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Listen to mic by Benjam Gay on Apple Mic. Fd top songs and albums by Benjam Gay cludg Project Ben 2.

Contents:

SONG: BENJAM - 'GAY'

Benjam GAY lyrics: Yks pl yks on kaks / Sen ykskertaisemmaks ei mee ala-aste matikka / ... * benjamin gay song *

He’s back wh his sexualy palised form – ‘GAY’. If the song is GAY then the tone is CAMP! And of urse – you n’t have ‘GAY’ whout a great big key change.

GAY LYRICS

Gay Lyrics: Yks pl yks on kaks / Sen ykskertasemmaks ei mee ala-aste matikka / Oli pojkvän tai flicka / Bye bye kivikn vanhat säännöt rakkn / Make love great aga / Tervetuloo * benjamin gay song *

You n fd ‘GAY’ on our Bt New Pop playlist.

GAYBENJAM (FIN)PRODUCED BYATSO SOIVJUL. 8, 20221 VIEWER2 CONTRIBUTORSGAY LYRICS[VERSE 1]YKS PL YKS ON KAKSSEN YKSKERTASEMMAKS EI MEE ALA-ASTE MATIKKAOLI POJKVäN TAI FLICKABYE BYE KIVIKN VANHAT SääNNöT RAKKNMAKE LOVE GREAT AGA[PRE-CHOS]TERVETULOO TäHäN UUTEEN MAAILMAAN KARMIVAANJOS MUIN RAKKS HARMTAA SUA NI VOI HARMI VAANENää SYYTTöMäT EI A JääDä VANKILAANKAAP PEKOILLE OOTTAA PääSYY NARNIAAN[CHOS]JA PäIV SILMäT ON SUMEAT JONE SANOO MAAILMA ON VAAROJEN KARIKKOTää SAIRAS MAAILMA LAPSI VEIMä SANON VIIMEISEN SANANI JA SE ON GAYJA PäIV SILMäT ON SUMEAT JONE SANOO MAAILMA ON VAAROJEN KARIKKOTää KNIS MAAILMA LAPSI VEIMä SANON VIIMEISEN SANANI JA SE ON GAY[VERSE 2]NOLLA NELJä NOLLA ANNA MUN HTO OLLAJOS JOUDUN TäST HELVETTI OTAN YKKöSLUOKAN LUOTOLLABYE BYE KIVIKN VANHAT SääNNöT RAKKNMAKE LOVE GAY AGAYOU MIGHT ALSO LIKE[PRE-CHOS]ÄLäHUOLI TäN EI PäIS OLLA TARTTUVAAMUT JOS LöYDäT T NII EI MUUTKU TäNNE VAAENää SYYTTöMäT EI A JääDä VANKILAANKAAP PEKOILLE OOTTAA PääSYY NARNIAAN[CHOS]JA PäIV SILMäT ON SUMEAT JONE SANOO MAAILMA ON VAAROJEN KARIKKOTää SAIRAS MAAILMA LAPSI VEIMä SANON VIIMEISEN SANANI JA SE ON GAYJA PäIV SILMäT ON SUMEAT JONE SANOO MAAILMA ON VAAROJEN KARIKKOTää SAIRAS MAAILMA LAPSI VEIMä SANON VIIMEISEN SANANI JA SE ON GAY[BRIDGE]JOS SUN SUUR MöRKö ON SATEENKAARENVäRENÄLä JäTä Sä PIMEääNKUN AVAAT KAAPOVET NI Mä LUPAAN SULLE SENETTET ENää KOSKAAN ULKOPUOLISEKSI Jää[CHOS]JA PäIV SILMäT ON SUMEAT JONE SANOO MAAILMA ON VAAROJEN KARIKKOTää SAIRAS MAAILMA LAPSI VEIMä SANON VIIMEISEN SANANI JA SE ON GAYJA PäIV SILMäT ON SUMEAT JONE SANOO MAAILMA ON VAAROJEN KARIKKOTää KNIS MAAILMA LAPSI VEIMä SANON VIIMEISEN SANANI JA SE ON GAY2EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUTHAVE THE SI SOP ON THIS SONG?SIGN UP AND DROP SOME KNOWLEDGESTART THE SONG BASK A QUTN ABOUT THIS SONGASK A QUTN *‌WHO PRODUCED “GAY” BY BENJAM (FIN)?WHEN DID BENJAM (FIN) RELEASE “GAY”?WHO WROTE “GAY” BY BENJAM (FIN)?CREDSPRODUCED BYATSO SOIVWRTEN BYIIVARI SUOSALO, JOONAS KERONEN, ATSO SOIV, BENJAM (FIN) & MAIJA VILKKUMAARELEASE DATEJULY 8, 2022TAGSPOPSUOMIEXPAND COMMENTSADD A MENTSIGN UP AND DROP KNOWLEDGE ?GENI IS THE ULTIMATE SOURCE OF MIC KNOWLEDGE, CREATED BY SCHOLARS LIKE YOU WHO SHARE FACTS AND SIGHT ABOUT THE SONGS AND ARTISTS THEY LOVE.SIGN UPGENI IS THE WORLD’S BIGGT LLECTN OF SONG LYRICS AND MIL KNOWLEDGE

Translatn of 'GAY' by Benjam om Fnish to English * benjamin gay song *

Lately, mors about the Amerin sger-songwrer Alec Benjam beg gay have been gog on around. Dpe beg a very well-known face, Benjam has kept his personal life que private, which has led people to make assumptns about the about the sger beg gay have been circulatg for que a while now.

Mä sanon viimeisen sanani ja se on gay!

GAY

* benjamin gay song *

Make love gay agaÄlä huoli, tän ei päis olla tarttuvaa.

