Tim Smith admits that there was “a certain air of propaganda” about the Iraqi National Symphony’s Washington debut, but he says that the music-making won out in the end. “The considerable variance in technical ability among the Iraqi players, who range in age from 23 to 72, was unmistakable, but so was the commitment and energy behind the notes… As the music gently unfolded, it was impossible not to think of all those, Iraqi and American, who have died – and will continue to die – in this conflict. But the evening was most about the future, the promise of what a reinvigorated cultural life could bring to a country that has seen so much pain.”
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Even San Francisco’s In The Red
During the various orchestral crises of the last few years, the San Francisco Symphony has been a shining example of fiscal and artistic balance, having planned for an economic downturn which few others saw coming, and having posted surpluses as other orchestras ran deficits in the millions. But even the SFS isn’t immune to a 4-year economic slump, and this week, it announced a small deficit of $135,945 on a budget of more than $50 million. Most American orchestras would be overjoyed to run so slightly in the red (or to have a budget that even approaches $50 million,) and San Francisco executives say they aren’t overly concerned about it.
Should America Get To Control The Internet?
Many Americans probably aren’t aware that their country controls the global Internet, and the vast majority of information technologies which make it up. But the rest of the world is well aware of it, and many other countries aren’t happy about it. “Some developing countries, including China, South Africa, India and Brazil, want control out of the hands of a private organization selected by the United States and instead with an intergovernmental group, possibly under the United Nations.”
Robertson To St. Louis
David Robertson, a 45-year-old American who has been among the rising stars of the conducting world in recent years, has been appointed the new music director of the St. Louis Symphony Orchestra, beginning in fall 2005. The SLSO has been without a chief conductor since last April, when Hans Vonk was forced to step down because of severe health problems. The appointment is something of a public relations coup for the orchestra: the SLSO came close to bankruptcy last year before making a good recovery, and Robertson had been on the reported shortlist of nearly every major orchestra searching for a music director over the last few years.
An Authentic Shakespeare Audience, in Manhattan
This week, Lincoln Center Theater’s production of Shakespeare’s Henry IV played to a packed house – of public high school students. Student audiences are rarely a performer’s dream, but this one was apparently quite different. “Certainly they were not the usual Wednesday matinee crowd. They hooted, cheered, hissed and roared with laughter. They were probably closer to an Elizabethan audience at the Globe than anything the actors at the Vivian Beaumont Theater had ever faced. It was, in the language of the theater, a great house.”
NY Phil Musicians Rallying Behind Maazel
When Loren Maazel was appointed music director of the New York Philharmonic in 2001, the press groaned openly that the 70-year-old conductor was too boring, didn’t fit the Phil’s sound well, and would surely be only a stopgap director, given his advanced age. But at a board meeting this week, several Philharmonic musicians were invited to make a presentation, during which they rallied behind Maazel, calling him “brilliant,” and asking that the board not rush to replace him when his contract expires in 2006. The musicians clearly enjoy working with Maazel, but their support also appears to have much to do with the dearth of potential candidates to replace him at the moment.
Clamping A Lid On Iraqi Orchestra Musicians
The Wall Street Journal sends a reporter to meet with members of the Iraqi National Symphony during their visit to Washington DC. A small, but significant problem, though: how to get through the layers of officials to actually meet with any musicians? After a month of futile trying, Ayad Rahim finally gets a few minutes with three musicians, but nothing substantive. So much for “cultural exchange.”
Nutcracker Nation
Jennifer Fisher’s new history of the Nutcracker demonstrates that the piece is no “monolithic artifact. Since its first production, which was choreographed by Marius Petipa and Lev Ivanov in 1892 for the Mariinsky Theater (now home to the Kirov Ballet and Opera), it has become a theme to be riffed upon as much as a masterpiece to be preserved. Fisher believes that when it ” immigrated ” to this side of the Atlantic in the 20th century, it began a versatile career as a conduit for psychological, artistic, ethnic, and community aspirations as diverse as North America itself.”
The Shaw Festival’s Disastrous Season At The Box Office
Ontario’s Shaw Festival saw revenues and attendance plunge this season. “Total attendance at the Niagara-on-the-Lake theatre festival in 2003 was 269,407, compared with 315,477 in 2002 and 331,001 in 2001. Revenues from theatre operations slumped to $13.2 million, compared with $16.9 million in 2002. No one was available last night to comment on how deeply the festival will be in the red. One previous estimate in the Star put the total at about $2 million.”
Page: Remaking The Scottish Ballet
When Ashley Page was asked to take over the Scottish Ballet, his demands were uncompromising: “His bottom line was that he had no interest in running a cut-price Kirov or Royal Ballet. He envisioned Scottish Ballet as a small, flexible ensemble capable of performing modern dance and contemporary classical works. He wanted to be able to stage the neoclassical masterworks of Balanchine at one extreme and the austerely postmodernist choreo-graphy of Trisha Brown at the other. To drive this vision, however, Page insisted he would need a larger budget and “a major clearout of the existing dancers”.