There Stands the Glass

I’m mutating before your very eyes. With the task of making life-and-death decisions such as whether or not the slightly cloying adult pop of Lianne La Havas’ self-titled album really belongs on my year-end album list finalized, I have time to begin exploring the alien sonic terrain I’ve discovered through my ongoing opera binge. Examples:

*What in the wide, wide world of sports is a-goin’ on here? I may never recover from witnessing a German troupe’s lighthearted depiction of sensual pleasures and eternal damnation set to Carl Orff’s infamous canticle Carmina Burana.

*I stumbled upon the Empty Concertgebouw Sessions series via Brad Mehldau’s breathtaking entry, but the Van Baerle Trio’s stunning interpretation of Beethoven’s “Ghost” floored me. I’m also pleased to learn of Lilian Farahani.

*Back on the opera beat: 1992 production of Claude Debussy’s “Pelléas et Mélisande”- #264 in my daily binge- shook me.

My tiny world is rapidly expanding. Paraphrasing Aristotle, the more I know, the more I realize I don’t know. Yet it’s still too soon to say farewell to the old me. I recently admired Shawn Mendes’ latest homage to Paul McCartney, the Kansas City rapper Rich The Factor’s eighth release of 2020, Doug Carn’s solid contribution to the excellent Jazz Is Dead series and Kelly Finnigan’s impressive new Christmas album.