NY Phil: It was Dude who pulled the plug
OrchestrasSources in and around the New York Philharmonic are filling in some of the gaps around the abrupt departure of Gary Ginstling as president and CEO, just a year after taking office.
Ginstling, they say, had failed to impose himself on what was still Deborah Borda’s staff and organisation. His relations with players were fraying over minor mishaps and a difficult wages negotiation. And he was not attracting new donors.
All these difficulties might have been overcome, but Ginstling, 57, quickly lost the confidence of the incoming music director Gustavo Dudamel, who – as he showed in Paris at the Opéra – does not hang around when the going gets tough.
A hint and a wink that Dude might leave was enough to put Ginstling on Skids Row.
So who’s next? Philadelphia’s Matias Tarnopolsky, who knew Dude in California, is hotly tipped.
And for Ginstling? There’s timely vacancy in Minnesota.
I doubt Minnesota would want someone who barely lasted a year in LA; they are seeking to rebuild after troubles of their own.
Huh? Ginstling was in NY, not LA.
In the halls of Phil ensemble,
Gary’s reign began to crumble.
Staff of Borda, tough to lead,
Demanding maestros hard to heed.
Dudamel’s mere wink and glance,
Sent Gary packing, no second chance.
Now whispers float, a name to see,
Will Matias be the next marquee?
Leadership here’s like a game,
Who’s the next to claim the fame?
But be warned, dear incoming star,
Follow the score, don’t stray too far!
This story elicits some doubt. Even if Dudamel wanted something different, why did Ginstling resign so abruptly, effective immediately? He could have stayed through the end of next season, or even until the end of the summer. Dudamel won’t be there for another 2 years.
What is with your poetically styled comments? Enough already, you have nothing to say.
Thanks for praise, dear friend,
Poetry’s my summer fling,
More to come, let’s blend!
I think we all know this is nothing more than a gossip rag and a marginally good resource simply to inform one to go find a more reliable source of the gossiped news…like the NYT.
Did you read it? It has more substance than your comment. If I were you, I’d lighten up and lay off.
Yeah, After all its the destination not the journey.
The top heavy orientation of orchestras toward Music Directors has become a vulgarity socially, financially, and artistically. It is also an insult to the orchestra’s members.
“It is also an insult to the orchestra’s members.”
Your statement is a candidate for the music business understatement of this nascent century. It really is a telling dig. The insult is economic and musical, and it is difficult to say which of those pillars is more important.
To be fair, are you paying to go see Ginstling or Dudamel? Are you paying to go see the concertmaster or the maestro?
None. I am paying to listen to music. Part of the problem with classical music today is that too many people go to concerts to watch rather than to listen.
But the maestro isn’t held accountable for everything that needs happen from fundraising, to labor contract management, to ticket sales which enable them and the musicians to perform night after night.
And if the maestro is in charge of the President & CEO, then the buck stops with the maestro when things go sideways.
It’s a conundrum. When the conductor’s name (and compensation) are highly touted by the organization, public expectations for accountability rise as well.
I’m paying to hear the concertmaster and see the maestro.
I’m paying to hear the music played by professional orchestral musicians, guided by a competent conductor and not to watch an overhyped mediocrity being paid ten times as much as his betters in the orchestra to ejaculate his distorted and miscreant “ideas” upon good and great music. You?
I’m paying to hear the music played by a professional orchestra, under the direction of a conductor that helps unify their playing into a larger vision. Sometimes I experience what I am going for, and sometimes I experience what you describe. With careful vetting, I can usually get something closer to what I describe, but one still has to take chances on the rest.
the concertmaster.
Aren’t you going to hear the music?….
Actually, I am paying to hear the music…
Maestro, you always deliver. You are still lamented at the Met (by the ticket-buying public and the musicians.)
I have never been to a concert just to see a music director. Who goes to a concert to just watch one man move his arms. Imagine what that would feel like without sound. Now, imagine what it would feel like with just closing your eyes. If you cannot tell the difference then I don’t know what else to say….
You’re not going in order to SEE anyone.
We need a Bayreuth cover-thingie over every conductor. Only the orchestra needs to see his/her/it’s gyrations.
Some of us actually like to observe the conductor, in order to see what works, and what doesn’t. It helps later on, when one is actually in the orchestra, and it should help for those that aspire to be a conductor (or are deputized into the role at some point).
I wrote “its,” of course.
Without an orchestra, all conductors sound alike.
I’ve played for a conductor whose grunting reminded me of a tennis match…
Some conductors are to be heard, some to be seen, Dudamel belongs to second category…
Suddenly, the NY Phil is poised to make the CSO look good.
Trust me, not an easy feat to pull off.
SFF still is the clear leader.
Meant to type SFS.
CSO has been more of a serious, “real” orchestra than the NY Phil for quite a few seasons now, if we’re being honest.
