Category: music

“I think the common denominator through these 200 years is the people of Boston — these businesspeople, musicians, the visionaries who really kept it afloat. If you think that it never stopped performing during the two great wars, the Civil War, the Depression . . . this organization has always kept going.”

“When surveyed about their activities in the past year, 75% of respondents said they actively chose to listen to music, even ahead of watching television at 73%.”

“The orchestra and chorus were preparing to perform Johannes Brahms’ Requiem just after intermission when two audience members in the middle aisle on the main floor began singing an old civil rights tune, “Which Side are You on?” They soon were joined, in harmony, by other protesters, who stood at seats in various locations on the main floor and in the balcony.”

Dudamel “and the film’s director, Alberto Arvelo, go way back to their days growing up in Venezuela, and that’s where they first developed an appreciation for the film’s central character.”

About 50 people sang and unfurled banners during intermission at a St. Louis Symphony performance. A symphony spokesperson “said everyone involved had apparently purchased a ticket. Ebsworth-Goold added that she wished the demonstrators would have stayed to see the rest of the performance.”

“Let me tell you, classical music is some intense shit.”

After a false start last week, both musicians and management confirm that Allison Beck, who helped end the impasse in the Metropolitan Opera contract talks, will lead the effort to end the lockout and settle terms of a new labor agreement.

“Right now the feeling of the symphony board is frustration and anger and sadness. The ASO board no longer seems to have any power. WAC [Woodruff Arts Center] is calling all the shots. … They have gradually taken over all authority for running the symphony.”

Douglas Hertz on musicians’ criticisms: “It makes you wonder, you know, are we supporting a bunch of crazy people.” On music director Robert Spano: “Maybe Robert’s feeling a little bit guilty because he’s getting paid and the musicians aren’t. But he could be a big help in solving this.” On the Atlanta community: “The sad part of it is … there are not enough people that care. If the public cared maybe we wouldn’t be in this situation.”

“With a mature organization like the San Francisco Opera, a CEO should stay 10 years,” he said. “The energy and creativity kind of gets squeezed out, and then the way opens up for new energy and new vision. This will be a positive thing for the company, and will put the onus on the company to get somebody great to succeed me.”