Music

Can The Germans Fix Opera In New York?

Der Rosenkavalier
Richard Strauss
Revival
April 12, 2015


Musikalische Leitung: Marc Soustrot
Regie: Stefan Herheim
Bühne: Rebecca Ringst
Kostüme: Gesine Völlm
Licht: Olaf Freese
Chor und Kinderchor: Johannes Knecht
Dramaturgie: Xavier Zuber

Auf dem Bild: Stine Marie Fischer (Annina),  Ana Durlovski (Sophie),  Sophie Marilley (Octavian),  Torsten Hofmann (Valzacchi)

Foto: A.T. Schaefer

“Accustomed to hearing opera at the Met, where the average attendee is more likely than not on Medicare, I was bewildered at the number of kids—high schoolers barely over Platée’s recommended minimum age of 14—crowding the auditorium.”

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Should Opera Singers Stop Providing Printed Translations?

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“In hearing the texts we focused on the words, their meanings and — importantly — their ideas on their own. We listened attentively during these spoken passages and then, with the texts fresh in our minds, we listened more actively to the music that both singer and pianist produced. And, as Blythe wanted, we were looking at her and she at us.”

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Nina Simone Heirs Allege Sony Music Operates A Piracy Ring

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According to his legal papers, “By operating a subsidiary that massively pirates Nina Simone recordings, at price points generally lower than those at which Sony sells her RCA recordings, [this] has the natural tendency to displace Sony’s sales, thereby depriving Claimants of the full royalties they would otherwise earn under the New Artist Agreement.”

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Los Angeles Master Chorale Hires New Director

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“The group chose Jean Davidson after a national search because of her work with top artists such as Yo-Yo Ma and Laurie Anderson as well as her track record at New York Live Arts since 2011. Davidson was instrumental in the creation of the group, formed through a merger of the Bill T. Jones/Arnie Zane Dance Company and the Dance Theater Workshop.”

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New Model: Corporate Relationships Between Bands And Sponsors

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“In cities such as Toronto, Montreal and Vancouver, a growing number of concerts are popping up that are either free or dirt-cheap for fans. The catch? They’re sponsored by the likes of Mountain Dew, Red Bull or Converse. Corporate sponsorship has infiltrated almost every corner of music culture, from mega-sized festivals such as South by Southwest and venues such as the Molson Canadian Amphitheatre to the Polaris Music Prize. Riding this success, companies are increasingly seizing the chance to run shows of their own.”

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Stewart Copeland On The Differences Between Pop And Classical Music

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“Composing music for readers is all about homework. You have to get it right in the quiet in front of your score. You put it on the page, flop it out on the stands and count them in. With bands, you don’t have any score – you think on your feet. It’s not about homework. It’s about being ready to follow the trend or lead the trend. It’s much more spontaneous.”

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Back From Triumphant Visit To Cuba, Minnesota Orchestra Signs New Contracts With Osmo Vänskä And Musicians

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Just 17 months ago, as the lockout dragged on and Osmo resigned as music director, it seemed just possible that the MinnOrch could shut down entirely. Now Osmo is signed through 2018-29 and the musicians through 2019-20, donors have pledged $6.5 million in new money to fund it all, and – get this – negotiations were completed with no lawyers involved.

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John Luther Adams Is Crowdsourcing A Sound Installation For the Met Museum’s New Building (The Old Whitney)

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Soundwalk 9:09 … will ask NYC wanderers to email field recordings from the blocks separating what Adams calls the ‘Big Met’ and the new building. When the collection period ends on July 31, Adams will begin molding the recordings into a piece that will last exactly as long as its title, nine minutes and nine seconds. ‘I find the breath of the city itself, that roar, really beautiful, like the roar of the sea,’ Adams says.”

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Data’s In: Are Song Lyrics Getting Dumber?

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“Conducted by data analyst Andrew Powell-Morse, the study looked into 225 songs that have topped pop, country, rock and R&B/hip-hop Billboard charts for three weeks or more. “I turned to the Readability Score,” said Powell-Morse, who used writing-analysis tools such as the Flesch-Kincaid index, a readability test to measure reading difficulty, to determine the average reading level of a section of text.”

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‘My Life As A Man’ – What One Mezzo Has Learned About Gender From A Career’s Worth Of Pants Roles

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Alice Coote: “Having been stepping into male eyes for two decades now for around 70% of my working life I, by necessity, have had to dwell in a place where my mind feels increasingly separate from my sexual body. It has made it complex for me to return to daily life as a woman: I feel in sharp relief the way a … woman’s personal and public relationship power is utterly unlike that of a … male’s expectations and power relationship to the world. Cross-dressing on the stage reveals less to me about gender than it does power.”

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What Difference Does It Make Who The Next Berlin Philharmonic Conductor Is? Not That Much, Says Alex Ross

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“The Berlin Philharmonic is unquestionably a magnificent organism … but the idea that its chief conductor is the Pope of classical music is a relic of the Karajan cult. … Not the least of the challenges that classical music faces is the increasingly unworkable celebrity-maestro model – a twentieth-century mutation.”

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Last Of The Rock Stars (And What Does That Mean, Anyway?)

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“What defines a rock star in 2015? We could very well be at the point where genre transcends the very term. Do rappers count as rock stars? Kanye West and Jay-Z have a rock swagger, to some, as do both Drake and Kendrick Lamar. Most modern country acts like you would see at RodeoHouston are more about sparkly jeans than starched Wranglers, trying to strike a rock pose all their own. That’s something rock purists shudder to think about.”

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‘Why Is The Timpani Player Smelling His Drums?’ And Seven Other Awesome Questions From Newcomers In The Audience

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“What is obvious to musicians and regular classical music connoisseurs is definitely not obvious to others,” writes Chattanooga Symphony concertmaster Holly Mulcahy. “Over the past couple years I’ve collected some really awesome questions from audience members that offer a fresh and unique perception or perspective. Here are some that caught my attention.”

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Why The Berlin Philharmonic Is Having Difficulty Picking A New Music Director

Mandatory Credit: Photo by East News / Rex Features ( 1010575a )
Simon Rattle
The Berlin Philharmonic Orchestra concert in Warsaw, Poland - 26 Sep 2009

“The fact that they’re dampening down expectations of a quick re-election suggests this is more than a tussle of wills over a few preferred candidates. It points to a profound disagreement over fundamentals. The classical music world is changing, and that makes the business of finding a new leader for the BPO challenging, in a new and troubling way.”

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A New Business Model For Music Royalties That Makes Sense?

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Initially, Josh Collum didn’t get much income from Rumblefish — a few hundred dollars here and there. Then, a couple of years ago, something changed. He started seeing real money — tens of thousands of dollar a quarter. “So I called,” he says. “And I’m like, ‘What’s happening? Why the jump?'”

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Brooklyn’s Hipster Mecca Gets A Classical Music Venue

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“A long-discussed plan to turn a disused sawdust factory in Williamsburg, Brooklyn into a venue for classical and contemporary music appears to be now taking shape. Organizers of the 13,000-square-foot space on Friday announced plans to open this October with a program of ‘genre-spanning music at accessible ticket prices.’ The venue is to be called National Sawdust, and will host, among other performances, three concerts of the New York Philharmonic’s Contact! series.”

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Scandal Rocks New Orleans Shiney New Jazz Market

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“With its inaugural public concert in late April, during Jazz Fest’s opening weekend, Mayfield’s Jazz Market joined Manhattan’s Jazz at Lincoln Center and San Francisco’s SFJazz in the ranks of urban arts center buildings dedicated to jazz. The architecture is similar to SFJazz in appearance, right down to the lettering on its nameplate.”

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