Americans increasingly desire control over the timing and manner of their death. But what are they rarely told?
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“Experience is a good teacher, though her fees are terribly high.”
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Illustration by Sunny LoIllustration by Sunny Lo
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Americans increasingly desire control over the timing and manner of their death. But what are they rarely told?
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Illustration by The Epoch Times, Courtesy of Sherry Luke Photography, Courtesy of Luke Cecchi, Clemed/CC BY-SA 3.0
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Luke Cecchi watched from the bleachers as his friends and neighbors played varsity sports.
The homeschooled student from Cazenovia, New York, wasn’t allowed to try out for the local high school soccer and basketball teams under a state law regulating scholastic athletics, even though his family paid thousands of dollars in property taxes to the local school district and supported local recreation sports programs through fees, participation, and volunteer coaching.
New York state has resisted change, despite bipartisan support from lawmakers and the growing number of states allowing homeschooled students access to extracurricular activities at their neighborhood public schools. (Read more)
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(L–R) Sun-Ly Pierce (Suzuki), Hanako Ingliss (Trouble), Karen Chia-ling Ho (Cio-Cio-San), in "Madama Butterfly." Bronwen Sharp
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“Powerful vulnerability” may seem an oxymoron, but it’s an accurate characterization of Karen Chia-ling Ho’s magnificent portrayal of the title character in Puccini’s “Madama Butterfly” at Santa Fe Opera.
Ho possesses the perfect voice type for this role, the lirico-spinto, a high voice situated between the lyric and dramatic. At lyrical end of the spectrum, she floated the ingenuous melody of her Act I duet with Pinkerton. As a spinto (literally “pushed” in Italian, she imbued her second and third acts with increasing darkness and dramatic weight. The opera’s most famous aria, “Un bel di” (“One Fine Day”) sits at the top of the second act as transition between these vocal types. Ho’s control of her voice’s relative weight and darkness tells the story of her downfall even without reference to the story. This is vocal characterization at its most skillful.
The role of Cio-Cio-San (Butterfly’s actual name) is one of the most demanding in all opera. In Puccini’s other operas, the vocal parts are shared fairly equally among the principals. Think of the four principals in “La Boheme” or the love-triangle trio in “Tosca.” In this opera, however, Butterfly is onstage for nearly all of the show. While no official figures exist, I would be surprised if she sings less than 60 percent of the total vocal parts. (Read more)
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Educational Institutions Dividing Students Based on Race |
Nearly 60 years after Congress outlawed housing discrimination, the federal government has had to remind America’s colleges and universities that... (Read more)
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Democracies have a bad habit of ignoring warning signs. We convince ourselves that provocative language is intended for domestic audiences, that... (Read more)
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