As defeatism gradually finds its way into our attitude towards classical music, mystification upon mystification prevents any kind of understanding by the public and even its adherents about its place and its value in the world.
However, the problem with existing critical publications is that they are hopelessly esoteric. They either devolve and borrow the obtuse language of 20th century critical theory, or read like the doctoral dissertations of graduate students, desperately hoping to carve their niche in an over-published, over anaylized portion of the whole.
On the other hand, popular criticism no longer offers a view of this music that ever remotely resembles a human opinion. read any section of any paper devoted to classical music and at best you get historico-musical tidbits about beethoven love life, or stalin’s purges during shostakovich’s career, or you get an devoted analysis of a given soloist’s career..
The content of “serious” writers today whether they be academic or professional – self-consumed with the problems of their tiny niches whether it be opera, academic modernism, ethnic music studies as opposed to any modest attempt at representing anything beyond a pre-circumscribed discursive sphere.
Finally, existent writing usually treats a narrow and antiquated set of topics inherited from past epochs, disciplinary fields in academia, laughable attempts at convincing people that classical music is still relevant.
We think the scope of criticism is vast- that is, it covers all aspects of everyday life in music, all genres and forms of listening to music, the institutions that . We believe that insightful cultural commentary can be achieved with colloquial and everyday language.
Operajuice is an outlet for clear, funny, and relevant polemic about music and culture. We believe history, music, and and our personal experiences form an interrelated whole and and are therefore relevant to music criticism.