Saxophone Robbery Update. The police have identified one of the culprits as Ady Magher of Calarasi, Romania. He flew into London the weekend of the robbery and was offering the stolen saxophones for sale within one day of them being stolen. Naturally Sussex police would like to talk to him and have passed his details to Europol and the Romanian Police. Ady Magher is a professional musician in Romania who goes under the Facebook name Printul Din Dubaii and we find it hard to understand how a fellow musician can be part of this despicable criminal activity. Be aware that these once beautiful saxophones will now be badly damaged as they were callously thrown on top of each other during the robbery. Please share, especially in Romania and if anyone has information regarding Ady Magher and this crime please contact 101@sussex.pnn.police.uk reference crime number 47190116105
Important! Update cu privire la furtul de saxofoane:
Politia a identificat unul dintre hoti ca fiind ADY MAGHER (@printul din dubaii) din Calarasi, Romania.
Acesta a ajuns in Londra cu dar o zi inaintea jafului si a pus apoi la vanzare saxofoanele ziua urmatoare.
Politia din Sussex a transmis datele acestuia Europol-ului si Politie Romane.
Ady Magher este un muzicant din Romania, pe facebook sub numele de Printul din Dubaii iar asta face si mai greu pentru noi sa intelegem cum un asa numit “artist” poate fi implicat in asemenea oribila infractiune.
Pentru cei interesati sa cumpere acele instrumente furate, fiti precauti doarece saxofoanele au ajuns in Romania intr-o conditie precara, lovite si descentrate.
Dorim suport, share acestui post mai ales in Romania!
Oricine detine informatii despre ADY MAGHER si aceasta jaf, va rugam contactati 101@sussex.pnn.police.uk – numarul dosarului fiind: 47190116105.
We’re delighted to report that Bramwell Tovey, diagnosed last month with a rare cancer, has been told it it less severe than previously supposed and he can return to work sooner.
As a result, Bramwell will conduct the LA Phil at the Hollywood Bowl this weekend and the BBC Concert Orchestra at the Proms at the end of the month.
He has six months of treatment still to go, but getting the all-clear for these two concerts has put a spring in his step and a gleam in his eye.
So pleased for him.
English National Opera’s Stuart Murphy has written his silliest article yet, in London’s unread freesheet.
Among other things:
As my teenagers sat glued to the final of Love Island last week, it struck me how often it (sic) echoes (sic) the drama we see on stage at English National Opera…
This week we start the formal search for our new artistic director and will be after (sic) someone who clocks (sic) how outward-facing opera, and ENO, needs to be. Someone who watches Sky Arts and BBC4 and knows theatre, opera and dance? Sure. But also watch or are aware of the pull of I’m A Celebrity… and the Marvel films.
The faltering ex-head of Boston’s New England Conservatory has been named Interim Dean of the School of Music at the University of North Carolina School of the Arts.
Woodcock, who managed the Liverpool and Bournemouth orchestras in England, went on to head the Oregon Symphony and the Minnesota Orchestra, leaving the latter when it was heading for the rocks. His term at NEA, ending in 2015, was marred by personal conflicts. He then announced a return to the UK, where no jobs awaited.
The Chinese tech company Tencent is finalising a deal for one tenth of Vivendi-owned Universal, valuing the company at $33.6 billion.
There would be an option to buy a further 10 percent slice a year from now.
UMG chairman Sir Lucian Grainge has called the imminent deal ‘an exciting development’
The new chief condcutor has picked the German soprano Marlis Petersen, with whom he has worked many times before in Munich.
She has only sung once before with the Berlin Philharmonic.
Marlis says: ‘The residency with the Berliner Philharmoniker is a great honour for me. At the same time it is a musical thank you from Kirill Petrenko for our previous work together. I’m very touched by that.’
Kirill says: nothing. We’ll have to get used to that.
Dalia Stasevska, the BBC Symphony’s new principal guest conductor, made a nervous debut last night at the BBC Proms.
She was not helped by wearing a kimono-type garment with a peacock design and flapping sleeves. It deflected attention from what should have been the musician’s main focus – her hands. Stasevska, 34, uses a long baton with textbook motions. Her left hand, so far as I could see past the sleeve, was curiously unexpressive, the fingers static and together.
A Finn of Ukrainian origin, she gave a fidgety account of the Sibelius Karelia suite, not much light and shade and very little to draw the ear off the beaten path. The London premiere of Mieczyslaw Weinberg’s 1956 cello concerto (and Weinberg’s first hearing at the Proms) went much better, thanks to the soloist Sol Gabetta, who has toured the work across Germany to great acclaim. Rippled with Jewish themes and klezmer evocations, embedded with ideas that the composer’s friend Shostakovich borrowed for his own concerto four years later, the half-hour work has so much going on between the lines that I kept wanting to press the pause button for instant replay.
Gabetta, in a show-stealing backless dress, kept the eye off Stasevska, who seemed less laboured by now, more comfortable with the idiom and evidently more connected to the players, though the concertmaster Igor Yuzefovich looked lost in a world all his own.
Which left, after the interval, Tchaikovsky’s Pathétique Symphony, a challenge for any young conductor bearing in mind the interpretative legacy that listeners bring to any new performance – Mravinsky, Furtwängler, Karajan, Kubelik, Solti, Abbado, Muti, Tennstedt, Masur, to mention just my own milestones.
The symphony started well, the tempi taut and credible, and it got to be so confident that Stasevska was able to stand back in the second movement and lower the baton, letting the orchestra play on auto-pilot, always a good sign in a new conductor. The allegro third movement was almost joyous – if such as word is not out of place in the Pathétique – and, if the finale lacked ultimate pathos, the narrative direction was never less than lucid. It was a good performance, redeeming in many ways. This conductor will have better nights.
Player of the night: The BBC’s principal bassoon Amy Harman.
And here’s an earlier performance of the Weinberg, conducted by Stasevska’s teachedr, Mikko Franck:
Michael Tilson Thomas has a vision:
Among the guest artists are violists Roberto Díaz, Kim Kashkashian, Matthew Lipman, Cynthia Phelps, Nadia Sirota, Jonathan Vinocour, and Tabea Zimmermann.
After a protracted legal battle costing an estimated million bucks either side, the former music director and the Metropolitan Opera house last night agreed a settlement over his suspension for sexual misconduct in December 2017 and his subsequent dismissal in March 2018.
Neither side is saying another word (here’s an earlier one).
No other outcome was ever on the cards.
It’s over.
The Shanghai Isaac Stern International Violin Competition has announced its 2020 lineup and – guess what? – the influential Zakhar Bron has been omitted from its judging panel.
The jury will be co-chaired by Isaac’s son David Stern and Professor Vera Tsu Weiling, with the judges including former agent Martin Campbell-White; exNY Phil concertmaster Glenn Dicterow; Emmanuel Hondré of the Philhrmonie de Paris; Shanghai Quartet violinist Weigang Li; violinist Ning Feng; Emerson Quartet violinist Philip Setzer; violinists Maxim Vengerov, Hagai Shaham, Joel Smirnoff, Kyoko Takezawa; and cellist Jian Wang.
