[ In the Press ]

How Do You Solve a Problem Like Scalia? Set His Dissents to Music


The Reduced Shakespeare Company portrays the Supreme Court as Puppets singing ‘How Do You Solve a Problem Like Scalia?’ REDUCED SHAKESPEARE COMPANY

The Wall Street Journal | By Jess Bravin

WASHINGTON—Justice Antonin Scalia , whose barbed wit entertains audiences at Supreme Court arguments, has some competition from Antonin Scalia, the fictional character.

Like no justice before him, the 78-year-old jurist is being portrayed in works that draw on his words and legacy as the longest-serving sitting justice and one of the court’s most polarizing figures.

Justice Scalias are appearing in a stage play, an opera and a puppet show, to name three. The actual Justice Scalia ascribes his proliferating stage presence to the media culture of the modern age. MORE

Published December 3, 2014
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[ alumni in the press ]

Wall Street Journal: Sharon Isbin: Notes From a Classical Guitarist

For most of her childhood, Grammy-winning guitarist Sharon Isbin imagined a different career for herself: She wanted to be a rocket scientist. Her father, a chemical engineer, used to make her practice the guitar before she was allowed to work on the model rockets that she would construct and send speeding skyward.

The bribery worked. By age 14, Ms. Isbin performed as a soloist before an audience of 10,000 in her hometown of Minneapolis. “I walked out on the stage and thought, ‘This is even more exciting than seeing my worms and grasshoppers go up to space,’ ” she remembers. MORE

Published December 2, 2014
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[ concerts ]

Wall Street Journal: Tuning Up to Pay Tribute to a Master

Hindemith_teaching_SpragueNo matter what they play, most young musicians at some point study the work of the 20th-century composer Paul Hindemith.

“Just about every instrument has a Hindemith sonata,” said David Shifrin, a clarinetist and professor at the Yale School of Music. “He wrote such a broad cross-section of music.”

Hindemith, who lived from 1895 to 1963, was principally a violist, but could play virtually every instrument he wrote for. Over the decades, his composition style changed from romantic to modern, emphasizing counterpoint, but he also created comic works, such as a parody of a string quartet or a takeoff on Wagnerian opera. Born in Germany, he came to the U.S. in 1940 and found a musical home at Yale, where he taught from 1940 to 1953. MORE

Published November 21, 2013
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