Andrew Moravcsik

Nota: Este archivo abarca los artículos publicados por el autor desde el 1 de mayo de 2009. Para fechas anteriores realice una búsqueda entrecomillando su nombre.

It has been a year since the Brexit referendum. Negotiations between Britain and Europe have now begun and will continue for most of the next decade. As a matter of formal international law, we do not know whether Britain will remain in the European Union, become an associate member, achieve a “partially attached” status akin to that of Norway or Switzerland, or negotiate a unique arrangement.

Yet one thing has become clear: A broad renunciation of substantive policy coordination with the European Union — the “hard Brexit” option — is unlikely. Instead, when it is all over, surprisingly few real policies are likely to change — and those that do will probably favor Europe, not Britain.…  Seguir leyendo »

From the start, the euro has rested on a gamble.

When European leaders opted for monetary union in 1992, they wagered that European economies would converge toward one another: The deficit-prone countries of southern Europe would adopt German economic standards — lower price inflation and wage growth, more saving and less spending — and Germany would become a little more like them, by accepting more government and private spending, as well as higher wage and price inflation. This did not occur.

Now, with the euro in crisis, the true implications of this gamble are becoming clear.

Over the past two years, the eurozone members have done a remarkable job managing the short-term symptoms of the crisis, although the costs have been great.…  Seguir leyendo »

Desde hace cuatrocientos años, ninguna otra forma de arte se ha identificado más estrechamente con la cultura occidental que la ópera. En el corazón de toda gran ciudad europea se levanta un teatro de ópera. A lo largo de los siglos, esta se ha vuelto el centro de la vida intelectual y social: el lugar donde la aristocracia jugaba y departía, la burguesía en ascenso conversaba, la vanguardia artística buscaba inspiración. Desde el barroco hasta el posmodernismo, los libretos de la ópera reflejan la historia moderna de Occidente.

La ópera, no obstante, está muriendo… en Occidente. Las óperas románticas más populares – obras como Aída,Turandot y Tristán e Isolda-ya no pueden representarse con los cantantes de la gran calidad que entrañablemente recordamos y que fueron inmortalizados en grabaciones apenas hace unas cuantas décadas.…  Seguir leyendo »

For four hundred years, no art form has been more closely identified with Western culture than opera. At the heart of every great European city stands an opera house. Over the centuries, it became the center of intellectual and social life: the place where the aristocracy gambled and partied, the rising bourgeoisie conversed, the artistic avant-garde sought inspiration. From Baroque to post-modern, opera librettos mirror the modern history of the West.

Yet opera is dying — in the West. The most popular romantic operas — works like “Aïda,” “Turandot,” and “Tristan und Isolde” — can no longer be cast with singers of the high quality lovingly remembered and immortalized in recordings from only a few decades ago.…  Seguir leyendo »