IS ALEC BENJAM GAY? IS HE CURRENTLY DATG ANYONE?

Disver GAY by Benjam. Fd album reviews, track lists, creds, awards and more at AllMic. * benjamin gay song *

Mä sanon viimeisen sanan ja se on gay! [Verse 1]Yks pl yks on kaksSen ykskertasemmaks ei mee ala-aste matikkaOli pojkvän tai flickaBye bye kivikn vanhat säännöt rakknMake love great aga[Pre-Chos]Tervetuloo tähän uuteen maailmaan karmivaanJos muin rakks harmtaa sua ni voi harmi vaanEnää syyttömät ei a jäädä vankilaanKaap pekoille oottaa pääsyy Narniaan[Chos]Ja Päiv silmät on sumeat joNe sanoo maailma on vaarojen karikkoTää sairas maailma lapsi veiMä sanon viimeisen sanani ja se on gayJa Päiv silmät on sumeat joNe sanoo maailma on vaarojen karikkoTää knis maailma lapsi veiMä sanon viimeisen sanani ja se on gay[Verse 2]Nolla neljä nolla anna mun hto ollaJos joudun täst helvetti otan ykkösluokan luotollaBye bye kivikn vanhat säännöt rakknMake love gay aga[Pre-Chos]Älähuoli tän ei päis olla tarttuvaaMut jos löydät t nii ei muutku tänne vaaEnää syyttömät ei a jäädä vankilaanKaap pekoille oottaa pääsyy Narniaan[Chos]Ja Päiv silmät on sumeat joNe sanoo maailma on vaarojen karikkoTää sairas maailma lapsi veiMä sanon viimeisen sanani ja se on gayJa Päiv silmät on sumeat joNe sanoo maailma on vaarojen karikkoTää sairas maailma lapsi veiMä sanon viimeisen sanani ja se on gay[Bridge]Jos sun suur mörkö on sateenkaarenvärenÄlä jätä sä pimeäänKun avaat kaapovet ni mä lupaan sulle senEttet enää koskaan ulkopuoliseksi jää[Chos]Ja Päiv silmät on sumeat joNe sanoo maailma on vaarojen karikkoTää sairas maailma lapsi veiMä sanon viimeisen sanani ja se on gayJa Päiv silmät on sumeat joNe sanoo maailma on vaarojen karikkoTää knis maailma lapsi veiMä sanon viimeisen sanani ja se on gayHow to Format Lyrics:Type out all lyrics, even repeatg song parts like the chosLyrics should be broken down to dividual lUse sectn hears above different song parts like [Verse], [Chos], alics (<i>lyric</i>) and bold (<b>lyric</b>) to distguish between different volists the same song partIf you don’t unrstand a lyric, e [?

I am sayg my last word, and that is gay! Make love gay agaDon't worry, this should not be ntag. So, is Alec Benjam gay?

Even though the sger-songwrer never clarifi his sexual preference nor talks about his prev relatnships, if he had any, a huge part of his fanbase believ that he’s not gay. In Crimp and Benjam’s terpretatn, Edward II’s polil vulnerabily li not so much his homosexualy—the theme that ncerned Marlowe—as his belief the virtu of tolerance and love, and his valug of the arts and culture, pecially mic and st led about the stage, anticipatn of rehearsg the next scene.

BENJAM GAY

Simon Amstell's appealg, tobgraphil but feature is a gay romantic edy of sorts, though s tle character might disagree. * benjamin gay song *

“Benjam” opens on a film wh a film, the long-awaed sophomore feature by thirtysomethg Irish director Benjam Oliver (Col Man), whose once-clamoro reer buzz has slowed to a murmur.

The film, tled “No Self, ” turns out to be semi-tobgraphil acunt of the director’s gay datg troubl morn London; the same is te of “Benjam, ” which is self-effacgly wrten and directed by gifted Brish edian Simon Amstell. Ben LaMar Gay. Chigo rist Ben Lamar Gay is one of the cy's most adventuro and boundary-phg performers wh sound that touch upon avant-gar jazz, hip-hop, die rock, Brazilian tradns, and experimental electronic posn.

GAY

A member of the AACM, Gay (who also spent time travelg and livg Brazil) emerged the 2000s sgg and playg a variety of stments.

Raised on Chigo's South Si, Gay veloped his r skills as a member of the rpected AACM (Associatn for the Advancement of Creative Micians).

BEN LAMAR GAY

In 2018, Gay llected a handful of his own unreleased tracks for his but album, Downtown Castl Can Never Block the Sun, on Internatnal Anthem. He studied unr Frank Bridge, John Ireland and Arthur Benjam among others, and was also a fe ground-breakg operas, which clu Peter Grim (1945), and The Turn of the Screw (1954) – and his famo War Requiem – tackle ntemporaneo issu around psychology and post-war trma, as well his own homosexualy, which was illegal Brten’s lifetime.

