WOMEN’S WORK

Women are still a rare site behind the conductor’s podium, and Italian conductor Elisabetta Maschio is acutely aware of the prejudice. “A woman conductor is still a new idea in my country as well as in all of Europe. Every time I stand on the podium, I can feel people giving me a curious look behind my back.” – Korea Times

THE LINES BETWEEN JAZZ AND CLASSICAL…

Pianist Uri Caine is rewriting Bach (Mahler and Schumann too) and has some ideas about connecting jazz and classical music. “The success of a project like this depends on Caine demonstrating to the classical players that improvisation is not desecration; and convincing the jazz players that Bach’s discipline still allows them room to manoeuvre. ‘If the musicians are open to it, it works’.” – The Independent (UK)

I WRITE THE CHECKS…

Alberto Vilar has become the Daddy Warbucks of the music world. In the past few seasons he has given some $150 million for projects he likes. “Mr. Vilar has not been shy about demanding displays of gratitude commensurate with such gifts. At the Met, for example, an operagoer may now sit in the Vilar Grand Tier or dine at the pricey Vilar Grand Tier Restaurant. As a result, he has become an easy target for critical barbs, particularly in Europe.” – New York Times

I WRITE THE CHECKS…

Alberto Vilar has become the Daddy Warbucks of the music world. In the past few seasons he has given some $150 million for projects he likes. “Mr. Vilar has not been shy about demanding displays of gratitude commensurate with such gifts. At the Met, for example, an operagoer may now sit in the Vilar Grand Tier or dine at the pricey Vilar Grand Tier Restaurant. As a result, he has become an easy target for critical barbs, particularly in Europe.” – New York Times

WHAT’S AN ARTISTIC DIRECTOR TO DO?

Recent productions at London’s National Theatre bring up questions about the role of the artistic director. Trevor Nunn recently spent a lot of time “fine tuning” another director’s production of “Romeo and Juliet.” But critics are beginning to ask – shouldn’t the artistic director be out developing new talent and bringing it into the theatre rather than fixing broken plays? – The Independent (UK)