Bandes dessinées are a francophone tradition; to call them “comic books” is do to them a disservice. The English term “graphic novel” isn’t quite right either, since a bande dessinée might, as is this one, be non-fiction; and while the artwork in contemporary English-language comics is not as dire as it once was, the emphasis is, as the term implies, as often as not on “graphics” rather than work in traditional media.
The 2018 “Le French May” opened in Hong Kong with The Painting on the Wall from the Ballet Preljocaj. The inspiration for this new work is a Chinese fairy tale from the Qinq Dynasty-era Strange Stories from a Chinese Studio, collected (not unlike the Brothers Grimm, except more than a century earlier) by Pu Songling and published posthumously in 1740.
Based on her performance at the 29 April Grand Finals Concert, Wu Hongni was declared one of the five winners of the Metropolitan Opera National Council Auditions.
Janet Steele’s new book is a deep dive into five leading Malaysian and Indonesian news publications: Tempo, Malaysiakini, Harakah, Republika and Sabili.
Baroque vocal recitals are not that rare, even in Kong Kong, but to have two almost back-to-back—Magdalena Kožená followed by the perhaps not-as-widely-known but nevertheless entirely enthralling “La Galanía” ensemble only 48-hours later—is a one-in-a-blue-moon set of events. The latter played a (will wonders never cease?) free concert of 17th-century Spanish and Italian love songs at the University of Hong Kong’s Grand Hall.
Might Hamid Ismailov’s The Devils’ Dance open Central Asian literature to the world as Gabriel García Márquez’s novels did for Latin America? Probably not—things rarely work out like that—but perhaps it deserves to.
The Teatro Dom Pedro V is a gem. Built in 1860, it both looks like and is a traditional theatre, with gold-fluted columns, plaster molding and orchestra pit. It is, for better or worse (and in many ways better), small with fewer than 300 seats. One can hardly think of a more idyllic place in which to perform opera, yet Solomusica’s production of an opera buffa double bill over Easter weekend was the first there in several years.