Opera Preview: Jenufa
Wednesday, June 7, 2016 at 10AM
Among those who write about music today, Richard Taruskin stands out for his keen insight into source material; his rigorous musical analysis; his wide-ranging grasp of the related social, cultural, and political background; his high degree of serendipitous discovery; his gift for looking at the familiar through a new lens; and his use of language, combining both scholarly authority with wit and ease of expression. Taruskinís books, articles, and lectures frequently overturn previously accepted ideas in highly original, perceptive, and often controversial ways that have earned him the respect, admiration, and, sometimes, ire of his colleagues and readers. His activities in music cover a surprising gamut: music critic, gambist and conductor of early music ensembles, teacher, and eminent musicologist. His scholarly work is equally diverse. He has written about the chanson and sacred music of the fifteenth and sixteenth centuries, issues of musical performance practice, music historiography, the relationship of music and politics, and the music of Russia from the eighteenth century to the present. In addition to his writings about music, he has recorded and edited numerous Renaissance musical works. To the lay reader, he is well-known as a reviewer for the New York Times and the New Republic, for his program notes to recordings and opera performances, and for his program notes to recordings and opera performances, and for his recent voluminous contribution to the musicological literature, The Oxford History of Western Music.