The magnificent mezzo-soprano Joyce Di Donato has renewed her longterm record contract with Virgin Classics, shrugging off interest from rivals. Virgin is part of wobbly EMI, but there’s nothing uncertain about Joyce. Loyal to her label allies, she’s in for the duration.
Virgin chief Alain Lanceron said: “I’m very
happy with Joyce’s confidence in EMI/Virgin Classics and that the wonderful
adventure we embarked upon some years ago will continue with many other
remarkable projects. Since her first recordings with Virgin Classics, Joyce’s
fame has grown internationally and we are very proud that she is now one of the
most sought after opera singers.”
And it’s not all glamour, you’ll be pleased to know. She’s playing Wichita, Kansas, next week before heading back to the Met.
Joyce
DiDonato upcoming engagements
March
26
Wichita, Kansas
Wichita
Grand Opera Gala
March 24
& 29; April 2, 5, 9*, 14, 18, & 21
New
York, New York
Metropolitan Opera /
Maurizio Benini
Rossini:
Le comte Ory (Isolier – role
debut)
* “Live
in HD” international broadcast
May 7,
10, & 13
New
York, New York
Metropolitan Opera /
Maurizio Benini
Strauss:
Ariadne auf Naxos (composer – house role
debut)
May
20
Baden-Baden,
Germany
Festspielhaus
Handel:
Ariodante (title
role)
Il Complesso Barocco /
Alan Curtis
May
23
Paris,
France
Théatre des
Champs-Elysées
Handel:
Ariodante (title
role)
Il
Complesso Barocco / Alan Curtis
May
25
London, England
Barbican
Hall
Handel:
Ariodante (title
role)
Il
Complesso Barocco / Alan Curtis
July 5,
7, 9, 11, 13, & 16
London, England
Royal
Opera House, Covent Garden / Bertrand de
Billy
Massenet:
Cendrillon (title
role)
The magnificent mezzo-soprano Joyce Di Donato has renewed her longterm record contract with Virgin Classics, shrugging off interest from rivals. Virgin is part of wobbly EMI, but there’s nothing uncertain about Joyce. Loyal to her label allies, she’s in for the duration.
Virgin chief Alain Lanceron said: “I’m very
happy with Joyce’s confidence in EMI/Virgin Classics and that the wonderful
adventure we embarked upon some years ago will continue with many other
remarkable projects. Since her first recordings with Virgin Classics, Joyce’s
fame has grown internationally and we are very proud that she is now one of the
most sought after opera singers.”
And it’s not all glamour, you’ll be pleased to know. She’s playing Wichita, Kansas, next week before heading back to the Met.
Joyce
DiDonato upcoming engagements
March
26
Wichita, Kansas
Wichita
Grand Opera Gala
March 24
& 29; April 2, 5, 9*, 14, 18, & 21
New
York, New York
Metropolitan Opera /
Maurizio Benini
Rossini:
Le comte Ory (Isolier – role
debut)
* “Live
in HD” international broadcast
May 7,
10, & 13
New
York, New York
Metropolitan Opera /
Maurizio Benini
Strauss:
Ariadne auf Naxos (composer – house role
debut)
May
20
Baden-Baden,
Germany
Festspielhaus
Handel:
Ariodante (title
role)
Il Complesso Barocco /
Alan Curtis
May
23
Paris,
France
Théatre des
Champs-Elysées
Handel:
Ariodante (title
role)
Il
Complesso Barocco / Alan Curtis
May
25
London, England
Barbican
Hall
Handel:
Ariodante (title
role)
Il
Complesso Barocco / Alan Curtis
July 5,
7, 9, 11, 13, & 16
London, England
Royal
Opera House, Covent Garden / Bertrand de
Billy
Massenet:
Cendrillon (title
role)
The Royal Opera House Covent Garden has gone to Copenhagen for its next head of opera. Elaine Padmore was running Det Kongelige Theater when she got the call from the Queen.
Her successor, it’s just been announced, is Kaspar Holten, who succeeded her in Denmark eleven years ago (I know, he looks straight out of school).
He’s best known for a Ring Cycle and his
website has been paralysed by the career upgrade.
Photo: Miklos Szabo. all rights reserved
And British director Keith Warner is taking over from Holten in Copenhagen. So it’s a swap.
