Dancers at Berlin State Ballet have raised a petition to demand the dismissal of the new management team of Sasha Waltz and Johnannes Öhman. This highly unusual protest has gathered 5,000 signatures in a few hours.
The Staatsballett Berlin is currently Germany’s largest and Berlin’s only classically trained ballet company. Together with its preceding institutions it has a classical tradition of more than a hundred years. Therefore we, the dancers of the Staatsballett Berlin, reject the appointment of Sasha Waltz and Johnannes Öhman as co-directors of the Staatsballett from the 2019/20 season on.
Unfortunately the appointment has to be compared to an appointment of a tennis trainer as a football coach or an art museum director as an orchestral director. This decision by Michael Müller and Tim Renner demonstrates their complete ignorance of the traditions and lines of development of dance and ballet in particular.
Also special mention must be made that such an appointment to be announced publicly three years in advance is not only unheard of in the world of dance but also disruptive and insulting to the company. That this announcement comes in the middle of an election campaign leads us to believe that it is politically motivated rather than artistically, again showing a profound lack of respect for our company, our traditions, our art form, and ouraudience.
For 34 years Paul Wolfe was conductor and artistic director of the Florida West Coast Symphony, in Sarasota.
He was also first violinist of the Sarasota String Quartet and founder-director of the Sarasota Music Festival, retiring in 2006 at the age of 80.
Once the world’s most stylish concert hall, designed in a piano shape, it has now been gutted of anything elegant as part of its transformation into a rock music venue.
In an effort to combat falling subscription numbers – a problem affecting most US orchs – the Cleveland Orchestra ia trying out a Members Club option.
Official release:
Today, The Cleveland Orchestra announced details of a new ticket packaging and loyalty program, called the “Members Club.” This $35 per month membership program is designed to offer convenience and value for patrons who want to experience more Cleveland Orchestra concerts each season and includes access to year-round concerts at both Severance Hall and the Blossom Music Festival. Similar to monthly programs offered by a variety of entertainment companies, the Members Club was created to serve audience members who desire more flexibility than traditional subscription packages. The innovative program, which features a mobile app for convenience and mobile ticketing…
Members can reserve a single ticket for $10 to any concert, at any time, through a mobile app developed specifically for the program. For multiple tickets to a single concert, additional memberships are required. Members can reserve tickets for as many concerts as they would like and receive other benefits including free guest passes and drink tickets. After an initial 2-month commitment, Members can cancel at any time.
Good idea?
The Swedish music service says it has twice as many users signed up as Apple Music, which is good for competition.
But both are lousy for classical consumers.
Irene Breslaw, assistant principal viola, is retiring from the Philharmonic after 40 years.
The following citations will be read by President Obama next Tuesday at the 2015 National Medal of Arts awards:
Mel Brooks for a lifetime of making the world laugh. As a writer, director, actor, and musician, he pioneered the art of musical comedy, and his hilarious, thought-provoking work on film and in theater have earned him the rare distinction of winning Oscar, Emmy, Tony, and Grammy awards. (New York NY)
Sandra Cisneros for enriching the American narrative. Through her novels, short stories, and poetry, she explores issues of race, class, and gender through the lives of ordinary people straddling multiple cultures. As an educator, she has deepened our understanding of American identity. (San Antonio, TX)
Eugene O’Neill Theater Center for its unwavering support of American theater. For over 50 years, the Eugene O’Neill Theater Center has nurtured award-winning playwrights, directors, and actors, enriched the craft of stage production, and delighted audiences with exceptional programs. (Waterford, CT)
Morgan Freeman for his outstanding work as an actor, director, and narrator. His iconic stage and screen performances have brought to life characters from the whole spectrum of the human experience, moving audiences around the world, and influencing countless young artists. (Charleston, MS)
Philip Glass for his groundbreaking contributions to music and composition. One of the most prolific, inventive, and influential artists of our time, he has expanded musical possibility with his operas, symphonies, film scores, and wide-ranging collaborations. (New York, NY)
Berry Gordy for helping to create a trailblazing new sound in American music. As a record producer and songwriter, he helped build Motown, launching the music careers of countless legendary artists. His unique sound helped shape our Nation’s story. (Los Angeles, CA)
Santiago Jiménez, Jr. for expanding the horizon of American music. He has helped spread traditionalconjunto music, blending the sounds and cultures of south Texas and Mexico. His lively melodies performed on the two-button accordion have captivated audiences around the world. (San Antonio, TX)
Moises Kaufman for his powerful contributions to American theater. His work sensitively probes questions of culture and sexuality. His award-winning Tectonic Theater Project continues to move audiences with its bold portrayals of contemporary social issues. (New York, NY)
Ralph Lemon for his contribution to dance and the visual arts. As a self-proclaimed conceptualist, he uses dance as a source of physical communication, and his complex works withstand examination from all angles, revealing intimate truths about human nature and offering broader insights into the American experience. (Brooklyn, NY)
Audra McDonald for lighting up Broadway as one of its brightest stars. An unforgettable performer, she has won six Tony awards. In musicals, concerts, operas, and the recording studio, her rich, soulful voice continues to take her audiences to new heights. (Croton-on-Hudson/New York, NY)
Luis Valdez for bringing Chicano culture to American drama. As a playwright, actor, writer, and director, he illuminates the human spirit in the face of social injustice through award-winning stage, film, and television productions. (San Juan Bautista, CA)
Jack Whitten for remaking the American canvas. As an abstract artist, he uses “casting,” acrylic paints, and compounds to create new surfaces and textures, challenging our perceptions of shape and color. His powerful works of art put the American story in a new light. (New York, NY)
why not?
