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Yahoo
17 hours ago
- Yahoo
The 17 Most Beautiful Places Around the World to Travel This August
"Hearst Magazines and Yahoo may earn commission or revenue on some items through these links." Even though summer officially ends in late September, Labor Day Weekend signals that evenings grilling alfresco and beach weekends are soon coming to an end for most people in the Northern Hemisphere. However, we think August is actually the ideal time to end the season with a bang before the kids go back to school and life gets hectic again—so why not take one more leisurely vacation to soak up the final few dog days of summer? Here, we've compiled the best places to travel in August around the world. From Maine and Turkey to Bermuda and Norway, here are some of the most beautiful and culturally rich destinations to visit in Massachusetts Nantucket is a perennial source of design inspiration for us, with its quaint shops, rows of colorful hydrangeas, classic Americana aesthetic, and coastal architecture. With highs in the 70s and lows in the 60s, and only about five days of rain in August, it's an ideal time to beach, bike, and shop (check out our guide on how to shop Nantucket exactly like a designer). Shop NowIceland Nature lovers, rejoice! August is one of the best months to visit Iceland with its mild weather, outdoor activities, long daylight hours (about 15-17 hours!), and little to no rain. The Northern Lights also start to reappear in August, so you have a chance of seeing them in some parts of the country! Whether you stay in the capital city of Reykjavík or head to Glymur Waterfall for an unforgettable hiking experience, you really can't go wrong anywhere in this stunning island nation. Shop NowLucerne, Switzerland Each August the city of Lucerne, Switzerland, plays host to the Lucerne Festival which celebrates classical music and attracts some of the most-celebrated orchestras, conductors, and soloists from all over the world. The festival takes place near picturesque Lake Lucerne, making it an idyllic place to enjoy music. While you're there, take in incredible Medieval architecture, wander the charming cobblestone-lined streets of Old Town, and visit the city's art museums and gardens. Shop NowUganda, Africa August is one of the best times to visit Uganda, as it's a drier and cooler time of year (temps hover around 77°F), and you can participate in some of the world's best gorilla trekking. To get the full experience, stay at Trackers Safari Lodge, which is located just five minutes from Bwindi Impenetrable National Park (a prime gorilla-spotting safari spot). Shop NowSydney, Australia Since Australia is in the Southern Hemisphere, you'll get to enjoy late winter weather in August. With average temps in the 50s and 60s, it's perfect weather for exploring all the city has to offer. Whether you take a guided tour of the Sydney Opera House, observe koalas at a sanctuary, or admire boats at the Sydney International Boat Show (which runs from August 1-4 this year), you're sure to have an incredible time. Shop NowSan Juan Islands, Washington 172 islands and reefs make up San Juan County, but you only can get to four by ferry (San Juan Island, Orcas Island, Lopez Island, and Shaw Island). With average temps in the mid- to high-70s and very little rainfall in August, you're almost guaranteed to have perfect weather. Though it's possible to see whales all year in the San Juan Islands, August is one of the best months to spot orcas and humpback whales. Shop NowSan Carlos de Bariloche, Argentina August is a great time of year to head to Argentina for skiing since its still late winter in the Southern Hemisphere. Though you'll still likely have great snow, it's the end of the season so you'll avoid crowds and it won't be quite as costly. San Carlos de Bariloche is in the Patagonia region and borders Nahuel Huapi, a large glacial lake hugged by the Andes Mountains. With Swiss alpine architecture, beautiful hiking, great skiing, and incredible chocolate, this city is an ideal spot for escaping the dog days of summer in the U.S. Shop NowKennebunkport, Maine Full of charm and character, Kennebunkport comes alive when the weather warms up in the summertime. There's truly something for everyone to do, whether you want to fish, kayak, kite surf, go boating or hit one of the trails for a bike ride. Don't miss the quaint downtown, which is filled with lively shops, art galleries and incredible restaurants. Where to Stay: Goose Rocks Beach HouseHomer, Alaska Though August is one of the rainiest months in Alaska, we promise the wildlife viewing and temperate weather will make the trip well worth it. Homer, Alaska, has average temps in the 60s during August, making it the perfect reprieve from scorching summer temps. Spend the day strolling picturesque Bishop's Beach, head for a day hike, or