Here’s the press announcement:
PRESS RELEASE: For Immediate
release
18
MARCH 2011
KASPER HOLTEN TO JOIN ROYAL OPERA
HOUSE
The Royal Opera House announced today that Kasper Holten has been appointed
Director of Opera, to succeed Elaine
Padmore when she leaves at the end of the 2010/11 Season.
A native of
Copenhagen, 37 year old Kasper Holten has been Artistic
Director of the Royal Danish Opera since 2000, where he successfully led the
move into Copenhagen‘s new opera house in
2005.
As a director he has staged more
than 60 productions of opera, drama, operetta and musical theatre in
Denmark,
Sweden,
Norway,
Finland,
Iceland,
France,
Austria,
Latvia,
USA and
Russia. His production of Wagner’s Ring in Copenhagen 2003-2006 received
international acclaim.
Other key productions include Le nozze di Figaro (Theater an der
Wien), Tannhäuser
(Copenhagen), A Clockwork Orange
(Stockholm), My Fair Lady
(Copenhagen) and Die Tote Stadt
(Helsinki).
In 2010 he created Juan – a modern cinematic version of Mozart’s Don Giovanni. It has been shown in film
festivals in Korea,
Switzerland,
Sweden,
Ukraine,
Lithuania,
USA,
Germany and
Turkey and will be on general release in
cinemas in Denmark from 7 April
2011. It
will later be released in cinemas in the
UK and other
countries.
Kasper Holten studied theatre and music at the
University of Copenhagen, and has worked as assistant
director to John Cox, David Pountney and Harry Kupfer. He was artistic director
of Aarhus Sommeropera Festival 1997-2000. He was a member of the Danish Music
Council 1995-99 and the Danish Radio and TV Council 2000-2008. He has been
associate professor at CopenhagenBusinessSchool since
2007.
Announcing the appointment, Tony Hall, Chief Executive of the Royal Opera
House said: “I am thrilled that Kasper Holten is to join the senior
management team. He has done some
fantastic and innovative work as a stage director and at the same time he has
confirmed the Royal Danish Opera’s status as a major player in the international
opera world. He joins The Royal Opera
after ten years of superb artistic achievement, but also at a time of new
economic challenges and further expansion in the digital arena. I look forward to working with
him.”
These sentiments were echoed by Antonio Pappano, Music Director of The Royal Opera: “This is an enormously challenging job and
Kasper’s first two Seasons are packed full of exciting large scale productions.
I have enjoyed all our conversations so far and I eagerly anticipate further
creative planning discussions for future Seasons when he arrives in September.
“I would like to take this opportunity to thank
Elaine Padmore for her wonderful
friendship, support, counsel and leadership over the last ten years, and wish
her every success in her future ventures.”
Kasper Holten said “I had promised myself to
focus more on my artistic work when my
contract in Copenhagen expires this summer after 11
exciting years. But if there is one job in the world that I cannot resist, it is
this one. To work with Antonio
Pappano, Tony Hall and
Peter
Katona in what I regard as the leading
opera house of the world is an incredible opportunity for me. I will do my very
best to contribute to further developing ROH as a leading opera house of the
world with exciting productions, broad outreach and a standard of artistic
quality second to none.”
-ENDS-
Photograph:
http://kglteater.dk/OmKunstarterne/Opera/Ledelse/Galleri_Kasper%20Bech%20Holten.aspx
The Royal Opera House Covent Garden has gone to Copenhagen for its next head of opera. Elaine Padmore was running Det Kongelige Theater when she got the call from the Queen.
Her successor, it’s just been announced, is Kaspar Holten, who succeeded her in Denmark eleven years ago (I know, he looks straight out of school).
He’s best known for a Ring Cycle and his
website has been paralysed by the career upgrade.
Photo: Miklos Szabo. all rights reserved
And British director Keith Warner is taking over from Holten in Copenhagen. So it’s a swap.
Here’s the press announcement:
PRESS RELEASE: For Immediate
release
18
MARCH 2011
KASPER HOLTEN TO JOIN ROYAL OPERA
HOUSE
The Royal Opera House announced today that Kasper Holten has been appointed
Director of Opera, to succeed Elaine
Padmore when she leaves at the end of the 2010/11 Season.
