A sign of the times? Two supporters of San Luis Obispo Opera withdrew their patronage after a performance of Madam Butterfly:

We recently attended Opera San Luis’ performance of “Madama Butterfly” and were enjoying it until the final scene. That’s when we were stunned — appalled, really — to see the grief-stricken character Cio-Cio San grab the American flag off its pole (stage right), throw it onto the floor, then drag it as she sang.

There were audible gasps in the audience, indicating there were many others among us deeply offended by such abuse of our flag, which is never to touch the ground.

Worse, it shows Opera San Luis’ willingness to exploit and demean the tragedy of Cio-Cio San to make a gratuitous and contemporary political statement. In the future, instead of financially supporting this opera group, we will direct donations to the Wounded Warrior Project.

There’s a reply from the company’s artistic director here.

Message received:

The Dutch National Opera Studio is a new young artists programme in The Netherlands, which will be launched in Amsterdam in September 2018 with international renowned soprano Rosemary Joshua as the artistic leader. Dutch National Opera Studio offers an exciting opportunity for outstanding young artists. The DNO Studio’s goal is to develop well-rounded artists by providing the highest quality training in combination with a wide range of professional experiences.The programme will be designed to support six singers and one répétiteur, all of whom, will be employed on a full-time basis as salaried members of Dutch National Opera for up to two years. The young Artists will be immersed into the professional life of the company and mentored through every aspect of their career development in an individually tailor-made programme.

The composer James MacMillan feels an empathy with others in his vocation who cannot stay off the pitch.

Did you know, for instance, that Edward Elgar was ‘mad about Wolverhampton Wanderers’ or that a living Finnish composer is obsessed by Everton (poor chap).

Read the full lineup in this month’s Standpoint.

It’s a hundred years ago come Friday, October 27 1917 to be precise, since Jascha Heifetz made his explosive US debut at Carnegie Hall. The violinist was 16 years old, fresh from St Petersburg, and phenomenally gifted.

The hall was packed out on advance hype. Every musician in New York needed to hear this kid.

It was an unseasonally warm Saturday afternoon. Mischa Elman turned to his neighbour, the pianist Leopold Godowsky, before the debutant came on stage.

‘Phew,’ said Elman, ‘it’s hot in here.’

‘Not for pianists,’ said Godowsky.

The conductor Ross Gunning has responded to our earlier report that young members of his unpaid Glasgow Philharmonia were left to sleep on the floor while performing in Northampton. He writes to Slipped Disc:

I respond on behalf of the Glasgow Philharmonia Orchestra, who were awarded Charity Status on the 3rd October 2017 – SC047789

The Orchestra, founded in 2013 by myself has the ethos of giving young aspiring musicians opportunities at no cost to themselves and this still remains the case. Since 2016, any event produced by the Orchestra themselves such as Movies to Musicals and Glasgow Philharmonia Does Variety has ensured that orchestra members are being paid.

The article misrepresents the facts.

Scott Holden, head of the Chellington Centre said:

“I don’t recognise the comments you have shared with me today as that of the Chellington Centre! I do not know why someone would say that

The entire building was refurbished with a 2005 extension is under floor heated and temperature controlled and I see from our records it was 20.5 degrees Celsius the evening of your arrival.

It is double glazed throughout.

There are no damp areas whatsoever in the building.

As I understand it 30 guests slept in beds, six in custom-designed sofa beds (see picture attached) in the 2016 refurbished chancel and three in the Ibbett Room, this is fully insulated both floor, glass and ceiling (see picture attached of this room, in day use without the blinds in use)

The fold-out Futon Mattresses are certified to Crib 5 (Hostel standard)

Full linen, a 10.5 tog duvet and pillows were provided (all purchased in September 2017) for all of your x39 guests.

Additional futon padded x 5 mats were available to double-up but I do not think they would have been needed as it would be like sleeping on two mattresses!

There are seven contemporary tiled toilets and 5 showers all were available for your group to use with regulated free hot water at 44.5 degrees Celsius, considered a comfortable temperature and to prevent scalding.”

Members of the orchestra themselves have commented.