plan a bear-viewing excursion with a tour guide. Homer is also the halibut fishing capital of the world (and August is peak season), so fishing aficionados can spend the day casting for halibut and salmon. Shop NowTransylvania, Romania If you associate the region of Transylvania vampire stories, you're certainly not alone (after all, the legend of Dracula was based on Vlad the Impaler). But there's so much more this beautiful central Romanian destination has to offer, and August is the perfect time to explore its natural landscape, impressive castles, baroque buildings, stunning churches, and Gothic fortresses. Shop NowBermuda Bermuda is just a quick flight away for those living on the East Coast, so this island can be enjoyed even if you only have a free long weekend. Unlike most other islands, August is a great time to visit Bermuda because it is typically spared from summer hurricanes, and the weather is still quite pleasant. Additionally, Bermuda celebrates the Emancipation the first week of August with a Cup Match cricket game. During this time, the island's culture is on full display with food, drinks, games and festivities. Where to Stay: Rosewood BermudaTurkey Turkey is the ultimate destination for those who love architecture, design, culture and natural beauty. Whether you head to Istanbul to see the Hagia Sophia, Blue Mosque and famed Grand Bazaar or opt for a relaxing beach or yachting vacation in Bodrum, you truly can't go wrong. Just don't go to this incredible country without treating yourself to a traditional Turkish hammam experience—your stress (and dead skin) will instantly melt away. Shop NowCharlottesville, Virginia Whether you want to spend a day on the Monticello Wine Trail, play golf on one of the nearby championship courses, or take a private sunset flight over the Blue Ridge Mountains, Virginia's idyllic countryside is a treat in the late summer. There's so much history and culture here to take in—three founding fathers have homes in Charlottesville and there are incredible museums and historical sites honoring the legacy of Native American and African American people from the region. The area is also home to Michie Tavern, a Colonial-era tavern where you can still eat and drink today (the menu features authentic southern recipes that were actually served during the 18th century). Where to Stay: Keswick HallTrondheim, Norway When you think of the best food in Europe, Paris, Rome or Barcelona may come to mind. But if you're a foodie, Trondheim, Norway, should be on your travel bucket list. In 2022, it was designated as the official European Region of Gastronomy, and from August 1-3, the city will host both the Trøndelag Food Festival. At these events, you'll get to experience cooking classes, tastings from local food producers and craft breweries, and celebrate the food culture of the Trøndelag region. Bonus: With highs in the 60s, you'll get a welcome reprieve from the dog days of summer. Where to Stay: BritanniaChicago, Illinois Chicago is a fun destination any time of year, but in August the city truly shines. Whether you want to hit up a baseball game, attend a concert (the Chicago Jazz Festival will take place at the end of August), shop on Magnificent Mile, or eat your way through the city, you're in for a great time. Where to Stay: Pendry ChicagoLoire Valley, France Take a quick drive or train ride from Paris to Loire Valley, which is known as the 'garden of France.' This region draws visitors for its world-famous wine (including Sancerre and pouilly-fumé), beautiful chateaux, and scenic views of the Loire river. This summer, enjoy an immersive sound and light show in the courtyard of Château Royal de Blois or experience the Nights of a Thousand Lights at Château de Villandry when the château is illuminated with 2,000 candles. Additionally, the Domaine de Chaumont-sur-Loire will host its annual International Garden Festival from now until November 3, 2024. Where to Say: Château Louise de La VallièreOkinawa, Japan Japan may not be the first place you think of for a summer vacation, but the country's breathtaking beaches might just persuade you to hop on a plane ASAP. Just a 2.5-hour flight from Tokyo, Okinawa boasts clear aquamarine water and white-sand beaches that look like they belong on a desktop screensaver. Plus, from July to September, Halekulani Okinawa is running a 'Discover the Island's Glow' package that will take visitors on a sunset kayak in a nearby national park. There, you'll wade through mangrove forests and see thousands of fireflies lighting up the night sky. Sounds dreamy, right? Where to Stay: Halekulani Okinawa You Might Also Like Spectacular Gifts for the Most Stylish Women in Your Life 16 Gorgeous Indoor Plants for Homes of All Sizes Solve the daily Crossword
Yomiuri Shimbun
19-06-2025
- Entertainment
- Yomiuri Shimbun
Alfred Brendel, Pianist Renowned for Refined Playing of Beethoven, Dies at Age 94
