Orchestra accompanies all-in wrestling
OrchestrasLatest bulletin from the sinking San Antonio Philharmonic:
On October 19th, the community of San Antonio came together for an incredible night of lucha libre action while the San Antonio Philharmonic played live, creating a unique and unforgettable experience. Thank you to everyone who joined us to celebrate culture, sport, and music in one unforgettable night!
This is what it has come to…
How deep can you sink?
This is not nearly so repugnant to anyone’s sensibilities as the unspeakable Victor Pablo Perez obliging his orchestra to accompany the dying groans of the victims in the bullring in Madrid as he did some years back.
Q: How deep can you sink?
A: Check out the SAPhil Facebook page. A patron commented her concern over the “postponement” of the concert (originally the night of the luchador battle) for which she had purchased tickets. Shoutout to longtime principal tubist Lee Hipp for jumping in to dismiss her concern and detail how much he enjoyed playing for the wrestling match. I don’t know him, but he speaks on behalf of an entitled organization with no issues dredging up subscriber and taxpayer money (yes, SA Phil has received govt funding) and with no sense of commitment to their core mission of orchestral music in San Antonio. Philharmonic messaging to patrons is very careful to avoid the word “refund”, likely because there is nothing left in the bank with which to credit.
*IF* Beethoven 9 happens, I advise purchasing tickets at the door while the musicians are warming up (don’t worry, there will be plenty of seats):
“The two-year collective bargaining agreement reached with musicians in September allows for postponement and cancellation of concerts as needed, and that musicians are paid per concert as the performances occur, Treviño said.
“No members of staff or administration would be furloughed or forego salary during the postponement, Treviño said.”
No doubt they will perform: Erberk Eryilmaz: “Koca Yusuf, Wrestling Airs for Chamber Orchestra,” written in memory of Koca Yusuf, an internationally famous, 19th century Turkish wrestler who instigated a riot when he threw an opponent out of a ring during a match at the Metropolitan Opera House in New York in 1898.
The River Oaks Chamber Orchestra in Houston did the world premiere, May 2019
Good grief, this is real!
Thus sayeth Wikipedia:
“A rematch between Ismail (born as Yusuf İsmail, later known as Koca Yusuf) and Roeber was held at the Metropolitan Opera House on April 30. During the bout, the two began a shoving match, which caused their managers, William Brady and Martin Julian, to enter the ring. Brady and Julian, who also managed rival heavyweight boxing champions Jim Corbett and Bob Fitzsimmons, began arguing over the management of their respective men. When Fitzsimmons attempted to intervene, several fans stormed the ring and referee Herman Wolff declared the match a no-contest before the event could once again end in a near-riot. Opera House management closed the venue to wrestling events soon after”.
If that’s not enough, Ismail drowned on an ocean liner which sank as he was returning to Europe on 04 July of the same year. He was 40 (or maybe 41).
And yes: Erberk Eryılmaz was commissioned to write “Wrestling Airs” for Two Davuls and Chamber Orchestra, 2019.
Did you think I was kidding????
No satirical newsite in the world could have come up with “Orchestra cancels piano concerto to play backup for luchador battle”. Would be comedic gold if not 100% real 🙁
Indeed. Seeing on social media that this was what replaced Gershwin made me laugh out loud…and shake my head in disappointment and disgust. This truly can’t be real.
The ad underneath says it all. “How to remove toilet stains in 60 seconds.”
Seems like an appropriate metaphor for the leadership.
taking cues from TwoSet?
OR
taking cues from TwoSet.
Please…don’t tell Lorenzo Viotti…..you’ll give him ideas!
Did it involve board members?
No, they were too busy suing them!
The fall of this organization has been like a dumpster fire you can’t look away… At least the SA Symphony board/admin knew to pull the plug quick before it got back to them individually. Evidently, this administration, including its MD, does not have that foresight.
Yes, Norman didn’t include it but the original SAPhil post has a photo of Jesse Borrego speaking to the crowd
You need a subscription to read it so I’ve cute and pasted it for you
https://trellis.law/case/48029/2024ci22516/david-wood-et-al-vs-robert-c-trevino-et-al
VI.