*BEAR-MAGAZINE.COM* BENJAMIN GAY SONG

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iRsSlw"><a class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/magaze/onward-and-upward-wh-the-arts"><span class="RubricName-fVtemz cLxcNi">Onward and Upward wh the Arts</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">How the Composer Gee Benjam Fally Found His Voice</h1></div><div class="ContentHearAccredatn-lfctVB enhwXT ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearDek-bIqFFZ Mtme">He was a prodigy, but beme creatively blocked—until he dared to try an opera.</div><div class="ContentHearByle-kmPyCa gvUmxJ"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearContributorImage-cvjZXn jKACOU"><picture class="RponsiveImagePicture-cWuUZO dUOtEa ContentHearContributorImage-cvjZXn jKACOU rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="66px"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="66px"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bqbBYQ"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/rebec-mead">Rebec Mead</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2018-09-10T05:00:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">September 10, 2018</time></div></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ContentHearLeadAsset-hGbumP iWPCcH lead-asset ContentHearLeadAssetWrapper-hfXHEc fTrSlG lead-asset--width-smallle" data-ttid="ContentHearLeadAsset"><figure class="ContentHearLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHearLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__ntent__photo"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset ContentHearRponsiveAsset-bREgIb khLUzS"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz dkTa"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO KhjZz ContentHearRponsiveAsset-bREgIb khLUzS rponsive-image rponsive-image--expandable"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="a mic poser" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></div></div></span><div class="CaptnWrapper-jSZdqE iTuhkZ ptn ContentHearLeadAssetCaptn-hPWmSN kuCzGS"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Benjam, a child prodigy, studied wh Olivier Msiaen as a teen-ager.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Illtratn by Aart-Jan Venema</span></div></div></figure><div data-ttid="ContentHearLeadRailAnchor" class="ContentHearLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span 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23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">When Gee Benjam, the Brish poser, was a small child, he disvered that he had an unual physlogil gift: wh a voluntary mcular movement, he was able to block his ears. This created a strange sense of ternal amplifitn and enclosure, siar to what other people might experience by pluggg their ears wh their fgers. Wh this trick, he uld dampen the outsi world while creasg the ronance of the ner one. Often when he was alone, or walkg, he would shut himself up si his head and mentally replay mic.</p><p class="paywall">Benjam beme obssed wh classil mic at a very early age, after beg taken by his parents to a screeng of Walt Disney’s “Fantasia.” “I was very reluctant to go,” he told me recently. “Tantm on the way. Bliss on the way back.” Whereas other ventive children might ask to be allowed to make up a story before bedtime, he begged to be permted to vent a song his head before gog to sleep. He worked his way through a Goln Book of myths, settg the stori to mic that he posed real time. “I would take an hour and make up some opera that was never to be wrten down, or heard, by anyone else,” he relled. As he imaged the vol l, he said, “they wouldn’t sound like a ltle child’s ghastly voice makg funny nois—they would sound much better my head.” At around the age of seven, Benjam learned mil notatn, and he began fillg notebooks wh his posns. “I’d wre piec that sort of stopped at the end of the book,” he relled. He not only had the physil abily to keep the world at bay; he had the pacy to create new worlds of his own, sequtered the ncert hall of his skull.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Benjam had the good fortune to be born wh extraordary talents, and to have found at a young age a key to unlockg them. By the time he turned sixteen, he had bee a stunt of Olivier Msiaen, the French poser known for his radiantly plex harmoni. When Benjam was twenty, an orchtral piece that he had posed was performed at the Proms, the venerable summertime seri of ncerts London. Crics hailed the work, “Rged by the Flat Horizon,” which njured the scent of a storm on a sert landspe, as the début of a promisg reer.</p><p class="paywall">But Benjam’s passns were not pecially nsonant wh the tim. He was born 1960, and when he was enterg adulthood narrative had fallen out of fashn amid the European avant-gar, not only mic but also fictn and patg. Stori set to mic, which Benjam had generated so guilelsly as a child, were rid as facile, hibound, and ntly nostalgic. What was the pot of wrg an opera, an art form beloved by the Nazis? Where did you go after <em>that</em>?</p><p class="paywall">Wh Benjam’s maturatn and tellectual awakeng, a cripplg self-nscns set . The operas his head were silenced. Instead, he wrote mostly for smaller ensembl or soloists, slowly and wh great effort—that is, when he wasn’t blocked. Crics received his sporadic output gratefully, but Benjam also gaed a reputatn as a prodigy who had failed to fully flower. Over the s, he relquished the hope that he would ever wre an opera, much the way someone who has missed out on love rigns himself to unsought solu.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Benjam, who is now fifty-eight, retas somethg of the boyishns of a half century ago, spe the fact that his close-cropped hair is silver. He has an air of uncynil telligence, brightened perdilly by a shy gr, like sunlight breakg through the clouds of a changeable English sky. His face is smooth, though is marked by two fat horizontal l across his cheeks, which epen to creas when he scnch his ey closed—the lible striatns of ep ncentratn. Though he no longer habually clos his ears to the world, Benjam physilly remov himself om for months, or even years, while pletg a posn, wrg ndns of almost anchoric isolatn the hoe, the Maida Vale neighborhood of London, that he shar wh his partner, Michael Waldman, a documentary filmmaker.