Lusine Shirinyan, an official of the Foreign Ministry in Yerevan, has circulated a statement by Agence Massis Opéra, disputing the denials by SemperOpernball that it fired the Armenian soprano Ruzan Mantashyan at Yusif Eyvazov’s request.

Ms Shirinyan who works in the USA and Canada Division at the Ministry of Foreign Affairs in Yerevan, had previously accused Eyvazov of ‘Armenophobia’: On the day of the 30th anniversary of the Armenian massacre in Baku Azerbaijani opera singer Yusif Eyvazov announces he refuses to perform on stage with Armenian soprano Ruzan Mantashyan at Dresden Opera Ball citing her nationality. What is this if not Armenophobia? Ruzan, you are the best! I am proud to have known you since childhood. This outrageous incident should be condemned and the festival boycotted.

Here’s the statement by Agence Massis Opera:

To confirm the facts and put an end to this bitter controversy

In response to the press release from Semper Opernball and the rebuttals from Mr. Yusif Eyvazov :
The “misunderstanding,” which is alluded to in the press release, would like to attribute responsibility for this “conflict” to Agence Massis Opéra.
In reality, it would seem instead to relate to the relations between the various collaborators of this Association, directed by Dr. Hans-Joachim Frey.

Indeed, after a first written contact in September 2019 asking us for the availability of Miss Mantashyan for the date of the concert, the written exchanges continued, without any particular problem, to deal with the various usual elements of a negotiation – contact details, program, financial conditions, visa application, etc
After about 15 email-exchanges, the file seemed complete.
So there was a willingness on the part of the Semper Opernball to hire Ruzan Mantashyan for the concert on February 7.

On January 10, 2020, we received a last written message announcing the cancellation of Ruzan Mantashyan’s participation, because Mr. Yusif Eyvazov did not wish to perform with her for the reasons mentioned in our first press release.
This may have created a very uneasy situation for the organizers, but we have no form of responsibility in the evolution of this situation, which is penalizing for our artist. We do not doubt the SemperOpernball’s respectability and its general openness towards artists of all nations and cultures.

Ruzan Mantashyan herself has circulated the statement in French:

“En réponse au communiqué du Semper Opernball et des réfutations de M. Yusif Eyvazov.
•••
Pour confirmer une réalité et mettre fin à cette triste polémique :
Le « malentendu », auquel il est fait allusion dans le communiqué, voudrait attribuer la responsabilité de ce « conflit » à l’Agence Massis Opéra.
En réalité, cela semblerait plutôt concerner les relations entre les différents collaborateurs de cette Association, dirigée par M. Hans-Joachim Frey.
En effet, après un premier contact – écrit – en septembre 2019 nous demandant la disponibilité de Madame Mantashyan pour la date du concert, les échanges – écrits – se sont poursuivis, sans problème particulier, pour traiter les différents éléments usuels d’une négociation – coordonnées, programme, conditions financières, demande de visa etc…
Cela représente une quinzaine de mails aller-retour à l’issue desquels le dossier a été complet.
Il y a donc bien eu volonté, de la part du Semper Opernball, d’engager Madame Mantashyan pour le concert du 7 février prochain.
Le 10 janvier 2020, nous avons reçu un dernier message – écrit – nous annonçant l’annulation de la participation de Ruzan Mantashyan, au motif que M. Yusif Eyvazov ne souhaitait pas se produire avec elle pour les raisons évoquées dans notre premier communiqué
Cela a peut-être créé une situation embarrassante pour les organisateurs, mais nous n’avons aucune forme de responsabilité dans l’évolution de cette situation, négative et pénalisante pour notre artiste.
Nous n’avons aucun doute sur la position du Semper Opernball concernant l’universalité de ses objectifs.

Guy Deplus, who died today, taught most of the leading clarinet players in France and many beyond.

He founded the Concerts du Domaine Musical with Pierre Boulez in the 1950s and was principal clarinet at the Opéra, as well as professor at the Conservatoire.

The orchestra and its management seem to have made strides to put the damaging lockout behind them, but there’s still some way to go.

Press release:

January 14, 2020 (Baltimore, MD) – The Baltimore Symphony Orchestra (BSO) today announced that it has secured $6 million in extraordinary operating gifts as well as a $1.25 million endowment gift in the past month to ensure that it can move forward with the transformative, multi-year planning efforts currently underway. Funds will provide immediate cash flow and balance sheet relief as well as position the Orchestra to embark on a plan that will reinvigorate its programs and establish new levels of engagement with its audiences, the community and the state of Maryland.

 These gifts, including a $2 million leadership gift, will enable the BSO to turn the corner towards sustainability. The BSO is exceptionally grateful for generous gifts from long-time friends, Board members and passionate community leaders from greater Baltimore and Montgomery County including Michael & Patricia Batza, Rick Berndt, Barbara & Thomas Bozzuto, George & Anne Bunting, Mary Catherine Bunting, Sandra Levi Gerstung, Patricia & Mark Joseph, Earl & Darielle Linehan, The Joseph and Harvey Meyerhoff Family Charitable Funds, Robert Meyerhoff & Rheda Becker, Judy & Scott Phares, Arnie & Alison Richman, Barry & Susan Rosen, Bruce Rosenblum & Lori Laitman, and George & Betsy Sherman, as well as others, as part of this effort.

