Russian and Belgian are named as Gatti replacements
mainThe Concertgebouw has named Dima Slobodeniouk and Philippe Herreweghe to replace their former music director Daniele Gatti in October and November, both in Amsterdam and on tour.
The Russian was due to make his C’bouw debut in April 2019. The Belgian has been a regular guest for 24 years.
photo: Borggreve
Jaap van Zweden has let it slip in a recent Dutch interview that he’ll conduct the Mahler 7 performances scheduled in March: https://www.telegraaf.nl/nieuws/2573872/van-zweden-mania-in-big-apple
Makes me wonder if he has half an eye on the job from which Daniele Gatti was so unceremoniously ejected on the say-so of the #Metoo crowd. Meaning no disrespect to Slobodianouk or Herreweghe I would say that top drawer maestros will think twice before sweeking employment with the RCO in future. Reputations are being destroyed all too easily these days.
I don’t think anyone who knows how to behave properly has anything to worry about.
Dima emigrated to Finland when he was 16, and studied there with Panula and Segerstam. I’d consider him equally Finn.
The same country just over 100 years ago!
ahh … that Old Russian Empire… almost like that (once great) British Empire …. 😉
For ‘just’ 100 years (1809-1917). Though, with different language, different laws, different religion, different currency, different army, different parliament, etc. etc. – and different cuisine.
Very true, did they prefer the Russians to the Swedes, the language still remains for a small minority.
The C’bouw are calling him Russian. Dutch treat.
Slobodeniouk is very talented!
any intel on who will be Gatti’s replacement at Carnegie Hall in NYC for C’bouw performances in February 2019?
Since we’ll be in Amsterdam next Spring, I checked the RCO website for concert dates. Gatti still shows as conductor for the Berlioz Requiem after the run of guest conductors with the St. Matthew Passion during Easter season.
“This awe-inspiring work is in good hands with conductor Antonio Pappano, whose refinement, energy and drama, usually put to good use in the opera house, are exactly what the performance of this French mammoth calls for.”