Berlin music

Berlin music

“I don't use the computer. I do sketches, very quickly, often more than 100 on the same formal research,” Dame Zaha Hadid once told designboom, highlighting the physical drafting process behind her complex architectural designs. Today, a major show at LUMA Arles sheds light on the visionary Iraqi-British architect's creative process, looking past the digital tools of her later career to focus instead on her early calligraphic drawings, quick sketches, and the paintings she used to test new spatial ideas long before a computer could generate them.

Everything operates with an almost choreographed efficiency. Ferries maneuver slowly; refrigerated trucks wait their turn to board alongside cars, cyclists, and workers who cross the resund Strait as if taking a commuter train. After all, only 2.5 miles separate Swedish Helsingborg (population 114,000) from Danish Helsingr. From the waterfront, under the oblique light of northern Europe that lengthens the evenings over the water, the strait is so narrow it is hard to see it as a strategic border.

Though inspired by an 18th century French original, Ashton's 1960 version, framed by Osbert Lancaster's naturalistic designs, and set to a gloriously descriptive score by Ferdinand Hérold, distils the idealised essence of his beloved English countryside, lush, sunny, joyous and innocent. Up to a point: the titular daughter, Lise, is savvy and persistent enough to overcome her daunting mother, the Widow Simone's opposition to marriage to the cheeky Colas; his persistence matches hers, and all's well that ends well, as they say.

Kobzarka blends vérité documentary with musical performance, merging front line footage with an original studio score to create an immersive experience. The bandura is central to the film-a traditional instrument once suppressed under Soviet rule. By choosing the bandura, Inna Ishchenko connects to the legacy of the kobzars, itinerant bards who preserved Ukrainian history through music. Once silenced by occupation, the instrument is now played at the front line by a young woman who chose presence over safety.

When Miles Davis was dying in September 1991, an invisible, neighbouring trumpet player, who this writer would frequently hear practising graceful classical phrases, began playing homages to Miles' voice-like, blues-inflected melodies instead. It was a poignant personal tribute to a unique instrumental sound, and a unique imagination, that had profoundly enriched 20th-century music.

When a person fasts, they are in a state of maximum receptiveness that can bring about profound and comprehensive change. Buchinger himself was an avowed yet non-dogmatic Christian who integrated a plethora of spiritual and cultural influences into his model of therapeutic fasting. His nine elements of soul nourishment included meditation and adoration, spending time in nature, reading spiritual literature, surrounding oneself with good companions, using music, art, and movement to nourish body and soul; and valuing a God-given sense of humor and self-deprecation.

I first encountered Samuel Barber's opera in 1979, when, at thirteen, I happened to catch a PBS broadcast of a production at the Spoleto Festival in Charleston, which had been directed by Barber's longtime partner, the composer and librettist Gian Carlo Menotti. I was hooked at once, swayed by the astonishing beauty of the music and the unerring craftsmanship that held it all together. The crux of the plot-an aging aristocrat waiting for her long-lost lover-was alien to my experience, but Barber's constant current of melody revealed such a profound sympathy for his characters that I was carried along with the tide.

“When I say 'praise be the wrecking ball' I mean my brain. That one's a metaphor.” It's also an act of channeling - because the brain in question really belongs to Animal Wisdom's creator and original performer, the truly alone-in-her-class composer Heather Christian. “It's my life story,” Christian writes in a program note, “as clearly as I can tell it (which is not very clearly at all).”

There was dancing, music and a fantastic community atmosphere in Germaines of Baltinglass when the Baltinglass & District Active Retirement group hosted their annual Bealtaine afternoon tea dance.

Curators Wang Shu and Lu Wenyu unveil Do Architecture: The Possibility of Coexistence in the Face of Real Reality as the theme of the 20th International Architecture Exhibition of La Biennale di Venezia. Running from May 8th to November 21st, 2027, the exhibition positions architecture as a direct response to an increasingly unstable world shaped by ecological crisis, accelerated urbanization, technological abstraction, and the erosion of cultural memory.

Two Iranian composers were featured; only one, Amen Feizabadi, could attend in person. Golfam Khayam, the other, conveyed a message pleading for peace and extolling music as a "free bird who knows no border." The Russian composer Dmitri Kourliandski, also on the program in Witten, left his homeland in 2022 after participating in protests against the war in Ukraine. The Israeli-born composer Chaya Czernowin, the focus of several concerts, has described herself as being profoundly alienated from her country, and she has also decried repression in the United States, where she now lives.

