Exclusive: Cologne names new maestro without consulting musicians

Exclusive: Cologne names new maestro without consulting musicians

News

norman lebrecht

March 30, 2023

The city of of Cologne has just anounced the next Generalmusikdirektor of the Gürzenich Orchester without asking its musicians to vote for their next conductor, as is generally expected.

The new man is the excellent Colombian conductor Andres Orozco-Estrada. We understand he made a good impression on the players when he jumped in for a stricken colleague last November and was generally well liked. However, the first any of the musicians knew that he was to be their next GMD was on a message issued to them half an hour before the press conference.

Orozco-Estrada, 45, succeeds the Frenchman Francois-Xavier Roth, who is heading to SWR in Stuttgart, where he was formerly chief of the dissolved radio orchestra.

The Colombian was lastly head of the Vienna Symphony Orchestra.

Comments

  • Anonymous says:

    Sad to me that musicians have to continue to put up with this kind of behavior by boards, most of whom know nothing about the industry they are tasked with overseeing. Regardless of Orozco-Estrada’s talents, this will at the very least dampen morale, and at the most cause a lot of friction between the musicians, management. Frankly, it also puts Orozco-Estrada in the middle of a bad situation. What could have been a winning tenure into the organization may turn into sour grapes due to the way it was handled.

    Even if you don’t give a damn about the musicians viewpoint, it’s always better to feign appearances and pretend you that you do, solicit feedback, and do the right thing. At least this makes it clear to the players the contempt held for them by the board and management. Completely inept management.

    • Bob says:

      You got this one wrong.Players were discretely asked.

    • L.S. says:

      I don’t know the source of your information, but as a member of the orchestra is question I can assure you, that your source is wrong… There were 2 elected colleagues from the orchestra representing it in the committee that chose Orozco-Estrada as the new chief conductor. And there was a vote of all orchestra members after his week in November (like after every week with guest conductors).

  • TraurigerKoelner says:

    Apart from AOE being quite the boring musician It is quite incomprehensible that someone who has basically no opera experience is appointed GMD of one of Germany’s leading opera houses. I am surprised to see how little influence the Intendant Hein Mulders seems to have.

    • MK says:

      Which opera house? There is no opera house in Cologne right now.

    • Guest says:

      He has at least some experience of conducting major operas with major opera companies, for instance Don Giovanni at Glyndebourne and elsewhere, Rigoletto with the Berlin State opera a few years ago, invited again this year for La Traviata. As for ‘boring’, that is your (minority) opinion.

  • LvB says:

    Just a clarification; the musicians were consulted, and did take part in the process. However there was not a formal vote involving the musicians.

  • Elizabeth Owen says:

    That’s great news he is an excellent conductor.

    • Jobim75 says:

      Excellent of today means average and just interchangeable with 10 other ones

      • Barry Guerrero says:

        Yes, it does, but it’s not the fault of the conductors. They have limited rehearsal time, and must be pleasant and ‘up beat’ ALL OF THE TIME . . . or else (Amsterdam?). The behavior of the ‘great’ maestros of the past simply wouldn’t be tolerated these days. Also, every piece of standard orchestral literature has been performed and recorded at very slow tempos, and very fast tempos . . . with short notes long, and long notes short . . . with loud parts soft, and soft parts loud . . . In other words, no matter what ‘radical’ interpretations they might come up with, somebody from the past has already beaten them to the punch. It’s difficult to come up with something ‘different’ that works. I go to a concert to hear the music, and not worry about the conductor. More people should try that.

      • trumpetherald says:

        The lament of the goners,again

  • geoffry says:

    This headline is patently false. He should maybe change it, it would be the honourable thing to do.
    The orchestra was well-represented on the the committee entrusted to find the next GMD.

  • Genius Repairman says:

    This is not how to win friends and influence people.

  • Tex says:

    Perhaps AOE’s management made a deal in which his hiring wasn’t subject to such a vote. Was it not a vote of confidence in Vienna by that orchestra that preceded his resignation there? I played for AOE as my music director, he has much to offer and they are fortunate to have him in Cologne.

  • Larry W says:

    Perhaps Cologne didn’t want to risk a vote given that the VSO musicians voted not to extend his contract beyond the 2024/25 season. Or, Andrés insisted there not be one. He went to Houston with the promise of Dudamel 2.0 but ended as Comissiona 2.0.

