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MUSICAL
CHAIRS - Orchestra Music Directors
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New York
Philharmonic
Boston Symphony
Royal Opera House
London Philharmonic
Pittsburgh Symphony
Philadelphia Orchestra
General Interest
New
York Philharmonic
- POWER-SHARING:
Lorin Maazel’s appointment as the new music director at the
New York Philharmonic came with the broad approval of the
orchestra’s players. Such consensus and power-sharing is becoming
increasingly common in the classical music world. "The
shift of power in the orchestra has acquired a label that
borrows from the jargon of grass-roots organizing: musician
empowerment."
New
York Times 2/06/01
(one-time registration
required for access)
- THE
MAESTRO SPEAKS: Meeting with the New York press for the
first time since his appointment to the helm of the NY Phil,
Lorin Maazel was pleasant, spoke no ill of the critics who
have labelled his selection "appalling," and announced
his intention to rally Big Apple audiences to the side
of new music.
New
York Post 02/06/01
- A
CURIOUS CHOICE? Lorin
Maazel has been widely despised by the musicians of orchestras
he has led. And he's old. So why did the New York Philharmonic
settle on naming him the orchestra's new music director? "Some
critics will contend that only a man of Mr. Maazel’s experience
would be able to keep a firm grip on the Philharmonic. There
really isn’t anybody else out there. The idea of young conductors
at the Philharmonic is absurd. These people don’t have the
experience; the Philharmonic is not an easy orchestra."
New
York Observer 01/30/01
- WE
REMEMBER HIM WELL: So Maazel's old. So he doesn't play
well with others. Three decades ago he put his stamp on the
Cleveland Orchestra and you can still hear traces of his influence
today, says a Cleveland critic.
Cleveland
Plain Dealer, 01/31/01
- STICK
TO CONDUCTING? Conductor Lorin Maazel picks up his violin
for a concert in London. How'd it go? "He was almost
boring. As the movement wore on, the 'almost' vanished. He
was boring. He even looked it: feet and body scarcely moving,
violin held stiffly beneath that leonine head. Even with Yefim
Bronfman’s magic fingers, so alert to the piano part’s textures
and counter rhythms, the music’s song was sinking fast. Then
in the adagio it disappeared, drowned under the maestro’s
lugubrious, uninflected line." The
Times (London) 01/31/01
- MAAZEL'S
MONOTONY: Maazel does have
credentials. "Should Philadelphia [which recently named
Christoph Eschenbach its music director] be envious? Not on
any level. Might it be fair to say that it's a bad week for
New York, which lost the Super Bowl on Sunday and gained Lorin
Maazel on Monday?" Philadelphia
Inquirer 01/31/01
- BUYING
AMERICAN? Lorin Maazel is the first American composer
since Leonard Bernstein to be in charge of the New York Philharmonic.
But the 70-year-old Maazel has spent much of his career in
Europe, and some insist his style is more European than American.
The New York Times 01/31/01 (one-time
registration required for access)
- SO
MUCH FOR ALL THOSE DENIALS...
Two weeks ago the New York Philharmonic vehemently denied
Tim Page's Washington Post story that the orchestra would
hire Lorin Maazel as its next music director. Yesterday the
Phil officially ended its three-year search and tabbed Maazel
as Kurt Masur’s replacement, effective late next year. Washington
Post 01/30/01
- SOLID
CHOICE:
"Although critics have differed on whether he possesses
qualities like warmth and communicativeness, there is no doubting
his command of the central repertory with which the Philharmonic's
audiences are most comfortable." New
York Times 1/30/01
(one-time registration required
for access)
- THE
WRONG AGE? Is Lorin Maazel the right conductor at the
wrong age to be the NY Philharmonic's new music director?
"The Philharmonic's board know that the time has come
for a fresh start, for someone who can reach new audiences
and broaden the orchestra's repertory, especially in contemporary
music. Mr. Maazel is 70, a traditionalist with an imperious
manner that seeps into his music making. Does he represent
the change the Philharmonic has been saying it wants?"