FACTUAL BACKGROUND
A. Plaintiff Ian Thompson, M.D., files this petition for declaratory relief in good faith furtherance of his support of the Phil, both in terms of time, devotion and money. Plaintiff Ian Thompson, M.D. has the singular goal for the success of the Phil to the benefit of the community and its musicians. In this regard, Ian Thompson, M.D. has contributed to the Phil in many ways, including but not limited to the following:
– Financial Donations / Contributions
– Season Ticket Holder / Regularly Attended Performances and Fundraisers
– Active participation as a Board Member
– Volunteering to serve during performance weekends
– Recruitment / Solicitation of donations and support for the SA Philharmonic
B. Plaintiff David Wood files this petition for declaratory relief in good faith furtherance of his support of the Phil, both in terms of time, devotion and money. Plaintiff David Wood has the singular goal for the success of the Phil to the benefit of the community and its musicians. David Wood served on the Board of Directors with a perfect attendance record.
In this regard, David Wood has contributed to the Phil in many ways, including but not
limited to the following:
1. Early and significant financial support.
2. Regular five figure donor as a member of the Board.
3. Provided bridge loans when needed. Some remain outstanding.
4. Supported the Phil through multiple season ticket purchases, including to bring numerous
potential donors and volunteers as his guest.
5. Hosted a fundraising dinner for over 60 people in his home
6. Advocated and fund raised with our friends and connections
7. Attended numerous community outreach events as a representative of the Philharmonic
8. Spoke at local government public meetings on behalf of the Philharmonic
9. Promoted the Philharmonic in the press and other media, including magazine features
C. The San Antonio Philharmonic (“the Phil”) was formed to fill the void left by the dissolution of the San Antonio Symphony on January 26, 2022. The initial Board was made up of founding members Brian Petkovich, Peter Rubins, Karen Stiles, and Stephanie Westney.
D. Shortofresources,theBoardrecruitedDr.IanThompson,III,(“Thompson”)whoprovided some financial backing needed to facilitate the first concerts; Rev, Aaron Hufty of First Baptist Church, which provided the venue; and Roberto Trevino (“Defendant”), a former City Councilperson who provided guidance on the availability of City and County funding. These three joined the Board on May 10, 2022.
Board members Brian Petkovich and Peter Rubins negotiated the recovery of the assets of the former San Antonio Symphony from a bankruptcy sale in September 2022 and recruited David Wood (“Wood”) to finance the acquisition. This saved the assets of the former San Antonio Symphony from sale to another buyer and preserved these resources for the enjoyment of the music community of San Antonio. Wood joined the Board along with actor and friend of the Defendant Jesse Borrego on February 16, 2023.
Following a successful inaugural season, overworked and tired, the founding members sought an Executive Director to aid in the day-to-day operations of the growing organization. Short of money and willing candidates, the Board turned to Trevino who accepted the job in June 2023.
Gina Ortiz Jones joined the Board in September 2023.
THE SECOND SEASON
Problems with the performance of Trevino began in the second season. These include but are not limited to:
Staff complaints
Orchestra complaints
Donor complaints
Staff and volunteer resignations
Poor, late or no financial reporting to the Board Double booking of concert events
A decline in performance metrics
Failure to fill key positions
Late payments or no payments to vendors
Late payments to staff
Board member Gina Ortiz Jones resigned from the Board over Trevino’s lack of performance and unwillingness to correct it in December 2023.
In January 2024, Jeffrey Kahane was hired to lead the orchestra as Music Director for three years, beginning July 1, 2024. LaraAugustresignedfromtheBoardinMay2024afterbeingberatedataregularmeeting by Trevino. She had questioned Trevino about the high turnover rate and the lack of replacement among the staff.
As a result of growing dissatisfaction with management by the music community, donors, staff and the orchestra, a change in Board leadership and perhaps the Phil’s professional leadership was imperative.
THE 2024 ANNUAL MEETING
An Annual Meeting was held on June 20, 2024. The purpose of the meeting was the Election of Officers (Article IV of the By-Laws) and other nominations to the Board (Article II of the By-Laws).
