New Web Site, “The Opera Platform,” Lets You Watch La Traviata and Other First-Class Operas Free Online

la traviata
Click the image above to watch Verdi’s La Travi­a­ta.

Opera has always had its appre­ci­a­tors, and fer­vent ones at that, but in recent decades the form has had to extend its appeal beyond its inner cir­cle of die-hard fans. Some of these efforts, such as the Met­ro­pol­i­tan Oper­a’s high-def­i­n­i­tion broad­casts to movie the­aters around the world, have proven sur­pris­ing­ly suc­cess­ful, encour­ag­ing the low­er­ing of oper­a’s bar­ri­er to entry. Now, thanks to a site called The Opera Plat­form, you don’t have to go to a the­ater of any kind; you can watch full-length per­for­mances any­where with an inter­net con­nec­tion.

In order to pro­mote itself as “the online des­ti­na­tion for the pro­mo­tion and enjoy­ment of opera” designed to “appeal equal­ly to those who already love opera and to those who may be tempt­ed to try it for the first time,” The Opera Plat­form offers one “show­case opera” per month, view­able free, in full, with sub­ti­tles avail­able in six dif­fer­ent lan­guages. It also pro­vides a host of sup­ple­men­tary mate­ri­als, includ­ing doc­u­men­tary and his­tor­i­cal mate­ri­als that put the mon­th’s fea­tured opera in con­text.

The Opera Plat­form is a part­ner­ship between Opera Europa, which rep­re­sents opera com­pa­nies and fes­ti­vals; Arte, the Fran­co-Ger­man cul­tur­al broad­cast­ing chan­nel, and the par­tic­i­pat­ing opera com­pa­nies,” writes the New York Times’ Michael Coop­er. “It has a $4.5 mil­lion bud­get,” Reuters report­ed, “with about half com­ing from the Euro­pean Union’s cul­tur­al bud­get.” So the site cer­tain­ly has its resources in order, but what of its con­tent?

The Opera Plat­form has come strong out of that par­tic­u­lar gate with Verdi’s La Travi­a­ta, pro­duced at Madrid’s Teatro Real, which you can watch for free until August 11. This tale of “the short and hec­tic life and trag­ic death of a high-soci­ety cour­te­san in 19th cen­tu­ry Paris,” as the site’s notes put it, comes told through Verdi’s “music of pro­found human­i­ty” and the stag­ing of famed Scot­tish opera direc­tor David McVicar, “who, with his usu­al ele­gance, sets the dra­ma in a world of roman­tic ref­er­ences while retain­ing an up-to-date per­spec­tive.”

Opera-lovers of pre­vi­ous gen­er­a­tions could scarce­ly have imag­ined that tech­nol­o­gy would bring this degree of view­ing con­ve­nience to their art form of choice. And now that The Opera Plat­form has got up and run­ning, would-be opera-lovers have no excuse not to get into it, in the com­fort of their own homes or any­where else. And if you want to have some pop­corn while you watch, go for it — nobody’s going to shake their opera glass­es at you.

Relat­ed Con­tent:

Stephen Fry Hosts “The Sci­ence of Opera,” a Dis­cus­sion of How Music Moves Us Phys­i­cal­ly to Tears

J.S. Bach’s Com­ic Opera, “The Cof­fee Can­ta­ta,” Sings the Prais­es of the Great Stim­u­lat­ing Drink (1735)

Lud­wig Wittgenstein’s Trac­ta­tus Gets Adapt­ed Into an Avant-Garde Com­ic Opera

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­maFol­low him on Twit­ter at @colinmarshall or on Face­book.

Charles Mingus’ Sigmund Freud-Inspired Song Dedicated to Mothers Everywhere (1961)

“All the Things You Could Be by Now If Sig­mund Freud’s Wife Was Your Moth­er” appeared on Charles Min­gus Presents Charles Min­gus (1961). And it begins with this cryp­tic, hard-to-deci­pher ded­i­ca­tion to moth­ers every­where:

And now, ladies and gen­tle­man, you have been such a won­der­ful audi­ence. We have a spe­cial treat in store for you. This is a com­po­si­tion ded­i­cat­ed to all moth­ers. And it’s titled “All The Things You Could Be By Now If Sig­mund Freud’s Wife Was Your Moth­er.” Which means if Sig­mund Freud’s wife was your moth­er, all the things you could be by now. Which means noth­ing, you got it? Thank you.

Or was that a cryp­tic, hard-to-deci­pher non-ded­i­ca­tion to moth­ers every­where? With Min­gus, you nev­er can tell.

