Reports of indiscipline in the Boston Symphony Orchestra after James Levine’s latest health withdrawal need to be taken very seriously indeed. According to the Boston Herald players were seen giggling and sniggering during Mahler’s Ninth Symphony, under substitute conductor Sean Newhouse. There’s no excuse for that.

Levine’s brother says he may scale back his Boston involvement in future, but it’s too late for half-measures if the orchestra cannot play a an end-of-life symphony with a straight face. Levine needs to resign now, for the sake of Boston’s reputation.

Reports of indiscipline in the Boston Symphony Orchestra after James Levine’s latest health withdrawal need to be taken very seriously indeed. According to the Boston Herald players were seen giggling and sniggering during Mahler’s Ninth Symphony, under substitute conductor Sean Newhouse. There’s no excuse for that.

Levine’s brother says he may scale back his Boston involvement in future, but it’s too late for half-measures if the orchestra cannot play a an end-of-life symphony with a straight face. Levine needs to resign now, for the sake of Boston’s reputation.

The composer Jack Gottlieb, who was Leonard Bernstein’s assistant at the New York Philharmonic and later publications director of the Bernstein Office, has died aged 79. He was halfway through a year of his appointment as Leonard Bernstein Scholar in Residence at the New York Philharmonic.

Deatails of his life at his website.

                                         photo: Brandeis

The composer Jack Gottlieb, who was Leonard Bernstein’s assistant at the New York Philharmonic and later publications director of the Bernstein Office, has died aged 79. He was halfway through a year of his appointment as Leonard Bernstein Scholar in Residence at the New York Philharmonic.

Deatails of his life at his website.

                                         photo: Brandeis

Graham Sheffield, who quit as head of Hong Kong’s arts development last month on urgent health grounds, has just popped up as director of arts at the British Council. Must be the wonderful Manchester climate that has restored him to full function. They should bottle it and sell it in health shops.

Seriously, he’s a great catch for the British Council, which has been in poor shape.
Here’s the story, in Classical Music mag.
And here’s the British Council press release.

Try this. Couldn’t be more topical. I’m in the northeast that night, otherwise I’d be there.

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Four UK premières from the new generation of Egyptian composers and music from Egypt’s first School of Composition.

This latest concert in the Al Farabi Concerto series presents new music from Egypt, juxtaposed with works from the first Egyptian school of classical composition, connecting past and present.

The Composers Ensemble perform music by

Gamal Abdel-Rahim Piano Trio; Lotus Pond 
Aziz El-Shawan Meditations; Rondo
Halim El-Dabh Mekta in the art of Kita; It is Dark and Damp 
Nahla Mattar Three
Amr Okba Integration 
Ramz Sabry Samy New work 
Patrick Bishay







Try this. Couldn’t be more topical. I’m in the northeast that night, otherwise I’d be there.

——————-

Four UK premières from the new generation of Egyptian composers and music from Egypt’s first School of Composition.

This latest concert in the Al Farabi Concerto series presents new music from Egypt, juxtaposed with works from the first Egyptian school of classical composition, connecting past and present.

The Composers Ensemble perform music by

Gamal Abdel-Rahim Piano Trio; Lotus Pond 
Aziz El-Shawan Meditations; Rondo
Halim El-Dabh Mekta in the art of Kita; It is Dark and Damp 
Nahla Mattar Three
Amr Okba Integration 
Ramz Sabry Samy New work 
Patrick Bishay







One of  the lead singers in Britten’s Rape of Lucretia has suffered an apparent racist attack. The victim, Angel Blue, is playing opposite Angelika Kirchläger, Kim Begley and Jonathan Lemalu in a Keith Warner production conducted by Sian Edwards.

Here’s a local report (auf Englisch) and a longer one (in German).

The money has run out at Barcelona’s beautifully restored opera house. 

Next season will start a month late, in October. The staff are being sent on unpaid leave. State funding is down to Euro 48 million – still twice as much as English National Opera – and there is talk of doing more pops, fewer adventurous operas. This could be a harbinger for the art form right across Europe Spanish report here.

It has not taken long for Judith Isherwood, the Australian who ran the Wales Millennium Centre with a sure touch for mediocrity, to announce her first appointment since taking charge of Melbourne’s beautiful and long-troubled Arts Centre.

Her international artistic adviser is – wait for it – the man who is successfully downgrading the Edinburgh International Festival on the world map. Yes, it’s our very good friend, Jonathan Mills.
You couldn’t make it up.
Here’s the press release to prove it.