In the first order of business, Chair Brian Petkovich, called for a vote for Chair. Thompson won the vote, and Petkovich acknowledged the will of the Board by graciously and appropriately turning the meeting over to Thompson, the new, duly elected, Board Chair. The nominations for Vice Chair, Secretary and Treasurer were uncontested and Peter Rubins, Stephanie Westney, and Karen Stiles were re-confirmed, and duly elected, to their respective Officer positions.
P. April Brahinsky was nominated and confirmed by the Board to be a Director. She had undergone the nominations process for Board election, as provided in Article 2 of the By- Laws. She was not present and had not yet attended a Regular Meeting.
Q. TrevinopresentedtheAnnualBudgettotheBoardforthefirsttimeattheAnnualMeeting. Not only had the Board no time to review this critical document, it was also printed on paper too small to read. Trevino asserted that it must be immediately approved because the Fiscal Year was beginning in just 10 days. The Board insisted on having time to review it and noted that Trevino should have presented it months earlier for review. Because of Trevino’s failure to provide critical information in a timely manner, the Board scheduled a Special Meeting for June 25, 2024, to provide Board Members with the opportunity to review it.
R. After the Annual Meeting, Trevino accused the Board of taking personal and retaliatory actions against him. The Board Chair assured him that that was not the case.
THE SPECIAL MEETING TO PRETEXTUALLY CONSIDER THE ANNUAL BUDGET
S. A meeting to consider the Annual Budget was held on June 25, 2024.
T. Jeffrey Kahane, Music Director Designate, attended the Special Meeting (at whose invitation Plaintiffs do not know) and spoke for an extensive time. His position as Music Director was believed to commence on July 1, 2024. Mr. Kahane’s lengthy and fiery monologue at the meeting was inappropriate for a Special Meeting to consider the Annual Budget. His speech was not about the Budget. The salient point of Mr. Kahane’s monologue was to chastise the Board for something that the Board had not done, namely, taken up a review of Trevino’s job performance. His lengthy diatribe was not related to the purpose of the meeting—the annual budget. Kahane said that going forward he will
not recognize any Chair other than Brian Petkovich.
U. After discussion, the Board approved the Budget, including the resources for an Audit.
THE COUP
V. Following the June 25, 2024, Special Meeting, Thompson attempted to contact Jeffrey Kahane and Trevino in an attempt to make plans for the upcoming season. Thompson’s emails went unanswered.
W. On July 2, 2024, without approval or request from the Board, Trevino notified the Board that he had retained legal counsel “on behalf of the Philharmonic” to “address [unspecified] Board Governance, conflicts of interest and procedural matters.” The Board was not provided with any rationale for Trevino’s sudden concern about Board governance; documentation of counsel’s qualifications, legal services contract or conflicts policy; or an explanation as to why Trevino had not contacted the Board Chair, the Governance Committee Chair or anyone else on the Governance Committee about his new found concerns.
X. On July 11, 2024, Jesse Borrego called Wood at home and asked to discuss “some issues that had come to light.” Borrego informed Wood that the Board, allegedly, was now only three people and that they must have a Special Meeting right away to “Figure out what we should do.” Borrego instructed Wood to not discuss the matter with anyone other than Jesse Borrego and April Brahinsky, who he, Borrego, asserted were now the “Board.” He also suggested Wood should resign “in writing” should he not wish to participate. Wood rejected his premise and declined to resign or to participate in a Special Meeting without the full Board, cooperation of Governance and seeing the opinion in writing. Wood
notified the Board in an email of the developing situation.
Y. On July 16, 2024, at the request of Jeffrey Kahane, Wood had a Zoom conference from Milan, Italy with Kahane. The conversation lasted about two hours. Kahane spoke of his affection for Trevino. Wood repeatedly reassured Kahane that the Board had never taken up action against Trevino, that the duly elected Board merely needed more oversight and accountability, and to Wood’s knowledge, there was no plan to remove Trevino as Executive Director. Wood, however, refused to agree to Kahane’s request that he combine with Borrego and Brahinsky to form a new Board.