A native of
Copenhagen, 37 year old Kasper Holten has been Artistic
Director of the Royal Danish Opera since 2000, where he successfully led the
move into Copenhagen‘s new opera house in
2005.
As a director he has staged more
than 60 productions of opera, drama, operetta and musical theatre in
Denmark,
Sweden,
Norway,
Finland,
Iceland,
France,
Austria,
Latvia,
USA and
Russia. His production of Wagner’s Ring in Copenhagen 2003-2006 received
international acclaim.
Other key productions include Le nozze di Figaro (Theater an der
Wien), Tannhäuser
(Copenhagen), A Clockwork Orange
(Stockholm), My Fair Lady
(Copenhagen) and Die Tote Stadt
(Helsinki).
In 2010 he created Juan – a modern cinematic version of Mozart’s Don Giovanni. It has been shown in film
festivals in Korea,
Switzerland,
Sweden,
Ukraine,
Lithuania,
USA,
Germany and
Turkey and will be on general release in
cinemas in Denmark from 7 April
2011. It
will later be released in cinemas in the
UK and other
countries.
Kasper Holten studied theatre and music at the
University of Copenhagen, and has worked as assistant
director to John Cox, David Pountney and Harry Kupfer. He was artistic director
of Aarhus Sommeropera Festival 1997-2000. He was a member of the Danish Music
Council 1995-99 and the Danish Radio and TV Council 2000-2008. He has been
associate professor at CopenhagenBusinessSchool since
2007.
Announcing the appointment, Tony Hall, Chief Executive of the Royal Opera
House said: “I am thrilled that Kasper Holten is to join the senior
management team. He has done some
fantastic and innovative work as a stage director and at the same time he has
confirmed the Royal Danish Opera’s status as a major player in the international
opera world. He joins The Royal Opera
after ten years of superb artistic achievement, but also at a time of new
economic challenges and further expansion in the digital arena. I look forward to working with
him.”
These sentiments were echoed by Antonio Pappano, Music Director of The Royal Opera: “This is an enormously challenging job and
Kasper’s first two Seasons are packed full of exciting large scale productions.
I have enjoyed all our conversations so far and I eagerly anticipate further
creative planning discussions for future Seasons when he arrives in September.
“I would like to take this opportunity to thank
Elaine Padmore for her wonderful
friendship, support, counsel and leadership over the last ten years, and wish
her every success in her future ventures.”
Kasper Holten said “I had promised myself to
focus more on my artistic work when my
contract in Copenhagen expires this summer after 11
exciting years. But if there is one job in the world that I cannot resist, it is
this one. To work with Antonio
Pappano, Tony Hall and
Peter
Katona in what I regard as the leading
opera house of the world is an incredible opportunity for me. I will do my very
best to contribute to further developing ROH as a leading opera house of the
world with exciting productions, broad outreach and a standard of artistic
quality second to none.”
-ENDS-
Photograph:
http://kglteater.dk/OmKunstarterne/Opera/Ledelse/Galleri_Kasper%20Bech%20Holten.aspx
The Opéra National de Paris has released its plans for 2011/12, giving me the great satisfaction of reading that Emmanuelle Haim has been invited to conduct a new production.
Ms Haim, you may remember, was cruelly treated by the opera house orchestra last year when she attempted to direct the musicians in Luc Bondy’s staging of Mozart’s Idomeneo with
‘a different aesthetic’ of her baroque style. The musicians denounced her as ‘incompetent’ and a divorce was announced in
Le Monde that seemed to end her career at the Paris Opéra.
Ms Haim is one of the most intelligent, enterprising and hard-working orchestral directors of recent times. Don’t take my word for it: ask Simon Rattle, Natalie Dessay, Rolando Villazon and dozens of others with whom she has created outstanding opera productions. She is also, in my personal experience, charming, cheeky and not easily derailed by male opposition.
So my heart leaped to see that Nicolas Joel, the new boss of the Opéra, has booked her to take charge of Rameau’s Hippolyte et Aricie, in a new production by Ivan Alexandre, with a cast headed by Sarah Connolly, Anne-Catherine Gillet and Topi Lehtipuu, opening June 2012.
The only disappointment is that she won’t be conducting the rude and rebellious house orchestra. With her in the pit will be her own band, Le Concert d’Astrée. Paris still has some way to go before its musicians accept stylistic plurality.