The New York Times 01/29/01 (one-time
registration required for access)
- SOUNDS
LIKE A DEAL So does Lorin Maazel have the job as the next
music director of the New York Philharmonic? Says Maazel:
"The problem with saying no comment is that no comment
is a comment in itself. I really have nothing I can say, other
than I had not conducted the orchestra for a quarter of a
century and I was very impressed, both by the quality of the
orchestra and the whole atmosphere. I really enjoyed it. Whoever
becomes music director will have a very wonderful orchestra."
The Guardian (London) 01/26/01
- PONDERING
A MAAZEL NY PHIL: There has been a bias on the part of
American orchestras against American conductors. Maybe a Lorin
Maazel appointment to head the New York Philharmonic will
be a wakeup? The job is likely only to be interim given Maazel's
age (70). Chicago Tribune 01/21/01
- MAAZEL
IN NEW YORK: The fever of speculation this week about
whether Lorin Maazel would be appointed music director of
the New York Philharmonic is accompanied by an interesting
coincidence. Maazel was scheduled for two concerts in the
Big Apple - conducting the Israel Philharmonic and playing
violin in a Brahms concert. So how'd he do? New
York Times 01/18/01 (one-time
registration required for access)
- STILL
A WAY'S OFF: So this week's Washington Post story saying
Maazel would be offered the NY Phil job is being denied by
the orchestra. But when would a music director be named? Orchestra
manager Zarin Mehta said there might not be an announcement
for "weeks or even months." Washington
Post 01/18/01
- DENYING
THE MAAZEL STORY:
The Washington Post reported that Lorin Maazel will be named
music director of the New York Philharmonic. But is it true?
The Philharmonic denies it. Backing off yesterday’s announcement
that Lorin Maazel will succeed Kurt Masur, the New York Philharmonic
publicly stated today that no decision has yet been made and
the search for a music director remains open. "It's absolutely
not the case. No one is close to being selected."
New
York Times 1/17/01
(one-time
registration required for access)
- NY
PHIL TO NAME MAAZEL: After an arduous three-year search,
the NY Philharmonic is set to name Lorin Maazel as its new
music director. "Details of the three-year arrangement
were still under discussion. Because Maazel is one of the
busiest - and highest-paid - guest conductors in the world,
it is likely that he will be available only for a limited
time for at least his first season and possibly through his
entire tenure." Washington
Post 01/16/01
- A
LITTLE APPRECIATION
As Kurt Masur nears the end of his tenure as music director
of the New York Philharmonic, the orchestra has announced
its upcoming season will be devoted largely to celebrating
his 11 years at the podium. The schedule includes the release
of a CD set drawn from his live broadcast performances; a
retrospective book; and a three-week season finale, which
the orchestra is calling "Thank You, Kurt Masur."
New
York Times 01/05/01
(one-time registration required
for access)
-
NEW
YORK PHIL HELD HOSTAGE - DAY 486: The New York Philhamonic
search for a new music director drags on - indeed, the orchestra
seems further away from making a decision than it was a
few months ago. "I think everybody would like to get
the thing over and done with. But at the same time there
is a very strong sense that we have to do it right. And
there are different ideas of what `doing it right' is."
New York Times 12/27/00 (one-time
registration required for access)
-
THE
BEAUTY PAGEANT CONTINUES:
Continuing the recent public auditions for the next music
director of the New York Philharmonic, Christophe Eschenbach
stepped in for the ailing Kurt Masur this week. How'd he
do? New
York Times 11/11/00 (one-time
registration required for entry)
-
THE
NY PHIL SWEEPSTAKES: The name-the-next-New-York-Philharmonic-music-director
game continues. Peter
G. Davis takes a look at the contenders. "I wouldn't
count out anything in this latest crazy round of musical
chairs. When I left Barenboim's hotel suite, who should
be ushered in, with a hungry look in his eye, but Zarin
Mehta?" New York Magazine
10/02/00
-
THE
STAR ORCHESTRA ADMINISTRATOR: The New York Philharmonic
lost out on its bid to hire Riccardo Muti as its next music
director. But Zarin Mehta, the orchestra's new top executive
has some important orchestra-building of his own he'd like
to accomplish.