Z. Within 15 minutes of the end of the Zoom call between Kahane and Wood, all Board members received an email from Attorney Kelli Cubeta. She asserted that she “represented” the Phil. She opined that the Board now consisted of only David Wood, Jesse Borrego and April Brahinsky. Ms. Cubeta cited no basis for her opinion, including the By-Laws, statutes or case law. No corrective action plan was suggested.
AA. Board members raised serious concerns about Ms. Cubeta’s opinion and emailed questions. No emails were satisfactorily answered and most received no response at all. Since mid-July, no email from Thompson, Wood, Vice-Chair Rubins, Secretary Westney or Rev. Hufty have been answered by Trevino, Petkovich, Cubeta, Kahane, or any person claiming to be on the Board. The duly elected Board of Directors of the San Antonio Philhamonic has been “ghosted.”
BB. On July 16, 2024, a Special Meeting was allegedly noticed by Directors Borrego and Brahinsky for the purpose of electing Lauren Eberhart to the Board. Wood objected on numerous grounds, including the lack of a quorum, Eberhart’s alleged conflicts and thatshe had not been through the nominations process as required by the By-Laws. Wood suggested that the obvious and proper action, if they really believed there to be a governance problem, was to re-elect the Board as it was constituted at the end of the last meeting.
CC. On July 19, 2024, Trevino locked out all duly elected Board members from their Phil email accounts and removed their names from the website.
DD. On July 23, 2024, a Special Meeting meeting was noticed by Brahinsky, Eberhart and Borrego for the purpose of electing three new directors to the Board. Wood objected to the meeting on numerous grounds, including the ineligibility of the nominees who had not been approved by the nominations committee as required by 2.6 (f) of the bylaws, which provides:
“Only nominees approved by the Nominating Committee through the nominations process shall be eligible for election.”
Wood also objected that one proposed Director had already been rejected by the Board. EE.On August 7, 2024, an alleged Special Meeting was held for the purpose of electing Officers to the Board. Wood objected as there are already duly elected officers on the Board who have not resigned or been removed. After the meeting adjourned, another
Special Meeting was noticed for the purpose of removing Wood from the Board.
FF. In or about August 2024, another special meeting was allegedly held for the specificpurpose of removing Wood from the Board of the Phil.
GG. Trevino, having failed to succeed in his performance as Executive Director and fearing for his job, took illegal steps to reconstitute a new Board more to his liking. Trevino has “ghosted” the duly elected Board made up of founders, donors and long-time supporters of the arts in San Antonio. Trevino’s new Board is operating contrary to the
By-Laws and the laws of Texas.
Intervention needed!!
This is what it takes to be a legit orchestra. Now the Hispanic Audiences will save us.
Local 23’s dreams have come true.
Early on in my career I played a number of piano gigs at an upscale “adult” club. Let’s just say that I was always happy to grab the check and head home. If I was lucky, I bailed before the scene got too…. intense!
Better or worse than conducting for a monster convention in East Asia? Hard to say.
I’ve read the lawsuit several times. It looks like Kahane is partially responsible for the destruction of this orchestra. He seems to have undermined the Board’s authority on more than one occasion and colluded with Trevino, and probably Petkovich too. Anybody else notice that things were going well until he got here? And then there’s his famous “it’s not our fault” speech at rehearsal.
What was this famous “it’s not our fault” speech? Inquiring minds would like to know.
There is rumor of a fiery speech at the end of the last rehearsal (check out the comments below the other article on SlippedDisc)…not corroborated, but also not shocking if you read the lawsuit details
Here’s the Phil’s problem. They have no face. No spokesperson. Nobody takes Treviño seriously. They’ll let him in the room but he can’t close a deal that brings cash. They know he can’t be trusted. Petkovich is the most hated face in the non profit m/music world. Swart has checked out. Look at his FB page. No Phil content. They probably owe him money. Kahane speaks but every time he does it brings him closer to being sued than to getting any money and further alienates the “orchestra.” His office manager is nice enough but she is an undocumented worker that gets paid through outside sources. Totally illegal. There’s no development or marketing departments. That leaves poor Jesse. Borrego doesn’t have a clue about how to fundraise and just waxes about being Latino. As if that has ever paid a bill in the European music world.
My guess is the Rite is already pissed that the toilets are backed up and there are homeless people living in the stairs and Roberto hasn’t done anything about it.