Natalie with Emmanuelle photo: Lexpress.fr. all rights reserved
Emmanuelle with NL at the BBC. all rights reserved
Two open letters have come in overnight, warning of possible after-effects of the ‘re-evaluation’ process at the Brazil Symphony Orchestra. One is from a senior official of the American Federation of Musicians, the other from the manager of the orchestra in Belgrade, Serbia. I print them as received, in Portuguese and English.
Carta do Vice-Presidente da Federação de Músicos (American Federation of Musicians) John Acosta para o Presidente da FOSB by Antonio J Augusto on Thursday, March 17, 2011 at 8:03pm Caro Senhor Estou escrevendo para o senhor no que diz respeito às ações recentes que sua administração tomou em relação aos músicos da Orquestra Sinfônica Brasileira. Se não me engano, você está pedindo que toda a orquestra re-audicione para os seus cargos, depois de todos terem passado por um teste para sua posição atual na orquestra. Este ato vai de encontro a todas as normas que são seguidos em todas as orquestras profissionais ao redor do mundo. O Brasil se tornou um líder mundial nos negócios e nas artes, e suas ações irão diminuir a reputação do Brasil não só no Mercosul, mas em todo o mundo, onde a música clássica é tocada e apreciada. Peço-lhe que reconsidere suas ações, evitando manchar o bom nome de sua orquestra, entre as grandes orquestras do mundo. Trabalhe com seus músicos para encontrar uma solução razoável para os problemas que você enfrenta. Atenciosamente, John Acosta Vice-President American Federation of Musicians Los Angeles, California Professional Musicians Local 47 AFL-CIO Tel 323-993-3173 Fax 323-469-5864
Dear Sir I am writing to you in regards to the recent actions your management has taken with the musicians of the Brazilian Symphony. If I am not mistaken, you are now asking that the entire orchestra re-audition for their positions, after having initially auditioned for their current position with the orchestra. This act flies in the face of all norms that are followed within all professional orchestras around the world. Brazil has become a world leader in business and the arts, and your actions will only diminish Brazil’s reputation not only in the Mercosur, but all over the world, where classical music is played and appreciated. I urge you to reconsider your actions, and avoid blemishing the good name of your orchestra among the great orchestras around the world. Work with your musicians to find a reasonable solution to the problems you face. Sincerely, John Acosta Vice-President American Federation of Musicians Los Angeles, California Professional Musicians Local 47 AFL-CIO Tel 323-993-3173 Fax 323-469-5864
Carta do Secretário Geral Assistente do Sindicato dos Músicos Britânicos (British Musicians’ Union) para o Presidente da FOSB by Antonio J Augusto on Thursday, March 17, 2011 at 7:53pm Sr. Eleazar de Carvalho Presidente da Fundação Orquestra Sinfônica Brasileira. 17 de março de 2011. Caro Senhor, Fomos informados sobre sua intenção em reorganizar a Orquestra Sinfônica Brasileira através de uma audição a que todos os músicos deveriam ser submetidos. Embora o objetivo possa ser o de melhorar a qualidade da orquestra, este processo no nosso ponto de vista é inapropriado e pode, em verdade, se prova contra produtivo. Todas as orquestras mais representativas do mundo possuem uma longa tradição de diálogo social. Este diálogo é crucial tanto para prevenir conflitos, como na resolução de vários problemas que podem acontecer na rotina diária de uma orquestra. Eu quero também lembrar que todos os músicos passaram por uma audição antes de assumirem suas posições na orquestra. Desde então, eles estão atuando sobre os palcos toda a semana, o que também representa uma outra forma de audição. Re-audicionar todos estes músicos será unicamente um desnecessário, um teste extremamente estressante, incapaz dar uma imagem acurada das qualidades e talentos destes músicos. Finalmente, e o mais principal, a personalidade artística de uma orquestra é o resultado de um processo de longo prazo que depende não somente nas qualidades individuais, mas também na profundidade do trabalho realizado diariamente pela orquestra como um todo, assim como nas opções artísticas definidas por seu diretor musical. Eu acredito firmemente que é possível conciliar o seu objetivo de melhorar a qualidade da orquestra com as legítimas expectativas de seus músicos. Para terminar, eu clamo para o seu envolvimento nas discussões com as lideranças dos músicos o mais rápido possível, com a intenção de juntos identificarem a melhor maneira de alcançar o nível de excelência que é igualmente desejado por ambas as partes. Fazendo isto, o senhor maximizará as chances de ser bem sucedido na renovação da orquestra, para o mutual beneficio de todos os envolvidos