    • Brian D. says:

      Larry, your comment is BS. There was no promise of being Dudamel in Houston, and he definitely wasn’t Commissiona. Andres was successful and very well liked in Houston.

      • Larry W says:

        You may have your opinion. After hearing two dozen concerts, I have mine. And get the spelling right if you are going to invoke Comissiona.

  • M2N2K says:

    If those musicians knew who their next GMD was going to be “half an hour before the press conference”, then they were 30+ minutes ahead of their colleagues in many if not most other major orchestras who usually learn that rather important information DURING the press conference.

  • Orchestra committee and Artistic committee of the Gürzenich-Orchestra Cologne says:

    It was with some astonishment that we read the above post concerning the appointment of our new chief-conductor and Music Director Mr. Andres Orozco-Estrada. We feel it is essential that we correct the information published in this post.
    The elected representatives of both the orchestral committee and the artistic committee (all consisting of musicians in the orchestra) were involved in the entire process, both in the discussion about possible candidates as well as in the ultimate decision. The collaboration with the representatives of the city and external experts in this process was both important and essential.
    We look forward to a wonderful future together including many inspiring concerts, tours and opera productions with Maestro Orozco-Estrada.

    Orchestra Committee & Artistic Committee of the Gürzenich-Orchester Köln

    • norman lebrecht says:

      There was no vote on whether to appoint him GMD, as would have been the case at almost every other major orchestra. Two members of a selection committee does not equate to a majority vote.

      • Vom Musizieren says:

        This is just untrue. In major German opera houses (Munich, Stuttgart, Frankfurt, Hamburg, etc.) it is very unusual to hold a vote on whether to appoint someone as GMD. In smaller houses and orchestras, yes, this is standard practice, but above a certain level the process is exactly as is described by the Gürzenich Committee above.

      • geoffry says:

        Notwithstanding, I think your headline is misleading, don’t you agree? Might be good to change it to reflect the truth.
        And (you are in a good position to give us some information on this) I would be interested to know how many orchestras are actually able to name their own GMD?

        • grabenassel says:

          To answer your question: In Germany it’s just and only one – the Berlin Phil. Most of the others are involved more ore less, but have no binding vote…..

      • Alan says:

        The conductor is happy. The orchestra is happy. But you’re not.

        Begs the question. Who cares? This kind of pedantic nonsense is what makes this site the classical music equivalent of the Daily Mail

        • McNair says:

          This is the usual British-ism at play. “This is how our orchestras do it, why not everyone else?”

          Why do the british complain when appointments for orchestral spots are given to young people with “no experience”? Because over here they refuse to give auditions to anyone who hasn’t played in a major orchestra before, and those who do make it up to a trial have their time wasted for years in a freelance ad-hoc contract. Meanwhile in Europe, you win a job on the day of the audition by decree of a committee, effective immediately.

          Why to the British complain when conductor jobs are given to younger musicians? Because in the UK you are not even considered for a conducting post unless you’ve made a name for yourself in a few European majors first. Meanwhile in Europe they think progressively with young talents at the helm, looking to constantly re-invent the image of the orchestra and keep their sound fresh and inspired.

          Why do the British complain when other orchestras program outside of the Tchaikovsky/Beethoven/Mozart trifecta? Because the British will financially squeeze their orchestras until they can no longer afford rehearsal time and need to rely on composers that everyone and their mother already has committed to memory. Meanwhile in other parts of the world, proper rehearsal time is paid for allowing for a constant surplus of new works.

          And here lies the root problem: the British are so obsessed with tradition that they shove themselves into perpetual irrelevance. All the major orchestras are but the shells of their former selves from glorious decades past, the BBC is all but non-functional and exists now to “increase shareholder value”, and classical music in this country has gone the way of artifacts in the British Museum: boring, static pieces of once-fine art that (frankly) are better off in the hands of others.

      • Barry Guerrero says:

        Norman, it seems to me that you have plenty to chew on with the ‘state of affairs’ in your own backyard. It’s clear that you have a ‘thing’ for Germany and Austria in general. Also, please stop trying to stir up Trump-like loathing for artists who you don’t particularly care for (you know the ones). You’re not a conductor. You’re not a professional pianist. Stick to the music, and the state of things on your island. The shock-jock routine is old and tired.

  • Frankster says:

    He follows, with a few in-between, Otto Klemperer

    • Barry Guerrero says:

      Not that you’re comment is relevant to today, but did Klemperer ever conduct the Gurzenich? . . . He certainly worked with the radio orchestra numerous times.

