Poison Put to Sound

Poison Put to Sound

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Pride at Poison #2
My article on cello endpins for the New York Times came out online on Tuesday and will be in print on Sunday.
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Max Keller
Character ARC
I’ve struggled with this review of Anthony Roth Costanzo’s The Marriage of Figaro at Little Island.
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Max Keller
1
Thoughts, Feelings, Meanings
When I picture the late cellist-composer-producer Arthur Russell, he has headphones on.
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Max Keller
Time Warp
There’s something a little too on-the-nose about Carnegie Hall’s “Fall of the Weimar Republic” series.
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Max Keller
Verbose Exhibitionism
I first heard about Wayne Koestenbaum’s The Queen’s Throat from my high school cello teacher, Arthur Cook, who would carry it under his arm to lessons.
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Max Keller
Gorg
The Church of the Holy Apostles was stuffed to the rafters — on Saturday, March 16 — for a performance by the Queer Urban Orchestra. This sold-out…
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Max Keller
Imaginary Audience
I recently had an interesting exchange with a fellow critic about the term “genre-fluid,” which they felt had become a kind of marketing doublespeak.
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Max Keller
1
Pianist Envy
I was under the impression that Clayton Lee’s “Goldberg Variations” — which I saw at NYU Skirball on Tuesday, Feb.
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Max Keller
My Kraus
I was honored to have been asked to write the program notes for Juilliard 415’s Feb. 9 concert with Kristian Bezuidenhout. While researching Joseph…
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Max Keller
Fluid Dynamics
The words “gender” and “genre” both come from the Latin “genus” (which itself comes from the Greek root “gen-”) meaning “kind” or “type.”
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Max Keller
Wood and Bone and Flesh and Stone
You know a concert is going to be good when the walk-in music is Chappell Roan’s “Femininomenon.” Indeed, Mosaic Composers Collective’s “Sculpting the…
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Max Keller
The Gayest Thing I Did This Week
“What’s the gayest thing you did this week?” ask Carolyn Bergier and Melody Kamali, the hosts of the pop culture podcast Dyking Out, at the beginning of…
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Max Keller
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