Round­ing out Min­gus’ quar­tet is Ted Cur­son on trum­pet, Eric Dol­phy on alto sax­o­phone and bass clar­inet, and Dan­nie Rich­mond on drums.

h/t Peter Kauf­man

Relat­ed Con­tent:

Charles Min­gus’ Instruc­tions For Toi­let Train­ing Your Cat, Read by The Wire’s Reg E. Cathey

Charles Min­gus Explains in His Gram­my-Win­ning Essay “What is a Jazz Com­pos­er?”

Charles Min­gus and His Evic­tion From His New York City Loft, Cap­tured in Mov­ing 1968 Film

Clas­sic Charles Min­gus Per­for­mance on Bel­gian Tele­vi­sion, 1964

Prince’s New Protest Song “Baltimore” Now Streaming Online

As the protests in Bal­ti­more unfold­ed, Prince sat at his key­board at Pais­ley Park’s sound­stage in Min­neso­ta and start­ed pen­ning a peace­ful protest song, which just hit the web this morn­ing. Click play and pon­der the lyrics below. Then get the back­sto­ry on the writ­ing of “Bal­ti­more” at MyFox­TwinCi­ties.

BALTIMORE
lyrics by Prince
NPG RECORDS, copy­right 2015

NOBODY GOT IN NOBODY’S WAY
SO EYE GUESS U COULD SAY
IT WAS A GOOD DAY
AT LEAST A LITTLE BETTER THAN THE DAY IN BALTIMORE

DOES ANYBODY HEAR US PRAY?
4 MICHAEL BROWN OR FREDDIE GRAY PEACE IS MORE THAN THE ABSENCE OF WAR
ABSENCE OF WAR

R WE GONNA C ANOTHER BLOODY DAY?
WE’RE TIRED OF CRYIN’ & PEOPLE DYIN’
LET’S TAKE ALL THE GUNS AWAY

ABSENCE OF WAR- U AND ME
MAYBE WE CAN FINALLY SAY
ENUFF IS ENUFF IT’S TIME 4 LOVE

IT’S TIME 2 HEAR,
IT’S TIME 2 HEAR

THE GUITAR PLAY! (gui­tar solo)

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Music for a String Quartet Made from Global Warming Data: Hear “Planetary Bands, Warming World”

In 2013, we fea­tured Daniel Craw­ford, an under­grad at the Uni­ver­si­ty of Min­neso­ta, play­ing “A Song of Our Warm­ing Plan­et” on his cel­lo. The song, pro­duced in col­lab­o­ra­tion with geog­ra­phy pro­fes­sor Scott St. George, was cre­at­ed using a method called “data soni­fi­ca­tion,” which con­verts glob­al tem­per­a­ture records into a series of musi­cal notes. (More on that here.)

Now, two years lat­er, we have a brand new video by Craw­ford and St. George. This one is a com­po­si­tion for a string quar­tet called “Plan­e­tary Bands, Warm­ing World,” and it’s based on tem­per­a­ture data gath­ered over time by NASA’s God­dard Insti­tute for Space Stud­ies. As Craw­ford explains in the video, “Each instru­ment rep­re­sents a spe­cif­ic part of the North­ern Hemi­sphere. The cel­lo match­es the tem­per­a­ture of the equa­to­r­i­al zone. The vio­la tracks the mid lat­i­tudes. The two vio­lins sep­a­rate­ly fol­low tem­per­a­tures in the high lat­i­tudes and in the arc­tic.” Each note’s pitch “is tuned to the aver­age annu­al tem­per­a­ture in each region, so low notes rep­re­sent cold years and high notes rep­re­sent warm years.” As you lis­ten, keep in mind one obser­va­tion made by Prof. St. George says. “Lis­ten­ing to the vio­lin climb almost the entire range of the instru­ment is incred­i­bly effec­tive at illus­trat­ing the mag­ni­tude of change — par­tic­u­lar­ly in the Arc­tic which has warmed more than any oth­er part of the plan­et.” The time peri­od cov­ered here moves from 1880 to present.