</p><p class="paywall">“You’re ventg worlds of sound, and of time, wh your head, that are pennt upon maybe dozens, if not hundreds, of people performg them, and they have to sound right, and they have to have herence and move,” Benjam told me, when I vised him at home this sprg. He closed his ey as he spoke, as if took immense effort even to scribe the effort volved. “It is so, so difficult that needs sort of trancelike ncentratn to do , and utter mment,” he said. “Every mark you make on the mil nvas fluenc the memory of what has e before, and has an effect on the future as well. So not only do you wre one note at a time—you’re wrg the whole piece every gture that you make. It’s very, very mandg, and very strange. The world has to shut down.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">We sat a light-filled kchen that overlooked a garn, at the end of which was a shed outfted as a small office. Benjam had the shed built the hope that he uld wre there, but he hadn’t found ngenial to creativy. He prefers the attic, where he has a futon and an archect’s sk strewn wh papers. He acknowledg the privilege entailed claimg extend secln, but nohels scrib the ndn wh anguish. “It’s lonely—I miss everythg,” he told me. “I don’t go to ncerts. I don’t go to the opera. I have to get to a rhythm of livg wh , and not gog out om . I have to say no, no, no, no to <em>everythg</em> for two and a half years.” Durg perds of posn, Benjam do not talk about the work unr way, not even to the micians who will perform or the arts admistrators who are payg for . He learned this om Msiaen: “He said to me, ‘Don’t talk about your piec.’ In other words, keep them to yourself until you fish them. To create a work of art is a eply private thg, and you need to live a eply private space.”</p><p class="paywall">Benjam grew up London, where his father worked fashn magaz and his mother ran Halcyon Days, a shop Mayfair that sold enamelled pper box—an eighteenth-century art form that she revived. Both of his parents were Jewish, and his mother, San, grew up the East End of London, where she found childhood succs on the stage, actg and sgg unr the name Baby SoSo. San, who died 2010, was of Sephardic scent; a few years ago, Benjam drew on that herage “Dream of the Song,” a song cycle wrten for untertenor, female chos, and orchtra. “She was very creative, and very fsy about tail—which I have hered a hundred and one per cent, unfortunately,” he said. Benjam’s sister, Lra, who is four years olr, owns a uture-clothg pany. “We ed to share a ty bedroom, and she ed to play pop mic,” he relled, addg, “It really was the bt era of pop mic, the mid-sixti.” But, even as a child, Benjam preferred classil mic: Stravsky’s “The Re of Sprg,” Mssky’s “Night on Bald Mounta,” Das’s “The Sorcerer’s Apprentice,” and <a href=">Beethoven</a> above all. He was “toxited by mic,” he told me, notg, “If I had an afternoon off, I would spend lookg at sr, practicg the piano, wrg mic, listeng to rerds, playg percsn. I thk you would ll me a nerd today.” He began to llect exotic percsn stments—his posns are marked by an novative e of percsn—and took piano lsons, advancg quickly through levels of mastery. He mand to be taken to several ncerts a week. “I loved playg the piano, but was the orchtra I went to see,” he said. “I loved the variety of stments, the energy, and the source of drama through sound.”</p><p class="paywall">At Wtmster, a prtig private sendary school, he wrote cintal mic for plays, and adapted other plays to mils. “The first time I ever heard my own mic played by more than one person was the weird groups that I assembled,” he said. “Four flut, bad saxophonist, fifteen terrible percsnists, a vl, and me on piano.” He began studyg piano and posn wh Peter Gellhorn, the German mician, who, regnizg Benjam’s talent, took him to Paris to troduce him to Msiaen.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">“We went to his apartment on the Avenue Rue Mart, on the fifth floor, and he was late, so Yvonne Lord, his famo pianist wife, gave me a banana-and-cholate éclair to keep me gog,” Benjam relled. “I was terrified.” When Msiaen appeared, he asked Benjam to play one of his posns on the piano. “I played this mic which I had wrten for a stagg of ‘Unr Milk Wood,’ which we’d done at school,” Benjam said. “It was a very lively piece that was meant to last two mut, but I was so nervo—I played so fast that went by unr a mute. I turned to my sty, and what I see is a big se. He said, ‘It’s very good, the harmony is good, but you’ve played much too fast. This is the rrect tempo’—and he whistled the right hand of the begng of the piece. ‘Play aga,’ he said. And then I played at the right tempo, and we were off.” Msiaen sisted that he play piece after piece, and Benjam almost missed his flight home. “He said there and then, ‘Please e and be my stunt, but you will have to e quickly, bee I have to retire two years.’ On the way back, we were at twenty thoand feet, but I was at a hundred thoand, bee I had been accepted by this extraordary person.”</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture 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15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Durg the year that followed, Benjam travelled to Paris several tim, for a few days at a time, dg class at the Conservatoire Paris while still enrolled at Wtmster. Not all his Brish teachers were pleased to have a prodigy class, Benjam told me: “Maybe I was too cky, and too self-nfint, but they were really rentful.” Faber, the mic publisher, began urtg him when he was sixteen. In 1977, after graduatg om Wtmster wh qualifitns math, chemistry, and mic, Benjam went to live Paris for a year, and enrolled formally at the Conservatoire as one of Msiaen’s stunts.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="fb2kzr9"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="04go26"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The elrly poser exposed his stunts to his own work, mented on theirs, and led them through his unrstandg of mil history. In an say wrten for Msiaen’s centenary, 2008, Benjam wrote of spendg more than seventy hours, over six enthrallg weeks, analyzg Debsy’s opera “Pelléas et Mélisan,” the piece of mic that Msiaen most cherished. The fluence of Benjam’s French tn endur: Bernard Foccroulle, who, until recently, was the director of the Aix-en-Provence ftival, said of Benjam, “His is a very personal kd of mic, but wh very important lks wh certa tradns, such as the French tradn— is clearly very fluenced by Debsy, Msiaen, Ravel, the sound world of that sort.”</p><p class="paywall">Durg Benjam’s Paris sojourn, Lord stcted him the piano. “My sr of Schumann, Chop, Ravel, and Msiaen are still vered the meticulo fgergs and often poted cricisms that she would notate, bar after bar,” he wrote shortly after Lord’s ath, 2010. He rented a seri of rooms. “After three months, the fai I lived wh uldn’t tolerate me anymore,” he said. “I was wrg one piece particular—a rampagg piano sonata, and that meant a <em>ghastly</em> amount of noise on the fay piano. I moved to three different plac that year.”