Midgette: This Performance At Wolf Trap Should Have Easily Sold Out. Why Didn’t It?

“The people who were there, and there were quite a lot of them, screamed and yelled with whole-hearted appreciation. And there were plenty of younger faces among the picnickers on the lawn. But it was far from a capacity crowd. Fewer people than in the past view the chance to hear a star soloist, rising conductor and orchestra in popular repertoire on a warm summer night as a can’t-miss event.”

Steinway’s Super-Skilled Craftspeople, At Work At The Mothership In Queens

“With Steinway’s blessing, [photographer Christopher] Payne spent time in virtually every corner of the large factory, from the foundry where the iron is poured to the mill where the lumber is cut. And though he came to possess a strong technical understanding of how these elements come together to form precision musical instruments, he said, the transformation never ceased to strike him as an act of magic.”

Oslo’s Opera House In Financial Crisis

“Playing out behind the sleek, elegant lines of Oslo’s Opera House is a financial crisis so dramatic that it prompted Opera management to close the publicly owned building to the public itself last weekend, in order to rent it out for a ‘considerable’ sum for a private wedding. Now that’s stirring additional drama as well.”

It’s Time To Start Performing Operas With Cuts Again, Say David Gockley And Esa-Pekka Salonen (Among Others)

Performing operas with cuts was common practice until the mid-20th century, as performing Shakespeare, for instance, is today. So, the argument goes, returning to the practice now is hardly as heretical as it might seem. “I don’t think we can any longer fail to hear what our audience is saying about length,” says Gockley.