Relat­ed Con­tent:

A Song of Our Warm­ing Plan­et: Cel­list Turns 130 Years of Cli­mate Change Data into Music

Glob­al Warm­ing: A Free Course from UChica­go Explains Cli­mate Change

132 Years of Glob­al Warm­ing Visu­al­ized in 26 Dra­mat­i­cal­ly Ani­mat­ed Sec­onds

How Cli­mate Change Is Threat­en­ing Your Dai­ly Cup of Cof­fee

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Learn to Play Guitar for Free: Intro Courses Take You From The Very Basics to Playing Songs In No Time

Like many peo­ple of my gen­er­a­tion, I got my first elec­tric gui­tar as a teenage birth­day gift, took a few lessons and learned a few chords, and imme­di­ate­ly start­ed a band that bashed out angry punk rock at break­neck speeds. Some of my favorite bands made it seem acces­si­ble, and I didn’t have much patience for real musi­cal train­ing on the instru­ment any­way. Though I’d played brass and strings in school, the gui­tar had an entire­ly dif­fer­ent mojo. It stood alone, even in a group—primal, wild, and uncom­pli­cat­ed; as Radio­head once observed, any­one can play it.

Well, any­one can play it bad­ly. There wasn’t nec­es­sar­i­ly any­thing wrong with the way I learned—it was great fun. But as my musi­cal tastes broad­ened, so did my desire to play dif­fer­ent styles, and years of play­ing with lit­tle for­mal train­ing meant I had to un- and re-learn a lot of tech­nique, no easy feat with­out access to a good teacher. Pri­vate instruc­tion, how­ev­er, can be cost­ly and good teach­ers dif­fi­cult to come by. Pre-Youtube, that is. These days, any­one can learn to play gui­tar, from scratch, the right (fun) way, and the wrong (also fun) way, with great teach­ers, innu­mer­able online mini-tuto­ri­als, and some very thor­ough begin­ner lessons.

We’ve high­light­ed a few celebri­ty lessons here and there, and as far as they go, they’re great ways to pick up some tricks from your favorite musi­cians. But while peo­ple like Paul McCart­ney and Bri­an May don’t have a whole lot of time on their hands to make free gui­tar videos, a num­ber of high qual­i­ty teach­ers do, at least as pro­mo­tion­al tools for pay­ing gigs. At the top of the post, an instruc­tor named Ravi presents the first ten lessons of his 21-day begin­ner course, offered on True­fire, an online gui­tar course ser­vice fea­tur­ing for-pay lessons from such greats as Frank Vig­no­la, David Gris­som, and Dweezil Zap­pa.

This hour-long video func­tions in and of itself as a com­plete intro­duc­to­ry course that’ll def­i­nite­ly get you start­ed on the instru­ment. To fur­ther help you get the basics down, you can spend hours work­ing through the oth­er free videos here, a “quick start” series offered by Guitarlessons.com and taught by an instruc­tor named Nate Sav­age. These short videos take you from rudi­ments like “How to Strum on a Gui­tar” and “8 Gui­tar Chords You Must Know” to the slight­ly more sophis­ti­cat­ed but still begin­ner-wor­thy “Dom­i­nant 7th Blues Chords.” You’ll learn scales and pow­er chords, the bricks and mor­tar of lead and rhythm play­ing. You’ll even get a cor­rec­tive like “7 Mis­takes Gui­tar Play­ers Make,” if, like me, you learned a few things the wrong way, on pur­pose or oth­er­wise.

Of course mis­takes are a nec­es­sary part of learn­ing, and often the keys to inno­va­tion, so don’t be afraid to make ‘em. But with so much qual­i­ty, free gui­tar instruc­tion online, you can also learn tech­niques that will set you up for suc­cess in a vari­ety of dif­fer­ent styles. Above, you can watch Justin­Gui­tar’s much-praised videos, which will give you a mul­ti­part intro­duc­tion to play­ing blues gui­tar. The key, as with any skill, is prac­tice.

And per the sug­ges­tion of our edi­tor, we’re also giv­ing a men­tion to Gui­tar Jamz, which fea­tures tons of instruc­tion­al videos that will show you how to play clas­sic songs. In fact, you can find a playlist of 182 easy acoustic songs for begin­ners right above.

As anoth­er, very patient instructor—the host of series “Met­al Method”—explains, “learn­ing gui­tar doesn’t need to be com­pli­cat­ed. You don’t need to under­stand how an inter­nal com­bus­tion engine works to dri­ve a car, and you don’t need to under­stand com­plex music the­o­ry to become an incred­i­ble gui­tarist.” So get to work, gui­tarists out there, begin­ners and life­long stu­dents. And please share with us your favorite free online gui­tar resources in the com­ments.

