Why conductors need hairdressers

Is (more or less) the title of Eleonore Büning’s new book, based on her long-running music advice column in the FAZ.

We wonder who she had in mind.


share this

Share on facebook
Share on twitter
Share on linkedin
Share on google
  • Actual title, for those interested in accuracy:
    “Why does the conductor go to the hairdresser’s so often?”
    (Google translation from the German book title)
    And every year, Simon Rattle looks more and more like my ancient great auntie. Stokowski looked better at age 95.
    (Stokowski, by the way, paid great attention to and exercised strict control over the release of photographs taken of him.)
    I guess Rattle thinks every photo of him must look good because he is, after all, Rattle. Nope.

  • I remember when I was studying in Philadelphia when Muti came to the orchestra and his hair was written about more than a few times. Having seen it up close it was rather impressive.

  • The book is about questions she was asked from the audience and to which she replied in her column.
    The literal translation is: “Why do conductors spend so much time at the hairdresser?”

  • Well, in the case of Pablo Heras-Casado he needs his signature hair because without it, very much like Samson, and without his show for the audience that has nothing useful for the orchestra (but provides great entertainment for concertgoers) he is nothing. He cultivates a careful hipster image because there is nothing else to offer.

  • I still remember when Salonen was named music director in LA, the wonderful critic of the LA Times, the late Martin Bernheimer, called him “the heir apparent with the apparent hair”

  • >