The harpsichord may be the quintessential European instrument, each touch of the keys evoking powered wigs and sedan chairs. It never really went global as did the piano or violin. One might not therefore expect someone like Tehran-born Mahan Esfahani to be one of the instrument’s premier modern exponents.
One can make a case for Wolfgang Amadeus Mozart’s Don Giovanni being the best opera ever written. There is Mozart’s inimitable music, of course, but also the story, at once irrepressible and and morally-nuanced, perky yet profound. Yet, with two 90-minute acts, it can sometimes drag. But not on this opening night.
Hong Kong is a surprisingly green place: the skyscrapers that form the stunning cityscapes that are the territory’s most common and iconic images hug the coast. Some three-quarters of Hong Kong is in varying degree countryside and 40 percent set aside as parkland.
In the summer of 2016, Hong Kong illustrator Joanne Liu was in New York City with a friend. Together they visited some New York museums but Liu felt a bit intimidated by the experience: “We just thought there were a lot of things we didn’t understand. We didn’t know what was going on.”
For decades, the Hong Kong Police has been known as “Asia’s finest”. Before the handover, the Royal Hong Kong Police (RHKP) helped Hong Kong become one of the safest cities in the world. But it wasn’t always this way. Back in the mid-1970s, corruption had become so serious that after several failed attempts, Hong Kong finally found a way to clean up the police force with the Independent Commission Against Corruption (ICAC). The police force didn’t just suddenly change overnight, as Nigel Collett shows in his new history book, A Death in Hong Kong.
Literature comes in many forms; sometimes it is sung.
Since the cinema that served as modern Hong Kong’s introduction to the world was such a hodgepodge of triad gangsters, crooked cops, ghosts, prostitutes and clueless romantics—sometimes all in the same film—one should hardly be surprised when a literary anthology shows the same genre-busting proclivities. Hong Kong Noir, the latest in a lengthy list of urban “Noir” collections published by Akashic Books, will surely raise the hackles of genre purists much as Hong Kong movies of the 1980s and ’90s initially did with filmgoers abroad. “Such a classic crime scene,” you can almost hear them say. “Why drag in the ghosts?”