Relat­ed Con­tent:

The Sto­ry of the Gui­tar: The Com­plete Three-Part Doc­u­men­tary

Oxford Sci­en­tist Explains the Physics of Play­ing Elec­tric Gui­tar Solos

The Evo­lu­tion of the Rock Gui­tar Solo: 28 Solos, Span­ning 50 Years, Played in 6 Fun Min­utes

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Hear James Joyce’s Finnegans Wake Read Aloud & Set to Music: 31 Hours of Free Unabridged Audio

Wake-Berry
James Joyce’s final and most dif­fi­cult nov­el Finnegans Wake unlocks a lot of its secrets when read aloud, prefer­ably in an Irish accent. In this way, Joyce’s mul­ti­lay­ered word­play makes sense aural­ly even if all the mean­ing might not be appar­ent on paper. (His broth­er, Stanis­laus, called it “the work of a psy­chopath.”)

An audio­book ver­sion would be good—-and there is one by Patrick Healy from 1992 (lis­ten online) —but one with music would be much bet­ter. This month, Way­words and Mean­signs, a project co-found­ed by Derek Pyle, has released its ver­sion of the nov­el with each of its 17 chap­ters per­formed by a dif­fer­ent group of musi­cians and read­ers. The full text is rep­re­sent­ed here in a stag­ger­ing 30+ hours. (You can read along here.)

“Our hope was to cre­ate a ver­sion of Joyce’s book that would be acces­si­ble to new­com­ers, but still feel fresh and excit­ing for devot­ed stu­dents and schol­ars,” says Pyle.

As with all com­pi­la­tion albums, some tracks are bet­ter than oth­ers. Mar­i­ana Lanari & Sjo­erd Leijten’s open­ing chap­ter chops and cuts var­i­ous voic­es togeth­er with a hyp­not­ic elec­tron­ic back­ing, recre­at­ing the con­fu­sion of those open­ing pages and the bar­rage of influ­ences and voic­es. They also per­form the final chap­ter. (Lanari is part of the Rong­Wrong Finnegans Wake Read­ing Group in Ams­ter­dam.) Peter Quadri­no, Jake Read­ing & Evan James take on Book 3, Chap­ter 3, with a mix of faux-Tom Waits and Mar­tin Den­ny pro­vid­ing the back­drop. (Quadri­no is leader of the Finnegans Wake Read­ing Group of Austin, Texas) The jazz­i­er the back­drop, by the by, does reveal Joyce’s con­nec­tion to the Beat poets. Oth­er tracks are dry and more straight-for­ward: face it, not every­body has the most beau­ti­ful read­ing voice. It is def­i­nite­ly a labor of love, and reveals how many FW read­ing groups there are around the globe.

Oth­er artists involved in the project include sax­o­phon­ist Hay­den Chisholm, and painter Robert Amos, whose work you can find at the James Joyce Bistro in Vic­to­ria, British Colum­bia.

Way­words and Mean­signs have released the full project on Archive.org under a Cre­ative Com­mons license. (Stream above or down­load all of the files here.) Those who read this and feel they’ve missed out on the cre­ativ­i­ty of tack­ling Finnegans Wake, don’t wor­ry. The web­site is tak­ing sub­mis­sions for a sec­ond edi­tion.

Relat­ed con­tent:

James Joyce, With His Eye­sight Fail­ing, Draws a Sketch of Leopold Bloom (1926)

F. Scott Fitzger­ald Has a Strange Din­ner with James Joyce & Draws a Cute Sketch of It (1928)

James Joyce Reads From Ulysses and Finnegans Wake In His Only Two Record­ings (1924/1929)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

96 Drawings of David Bowie by the “World’s Best Comic Artists”: Michel Gondry, Kate Beaton & More

Pope Bowie

There is a David Bowie for every sea­son. A Christ­mas David Bowie, a Hal­loween David Bowie, even a David Bowie East­er cel­e­bra­tion. But much more than that, there may be a David Bowie for every Bowie fan, espe­cial­ly for artists influ­enced by his chameleon­ic career. See for your­self how a whop­ping 96 Bowie-lov­ing artists—in this case main­ly what Bowie him­self calls the “World’s Best Com­ic Artists”—see the changling rock star/actor/space alien.

Gondry Bowie

“See my life in a com­ic… The lit­tle details in colour,” writes Bowie on his site of a web gallery of por­traits com­piled by “com­ic artist, writer and crit­ic, not to men­tion huge Bowie fan, Sean T. Collins.” It’s called The Thin White Sketch­booka clever title that alludes to just one of the myr­i­ad Bowie per­son­ae rep­re­sent­ed in the size­able col­lec­tion of 96 draw­ings (see a nos­tal­gic one by pro­lif­ic illus­tra­tor Paul Pope at the top—the book’s first sketch).

