It appears that Apple has acquired the complete run of The Lebrecht interview on Radio 3.
Over the next few days, we will present highlight.
First, the revealing Muti interview, where he talked about his parents as never before.
Listen here.
The German tenor, in his first act as…
There is no room for Sir Simon Rattle…
The mid-career violinist, 49, has transferred his North…
The incoming Chicago Symphony chief has just published…
Session expired
Please log in again. The login page will open in a new tab. After logging in you can close it and return to this page.
Just to be clear, are you saying that the BBC are selling off licence-fee-payer funded programmes to Apple?
According to the Wikipedia entry for ‘BBC Studios’, the commercial arm of the Corporation (if accurate):
“BBC Radio remain[s a] separate internal production division in the BBC (although BBC Radio Comedy is part of BBC Studios), and the rest of the former BBC Television division (channels and genre commissioning, including BBC Sport and BBC iPlayer) are part of the BBC Content division.
It therefore does, indeed, seem odd that BBC Radio is restricting content access to those subscribing to a third-party commercial entity.
BBC Studios have been making money by licensing BBC TV programmes around the world for decades. Audio titles have become really popular lately and they are now being exploited to make more money. About 26% of BBC Studios’ profits are given each year to the BBC and can only be used for making new programmes.
Sounds good. Just waiting for the Apple Classical App to be available on Android, which trustedreviews.com tells that Apple have promised as being soon.
The best itw Norman did was with Chailly. Muti in his itw said nothing bad about Chailly and Abbado. I have to say. It was agood day.
Tra poco, una cascata sulla mia foresta …
In this occasion, out of respect for Mr. Lebrecht’s work, I shall remain silent.
And Apple, like I said, knows what it’s doing.
No, you didn’t remain silent 🙂
A very boring conductor, become even more boring in old age.
Well, to Lilian and the others who agree with her what exactly is your gripe about Muti’s conducting? Muti has had one hell of a fine career so you can’t just dismiss him as you do without justification.
This was a very good interview. Despite what one thinks of Muti as a conductor one cannot deny he has been a welcome and consistent force in music over the past decades. His comment which was critical of teaching how to conduct was particularly insightful. How many times do we see a video where, too often, a conductor has their head in the score instead of the score in their head? Not knowing the music fluently, and more or less sight reading the score, results in a dull performance. I think it was Maria Callas who made a sort of parallel comment (if it wasn’t her no doubt someone will correct me). Once, when she asked for stage direction she was told (was it by Serafin?) “It’s in the music, Verdi tells you what to do.” I like Muti because what one gets is a straight piece of well played music. To my ear he doesn’t strive to be different.
I highly recommend Muti’s autobiography, published in 2011, lots of great insight and pro tips on Italian opera! The man is the foremost ambassador of Italian opera today. (I liked his Brahms and Mussorgsky too in his L.A. concerts)
Personally I think that if Muti’s performances were half as characterful and personal as his interviews, he really would be one of the greats.