“To repair its relationships in the music world, Pandora has created a division to work with labels and artist managers, opened its vast databanks, and begun experimenting with artist promotions.”
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.”
“YOLA was modeled after El Sistema, the Venezuelan program that supports more than 100 orchestras and has taught hundreds of thousands of students. The Phil’s leaders launched the program in part to help persuade Dudamel to sign on as conductor. Eight years later, it has become central to the L.A. Phil’s community outreach efforts — and a model for similar programs nationwide.”
“If the Recording Academy feels that certain awards they give are not worthy of exposure on network television (which ultimately are the awards that wind up getting reported on in most of the media outlets and therefore the ones that most people are aware actually of), why give the awards in the first place?”
Suzanne Weaver’s departure follows the news that Thom Collins, the director of the Pérez Art Museum Miami, which opened in a Herzog & de Meuron-designed waterfront building in December 2013, is to leave the institution for the Barnes Foundation in Philadelphia after five years. Meanwhile, the Wolfsonian Museum in Miami Beach has been without a director for nearly a year following the departure last April of Cathy Leff.
“The trip marks a striking return to the limelight for an orchestra that only a year ago was emerging from the longest lockout in American orchestral history, with serious questions about its future. It is all the more fitting since the Minnesota Orchestra’s first-ever international performances were in Cuba in 1929 and 1930.”
A team of scientists worked on it. “Answering the musician’s simple question turned into a seven-year project in which the team examined the acoustic dynamics of stringed instruments through time, from the oud, lute, and medieval fiddles to the guitar and ultimately the violin — a period spanning from the 10th century to the 18th century.”
“If the chart is to be a true barometer of what music is most popular in the UK, it can no longer look solely at purchases – it must also take into account individual listens. Downloads were fully integrated into the singles chart in 2007, but that part of the market has started to plateau while streaming has surged forward. At the start of 2014, the OCC was tracking an average of 192m streams per week; at the start of this year, that had jumped to 360m per week.”
“[Bass clarinetist David] Howard, 59, practices yoga to strengthen his lungs. Timpanist Joseph Pereira stretches damp calfskins across drums and fashions mallets out of wine corks and felt. Thomas Hooten … runs trumpet scales late into the night. And Christopher Hanulik, who calls his 25-pound bass ‘the beast,’ guards against strained ligaments and tendinitis: ‘I’ve got to be nimble, my muscles quick.'”