David, Horn Player

“The Glasgow Philharmonia orchestra is a wonderful orchestra run by a very hardworking and talented conductor. Through playing in the orchestra I have been given many opportunities to play with many great musicians and get through repertoire that for people at the same age as me would not have gotten through. The atmosphere at rehearsals is always friendly but we are worked hard to deliver high level concerts. The accommodation, although small provided everything that we needed for the weekend (kitchen, beds/bedding and was dry)”

Aodhan, Violinist 

“The accomodation we were provided with was fantastic, beds and bedding were provided and allowed for 2 excellent night’s sleep. Couldn’t recommend the chellington centre any more highly”

Megan, Flute Player 

“We slept at a hostel that was a converted church – each dorm had about four beds with sheets and duvets – the accommodation was basic but had all the necessities”

Matt, Trombone player

“I slept comfortably in a shared dorm in a single bed with linens, duvets pillows etc, which was warm and Completely dry”

Samantha, Trombone Player

“We slept in a church in beds, and had a great weekend performing with amazing musicians.”

Jack, Flute Player 

“We were accommodated in the Chellington Centre with actual beds, a kitchen, heating and appropriate facilities

This article is completely misleading, during the festival, we were accommodated in the Chellington Centre with beds, heating and more than adequate facilities. The Glasgow Philharmonia provides people with a FREE performing platform, something that any other orchestra / band I have played with does not provide. I have in fact been paid by this orchestra to perform to filled concert halls. Although comprised of a large number of aspiring young musicians, the orchestra is also inclusive of older, experienced musicians”

Andreas, Horn player 

“The things stated there are completely false”

“The Malcolm Arnold Festival was a very good experience. We stayed in a youth centre with proper bedding and such on beds. The centre was quite nice as a place. It was a very good opportunity and I am pleased to have taken part in it.”

Chris, Trombone player

“The Malcom Arnold weekend was incredible. Being my first time on residential with the orchestra, I wasn’t sure what to expect, but besides playing an amazing repertoire of music, we got to live under the same roof, in an amazing residential centre we had to ourselves. Which really helped the orchestra get to know each other more. We had such a blast hanging out and would definitely do it again.”

Hannah, Clarinet Player

“The church was converted into a hostel type accommodation and shared rooms with separate beds were provided for each player”

Ben, Horn Player:

“As a member of the orchestra I can confirm that this article is completely unfounded, there was no damp, nobody slept on the floor. Bedding and beds were provided for all by the Chellington Centre and they would be contactable for confirmation. Ross is a fantastic, supportive conductor coming under unnecessary fire, initiated by players who are upset about not becoming a part of the orchestra through unprofessional attitudes or substandard musical ability.”

Ross Gunning, Conductor of Glasgow Philharmonia says:

“I want to thank the Chellington Centre for their great hospitality. We arrived at the accommodation on Friday 13th October and all the linen, beds, pillows, and even tea, coffee and hot water were ready for our arrival. Scott looked after us very well.

The Malcolm Arnold Festival were very keen for the orchestra to play at their festival, but with their restricted budget, all travel, accommodation and subsistence costs were met. Thanks to the Malcolm Arnold Festival, the Chellington Centre, Sams Travel, the Orchestra, we were able to give young players an opportunity to play at this prestigious festival in front of Malcolm Arnolds Family.

I want to thank the musicians for their support, enthusiasm and musicality that they bring to every performance. I look forward to continuing to work with them as more exciting opportunities arise.”

It is reported that Christoph Eschenbach, 77, will replace the inspirational Ivan Fischer next year as head of Berlin’s Konzerthausorchester. UPDATE: It’s now confirmed.

Yesterday, Marek Janowski, 78, was named as next head of the Dresden Philharmonic.

The acerbic commentator Manuel Brug suggests that ex-East German orchestras are looking fixedly backwards.

Staatstheater Nürnberg has appointed Joana Mallwitz as general music director, as well as chief conductor of the state philharmonic.

Mallwitz, 31, was previously GMD at Erfurt.

Raised in Heidelberg, where she gained her early conducting experiences, she is one of Germany’s rising talents, guest-conducting opera this season at Frankfurt, Zurich and Copenhagen and making her UK debut with the Philharmonia and the City of Birmingham Symphony Orchestra.

A message from the eminent cellist:

Dear Friends,

Silkroad turns twenty next year. Like a teenager approaching adulthood, we are exploring our purpose in the world. For us, this means thinking about how to share what we have learned to build a more hopeful future. One thing we have discovered is the joy and significance of working as an ensemble, and at this turning point, we are formalizing a new approach to leadership that celebrates that collaborative spirit.

