‘Let’s cancel the visas of all of the fly-in-fly-out conductors of our orchestras for five years and see what happens, says Ralph Myers, artistic director of Sydney’s Belvoir Street Theatre in a keynote lecture.
The email arrived this morning from a well-known contemporary music foundation. We’ll delete its identity out of pity, probably undeserved.
Dear Norman, as you may know, (X, our chairman) is incredibly busy at the moment. He’s therefore passed on your email address and asked that I write to you on his behalf – in this special 25th anniversary year – in the hope that you will choose to support (our) most ambitious project to date.
You’ll no doubt appreciate that … needs to develop and grow in our very fast-moving world and where better to do this than at the … – a treasure trove of inspiration and an international destination for exploring discovery and achievement. As part of our anniversary celebrations … has teamed up with … to create Objects at an Exhibition. Objects is all about new audiences for new music.
Objects takes place next Autumn and we already have a large portion of funding in place towards our £148,000 project costs but we need to raise at least £10,000 in online donations next week …
We replied: ‘If your chairman’s too busy to write, we’re too busy to give.’
Where do they train these people?
Renée Fleming, coming up shortly on the televised broadcast of the Macy’s Thanksgiving Parade.
Rub your eyes now.
There’s a Royal Commission looking into a culture of abuse at a boy’s school in Hobart, Tasmania, music of it by the headmaster and music teacher. When one of the victims made a statement to police in the 1970s, the two suspects caught flights out of the country – one to South Africa, the other back to England. There is every possibility that they continued to abuse children in their next locations.
You can read the full story here.
What is encouraging is that the school has now made a full apology to the victims and is co-operating in every way with the Royal Commission. Something that has not occurred in certain English music schools where similar perversions have been brought to light.
In my latest essay for Standpoint magazine (out today), I examine the troubled genesis of an opera that has generated far more heat than light. Setting aside the political issues, there are ethical considerations that have barely been discussed.
For example:
Klinghoffer’s daughters have a case: the makers of this opera had no right to take the name of an innocent victim. Doing so showed lack of respect — worse, a lack of sympathy.
Read the full essay here.
Sad to learn of the death of Paul Vaughan, first presenter of Radio 4’s arts programme Kaleidscope (now Front Row) and the unseen voiceover of television science programme, Horizon.
A renaissance man rare among BBC lifers, Paul could present and interview anything and anyone in no time flat. As a first-time author many years ago, he made me feel totally at ease in his austere studio. Lovely man. Knew his music. Lived a good long life, died at 89.
Rebecca Allen, whose charity marathon run we promoted on Slipped Disc, has been named managing director of Decca Records, promoted this morning from general manager. She moves into the seat vacated by Dickon Stainer.
Becky, when she’s not running, wears killer heels. More than one self-designated ‘opera singer’ has felt their kick at the negotiating table.
Go, Becks.
Press release:
London, November 27th 2014: Universal Music UK chairman and ceo David Joseph has appointed Rebecca Allen as Managing Director of the UK’s most successful classical label, Decca Records.
Allen has stepped up to her new role after 15 years at Universal Music, in which time she has held posts as Decca’s Director of Media and, most recently, General Manager.
Allen now reports jointly to David Joseph and Dickon Stainer who is continuing as President of Decca Records Group in the UK alongside his recent promotion to President and CEO of Global Classics for Universal Music.
David Joseph says: “Becky’s extraordinary dynamism and creativity has played a big part in Decca’s success. As MD I know she will ensure Decca continues as the undisputed leader in its many musical fields.”
Dickon Stainer says: “Becky is an exceptionally skilled and versatile executive. Her outstanding drive and personality have taken Decca into new areas of repertoire globally, and this well-deserved promotion heralds a new and ground-breaking era for the label.”
Rebecca Allen says: “To be given the role of Managing Director for a label of such historical importance as Decca is a huge privilege for me. We have a young and brilliantly talented team at the label and with their energy and ambition for our artists I feel confident about leading the company forward.”
After studying at the Trinity College of Music in London, Allen started her career at the BBC where she worked with the BBC Symphony Orchestra and later the BBC Proms. She joined Universal Classics & Jazz in 1999 and remained with the label after it was re-named Decca Records UK in 2009, working closely with artists including The Lumineers, Rod Stewart, Jamie Cullum, Robert Plant, Alison Krauss, Andrea Bocelli, Gregory Porter and Alfie Boe. Allen was promoted to General Manager of the label in 2012.
Under its banner as “the home of diverse music”, Decca Records has been the number one classical record label in the UK for well over a decade, operating alongside its international sister label Decca Classics which is run by Managing Director Paul Moseley.
Neil Steinberg is four-times-a-week columnist for the Chicago Sun-Times. He’s been on the job for 18 years and has got the hang of it by now. His byline has made it into headlines.
So the Sun-Times splash Steinberg: Opera is fini if the fat lady keeps singing is not altogether out of character.
It tops a fairly bland interview with a soprano, Adina Aaron, who’s singing Bess at the Lyric.
But there’s one paragraph of Steinberg’s that is so wrong on so many levels that we had to bring it to your attention for discussion. Prepare the sickbags now.
As an opera goer, while I certainly appreciate a well-formed star and so understand Aaron’s point, my focus is on the music and the staging. I don’t consider the cast’s bulk when deciding what operas to attend.
Oh, ffff’s sake. Discuss.
A Viking in glasses, now that’ll scare ’em.
Press release:
HarrisonParrott is delighted to welcome Icelandic pianist Víkingur Ólafsson to its roster for worldwide general management.
Described by The New York Times as a “splendid pianist” and by Piano News as an “immense talent”, Víkingur is already a star in Iceland having won all the major prizes in his native country, including Musician of the Year three times at the Icelandic Music Awards.