Podcast: Hot news of Daniel Barenboim and the New York TimesPodcast
In the midst of all the week’s top stories on our Sunday podcast, Rainer and I have scoops of exclusive quality.
Listen, and enjoy.
UPDATE: We’ve received assurances from colleagues on the New York Times that classical coverage has not diminished. But there is now less emphasis on reviews, more on features. And there is no email chain. Happy to clarify that.
I greatly enjoyed this podcast. If future episodes are so well made, I shall make it a Sunday habit to listen to it.
Regarding the New York Times, the scoop is not entirely shocking. The NYT had long since stopped wasting resources in reviewing visiting Tier 2/3 orchestras (i.e., average or mediocre orchestras, such as the Chicago Symphony). Recently, we are now informed, they made the decision to stop reviewing even the Tier 1 visiting orchestras (i.e., outstanding orchestras like the Israel Phil). Going forward, they will only review the world-class ensembles like the Berliner. While unfortunate, it is understandable.
No direct mention of Muti? Chicagorat, you must have been cornered.
Thanks to Riccardo Muti, the CSO has remained a great orchestra, one of the three greatest in the world. Bravo, Muti!
Hey CR- whatever your deeply personal grievances against Muti and CSO are, when you refer to the Chicago Symphony as a second or third tier orchestra, you lose whatever, if any , credibility you have left.
Honest question here: If they are so great, why aren’t the major labels recording with them and why haven’t they produced a consequential recording since God knows when?
And who is going to tell them who are the “tier 1” and “tier 2” orchestras? Anything to avoid doing their real job. Not only is the Times’ snobbery revolting, it is insanely destructive to all performing artists. When they stopped reviewing debut recitals, musicians stopped giving debut recitals, which cut the number of all recital performances drastically. A solo recital is equivalent to an actor doing a Shakespeare one-man show. All the more reason to have real cultural publications and to not rely on a crappy newspaper.
If they are so great, why aren’t the major labels recording with them and why haven’t they produced a consequential recording since God knows when?
The sound Engineer Charlie post has won a grammy in 2021 and is nominated again this year for 2023
for his recording of the CSO and Maestro Muti.
That makes sense. Based on my personal experience attending concerts in Chicago (pre-covid) the CSO needs the best sound engineer money can buy.
And Charlie Post is a great one.
MB: the reason is cost, no doubt.
Joe: the Grammy no longer counts as an indicator of consequentiality…
Peter it is as good a barometer as anything.
It is all personal opinion after all is said and done.
including my own.
I want to enjoy the podcast and I do – it’s promising – but it falls between two stools…is it to promote the site, or does the site promote the podcast?
What is the relationship between content on one, and the other?
You have started to mention ‘breaking’ news but you cannot do that really on a weekly podcast when the website is updated daily, unless it falls conveniently and you can update the website with a clip from the podcast?
The comments section here is both the best and the worst part of the site. How to use this in the podcast? Get readers here and listeners to email in with questions, comments for you and Rainer etc?
I enjoy reading and writing the comments most of all.