In a series of matinees ending today, Hong Kong’s Musica Viva presented George Bizet’s Carmen to audiences of secondary school students for whom this was the likely the first (Western) opera performance most had ever attended.
Eyck Freymann begins his recent book by asking “What is One Belt One Road?” It’s a deceptively straightforward question, for the answer depends greatly on who’s doing the asking and why. Freyman poses the question on behalf of Americans and, in particular, American policy-makers.
A short story is an unlikely review subject, but “Person of Korea” has several things going for it: first, it’s by Paul Yoon and in its detached observational style is illustrative of the author’s other work. Second, it’s set among the Korean diaspora in the Russia Far East; although the Russian Far East has begun to feature in an increasing amount of fiction, the only other work with this particular combination that comes to mind is Jeff Talarigo’s The Ginseng Hunter. And third, it’s available online at The Atlantic.
The Karakoram Mountains, located for the most part in north-eastern Pakistan, contains four of the world’s fourteen 8000m peaks and four of the longest glaciers outside the polar regions. Photographer Colin Prior has been “fascinated” by the Karakoram for the better part of a half-century, and traveling there for a quarter-century, and it shows.
It is not unusual for journalists from leading publications to turn their hand to books, but it is less usual for such books to have started off in Chinese. Jin Xu is senior editor and chief financial commentator at the Financial Times Chinese and her 2017 monetary history of China, Empire of Silver, has just been released in English in a translation from the well-regarded Stacy Mosher.
Namit Arora’s Indians is, this non-Indian guesses, likely to be read somewhat differently depending on whether or not one is included in the title. For those who aren’t, this is a readable and personable if perhaps idiosyncratic history structured as a travelogue.
The most notable thing about the Hong Kong Academy of Performing Arts’s current run of Wolfgang Amadeus Mozart’s opera Idomeneo is that it is happening at all, a socially-distanced audience and performers all in masks (the medical rather than commedia dell’arte kind) being concessions to the situation.