The Fredösphere

Do we approve of Gaddafi, the Opera?  Well, let's hear the dang music first.  It does remind one that the people will always rise up to resist the oppressor.

I don't know anything about dance, but I know what dance criticism I like.  I'm glad to see Laura Jacobs of the New Criterion getting some of her due.  I don't know of any critic who can communicate the essence of an art to neophytes like she does.  I suppose the true test would be her estimation in the eyes of the experts, but all I can say is, if she's fooling us know-nothings, she's doing it with a mesmerizing panache, perspicacity, aplomb, élan, flair, and a flapdoodle-free fandango, or something.  Everyone says writing about dance is like snorkeling about Esperanto, but she makes it seem like singing about love.

I don't think I need 1000 CDs in one little box, but I'll pass it along in case you do.  I've been thinking about my music collection and its strangeness, even (or especially) for a classical music fan.  I have precisely none of the following:

Operas by Wagner (due to change eventually, however; I've got my eye on a Flying Dutchman)
Any Verdi, not even the Requiem
Any music by Haydn (you knew that, didn't you)
Any music by Beethoven (wow)
Any Mozart but four arias sung by Herman Prey (even I am shocked)

Which composer wins my personal popularity contest?  It's Benjamin Britten, by a landslide.