HOW TO SELL A NEW OPERA

“The puzzle of how to produce a new opera that will not tank at the box office, and that may even last as long as a Volvo (to borrow a phrase from Leonard Cohen), has become a minor fixation of opera companies all over North America, including the San Francisco Opera, which on Saturday raised the curtain on an adaptation of ‘Dead Man Walking’. In many ways, the opera is a textbook example of current received wisdom on how to introduce new work into the deeply conservative opera world.” – The Globe and Mail (Canada)

DEAD OPERA, BALKING

San Francisco Opera premiered its new opera “Dead Man Walking” this weekend. “There is nothing musically offensive about ‘Dead Man Walking’, but to paraphrase Gertrude Stein, there’s not much there there. The aesthetics of ingratiation take an artist only so far, and this is subject matter with far greater needs.” – New York Times

“An opera by a composer of great musical heart.”  – Boston Herald
“A crowd pleaser created by artists who are also crowd pleasers in all that they do.”  – Los Angeles Times
“We feel worse when we leave “Dead Man” because misery has been hammered home with music, and a point is made, unmusically.” – Orange County Register
Musically, Heggie’s ‘Dead Man Walking’ is an impressive piece of work. Morally, it’s a washout. – Washington Post

THE CULT OF KEITH JARRETT

Keith Jarrett has returned to the concert hall after a debilitating illness. “Jarrett, fortunately, is not in that twilight zone, and there is no smell of death in what he is doing. Even so, his recent frailty has intensified his appeal to his followers, a kind of worshippers-come-nigh charisma that has gilded any shortcomings in his own performing.” – New Statesman

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

SENTENCED TO PERFORM TOGETHER

The Audubon String Quartet has played together for 26 years. But a dispute among the members that started last February got out of hand and when three of the players tried to fire the fourth, he went to court and got a restraining order. Now the quartet plays under court order to remain together. “The judge can’t make them like one another, or speak to each other. For now, though, he can sentence them to make creative harmony, until further notice.” – The Guardian