The film, television and stage composer Howard Goodall has issued an extensive forensic examination of the economic prospects for British music and society after Brexit. It does not make comfortable reading.

Two samples:

Music is not a subsidiary, luxury, minor industry for the UK. We are the second biggest provider of music to the world after the USA. Music is of enormous benefit to us as a country. That is a fact, not an opinion. Nor is it special pleading. For a modern, developed country to deliberately, wilfully strangle one of its lead exporters is bordering on insane. Indeed, the Creative Industries as a whole are the fastest-growing sector in our economy, worth last year just under £100bn to our national coffers (to put that in context, in 2016 the NHS cost us £115bn). The Creative Industries Federation are deeply concerned about the knock-on effects of Brexit on this sector and have published their concerns …

 

Even if the economic arguments for this folly were sound, the depravity of the ‘hostile environment’ it has brought in its wake, the race-hate, the bullying, the targeted governmental callousness and breath-taking ministerial arrogance would be enough to render it an experiment bound to fail on a social level alone. A stench of recrimination and intimidation has begun to seep from the pronouncements of Brexit spokespeople in recent months, from John Redwood MP’s threat to ‘punish’ businesses for speaking out against the dangers of Brexit to James Cleverly MP’s tweeted comparison of (brilliant) satirical comedy writer David Schneider to his dog, for daring to question the economic case for Brexit. Elected politicians who stoop to threats and insults demean their office and public discourse in general. Is this the Britain we should expect after Brexit?

Read on here

 

The Staatstoper has issued a Twitter explanation for sacking the French star Julie Fuchs:

The Hamburg State Opera regrets that we are not allowed to fill the soprano Julie Fuchs in the role of Pamina in the Hamburg production of the „Magic Flute“. After a thorough examination, it is not possible to change the staging so that there is no danger for the expectant mother and at the same time the core of the production of Jette Steckel remains. There are a variety of physically demanding scenes in this production, including several flight scenes, which are prohibited in principle for pregnant women. The legal situation for the protection of the expectant mother is clear and we will never take a health risk, even if only a risky scenic action could take place on the stage,”

(signed) Tillmann Wiegand, Director of Artistic Management at Hamburg State Opera*.

Just a matter of health and safety? Here are some online reactions:

Speranza Scappucci, conductor: Absurd and unacceptable.

Julia Bullock, soprano: Unless the production would be dangerous for her unborn baby, because of stage direction (like floating around in a harness for hours during ariel work) I cannot IMAGINE why or on what grounds a company has for withdrawing a pregnant woman from an opera. Again, without all the facts I won’t say defaming things, but the decision to perform or not should be one of the soon to be mother!

Michal Bet-Halachmi, clarinet: Isn’t there a law against this?

Brent Calis, photographer: What year is this?

Basia Jaworski, critic: If it’s so dangerous, sack the director, not the singer.

Denis Comtet, conductor: It is unacceptable and scandalous, but it is quite characteristic of contemporary western society on the mother and the unborn child…

Marina Comparato, mezzo-soprano: Una nostra collega (e che collega!) discriminata in quanto incinta di 4 mesi! Vergogna!…

* Original German text:

Wir bedauern sehr, dass sie die Sopranistin Julie Fuchs in der Partie der Pamina in der Hamburger Inszenierung der „Zauberflöte“ nicht besetzen darf. Es ist nach eingehender Prüfung nicht möglich, die Inszenierung so zu ändern, dass keinerlei Gefahr für die werdende Mutter besteht und gleichzeitig der Kern der Inszenierung von Jette Steckel bestehen bleibt. Es gibt in dieser Inszenierung eine Vielzahl von körperlich sehr fordernden Szenen, darunter mehrere Flugszenen, die für schwangere Frauen prinzipiell verboten sind. „Die Rechtslage zum Schutz der werdenden Mutter ist eindeutig und wir gehen in keinem Fall ein gesundheitsgefährdendes Risiko ein, wenn auch nur im Ansatz riskante szenische Aktionen auf der Bühne stattfinden könnten.“, Tillmann Wiegand, Betriebsdirektor

Diana Adamyan of Armenia won the Menuhin competition in Geneva tonight.

Nathan Mierdl, 20, of France, came second.

Hyunjae Lim, 20, of South Korea was third.

Diana performed Bruch’s Violin Concerto No.1 in G minor.

 

The conductor Christian Thielemann and his Staatskapelle Dresden have returned their ECHO awards over the latest prize which went to a pair of rappers with an Auschwitz joke.

A statement said: ‘A prize that puts sales above everything, and in a live performance on Holocaust Remembrance Day makes a mockery of the victims of the Third Reich, is a symbol of a form of cynicism which we do not stand for.’

Mariss Jansons and the Bavarian Radio have also returned their Echo award.

Fabio Luisi was the first conductor to do so.

Bertelsmann Music Group (BMG) have suspended their record deal with the offending rappers Farid Bang and Kollegah.

 

Message from Julie Fuchs:

 

 

Today, I have an unexpected announcement to make: The Staatsoper Hamburg has unfortunately informed me just this week that the artistic integrity of the Jette Steckel production of ‘Die Zauberflöte’ cannot be maintained if the soprano singing Pamina is four months pregnant.