neste processo, incluindo o público. A comunidade mundial dos músicos não entenderia se estes pedidos continuassem a não ser ouvidos. Sinceramente, Horace Trubridge Assistant General Secretary Carta do Gerente Geral da Orquestra Filarmônica de Belgrado, Tasovac Ivan, ao Presidente da FOSB by Antonio J Augusto on Thursday, March 17, 2011 at 7:26pm Sr. Eleazar de Carvalho Presidente da Fundacao Orquestra Sinfonica Brasileira Av. Rio Branco, 135 sala 915 Centro Rio de Janeiro 20040-006 Caro senhor, Fui informado pela Federação Internacional de Músicos sobre sua decisão de realizar um processo de avaliação de desempenho entre os músicos da Orquestra Sinfônica Brasileira. Embora acreditando na sua intenção e objetivo de melhorar a qualidade artística de sua orquestra, devo expressar minha profunda preocupação com a completa inadequação do procedimento a que os músicos da orquestra estarão sujeitos. Acreditamos firmemente que o diálogo e a conversa construtiva são fundamentais para o trabalho de todas as instituições, especialmente em um campo tão específico como as artes e a cultura. Neste caso particular, uma aberta troca de opiniões com os representantes dos músicos é especialmente importante na prevenção de conflitos e resolver problemas que obviamente a sua orquestra está enfrentando. Gostaria também de acrescentar que em todas as orquestras sinfônicas do mundo, cada músico tem que passar por um teste, a fim de ser aceito como parte do conjunto. Assim, não tenho dúvidas de que isso também aconteceu no caso de todos os músicos da Orquestra Sinfônica Brasileira. Cada um dos seus concertos representa um teste em si, então esta tentativa de re-audição, só pode resultar em estresse e sofrimento desnecessário para os músicos. Eu acredito fortemente que você, sendo um artista mesmo, pode facilmente reconhecer a iniquidade do seu gesto e da injustiça que você faria aos seus colegas, se você tivesse que começar esta decisão. É por isso que eu também confio que você será capaz de conciliar as expectativas legítimas dos músicos e, ao mesmo tempo, aumentar a qualidade de sua orquestra. Como Gerente Geral de uma orquestra, que compartilha muitos de seus problemas, eu estou pedindo que você inicie o diálogo mútuo logo que possível, a fim de tentar encontrar soluções, e a melhor maneira po
ssível para atingir o níve
l necessário de excelência que é, como acredito, o objetivo comum das duas partes. Atenciosamente, Tasovac Ivan, Gerente Geral Orquestra Filarmônica de Belgrado Sérvia
Dear Sir, I was informed through the International Federation of Musicians about your decision to undertake the process of performance evaluation among musicians of the Brazilian Symphony Orchestra. Although I wish to believe in your intention and goal to improve artistic quality of your orchestra, I must express my deepest concerns about inappropriateness of the complete procedure the orchestra musicians are subjected. We strongly believe that mutual dialogue and constructive conversation is crucial for the work of all institutions, especially in such a specific field as arts and culture. In this particular case, open exchange of opinion with the performers’ representatives is especially important in preventing more conflicts and solving problems which your orchestra is obviously facing. I would also like to add that in all symphonic orchestras in the world, every musician must pass the audition in order to be accepted as the part of an ensemble. So, there is no doubt that this also happened in the case of all musicians from the Brazilian Symphony Orchestra. Each of their concert performance presents an audition itself, so every attempt of re-auditioning can only result with unnecessary stress and grief for the musicians. I strongly believe that you, being an artist yourself, can easily recognize the unfairness of your gesture and injustice you would do to your colleagues if you were to commence this decision. That is why I also trust that you will be able to reconcile legitimate anticipations of the performers, and at the same time, increase the quality of your orchestra. As the General Manager of an orchestra, who shares many of your problems, I am urging you to start with mutual conversations as soon as possible, in order to try to find solutions, and the best possible ways to reach the necessary level of excellence which is, as I believe, the goal of which both sides agree upon. Yours sincerely, Ivan Tasovac, General Manager Belgrade Philharmonic Orchestra Serbia
Two open letters have come in overnight, warning of possible after-effects of the ‘re-evaluation’ process at the Brazil Symphony Orchestra. One is from a senior official of the American Federation of Musicians, the other from the manager of the orchestra in Belgrade, Serbia. I print them as received, in Portuguese and English.
