Tom C. Avendaño

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Tom C. Avendaño

Tom C. Avendaño

@TCAvendano

Periodista. El País. @elpaissemanal. Antes, @elpais_cultura, @elpais_brasil en São Paulo y @icon_elpais [email protected]

Madrid, Spain Katılım Ağustos 2009
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Tom C. Avendaño
Tom C. Avendaño@TCAvendano·
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
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Tom C. Avendaño
Tom C. Avendaño@TCAvendano·
@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.
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Matt at the Movies
Matt at the Movies@Matt_At_Movies·
@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.
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Janus Films
Janus Films@janusfilms·
Is there a director who successfully helmed film, opera, and ballet productions?
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Tom C. Avendaño
Tom C. Avendaño@TCAvendano·
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
EL PAÍS SEMANAL@elpaissemanal

Paola Montero defiende en Salón del Ateneo un repertorio que incluya a compositores vivos frente a la obsesión del mundo orquestal con los autores gigantes de siglos pasados elpais.com/eps/2026-03-09…

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PRISA
PRISA@PRISA·
🗞️ 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…
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Tom Smyth
Tom Smyth@Tom_Smyth_·
the concept of an EGOT was invented by the theater industry to trick celebrities into producing broadway shows
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Tom C. Avendaño
Tom C. Avendaño@TCAvendano·
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
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Tom C. Avendaño
Tom C. Avendaño@TCAvendano·
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…
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Katherine Boyle
Katherine Boyle@KTmBoyle·
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.
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Tom C. Avendaño
Tom C. Avendaño@TCAvendano·
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
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