Why Did Hollywood Make Classical Music The Theme Music Of The Bad Guys?

For Hollywood, classical music has become the trademark of villains. On screen, orchestral melodies accompany the meditations of mad geniuses and pouting serial killers. Norman Bates practices the Moonlight sonata in Psycho II. Sociopath Lou Ford relaxes to Richard Strauss throughout The Killer Inside Me. Alex Forrest, in Fatal Attraction, plots her revenge while listening to Madama Butterfly. – American Scholar

Riccardo Muti Intervenes On Musicians’ Side In Chicago Symphony Contract Talks

The CSO music director said, in a letter to the board of directors, “I hope that the board will remember that theirs is not a job but a mission, and that tranquility and serenity will be given for the artists to do their work.” The musicians have voted to go on strike if agreement on a contract is not reached by March 10 (i.e., by the end of this Sunday’s matinee concert). – Chicago Sun-Times

Michael Tilson Thomas And The Vienna Philharmonic — Weird Mismatch Or Genius Combo?

Orchestral music’s Mr. Maverick and the very avatar of Austro-German symphonic tradition are touring together, playing Mahler (on which they each have longstanding opinions and practices) and Charles Ives (which MTT says the Viennese players are really picking up). David Patrick Stearns talks with the conductor about how he and the Philharmoniker are getting on. – WQXR (New York City)

La Scala Under Fire For Putting Saudi Culture Minister On Board Of Directors

“Alexander Pereira, the Austrian chief executive and artistic director credited with bringing in more sponsors and creating a healthier balance sheet since his appointment in 2014, said the new board member” — Prince Badr bin Abdullah bin Mohammed bin Farhan Al Saud — “would bring in an additional €15m (£12.8m) over the next five years.” Saudi Arabia is, of course, in bad odor among many in the Western arts world, despite the Kingdom’s efforts to use culture to improve its image. – The Guardian

Too Distracting? English National Opera To Cut Back On Supertitles

The opera company said the move had been prompted by a desire to “give audiences even more choice in the new season”, which will be announced in April. “This confirms ENO’s commitment to singing English, and allows those who find the use of surtitles distracting an opportunity to see an opera without their use,” chief executive Stuart Murphy said. – The Stage