Carta do Vice-Presidente da Federação de Músicos (American Federation of Musicians) John Acosta para o Presidente da FOSB by Antonio J Augusto on Thursday, March 17, 2011 at 8:03pm Caro Senhor Estou escrevendo para o senhor no que diz respeito às ações recentes que sua administração tomou em relação aos músicos da Orquestra Sinfônica Brasileira. Se não me engano, você está pedindo que toda a orquestra re-audicione para os seus cargos, depois de todos terem passado por um teste para sua posição atual na orquestra. Este ato vai de encontro a todas as normas que são seguidos em todas as orquestras profissionais ao redor do mundo. O Brasil se tornou um líder mundial nos negócios e nas artes, e suas ações irão diminuir a reputação do Brasil não só no Mercosul, mas em todo o mundo, onde a música clássica é tocada e apreciada. Peço-lhe que reconsidere suas ações, evitando manchar o bom nome de sua orquestra, entre as grandes orquestras do mundo. Trabalhe com seus músicos para encontrar uma solução razoável para os problemas que você enfrenta. Atenciosamente, John Acosta Vice-President American Federation of Musicians Los Angeles, California Professional Musicians Local 47 AFL-CIO Tel 323-993-3173 Fax 323-469-5864
Dear Sir I am writing to you in regards to the recent actions your management has taken with the musicians of the Brazilian Symphony. If I am not mistaken, you are now asking that the entire orchestra re-audition for their positions, after having initially auditioned for their current position with the orchestra. This act flies in the face of all norms that are followed within all professional orchestras around the world. Brazil has become a world leader in business and the arts, and your actions will only diminish Brazil’s reputation not only in the Mercosur, but all over the world, where classical music is played and appreciated. I urge you to reconsider your actions, and avoid blemishing the good name of your orchestra among the great orchestras around the world. Work with your musicians to find a reasonable solution to the problems you face. Sincerely, John Acosta Vice-President American Federation of Musicians Los Angeles, California Professional Musicians Local 47 AFL-CIO Tel 323-993-3173 Fax 323-469-5864
Carta do Secretário Geral Assistente do Sindicato dos Músicos Britânicos (British Musicians’ Union) para o Presidente da FOSB by Antonio J Augusto on Thursday, March 17, 2011 at 7:53pm Sr. Eleazar de Carvalho Presidente da Fundação Orquestra Sinfônica Brasileira. 17 de março de 2011. Caro Senhor, Fomos informados sobre sua intenção em reorganizar a Orquestra Sinfônica Brasileira através de uma audição a que todos os músicos deveriam ser submetidos. Embora o objetivo possa ser o de melhorar a qualidade da orquestra, este processo no nosso ponto de vista é inapropriado e pode, em verdade, se prova contra produtivo. Todas as orquestras mais representativas do mundo possuem uma longa tradição de diálogo social. Este diálogo é crucial tanto para prevenir conflitos, como na resolução de vários problemas que podem acontecer na rotina diária de uma orquestra. Eu quero também lembrar que todos os músicos passaram por uma audição antes de assumirem suas posições na orquestra. Desde então, eles estão atuando sobre os palcos toda a semana, o que também representa uma outra forma de audição. Re-audicionar todos estes músicos será unicamente um desnecessário, um teste extremamente estressante, incapaz dar uma imagem acurada das qualidades e talentos destes músicos. Finalmente, e o mais principal, a personalidade artística de uma orquestra é o resultado de um processo de longo prazo que depende não somente nas qualidades individuais, mas também na profundidade do trabalho realizado diariamente pela orquestra como um todo, assim como nas opções artísticas definidas por seu diretor musical. Eu acredito firmemente que é possível conciliar o seu objetivo de melhorar a qualidade da orquestra com as legítimas expectativas de seus músicos. Para terminar, eu clamo para o seu envolvimento nas discussões com as lideranças dos músicos o mais rápido possível, com a intenção de juntos identificarem a melhor maneira de alcançar o nível de excelência que é igualmente desejado por ambas as partes. Fazendo isto, o senhor maximizará as chances de ser bem sucedido na renovação da orquestra, para o mutual beneficio de todos os envolvidos neste processo, incluindo o público. A comunidade mundial