Denmark May Upend Its Orchestra Ecosystem

Danish culture minister Mette Bock is planning to spin off the national broadcaster’s orchestra, choir and concert hall (possibly to the national opera house) and eliminate the Copenhagen Philharmonic (not the capital’s only orchestra), distributing its musicians and budget among four regional orchestras.

Top Posts From AJBlogs 03.07.17

Essential Gradualism
An occasionally expressed concern about community engagement is that current stakeholders will be driven away by imagined precipitous changes to the organization and/or its offerings. There are a couple of responses to this that … read more
AJBlog: Engaging Matters Published 2017-03-07

Ten Suggestions for Tom Campbell’s Successor at the Met
In December 2008, anticipating the imminent eminence of Thomas Campbell as new head of the country’s premier art museum, I presumptuously posted a to-do list for the director-designate. … read more
AJBlog: CultureGrrl Published 2017-03-07

Other Matters: Losing Robert Osborne
The news of Robert Osborne’s passing was a bad way to start the day. We were friends from the day that our Delta Upsilon fraternity at the University of Washington assigned him … read more
AJBlog: RiffTides Published 2017-03-07

Cello and Kora Epiphany: Sissoko and Segal
The West African kora is iconic all over the continent, so much so that Africa’s international equivalent of the Grammys, held annually in South Africa, is called the Kora Awards. It has taken a while for this remarkable harp to find a way to an appreciative audience in the west, but … read more
AJBlog: OtherWorldly Published 2017-03-07

 

Trish Arnold, 98, Pioneer Of Movement Training For Actors

When she started teaching at LAMDA in 1955, “traditional movement training might have involved elocution, fencing and a bit of traditional dance … Trish’s genius lay in creating a methodology and approach” – which came to be known as Pure Movement – “that worked from impulse (initial mental, emotional and physical responses) and release (letting go of habits of movement), so that actors could adopt the physical signals that help an audience recognise a character on stage or screen.”