Collins’ impres­sive col­lec­tion includes work from Michel Gondry (Eter­nal Sun­shine of the Spot­less Mind), whose con­tri­bu­tion the edi­tor calls “pret­ty god­damn won­der­ful if you ask me.” See it above. And below, Kate Beat­on, cre­ator of web com­ic Hark, A Vagrant, gives us Bowie as a dandy, a char­ac­ter with whom, writes Collins, she has a “rich his­to­ry.”

Beaton-Bowie

Collins offers brief com­men­tary beneath each image in the col­lec­tion, which also gives us the strange inter­pre­ta­tion below by Bowie-inspired under­ground comics leg­end Charles Burns; the intense and Archie-esque con­tri­bu­tions fur­ther down by Broth­ers Jaime and Gilbert Her­nan­dez, cre­ators of the 80s New Wave clas­sic com­ic Love and Rock­ets; and the out­er space-pro­por­tioned Bowie at the bot­tom of the post, from vocal­ist Tunde Ade­bimpe of TV on the Radio, a band that has both cov­ered and record­ed with Bowie.

Burns Bowie

Hernandez Bowie

Hernandez 2 Bowie

Tunde Bowie

View the full set of Bowie draw­ings, no two remote­ly the same, at The Thin White Sketch­book’s Flickr page.

via Buz­zfeed.

Relat­ed Con­tent:

50 Years of Chang­ing David Bowie Hair Styles in One Ani­mat­ed GIF

David Bowie Releas­es Vin­tage Videos of His Great­est Hits from the 1970s and 1980s

David Gilmour & David Bowie Sing “Com­fort­ably Numb” Live (2006)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Hear the “Seikilos Epitaph,” the Oldest Complete Song in the World: An Inspiring Tune from 100 BC

Last sum­mer, we fea­tured a Sumer­ian hymn con­sid­ered the old­est known song in the world. Giv­en the pop­u­lar­i­ty of that post, it seems we may have long under­es­ti­mat­ed the num­ber of ancient-musi­cophiles on the inter­net. There­fore, we sub­mit today for your approval the Seik­i­los epi­taph, the old­est known com­plete musi­cal com­po­si­tion — that is to say, a song that our 21st-cen­tu­ry selves can still play and hear in its intend­ed entire­ty, more or less as did the ancient Greeks who lived dur­ing the first-cen­tu­ry (or there­abouts) era of its com­po­si­tion.

The Seik­i­los epi­taph’s sur­vival in one piece, as it were, no doubt owes some­thing to its short­ness. The Greeks could carve the entire thing onto the sur­face of a tomb­stone, exact­ly the medi­um on which the mod­ern world redis­cov­ered it in 1885 near Aidin, Turkey. Its lyrics, lib­er­al­ly brought into Eng­lish, exhort us as fol­lows:

While you live, shine

have no grief at all

life exists only for a short while

and time demands its toll.

The sur­face also bears an explana­to­ry inscrip­tion about — and writ­ten in the voice of — the arti­fact itself:  “I am a tomb­stone, an image. Seik­i­los placed me here as an ever­last­ing sign of death­less remem­brance.” The Greeks, like many peo­ples in the ancient world of unvar­nished mor­tal­i­ty, rel­ished a good memen­to mori, and this old­est com­plete song in the world offers one whose mes­sage still holds today, and which we can trace all the way to more recent words, like those of William Saroy­an, when he said, “In the time of your life, live — so that in that good time there shall be no ugli­ness or death for your­self or for any life your life touch­es.”

Or for anoth­er inter­pre­ta­tion, you can hear a mod­ern, gui­tar-dri­ven cov­er of the Seik­i­los epi­taph by Vlog­broth­er and famous inter­net teacher Hank Green, in a tru­ly strik­ing exam­ple of two eras col­lid­ing. But of course, the Youtube era has also made every­one a crit­ic. As one com­menter per­fect­ly put it, “I pre­fer his ear­li­er stuff.”

Seikilos epitaph

Relat­ed Con­tent:

Lis­ten to the Old­est Song in the World: A Sumer­ian Hymn Writ­ten 3,400 Years Ago

What Ancient Greek Music Sound­ed Like: Hear a Recon­struc­tion That is ‘100% Accu­rate’

Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia

Learn Latin, Old Eng­lish, San­skrit, Clas­si­cal Greek & Oth­er Ancient Lan­guages in 10 Lessons

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­maFol­low him on Twit­ter at @colinmarshall or on Face­book.

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