Dmitri Shostakovich's Symphony No. 5 will bring the program to a stirring close, its triumphant strains echoing themes of resilience forged under historical pressure. Events of this caliber will continue to elevate San Jose's reputation as a premier destination for the arts, attracting diverse audiences and nurturing the creative spirit that drives the city forward.

With "BABYBOY," siovo passionately dives into the emotional chaos of unrequited love. The track masterfully combines melancholic guitars, thick synths, and glitching vocals to create a soundscape that beautifully encapsulates both the weight of longing and the lightness of hope.

The best Smerz songs saunter by like a hostess maneuvering through the chicest soiree in town: by the time you catch her eye, she's already off to a new room. Fleeting moments are the fascia of the Norwegian duo's enigmatic post-pop; brevity is both the medium and message.

Congratulations on your first Tony nomination. Had you ever written incidental music for a play before?I helped out with a National Theatre production of The Crucible, and we adapted for the girls onstage, but I didn't write anything new. And then I wrote music for an onstage pianist to perform in a production of Hedda Gabler at the Old Globe in San Diego. But Salesman is very different.

“Mascara” is an ironic and laid-back breakup anthem that explores themes of freedom, letting go, and the radiant glow that often follows a breakup.

At its unveiling in 2015, Lindenberg himself described the monument as the “Statue of Liberty of Gronau.” Years later, the statue collapsed and had to be restored, but this did little to diminish its symbolic value.

ChatterPDX debuted their LATEworks series. The ensemble took to the Hallowed Halls studio to perform music by Steve Reich, Andy Akiho, Kaija Saariaho, John Luther Adams, and ChatterPDX artistic co-director James Shields. They also premiered Slip by Kimberly Osberg, one of Chatter's three composers-in-residence, who wrote the piece in only forty-eight hours.

Jean-Michel's dad Georges is the master of ceremonies at a Saint-Tropez drag nightclub. Anne's dad is head of the Tradition, Family and Morality Party that's trying to close drag clubs. How will these two get along now that their kids are in love? A bevy of lies ensue to try and assuage Anne's family, yet by the end, everyone needs each other and drag artists win the day.

At the future site of the permanent Qatar Pavilion in the Giardini, the country's national participation at Venice Art Biennale 2026, named 'untitled 2026 (a gathering of remarkable people)', transforms the pavilion grounds into an evolving cultural meeting place shaped by performance, cuisine, sound, and collective participation. Anchored by a maroon tent-like structure designed by Rirkrit Tiravanija, the exhibition brings together artists, musicians, poets, and chefs from across the Arab world and the broader MENASA region.

“The exploitation of sports and music fans must come to an end. It is unacceptable that tickets for concerts or football games are resold at exorbitant prices on the secondary market. We need clear and effective rules for the ticket resale market that protect consumers and organisers, securing fair prices. Culture and sport must not become a lucrative model for exploitation.”

“I somehow internalised these big, structural problems and carried them around on my own, and that's not a way that I can recommend,” he said recently. “I started to feel that we didn't need any more people like me in the music industry, which was already very white and male. So I stepped back, and it took me maybe ten years to come around from that.”

Custom-made shirts at Gino Venturini, one of the oldest shops in the city, just around the corner from St. Stephen's Cathedral. Once you've been measured there, you don't have to worry about anything anymore and your shirts can be shipped all over the world.

We always thought BalletBoyz was a really stupid name. We wanted not to be BalletBoyz. says William Trevitt, founder of the company called, guess what, BalletBoyz. It was the BBC that landed them with that tag, when then-Royal Ballet dancers Trevitt and Michael Nunn made a cheeky and revealing backstage documentary at London's Royal Opera House. Their knockabout, laddish charm won them fans, and when they went on to found their own company, first the two of them, later expanded to 10 men, the name stuck.

Experience the vibrant spirit of Taiwan! Join us for a world-class performance by the elite dancers of the National Taiwan University of Sport. Through breathtaking choreography, youth, and music, “We Are Taiwan” reveals an island's soul of diversity and freedom. From traditional rhythms to modern artistry, this is a must-see cultural event for all ages.