It ended quickly in tears when the late New York City Opera appointed Gerard Mortier as its director. But this is different.

Park Avenue Armory, Manhattan’s edgy, ex-military art space, has named Pierre Audi, director of Dutch National Opera, as its next artistic director. He will shuttle between the two jobs, taking on Park Avenue to fill the gap in his life left by stepping down from running the Holland Festival.

This is a seriously cool move on both sides. Pierre, 57, Lebanese-born and multicultural, has been wired in to live contemporary art ever since he launched the Almeida theatre in London, back in 1979. His artistic taste and commercial nous are evenly balanced. He has put Holland, firmly and for the first time, on the opera map.

Park Avenue has hired an operatic mover and shaker, right on the Met’s doorstep.

photo: Erwin Olaf

In a shrewd and affectionate TLS review of the second edition of the Grove Dictionary of American Music, the composer Stephen Brown makes a telling observation about the ephemerality of classical reputations.

He writes: ‘It is curious that mid-century modern is now such a sought-after furniture style, while mid-century modern music is rarely heard in appropriately furnished living rooms.’

He continues: ‘Of which American composers can we say that “much of their music has continued to be performed” a generation after their deaths? Roger Sessions? Vincent Persichetti? Walter Piston? Roy Harris?’

One could say the same of mid-century Europeans: Martinu, Frank Martin, Hartmann, Malcolm Arnold, Maderna.

Now why is that?

Not much news these days in Wales, so the BBC has launched a plebiscite to vote for the nation’s greatest voice.

Assuming this unassuming chap is not elected by acclamation,

we urge discerning readers to vote for

 or 

for fear that

 or 

might sweep the board.

Voting is not confined to Welshmen and women. Make your voice heard. Vote here.