La stampa newyorkese, a seguito dell’inaugurazione della retrospettiva al MoMa, sembra avere qualche riserva nei confronti dell’evento. Anche il New Yorker, se pur velatamente, ha sottolineato in un editoriale di questi giorni la pretenziosa impresa di comprimere prematuramente le gesta sonore di un’artista ancora in continua evoluzione.

 

Björk can sometimes fail her songs by writing lyrics that are overlush and insistent, but she managed to untangle her words to superb effect on “Vespertine” (2001), and, now, on “Vulnicura,” her new album, she makes much of a common occurrence: the dissolution of a marriage. By working with artists such as the late John Tavener, she has learned how to use the emotional power of an aging singer’s voice (she turns fifty next year) to make music that is not pop but a kind of classical melodrama. This month, the Icelandic star performs concerts at Carnegie Hall, Kings Theatre, and City Center, and on March 8MOMA opens a retrospective of the artist’s work that will no doubt be interesting and complicated, since museums are known to fix artists in time, while Björk insists on moving through it.

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