Mixing memories of his North African childhood with his day-to-day life as a husband and father in New Haven, Connecticut, Ficre Ghebreyesus conjured up an imaginary space of his own. He created this multilayered world in his studio, where, after his sudden death at 50 in 2012, he left behind more than 700 paintings and several hundred works on paper. And he performed a similar magic in the popular Caffe Adulis, where he earned his living by cooking hybrid recipes that drew on the culinary he...
In 1968, Vivian Perlis, a research librarian at Yale, knew that she needed to talk to Julian Myrick. A man who had spent his life in the insurance business was not the most likely of musicological sources. But Myrick’s business partner not only had been significant in the field of life insurance but also was one of the most important figures in American music history: composer Charles Ives, who had died 14 years earlier.
Zsela has been in no rush to release her music. Her debut EP, “Ache of Victory,” is due Friday, yet she has been tinkering with its five songs for years. It arrives not as a sampler of possibilities, but as a single-minded statement: a group of songs that are emotive yet elusive, slow but infused with undulating motion, at once earthy and otherworldly. Her voice clings to her melodies like liquefied amber, in a low, striking contralto range.
SANDY, Utah — For ballet dancers, normal life means dancing and sweating very close to one another for up to 12 hours a day, six days a week. Typically, morning company class at New York City Ballet looks as crowded as the 42nd Street subway station after two trains have passed by without stopping. For dancers, 6 feet apart rarely happens.
Recently, The New York Times’ co-chief theater critics put together a musical cast recording starter kit for those of us stuck at home — 10 cast albums they’d take with them to a desert island. We asked some of their fellow critics to pick one cast album each and extol its pleasures.
As the coronavirus pandemic reshapes huge swaths of society, the design world is responding by doing what it does best: grabbing our attention with striking images.
“Fetch the Bolt Cutters,” singer and songwriter Fiona Apple’s first album since 2012, is a bold, cathartic, challenging masterpiece. Our critics have a lot to say about it.
In 1813, Beethoven wrote a symphonic work so noisy and trite that most scholars consider it an embarrassment. “Wellington’s Victory, or the Battle of Vitoria” depicts, with the help of spatially separated brass and percussion effects, a rout of French forces at the hands of the British.
The director of the Solomon R. Guggenheim Museum and Foundation told employees Friday that the institution would implement furloughs and pay reductions in an effort to contend with “the deep and sudden impact” of the coronavirus pandemic.
Shailene Woodley isn’t used to being at home. Since she began acting at age 5, she’s spent much of her life on set in TV shows (“The O.C.” and “The Secret Life of the American Teenager”), movies (the “Divergent” franchise and “The Descendants”) and more recently, two seasons of the HBO hit “Big Little Lies,” in which she played the troubled single mother Jane.
In the loft above the pickle factory, dozens of women sat each day at looms or hovered around copper-lined tanks filled with dye, weaving drapes and rugs for the government.
