@ajgoldmann

ajgoldmann has been a member of Linktree for 3 years and joined in April 2023. The social media accounts linked to from ajgoldmann are: • Facebook • Instagram • Substack • X Besides social media accounts, ajgoldmann has populated their site with: • Notes on Bibliophilia - by A.J. Goldmann - The Feuilleton • Medea at Epidaurus • Munich Opera Festival Opens with a Busy Walküre - Musical America • Aix tremendae, salva me | Festival d'Aix-en-Provence Review - Die Frau ohne Schatten | Parterre Box • Heavy Shadows • VAN Magazine • A Surprising Changing of the Musical Guard in Munich • Cultural boycotts of Israel just reached peak absurdity – The Forward • The Grand Salzburg Hotel | Salzburg Festival Review - Il viaggio a Reims | Parterre Box • Politics vs the World's Most Political Film Festival - Liberties • t.co • Valie Export, Feminist Artist Who Made the Body a Battleground, Dies at 85 • Protests, self-mutilation and rage against Israel at Venice Biennale – The Forward • ‘Giotto and St. Francis: A Revolution in 14th-Century Umbria’ Review: Changing What Holiness Looks Like • A New Medusa at La Monnaie - Musical America • Brett Dean’s Of One Blood review — tale of Elizabethan intrigue makes a thrilling 21st century opera • What Wagner actually sounded like • “World-building gone wrong,” by A. J. Goldmann • Alexander Kluge, 94, Revolutionary Filmmaker in Postwar Germany, Dies - The New York Times • This isn't Barbra Streisand's 'Yentl' — it isn't I.B. Singer's either – The Forward • The Political and Private Rebellions of Jafar Panahi • The Villa Stuck: A Vibrant Vision in Munich - WSJ • 52 Places to Go in 2026: Genoa, Italy - The New York Times • 52 Places to Go in 2026: Warsaw - The New York Times • In Cover-Up, Laura Poitras Investigates Seymour Hersh - Columbia Journalism Review • Purity Tests, Art's Hemlock • ‘Leonora Carrington’ Review: An Exhibit of Imagination in Milan • Maxime Pascal to Conduct Stockhausen’s ‘Montag aus Licht’ in Paris - The New York Times • The Grand Egyptian Museum’s Astonishing Arrival • La Scala Stages New Vision of Shostakovich’s Original ‘Lady MacBeth’ - The New York Times • Romeo Castellucci Takes on Debussy for His La Scala Debut - The New York Times • A Paris Exhibition Shows Wassily Kandinsky’s Music of Colors - The New York Times • Can Germany restore Jewish life in the synagogues it renovates? – The Forward • How a complete unknown created the 1970's most iconic concert – The Forward • “Better late than never,” by A. J. Goldmann • In Salzburg, the End of the World x 2 • Cezanne au Jas de Bouffan Review • Crowns Slip in Two New Salzburg Productions • 7 of Europe’s Most Delectable Fall Harvest Festivals - The New York Times • Matisse and Marguerite Review • At the Venice Film Festival, Celebrating a Different Kind of Filmmaking - The New York Times • ‘When I fled Russia, I knew it was one-way’ — director Kirill Serebrennikov on exile, uncertainty and Josef Mengele • The Aix factor - Parterre Box • ‘Don Giovanni’ Is One of the Greatest Works Ever Written. Why Is It So Hard for Directors to Get Right? - OperaWire • Q & A: Serge Dorny, the Bayerische Staatsoper’s Intendant, on the 150th Munich Opera Festival - OperaWire • The Architecture of Bodies: An Interview with director Ted Huffman • At Salzburg, a Modern Opera About Timeless Dreams and Realities • Strauss in the Shadows: Germany Spearheads a Revival of the Composer’s Lesser-Known Operas - OperaWire • A ‘Nurse Action Movie’ Might Be Different, but That’s the Point • Opera Companies Find Savings and Gains Through Collaborations • When Watching These Films at Cannes, Feel Free to Put Your Feet in the Sand • Rings Under the Eyes • During the Venice Biennale, You Can Buy Coffee Made With the Lagoon - The New York Times • More Than Caviar and Nostalgia • Stream