Maestro front page of the year

Nice to be wanted.

share this

Share on facebook
Share on twitter
Share on linkedin
Share on google
  • This again.

    There are other fish in the sea, you know. Conductors come and go. Covid is a FAR bigger issue and must be having a greater impact on musicians than conductors.

  • And what about the LSO? Betrayed. Never a word said to them from him and the management. So didn’t the management believe he would leave his “last job” – publicly stated at the beginning of his tenue. Cannot keep on blaming covid and the state of the world!

    • Rattle’s in it for a) the money, b) the money and c) the money.
      “Eff the LSO; they didn’t give me a new hall, so I’m going for a cushier situation. See ya.”
      I feel sorry for the Munich orchestra. Once the concerts start up again post-Plague, they’ll find out very soon that they bought a pig in a poke.

  • Although the relationship any conductor has with one major orchestra is not defining, I find it interesting that SR’s last visit to Boston, to perform the Mahler 4th or 6th, was such a disaster that whatever relationship they had ended abruptly. That major orchestras in Germany and England see him as the short or long-term solution to their viability as an arts organization is an appaling commentary on the state of the art of conducting.

    • An interesting point. Which conductors today are in the Toscanini, Karajan, Bernstein, Szell and Böhm league? More recently we had Sir Charles Mackerras, Nikolaus Harnoncourt, Claudio Abbado and Bernard Haitink, who were real greats.

      In Baroque music we have Sir John Eliot Gardner, William Christie and Jodi Savall. Sir Antonio Pappano, Riccardo Muti and Gianandrea Noseda seem to stand out. As a communicator, I would suggest Sir Antonio as the best replacement if he wants the job. He has made a number of good orchestral recordings.

      It would be interesting to read other readers’ views..

    • Can you give more detail? Was it 4th or 6th ? Are there any professional reviews available. Any specifics of how it was a “disaster”

      • My recollection is that it was the 4th and that it was reviewed professionally by then longtime Boston Globe music critic Richard Dyer. Again my recollection is that SR insisted on a series of idiosyncratic tempi and phrasings which were deemed to distort the piece to the point that the members were embarrassed. I also recall more distinctly reading that on one occasion SR called HvK and tried to make the case for performing a Romantic-era piece with period instruments. Reportedly rather than reply HvK merely hung-up

      • Sorry, I meant to add that Brian Bell, who produces BSO radio broadcasts, occasionally contributes comments to this blog, and if his recollections are different than mine I will stand corrected and apologize.

    • “…such a disaster that whatever relationship they had ended abruptly. ”

      Wow. A “whatever” relationship ended at the contractually expected time.

      He was a guest conductor. With a main gig on another continent. What more is supposed happen after the guest appearance is over?

      • At the time there were discussions that he was a serious candidate for the Music Directors position and the interest was mutual. After the visit in question that talk ended and he’s never been back.

  • The Royal Philharmonic Orchestra appointed Vasily Petrenko as their music director, so, in this regard at least, seem to be in a better place. His Shostakovich and Tchaikovsky symphony cycles with the RLPO were very well received.

  • >