As you can imagine, I am very disappointed as I am feeling vocally and physically in top form. I am fully committed to fulfilling my contracts as planned and previously announced. I was very much looking forward to making my debut in this role, and singing for all of you in Hamburg. My apologies to those of you who already booked tickets. Whilst I respect the artistic vision of the theatre, I am saddened that we were not able to find a solution to accommodate this slight physical difference which does not negatively affect my vocal or artistic performance. It was my strong desire to find small production changes to make my appearance possible. As is the case with most women, in this second trimester of my pregnancy, I am happy to report that I am feeling full of energy and my good health has been confirmed by my doctors. I look forward to returning to the stage in June to sing Poppea at the Opernhaus Zürich.

Artistic integrity used to mean relevant and true to life. What does it mean in Hamburg?

UPDATE: An equivocal response from Staatsoper Hamburg.

A report on the rise of women conductors in French-speaking Canada.

Watch here.

Things happen.

I needed to reference the Serenade opus 24 and found myself listening to it over and over again, bewitched by its otherworldly beauty.

The Serenade is the work in which Schoenberg introduced his twelve-note system. It is therefore the work most hated by anti-modernists.

So it was not a good moment for someone to send me Roger Scruton’s latest essay on why Schoenberg was completely wrong. almost criminally so. Scruton dismisses Schoenbergian post-tonality as ‘an arbitrary intrusion of abstract thought into a realm of empirical knowledge…’ and so on. The flaw in Scruton’s argument is that he cannot hear the beauties I hear.

There’s nothing really to discuss.

I am sad for him but not so angry as he is with the likes of me.

Read his essay here.

 

It’s in Bavaria this week.

Some 13 groups have applied to take part.

Who knew competitions could be such fun?

Look here.

 

The former head of London’s Royal Opera has been named director of the Royal Danish Opera in Copenhagen, a job he first held when he was 27.

The position has been a game of musical chairs in recent years and the theatre is badly demoralised.

Go, Kasper.

UPDATE: Danish friends point out that Kasper was previously just artistic director. He is now in charge of the whole theatre.

UPDATE2: Kasper has clarified:

It was announced today that from 1 Sept I will be the next CEO of the Det Kongelige Teater (Royal Danish Theatre) – the national home for drama, ballet, opera and symphonic music in Denmark. It feels amazing, and it feels like coming home, but in a very different role from when I was Director of Opera here 2000-2011. It is a major life decision for me to focus in the future less on the exciting, but fleeting life as a freelance stage director – and focus instead on the overall responsibility for this important institution, its many wonderful employees and being an advocate in general for the performing arts in Denmark and beyond. It is difficult times in many ways. But we need to embrace change and reflect on what the future of RDT looks like, so we can be a generous, involving and courageous theatre that is relevant for as many people as possible in all of Denmark. I firmly believe that in a time where we increasingly consume cultural products alone, on demand, in short formats and on screens or in our headphones, there will be a bigger need than ever before for coming together with other people to experience live, unplugged artistic experiences that matter and change our lives! The only place we have an excuse to turn off our mobile phones is the theatre and concert hall! This job will something of a challenge, but I cant wait to get started!

 

Prima ballerina Olga Smirnova and soloist Jacopo Tissi have been refused visas to perform at Lincoln Center.

More here.

 

The veteran director Peter Konwitschny has given his account of being fired this week by Gothenburg Opera from his production of Boris Godunov. He asked for the statement – to Swedish radio P4 Gothenburg – to be published in full. Here it is:

Beim proben der applausordnung störte ein musiker. als ich ihm sagte, daß wir ruhe brauchen, setzte er sein lärmen fort. daraufhin wurde ich laut. die probe wurde fortgesetzt. am nächsten mittag erschienen drei herren der oper, darunter der intendant, in meiner wohnung und teilten mir mit, daß ich das theater nicht mehr betreten dürfe, weil ich die gute schwedische arbeitsatmosphäre verletzt hätte. meine argumente wurden nicht gehört, die herren hatten ihr urteil bereits gefällt, bevor sie zu mir kamen. das ganze hat mich an die inquisition erinnert, wo das opfer auch keine chance hatte. der intendant betonte mehrfach, daß er meine inszenierung großartig findet, aber er könne nichts gegen die union ausrichten. auch ich bedauere den kuriosen zwischenfall und hoffe, meine arbeit mit stephen langridge fortzusetzen, aber nicht in göteborg, solange dort unfaire gewerkschafter das sagen haben.

And here’s our translation:

While rehearsing the order of applause, a musician made a disturbance. When I told him that we needed quiet, he continued his noise. At that point, I became loud. The rehearsal continued. The next afternoon, three gentlemen of the opera, including the Intendant, appeared in my apartment and informed me that I was not allowed to enter the theatre because I had violated the good Swedish working atmosphere. My arguments were not heard. The gentlemen had already made their decision before they came to me. The whole thing reminded me of the Inquisition, where the victim has no chance. the Intendant repeatedly stressed that he finds my staging great, but he cannot do anything against the union. I, too, regret the curious incident and hope to continue my work with Stephen Langridge, but not in Gothenburg so long as unfair trade unionists have their say.

Chris Brown, professor of music at the University of Minnesota and one of the whistle-blowers on James Levine, has been talking to the New York Post.

He says: ‘Because the movement happened to get its start with women only, in a way it furthers my loneliness as a past victim… Men are historically considered the bad guys. If some men abuse women, then we all are abusers ourselves … so therefore when it comes to our being abused, we deserve it.’

Brown is a former principal doublebass with the St Paul Chamber Orchestra.

Read on here.