The German tenor has pulled out of two concerts of Elgar’s Dream of Gerontius in Berlin next week ‘for health reasons’, the Staatsoper has announced.
He is to be replaced by the UK tenor Toby Spence.
The other soloists, on September 19 and 20, are Sarah Connolly and Thomas Hampson.
Barenboim conducts.
A concert in support of the Black Lives Matter movement, which should have been held this week at Feinstein’s/54 Below has been cancelled due to the Israel-Palestine issue.
Here’s what ticket-holders were told by email:
‘The owners and managers of [the venue] strongly believe in and support the general thrust of the goals and objectives of BLM. However, since announcing the benefit they’ve become aware of a recent addition to the BLM platform that accuses Israel of genocide and endorses a range of boycott and sanction actions.
‘Feinstein’s/54 Below would have preferred to hold the concert in support of the #BlackLivesMatter movement, without endorsing or appearing to endorse the entirety of the Black Lives Matter organization and its platform but we’ve found that a distinction impossible for us to effect.
‘As we can’t support these positions, we’ve accordingly decided to cancel the concert.
‘We’re sorry about this unfortunate situation which has not dimmed our commitment to supporting social justice.’
The orchestra of the Vienna State Opera has been holding auditions to replace Dieter Flury as principal flute.
The post was won this morning by Silvia Careddu, principal flute of the Wiener Symphoniker.
Silvia, who is Italian, from Cagliari, will start playing at the opera next September. Aged 39, she played for ten years as solo flute in the Konzerthaus orchestra in Berlin before joining the Vienna Symphony.
She will be elected to full membership of the Vienna Philharmonic in three years’ time, another small step towards gender equality.
Here’s what she can do.
When Carol Webb joined the New York Philharmonic in 1977, she was the first woman to play in its violin section.
Now, 39 years on, she has decided to lay down her bow.
A Juilliard graduate, she appeared as soloist with the orchestra three times and has been active in chamber music around the New York area.
We wish Carol a happy retirement.
Pierre Boulez once told me that Mozart was ‘trivial’ and he would never waste his time conducting such music. At the New York Philharmonic, he added, he persuaded them to substitute Haydn for Mozart. This was in 1985.
Now, a diligent Slipped Disc reader has come up with the facts, which are not quite as Pierre remembered them.
Boulez conducted these works by Mozart with the NY Phil (source: NY Phil digital archives), in all, 33 performances of Mozart:
ADAGIO AND FUGUE, STRING QUARTET, C MIN, K.546 (QUART./STR. ORCH.) (5)
CONCERTO, CLARINET, A MAJOR, K.622 (1)
CONCERTO, FLUTE AND HARP IN C, K.297C (OLD K.299) (1)
CONCERTO, FLUTE NO. 1, G MAJOR, K.285C (OLD K.313) (1)
CONCERTO, HORN NO. 2, E-FLAT MAJOR, K.417 (2)
CONCERTO, PIANO NO. 09, E-FLAT MAJOR, K.271 (JEUNEHOMME) (2)
CONCERTO, PIANO NO. 10, E-FLAT MAJOR, K.316A (OLD K.365) (2 PIANOS) (1)
CONCERTO, PIANO NO. 15, B-FLAT MAJOR, K.450 (1)
CONCERTO, PIANO NO. 19, F MAJOR, K.459 (1)
CONCERTO, PIANO NO. 20, D MINOR, K.466 (1)
CONCERTO, PIANO NO. 24, C MINOR, K.491 (1)
CONCERTO, PIANO NO. 27, B-FLAT MAJOR, K.595 (2)
CONCERTO, VIOLIN NO. 3, G MAJOR, K.216 (2)
CONCERTO, VIOLIN NO. 5, A MAJOR, K.219 (1)
COSÌ FAN TUTTE (OVERTURE), K.588 (1)
MAGIC FLUTE, THE (OVERTURE), K.620 (1)
QUARTET, STRINGS, NO. 23, F MAJOR, K.590 (1)
RONDO, PIANO, D MAJOR, K.382 (1)
SERENADE NO. 9, D MAJOR, K.320, “POSTHORN” (2)
SERENADE NO. 12, C MINOR, K.384A (OLD K.388) (1)
SINFONIA CONCERTANTE, VLN/VLA, E-FLAT MAJOR, K.320D (K.364) (1)
SYMPHONY NO. 36, C MAJOR, K.425, “LINZ” (2)
SYMPHONY NO. 39, E-FLAT MAJOR, K.543 (1)
SYMPHONY NO. 40, G MINOR, K.550 (1)
VORREI SPIEGARVI OH DIO, K.418 (1)
Also, According to the Proms archive, he conducted several Mozart concertos. There is a live recording of the coronation concerto with Clifford Curzon:
He recorded some early Mozart concertos with The Domaine Musicale and Yvonne Loriod who was making a complete cycle.
Finally, who could forget this remarkable performance of Mozart’s Piano Concerto No. 20 with Maria Joao Pires and the Berlin Phil?
