Message from a concerned Latvian musician, who requests anonymity:

I am writing about the monopolisation of Latvian concerts… there is just one company running them.

Concerts with distinguished musicians are being cancelled for no apparent reason. A leading cellist is being summoned to court for telling the truth on the national radio.

The boss of Latvian Concerts, Guntars Kirsis earned 46,393 euros in 2014. An orchestra musician in Sinfonietta Riga makes 5,000 euros. Mr Ķirsis is very good friends with the Cultural Minister Dace Melbārde and with many of the ministers in the Latvian government.

Musicians are afraid to speak out …especially those in Sinfonietta Riga whose work depends on ‘Latvian Concerts organisation.

Leading musicians are seldom seen in Latvia because of the post-Soviet system: Kristine Blaumane, Vineta Sareika, Baiba Skride, Linda Skride, Lauma Skride, Elina Garanca, Andris Nelsons, Mariss Jansons, Kristine Opolais.

latvia landscape
The matters raised by our correspondent are of global concern since Latvia is one of the most productive sources of high-grade musical talent.

From our Manhattan operavores, Elizabeth Frayer & Shawn E Milnes:

Loft Opera knows their hip audience—they’ve partnered with Brooklyn Brewery for beer and also had Archer Roose wine—serving boxed wine and beer to operagoers.  While the bottles and cups later proved a slight distraction—yet maybe added to the vibe (I’m still deciding)—when tipping over and clanging on the cement floor during the opera, I think allowing drinks during the opera is a smart move…

opera graffiti

Might it work at the Met?

Read full review here.

The director of the Royal Opera company at Covent Garden has intervened in the debate over excesses of sex and violence in its forthcoming production of Lucia di Lammermoor.

In a posting on Slipped Disc this morning, Kasper says (inter alia):

kasper holten

First of all, let me underline that there is no case of sexual violence in this production, as some comments in an earlier thread suspected. Trust me, following what happened around Guillaume Tell we would have warned specifically about that, if that had been the case. I tried to make it clear that the sex and violence are entirely separate.

Second, whilst I enjoy the discussion about interpretations and productions in general, maybe we should stop discussing Lucia specifically now until the production has actually opened.

Read the full Kasper letter here.

Jean Prodromidès, composer of Et mourir de plaisir for Roger Vadim in 1960 and of Danton for Andrzej Wajda in 1983, has died at the age of 88.

A student, with Pierre Boulez, in Olivier Messiaen’s 1945 class at the Paris Conservatoire, Jean Prodromidès also wrote an opera on Goya, several ballet and much concert music.

His oeuvre was ever classical.

et mourir de plaisir

‘This thoughtful album, an anatomy of Europe torn apart, is …. a flawless record, a five-star. You won’t see many of those.’

From the Lebrecht Album of the Week. To read the full review, click here or here.

surfing violin

The Berlin Philharmonic and Sir Simon Rattle walked out of the Salzburg Easter Festival at short notice in May 2011 when they got a better offer from Baden-Baden.

They were swiftly replaced by the Dresden Staatskapelle and Christian Thielemann. Ticket sales immediately improved and the Berliners were not missed.

Next year, however, Eliette von Karajan has paid to bring the defectors back for a single, conciliatory concert, marking the 50th anniversary of her husband’s festival. She has also summoned the Vienna Philharmonic for a Beethoven 9th, conducted by Thielemann.

herbert-von-karajan-in-salzburg-austria

The Salzburg Easter Festival would like to thank Eliette von Karajan for her extremely generous support of the special concerts’ – as the programme puts it.

1 Ignore insensitive remarks by maestros from another century and civilisation.

2 Recognise that the glass ceiling is shattered.

3 Click here to apply for the next Dallas Opera Institute for Women Conductors, where six candidates and four observers get a big push forward into the profession.

You will see ads for this enlightened program on Slipped Disc. We support the dream.

 

Lidiya Yankovskaya

pictured: Lidiya Yankovskaya

The death has been announced of François-Eudes Chanfrault, an imaginative and productive force in French film.

He came to attention in 2003 with music for Alexandre Aja’s Haute Tension, followed by Who Killed Bambi? for Gilles Marchand. He continued working with both directors, as well as creating suites of music for CD release.

Other films include Au-delà de la Haine, La Colline a des Yeux, À l’Intérieur, Vinyan and Donkey Punch.

He leaves a widow, Lauranne, and daughter, Athena.

François-Eudes Chanfrault will be interred in Paris in the Père Lachaise cemetery.

Listen to Pavane by François-Eudes Chanfrault here.

