At its core, Sean Griffin’s intermedia opera Cold Spring is an attempt to bring museums and archives together with performing institutions and local artists for mutual self-reflection and appreciation of each other as cultural thinkers. The work initiates and empowers an active interpretation of our lives as they relate to science and our notion of what constitutes meaningful progress.
In a year or two, the world’s attention will have moved away from the urgent questions raised by Fukushima. Therefore I feel that far from showing disrespect, the nature of this cantata and the spirit in which it was created make it a powerful means to show and magnify precisely the deep respect and attention we need at this moment.
If today’s art world truly resembled today’s musical world, “popular art” would be a thriving multi-billion dollar industry, but there’d also be “classical art” exhibited in small, subsidized museums catering to the rarefied tastes of a small minority of connoisseurs who believed strongly in the intrinsic superiority of long-dead artists, and “contemporary high-art” populated by un-popular living artists.
To mark the tenth anniversary of Transient Glory, the Young People’s Chorus of New York’s ongoing commissioning, performance, and recording program, YPC Founder and Artistic Director Francisco Núñez writes about how this important initiative first got started and how it has continued to flourish as it enters its second decade.
I’ve often been asked why I would want to compose an opera and while I actually expect this question to arise among those who know me primarily through my work as a film composer, when it’s asked by accomplished composers who have also composed operas, it seems that its answer lies more in the philosophical than the practical.