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  • Why a "Matrix"?
  • @ Ground Zero
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  • From Harlem to Bahia

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Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Bejun Mehta:

  • 1 Berlin
  • 1 Countertenor
  • 1 New York City
  • 1 Opera

What's Up

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  • Bejun Mehta
    A video was posted re Bejun Mehta:
    Andreas Kern interviews Bejun Metha
    • December 9, 2019
  • Bejun Mehta
    A video was posted re Bejun Mehta:
    Venga pur minacci e frema - Mitridate, Re di Ponto - Bejun Mehta
    Bejun Mehta (countertenor) performing the aria "Venga pur, minacci e frema" from Mozart's Opera Seria "Mitridate, Re di Ponto".
    • December 9, 2019
  • Bejun Mehta
    A category was added to Bejun Mehta:
    Berlin
    • December 9, 2019
  • Bejun Mehta
    A category was added to Bejun Mehta:
    New York City
    • December 9, 2019
  • Bejun Mehta
    A category was added to Bejun Mehta:
    Opera
    • December 9, 2019
  • Bejun Mehta
    A category was added to Bejun Mehta:
    Countertenor
    • December 9, 2019
  • Bejun Mehta
    Bejun Mehta is matrixed!
    • December 9, 2019
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Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

And João said (in Portuguese), repeating what I'd just told him, with one addition: "A matrix where musicians can recommend other musicians, and you can move from one to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people). Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

From Harlem to Bahia



  • Bejun Mehta
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Bejun Mehta
  • City/Place: New York City
  • Country: United States

Life & Work

  • Bio: Bejun Mehta, “currently possibly the most sophisticated and musically most convincing countertenor” (Opera News, 2018), is a regular guest at all the world’s leading opera and concert halls, including the Royal Opera House Covent Garden, the Teatro alla Scala in Milan, the State Opera Unter den Linden in Berlin, the Bavarian State Opera, the Nederlandse Opera, the Théâtre Royal de La Monnaie, the Zurich Opera House, the Teatro Real Madrid, the Opéra National de Paris, the Metropolitan Opera, the Lyric Opera Chicago or the Theater an der Wien as well as the festivals in Salzburg, Glyndebourne or Aix-en-Provence.

    Concerts with leading orchestras as well as numerous solo recitals led Bejun Mehta to the major concert halls, where he presents his award-winning CD programs and repertoire ranging from Baroque to contemporary music. He is a regular guest at the Amsterdam Concertgebouw, the Wiener Musikverein, Carnegie and Zankel Hall in New York, the Palais des Beaux-Arts in Brussels, the Cité de la Musique Paris and the festivals in Edinburgh, Verbier, Schleswig-Holstein and the BBC Proms in London.

    The season 2019/10 opens Bejun Mehta in the title role of Handel’s Giulio Cesare in a new production of Robert Carsen at the Teatro alla Scala in Milan, followed by a resumption of Rodelinda in a staging by Claus Guth at the Nederlandse Opera in Amsterdam. On the concert stage Bejun Mehta will be heard with George Benjamin’s Dream of the Song in Stockholm or a new song program at the Teatro alla Scala as well as the Heidelberger Frühling. A concert tour with Handel’s Alessandro also takes him to Paris, Göttingen and Basel.

    The highlights of past seasons include a concert with Mozart Arien under Zubin Mehta and the Vienna Philharmonic in the Vienna Musikverein, performances as a conductor and soloist with his Mozart – The Dramatist program with the Württemberg Chamber Orchestra in the Vienna Musikverein or the Herkulessaal in Munich. Other engagements as a singer and conductor also took him to the Hessischer Rundfunk, to the Bochum Symphony Orchestra and the Kammerakademie Potsdam. On the opera stage, Bejun Mehta performed in the title role of a new production of Händel’s Tamerlano at the La Scala in Milan, as Oberon in a new production of Britten’s A Midsummernight’s Dream at the Theater an der Wien and as Bertarido in Rodelinda at the Gran Teatre del Liceu in Barcelina.

    Bejun Mehta, twice nominated for the Grammy, which he also won in 1997 as a producer of Janos Starker’s RCA-released Bach Cello Suites, has a rich discography: His 25 recordings – including solo as well as opera – have won numerous awards including the Echo Klassik (opera recording of the year), twice the Diapason d’Or, the Diamant d’Opéra Magazine, the Choc de Classica, the Opera Award, the Gramophone Award-Contemporary, and the Edison Klassiek as well as BBC Music Magazine Premiere Recording of the year. He was also nominated for the Gramophone Award in the category Recital, the Prize of the German Record Critics and the Laurence Olivier Award (ROH Orlando 2007) and is a winner of the 2015 Traetta Prize. His solo CD CANTATA, released in 2018 – yet can I hear, was also awarded the Diapason d’Or.

    Television portraits of Bejun Mehta were broadcast on CBS 60 Minutes II, A & E, Arte, ARD and ORF 2, among others. Bejun Mehta holds a degree in German Literature from Yale University and lives in Berlin and New York.

Contact Information

  • Management/Booking: Artist Management
    KünstlerSekretariat am Gasteig
    Montgelasstrasse 2
    D-81679 München

    Elisabeth Ehlers
    Tel.: +49 89 4448879-0
    Email: [email protected]
    www.ks-gasteig.de

Media | Markets

  • ▶ Twitter: bejunmehta
  • ▶ Website: http://bejunmehta.com
  • ▶ YouTube Channel: http://www.youtube.com/user/bejunmehta1
  • ▶ YouTube Music: http://music.youtube.com/channel/UCpRq7T63xWOm4BkkgUE7MbA
  • ▶ Spotify: http://open.spotify.com/album/2rdEFhDlkrT6of14zr3py1
  • ▶ Spotify 2: http://open.spotify.com/album/4SB8RucutNkcwnIb6iUkKZ
  • ▶ Spotify 3: http://open.spotify.com/album/2fhe9DS0UIqgJ7jeTzk7f1
  • ▶ Spotify 4: http://open.spotify.com/album/4dKS6g6LKXZ2o89FaQureu
  • ▶ Spotify 5: http://open.spotify.com/album/5DRvetHOHpYlFEmWZ1WfTh

Clips (more may be added)

  • Andreas Kern interviews Bejun Metha
    By Bejun Mehta
    242 views
  • Venga pur minacci e frema - Mitridate, Re di Ponto - Bejun Mehta
    By Bejun Mehta
    206 views
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We're a real mother for ya!

 

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