Gaetano Donizetti (1797-1848), a leading contributor to the bel canto opera style, was one of the first composers who channeled drama and emotion to the stage with music in a time when the singers’ part was considered key to conveying emotions instead. His one-act opera Rita, posthumously premiered 160 years ago, was one such example,and may make the point again when locally-based Italian music director Marco Iannelli revives it in Hong Kong.
The Asian Review of Books is not given to running op-eds, but a recent article in Electric Lit entitled “Where Is Hong Kong Literature When We Need It Most?” merits some reflection.
Chinese remains inaccessible to most English-speakers; Chinese poetry doubly so, so Western readers should be grateful to Zephyr Press for issuing these two excellent bilingual versions of contemporary Chinese poetry, which introduce us to two unfamiliar and very different voices, Ya Shi from the mainland, and Wu Sheng from Taiwan.
Maung Shwe Yon was a highly acclaimed 19th-century master silversmith from Rangoon. Harry L Tilly, the aforementioned British expert on Burmese art, was effusive in his praise for Maung Shwe Yon. He described one of his pierced bowls as ‘the best example of this kind of work ever produced’ in his 1902 monograph, The Silverwork of Burma.
For my generation, born after the “Renovation” reform of Đổi Mới in 1986, “The War”—as most Vietnamese call what almost everyone else calls the Vietnam War—only exists in history books.
It’s a well-worn assertion, even a cliché, that art and spirituality are inextricably linked. A concrete representation of the subject for religious meditation is, we could say, a visible aid to devotion: not so much the object itself, but what it symbolizes, which is important to the viewer (or listener if it’s music).
In 1865, the eminent American journalist and abolitionist Frederick Douglass delivered a lecture called “Pictures and Progress”, in which he discussed the role of photography in exposing the evils of racism and slavery. Referring to Louis Daguerre, he pointed out that “men of all conditions and classes can now see themselves as others see them, and as they will be seen by those who come after them,” and that “man is the only picture-making animal in the world. He alone of all the inhabitants of earth has the capacity and passion for pictures.”