Looking good, maybe.
Sounding good, that not even they can do.
Seems like the NYP could have a hard time landing a top-shelf replacement if the new President and CEO is essentially reporting to Borda via Dudamel.
Since the Dude is still coming to NY and stepped in as conductor during peak turmoil in the Spring, it looks like he can and is dealing with a tough situation.
Oh, so the Dude is going to represent management at the negotiation table to haggle with the musician’s union on a new collective bargaining agreement?
He’s going to spend hours each day meeting with lawyers over musicians who face sexual harassment and assault allegations, make decisions about firing them, and own the consequences?
He’s going to take responsibility and accountability for the orchestra’s ticket sales and donation revenue?
Thought not.
You’re either in The Cabal or you’re an enemy of The Cabal. If you aren’t the way of Mother Dearest and her special boy…you won’t get far. Least surprising thing. Maybe Mother never wanted to leave, and she needed a perfect excuse to convince the Missus that she had to come in and save the day. Why don’t they both just back to LA?
There was no “formal” search for a new CEO when Borda left. It was simply announced that Ginstling had been hired. One assumes, therefore, that Borda hand-picked him. How could he be expected to attract new donors in such a short time on the job and never having worked in New York before?
There is zero sourcing on the Dudamel part of this post. Does nobody but me really find that a problem?
At the end of the day, it is NYP Board malfeasance that created this situation. For agreeing to a succession plan in lieu of a vigorous search. For keeping Borda on in any capacity. For failing to foster institutional resilience. Mommie Dearest spanking the manager with a wire hanger isn’t a good image for any institution, much less one at this level.
Sounds like Borda set Ginstling up to fail.
“Sources in and around the New York Philharmonic”
That includes uber drivers that drop off passengers at Lincoln Center?
I always love Lebrecht’s 20/20 hindsight postings, if he has so many informed sources everywhere then he should’ve broke the story last week.
You would think “Dude” was actually a good conductor ABBA not just a DEI hire.
What a white, straight, and wealthy man has to do with DEI? honestly asking. Not because he’s South American means that he’s a person of color, the guy cannot be more pale.
Borda must have other hobbies besides meddling in her former* employers’ business. Surely she must like golf? Swimming? Pickle ball? I mean—there are so many orgs that could use volunteers outside of her former work spaces.
More like she’s trying to help manage the NY Phil after the short-timer left a mess due to his incompetence.
I’m pretty sure I would rather manage the Minnesota Orchestra than New York.
The NYPO has been a third-rate musical organization for the past thirty-five years. This is just the next step in their inevitable decline.
Seems a bit like just another game of thrones scene. It’s a thing though when you hire someone the status of Dudamel, you need to be aware that their power will go far past just the podium. It’s 2024 but there are still a lot of chief conductor, Karajan style in the world. Only thing that could damage its look is ticket sales, but I can almost assure you he’s going to bring a much needed new light to NYPhil and his star status with him, hoping that translates in new reaches for the orchestra and even better pay, if possible, let’s be honest, no tenure is worried about when groceries will be running out, much deserved nonetheless.
Maybe Thorgy Thor, the NY Philharmonic’s resident drag queen (featured on all their social media) can take over…
Standards change from city to city.
In Chicago, not only was the President simply not allowed to call the music director (unless a rare call was coordinated in advance by an assistant and another “assistant”). The President was required to pay homage to the music director daily, and excuse himself for unavoidable absences (say, to attend a funeral). In more than one situation, the music director would just deride the President in public.
Note: the President is still there. The music director isn’t.
Toscanini caprice, Furtwangler caprice, Karajan caprice…. but Dudamel caprice? What mediocre times…..
Why would Matias leave Philadelphia for New York? NY Phil musicians are much nastier and Philly sounds WAY better. Too often, people assume the biggest city must have the best cultural institutions but that is not always true. I’d rather listen to Philadelphia or Cleveland Orchestras any day over NY or LA….
Matias Tarnopolsky is not going anywhere. He has the respect and trust of the musicians, board and enthusiastic subscribers of The Philadelphia Orchestra. In the past 3 years he has negotiated a contract with the orchestra and formed Ensemble Arts, a presenting platform for the orchestra, and managing The Kimmel Center and all the performing arts groups that present there. Also he was instrumental in the process that transitioned Verizon Hall to Marian Anderson Hall.
We love Matias and the feeling is mutual.
The Music Director should always have the power in an orchestra. The General Manager is an administrator and should kow tow to what the Music Director wants to do.
This gives Dudamel the best available option: stay in LA, where there will never be funding issues or the long-term inability to have oboe & trumpet chairs. YOLA is already thriving in its new Gehry building. Plus Geffen hall has the acoustic subtlety of a men’s restroom in a train station. lol.