The firing of Peter Mark, founder of Virginia Opera and its director for 36 years, has fuelled a widening furore around the company. The board has hired Robin Thompson, formerly of New York City Opera, to help find a new artistic director, but Mark may sue and supporters are withdrawing their pledges all over the US.
Here are snippets from some of the letters that have reached the intransigent board (with email copies to your devoted correspondent):
From Don Conlan (ex-CEO Capital Group/American Funds): The quality of the operatic productions that VOA consistently proved
it could produce at a fraction of the cost of other, larger organizations is
what drew me–as a businessman and investor–to VOA in the first place. It is
also what caused me to underwrite two VOA productions, both of which were
first-rate. This despite the fact that I live on the opposite side of the
country! I love good opera, especially cost-effective opera…My purpose in writing this letter is not to
attempt to save Peter’s job– that’s a business matter between your Board and
him. I write it in an attempt to save VOA from what I perceive as an ignominious
descent into utter mediocrity and probably suicide, “led” by those who have had
a decade to demonstrate that effective, organization-building leadership clearly
is outside their skill set. 
From Charles O. Burgess (Dean of Old Dominion University): Last spring, at the
conclusion of my latest term as a statewide board member of the Virginia Opera,
I informed the president that I did not wish to be reappointed. I didn’t want to
continue to have my name listed on a board divided and confused, with most board
members (other than those on the executive committee) ignorant of what was
really going on. … I now find that, without informing or consulting most of the
members of the board, the powers that be in the opera have decided to separate
Peter Mark from that artistic leadership… If those now making decisions for the Virginia Opera deliberately choose not to
retain the leader who built it and continues with vigor and artistic excellence
to mount and supervise its productions, I find it hard to have confidence in
their judgment or competence. I have been a supporter of and subscriber to the
Virginia Opera since I attended its first Traviata and have tried to contribute
to its strengths over the years. I have no idea where the truth lies in the
current swirling accusations (talk of squabbles among staff, dire plots by the
Richmond board members, and evil conspirators in Norfolk). I just know that it’s
not working and that its artistic mission seems to have been forgotten. I had
planned to continue my giving to the opera at the same modest level as when I
was a board member, but I have now decided to defer any future commitments until
I can be confident that there is a future. 
From Tom Garner: I … clearly
stated that if Founding Artistic Director Peter Mark were to be forced out or
even seriously marginalized, the Garner family would certainly curtail our
financial support…. All the infighting, backbiting and self-destructive dynamic of late has been a
source of misery for Carolyn and me… What began as a gratuitous,
unpleasant power struggle has now devolved into a mean-spirited absolutely
senseless persecution of our founding artistic director, whose tireless efforts
and unique blend of creativity, passion, leadership, musical knowledge, teaching
and mentoring ability, international esteem and connections have gleaned
extraordinary rave reviews for the VOA and its productions and countless hours
of enjoyment by its patrons. The international music community, including
critics, patrons and the many superb young artists whom Peter has discovered and
nurtured, will be as stunned as I when the word gets out about how a small
secretive group has now seized control of the VOA and mistreated this renowned
figure whose nonpareil talent and toil built the Virginia Opera Association from
the ground up to exalted heights. The Garner family will cease to support the
VOA if these imprudent, ungracious plans for Peter’s unwilling departure are
consummated. 
From: Kay Rongley: I am shocked, dismayed, and
angry that you and a small group of people, who are totally unreasonable and
unprofessional in your power grab, have taken over what has been an absolutely
wonderful Virginia Opera.  … I can tell you that without Peter Mark at the helm, my commitment to
the Virginia Opera has ended. It will not be possible for me to patronize an
organization that has been so ruthless and misguided in their management style
and unfair treatment of Peter for me to continue as a patron or donor. … You, and the other misguided rogue board members, have succeeded in destroying a
beautiful opera experience. 
From John Allsteadt: The firing
of Peter Mark is an OUTRAGE! Peter Mark has brought an unparalleled level of
professionalism to the Virginia Opera for many years. It is only through his
excellence and high standards that the Virginia Opera has produced such
technical performances of so many classics. I always assumed that Peter Mark
would hold his responsibilities as ARTISTIC DIRECTOR, MUSIC DIRECTOR, AND
PRINCIPAL CONDUCTOR indefinitely until HE decides to move on. This termination
is NOT justified on any grounds… And I swear, I will not be attending any more
Virginia Operas if Peter Mark is not reinstated. 
From James Bennett What a TRAVESTY to effectively DESTROY this
wonderful organization by terminating Peter Mark! Those responsible should
resign. A complete disgrace. 
From PeterCallo: It is a sad day indeed to see the sterling reputation
of Virginia Opera dragged through the mire created by certain board members and,
I suspect, the General Manager and CEO. I have attended opera performances in
the U.S. and abroad and have been gratified to watch the Virginia Opera become a
world class company under the artistic direction of Peter Mark and with the
assistance of Joseph Walsh. … You are simply not opera
savvy. Why you wish to humiliate Peter Mark and terminate his association with
the company he founded in such a distasteful way, I am sure we the opera goers
will never learn. You have forgotten the old adage, “If it ain’t broke, don’t
fix it.” 

