Yuja Wang

Janet Malcolm – an original mind inflected by psychoanalysis

From our UK edition

The journalist Janet Malcolm had a low opinion of biography: ‘The narratives called biographies pale and shrink in the face of the disorderly actuality that is a life.’ Her archival notes describe biography as ‘a gap’: ‘What people think to themselves and never write down is what their lives are about.’ In her study of Anton Chekhov, she confirms ‘the inviolability of the private life’. She compared biographers to professional burglars ‘breaking into a house’. The ‘voyeurism’, shared by writer and reader, is screened by ‘an apparatus of scholarship designed to give the enterprise an appearance of banklike blandness and solidity. The biographer is portrayed almost as a kind of benefactor.

A true visual spectacle: Edinburgh’s The Galloping Cure reviewed

Those lights! Thinking back on The Galloping Cure, Missy Mazzoli’s new opera for the Edinburgh International Festival, that’s what lingers: cascades of lights, shimmering and flickering in every hue that modern LED technology can supply. At first the effect is almost Zen – soothing washes of pinks and blues and ochres, with carousel horses rising and weaving among them. Then, as the action intensifies and the characters succumb to collective mania, they’re brighter, faster, more aggressive: a frantic sensory overload, flashing to the rave-derived backbeat of Mazzoli’s score. Lucy Carter’s lighting designs are meant to transfix you, and they really do. Hardly the point of an opera, you might say.