25 February 2011

Arts Centre appoints renowned international
artistic director as adviser

The Arts Centre Chief Executive, Judith Isherwood,
today announced Jonathan Mills has been engaged as an International Artistic
Adviser.

As one
of Australia’s most prominent composers and an internationally acclaimed artistic
director, Jonathan’s role is to support the strategic development of the Arts
Centre’s artistic programming and provide ideas and suggestions for specific
programming events.

 

“Having
worked extensively in the arts in Australia as well as the United Kingdom and
Europe, Jonathan is highly regarded across the arts sector. His knowledge,
experience and contacts will be invaluable to us as we progressively enhance
our approach to programming and develop a stronger national and international
offering that will enhance our artistic reputation,” said Judith Isherwood.

 

This
is an exciting and important appointment for the Arts Centre and I am delighted
that Jonathan will assist us to grow our international reputation and advise on
inspiring and diverse arts and cultural performances and additionally
play a vital role
in providing mentoring support to the programming team through his ‘knowledge
transfer’.”

 

“Jonathan
is currently the Director of the Edinburgh International
Festival. His

engagement
has been possible through a special agreement with the Edinburgh International
Festival, to which the Arts Centre is very thankful.”

 

A
key focus for Jonathan will also be on the re-opening program for the renowned
concert hall, Hamer Hall, from July 2012.

 

“I am excited to be able to be involved with the Arts Centre and work in
partnership with them to further strengthen the artistic direction and
continued expansion of the Arts Centre,” said Jonathan Mills.

 

“The offer to be the Arts Centre’s advising international artistic director
was irresistible as it has allowed me to come full circle and contribute to an
already vibrant arts scene. My career developed out of Melbourne and this appointment
allows me the opportunity to give something back to the Melbourne and Victorian
community by helping the Arts Centre to achieve its ambitions.”

 

Jonathan
Mills’ previous posts have included Artistic Director of the Melbourne
International Arts Festival, the Melbourne Federation Festival, the Melbourne
Millennium Eve celebrations and the Brisbane Biennial International Music
Festival.

 

 

 

 

 

 

 

 

As a
composer he is regularly commissioned in Australia and increasingly in Europe
and the UK. His composition Sandakan
Threnody
for solo tenor, choir and orchestra won the Prix Italia in 2005. He
began his artistic
career studying composition in Australia and then piano and composition with
Lidia Arcuri-Baldecchi in Italy. He also holds a degree in architecture and is
an authority on acoustic design.

 

Jonathan’s
term of the appointment is initially through to the end of 2012 with the possibility
of extension by a further three years to the end of 2015.

 

The Arts Centre is the flagship of the performing arts in Victoria, and
the focal point of Melbourne’s cultural precinct. To find out about what’s on
offer visit www.theartscentre.com.au

or become a fan of the Arts Centre on facebook.

 

-ENDS-

 

 For further
information, images or interviews, please contact:

Jessica
Bendell, 03 9281 8442 or jessica.bendell@theartscentre.com.au

Jacqueleen
Brown, 03 9281 8295 or jacqueleen.brown@theartscentre.com.au

Sad news overnight from South Africa. Shiyani Ngcobo, the great maskanda player of KwaZulu Natal, has died. Shiyani was a purist who resisted the lure of electronic amplification. He may have been the last of his kind. Sic transit gloria mundi.

Here’s an appreciation from Kathryn Olsen on the World Music Network, with video clips.
Obituary: Shiyani Ngcobo

Behind the scenes of Simon Rattle’s Berlin performance the Royal Festival Hall last night, I heard word of challenging developments. A colleague, just back from Caracas, was on a high from attending Gustavo Dudamel’s first performance of the work with the Simon Bolivar youth orchestra.

This was a first run-out ahead of the joint Mahler Project he is planning next year with his hometown band and the Los Angeles Philharmonic. It may not come out sounding as polished as the Berlin Philharmonic, but it has got my juices flowing for the future of Mahler interpretation once the centennial year is over.
Gustavo Dudamelhttp://www.artsjournal.com/slippeddisc/2011/02/rattles_mahler_third_-_or_mahl.html

Then, in the mail, came the last concert in the life of Dmitri Mitropoulos, the gay Greek giant who was hounded out of the New York Philharmonic and who died at La Scala in November 1960 while rehearsing this selfsame symphony. Before travelling to Milan, he performed it with the radio orchestra in Cologne. that concert has been retrieved from the archives and released on the Analekta label.

The opening is as different from Rattle’s as night from day – ominous, juddering, weighted with multiple connotations. Aside from the conductor’s structural certainty, a sense of foreboding is ineluctable – tragic and true. This is another Mahler record you should not miss.