The firing of Peter Mark, founder of Virginia Opera and its director for 36 years, has fuelled a widening furore around the company. The board has hired Robin Thompson, formerly of New York City Opera, to help find a new artistic director, but Mark may sue and supporters are withdrawing their pledges all over the US.
Here are snippets from some of the letters that have reached the intransigent board (with email copies to your devoted correspondent):
From Don Conlan (ex-CEO Capital Group/American Funds): The quality of the operatic productions that VOA consistently proved
it could produce at a fraction of the cost of other, larger organizations is
what drew me–as a businessman and investor–to VOA in the first place. It is
also what caused me to underwrite two VOA productions, both of which were
first-rate. This despite the fact that I live on the opposite side of the
country! I love good opera, especially cost-effective opera…My purpose in writing this letter is not to
attempt to save Peter’s job– that’s a business matter between your Board and
him. I write it in an attempt to save VOA from what I perceive as an ignominious
descent into utter mediocrity and probably suicide, “led” by those who have had
a decade to demonstrate that effective, organization-building leadership clearly
is outside their skill set. 
From Charles O. Burgess (Dean of Old Dominion University): Last spring, at the
conclusion of my latest term as a statewide board member of the Virginia Opera,
I informed the president that I did not wish to be reappointed. I didn’t want to
continue to have my name listed on a board divided and confused, with most board
members (other than those on the executive committee) ignorant of what was
really going on. … I now find that, without informing or consulting most of the
members of the board, the powers that be in the opera have decided to separate
Peter Mark from that artistic leadership… If those now making decisions for the Virginia Opera deliberately choose not to
retain the leader who built it and continues with vigor and artistic excellence
to mount and supervise its productions, I find it hard to have confidence in
their judgment or competence. I have been a supporter of and subscriber to the
Virginia Opera since I attended its first Traviata and have tried to contribute
to its strengths over the years. I have no idea where the truth lies in the
current swirling accusations (talk of squabbles among staff, dire plots by the
Richmond board members, and evil conspirators in Norfolk). I just know that it’s
not working and that its artistic mission seems to have been forgotten. I had
planned to continue my giving to the opera at the same modest level as when I
was a board member, but I have now decided to defer any future commitments until
I can be confident that there is a future. 
From Tom Garner: I … clearly
stated that if Founding Artistic Director Peter Mark were to be forced out or
even seriously marginalized, the Garner family would certainly curtail our
financial support…. All the infighting, backbiting and self-destructive dynamic of late has been a
source of misery for Carolyn and me… What began as a gratuitous,
unpleasant power struggle has now devolved into a mean-spirited absolutely
senseless persecution of our founding artistic director, whose tireless efforts
and unique blend of creativity, passion, leadership, musical knowledge, teaching
and mentoring ability, international esteem and connections have gleaned
extraordinary rave reviews for the VOA and its productions and countless hours
of enjoyment by its patrons. The international music community, including
critics, patrons and the many superb young artists whom Peter has discovered and
nurtured, will be as stunned as I when the word gets out about how a small
secretive group has now seized control of the VOA and mistreated this renowned
figure whose nonpareil talent and toil built the Virginia Opera Association from
the ground up to exalted heights. The Garner family will cease to support the
VOA if these imprudent, ungracious plans for Peter’s unwilling departure are
consummated. 
From: Kay Rongley: I am shocked, dismayed, and
angry that you and a small group of people, who are totally unreasonable and
unprofessional in your power grab, have taken over what has been an absolutely
wonderful Virginia Opera.  … I can tell you that without Peter Mark at the helm, my commitment to
the Virginia Opera has ended. It will not be possible for me to patronize an
organization that has been so ruthless and misguided in their management style
and unfair treatment of Peter for me to continue as a patron or donor. … You, and the other misguided rogue board members, have succeeded in destroying a
beautiful opera experience. 
From John Allsteadt: The firing
of Peter Mark is an OUTRAGE! Peter Mark has brought an unparalleled level of
professionalism to the Virginia Opera for many years. It is only through his
excellence and high standards that the Virginia Opera has produced such
technical performances of so many classics. I always assumed that Peter Mark
would hold his responsibilities as ARTISTIC DIRECTOR, MUSIC DIRECTOR, AND
PRINCIPAL CONDUCTOR indefinitely until HE decides to move on. This termination
is NOT justified on any grounds… And I swear, I will not be attending any more
Virginia Operas if Peter Mark is not reinstated. 
From James Bennett What a TRAVESTY to effectively DESTROY this
wonderful organization by terminating Peter Mark! Those responsible should
resign. A complete disgrace. 
From PeterCallo: It is a sad day indeed to see the sterling reputation
of Virginia Opera dragged through the mire created by certain board members and,
I suspect, the General Manager and CEO. I have attended opera performances in
the U.S. and abroad and have been gratified to watch the Virginia Opera become a
world class company under the artistic direction of Peter Mark and with the
assistance of Joseph Walsh. … You are simply not opera
savvy. Why you wish to humiliate Peter Mark and terminate his association with
the company he founded in such a distasteful way, I am sure we the opera goers
will never learn. You have forgotten the old adage, “If it ain’t broke, don’t
fix it.” 