They’re behind on their legal bills, tickets sales have vanished, morale is low and the press is bad. They’re all incapable of saying thank you or sorry, much less admitting to making a mistake. Where do you go from here?
From the staff page on the website, Swart is no longer with the Philharmonic.
It was the us empire, degenerate and debased- not surprising.
Considering the local market and their desperation, if this brings in new ticket buyers to their concerts, why not. What I here in these comments are the same people who went after Valentina Lisitsa, Cameron Carpenter, Anna Lapwood etc. etc. etc. While Lisitsa was cancelled due to her Putinista tendancies, Carpenter apparently had a mental breakdown due to his critics and Lapwood just does not care and her fame continues to grow because of it. Yuja Wang, the most talented concert pianist in the halls today, as well as Khatia Buniashtishvili are also receiving nasty comments and they too are expanding audiences. What those folks are doing are bringing awareness to classical music and their instruments in a way that is filling concert halls, churches and other venues. So get off your broomsticks and embrace the fact that they are helping to keep the genre we love from becoming irrelevant.
I just purchased a large amount of box sets from one of DG and Decca’s biggest distributors for pennies on the dollar because they are not selling. We need more of these young, vital musicians and less comments. Occasionally you have to go a little lowbrow to get back to highbrow with new audiences.
The situation was fine until five minutes ago. This was the greatest success story in modern symphonic music when it was local musicians playing concerts for their patrons and putting on young people’s events at schools. The decline of this orchestra has been in direct proportion to the implementation of Trevino’s “community engagement” agenda. Replacing Gershwin with lucha libre was an act of desperation, not innovation
Who would have guessed? A man with no experience in the non-profit world would fail in the non-profit world? The bigger question is why is anyone still backing this fool?
If a pickup orchestra plays a concert and there is nobody there to hear it, does it make a noise??
https://www.majesticempire.com/events/sa-phil-beethoven/majestic-theatre/tickets/30D4D4D6-DEE5-4672-956E-F415A22D1658
Check the seat map again a week from now.
What will change in the next 10 days (genuine question, not sarcasm)? Ticket prices have already been cut, YouTube channel launched (I noticed your team suppressed the first commenter), you’ve written an article for local news, and SAPhil posts almost daily to Facebook/Instagram (had some upset subscribers there also) – yet the $25 nosebleeds are nowhere near sold out, not to mention a near-empty floor (likely consisting of existing flex package patrons). What eleventh-hour surprise is left?
It’s been a week and it’s still painfully empty. I’m sure the chorus and orchestra will soon receive two or more comp tickets each. That will at least make it look better, but does nothing for the bottom line.
But look on the bright side, the Phil’s ‘new home’ venue appears to be sold out for both shows the touring Vienna Lite Orchestra’s “A Tribute to the Greatest Showman Live!” Too bad it’s on the same day as their first Beethoven 9 performance.
Does anyone have information about the law suit filed by Broadway Bank against the Phil last week?
Not sure about tickets being comped, but the ticket prices just reduced to almost all being $15, including the front five rows at both showings…oddly the ADA seats are at $25 and $40
I saw that too, but it’s actually “student pricing”, if you go to buy a seat the “adult” prices are still the same
Welp. It’s been a week and nobody is buying what you’re selling. I don’t think you can blame it on the program. You can’t blame it on the musicians. There is nobody to blame but leadership. And that includes you. You need to commit to paying the musicians, even if it comes from your pocket Maestro. Please face the fact that people in San Antonio have had enough of these frowning, threatening, ever angry faces. It’s over.
How pleased my friends and I were to see a nearly full Majestic Theater Saturday night! The Beethoven 4th piano concerto and Ninth Symphony were both thrilling. It’s pretty impressive that you can keep your solo performance chops while conducting and teaching full time. Bravo, Maestro Kahane! We’re delighted to have you in San Antonio.
Here’s a screenshot of the seat map taken 40 minutes before the Sunday performance.
https://imgur.com/a/2Gk3eJ0
Comments
I strongly suspect that by this time, at least some, if not all of those who have commented negatively on the San Antonio Philharmonic will have lost interest and moved on. However, in the event that anyone is paying attention here, I would like to correct the record (once again) with respect to the current status of the orchestra.
