Category: music

“It was clear from the start that musicians would need to contribute movement ideas because the musicians knew what their bodies were capable of doing while playing their instruments, and our goal was to create movement that was as natural and uncontrived as possible.”

“[Ian] Campbell’s original 2006 employment agreement said he would receive his annual salary through 2017, even if the opera shut down. KPBS obtained a signed copy of an amendment to that employment agreement, dated June 26, 2010, stating that after 2013 the board could terminate Campbell’s contract with 30 days’ notice.”

“His plan was to bring four Salzburg productions to La Scala over the next three seasons, up to 2017, with further collaborations in the future … Pereira’s La Scala predecessor Stéphane Lissner did exactly the same: he put on four productions from Salzburg in his last four seasons. And by buying in shows from Salzburg, Pereira would have been saving La Scala money.”

Charles McNulty writes of the soprano’s performance in André Previn’s operatic adaptation of the Tennessee Williams play, “Fleming is quite simply the best Blanche I’ve seen since Elizabeth Marvel brutally assayed the role in Ivo van Hove’s brilliant deconstruction at New York Theater Workshop in 1999.”

Kevin Smith, who in 25 years at the helm of Minnesota Opera expanded its season, doubled attendance and sextupled the budget, will become the orchestra’s interim CEO as of Sept. 1. Dianne Brennan, who served for 16 years as the Guthrie Theater’s development director, will be the orchestra’s new Vice President for Advancement.

“The 320-page score was presumed lost after its premiere in St Petersburg in 1908, until it was discovered in a private collection in 2004. It is thought to be the only surviving handwritten manuscript of the symphony in existence.”

“When the researchers totaled up the results, there was no evidence the players could reliably pick old from new. And when players were asked to pick their favorite instrument, the winner was a modern, freshly made violin.”

“Mentioning a singer’s looks may be relevant in some cases, but dismissing a strong vocal performance as a ‘problem’ because of those looks seems to me singularly clueless. Opera’s history has been full of the physiques that gave birth to the fat-lady cliché. To suddenly act as though credible looks represented the ultimate criterion of a successful performance is at the very least confusing.”

Anne Midgette: “As the discussion [about critics’ unkind comments about a mezzo’s appearance onstage] continues to rage online, and the glee of the critic-bashers mounts, I feel the need to make three more points” about larger issues involved.

“They have advanced degrees, even doctorates, from major universities and conservatories. They can put together interesting programs, master difficult scores and rehearse efficiently. They can talk to audiences and schmooze donors. Smartly coiffed and dressed, they look good on TV, posters and season brochures. But can they conduct an interesting phrase?”