Why Is Washington’s National Symphony Such An Underachiever?

“When you go to an NSO concert, you never know what you’re going to get. Sometimes, you get very good playing. Other times, you hear unpardonable sloppiness, sections drowning each other out in a soup of sound that you don’t expect from professionals. It’s curious that an orchestra with so much talent is still able and, in some sense even willing, to sound like such a mess. There are three places to look for the problem — and its solution.”

What (If Anything) Should Composers Make Of Today’s Music Criticism?

“The unprecedented accessibility and apparent indelibility of reviews on the internet necessitate, I believe, a change in the way they are written and read. Foremost in my mind here are not the tender sensibilities of composers or even the damage a gratuitously negative review can do to a career, but rather the integrity and relevance of music criticism itself.”

Philadelphia Orchestra Contract Talks Break Down (Though There May Be Some Progress)

“All-night negotiations over a new contract for musicians of the Philadelphia Orchestra ended Thursday morning after the session failed to produce a tentative agreement. Concerts will continue uninterrupted as negotiators ponder their next moves. … While no agreement was reached, some parameters of a deal appeared to be falling into place.”

‘It’s Long Past Time’ For James Levine To Retire From Met Opera, Says New York Times Classical Editor

Zachary Woolfe: “It’s time – long past time – for Mr. Levine to make a transition to an emeritus role. Maybe then, with a fresh perspective to set alongside that of Peter Gelb, the Met’s general manager, the company can reverse the ‘artistic retrenchment’ that Alex Ross rightly observes this season.”

Streaming And Classical Music – Even More Dangers Than For Pop?

“However, whilst metadata and audio quality have been the burning issues for classical journalists and listeners, it’s the economics of streaming that has been alarming certain independent specialist classical record companies. In fact, as far as they are concerned, streaming poses unique and far greater problems for the classical industry than it does for the pop world.”