The New York Times 09/17/00
(one-time
registration required for entry)
-
WHO
WILL LEAD US: A few months ago there was a lot of hoping
that Riccardo Muti might be persuaded to be the next music
director of the New York Philharmonic. Here's one critic
who's quite glad he didn't get the job.
New
York Times 08/20/00 (one-time
registration required for entry)
Boston
Symphony Orchestra
- OPEN
SELECTION: In the old days, music directors of American
symphony orchestras were chosen amid secrecy and in consultation
with only a select few insiders. No more. "It would be
virtually impossible today for a major orchestra to name a
music director who had not previously appeared as a guest
conductor and survived the evaluating scrutiny of the players."
Boston Globe 02/11/01
- LEVINE
TRYOUT? Now that the orchestras of New York and Philadelphia
have settled on their new music directors, eyes turn to Boston,
where James Levine is rumored to be the top candidate. Levine
conducted in Boston this week in what is being considered
in some quarters as a tryout. Levine got a warm reception...
Boston Globe 02/03/01
- TALKING
THE TALK: Boston Symphony management has been talking
with Levine about the job. "But they said that considering
the range of difficult issues to be resolved, including orchestra
work rule changes sought by Mr. Levine, the talks could continue
through this year or even into 2002." The
New York Times 02/03/01 (one-time
registration required for access)
-
WAITING
FOR LEVINE:
The speculation surrounding the possible appointment of
James Levine to the Boston Symphony Orchestra music directorship
will reach a fever pitch this week when the man himself
comes to town to conduct Mahler's Third. The BSO is far
too venerable and aristocratic to ever be declared "in
crisis," but it has suffered artistically in the last fifteen
years, and many see Levine not just as a replacement for
Seiji Ozawa, but as a potential savior. Boston
Globe, 01/28/01
Royal
Opera House
-
NEW
OPERA HOUSE DIRECTOR CONFIRMED:
Ending weeks of speculation, Tony Hall has been confirmed
as the new executive director of the Royal Opera House.
Hall will leave his position as BBC news director to replace
Michael Kaiser, who left ROH in December to head Washington’s
Kennedy Center. BBC
1/11/01
- PROCEED
WITH CAUTION:
Hall will certainly have his work cut out for him. The Royal
Opera House has gone through five executive directors in as
many years, and the pressures, hurdles, and media scrutiny
are sure to be intense. "The job is the definitive bucket
of warm piss, as Lyndon Johnson once described the post of
American vice-president, and anyone who takes it on can expect
to fail." The
Independent (London) 1/12/01
- WHAT’S
IT WORTH?
Hall’s new salary has already become a matter of great contention,
amid speculation that he negotiated the largest salary in
Britain’s entire subsidized arts sector. "If he has secured
a package close to his BBC salary, it is likely to cause anger
in the arts."
The
Telegraph (London) 1/12/01
- DIVA-PREPAREDNESS
TRAINING?
Is Hall, who’s spent his entire career at BBC News, prepared
for the eccentricities of a performing arts organization?
"In the next few weeks he will have to master ballet
and opera repertory and prominent personalities, remember
the technical names for bits of machinery, and learn how to
deal with artistic temperaments."
The
Telegraph (London) 1/12/01
- PEOPLE’S
OPERA:
Hall has been urged by the ROH Board to "focus on openness
and accessibility," an acknowledgment of the continuing
criticism of the Royal Opera as overpriced and elitist. The
house became the subject of intense political debate over
whether public money - in this case, a $125 million grant
from national lottery profits toward the lavish refurbishment
of its 1858 horseshoe-shaped auditorium - should be spent
on such a project."
