Olivia Giovetti on Muck Rack

Olivia Giovetti

Verified
Berlin, Germany
As seen in: Financial Times, The Washington Post, NPR, Lifehacker, Substack, Time Out New York, Vogue, Elite Daily, Architectural Digest, Matador Network and
Covers:  Culture and conflict. Preferably at the same time.
Doesn't Cover: Despite what MuckRack would imply, I do not cover Metro New York as a beat. Sorry.
Writer (@vanmusicmag @npr @lithub @electric_lit @lareviewofbooks @lrb) and content strategist. Avail for hire, contact below 👇🏼

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Olivia Giovetti’s Biography

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Writing at the intersection of culture and conflict.

Bylines: London Review of Books, Financial Times, NPR, Los Angeles Review of Books, Electric Literature, Lit Hub, VAN Magazine, etc.

I have no idea how to get my old Twitter bio out of my profile here.

Articles

All the Beauty and the Bloodshed

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By Olivia Giovetti 
| Substack
A photo essay from Rigoletto's Mantova A statue of Rigoletto that sits in the courtyard of Mantova’s tourist center, which is also known as the Casa di Rigoletto. (Shot on 35mm) Last month, I took about 12 hours’ worth of trains to get from Berlin to Florence, where I reviewed Luca Guadagnino’s The Death of Klinghoffer at Maggio Musicale Fiorentino for the London Review of Books (a few more thoughts on that coming next week).
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Grimes Is at His Exercise

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By Olivia Giovetti 
| Substack
On this week’s episode of Decanonized, I’m joined by one of my favorite musicologists and musical thinkers, Imani Mosley, to talk about the only Benjamin Britten opera on Henry W. Simon’s list, Peter Grimes. Simon gives us five Menotti operas, but just one Britten, of which he writes: “It is a masterly piece of writing, but it is difficult to take warmly to one’s heart.
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‘The Death of Klinghoffer’ in Florence

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By Olivia Giovetti 
| London Review of Books
By now, a production of John Adams’s opera The Death of Klinghoffer presumes its own opposition. At the Teatro del Maggio Musicale in Florence last month, however, the terms of that opposition had shifted: the protesters weren’t the work’s habitual antagonists, demonstrating under the misapprehension that the opera is antisemitic or glorifies terrorism. They were activists from Firenze per la Palestina.
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