AP file photo Austrian pianist Alfred Brendel performs at the piano with the Royal Concertgebouw Orchestra at the Lucerne Festival in Lucerne, Switzerland on Sept. 5, 2006. LONDON (AP) — Alfred Brendel, a pianist and poet renowned for his refined playing of Beethoven over a six-decade career, died Tuesday at his home in London. He was 94. Brendel's death was announced by the public relations agency Bolton & Quinn. Born in what is now the Czech Republic, Brendel gave his first recital in Graz, Austria, in 1948 at age 17. His final concert was with the Vienna Philharmonic at the Musikverein on Dec. 18, 2008. 'I grew up in a family that was not musically inclined, not artistically inclined and not intellectual, so I had to find out a lot of things for myself,' he said in a 2012 interview for the Verbier Festival. 'I was a young person who in the early 20s did not think I have to achieve something within five years but I thought I would like to be able to do certain things when I'm 50. And when I was 50 I said to myself I have actually done most of the things I want to do.' Brendel also was praised for his interpretations of Mozart, Schubert, Liszt and Haydn. He recorded the 32 Beethoven piano sonatas three times, and he played them over a month at New York's Carnegie Hall in 1983, among 77 recitals in 11 cities during the 1982-83 season. He repeated the sonatas again at Carnegie over three seasons in the 1990s. 'With winks to the audience and demonstrative hand movements, he has a playful manner that offsets his serious, contemplative interpretations,' The Associated Press wrote during the 1990s cycle. Born on Jan. 5, 1931, in Wiesenberg, northern Moravia, Brendel studied piano in Zagreb, Yugoslavia, with Sofia Dezelic and then at the Graz Conservatory with Ludovika von Kaan. He also took composition lessons with Artur Michl. His studies were interrupted when he and his mother fled as the Russian army invaded during World War II. 'When I turned 16, my piano teacher told me I should now continue on my own and give a first public recital,' he recalled during a lecture after his retirement. 'I should also audition for the great Swiss pianist Edwin Fischer, which I did the following year. Three of his masterclasses that I attended during the Lucerne festivals made an impact that lasts to this day. I also met Eduard Steuermann, the pupil of Busoni and Schoenberg. Apart from these encounters, I studied on my own.' Brendel had lived in London since 1971. He received 10 Grammy nominations without winning. He wrote several books, including a collection of poems called 'Cursing Bagels.' 'I used to live a double life,' he said in a 2012 interview with the Verbier Festival. 'I'm also a literary person lecturing, giving readings of my poems and teaching.'
New York Times
08-04-2025
- Entertainment
- New York Times
Pierre Boulez Was a Titan of 20th-Century Music. What About Now?
Few musicians could be the focus of an architectural tour. Pierre Boulez is one of them. In the Fourth Arrondissement of Paris, next to the Centre Pompidou, you'll find IRCAM, the sound research center that Boulez founded in the 1970s. Not far away, on Place de la Bastille, is an opera house where he suffered one of the few failures of his long career. And on the outskirts of the city, at Parc de la Villette, his Cité de la Musique complex produces concerts, exhibitions and classes, a factory of culture where industrial slaughterhouses once sprawled. The most recent addition to the Cité de la Musique is the Philharmonie de Paris, a concert hall whose main auditorium is named after Boulez. It was completed in 2015, a year before his death, at 90, but he never got to see it. Still, it stands today as a kind of monument to this titan of the past century's music, a composer, conductor, theorist and a canny political force. Michael Haefliger, a friend and colleague from the Lucerne Festival, called Boulez 'the Einstein of music.' The conductor and composer Esa-Pekka Salonen, an inheritor of Boulez's ethos, described him as 'one of the most influential people in music, period.' What exactly, though, is Boulez's influence? A hundred years after his birth, and nearly a decade since his death, his legacy isn't necessarily as a composer. Celebrating his centennial at the Philharmonie in March, two performances of his 'Rituel in Memoriam Bruno Maderna' were notable mostly for their rarity. His music, like that of his peers from the post-World War II generation of high modernists, like Karlheinz Stockhausen and Luigi Nono, is brilliant but out of fashion, and difficult to program. To get a sense of Boulez's true legacy, look at how 'Rituel' was presented. With an accompanying dance by Benjamin Millepied, the evening embraced experimentation, a hallmark of Boulez, a musician who tried to dissolve the boundaries between performers and audience members in the 1970s. That is just one way in which, with lasting influence, Boulez changed how we think about music itself: how it is created, performed and heard, as well as where these things happen, from subterranean laboratories to IRCAM to the modular auditorium, a dream of his that has become the standard for new concert halls today. 