March 20, 2016 - Slippedisc

Back in Baltimore, where he’s music director emeritus, the Russian maestro reaffirms some olde-worlde attitudes in an interview with Tim Smith:

TS: A few years ago, you were quoted as saying that you did not believe women should conduct. That caused controversy and led to some protests. Just for the record, what is your view about women on the podium?

YT: Yes, women can be conductors. I am not against them conducting. But I simply don’t like it. There are women boxing and weightlifting; they can do that. But I don’t like watching. It is only my taste. We all have different tastes. For example, I don’t eat fish.

Full interview here. Make some allowance for dry Russian humour and perversity.

Baltimore’s present music director is Marin Alsop.

Help is at hand for women conductors here.

From Greg Falkenstein:

Dear Friends,
My life was shattered on Friday night when my car was broken into and I returned to it to find that my viola and my bow had been stolen. There are no words to describe how devastating this is: the instrument has been my companion for nearly 20 years, and many of you know how intensely connected I have felt to it.
Already there has been an outpouring of love, sympathy, support, and generosity from my amazing colleagues at the Miami City Ballet Orchestra, particularly the viola section, and from the south Florida greater community of players. I am so grateful to all of you.
I NEED YOUR HELP, friends, particularly from those of you in Florida. I ask with humility but also with urgency for any who are willing to do the following:

1. Southeast coasters: If there is a pawn shop in your neighborhood, please take two minutes to stop in and inquire. Please do the same with any brick-and-mortar music shops that may be located near you.

2. All Floridians: please tell all musicians you know about the missing instrument and bow, especially any who regularly or even occasionally deal in stringed instruments. And as it has been difficult for me to find a comprehensive and reliable listing of in-state luthiers, if there is a luthier or bow dealer in your town, please message me because I may not even know of its existence. I need to notify every single one of them.

3. Also for Floridians: I will be checking south Florida Craigslist postings regularly, but for those of you in other Florida metro areas: I would be so grateful if some of you might do the same in your metro areas, with respect to any local e-commerce sites. Also, as many of you know, when it comes to technology, I’m often the last to get on the bus:so, other than Craigslist, Mark’s List, and Offer Up, are there other commonly-used websites/apps for the purpose of selling things locally? If so, message me so that I can become aware of them!!!

4. All music friends, regardless of location: please let your local instrument dealers know of the stolen viola and bow.
5. If any of you have suggestions for other affirmative steps that I might take–things that I do not seem to have thought of based on this post–please message me. I will take all advice with great gratitude.

Here is some detail of the instrument and bow:

1. JOSEPH CURTIN VIOLA: 16 9/16″, two-piece back, Guarneri copy, black pegs with metal pin, black chinrest, black tailpiece. LABEL affixed inside: “Joseph Curtin, Toronto 1982” and the serial number 8232. Another distinguishing feature is some damage at the top seam on the right waist (the cutaway between the bouts) which occurred many years ago when I went through a phase in which I was catching the wood with the edge of my frog…no smarta** comments pls LOL it was a long time ago.

2. VIOLA BOW made by Ole KANESTROM. 72 grams. The frog has sharply-squared edges and a mother-of-pearl eye. The stick has “KANESTROM” stamped into it near the frog…I believe over the frog. It is an outstanding bow and it is evidently so upon first glance.

3. These two things were contained inside a BLACK CLOTH GEWA VIOLA CASE, DART- or OBLONG-SHAPED. The case needed to be replaced and is missing one of the four snaps that affix the protective cloth flap over the zipper.
I wish that I had more and better photos of the instrument and bow (let this be a lesson to all of you…just sayin’). I may continue to add photos if I find them. But I include now what I’ve been able to locate, through the fog in my head.

Please share this post with all musicians that you are connected with, my dear friends. My heart is broken and I am barely able to function. All the same, I must do everything I can to bring my beloved viola and my bow back to me. I ask you all for your help in making it happen. (Positive vibes/prayers/any form of good energy–these are also welcome and appreciated!)

My sincere thanks to you all.

Diana Damrau has spoken about the forthcoming production, which has already prompted the ROH to warn ticket-holders of excesses of sex and violence.

The German soprano, 44, tells the Observer: ‘I would say, don’t send (children) to see Lucia because it is very realistic and it is going to be violent: more than in normal Lucias. And this is not something a younger audience should see. An older audience can take it – they are not in danger – but they will see something very strong.’

The instrument theft we reported on Friday turns out to be a viola.

It had been checked in to the cloakroom and was gone when the owned tried to recover it.

Report here.

No outsider understands what’s going on at present in Brazil.

It is reported in Sao Paolo that the former arts centre director general, José Luiz Herencia, under investigation for money laundering and price fixing, has cited music director John Neschling in his defence submission.

There is no independent testimony to support his allegation.

However, in the swirl of Brazilian political scandals, innocent people are being falsely accused. That is a symptom of the present crisis.

There is no reason to suspect any artist of wrongdoing.

UPDATE: A theatre insider tells Slipped Disc that Neschling blew the whistle on a corrupt official, kicking off the present investigation.

The first production of Peter Ruzicka’s new administration at the Easter Festival was strictly makeshift.

Jose Cura stepped in for the intended Johan Botha in the title role and Carlos Alvarez for the indisposed Dmitri Hvorostovsky as Iago. Dorothea Röschmann was Desdemona and the costumes were by Lacroix. Thielemann conducted. The audience was subdued.

See Nachrichten headline here.