“Tár,” starring Cate Blanchett, is “a regressive film that takes bitter aim at so-called cancel culture and lampoons so-called identity politics,” tnyfrontrow writes.
The conductor James Levine was fired from the Metropolitan Opera in 2018 following accusations that he had sexually abused four men—students of his—three of them when they were teen-agers. The conductor Charles Dutoit resigned his post with London’s Royal Philharmonic Orchestra that same year after he was accused of sexual assault by several women.
-centric one, featuring my colleague Adam Gopnik, as himself, interviewing Lydia on stage for The New Yorker Festival. He introduces her by way of a litany of her achievements: conducting posts with the great orchestras of Cleveland, Philadelphia, Chicago, Boston, and New York, a background in ethnomusicology and the music of Indigenous peoples, a repertory that involves commissioning music from female composers and performing it alongside venerable classical works, even an.
“Tár” is a useful reminder of the connection between regressive ideas and regressive aesthetics. It’s also a useful illustration of the fact that there is no such thing as “the story,” no preëxisting set of events that inherently define a character’s life, rise, or fall.
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