“Roland Valliere, MSO’s president and CEO, said it was no surprise. … Her decision comes at a time when the orchestra has been struggling financially. The MSO announced in January of last year that it was deep fiscal trouble, and it cut staff and expenses to survive the 2013-14 season. It drastically reduced offerings for this season, and musicians took a 38 percent pay cut.”
Ye-jin (Regina) Han, a 44-year-old soprano, faced opposition from the day she was appointed general director of the Korean National Opera: local organizations argued that she lacked the experience and qualifications to lead the country’s flagship company. Han’s departure comes two months after the CEO of the Seoul Philharmonic was forced to resign following the open rebellion of her staff.
BBC Radio 3 presenter Clemency Burton-Hill reviews the liberties writer Peter Shaffer and director Milos Forman took with the historical record (and the device they used to get away with it) – and nevertheless finds that Amadeus is “arguably the finest movie ever made about the process of artistic creation and the unbridgeable gap between human genius and mediocrity.” (text-only)
Ronald O. Perelman, billionaire business titan and a self-described ‘frustrated musician,’ … [has] succeeded Sanford I. Weill, who has served as chairman for nearly a quarter-century. … Mr. Perelman, 72, said that he was not much of a classical music enthusiast and would push for the hall to stage more of the pop performances it was known for decades ago.
“‘Our audience is segmenting. There isn’t such a thing as a classical music audience. There are dozens of classical music audiences,’ said Chad Smith, the Phil’s vice president of artistic planning. ‘We want to be seen as relevant to what’s happening in our world. L.A. is the most contemporary city. You miss a beat and you are forgotten.'”
“The National Symphony Orchestra announced this morning that Christoph Eschenbach will become Conductor Laureate of the orchestra in the 2017-18 season. In other words, his contract, after what will have been seven seasons as music director of the orchestra and of the Kennedy Center, is not being renewed.”
When Darío Lopérfido took over last week at the Teatro Colón in Buenos Aires, the very first change he made in the house’s program was to cancel the contract of Katharina Wagner – great-granddaughter of the composer and director of the Bayreuth Festival – to direct Parsifal in December. His stated reason: “I wanted something artistically stronger.” (in Spanish)
Enormously, breathtakingly bad. The Teatro Colón, once the peer of almost any opera company in the world, has gone through years of badly-targeted staff cuts, unfinished renovation and construction, labor unrest (justified and not), and disastrous political interference. Now a new general director faces the fearsome challenges of cleaning up. (in English)
“It’s curious that the Royal Opera’s new venture into smaller spaces has coincided with an unprecedented new approach to translation. No attention has been drawn to this shift in policy, which has slipped through as part of a wider attempt at accessibility, at reinventing opera for the youthful audience of the Camden Roundhouse (with the recent Orfeo, also in English) and the more theatrically-inclined audience at the Globe.”
“Of course, I miss a lot of the musicians in Montreal. What happened there, you know, I made one mistake: I never answered the attacks from the union. One has to understand the context. When they signed the contract, I was completely on the side of these people. I even was wearing a shirt to help them to get more money, and I was quite close to the premier ministre, and so on.”