</p><p class="paywall">After two years wh Msiaen, Benjam enrolled at Cambridge Universy. Inially, seemed “provcial and belmed” pared wh Paris, he said, but he settled , and now c the poser Alexanr Goehr, who was then the head of the mic partment, as an important figure his velopment. While Benjam was still a stunt, he enuntered Pierre Boulez, the severely mornist French poser, and after graduatg he returned to Paris to take up a rincy at the Instut Recherche et Coordatn Atique/Mique, or <em class="small">irm,</em> the stute that was found by Boulez, the mid-seventi, to advance the e of puters and other technology posn. There Benjam sought to explore the ontiers of a new mil language, visg forbiddgly plex sonic archectural stctur to substute for such tradnal forms as the sonata.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">In 1987, while Benjam was at <em class="small">irm</em>, he wrote “Antara,” a piece for mixed chamber ensemble and electronic stments. It was spired by the panpipe songs that he heard beg played by South Amerin bkers on the plaza of the Centre Pompidou, outsi the stute. A reviewer of a rerdg of “Antara” remarked that “spontaney and lculatn may ocsnally be at odds the work’s later stag, but the ventn is generally of so high a qualy that mor rervatns about stcture are of ltle acunt.” Unr the sway of <em class="small">irm</em>’s supremely technocratic atmosphere, Benjam and other emergg posers sought to intify and work wh microtonal differentiatns pch. Piec of this kd sometim forced performers to physil as well as sonic ntortns. At one ncert the eighti, Benjam found himself stg next to the German poser Wolfgang Rihm. “The rather earnt soloist a ncerto had to sert a timpani stick to the soundg board at the end of a huge Bösendorfer while keepg his other hand on the keys,” Benjam later wrote. “We both disgraced ourselv wh effectively muted giggl throughout the rt of the piece.”</p><p class="paywall">Such lighthearted moments asi, Benjam often found his liberatn om the nstrats of tradnal classil mic to be paralyzg. He uld produce only mut of mic per year, if any at all. “In the end, I simply felt that whatever gifts I have are not ma for electronic sound,” Benjam told me. His apprentichip at <em class="small">irm</em> had shaped the way that he imaged and nceived mic, but he felt pelled to move to other terrory. The first piece he wrote after “Antara” was a nsort for vls and voice, timate and most sle. He didn’t produce another work for full orchtra until 1993, when he nducted the London Philharmonic the début of “Sudn Time.” In this work, Benjam aga avoid puters and stead ed analog stments, albe unual on: a muted piano, tabla dms. It was spired, part, by a dream which, he later wrote, “the sound of a thunrclap seemed to stretch to at least a mute’s duratn before sudnly circulatg, as if a spiral, through my head.” On wakg, he realized that what he had heard was a real thunrclap, experienced on the thrhold between sleep and wakefulns. In his sre, he had attempted to pture that “sense of elasticy, of thgs stretchg, warpg, and g back together.” The piece, fifteen mut length, had taken a to plete.</p><p class="paywall">Benjam yearned for somethg granr. “A small prelu for piano is like a puddle,” he told me. “A piece for vls and solo soprano is like a stream. A piece for voice and chamber orchtra lastg ten or fifteen mut would be like a river. And then a full-sle piece wh the orchtra would be like a lake. And then the ocean would be wrg an opera.” He said of opera, “I longed to be the huge dimensns where you take over a whole eveng, and wanted the great challenge of wrg a really large piece.” But there were forc atg agast takg the plunge, even beyond his hibns. Among many of his peers and mentors, was thought to be virtually impossible to wre an opera that wasn’t an exercise neo-Romantic ksch. Msiaen, his advancg years, fally dared to pose one, “St. Francis of Assisi,” but potedly avoid the propulsive melodrama of Verdi—nearly five hours long, told the life of the sat an stere seri of tablex. “It’s a magnificent , a gigantic object, but ’s not how I uld wre an opera,” Benjam said.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="fsa7gj"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">He felt that narrative was sential to the art, but he uldn’t figure out how to tell a sctive story onstage the postmorn era. The operatic form, he felt, had bee too strongly associated wh neteenth-century bourgeois mor. Moreover, film seemed to have taken over the terrory of myth that was once the particular provce of opera, jt as photography had challenged figurative patg. Livg posers had eher avoid opera altogether or created work that abandoned tradnal storytellg, like Philip Glass’s rualistic, hypnotilly churng “Satyagraha.” Benjam was sperate to “fd a new angle on narrative, so that uld seem thentic—so that one uld be nfint, whout any irony, or embarrassment, about workg wh an opera hoe, tellg a story,” he explaed. “An opera whout a story n’t move me eply. That was the problem.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">In 2005, Benjam was troduced to the Brish playwright Mart Crimp by a mutual iend, the Amerin milogist Lrence Dreyf, wh a view to llaboratn. Benjam had been lookg to work wh a librettist for years, spe his doubts about the viabily of the operatic form. He had met wh many potential partners, om novelists to playwrights. But nothg felt right, and he was fdg the uls search creasgly embarrassg. The difficulty wh wrg an opera was not jt amic. To llaborate is to surrenr part of your creativy to another artist, and to be willg to receive many unexpected suggtns durg the exchange. It was almost impossible for Benjam to tablish the necsary tst and imagative sympathy.</p><p class="paywall">Benjam and Crimp first met over lunch at the Royal Ftival Hall, London. Crimp, who plays the piano and the harpsichord, had listened to some of Benjam’s mic, and Benjam had read Crimp’s plays, admirg their reful nstctn. (They clu “The Treatment,” a dark satire of Hollywood that was recently revived London, to great succs, and a pared-down versn of Chekhov’s “The Seagull,” which Crimp excised the characters’ monologu and replaced the play’s languor wh a ncentrated fervor.) The enunter had all the awkwardns of a first date, magnified by a mutual rerve. But Benjam was fascated by the seemg discrepancy between Crimp’s outward meanor—he is gentle and guard, wh the craggy face and bowl cut of a figure om a thirteenth-century taptry—and the passnate rigor and experimentalism of his work.