'His vision,' said Frank Madlener, the director of IRCAM, 'is all over.' BOULEZ WAS A late bloomer. Born in Montbrison, France, a small town to the west of Lyon, he was passionate about music but bound for a career in engineering. Against his father's wishes, he spent his teens working to get into a conservatory. Not long before his 19th birthday, he was admitted to the famous Conservatoire de Paris. There, his teachers included Olivier Messiaen (who, for comparison, entered the same conservatory at 11). Boulez quickly differentiated himself from Messiaen's convention-defying but tonally colorful vein of modernism; within a year, he was more under the spell of Schoenberg's dodecaphonic system of writing, which influenced his first proper work, the piano solo 'Douze Notations.' Boulez, who seemed to hold only severe opinions, would later disavow and then again accept 'Douze Notations.' In one interview, he argued that early works mean little in the scope of a composer's career, saying, 'It's not because you listen to 'Rienzi' that you are really going to comprehend 'Tannhäuser.'' He became a conductor out of practicality. After learning to play the ondes Martenot, a pioneering electronic instrument, from its creator, he made a modest living with gigs at places like the Folies Bergère. In 1946, he picked up a music job in a production of 'Hamlet' by the Compagnie Renaud-Barrault, where he spent the next nine years as the music director of a small ensemble. It was through that troupe's founders that he started a concert series called the Domaine Musical, a place for the music he was hearing and creating with Stockhausen and others in his concurrent work at the Darmstadt summer course in Germany. But Boulez was also interested in conducting earlier 20th-century music, as well as some established classics, particularly operas, which he took up to nearly instant acclaim. For Boulez's centennial year, Deutsche Grammophon has released two boxed sets: a reissue of his complete works, and a nearly 90-disc collection of his albums for the label and Decca. Throughout the recordings, his defining trait as a conductor is clarity. He had a remarkable ability to render scores by Webern and Schoenberg legible, and few accounts of Stravinsky's 'The Rite of Spring' can match his balance of control and ferocity. When he found a kindred spirit in a soloist, like the soprano Teresa Stratas in Berg's 'Lulu,' the results were nothing less than extraordinary. In 1971, Boulez succeeded Leonard Bernstein at the New York Philharmonic, where he programmed as much Stravinsky as Beethoven. His Rug Concerts, in which the seats of Avery Fisher Hall were removed and the orchestra situated in the center of the auditorium, became cult favorites. The series was a way to appeal to new audiences through a Woodstock-esque vibe of relaxation, with the spirit of a special event, something orchestras still strive for today. Earlier this year, the Philharmonic revived a Rug Concert, unfortunately in a traditional setup. Even so, it was just as appealing for its musical choices as it would have been for Boulez's arrangement. A Brandenburg concerto followed by Schubert's Second Symphony, Webern's Symphony, selections from Boulez's 'Pli Selon Pli' and Stravinsky's suite from 'L'Histoire du Soldat': There hasn't been a more interesting or satisfying program at the Philharmonic this season. During Boulez's years at the Philharmonic, he was lured back to France by the president, Georges Pompidou, who asked him to develop the research institute that would become IRCAM. It was the start of Boulez's era as a builder, navigating politics through changing administrations and tides of public opinion, while also transcending it. While IRCAM was under construction, he founded Ensemble Intercontemporain, a group devoted to new music. The next decade, he was brought in as a leader in building the Opéra Bastille, which became a wellspring of disaster. Its original plans included what Boulez called a 'salle modulable,' a hall that could be reconfigured for different purposes, but as the budget and construction timeline ballooned, the space was scrapped. That idea was finally realized when Cité de la Musique opened in the mid-1990s; now, it is more or less the default. During these decades of construction, Boulez held a chair at the Collège de France, where he delivered a series of lectures that, collected in one volume, look and often read like a lead brick. They are just a portion of his immense output as a writer, the largest since