    • Meal says:

      He follows with a few inbetween Conradin Kreutzer and
      Heinrich Dorn. By the way: It is time to rediscover the latter.

  • trumpetherald says:

    Wrong.There was a vote from all players……Please stop spreading this misinformation.Check your sources,or ask orchestra members….this article should immediately taken down.

    • Alan says:

      This site rarely admits when it gets it wrong. Especially when they get it spectacularly wrong, as in this case.

  • Max says:

    Mr. Lebrecht, you can not possibly uphold this article. It is utter nonsense.
    The procedure of the Guerzenich orchestra was the absolute standard procedure. In fact, a “democratic” election is absolutely no standard anywhere, but the exception.
    If you want to keep any credibility, do the right thing and correct yourself.
    The practice of spreading false or misrepresented information is harmful and dangerous to institutions, but especially individuals. Take your journalistic responsibility seriously.

    • norman lebrecht says:

      Your rebuke is especially apt, Herr M, coming as it does from behind a curtain of anonymity. The facts in the article were substantiated with players in the orchestra. The practice of having all musicians vote for a new MD is practically universal in major orchestras in 2023. Cologne is an outlier.

      • Alexander Hall says:

        It’s worth pointing out in this context that there is an elephant in the room, when it comes to such decisions made in Germany. The politicians. It’s easy to see why this is the case: Germany is a country blessed with extremely high levels of public subsidy. The politicians would argue that they have a right to see that taxpayers’ money is invested appropriately and not squandered on a whim. So politicians are always involved in the decision-making process. It even extends to the university sector, where the search committee can put forward its recommendations, but the No 1 on the final list can be overturned by whoever happens to be the Kultusminister/in at the given moment. Public service broadcasters also know all about political interference and the tyranny of “Parteibuchproporz”. In the home of unreconstructed capitalism, namely the US, the donors and sponsors behind the scenes wield considerable influence as to who gets to be the next music director. In fact, the only place where political or non-musical influence is held at bay is in the UK, where self-governing orchestras get to choose who they want to be their man (or woman) on the podium. And look what a pitiful amount of state support they get. There is of course an obvious connection.

      • trumpetherald says:

        First:It is not common in many German orchestras,i.e, Stuttgart Opera,Frankfurt and Munich Opera houses,and many radio orchestras…
        Second:In this case,all players gave a vote for several candidates, including Mr.Orozco Estrada

        • Alexander Hall says:

          If you think that the piper who calls the tune is effectively sidelined among German orchestras, think again! Irrespective of whether you are dealing with a radio orchestra or a civic operation like the Gürzenich Orchestra in Cologne, politicians are always involved and represented. If they are sensible and listen to the views of musicians, so much the better. If management (as in the case of radio orchestras) listens to and is bound by the views of musicians, also good. However, trawl back in the history of the past few decades and you will find numerous examples of the explicit wishes of musicians being ignored and overruled. The Hamburg State Philharmonic, Hamburg‘s opera orchestra, wanted Giuseppe Sinopoli at the beginning of the 1980s. Overruled. I don’t have the time and space to go on citing further examples. Look them up. There are plenty of them

      • Swiss Musician says:

        The orchestra of an opera house is only one part overlooked by the GMD. So it would make no sense that his or her appointment would be just decided by the orchestra. You are absolutely wrong on that!

      • McBaldy says:

        There’s nothing wrong with being anonymous on the internet. However, there is quite a bit wrong with your presumption that all orchestras function in the same manner as the British ones. In other parts of the world, an orchestra functions as a corporation. It has a board, it has a CEO, and these are the people who make decisions and employ the musicians. Musicians will send 1-2 members to represent them in the committee to pick the next GMD, and they carry with them the opinions of the entire orchestra. Not every place in the world operates like the UK, and you would do well to recognise that.

  • L.S. says:

    Where are all these “players from the orchestra” then, who fed you the information? Talking of a ” curtain of anonymity”… Having talked to very many orchestra members and being one myself, I didn’t find anyone supporting your article.

  • FrauGeigerin says:

    I was first conducted by AOE maybe 20 years ago. And while I am not AOE’s fan, he’s definitely a much better conductor and musician than Francois-Xavier Roth. So, for Köln he is definitely a change for the better. To be honest, I’d have AOE than our current Chief Conductor any day.

    Not consulting the orchestra is a practice so common I will not say anything about it.

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