Matthew Shilvock, “educated at Oxford (music) and Amherst (arts administration), came from Houston Grand Opera with Gockley in 2005, and has acted as a senior executive in all aspects of company operations, production, financial stability, and strategic development. He has had a prominent role in labor relations, negotiating with AFM and AGMA unions, with responsibility for contract maintenance.”
Digital downloads of songs continued to fall out of favour in the first half of the year, while free and paid music-streaming revenue kept growing, even without much of a bump from the launch of Apple Music.
As the asymmetrical groove of the “Ritual of the Rival Tribes” chugged into motion, men in their 20s and 30s began to bob their heads. Soon, movements grew more demonstrative (aided by a couple of professionals planted in the crowd). In the amorphous sections of “The Sacrifice” a few couples gamely tried to slow dance. The violent “Glorification of the Chosen One” briefly spawned a hardcore-style mosh pit in the increasingly steamy hall.
“The Mikado poses special problems: it has some of the most beautiful music and wittiest lyrics of any Gilbert and Sullivan work, but its use of a fictional Japanese setting to satirize British culture presents staging challenges if it is not to come off as a jumble of ugly caricatures and stereotypes. A production last year in Seattle was criticized as ‘yellowface’ by a columnist in The Seattle Times, setting off a wide-ranging discussion of the work.”
“The letters that spell ‘Avery Fisher Hall’ and ‘Home of the New York Philharmonic’ over the box office windows had already been taken down last week, and some carefully coordinated lobby remodeling was going on. The brass replacement letters were downstairs on a conference table — the 8 3/4-inch capital letters in ‘David Geffen Hall’ are taller than the capitals in ‘Home of the New York Philharmonic’ by 4 3/8 inches.”
“Talks, which began in April, have yielded little progress, the sources said, and members of the full ensemble authorized a strike several weeks ago. Players had hoped to regain ground lost during the bankruptcy.”
“For all the buzz about vinyl, sales are still small potatoes compared to digital downloads and CDs, making up only 3.6% of all albums sold in the US last year. But since 2009, their sales have increased by 260%.”
“Clara Wieck was already thirteen years old when she started writing her piano concerto, and all of the composers on the aforementioned goodness scale wrote their masterpieces by the age of ten. Little-known fact: Strauss called the Four Last Songs that because he wrote them on the eve of his fifth birthday.”
“Is there anyone you’d like to duet with?”
“Barbara Streisand – I’d love to sing with her.”
“Alsop first came to the Cabrillo Festival in the summer of 1992, following in the job famed composer John Adams who served on an interim basis for one year after the 17-year stint of Dennis Russell Davies. In her time at Cabrillo, the festival has become one of the most high-profile summer new music festivals in the world. She has brought a couple of generations of composers, musicians and conductors into Santa Cruz every summer that would have been her otherwise.”
“The opera company, founded in 1883, on Wednesday said it closed its most recent season in the black, with a balanced budget and a $1 million surplus. The preliminary financial results, which haven’t been audited, are an improvement from the Met’s previous fiscal year. Last November, the company reported a $22 million shortfall for fiscal 2014 soon after it averted a potential lockout by striking a series of deals with unions representing its musicians, singers and stagehands.”
“One member of Carnegie’s board said Mr. Perelman might have decided to step aside next month because he was unlikely to be re-elected. The board member, who spoke on the condition of anonymity, said the trustees had felt blindsided this summer when Mr. Perelman briefly suspended Mr. Gillinson. The board member added that while they would investigate the concerns he raised, they did not believe that Carnegie had governance or transparency problems, and denied that the board had been dragging its feet on hiring a lawyer to investigate.”
“He’ll conduct his usual eight concerts this season starting Friday night, then shift into a new role as artistic adviser and principal guest conductor next year. That means he’ll lead just four concerts a year during the following two seasons, leaving him more time to carry out his duties as the recently hired music director of the New York City Ballet.”
“If all goes according to the plan announced Wednesday morning in the concourse of Place des Arts, Yannick Nézet-Séguin will become a 20-year man with his hometown Orchestre Métropolitain.”
