A Growing Nationalism In Harpsichord Playing Is Killing It

I’ve heard leading figures in the harpsichord world give recitals that were played as if someone had died. Personally, I’d rather have dental surgery than hear recitals such as these, but there are those who applaud the fact that “you always know where you stand with them.” Really?! Could you imagine going to bed with someone like that, always knowing where you stand with him? “OK, see you same time, same place next year!”

English National Opera ‘Would Not Survive’ Without Musicals, Says Producer Who Does Musicals There

Michael Linnit, who co-produces the musicals presented at the Coliseum, ENO’s home theatre (and London’s largest), said the company “only produces its opera six months of the year, so we facilitate those six months by taking in musicals, producing a lot of money for it. … It [ENO] would not survive without the additional rental weeks.”

Short-Attention-Span Music?

“Online streaming services offer countless choices, so there’s no reason to stick with a song that doesn’t grab you right off the bat. And many people don’t: Research from 2014 found Spotify subscribers skip about one-third of sampled songs after a mere 20 seconds. But perhaps more interesting is the notion that this new reality is changing the way music is written and recorded.”

Exit Interview: Brent Assink On Leaving The San Francisco Symphony

The absolute number of total attendance at the symphony has dropped about 10 percent during Assink’s tenure. In effect, more individuals are coming, but less often. The good news is that the average age is dropping. What’s also changed are donor profiles and giving patterns, particularly in the last two years. The amount per donor has increased slightly and there is a new culture among donors, which is increasingly tied to Silicon Valley — as Assink put it, “with everything that that means.”