To this end, I am thrilled to hand over the artistic direction of Silkroad to Jeffrey Beecher, Nicholas Cords, and Shane Shanahan, three extraordinary colleagues who have taught me so much about collaboration, music, and friendship. Together with Silkroad’s executive director, Eduardo A. Braniff, these inaugural co-artistic directors will shape the next chapter of Silkroad, bringing the passion and curiosity that we have developed to new communities and inspiring the radical cultural collaboration that is essential to creating a better world.

It is a journey that I will be privileged to share with them, and with all of you, as a cellist and a member of the Silkroad Ensemble. Please read their vision for Silkroad and join us.

With warmest wishes,

Yo-Yo Ma

A message from the well-travelled conductor:

For over thirty years, working and growing with musicians. I have taken the stage thousands of times, and yet every single rehearsal and concert continues to be a transformational experience. Above all, I’ve learned that orchestras are in many ways a microcosm of society at large. Any rehearsal can be examined as a study on human behavior. All over the world, at any given time, over 100 musicians are constantly making choices that impact the common goal of making the best music possible. Thousands of seemingly unnoticeable interactions and compromises are occurring every second. Each musician, who is remarkably talented in their own right, must decide when to ask questions, when to trust, when to speak up, and when to listen.

The growth of an orchestra between the first rehearsal and a concert never ceases to amaze me. Somehow, magically, these individuals become one whole, rising above discord and chaos to create harmony that touches lives. It is this transformation that inspires me to dedicate my life to music. To me, every concert is a miraculous example of what we are capable of when we are determined to reach a common goal.

We now live in a world where it seems everyone shouts and no one listens. But it is through careful listening that we can achieve our greatest potential. It is careful listening that is the lifeblood of democracy. It is careful listening that is at the heart of education. And it is only through true education that we can have understanding. Every musical performance is a miracle. And with every miracle, there is hope. Thank you for your impact and dedication as teachers. I am grateful for the opportunity to share my experience with you.

[Classroom editions of the film are available at www.MaestroMovie.com, where you can also download FREE curriculum.]

Sincerely,

Paavo Järvi

The Dutch violinist and band leader has been talking to Laurie Niles of violinist.com about why his concerts are so popular when others are not.

André: I don’t know why some shows don’t work; in my case, the magical word is authenticity. My orchestra members and I, we all believe in the magical power of music. We feel every note we play, and then we try to translate that feeling to the audience. We all love these wonderful compositions, and it may be be that that love and authenticity are things that sometimes are hard to find in other classical concerts.

Read on here.

There has been a little Scottish firestorm running on Facebook around a performance by the Glasgow Philharmonia at the Malcolm Arnold Festival in Northhampton.

The orchestra, brainchild of the conductor Ross Gunning, is composed of school and conservatoire students from Scotland, mostly unpaid.

Arriving in Northampton, their overnight accommodation turned out to be the floor of a damp, cold church with just one toilet for the entire ensemble. The musicians brought their own sleeping-bags.

A Facebook post, since removed, was shared more than 400 times and liked more than 3,000, a very substantial number for a small Scottish issue.

One of the young players wrote: ‘I feel like this was one of the most embarassing things I’ve ever been involved in. Yes, socially I made some great new friends, but musically, one rehearsal to play what was in some ways very challenging Malcolm Arnold music was not enough at all. Not in any way was this the musicians’ fault at all.

‘Also, it feels as though everything that the Glasgow Philharmonia is involved in isn’t for the musicians, but it exploits them for the benefit of the conductor’.

A Scottish musician writes: ‘We are a close-knit classical music community in Scotland and as you can imagine it has made serious waves…. No licenses by Local Education Authorities have been sought for Glasgow Philharmonia’s paid performances by compulsory school age children and therefore no adequate chaperone supervision has been put in place.  New laws were put in place in 2016 to protect young performers from being taken advantage of and these have been wholly ignored.’

The sleeping arrangements were sufficiently unusual to be mention in a review here. ‘The orchestra members, who had travelled by coach from Glasgow the previous day and had spent the night in sleeping bags in a local church hall, were fresh as spring.’

UPDATE: We asked Ross Gunning for a response. He replied with this denial.

The distinguished piano and haprsichord teacher Heather Slade-Lipkin was laid to rest in a Manchester Jewish cemetery on Sunday.

Heather, who died on October 16, was Professor of Piano at the Royal Conservatoire of Scotland.

Her students included Stephen Hough, Leon McCawley, Stephen Gosling, Stephen Coombs and many more.