the Most Important New Opera of the Year for Free [Editorial] - OperaWire • ‘St. John Passion’: Bach’s Strange, Sublime Oratorio • A Danish Museum Examines Our Fascination With the Ocean • ‘El Greco. Santo Domingo el Antiguo’ Review: Awe-Inspiring Altarpieces • ‘Caravaggio 2025’ Review: A Baroque Master’s Dark Depths • Komische Oper Berlin 2024-25 Review: Akhnaten - OperaWire • Review: ‘A New Look At Cimabue” • Human Tension • Vast Underground Spaces and a Hidden History Lie Beneath Maastricht • How an intimate and sensitive film about a hostage family's grief triumphed in Berlin • At the BAFTAs, Fans Have a Say Who Wins This Award • On the Courage of Nan Goldin and the Truth About Germany’s “Never Again Is Now” Resolution • Otto Schenk, Opera Director and Bulwark of Tradition, Dies at 94 • In Vienna, Museum Shows to See This Winter • 36 Hours in Innsbruck, Austria: Things to Do and See • Notre-Dame Cathedral’s Brilliant Rebirth • When Coming to America, European Directors Sometimes Get Lost in Translation • The Apollo Belvedere: New Life for a Marble God • Dancing Bach’s ‘St. John Passion’ • The Festival d’Automne Turns All of Paris Into a Stage • Review: An Ambitious Work, as Flimsy as a House of Cards • Tate Modern Gives a Fuller View of the Blue Rider • At a French Chateau, a Feast of Music and Nature • How the Venice Film Festival Became an ‘Oscar Launchpad’ • 36 Hours in Salzburg, Austria • A Salzburg Festival Tradition Deserves a Wider Audience • At the Salzburg Festival, Revivals Take Center Stage • Hitler's Mountain of Art • This Director Has Been Busy Since He Was 25 • ‘Chaïm Soutine. Against the Current’ Review: An Expressionist in Full • Choreographer’s ‘Dog Poop Attack’ on a Critic Inspired This New Play • The Un Certain Regard Section Offers a Different Perspective at the Cannes Film Festival • In This ‘Lord of the Rings’ Adaptation, the Hobbits Yodel • ‘Ash’ Review: A Nobel Prize-Winner Confronts Environmental Collapse • 36 Hours in Munich • ‘Brancusi’ Review: A Singular Sculptor at the Centre Pompidou • Peter Eotvos, Evocative Modernist Composer and Conductor, Dies at 80 • Aribert Reimann, Masterful German Opera Composer, Is Dead at 88 • An American Tenor, a Puccini Specialist, Arrives at the Met • At the Venice Biennale, the German Pavilion Undergoes a Transformation • René Pollesch, Provocative Force in German Theater, Dies at 61 • ‘The Lost Mirror: Jews and Conversos in the Middle Ages’ Review: Spain’s Antisemitic Artistic History • Bringing New Life to Some of the World’s Most Extraordinary Artworks • ‘Poor Things,’ the Weird Movie, Was a Weird Novel First • How the Choreographer for ‘Poor Things’ Uses Dance to Tell the Story • Opera and Classical Music to Experience in Europe This Winter • Berlin’s Subway Musical Captures the Soul of the City • Review: ‘Chicago,’ With Nary a Finger Snap • In Germany, ‘Hamilton’ Hangs Up Its Musket • Well-Made, and Massively Weird: A New Theater Season in Berlin • 2023-10 A Sense of Tradition | Opera News • 2023-10 Salzburg Festival | Opera News • Has Woody Allen ever told you how lucky he is? • In Germany’s Rust Belt, Industrial Ruins Become Stages • Review: In ‘Amour,’ Putting a Palme d’Or Winner Onstage • A Musical Family Adds to This Baritone’s Performance • 2023-08 Modern & Present | Opera News • Christian Petzold May Be the Best German Filmmaker You’ve Never Heard Of • 2023-07 Die Frau ohne Schatten at the Easter Festival Baden-Baden | Opera News • 2023-07 Tannhauser at the Salzburg Easter Festival | Opera News • Ruben Ostlund Doesn’t Want You to Get Too Comfortable • ‘Charmion von Wiegand’ Review: American Artist, Swiss Exhibit • ‘The Inheritance’ Arrives at a Festival of German Drama • Review: A Star Director Takes a Back Seat in ‘The Seagull’ • Opinion | Living up to Isherwood (Published 2007)