China hasn’t yet gotten much of an outing in western opera. It’s not for lack of material, but the most famous “China opera” nevertheless remains Giacomo Puccini’s Turandot whose relation with the country is tenuous at best. It has only been in this century that operas directly informed by China—and with direct Chinese creative input—have begun to appear on stage with any regularity.
The first Uzbek novel to be translated into English has been awarded the 2019 EBRD Literature Prize. Author Hamid Ismailov and translator Donald Rayfield will share the €20,000 award.
The Kuunmong, to give this book its Korean title, is described by its new translator as “the most elegant of Korea’s literary novels and one of the most beloved masterpieces of Korean literature.”
Wisdom has it that forgetting the past risks repeating it. The old must remind both themselves and the young where they came from, what happened to them and why, and who was responsible.
These aren’t bedtime stories. Indeed, reading them before bed might not be a good idea at all.
With domestic Hong Kong opera productions leaning almost exclusively to more or less traditional readings of the stalwarts of repertoire, perhaps someone sometimes has to shake things up a bit. This is what the Hong Kong Arts Festival arguably set out to do by having Oper Leipzig bring Calixto Bieito’s unconventional staging of Richard Wagner’s Tannhäuser.
“Greatest novelist.” I’ve never been much of a fan of someone being dubbed the “greatest” anything, as it assumes there can never have been anyone better and perhaps never will be.
Dakota Crescent was one of Singapore’s oldest public housing estates and a rental flat neighbourhood for low-income households. In 2016, its residents—many of whom are elderly—were relocated to Cassia Crescent to make way for redevelopment. To help them resettle, a group of volunteers came together and formed the Cassia Resettlement Team.
With a surname like Silber, a book on silver is perhaps inevitable. And if you thought a book entitled The Story of Silver: How the White Metal Shaped America and the Modern World and published by the venerable and academic Princeton University Press would be a dull, dense, heavily-footnoted tome, you’d be wrong (although not about the footnotes).
The Earth may be divided among many countries, but since there is only one Heaven, there can be but one tianxia, or “all-under-heaven”. The Chinese concept tianxia might be literally translated into English as “sky-beneath”, and it has been variously rendered as “enlightened realm”, “world-system”, or simply “the world”. To keep Chinese scholars happy, just don’t translate it as “empire”. The West had empires. China had tianxia.
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