1. The upcoming performances of Beethoven 9 at the Majestic Theatre on Nov. 16 and 17, contrary to the predictions of so many folks who have commented here, are taking place as scheduled. I will also be conducting the Fourth Beethoven Concerto from the piano on that program. We will be joined for the symphony by the San Antonio Mastersingers, and four excellent young soloists. There will be a massive amount of publicity for these concerts in the coming days, and we are looking forward to very good houses.
2. There will be NO further postponements or cancellations of any upcoming concerts, and we are already beginning planning for next season.
3. We are in serious discussions with architects and acousticians regarding the renovation of the Scottish Rite Auditorium, and are looking forward to holding our first open rehearsal there next week. We recognize that there are significant issues with respect to the building, and are already taking steps to remedy those. This will be a process, but it will not stop us from having a first, permanent home for the orchestra in the foreseeable future. The funding for this project will be coming from sources that do not and in many cases cannot contribute to orchestra operations, and therefore the fundraising for operations and for musician salaries will be a completely separate issue. (See below)
4. for those who would like to better understand the appearance of the orchestra at the recent “Lucha Libre“ event, I would like to direct your attention to the fact that this is a beloved national tradition in Mexico. One of the finest young composers working in America today, Juan Pablo Contreras, whose work has been performed by a number of very important orchestra including the Los Angeles Philharmonic, recently composed a piece for the Los Angeles Chamber Orchestra entitled “Lucha Libre” in celebration of this tradition. To those who have categorized our involvement in this event as being in any way degrading, I would ask that you please consider the fact that one of the world’s greatest orchestras, the Cleveland Orchestra, played the national anthem at the World Series not very long ago. If you don’t think orchestras should be performing at sporting events, you are entitled to that opinion, but please, refrain from implying that it is somehow a form of debasement. It is nothing of the sort.
5. To the person who responded sarcastically to my saying that I was in it for the long haul and planning to rent a condo in San Antonio, I would like to respectfully point out that my contract, like that of almost all music directors, *mandates* that I am to reside in San Antonio for a certain number of weeks each year. The reason for that is not only that I have to conduct a certain number of concerts, but also because my presence in the city is required to help raise money for the orchestra. My commitment to this orchestra is in large part to do everything in my power to see to it that musicians’ salaries will eventually be raised to the point where they can afford to purchase a home if they don’t already own one or are struggling to pay for the one they have. I accepted this position at this point in my life to devote myself to working on behalf of the members of the orchestra and improving their lives as well as of the people of San Antonio.
6. Take a look back at some of the comments from recent months that said things like “it’s over”, “the orchestra will never play another concert,” etc. I would suggest that those of you who are convinced of such things take a screenshot or print out those comments so that you can refer back to them over the coming months as the orchestra’s fortunes continue to rise.
You bet on the wrong horse Jeff. Nobody likes these people and are starting to not like you. It is not sustainable. Your few funders have left and you are suing one of your principals. Nobody will or should support you and nobody is buying tickets. The Houston Symphony is playing B9 next week with Sir Michael Tilson Thomas conducting. It’s all but sold out on a Thurs. I was at the Rite yesterday and there was human feces in front of the building. You’re all gross and dishonest. Go away.
My father and his attorney will be attending each and every open rehearsal. He is in a wheelchair and his attorney’s area of expertise is ADA law.
Do you really believe this “orchestra” is rising? Seriously?
Pathetic. Every dollar you take is a dollar that won’t spent on something good. Carpetbagger Kahane is cancer on music and the arts in San Antonio.
https://www.majesticempire.com/events/sa-phil-beethoven/majestic-theatre/tickets/DB8EEC33-5163-4265-A61E-D76314B3999B?
Regarding Item #2: The listing on the SAP website for Hadelich in Concert has been quietly changed to American Voices – A Symphonic Journey Jon Kimura Parker (oddly still featuring a photo of Mr. Hadelich). No communication has been initiated to those that purchased Hadelich tickets, in fact, quite the contrary. When the rumor came out weeks ago that Hadelich was being replaced, I reached out to both the Majestic and the SAP for confirmation with zero response from either party to this day. I understand that schedules can change, but transparency and honesty is key here, and the SAP seems to have no interest in either.