The death is reported of Bill Holley, a long-serving tenor at the Deutsche Oper am Rhein who performed major roles in  Berlin, Munich, Hamburg, Stuttgart, Frankfurt and Vienna. He retired in 1984 and returned to live in Plant City, Florida.

Operanostlgia.be reports the death of Noel Van Tyl, an American bass-baritone who was a striking Hans Sachs in Vienna and Düsseldorf before giving it all up for a life as a consultant astrologer.

One star to another, as it were.

He died on his 83rd birthday.

 

The distinguished scholar of French Baroque music, Albert Cohen, died on December 31 at the age of 90.

On the very same day, his daughter Eva Denise Cohen died suddenly from septic shock arising from pneumonia. She was 54.

Albert Cohen, Brooklyn born, was chair of the department of music at Stanford University from 1973 to 1987 and a copious contributor to New Grove.

Obituary here.

The Bavarian State Opera has confirmed casting for Puccini’s Turandot on January 28.

The title role will be sung by Anna Netrebko, the first time she has attempted it.

The performance is completely sold out.

Eyvazov will sing Calaf.  The conductor is Giacomo Sagripanti.

The Hamburg Senate has awarded the conductor Christoph von Dohnányi with the city’s Johannes Brahms Medal.

Dohnanyi, who is 90, was director and chief conductor of the Hamburg State Opera and general music director of the Hamburg Philharmonic State Orchestra from 1977 to 1984. He returned in 2004 as chief conductor of the NDR Symphony Orchestra for six years.

The award ceremony was staged in Hamburg City Hall, where Christoph’s brother was once the Mayor.

 

From a duty officer on the Slipped Disc night log:

The Barbican concert last night with Gautier Capucon started almost 15 minutes late. No explanation was announced but it seemed to the audience that it could have been a result of some sort of mishap to Yuja.

Looking gorgeous as always in a tight, literally sparking gown, she had hobbled onto the stage and didn’t risk the few stairs down from the stage at the interval.

Perhaps the Barbican isn’t her luckiest venue as she had a problem when appearing several years ago with the LSO. Sources reported that (on that occasion) a pre-concert massage was provided by a very happy, suitably qualified male member of the first violins.

The organiser of the Dresden opera ball has issued a statement denying that Yusif Eyvazov demanded the removal of the Armenian soprano Ruzan Mantashyan due to her national origin.

The statement does not make clear whether or not she has been removed at all, and for what reason. The report of Eyvazov’s demand for her removal, which appears to have stemmed from her agency in Paris, cropped up from several other sources.

Here’s the Dresden statement, as circulated by Eyvazov:

 

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SemperOperaball firmly rejects accusation against Yusif Eyvazov The organisers of SemperOperaball firmly reject the accusation that the singer Ruzan Mantashyan will not perform at the 15th SemperOperaball on 7 February 2020 due to her nationality. Prior to this, it had been alleged that the Azerbaijani tenor Yusif Eyvazov, who will sing at the gala in Dresden’s Semper Opera House, had refused to appear at SemperOperaball together with the Armenian artist on the grounds of her nationality. The artistic director of SemperOperaball, Hans-Joachim Frey, however, strongly condemned the accusation as an insinuation. At no time had there been a contract with Ruzan Mantashyan for a performance at SemperOperaball on 7 February 2020. Nor did Yusif Eyvazov ever make the collaboration with a fellow singer dependent on her origin. However, it is now assumed that there may have been misunderstandings in communication with Ms Mantashyan’s agencies. “The appeal of SemperOperaball lies precisely in the fact that for many years now its programme has featured artists in a wide variety of constellations from the most diverse countries of origin, including Armenia,” said Hans-Joachim Frey, adding that “the ball is known for its cosmopolitanism. Statements of a different kind are not true. Yusif Eyvazov is held in high esteem, especially as a cosmopolitan artist and honest man.” P.S.: Dear All, as an Azerbaijani, I have a strong view on the political situation between Armenia and Azerbaijan. But my political opinion has never and will never influence my work on stage. I have worked with Armenian colleagues like Maria Guleghina and Gevorg Akopyan and others . So, please – don’t change the facts and don’t believe those who do!STOP PROVOCATION!!

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But there are some aftershocks. This, for instance, from the Prague-based opera critic Dusan Bogdanovic:

Welcome to the eleventh work in the Slipped Disc/Idagio Beethoven Edition

11 Rage over a Lost Penny Opus 129

Consumers beware: the Rage might not be by Beethoven. Some ascribe it to his factotum, Schindler. Others believe it was written as early as 1795 and left unfinished. It was published posthumously by Diabelli in 1828 and became an instant hit. It lasts around five minutes and is a comic simulation of rage rather than rage itself.
The shortlived American pianist Julius Katchen nails its pantomime element perfectly.

Evgeny Kissin goes for sheer speed.

Wilhelm Kempff makes a courtly dance of it .

Sir Clifford Curzon is fast and stiff-lipped

Alice Sara Ott is leisurely and elegant

Do not miss the legendary Eugen D’Albert, recorded in 1918 and playing twice as fast as anyone else in order to cram it onto one acoustic disc. Whee-eee.