Byron Gustafson, an artist manager who guided the violinist Midori from gawky teens to mature stardom, has died, his agency has announced. He was 56.

In addition to managing her career, Gustafson was a director of her child education foundation, Midori and Friends. In a sea full of sharks, he was a gentle dolphin.

Here’s an internal memo from Midori and Friends:


To: Board Members:

From: Judi Linden

It is with great sadness that I have to relay the news of Byron’s passing last evening. As an esteemed board member and leader in the arts field, Byron did so much for so many of us.

He was a mentor and a manager to Midori from the time she started her career over twenty years ago and a fellow colleague and friend to so many of us.  His kindness, and gentle nature, along with his intuitive understanding of the performing arts, were just a few of the extraordinary qualities he brought to everything and everyone he helped.

Through his personal passion and professional work, he made such a meaningful difference in our lives and organizations.

Please know that the details regarding any service have not yet been sent to us, once they are I will forward them to you.

Byron Gustafson, an artist manager who guided the violinist Midori from gawky teens to mature stardom, has died, his agency has announced. He was 56.

In addition to managing her career, Gustafson was a director of her child education foundation, Midori and Friends. In a sea full of sharks, he was a gentle dolphin.

Here’s an internal memo from Midori and Friends:


To: Board Members:

From: Judi Linden

It is with great sadness that I have to relay the news of Byron’s passing last evening. As an esteemed board member and leader in the arts field, Byron did so much for so many of us.

He was a mentor and a manager to Midori from the time she started her career over twenty years ago and a fellow colleague and friend to so many of us.  His kindness, and gentle nature, along with his intuitive understanding of the performing arts, were just a few of the extraordinary qualities he brought to everything and everyone he helped.

Through his personal passion and professional work, he made such a meaningful difference in our lives and organizations.

Please know that the details regarding any service have not yet been sent to us, once they are I will forward them to you.

Amazing what can be done by means of selective quotation. Charlotte Higgins in today’s Guardian has culled a few squibs from the proceedings of the House of Commons committee on culture, media and sport to suggest, without factual foundation, that their report will recommend a cull of orchestral funding.

She begins by inflating into committee policy a casual witticism by chairman John Wittingdale to the effect that Gustav Mahler ‘shouldn’t have written works that require so many musicians’. Other MPs and witnesses are caricatured for holding unfashionable views and Charlotte concludes that we cannot expect a serious report from so frivolous a forum.
As one of those called in evidence by the committee, I found the MPs’ questioning intense, sincere and open-minded. One did not have to agree with many of the views expressed to respect the need for critical analysis of Arts Council England and its recent activities. 
There seemed to be general contempt for the ACE’s performance during the present cuts and a genuine dismay at the feeble, fact-poor testimony of its chief executive, Alan Davey. These sentiments are a matter of public record and can be viewed on the committee’s website. They must cause great discomfort to ACE chair Liz Forgan and her chief exec.
Journalists are often put up by to defend public bodies on which they rely for leaks. I doubt this was the case with Charlotte Higgins, an honest and intelligent arts columnist. But I do wonder why she defends an ACE regime that has so wantonly betrayed the arts. The thrust of ACE policy since the cuts were announced has been to defend its own jobs. Arts managers up and down the country have lost confidence in the ACE leadership. Forgan and Davey are walking a wobbly plank.
Rather than cutting symphonic music, I got the impression that the HoC committee was greatly concerned about regional orchestras who will suffer a double hit of ACE and local authority cuts. Expect a tough report on the ACE, and no disparagement of Mahler.