dos músicos não entenderia se estes pedidos continuassem a não ser ouvidos. Sinceramente, Horace Trubridge Assistant General Secretary Carta do Gerente Geral da Orquestra Filarmônica de Belgrado, Tasovac Ivan, ao Presidente da FOSB by Antonio J Augusto on Thursday, March 17, 2011 at 7:26pm Sr. Eleazar de Carvalho Presidente da Fundacao Orquestra Sinfonica Brasileira Av. Rio Branco, 135 sala 915 Centro Rio de Janeiro 20040-006 Caro senhor, Fui informado pela Federação Internacional de Músicos sobre sua decisão de realizar um processo de avaliação de desempenho entre os músicos da Orquestra Sinfônica Brasileira. Embora acreditando na sua intenção e objetivo de melhorar a qualidade artística de sua orquestra, devo expressar minha profunda preocupação com a completa inadequação do procedimento a que os músicos da orquestra estarão sujeitos. Acreditamos firmemente que o diálogo e a conversa construtiva são fundamentais para o trabalho de todas as instituições, especialmente em um campo tão específico como as artes e a cultura. Neste caso particular, uma aberta troca de opiniões com os representantes dos músicos é especialmente importante na prevenção de conflitos e resolver problemas que obviamente a sua orquestra está enfrentando. Gostaria também de acrescentar que em todas as orquestras sinfônicas do mundo, cada músico tem que passar por um teste, a fim de ser aceito como parte do conjunto. Assim, não tenho dúvidas de que isso também aconteceu no caso de todos os músicos da Orquestra Sinfônica Brasileira. Cada um dos seus concertos representa um teste em si, então esta tentativa de re-audição, só pode resultar em estresse e sofrimento desnecessário para os músicos. Eu acredito fortemente que você, sendo um artista mesmo, pode facilmente reconhecer a iniquidade do seu gesto e da injustiça que você faria aos seus colegas, se você tivesse que começar esta decisão. É por isso que eu também confio que você será capaz de conciliar as expectativas legítimas dos músicos e, ao mesmo tempo, aumentar a qualidade de sua orquestra. Como Gerente Geral de uma orquestra, que compartilha muitos de seus problemas, eu estou pedindo que você inicie o diálogo mútuo logo que possível, a fim de tentar encontrar soluções, e a melhor maneira po
ssível para atingir o níve
l necessário de excelência que é, como acredito, o objetivo comum das duas partes. Atenciosamente, Tasovac Ivan, Gerente Geral Orquestra Filarmônica de Belgrado Sérvia
Dear Sir, I was informed through the International Federation of Musicians about your decision to undertake the process of performance evaluation among musicians of the Brazilian Symphony Orchestra. Although I wish to believe in your intention and goal to improve artistic quality of your orchestra, I must express my deepest concerns about inappropriateness of the complete procedure the orchestra musicians are subjected. We strongly believe that mutual dialogue and constructive conversation is crucial for the work of all institutions, especially in such a specific field as arts and culture. In this particular case, open exchange of opinion with the performers’ representatives is especially important in preventing more conflicts and solving problems which your orchestra is obviously facing. I would also like to add that in all symphonic orchestras in the world, every musician must pass the audition in order to be accepted as the part of an ensemble. So, there is no doubt that this also happened in the case of all musicians from the Brazilian Symphony Orchestra. Each of their concert performance presents an audition itself, so every attempt of re-auditioning can only result with unnecessary stress and grief for the musicians. I strongly believe that you, being an artist yourself, can easily recognize the unfairness of your gesture and injustice you would do to your colleagues if you were to commence this decision. That is why I also trust that you will be able to reconcile legitimate anticipations of the performers, and at the same time, increase the quality of your orchestra. As the General Manager of an orchestra, who shares many of your problems, I am urging you to start with mutual conversations as soon as possible, in order to try to find solutions, and the best possible ways to reach the necessary level of excellence which is, as I believe, the goal of which both sides agree upon. Yours sincerely, Ivan Tasovac, General Manager Belgrade Philharmonic Orchestra Serbia
