Vienna State Opera Boss Defends Himself Following Conductor Walkouts

Early this month Franz Welser-Möst suddenly (but discreetly) quit as the house’s principal conductor; eleven days later, Bertrand de Billy angrily resigned, hurling accusations at the company’s Intendant, Dominique Meyer. Now Meyer is responding, saying, “We went into the summer season at peace. Now these allegations. I cannot understand where they’ve come from.”

Prominent American Composers Weigh In On Atlanta Symphony Lockout

“We write as a group of American composers in loud support of the Atlanta Symphony Orchestra and its unique and important place in American concert music. We unanimously encourage those involved in its management, board and funders to do whatever necessary to keep this great orchestra vital and thriving. The ASO must not be allowed to degrade, piecemeal, into a second-class entity.”

What Riccardo Muti’s Resignation From Rome Opera Says About The Current State Of Italian Culture

In his resignation letter he declared that he was leaving “with great regret, and after long and tormented reflection”. Responding in a public statement, the theatre’s general manager Carlo Fuortes and the mayor of Rome, Ignazio Marino, said that Muti was “undoubtedly influenced” by “continual protests, internal conflicts and strikes that have lasted months”.

Atlanta Symphony Lockout: Robert Spano Speaks (More Carefully Than Runnicles)

“Our brilliant and creative musicians, who need to be intimately involved in the creation of our path to the future, have been asked to leave the building – and Atlanta is left with a deafening silence. … If the 10th-largest urban economy in America is incapable of sustaining its cultural jewel, what does that signal about our country?”

The Trouble With “The Death Of Klinghoffer” Isn’t Quite What You Think

Justin Davidson: “I don’t believe that this imperfect opera denigrates Jews, incites hatred, endorses libels, or casts collective blame. It doesn’t glorify terrorists or justify their crimes. What it does do is embed a spasm of thuggish violence in a broad historical context, a job that Adams, librettist Alice Goodman, and the original production’s director and all-around inspiration man, Peter Sellars, have fumbled badly.”