Amazing what can be done by means of selective quotation. Charlotte Higgins in today’s Guardian has culled a few squibs from the proceedings of the House of Commons committee on culture, media and sport to suggest, without factual foundation, that their report will recommend a cull of orchestral funding.

She begins by inflating into committee policy a casual witticism by chairman John Wittingdale to the effect that Gustav Mahler ‘shouldn’t have written works that require so many musicians’. Other MPs and witnesses are caricatured for holding unfashionable views and Charlotte concludes that we cannot expect a serious report from so frivolous a forum.
As one of those called in evidence by the committee, I found the MPs’ questioning intense, sincere and open-minded. One did not have to agree with many of the views expressed to respect the need for critical analysis of Arts Council England and its recent activities. 
There seemed to be general contempt for the ACE’s performance during the present cuts and a genuine dismay at the feeble, fact-poor testimony of its chief executive, Alan Davey. These sentiments are a matter of public record and can be viewed on the committee’s website. They must cause great discomfort to ACE chair Liz Forgan and her chief exec.
Journalists are often put up by to defend public bodies on which they rely for leaks. I doubt this was the case with Charlotte Higgins, an honest and intelligent arts columnist. But I do wonder why she defends an ACE regime that has so wantonly betrayed the arts. The thrust of ACE policy since the cuts were announced has been to defend its own jobs. Arts managers up and down the country have lost confidence in the ACE leadership. Forgan and Davey are walking a wobbly plank.
Rather than cutting symphonic music, I got the impression that the HoC committee was greatly concerned about regional orchestras who will suffer a double hit of ACE and local authority cuts. Expect a tough report on the ACE, and no disparagement of Mahler.

It’s 100 years next month since Gustav Mahler swung upstate with the New York Philharmonic and the city of Syracuse is planning to mark the day with Why Mahler? on the radio and a new stone bench with Mahler’s name on in Clinton Square. The donor is Hamilton Armstrong.

Sadly, the Syracuse Symphony has cancelled a performance of Mahler’s fifth symphony for lack of funds.

It’s 100 years next month since Gustav Mahler swung upstate with the New York Philharmonic and the city of Syracuse is planning to mark the day with Why Mahler? on the radio and a new stone bench with Mahler’s name on in Clinton Square. The donor is Hamilton Armstrong.

Sadly, the Syracuse Symphony has cancelled a performance of Mahler’s fifth symphony for lack of funds.

The German monthly Das Orchester has devoted its November issue to the old enemy. The magazine speaks for orchestral players and the orchestral association. It regards conductors as a regrettable necessity.

The issue looks at the way conductors are being trained (or manufactured) in Finland; wonders whether the eyes or the hands are more important in conveying expression and runs a small survey of players on what they think of their maestros.

Being good German players, they are reasonably polite. But between the lines you get the impression that few of those asked think that conducting is a respectable occupation. Like banking, it seems to them money for old rope.

Here’s the website. You’ll need to buy the magazine (and read German) to get full content.

The German monthly Das Orchester has devoted its November issue to the old enemy. The magazine speaks for orchestral players and the orchestral association. It regards conductors as a regrettable necessity.

The issue looks at the way conductors are being trained (or manufactured) in Finland; wonders whether the eyes or the hands are more important in conveying expression and runs a small survey of players on what they think of their maestros.

Being good German players, they are reasonably polite. But between the lines you get the impression that few of those asked think that conducting is a respectable occupation. Like banking, it seems to them money for old rope.

Here’s the website. You’ll need to buy the magazine (and read German) to get full content.

The great mezzo-turned-soprano has died, aged 79, at her home in Ann Arbor, Michigan. After early battles with racial discrimination in the US, she achieved widespread fame on the European stage and universal popularity among her own profession.

Her autobiography contains prefaces by arch-rivals Placido Domingo and Luciano Pavarotti and afterwords by conductors Claudio Abbado and Zubin Mehta.

Her loss will be the more intensely felt, coming as it does so soon after Joan Sutherland’s.

The great mezzo-turned-soprano has died, aged 79, at her home in Ann Arbor, Michigan. After early battles with racial discrimination in the US, she achieved widespread fame on the European stage and universal popularity among her own profession.

Her autobiography contains prefaces by arch-rivals Placido Domingo and Luciano Pavarotti and afterwords by conductors Claudio Abbado and Zubin Mehta.

Her loss will be the more intensely felt, coming as it does so soon after Joan Sutherland’s.