Carter lent their talents to saxophone virtuoso Joe Henderson's The State of the Tenor, Vols. 1 & 2. Foster continued composing and performing until just months before his death, holding a longstanding residency at the Upper West Side club Smoke and sharing his last album, Reflections, in 2022. In 1989's Miles: The Autobiography, co-written with Quincy Troupe, Davis wrote that 'Al could set shit up for everybody else to play off and then he could keep the groove going forever…for what I wanted in a drummer, Al Foster had it all.' Originally Appeared on Pitchfork
CBS News
3 days ago
- General
- CBS News
Memorial services for late former congressman Charles Rangel announced
Former Rep. Charles Rangel to lie in state at New York City Hall Former Rep. Charles Rangel to lie in state at New York City Hall Former Rep. Charles Rangel to lie in state at New York City Hall Memorial services have been announced for late former congressman Charles Rangel, who died on May 26 at age 94. Rangel will lie in repose at St. Aloysius Church on West 132nd Street in Harlem on June 9 and 10. Members of the public are invited to pay their respects between noon and 8 p.m. each day. He will then lie in state at New York City Hall on June 11 and 12. "We want to show just a high level of respect for a leader. Of my knowledge, there's only two congressmen I can recall from Harlem, and that was the great Congressman Adam Clayton Powell [Jr.] and the Congressman Charlie Rangel, and so we're looking forward to show him the respect that he's due," Mayor Eric Adams said. A funeral service for Rangel will be held at St. Patrick's Cathedral in Midtown at 9:45 a.m. on June 13. The mass will be open to the public. Seating will be limited. Charles Rangel dies at 94 Rangel was a Harlem native who served in the House of Representatives for 46 years. He was a Korean War veteran, the dean of the New York Congressional Delegation, a founding member of the Congressional Black Caucus and the first Black chair of the House's Ways and Means Committee. He was also one of the so-called "Gang of Four" coalition along with fellow Harlem natives Basil Paterson, Percy Sutton and former Mayor David Dinkins. In 2008, Rangel faced a series of ethic violations alleging he failed to abide by tax laws, and in 2010, Congress voted to censure him after he was convicted of 11 counts of violating House rules. He went on to be reelected to two more terms. State flags were flown at half-staff in his honor on Monday and Tuesday, and Gov. Kathy Hochul has ordered flags to be lowered on the day of his funeral service. Rangel is survived by his son and daughter, as well as three grandsons.