</p><p class="paywall">Crimp shared Benjam’s skepticism about the form that a ntemporary opera might take, and among the qutns he had for Benjam was a fundamental one: why do people sg? Benjam replied a long letter, enumeratg every public and private e of sgg that he uld thk of. He summarized for me: “To pray, to march, to ga unanimy, to mock, to celebrate—that’s public sgg. Private sgg—feelg good, feelg ecstatic. Equally, grief. The only way to exprs grief is through non-verbal sounds—to cry, or to sg.” Benjam’s acunt clud everythg om rols to soccer chants, and noted the social, polil, and personal ways which song n be put to e. “People sg to feel part of somethg bigger than themselv, which n be good, or n be very bad,” he said. “In opera, what sgg means is that the words n’t be <em>said.</em> There’s somethg elemental, hopefully. Somethg ep and powerful, which needs more than jt words.”</p><p class="paywall">Benjam also shared wh Crimp a list of about sixty subjects that he had nsired as possible stori, or them, for operatic treatment. Among them was the folktale of the Pied Piper; as a youth, Benjam had tried, unsuccsfully, to wre a children’s opera based on —a story of “this strange, magil person who mak extraordary thgs happen, and terrible thgs happen, through the power of mic.” Crimp loved the ia, and provid Benjam wh a text that retold the tale wh jt two voic, a soprano and a ntralto. “Mart’s work is strange, and I loved that strangens,” Benjam told me. “What allowed me to wre mic to is that is not locked to the ground. It floats, spe s alg, very simple language, wh very powerful human emotns.”</p><p class="paywall">In this début llaboratn, lled “Into the Ltle Hill,” Crimp and Benjam followed Ey Dickson’s dictum to “tell all the tth but tell slant.” The sgers didn’t enact the drama; they narrated . “It was that aspect that got me through the si door of the stage,” Benjam said. The work felt unshackled om the nventns of operatic storytellg, but nohels built to a powerful dénouement. “The narrator’s attu to the text chang om beg pletely objective, and ld, and matter of fact, to breakg down wh emotn near the end, bee the story is so paful,” Benjam said. He regards the fal scene as among the most plited thgs he has wrten. The ntralto voice reprents the wailg of the mothers who have lost their children, and the soprano reprents the children who have vanished to the hill. A bass flute, reprentg the Pied Piper, suoly wraps self around both voic. “There are numero elements that terperate,” Benjam explaed. “Our ia was that, spe the fact that the town is empty, and the mothers are grief-stricken, the children are gog to some sort of goln, floatg paradise, and they are happy there.” Although the work cl to offer a straightforward drama, do not mata an ironic stance toward s fairy-tale source material. Rather than jt tellg a story through song, the two performers ultimately seem to liver the story song bee the magnu of their anguish mands .</p><p class="has-dropp has-dropp__lead-standard-headg paywall">“Into the Ltle Hill” premièred 2006, to great acclaim, at the Ftival d’Automne, Paris, and Benjam and Crimp were embolned to attempt somethg more amb. Bernard Foccroulle approached them to wre a full-length work for the annual ftival Aix-en-Provence, and suggted that they nsir g Provençal source material. Wh the assistance of Crimp’s dghter, who was studyg medieval French at llege, they alighted on a thirteenth-century story about a wealthy landowner, known as the Protector, who missns an artist to make an illtrated book to glorify God, and thereby himself. The landowner’s wife—who is her hband’s property, no ls than his land is—falls love wh the artist, who is lled the Boy Crimp’s text. Benjam wrote the part for Bejun Mehta, the Amerin untertenor. (Benjam always wr wh particular sgers md, pilg a mental archive of each artist’s strengths and weakns.) After the wife and the artist beg an affair, the landowner kills the artist, oks his heart, and serv to his unknowg wife—a part wrten for Barbara Hannigan, the Canadian soprano. After the wife tak a be, the landowner reveals his cel trick. “In the origal text, the wife says, ‘Nothg I eat will ever take the taste of that heart om my mouth— ’s the most lic thg I’ve ever tasted,’ ” Benjam told me. “That is eight hundred years old, and that act of fiance and urage the face of such grief—and also torture, virtually—was extraordary.”</p><p class="paywall">As wh “Into the Ltle Hill,” Benjam and Crimp gave themselv some distance om their story, which they tled “Wrten on Sk.” The characters equently refer to themselv the third person—“What d’you want, says the Boy”; “To see, says the woman”—suggtg a dawng self-awarens that the social rol they are playg have not been ordaed by God but, rather, imposed on them by a powerful man, the Protector. Benjam buttrs the theme of liberatn wh his mic: when the wife clar that she has savored her lover’s flh, a spastic six-note figure associated wh the Protector sudnly be paired wh her vol le, and she soars to a mandg high C.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">Another amg vice impli that this centuri-old story is beg prented the morn era, by angels. The première productn, directed by Katie Mchell, emphasized the pot by dividg the set between a ntemporary realm and a medieval one. When the opera begs, the angels gui the dience back time by sgg, “Strip the ci of brick, dismantle them. Strip out the wir and ver the land wh grass / Force chrome and alumium back to the earth.” The libretto’s fal words return the operagoers to the prent, wh an image of medieval rps buried beneath parkg lots. The work was first staged around the time that the skeleton of Kg Richard III, who died 1485, was disvered beneath a parkg lot the cy of Leicter—a remr of the layers of history that are woven to England’s most pestrian settgs.</p><p class="paywall">“Whout that ame, at that pot, I uldn’t have wrten the piece,” Benjam told me. “I need that change of perspective. We were sayg to the public, ‘It’s not naturalistic; we are not tryg to be a movie. We are morn people <em>playg</em> the characters. Come on this journey wh .’ ” In the spir of “Into the Ltle Hill,” the self-nsc vic had the paradoxil effect of amplifyg the work’s emotnal impact. On openg night Aix, July, 2012, was evint that Benjam had fully embraced the possibili of opera. The dience stood and cheered. At that moment, Katie Mchell relled, she told herself, “This is part of what mt be like to be at the early Benjam Brten premièr.” No opera sce John Adams’s “<a href=">Nixon Cha</a>,” 1987, had generated such excement. “Wrten on Sk” has spired six different productns sce s première, and has entered the non. Crimp told me, “It’s very special for me to have my words, whatever their value, embedd somethg that I know is of very high value. One might have fantasi about how long one’s work will last, but I know <em>this</em> work will last.”