New regulations for concerts at the Philharmonie Berlin as of 1 April In accordance with the Ordinance on Measures against the SARS-CoV-2 Coronavirus passed by the Berlin Senate, the regulations for concerts at the Philharmonie Berlin will change as of 1 April. The 3G rule as well as the associated verification checks at the entrances will no longer apply. The mandatory wearing of an FFP2 mask will remain in force throughout the building and will also apply during concerts. Events in the Philharmonie Berlin may take place again with full occupancy of the halls from 1 April. As a result, tickets will once again be available for concerts that were already sold out.
We have been informed of the death, from pancreatic cancer, of the international pianist Joseph Kalichstein, known to all friends as Yossi.
Born in Tel Aviv and trained at Juilliard, Kalichstein balanced a busy career as concerto soloist with a calendar of chamber music with the Kalichstein-Laredo-Robinson Trio. Humorous and unassuming, he also taught at Juilliard for almost 40 years.
The cancellation below has just gone out to agents and their artists. It smacks of confusion and desperation. Rehearsals were due to start in August.
Dear [ ]
Please see below an email from ENO’s Chief Executive, Stuart Murphy regarding King Priam in the 22-23 season:
Dear [ ]
Covid 19 is continuing to have a significant impact on everyone right across the country, and the ENO is no exception. One only needs to look across the culture sector to see cancelled films, truncated exhibition tours and delayed opening nights, among a whole range of remedial actions, as we all adapt to this unpredictable climate.
This means we unfortunately have to take some difficult decisions. Regrettably, I am therefore writing to you today to let you know that in the 22-23 season we will no longer be going ahead with King Priam. We are extremely sorry about this.
It is really important to us that we notify you as soon as possible to give you as much time as possible to find alternative work for your artist.
We have looked to find suitable replacement opportunities in our 22-23 and 23-24 season but unfortunately there simply aren’t any suitable roles currently available, as they are already cast. However, if do have any suitable short notice cancellations, we will be in touch straight away.
Throughout the pandemic, and now as we open our doors to audiences again, we have done our utmost to try and look after our freelance artists as best we can. We trust that you will do all you can to find your artist some alternative work in the period and we will also contact our colleagues in other opera companies to assist, should you wish us to do so.
The freelance artists we work with are extremely important to us so to demonstrate our commitment to them we would like to offer to make an ex-gratia payment of 70% of the rehearsal and performance fees they would have received, if they find no alternative work in the period. This payment would be due on 19 October 2022 (the date on which King Priam was due to end).
Total Rehearsal & Performance fees due: £ 14,400
70% of total rehearsal & performance fees: £10,080
Before we pay the 70% fee, we have to take into account any income that your artists may earn in the period, or from this engagement being cancelled and your artist being able to fulfil another overlapping contract, that they would otherwise not be able to do had King Priam gone ahead. We hope you understand.
Put simply this means:
· If your artist earns over 100% of their total King Priam fees in the period, no fee would be payable by ENO
· If your artist earns less than 30% of their total King Priam fees in the period, then ENO will pay 70% of the total rehearsal & performance fees
· If your artist earns more than 30% of their total King Priam fees in the period, then ENO will deduct anything earnt above this amount from the 70% figure quoted above
We please ask that agents and artists make every endeavour to find alternative work in the period and we will ask you to confirm that you have been actively seeking alternative work. We know that the climate is very different at the moment and there are still many short notice engagements coming up, with plans constantly changing. Paying these fees will have a significant financial implication on the ENO which in turn will directly affect the amount of money we have to spend on future work – all the same it feels the fairest thing to do in the light of this decision. We could not leave our freelance artists financially vulnerable.
This is not a decision that we take lightly, and it is a huge loss to us artistically but we feel we have no choice to do so.
I would be grateful if you could reply and acknowledge your receipt and acceptance of the terms and conditions above and once again accept our deepest apologies. We will get through this unique period together, and intend to come out the other end stronger, with our values intact.
Best wishes,
Stuart
Stuart Murphy
Chief Executive
ENO and London Coliseum
pictured (centre) Priam composer Michael Tippett
Remember the fuss when ETO’s leader James Conway got rid of half his orchestra and replaced them with ‘more diverse’ players?
Well, Conway has now made way for his former press officer, Robin Norton-Hale.
She will become general director from July.
From the PR gush:
Norton-Hale, who has enjoyed a 20-year relationship with English Touring Opera, first worked there as a Press and Marketing Officer in the early stages of her career.
It was with English Touring Opera where she was given her first directing opportunities, and is now a regular collaborator in her capacity as a consultant and artist . Most recently, for the company’s autumn 2022 season, Norton-Hale has written the libretto for an upcoming opera for young people, with a score composed by Rosabella Gregory.