New
York Times 1/12/01
(one-time registration required for
access)
-
AN
IMPOSSIBLE JOB: Why would anyone want the job of running
London's Royal Opera House? The place has run through five
directors in as many years. The board is feisty and meddlesome,
and the public isn't so well disposed towards the company.
"What that leaves for the ROH chief executive is little
more than shuffling schedules and making sure the floors
are swept. Most people who want to run an opera house do
so with a view to having some influence on what happens
on stage - inserting a fancied singer here, a favourite
ballet there." The Telegraph
(London) 11/22/00
-
A
COUPLE OF BIG JOBS: Britain's top two opera company
jobs are currently up for grabs. The post of executive director
at the Royal Opera House is giving headhunters fits since
it's such an impossible job. Meanwhile, the top job at smooth-as-silk
Glyndebourne came open this week. The
Guardian (London) 11/10/00
-
SHORTLIST:
The leading candidates to be the Royal Opera House's next
director... The Times (London)
11/07/00
London
Philharmonic
-
PUZZLING
WELCOME: The London Philharmonic held a day-long celebration
to welcome Kurt Masur, the orchestra's new principal conductor.
But the performance roster was a multi-cultural stew that
had virtually nothing to do with Masur's esthetic. "What
on earth is the poor man being welcomed to? An orchestra
or an agenda? A concert series suited to his musical character,
or a musical re-creation of the Millennium Dome?"
Sunday Times (London) 09/24/00
-
TRYOUTS:
Kurt Masur withdraws from two weeks of subscription concerts
with the New York Philharmonic, citing health reasons. No
big deal, but the orchestra's choices to replace him happen
to be two conductors rumored to be in the chase to succeed
Masur as the NYPhil's next music director. New
York Times 09/22/00
(one-time
registration required for entry)
-
KURT
MASUR'S PHILOSOPHY OF MUSIC: Masur directs his first
concert as principal conductor of the London Philharmonic
on Saturday. “Listening to the greatest music is equivalent
to what a Buddhist monk is doing if he meditates for hours,
independent from the surrounding world. I would like to
bring people to a point where they feel that they need to
go to a symphony concert, just as a Christian needs to go
to church."
The Telegraph (London) 09/14/00
-
MAESTRO
VS ORCHESTRA: This weekend Kurt Masur takes up his new
post as principal conductor of the London Philharmonic.
The relationship between the traditionalist maestro and
the experimenting and pragmatic LPO could generate sparks.
Good thing. Perhaps "the bizarre, almost century-long
seclusion of orchestras from the real energies of cultural
life is coming to an end. The orchestra is about to become
interesting, a place of argument and contestation, just
as it was in the Romantic era."
The Times (London) 09/12/00
Other
Pittsburgh
Symphony
-
JANSONS STAYING
PUT: That sigh of relief you hear is from Pittsburgh.
After months of speculation that he would leave the PSO
for a more high-profile job elsewhere, music director Mariss
Jansons has reaffirmed his commitment to the Steel City.
Pittsburgh Post-Gazette 02/13/01
-
JANSONS
TAKES NEW ORCHESTRA: Mariss Jansons, music director
of the Pittsburgh Symphony, and often mentioned as a leading
candidate to take over the New York Philharmonic, has agreed
to become music director of the Bavarian Radio Symphony
Orchestra, one of the top ensembles in the world and currently
led by his Pittsburgh predecessor, Lorin Maazel. The appointment
does not rule him out of the NY Phil job should it be offered.
