Author Archive: Glenn Reynolds

OPEN THREAD: Monday, Monday.

TO BE FAIR, I’M REALLY NOT AT ALL SURE IT’S POSSIBLE.

HMM:

“FOLLOW THE SCIENCE,” THEY SAID, AS THEY LIED ABOUT THE SCIENCE:

Related thoughts: Flashback: We’re told to ‘follow the science’ — yet some of it is just plain wrong.

THE MET’S SWAN SONG? Kelly Jane Torrance: Pursuit of politics and personalities ruined the Met Opera — America’s biggest performing-arts institution.

Then, as if to prove why the company’s having trouble raising money at home, audiences savaged its just-ended run of the Bizet classic “Carmen.”

The ripped-from-the-headlines production, brought back from the 2023-2024 season, moves the action from 1820 Seville, Spain, to modern-day America.

Instead of sumptuous costumes and striking sets, star mezzo-soprano Aigul Akhmetshina traipsed across the stage in denim cutoffs and cowboy boots, while bass-baritone Christian Van Horn’s Escamillo crooned his “Toreador Song” dressed as a rodeo rider.

Carmen works not in a cigarette factory but for an arms manufacturer, and the troops were transformed, as many saw it, into ICE agents.

It wasn’t money, though, that led superstar tenor Jonas Kaufmann to declare at year’s end that he’d no longer appear at the Met.

The big box-office draw — one of the greatest singers of his generation — heavily hinted that Met leadership was behind his decision.

“I felt very bad about how they treated the chorus and orchestra in the pandemic. They didn’t get paid at all. Musicians had to move out of New York or move in with their parents. I did a livestreamed concert and asked listeners to donate. That didn’t go down well,” Kaufmann told BBC Radio’s Norman Lebrecht.

Few opera singers look their best in Daisy Dukes. And yeah, the Met was pretty awful to its worker bees. But it wasn’t so great to them before, or after.

Plus:

It used internet celebrities to promote its opening-night production, “Grounded,” a new “antiwar opera,” as Gelb called it — but that didn’t work.

The opera, about a military pilot who gets pregnant, was the season’s worst attended, selling only 50% of capacity.

Other contemporary, woke operas fared similarly.

Get woke, go broke.

THE WSJ HAS LOST WHATEVER NEWS MOJO IT ONCE HAD:

UPDATE (From Ed):

EZRA KLEIN AND MUZZLE VELOCITY:

He didn’t seem overwhelmed at all, and that was at night, on a gruelingly noisy plane, grilled by reporters after an evening event where, as WaPo puts it, “Trump tries humor, gets some silence, at black-tie dinner with ‘people I hate.'”

He seemed to be up for all of it. But I’m pretty sure Klein wants to think otherwise: “This is a presidency that is, by any measure, failing. Trump is unpopular; his brutality and his tariffs have turned immigration and affordability, once among of his strongest issues, into liabilities. Trump’s opposition is increasingly united and mobilized; Democrats are besting Republicans in elections all across the country and disciplined, brave, beautiful protest movements have emerged in the cities ICE has sought to occupy.”

By any measure? That can’t be true. He’s at least succeeding by that measure of “muzzle velocity” and the measure of courage and optimism in facing a hostile press. Ironically, Klein is exhibiting the same kind of optimism, energy, and boasting to which Trump is so deeply committed.

One of them’s right and it’s not Young Ezra. Who’s not so young as he was when that name was coined, but the, none of us is.

I ALREADY LOVE HER, YOU DON’T HAVE TO KEEP SELLING ME:

IT’S AN INSURRECTION, AND AN INSURGENCY, AND IT’S FOREIGN-FUNDED AND ORGANIZED:

THE GOVERNMENT AS CURRENTLY CONSTITUTED IS JUST A MONEY LAUNDRY FOR POLITICAL TYPES: