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on my second-to-last day in Houston, pure late-afternoon glory at Rothko Chapel and the The Menil Collection

everyone everyone everyone should sign this petition protesting the demented, nonsensical defunding/relocation of English National Opera (English National Opera):

effective altruism is not doomed. the movement's central ideas are too strong to be brought down by one ex-billionaire. but I really hope the FTX catastrophe teaches EA's leaders to stop snuggling with unhinged crypto-futurists who risk derailing EA's core humanistic mission!

the Metropolitan Opera recording of "Eurydice" is nominated for a Grammy! so proud of our whole team: @nezetseguin, ERIN MORLEY, Joshua Hopkins, @BelCantoBhoy, the METOrchMusicians and MetOperaChoristers, and the *wizardly* engineer David Frost nytimes.com/2022/11/15/art…

I like to refer to male authors as “Man Bookers”

The New Yorker agrees, EL NIÑO: NATIVITY RECONSIDERED is the piece to see this holiday season! Choose-what-you-pay tickets are still available and start at just $5, on sale at the link in bio. Thanks to Oussama Zahr for the shout-out!

I wrote about the UK Arts Council's muddled, misguided decision to cut off annual funding to the English National Opera for The New York Review of Books: nybooks.com/online/2022/12… Arts Council England

“Classical music in the UK has long enjoyed the kind of robust public support that American artists can only dream of,” writes Matthew Aucoin. “At the moment, however, the integrity and consistency of that support is seriously at risk.” go.nybooks.com/3vpOVO2

I wrote about Matthew Aucoin, Anthony Davis, Terence Blanchard and their Recording Academy / GRAMMYs nominated operas. One of those rare instances where the 3 competing works are all gorgeous and visionary. 🌿 grammy.com/news/best-oper…

"The Kleiber aesthetic is founded on the interdependence of delicacy and violence." I wrote about Carlos Kleiber's never-quite-articulated theory of performance, and the surreal weirdness of his letters (written in flawless English) for The New York Review of Books nybooks.com/articles/2023/…

Matthew Aucoin (Matthew Aucoin) on the conductor Carlos Kleiber, the nonpareil of podium alchemy go.nybooks.com/3x9beYX

this is one of those weeks where I feel like a very lucky composer. two orchestral performances in the same city (Boston) on the same night! I will be sprinting from Sanders Theater to Jordan Hall in an attempt to hear both… New England Phil #harvardradcliffeorchestra

last night at a party a friend was talking about wanting to stage “Gurrelieder.” an innocent bystander had a horrified expression on his face. I believe this is because he misheard the title as “Girl Eater.”

"The Impossible Art: Adventures in Opera" is now out in paperback! it's a book that has been described (by me) as being "like listening to opera without having to listen to opera." check it out here: us.macmillan.com/books/97812508…

the Ed Sheeran trial takes a shocking turn with the arrival of a surprise witness: Theodor Adorno 👀🍿

"Eurydice" is headed to Boston! see you next spring Boston Lyric Opera: blo.org/eurydice/ Sydney Mancasola David Portillo

I'm making a piece with Peter Sellars based on poetry by Jorie Graham. It's called MUSIC FOR NEW BODIES. Wow I don't have words for how excited I am for this one. See you next April at @DaCameraHouston Shepherd School dacamera.com/2023-2024-seas…

Matthew Aucoin (Matthew Aucoin) on George Benjamin and Martin Crimp’s tender, crushing opera Picture a day like this go.nybooks.com/3OVn6ax

“Two decades into George Benjamin and Martin Crimp’s creative partnership, it feels neither premature nor hyperbolic to suggest that theirs is among the most successful composer–librettist collaborations in operatic history.” —Matthew Aucoin go.nybooks.com/3wpUxLH

MUSIC FOR NEW BODIES: youtube.com/watch?v=pkNnO_… (excerpts from the world premiere performance, Houston, April 2024) @DaCameraHouston Kathryn Lewek Shepherd School