Pittsburgh Post-Gazette 01/13/01
- A
NY PHIL AUDITION: Pittsburghers love Pittsburgh Symphony
music director Mariss Jansons so much they've been on a letter-writing
campaign to try to convince him to stay, after his name popped
up as a candidate to be the New York Philharmonic's next music
director. This week Jansons conducted the New York Phil, and
everyone was there to check him out. New
York Times 11/02/00
(one-time registration required
for entry)
- A
LITTLE SHOW OF AFFECTION NEVER HURTS: The Pittsburgh Symphony
is alarmed that its music director Mariss Jansons has been
mentioned often as a possible candidate to run the New York
Philharmonic. So the orchestra has contacted orchestra supporters
and asked them to write to Jansons and ask him to remain.
"We believe the Pittsburgh community has to show Mariss
its affection to balance the only reason he'd go to New York,
which is prestige. Artistically, New York is no better than
the PSO." Pittsburgh Post-Gazette
10/19/00
Philadelphia
Orchestra
-
PHILADELPHIA
ORCHESTRA'S NEW MUSIC DIRECTOR: After a long search,
the Philadelphia Orchestra has chosen Christophe Eschenbach
as its new music director. "Mr. Eschenbach, 60, music
director and chief conductor of the NDR Symphony Orchestra
Hamburg since 1998 and music director of the Orchestre de
Paris since September." The
New York Times 01/09/01
(one-time registration required for access)
-
NEW
PHILADELPHIA MUSIC DIRECTOR? There are signs that the
Philadelphia Orchestra's long search for a new music director
might soon be over. Recent contenders? "Many members
of the orchestra would love James Levine to be named. Occasional
guest conductor Christoph Eschenbach is now on the lips
of informed pundits. There's the possibility that Vladimir
Ashkenazy, who will guest conduct later this season, could
be a dark horse. Likewise for Neeme Järvi. Then there are
names discussed in months past, but not lately: Christian
Thielemann and Riccardo Chailly." Philadelphia
Inquirer 10/01/00
General
Interest
-
34
CONDUCTORS FOR ONE: Toronto Symphony music director
Jukka-Pekka Saraste leaves the orchestra at the end of this
season. But the orchestra will not immediately replace him.
Instead, 34 conductors will fill out the 2001/02 season.
The orchestra's director says "it would be wrong for
the symphony to make a quick decision about replacing Saraste."
CBC 02/10/01
-
PLAYING
IT SAFE:
Three
American orchestras are about to inherit new maestros, after
complicated two-year searches for quality leadership. Christoph
Eschenbach goes to Philadelphia; Lorin Maazel may (or may
not) take New York; and James Levine is likely to head to
Boston. Yet, is anyone really enthused about these appointments,
each a relatively "safe" foray into the past rather
than a daring look ahead? "America may have the mightiest
orchestras in the world, but its concert life may soon become
duller than Belgium's."The
Telegraph (London) 1/17/01
-
LOOKING
FOR LEADERS:
Sydney's two largest professional orchestras are embarking
on an international headhunt for new music directors, after
the announcement that John Harding is leaving his post at
the Sydney Symphony Orchestra. The Australian Opera and
Ballet Orchestra has been without a permanent concertmaster
for more than two years. Sydney
Morning Herald 1/16/01
- ST.
PAUL'S NEW DIRECTOR: The St. Paul Chamber Orchestra has
named Andreas Delfs, 41, as its new music director. Delf is
also the music director of the Milwaukee Symphony Orchestra
and will retain that post. New
York Times 10/24/00 (one-time
registration required for entry)
-
HANDICAPPING
THE MUSIC DIRECTOR SWEEPSTAKES: The "Court of Musical
Euphemisms and Factual Economies" is now in session.
Sorting out the twists and turns of choosing music directors
for America's major orchestras is a mysterious game. "For
reasons I have never fathomed, US coverage of serious music
seldom delves below the veneer of stability and tends to
reiterate every last euphemism and half-truth without so
much as a cocked eyebrow. Such complacency nurtures a system
rich in abuses and absurdities."
The Telegraph (London) 10/04/00
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