“Three years ago he was honoured with the lifetime achievement award, but this week conductor Claudio Abbado made a final posthumous appearance at the Gramophone Awards as his last recording – Bruckner’s symphony no 9, with the Lucerne Festival Orchestra – was awarded the prestigious recording of the year prize.”
Less than a day after the leak of an email in which board chair Ronald Perelman said that executive and artistic director Clive Gillinson had shown “a troubling lack of transparency” and that the Board of Directors was failing to provide “appropriate oversight,” Perelman told the board’s executive committee he would not stand for re-election next month.
That leading opera houses have continued to use blackface into the early 21st century, long after minstrel shows and similar performances have been rejected as racist, may be more surprising to many people than that the practice is now being ended by the Met, after 124 years, for the new production of “Otello” that will open its 2015-16 season on Monday, Sept. 21.
In an email sent to other board members, Ronald O. Perelman, the famously combative finance executive who became Carnegie’s chairman in February, said there was “a troubling lack of transparency and openness in the way [executive director] Clive Gillinson was interacting with me and the Board.”
“There’s nothing else quite like it in New York. Establishment venues like Zankel Hall have welcomed composers, the 28-year-old organization Bang on a Can has colonized virtually every concert space in the city, and (Le) Poisson Rouge has found a winning combination of eclectic programming, casual atmosphere, and poor acoustics. But new music has never had its own miniature Carnegie Hall, a space explicitly designed for musical experimentation.”
“We have to keep poking the tires and looking at new ways of approaching the art itself in the form of new productions and commissions, and also looking at the physical plant of the Met, and how we perform. We’re looking at everything.”
Anna Tcybuleva’s success certainly raised a few eyebrows after her performance of Brahms’s B flat Concerto – the last of the six concertos we heard – in which, for all the fluency of her playing, she often seemed incapable of seeing the overall shape of the work, and her role in projecting it, rather than the detail of each passing moment.
“The National Arts Centre’s search for a successor to veteran maestro Pinchas Zukerman was an epic story of its own It went on for 15 months, according to Peter Herrndorf, who is the CEO and known among arts leaders across the country as the godfather of Canadian culture.”
A few critics found little reason for enthusiasm at all. Mark Swed of the Los Angeles Times said in a telephone interview: “Looking over the schedule, I’m almost shocked … Only two operas from the last 100 years. … Nothing by an American composer. Nothing of our time. Sadly, this reflects what’s going on at major houses all over the country.”
How can a song from the 19th century be protected by copyright? Don’t songs (and other works) enter the public domain after a reasonable amount of time? Even Irving Berlin, who died at age 101 in 1980, couldn’t outlive the rights to his songs. Welcome to the crazy world of copyright law—or, as I prefer to call it, “Intellectual Property Rights Gone Wild!”
3e Scène, conceived by new Paris Opera Ballet director Benjamin Millepied, “includes 18 films in its first batch of offerings. The filmmakers include the French actor-director Mathieu Amalric, the director Rebecca Zlotowski, [etc.] … Mr. Millepied said that the website aimed to produce around 30 new works each season, and to extend to installations, readings and other events.”
Pat Houston, Whitney’s sister and president of the her estate, said: “It’s a great opportunity for her fans to see a reinvention of one the most celebrated female artists in history and to continue a legacy of performances that will not be forgotten in years to come.
“In the current era of constant connectivity, however, could this supposed downside of classical music become a selling point? Could the idea of the concert hall as a web-free zone, a chance to disconnect, catch on? I think so.”
These revivals, as much as the new “Otello,” may shed light on artistic and financial challenges the Met has been grappling with in recent years under its general manager, Peter Gelb. Whither the Met? Look to that opening week.
Any journalist who provided an artist biography, which was simply a list of engagements, would have a very short career. How does the world’s greatest classical music festival get away with it?
“Orchestra members were left in limbo, without a contract, less than 48 hours before they are scheduled to begin rehearsals for the opening concerts of the CSO’s 125th anniversary season. Those concerts mark the start of Riccardo Muti’s sixth season as music director.”