François-Eudes Chanfrault

 

Back in Baltimore, where he’s music director emeritus, the Russian maestro reaffirms some olde-worlde attitudes in an interview with Tim Smith:

TS: A few years ago, you were quoted as saying that you did not believe women should conduct. That caused controversy and led to some protests. Just for the record, what is your view about women on the podium?

YT: Yes, women can be conductors. I am not against them conducting. But I simply don’t like it. There are women boxing and weightlifting; they can do that. But I don’t like watching. It is only my taste. We all have different tastes. For example, I don’t eat fish.

Full interview here. Make some allowance for dry Russian humour and perversity.

Baltimore’s present music director is Marin Alsop.

temirkanov

Help is at hand for women conductors here.

From Greg Falkenstein:

Dear Friends,
My life was shattered on Friday night when my car was broken into and I returned to it to find that my viola and my bow had been stolen. There are no words to describe how devastating this is: the instrument has been my companion for nearly 20 years, and many of you know how intensely connected I have felt to it.
Already there has been an outpouring of love, sympathy, support, and generosity from my amazing colleagues at the Miami City Ballet Orchestra, particularly the viola section, and from the south Florida greater community of players. I am so grateful to all of you.
I NEED YOUR HELP, friends, particularly from those of you in Florida. I ask with humility but also with urgency for any who are willing to do the following:

1. Southeast coasters: If there is a pawn shop in your neighborhood, please take two minutes to stop in and inquire. Please do the same with any brick-and-mortar music shops that may be located near you.

2. All Floridians: please tell all musicians you know about the missing instrument and bow, especially any who regularly or even occasionally deal in stringed instruments. And as it has been difficult for me to find a comprehensive and reliable listing of in-state luthiers, if there is a luthier or bow dealer in your town, please message me because I may not even know of its existence. I need to notify every single one of them.

3. Also for Floridians: I will be checking south Florida Craigslist postings regularly, but for those of you in other Florida metro areas: I would be so grateful if some of you might do the same in your metro areas, with respect to any local e-commerce sites. Also, as many of you know, when it comes to technology, I’m often the last to get on the bus:so, other than Craigslist, Mark’s List, and Offer Up, are there other commonly-used websites/apps for the purpose of selling things locally? If so, message me so that I can become aware of them!!!

4. All music friends, regardless of location: please let your local instrument dealers know of the stolen viola and bow.
5. If any of you have suggestions for other affirmative steps that I might take–things that I do not seem to have thought of based on this post–please message me. I will take all advice with great gratitude.

Here is some detail of the instrument and bow:

1. JOSEPH CURTIN VIOLA: 16 9/16″, two-piece back, Guarneri copy, black pegs with metal pin, black chinrest, black tailpiece. LABEL affixed inside: “Joseph Curtin, Toronto 1982” and the serial number 8232. Another distinguishing feature is some damage at the top seam on the right waist (the cutaway between the bouts) which occurred many years ago when I went through a phase in which I was catching the wood with the edge of my frog…no smarta** comments pls LOL it was a long time ago.

2. VIOLA BOW made by Ole KANESTROM. 72 grams. The frog has sharply-squared edges and a mother-of-pearl eye. The stick has “KANESTROM” stamped into it near the frog…I believe over the frog. It is an outstanding bow and it is evidently so upon first glance.

3. These two things were contained inside a BLACK CLOTH GEWA VIOLA CASE, DART- or OBLONG-SHAPED. The case needed to be replaced and is missing one of the four snaps that affix the protective cloth flap over the zipper.
I wish that I had more and better photos of the instrument and bow (let this be a lesson to all of you…just sayin’). I may continue to add photos if I find them. But I include now what I’ve been able to locate, through the fog in my head.

Please share this post with all musicians that you are connected with, my dear friends. My heart is broken and I am barely able to function. All the same, I must do everything I can to bring my beloved viola and my bow back to me. I ask you all for your help in making it happen. (Positive vibes/prayers/any form of good energy–these are also welcome and appreciated!)

My sincere thanks to you all.

Amati-viola

Diana Damrau has spoken about the forthcoming production, which has already prompted the ROH to warn ticket-holders of excesses of sex and violence.

The German soprano, 44, tells the Observer: ‘I would say, don’t send (children) to see Lucia because it is very realistic and it is going to be violent: more than in normal Lucias. And this is not something a younger audience should see. An older audience can take it – they are not in danger – but they will see something very strong.’

emma mattthews lucia

The instrument theft we reported on Friday turns out to be a viola.

It had been checked in to the cloakroom and was gone when the owned tried to recover it.

Report here.

lyric chicago-21