Berlioz's in the 19th century. He was often provocative and absolute, only to change his mind and contradict himself with equal conviction. Laurent Bayle, who succeeded Boulez at IRCAM and Cité de la Musique, and recently published the book 'Pierre Boulez, Aujourd'hui' ('Pierre Boulez Today'), said, 'There is no ideologue in music like him.' Because Boulez was so powerful, his severity could be poison for any artist who didn't adhere to his worldview. He disdained vast swaths of repertoire, to the point where he could seem stubbornly incurious, as in his lack of interest in works by Philip Glass and John Adams. Salonen recalled watching Boulez virtually end the career of a composer after hearing his work, but he also said he was attracted, like many of his modernist peers, to the 'concept of right and wrong' that Boulez offered. 'It was an ethics of contemporary music,' Salonen said. 'Young people want to know the right thing to do, and Boulez was like a moral beacon. He could make you feel like you belonged, like you were one of the good guys.' Perhaps surprisingly, Boulez is often remembered as a warm, wickedly funny presence. Despite his stature, he wasn't a haughty maestro. The French critic Christian Merlin, in his excellent but untranslated biography 'Pierre Boulez,' describes tours in which he rode in coach with musicians rather than business class, and stayed in the same hotels. And there was a generosity in his last act, as the founder and leader of the academy at the Lucerne Festival in Switzerland, at Haefliger's invitation. Not long after taking over the festival, Haefliger called Boulez, who 'knew exactly what he wanted to do,' he recalled. 'And I appreciate that this was it, rather than creating polished symphonies or looking for immediate success.' BOULEZ WROTE RELATIVELY LITTLE music. In Deutsche Grammophon's set, his catalog takes up only 11 discs. Salonen said that 'we're too close still' to know what among his works will remain in the repertoire, but some are candidates for classics. And the masterpieces came early. Merlin wrote that with the monumentality of the Second Piano Sonata, 'the young Boulez didn't hesitate to assume the legacy of Beethoven: At 22 years old, he wrote his 'Hammerklavier.'' 'Le Marteau Sans Maître' (1955), a chamber setting of René Char poems for alto and six instrumentalists, appropriately remains an event whenever performed, proof that avant-garde music of its era can be as beautiful as it is intellectual. From there, the list goes on: 'Pli Selon Pli,' 'Répons,' the 'Rituel' recently presented in Paris. Why is Boulez's music so rarely performed? His generation's modernism, sometimes combative in its sound, has at best a cult audience today. Among his peers, though, Boulez stands a comparatively better chance of being programmed. His works may be challenging and idiosyncratic, but they are mostly written for traditional instruments. As Madlener said, 'He was pragmatic, not utopian like Stockhausen.' But Salonen said that Boulez's music asks too much of traditional orchestras: They are written for oddly sized ensembles, which can trigger union complications that likely won't be made up for in ticket sales. 'It's not the kiss of death,' he said of programming a Boulez work, 'but it doesn't help.' Yet the Rug Concert revival in New York earlier this year played to a full house, and the two 'Rituel' performances in Paris sold out. That may have less to do with the music, though, than with making them 'events.' Boulez, a believer in music as event, probably would have approved. An orchestral concert made into a singular moment was among the many signs of Boulez's legacy in Paris during the week of his centennial, even when his music wasn't being performed. IRCAM and Ensemble Intercontemporain continue to thrive, with the spirit of their founder intact even if, as Madlener said, 'there is no aesthetic connection to him at all' in the new works they produce. (Boulez had no interest in composers emulating his sound.) Millepied, too, created a distinct aesthetic inspired by but not analogous to the sound of 'Rituel,' an antiphonal work in which eight small groups of musicians are spread throughout the auditorium. (The dance, along with the rest of the Philharmonie program, comes to the New York Philharmonic this fall.) 'I had this puzzle idea, where you see bits of material alone, and when they come together, your brain receives that it has seen all these pieces already,' Millepied said. 'But while I started with a mathematical, nerd approach in how I wanted to make it, I ended up somewhere emotional.' Boulez's score was a starting point. But it evolved into something else, given to the public in an auditorium named after him, on the campus of a music center that he created, in the city where the monuments to his artistry live and breathe rather than gather dust. Not bad, as legacies go.
