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Posts Tagged ‘met Museum’

Photos: Suzanne and John’s Mom.

I love walking around dirty old New York, even in cold and rainy weather. Today’s photos are from last weekend, when I took the train down for a wedding.

It’s the small things one notices. The saxophone player under the pedestrian bridge in Central Park, where the sound amplifies like an orchestra. He was playing “Beauty and the Beast,” with his sax case open for tips, a stick placed inside to keep any bills from blowing away.

A nicely dressed woman on a city bus scrolling her phone and wearing a rubber Halloween monster mask — blue and green rubber with a gaping hole at the nose and beaver teeth hanging down.

Then there were two people from my childhood that I ran into on the same morning in the Upper West Side. Not people I even knew from the Upper West Side but from Fire Island. The one I met in an elevator was a close childhood friend. The one I met in a diner was someone I knew from the Ocean Beach teenage musicals I directed. So there we were in a diner on Broadway singing one of those old teenage show tunes.

I got myself lost in Central Park on my way to the Met Museum to see the Harlem Renaissance exhibit. Like all New York, it was way too crowded, too many long lines. You spend 20 minutes waiting to buy a ticket, and then, if you want to unload your coat and backpack, you can wait in a ten-minute line to check them in and another long line to pick them up. I decided I could carry mine.

I photographed the Horace Pippin painting for my artist friend Meredith, a Pippin fan. There were many works by Aaron Douglas, but it was too crowded for much picture taking. Here’s a representative sample of Douglas’s art from the Rhode Island School of Design Museum.

The Met exhibit was huge, with portraits of luminaries like Langston Hughes, Zora Neale Hurston, James Weldon Johnson, and Marian Anderson, and scenes of Black life in the 1920s and ’30s rendered in many styles and media. Some artists, like photographer Carl Van Vechten, were not technically part of the Harlem Renaissance, but close observers.

Moving on to other New York sights.

I often envy blogger Sheree, at View from the Back, who can post the most wonderful door photos. Of course, she lives in Europe. I have to go to New York to get anything comparable. Here are two interesting doors, the second in Riverside Park, where signs of spring were defying the miserable weather.

I love that new homeowners in New York often clean up the lovely, old architectural details. Notice the carved staircase, all sandblasted and spiffy.

Finally, here’s a shot for my Ukrainian friends. Thinking of you. Always.

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Photo: Russ Rowland/Heartbeat Opera.
Professional opera singers Kelly Griffin and Derrell Acon perform with incarcerated singers for Heartbeat Opera’s production of Fidelio in a dress rehearsal at New York’s Metropolitan Museum of Art.

Positive things happen when punishment for people who have committed crimes doesn’t negate their basic humanity. That’s why I like posting stories about enlightened systems (see Norway’s successful rehabilitation process, here) and programs that bring the arts inside the walls.

Anastasia Tsioulcas reported recently at National Public Radio (NPR) about an unusual production of Beethoven’s opera Fidelio, the story of a man who has been imprisoned for political reasons.

“A group of enterprising artists has found a way to bring Fidelio, quite literally, into today’s incarceration system — and to bring the voices of those men and women to the stage.

“In this updated version of Fidelio staged by New York City’s Heartbeat Opera, the main character is Stan, a Black Lives Matter activist who has been thrown into solitary confinement. His wife, Leah, tries to rescue him. The music is still sung in German, but the spoken parts are in English.

“In person, this production is small: there’s just a handful each of instrumentalists and singers on stage at New York’s Metropolitan Museum of Art. … But this production is a much larger effort, notes Ethan Heard, who is a co-founder and artistic director of Heartbeat Opera.

” ‘I revisited the story and was just so struck by the idea of a wrongfully incarcerated man and this amazing woman, his wife, who infiltrates the prison where she believes he’s been kept. And it felt like an opera we could really update for a contemporary American version,’ Heard says.

“Heartbeat first staged its version of Fidelio in 2018 [then updated it] to reflect certain events of the past couple of years, from the nation’s racial reckoning to the Jan. 6 insurrection at the Capitol.

“Stan has been jailed by the corrupt prison governor Pizarro [who exhorts] his cronies to ‘stand back and stand by’ as he plots Stan’s murder. A senior guard, Roc — who is Black himself — comes to wrestle with his position in the system. …

“The emotional apex of any version of Fidelio is a scene in which the prisoners are allowed a brief outing into the fresh air, exulting in a passing moment that feels just a little bit like freedom.

“In thinking about that scene, Heard and co-musical director Daniel Schlosberg hit upon a much larger idea that spoke to what they really wanted this production to address: mass incarceration in America.

“They connected with an old friend of Schlosberg: Amanda Weber, a prison choir director in Minnesota. She in turn helped put them in touch with other such groups. As a result, in Heartbeat’s production, singers from six prison musical groups — a mix of over 100 men and women who are incarcerated as well as about 70 community volunteers — are the ones singing the ‘Prisoners’ Chorus.’

“The groups are the Oakdale Community Choir in Iowa; KUJI Men’s Chorus, UBUNTU Men’s Chorus and HOPE Thru Harmony Women’s Choir in Ohio; East Hill Singers in Kansas; and the group Weber leads, Voices of Hope in Minnesota. …

“Schlosberg says that this moment in the opera [is] some of the most gorgeous music ever written for chorus in an opera, and that is the center, both emotionally and musically. Everything about this piece kind of comes from there.’

“In order to make this collaboration happen, the Heartbeat team had to earn the trust of the singers in prison. Michael Powell is one of those chorus members; he’s also known by the name Black. He was formerly incarcerated in Ohio, at Marion Correctional, and sang in the KUJI Men’s Chorus there. Above all, Black says, they didn’t want to be used as a prop. …

‘When Danny and Ethan came in, it was like the quick feel-out process — let’s see what’s going on there because we don’t want to feel exploited in any way. We already get exploited enough.’

“Derrell Acon is the associate artistic director of Heartbeat. In Fidelio, he sings the role of Roc. Acon says that opera can be a great vehicle for addressing and reflecting social movements. …

” ‘I’m someone who has been impacted by the carceral system. I have a sibling who was incarcerated. … This is not actually a mechanism for justice, but rather revenue,’ Acon continues, referring to the use of privatized prisons. ‘It sits on the backs of Black and brown people.’ …

“Black, the singer from the KUJI men’s chorus, was released from prison in 2020. He’s now the director of outreach and new initiatives for a small non-profit in Columbus, Ohio, Healing Broken Circles, which works with people touched by the justice system. …

” ‘If you really want to try to impact lives or if you care anything about prison justice reform or any of those things,’ Black says, ‘support the arts going into those prisons and support the community coming out of prison.’ ” More at NPR, here.

Music heals. And in case you missed it, see also what music can do for people in a bomb shelter, here.

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