If consecutive profiles in The New York Times and The New York Review of Books are any indication, the reopening of Moscow’s Bolshoi Theatre is a very big deal. To celebrate from the comfort of your chair, however, you can listen to the overture from Pyotr Ilyich Tchaikovsky‘s opera The Voyevoda, which opened in the Bolshoi in 1869.
"Their relative obscurity is what makes their fans so passionate — these are voices that never quite found the right audience when they were alive." Longreads has a reading list of forgotten women writers, including Theresa Hak Kyung Cha, Jessie Redmon Fauset, and Anita Brookner, whom we profiled in our own pages last year.
Why is Hamlet so maddeningly indecisive? It’s a question as well-trod as any in literature, yet few people question that dithering is what defines the Prince of Denmark. In The Irish Times, Brian Dillon looks at another way of thinking about the character, one laid out in a recent book, that centers on the idea that Hamlet is crippled by “the burden of knowledge itself.”
"If you read through all the citations, you’ll start to detect certain patterns. Any aspirant Nobel Prize–winner should take note—these may hold the key to victory." The Paris Review has read through all of the Nobel Prize-winner citations and came to a couple of conclusions, such as "you should be great... but it also helps if you’re epic. Oh, and fresh!" Pair their piece with our own overview of newest laureate Patrick Modiano's work, and The New Yorker's look into the translation of Nobel Prize-winning authors.
Riffing on R&B singer Ernie K-Doe’s one-time statement, Chris Rose writes in the Oxford American, “I’m almost positive that all music, at least all American music, comes from Louisiana.” The essay appears in this year’s OA Southern Music Issue, a reliably excellent source of tunes and writing. Indeed, as Dwight Garner put it in The New York Times, the CDs that accompany each annual issue “practically belong in the Smithsonian.”