In her new role as General Director, Norton-Hale will build on the company’s success of the last 20 years, widening the repertoire, exploring new partnerships with organisations and a wide range of composers, writers and performers, whilst continuing to present audience favourites through inventive and alternative approaches.
Robin Norton-Hale says, “I am delighted to be joining English Touring Opera, whose mission to make outstanding opera accessible to the widest possible audience has been an inspiration to me throughout my career. Like many other people around the country, it was through ETO’s brilliant productions that I first encountered some devastating music-dramas (particularly Janáček) and lesser-known baroque masterpieces, which under James Conway’s fearless leadership ETO have made their own. It’s an honour to have the opportunity to build on English Touring Opera’s reputation for exceptional artistry and commitment to opera for all, especially their brilliant new work for young people, and I am very excited about what the future holds.”
James Conway says, “I have a warm feeling in welcoming Robin back to English Touring Opera. Few hold so close to their heart the company’s mission. Quite apart from the artistic distinction of her work with her own company, Robin started out by finding and meeting the audience for ETO around the country. I am confident that her care for audiences and artists will lead English Touring Opera to make opera that moves.”
London-based HarrisonParrott, which already has branches in Paris and Munich, has added another in Madrid.
Brexit aside, the plan is to embed deeper with artists from Spain and Latin America.
The new venture will be led by Federico Hernández, former artistic coordinator at the Spanish national orchestra and chorus.
In her bid to resume her career yesterday, the sanctioned Russian soprano said: ‘My position is clear. I am not a member of any political party nor am I allied with any leader of Russia.’
Really? This is not entirely in accordance with the documented facts.
Slippedisc.com has obtained a copy (below) of Netrebko’s direct involvement in Putin’s 2018 campaign for the presidency.
In this ‘Доверенное лицо кандидата в президенты (declaration of support)’ that she signs on Putin’s behalf with Valery Gergiev and Denis Matsuev, Netrebko affirms in a legal statement that she is acting as a proxy of a presidential candidate of the Russian Federation.
This proxy status is defined in state media (and Russian Wikipedia) as ‘a person who carries out campaign activities in favour of a candidate for the presidency of the Russian Federation, and in some cases may act on behalf of such a candidate. Proxies are appointed by a political party, which has nominated a presidential candidate of the Russian Federation, or by the candidate himself. They must be registered with the Central Election Commission of the Russian Federation.’
So: ‘Not a member of any political party nor am I allied with any leader of Russia’?
How does that look?
Netrebko’s statement has generally fallen flat. In a response to the New York Times, the Met’s Peter Gelb said: ‘We’re not prepared to change our position. If Anna demonstrates that she has truly and completely disassociated herself from Putin over the long term, I would be willing to have a conversation.
The Wigmore Hall will showcase artworks of migration at the the forefront of its 2022-23 season, announced today on www.slipedisc.com.
Among the major composers featured are Ferruccio Busoni and Ralph Vaughan Williams.
There will also be an African Concert Series.
Under-35s can buy tickets for £5. Chief exec Joh Gilhooly says: ‘In times of great tumult, art and music provide precious moments of reflection, comfort and consolation.’
The 1945 Britten masterpiece is presently storming its way into all major opera houses.
The new Paris season features Deborah Warner’s production, lately seen at Covent Garden and with much the same cast.
Other new shows include Nixon in China with Thomas Hampson and Renée Fleming, a Krzysztof Warlikowski production of Ambroise Thomas’s Hamlet with Ludovic Tezier and a Gounod Romeo et Juliet alternating Elsa Dreisig and Pretty Yende opposite Benjamin Bernheim.
The Semperoper had to call off the first night of Madam Butterfly due to an outbreak of Covid-19 among its personnel.
The production stars Kristine Opolais and Freddie De Tommaso (pic), conducted by Omer Meir Wellber.
The orchestra has announced the death of Jonathan Pegis, Jonathan Pegis, who played in the cello section from 1986 until 2018. A former student of Lynn Harrell, he died at home in Iowa of natural causes.
Riccardo Muti said: ‘I am deeply saddened to learn of the passing of Jon Pegis, a very kind person and a wonderful player. I will remember him and his wonderful contribution to the Chicago Symphony Orchestra.’
A career highlight was touring with the LaSalle Quartet and violist Donald McInnes and recording Schoenberg’s Transfigured Night with them for Deutsche Grammophon in 1982.
photo: Todd Rosenberg
Emmet Cohen Trio – Live from Birdland
Click here for tickets: March 31 at 9.30pm NY On Thursday, the brilliant young jazz pianist Emmet Cohen and his Trio are streaming live from Birdland in New York. If you’re not familiar with his artistry, do please tune into this live concert from New York but, be warned, if you’re in Europe you’ll have to stay up until 2.30am for this one.
