Tom C. Avendaño

Juan Diego Flórez tiene una de las mejores voces operísticas del mundo, la mejor, según muchos durante muchos años, en el registro belcantista. Ahora, tras tres décadas en escenarios, quiere repensar a qué público se la dedica Hablo con él en @elpaissemanal

That’s a lot of the world in a single war! This kind of thing probably only happens once or twice!

@Matt_At_Movies @janusfilms Robbins was credited for West Side Story but he was fired from that film mid-shoot, so I don’t know how succesul he was. He did direct “America” and the prologue, which is not nothing.

@janusfilms Jerome Robbins. He even won an Academy Award for Directing ,but I don't think he ever did opera. But he did a lot of Broadway musicals (basically modern day version of opera) and got 5 Tonys.

Is there a director who successfully helmed film, opera, and ballet productions?

Es como Robin Hood pero con partituras: una abogada que trabaja con grandes clientes gasta sus ingresos en pagar ciclos musicales en Ateneo de precios imbatibles, donde se escuchan las pieza de clásica infalibles y se da visibilidad a compositores nuevos

Pedro. Este domingo con @el_pais

@martinbianchi Luca Gudagnino haciendo castings

Answered prayers.

🗞️ Desde este viernes en la web y el domingo en papel, en @elpaissemanal, entrevista a Eduardo Casanova. 🗣️ “El único armario en el que he vivido es el del VIH”. La entrevista completa: elpais.com/eps/2026-02-27…

🩵🩵🩵

the concept of an EGOT was invented by the theater industry to trick celebrities into producing broadway shows

Gracias por decirlo, @martin_caparros

💔💔💔

Feliz 94 cumpleaños a John Williams, el genio de la orquesta intatigable que desde hace más de medio siglo nos tiene convencidos de que todo lo que sentimos al ver una película es algo muy importante

Lizaran, Vilarasau, Boixaderas @JuanDiegoBotto Bardem, Gas...Referents Entrevista molt interessant de @TCAvendano a #CarlosCuevas Ah i L'HERÈNCIA tornarà!!!! amb el mateix repartiment👏

Gracias, Tom 🫂🤍

@CarlosCuevas44 ❤️

Sobre crecer en un rodaje que dura cinco años, sobre Willy Loman y Mario Gas, sobre la gran tradición teatral catalana, Anna Lizaran, Eduard Fernández, leer a Pol Guasch porque está vivo y el ilimitado poder de la ilusión Pasé una hora con @CarlosCuevas44 elpais.com/eps/2026-02-06…

I left the Washington Post 12 years ago. An editor told me Jeff Bezos would gut the paper and I wouldn’t have a job very long. The motto when I left, before they changed it to ‘Democracy Dies in Darkness,’ was “For and about Washington.” They changed it to communicate the diminished ambitions of a once grand paper. Anything that didn’t directly impact the Bethesda or Fairfax reader had already been cut. The newsroom had dwindled to 600 or 700 reporters after many buyouts. The Graham family strategy was to become a local paper, free from the cost of international bureaus and expensive teams. Marty Baron was brought on to execute this local strategy (we called it managed decline) before the surprise Bezos purchase changed everything. Bezos did the opposite of what the newsroom assumed he would do: he poured obscene amounts of money into a cash incinerator. He gave the Post a fancy new building. He subsidized every section of the paper, even the ones with no readers. He expanded international. He financed experiments in video and podcasting. He gave the newsroom a blank check for over a decade. Rather than pursuing a strategy based in reality, the Post newsroom became very accustomed to a billionaire patron giving them everything they wanted in perpetuity. In retrospect, this was a terrible business decision because it made the young reporters and editors delusional. The old ones who remembered the cuts and the pain of the business before Bezos— when they finally took the free coffee away—they had all been fired or left the industry. The “For and About Washington” strategy was also a loser, because it retained the most expensive parts of the newsroom while diminishing its reach. Sports is expensive. Metro news is expensive. And as pretty much every other local newspaper in the country has learned, the old local paper model is broken and has been since the internet arrived. The Post’s brand was and is Washington politics. It’s the seat of American power. It should be focused on covering politics from its premier perch in DC. It should have never been distracted by anything else— it only ever needed this product. It lost sports to the Athletic. It lost International to The Times. There’s no reason to compete on those products. The Post can still own politics, and every story, feature and reporter should be focused on covering it. But it needs to stop pretending that the world didn’t change 20 years ago and start listening to its readers again. There are solid media companies being built for the future and the Post can become one of them. But the old Post died many decades ago. Pretending Bezos killed it isn’t true.

@designetworking @jmahrens @elpaissemanal @Elduenderevista @RubenDuende @OrdaxEsther Hola Gonzalo, ¿qué tal? Gracias por leer el reportaje. Las revistas de las que hablamos han sido fundadas a partir de 2008, especialmente entre 2012 y 2020. Las anteriores, que las hay, y muchas son excelentes, necesitarían un reportaje aparte. Un abrazo y gracias de nuevo

Hola @jmahrens. Echo de menos en el reportaje "Las #Revistas sobreviven al #movil" de @TCAvendano en @elpaissemanal, a @Elduenderevista. Icónica #plataforma de #cultura en #Madrid, única por #formato y temática. Creada hace ¡28 años! Por @RubenDuende, @OrdaxEsther y Javier Agusti

Las revistas están vivas. ¡Viva! Algunas están incluso mejor que en la década pasada, cuando se auguraba la muerte inminente del papel. Escribe @TCAvendano en @el_pais elpais.com/eps/2026-01-30…

En España se hacen hoy revistas magníficas porque hay lectores que las financian, porque quieren un producto en papel que les refugie del caos digital: hoy vivimos, quién lo iba a decir, una buena para las revistas. Un tema que he escrito con inmenso gusto para @elpaissemanal