The body of Igor Izvekov, 53, was found five days ago at an apartment on Malomoskovskaya Street, where he lived alone. An investigation is being conducted.
A graduate of the Gnessin Academy, he taught at the 93rd Moscow Children’s Music School and made transpositions for many ensembles.
Although something of a loner, he was widely known and liked among Moscow musicians.
Social and personal:
Krzysztof Chorzelski, violist of the Belcea Quartet, got married yesterday to Luise Buchberger, cellist at the Chamber Orchestra of Europe.
Much happiness to all.
Nadine Sierra, recovering from a bug, has cancelled her two appearances in Don Giovanni at the apparently hapless Chorégies d’Orange.
The US soprano instagrammed this picture ten days ago of her painfully slow recovery.
ForumOpera reports that she has been replaced by the Romanian Christina Pasaroiu.
Our longtime pal Jamie Lee has set up an office suite and intimate performing space inside the premises of the former Ladu Synagogue in the heart of the French Concession.
It’s a charming location, respectfully restored. As you can see, I am one of the first users.
To rent space or book a performance, email jamiele@newbility-intl.com
The next cancellation at the battered Paris Opéra will be Nino Machaidze in Traviata, starting September 9.
The Georgian soprano writes: ‘With my deepest regret I have to let you know that I will not be able to perform my La Traviata performances at the Opéra national de Paris. I have always had problems with my hip and as a result of a radiography done few weeks ago, we saw that I have an inflammation of my right leg nerve and the cartilage of my hip is very consumed. I have already done some physical therapy this month and now I have less pain, but next September I have to do special treatments with injections, to help my hip to feel better in order not to have leg problems as I had in this last period. During the therapy that doctors prescribed me, I need not to produce physical stress to my body and go on with further physical therapy in the same time. For this reason it will not be possible for me to do stage rehearsals for hours in the same day, which is what such demanding role requires, as well as to sing performances with leg pain.
‘I know that all the performances are sold out and I’m very sorry for all my fans and friends who already purchased the thickets for my performances 💖 I was super excited and couldn’t wait for my return to Paris starting rehearsals in August, but as we all know health is most important and in September I have to take care of myself 🤗 Love you all and in the meanwhile, since concerts are not a problem for me, as I don’t have any physical stress while singing, I will be happy to see you in Copenhagen for Tivoli Festival concert on August 3 and then at Salzburg Festival on August 25 and 31 for my Luisa Miller.’
In any chart of cancellations by major artists, Paris somehow always comes top.
Michael Haefliger, director of the Lucerne Festival, has given an eye-opening interview to Christian Berzins of NZZaS in which he accepts that Verbier is under the control of Russian oligarchs whose money buys influence over programming and the choice of artists.
NZZaS: Es gibt aber durchaus Festivals in der Schweiz, wo Geldgeber gewisse Stars wünschen, viel Geld bezahlen – und dann probiert man alles, um sie zu kriegen.
HAEFLIGER: Das ist bei uns am Lucerne Festival eindeutig nicht der Fall.
NZZaS: Beim Verbier Festival ist die Neva-Stiftung, die explizit russische Kultur fördert, ein grosser Geldgeber: Nun ist dort mit Valery Gergiev ein russischer Chefdirigent im Amt und auch sonst treten viele russische Künstler auf. Das «Zaubersee»-Festival des Luzerner Sinfonieorchesters bringt russische Musik nach Luzern, ein Hauptsponsor ist Viktor Vekselberg. Da wie dort: russische Musik durch Geld. Das ist Macht.
Haefliger is asked about the economics of maestro magenement: if you pay a conductor 40,000 Swiss francs ($40,700) per concert, each seat will have to be charged at $200-300.
Aber bezüglich der Top-Gagen ist es doch wie einst. Wenn man einem Dirigenten 40 000 Franken pro Abend bezahlt, ist es auch logisch, dass eine Konzertkarte 200 bis 300 Franken kosten muss.
Haefliger replies: Zumindest in der Schweiz leben wir in einer Marktwirtschaft. Wenn Dirigenten eine tolle Leistung bringen, habe ich mit den Gagen kein Problem. Wenn sie eine schlechte Leistung bringen und noch dazu eine Arroganz vorlegen, dann passt es nicht in unsere Zeit, dann muss man jemanden auch nicht mehr einladen. Für hohe Konzertkosten sorgen jedoch vor allem die Orchester.
At least in Switzerland, we live in a market economy. If conductors bring a great performance, I have no problem with the fees. If they perform poorly and add an arrogance to it, then it does not fit into our time, and we don’t have to invite them. For high concert costs, however, the orchestras are primarily responsible.
Full interview here.
The Austrian conductor Roberto Paternostro has announced on his website that, from September 2019, he will become music director of the Orquesta Filarmónica de Bogotá in Colombia. He adds: ‘The OFB was founded in 1967 and is one of South America’s leading orchestras’.
Staff at the OFB just woke up and smelled the coffee. They have told Slipped Disc that Mr Paternostro is not scheduled to conduct the orchestra in the coming season.
Some mistake, surely?
UPDATE: Two hours after this post appeared, the announcement was taken down from Paternostro’s site.
Günter Pichler, first violinist of the Alban Berg Quartett for 38 years, talks to Anthea Kreston about his tough beginnings, working as concertmaster for Karajan. Most of it is in German but he has a flash of insight in English about the brilliant LaSalle Quartet.
Among other things he says that, in his time, there were only three or four top-class quartets. Now that are three times as many.
Listen here.
