Bucking The Regional Orchestra Trend

Symphony Silicon Valley, which rose from the ashes of the bankrupt San Jose Symphony five years ago, has announced the second expansion of its schedule in as many seasons. “Bouncing off a $118,000 operating surplus last year, the orchestra has announced that its 2007-08 season will be larger than any of its first five, with eight programs stretching over 20 concerts.”

St. Louis Symhony Prez Quitting

The president of the St. Louis Symphony has announced that he will step down at the end of the current season. In his time with the SLSO, Randy Adams has been credited with turning around the orchestra’s financial fortunes, but he also presided over a long musicians’ strike in 2005. “Adams said he decided to leave now because he wants his successor in place before the orchestra deals with a number of tough challenges.”

Was Pianist’s Plagiarism Mozart Requiem Syndrome?

David Patrick Stearns ponders the puzzling musical-recording plagiarism case of the late British pianist Joyce Hatto. “Ultimately, one asks not just how this happened, but why. There’s no mercantile motivation: Self-published and available mostly through British Web sites … the recordings can’t have sold more than a thousand copies of each title. The amount of money involved is hardly worth a trip to small claims court.”

At Paris Opera, Darkness Falls And Show Goes On

“The revival of Halevy’s ‘La Juive’ at the Paris Opera, after an absence of 73 years, started with a bewildering opening night. The stage was shrouded in various degrees of darkness. At the end, director Pierre Audi and his team didn’t appear at the curtain calls. This was not an artistic choice. … We were witnessing a strike of the lighting technicians.”

Opera Orchestra Of New York Endangered

It’s lack of money, of course. The organization might have to reduce its schedule next season. Director Eve Queler said “the board was trying to cover a gap of about $250,000 on a budget of $1.4 million. ” ‘Our ticket sales have slipped. I am very, very concerned about this.’ Ms. Queler said her audience was aging, with younger potential operagoers more captivated by visual and dramatic elements, things that are hard to come by in her unstaged versions.”