</p><p class="paywall">Benjam was pleased by the rponse, but not entirely surprised. “I had wanted to wre somethg like this for more than half my life, and me out, and flowed, as much as anythg flows when I pose ,” he said. “I felt quietly nfint—that I had done the bt that I n, that I had put my heart and soul to . I found not that I meant, and tend, and heard.” He had wrten the fal note on his fifty-send birthday.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">One morng May, Benjam was the p at the Royal Opera Hoe, Covent Garn, workg wh the orchtra on his latt llaboratn wh Crimp, “Lsons Love and Vlence,” which was to have s première a week later. The work is a full-length opera based on the life of Edward II, the fourteenth-century English monarch. In the wake of the triumph of “Wrten on Sk,” “Lsons” had been -missned by half a dozen of the world’s leadg opera pani. It will be tourg ternatnally for the next three years. For aficnados unable to make to Amsterdam, Hamburg, Lyon, Chigo, Barcelona, or Madrid, n be streamed, on Medici TV.</p><p class="paywall">For the première, Benjam was nductg his own sre—and hearg played by an orchtra for the first time. For several days, he had been workg through wh the players, makg hundreds of subtle adjtments to the dynamics, the mutg, and the tails of articulatn. “It’s not the same <em>here</em>,” he told me, tappg his temple. “It’s not that different, but ’s not the same as realy.”</p><p class="paywall">Wh the micians, Benjam was effably pole: “Harps and celta? Harps, ladi, have I given you forte there? I’d like mezzo-forte. It’s a b much. It’s very lovely, but ’s a ltle b—a <em>ltle</em> b—too much.” He was also five his stctns. Ityn Davi, the Brish untertenor, who has performed productns of “Wrten on Sk,” told me, “I have heard him say, ‘Please don’t sg this triplet as anythg other than a triplet.’ Triplets are que laissez-faire thgs which n easily slip to slightly different rhythms, and nobody would generally md. But Gee says, ‘I have wrten this very specifilly, so that you sound sarstic.’ You feel the two years of him stg his attic, wrg this mic, when he mands that of you.”</p><p class="paywall">“Lsons Love and Vlence” retells the story of Edward II’s charged relatnship wh Piers Gavton, an English nobleman of French orig, whom he elevated to a lofty posn urt. Most likely, they were lovers. In 1594, Christopher Marlowe ma the story the basis for his play “Edward II,” but the tale is not wily faiar to the ntemporary Brish public, which is absorbed ls by the gogs on of medieval monarchs than by the affairs of the prent on. In Crimp and Benjam’s terpretatn, Edward II’s polil vulnerabily li not so much his homosexualy—the theme that ncerned Marlowe—as his belief the virtu of tolerance and love, and his valug of the arts and culture, pecially mic and poetry.</p><p class="paywall">The st led about the stage, anticipatn of rehearsg the next scene. They looked somewhat ls than medieval: Katie Mchell, returng to work aga wh Crimp and Benjam, had drsed the sgers morn cloth and was placg the actn a bedroom fted wh mimalist Danish furnure. There was a tropil-fish tank, and reproductns of Francis Ban patgs on display. “It’s not ntemporary Brish royalty—’s more like ntemporary Sndavian royalty,” Mchell explaed. “Not so much regal rob and erme, but more relaxed, personable, and terted high art.”</p><p class="paywall">Gyula Orendt, the Hungarian-Romanian barone, had been st as Gavton, and for him Benjam had wrten a part that palized on the serpente sctivens of his voice, givg him drawn-out not wh mute, unsettlg undulatns. The Kg was played by another barone, Stéphane Degout, and the scene that Benjam was rehearsg lled for them to recle on the bed together. Benjam was focsed on the orchtra, but, a pse, he spoke om the p to ask Orendt to prop himself up a ltle higher, so that he loomed more cisively over his lover. Mchell told me, “Gee will say, ‘Directg, that’s all your stuff,’ but there are moments where he will sudnly pop up, like a meerkat, do a b of directg, and then pop down aga.” The drama between the characters, however, was implic the mic self. Benjam nveyed the nature of their relatnship—the balance of power distributed wh , and the force of sire holdg together—through the entanglement of the sgers’ two ep, rich voic.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="a457vf"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="t19fn8"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">He had rporated to the sre several percsn stments that are not orchtral mastays. The alien sounds would tablish a disncertg mil theme that unrsred Gavton’s hold over the Kg. He had wrten passag for the Iranian tombak—a sk pulled tight over a ceramic pot, which acmodat extremely fast and articulated dmmg—and for the Wt Ain talkg dm, whose sound vari when prsure is applied to s body. Another mician played a Hungarian stment lled a cimbalom, which, Benjam explaed to me, is like a very large zher—“a very metallic, salty-soundg stment.” The mood was both erotic and murro.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">Onstage, Degout asked Orendt whether he tend to kill him. “You are already ad,” Orendt whispered reply. In the sre, the word “ad” was marked wh a thicket of flectns, to dite that should be stuttered rather than merely spoken, and Benjam asked Orendt to dwell on the ial words of his reply before landg, cisively, on the nclive syllable. The scene end wh a bravura orchtral climax to which the entire work had been buildg: the ath of the Kg. Benjam nducted the sequence wh clear, eloquent gtur, his sre magnifyg them that he had tablished earlier, retracg them on a tremendo sle and on more nventnal stments: the strgs, horns, and percsn long associated wh orchtral granur. As the scene end, Degout stepped to the lip of the stage to observe the orchtra.</p><p class="paywall">“Is there somethg you want to say?” Benjam polely quired.</p><p class="paywall">Degout murred. “No, I was jt listeng to you,” he said.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">As the curta rose on openg night, the back of Benjam’s head uld jt be seen above the rim of the orchtra p. Benjam do not always nduct his own works, and he never do so durg perds of posn. But the begng of his next project was still a ltle way off, and he had not yet retreated to creative secln. As a nductor, Benjam n be as proper and pole as he is nversatn, ocsnally to the tratn of sgers. Barbara Hannigan, rellg her work on “Wrten on Sk,” said, “Sometim I would see too much of Gee, and not enough of the character of the mic. I would say, ‘Stop sg at me! My character is a rage—don’t se at me when you give me that cue. Give me a <em>fist.