Skip to comments.I'm blacklisted, says opera maestro
Posted on 10/19/2008 9:59:52 AM PDT by BigEdLB
John Adams, one of the most revered living classical composers, has claimed that he is blacklisted in his native America and is being followed by the security services.
The 61-year-old musician has accused the United States of being in the grip of a political and moral panic and has complained that he is now grilled by airport immigration officers whenever he flies home because of his controversial reputation.
(Excerpt) Read more at guardian.co.uk ...
There are those who write "serious" music who are not loony like me (I write music). Offbeat hobby with a computer mouse. I am troubled by the onesided left that seems to permeate the arts.
Upon the Approach to the Event Horizon is one of my works.
Anyone calling 9-11 a “glamorous event” should bear close scrutiny. If he doesn’t like it, tough cookies.
“Opera Maestro” or “Drama Queen ?”. A little pub before a perfomance is good, even if you have to slime your country to get it.
What else you got tucked away?
Never heard of him but appears to be very small on the scale of human relevance.
His opera “Nixon In China” is terrific.
Especially when the original Nixon, John Maddalena, essayed the role.
Operas have always been political. Verdi had to reset “Un Ballo un Maschera” in colonial Boston because European royalty did not want the peasantry being inspired by assassination plots against the king, as the original story is based on the murder of a Swedish king. His “Don Carlos” for years was forbidden in Spain because of its very unflattering portrayal of both the Spanish Inquisition and King Phillip II.
Dmitriy Shostakovich became a “non-person” for a decade after his opera “Lady Macbeth of Mtensk”, where the character of Uncle Vanya is a thinly-disguised caricature of Joe Stalin.
Wagner was hounded because his opera “Rienzi” inspired the 1848 uprising in Dresden.
And nowadays, just try staging Bernstein’s masterpiece “West Side Story” without some flak from various Hispanic “professional victim” groups because of all the racial slurs and characterizations of Puerto Ricans.
Nothing new here.
But I think Adams needs to be left alone. America’s serious musicians and composers are some of our greatest national treasures. So who cares what their views are? I may detest the late Paul Robeson’s politics, but that magnificent basso still brings tears to my eyes.
He sounds like a creep. He calls himself "thoughtful".
The politics of any artist is invariably, I hope, less interesting than their art.
and modest too no doubt.
Thanks for the ping.
Classical Music Ping List ping.
If you want on or off this list, let me know via FR e-mail.
LOL. Your sarcasm nails it. This forum is more and more becoming like what the Democrats used to be exclusively—there is no disagreement without questioning the worth of the person or the worth of the person’s production. But, as this became a mass forum (and as some great posters were banned for the same reasons), distinctions gave way to the verbal hammer.
Last Wednesday's Oct. 15 NYT carried an article on the front page of The Arts section entitled 'Liberal Views Dominate Footlights' ... News Flash!
I found the tone of bemused realization quite amusing. "If you think the one-sidedness is a result of the city's [ i.e. NYC ] generous supply of liberals, then look west of the Alleghenies, where, from Pittsburgh to Des Moines, on down to Austin, Tex., and all the way back up to Ashland Ore., the absence [ of a conservative viewpoint on stage ] is noticeable."
All the way back up to Ashland! Lordy! Lordy!
Coincidentally, the feature article on the same page is a review of the new Met production of John Adams' Doctor Atomic, about Oppenheimer.
I know his name and reputation, and the titles of his works. I am tempted to echo Laura Ingraham, and say “Shut up and Compose”, which would be harsh, but what Adams is suggesting the culture is already doing to him is saying
“Shut up and DON’T compose”. Bull. I’d be surprised if the Klinghofer “opera” takes the tragedy of Klinghofer’s death lightly, but who knows? It may be hand-wringingly pro-Palestinian. I just was never familiar with his political biases. I am now, though. His rhetoric is oh-so-familiar from so much of the Left: their own sense of self-importance leads them to propose some kind of “Big Chill” on dissent, which of course leads them to bravely and boldly break free from the “censorship” and intimidation they think is being visited on them. They need to see themselves as heroes, tilting at the windmills of incipient fascism. I hope we all got used to this in the first few years of the Iraq War, where people like Tim Robbins, all quivery-lipped, “refused to be silenced”.
I, for one, thought it was pathetically hilarious, this need for self-aggrandizement.
I would venture that the orgy of narcissism is him believing that he is blacklisted for his political views just because he gets hassled at airport security. There’s a whole mess of Medal of Honor winners, senior national security officials and ordinary folk who get the same treatment for no logical reason whatsoever.
The influence of opera on the fate of nations in the modern world is too slight to stir any fascist tendencies in the US.
Not all of ‘em do.
Bernstein was a rabid looney leftie. That doesn’t diminish the greatness of his music and his music-making.
Artists fall for idiotic political theory all the time, anyway. Herbert von Karajan, Karl Böhm, Wilhelm Fürtwangler, Wilhelm Backhaus, Elisabeth Schwartzkopf, Dietrich Fisher-Dieskau, and Hans Knappertsbusch were all Nazis and had to be officially “de-nazified” after the war before they could perform again.
The world of serious music would have suffered a catastrophic loss if their infatuation with excreble politics interfered with their subsequent splendid careers.