Given this organizations ongoing financial woes, Mr. Parker, is likely waiving his fee (as he has done when he previously performed with this ensemble in between SAS and the current formation) to help with their bottom line.
Update:
The oboes are weak.
The flutes are weak.
Kahane is weak.
Ticket sales are weak.
The choir is weak.
It’s going to be the weakest Beethoven within 1000 miles and the least profitable by far.
In the morning we will learn if there is a shell or if in fact, management ripped off the donors as was reported.
I don’t think all of us will get paid but we will see. Maybe they conned some donors out of enough money to make another payroll. It is not sustainable though and will sound terrible. I’m too embarrassed to give my free ticket to anybody.
So are you glad ticket sales were weak because you’re embarrassed and you want the group to bankrupt? Or you’re upset that sales were weak? At least get your story straight…
From what I hear, the main issues this week were the lack of AC (high 80’s here last week) and safe drinking water in Scottish Rite, not to mention the ever-looming lawsuits against the principal horn and donors. As far as the quality of the performance, it was good by many standards and the crowd on Saturday was uproarious in their applause. The Mastersingers aren’t getting paid and are totally disconnected from this mess, so you’re gripe is clearly not limited to woodwind subs or the music director. Maybe the SATX arts economy is forcing a long-overdue downscale of this orchestra’s ego, and musicians like “It’s Just Awful” should start taking auditions elsewhere to satisfy their world-class artistic needs.
How cute. They are still pretending this is a viable enterprise after the disastrous fiasco this weekend past. It sounded horrible and they couldn’t give away the tickets. Kahane is good at the piano. I’ll give you that. Why he is ruining his legacy over Treviño is beyond me. Not my problem though.
I think Kahane may not be an honest person. The Brahms Double Concerto has been canceled as has the Hadelich concert. That’s just days after he said there would be no more canceled concerts.
I FINALLY got official notification about Hadelich, but haven’t seen anything about Brahms being cancelled as well (or as they like to word it, “postponed”). There has to be recourse to get a refund on my season tickets at this point.
San Antonio Philharmonic Delivers a Majestic All Beethoven Program
Last weekend’s San Antonio Philharmonic concerts featured two monumental works of Beethoven which took place in the Majestic Theater in San Antonio.
The concerts opened with Beethoven’s Piano Concerto No. 4 in G major, Op. 58. Maestro Jeffrey Kahane served as the soloist, expertly directing the orchestra from the piano. His interpretation was both lyrical and deeply expressive, always maintaining a strong presence over the musicians. In the Allegro moderato, Kahane’s performance stood out for its clarity and elegance. He skillfully highlighted the Baroque style influence in the second movement, Andante con moto, bringing out the duple meter in the strings while presenting the piano solo with an elegant lyricism. The final Rondo was executed with impressive power and energy. Throughout the performance, the ensemble between the piano and orchestra was well synchronized.
These performances of Beethoven’s 9th Symphony portrayed the philosophy of Beethoven. Under Maestro Kahane’s leadership, the strings produced a unified sound throughout the Symphony. The Scherzo movement was executed with rhythmic precision. The third movement was soulful and passionate with forward motion. The last movement was dynamic. The singer soloists were consistently homogeneous with excellent intonation and were backed up by a well trained chorus. Beethoven’s 9th Symphony was performed in honor of the 200th anniversary of its premier in 1824.
Charles Pikler, former principal violist Chicago Symphony Orchestra
Get serious. The choir wasn’t on risers, there was no shell. The sound was atrocious and half the hall was occupied by seat fillers. It was an embarrassment, especially Sunday. They invited no press because they knew it was awful and mercifully there have been no reviews. Maybe we live to underperform another day.
I was asked to attend a rehearsal at the Rite to consider donating to this organization. As a frequent large donor, I was appalled that I was asked to pay for a drink at a cash bar. To make matters worse, I understand that not so much as water was offered to the musicians. This is amateur hour stuff here. I’m out.
I hope Trump raids the Phil offices.