</em>’ ” At Covent Garn, Benjam’s rtraed temperament did not dimish the volatily of his sre. The palette of the piece is very dark—low wd and brass, all unrpned by the raspg sound of the ntrabass trombone, which scends as far as the bottom note on a piano.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Woman home to a man holdg a suse and a dog on a leash." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“Pack your bags and ncel your plans. The neighbors ved to dner and I told them we’d be out of town.”</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc iOlxjf alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">As an act of storytellg, “Lsons Love and Vlence” was a simpler affair. For the first time, Benjam and Crimp had dispensed wh a distancg ame, havg cid that what had at first seemed necsary might now smack of mannerism. The dience was plunged immediately to the drama, whout orchtral preamble or self-nsc scene-settg. Benjam was fally nfint that his dience uld be persuad to enter wholeheartedly to a story whout disfort—or, at least, he was fally nfint that he uld do so himself. (Anthony Tommasi, of the New York <em>Tim</em>, hailed the sre’s “r bety,” notg that the “suatg, sensual l” of Edward’s and Gavton’s voic “sound almost pennt.”)</p><p class="paywall">Earlier the year, Benjam had told me that what he wr do not sprg om his emotnal state: “There are some people who would nsir wrg a work almost like a diary of their ner life—they feel bad today, so they will wre about dark, bterns. For me, not at all.” His mother died while he was posg “Wrten on Sk,” but, he said, he did not rporate his grief to the mic. A taclysm the outsi world sometim ts on his abily to create—after the Brex vote, 2016, he uld not wre for a week—but do not rhape his sound world. “It’s an <em>object</em> you’re makg,” he said. “It has a sensivy, and has to flow and move om send to send, but ’s still archecture you’re creatg. Whout form, everythg disappears. You have to m to that, to try to realize that form. You are like the slave of the piece, of the last not wrten.”</p><p class="paywall">Still, he told me, the experience of fdg that the operatic medium was not nied to him—that he uld immerse himself, and listeners, s oceanic vastns—had been tensely movg, and had granted him an expand sense of mil possibily. He reported, wh evint satisfactn, that the past he has wrten four hours of mic—nearly a fivefold crease his productivy, albe still a slenr output. He was, he said, unbelievably grateful to have found the form that sus him bt.</p><p class="paywall">“I waed a long time to do ,” he told me. “And I would like, before I part this mortal il, to have wrten lots of operas. If I had started when I was twenty, or thirty, I would have wrten more. It’s somethg I wanted to do sce I was a child, and somethg which I eventually accepted I would never do, and then gave up.” Havg begun as a wunrkd, he has bee a late bloomer. “When startg a new piece, every cisn is as difficult as always was, and I n’t see that changg,” he went on. “It remas a very strange occupatn. But to have my piec played to this gree—of urse, ’s what I dreamed of as a child. Y.” ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="kffn7r"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2018/09/17" data-reactroot="">September 17, 2018</a>, issue, wh the headle “Inner Voice.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/rebec-mead"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/rebec-mead">Rebec Mead</a> is a staff wrer at The New Yorker. Her most recent book is “<a href=">Home/Land</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/gee-benjam" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Gee Benjam</span></a><a href="/tag/posers" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Composers</span></a><a href="/tag/classil-mic" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Classil Mic</span></a><a href="/tag/operas" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Operas</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Weekly</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">Your gui to the latt magaze and our biggt stori of the week, pl highlights om podsts, humor, and more.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT lglhcT text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV bsgLJZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Mil Events</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href="/magaze/2013/03/25/illumated" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Illumated</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2013/03/25/illumated" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Illumated" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Gee Benjam’s long-awaed masterpiece.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Alex Ross</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/culture/culture-sk/five-takeaways-after-seeg-gee-benjams-wrten-on-sk" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Five Takeaways After Seeg Gee Benjam’s “Wrten on Sk”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Culture Dk</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/culture/culture-sk/five-takeaways-after-seeg-gee-benjams-wrten-on-sk" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Five Takeaways After Seeg Gee Benjam’s “Wrten on Sk”</div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Rsell Platt</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--evio summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="How Costum Brg Characters to Life" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Vio</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">How Costum Brg Characters to Life</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="How Costum Brg Characters to Life" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k summary-em__k--isCneVio">Ruth E. Carter, the stume signer on “Black Panther,” seeks out tails to tell stori through cloth.</div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Unapologetic Brilliance of Séad O’Connor" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Postscript</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Unapologetic Brilliance of Séad O’Connor</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Unapologetic Brilliance of Séad O’Connor" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">I thk what O’Connor sought her mic was anguish, laid bare, and then a geo moment of munn.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Amanda Petsich</span></span></p></div></div></div></div></div></div><div class="AdWrapper-dQtivb 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