This morning, Anne Midgette posted about the PR success of the Chicago Symphony’s Riccardo Muti music director launch versus the seeming PR failure of the National Symphony Orchestra’s Christoph Eschenbach music director launch on her blog, The Classical Beat. She points out that while both men have comparable careers (despite Muti’s perhaps more current trendiness), not even an Associated Press writer was sent to review Eschenbach’s first performance in D.C., and the Kennedy Center’s season launch for him was business as usual.
Riccardo Muti starts as music director of the Chicago Symphony, and the classical music press congregates in Chicago.
Christoph Eschenbach starts as music director of the National Symphony
Orchestra, and I don’t see a single out-of-town journalist at either
the season-opening gala or the start of the regular season — unless
you count Tim Smith, of the Baltimore Sun, as “out-of-town.” Even the local coverage seems relatively scanty. DC Arts Beat also reviewed the opening gala, and Charles Downey reviewed the regular-season opener on DCist, and Tom Huizenga of NPR also wrote about it. (There was a big advance piece in Washington City Paper,
but I haven’t seen a review.) No reviews from the Examiner; the
Washington Times; TBD.com? No entries on other local blogs? Where’s the
buzz, the conversation, the interest?
She continues:
Why can’t the National Symphony Orchestra, with the whole power of the
Kennedy Center behind it, attract more attention for one of the biggest
events in its history? Eschenbach is introducing some fine new ideas
during his first weeks here: live music as part of post-concert
discussions, a free concert at the Millennium Stage with him, the
violinist Christian Tetzlaff, and NSO musicians on October 8. But I
find it surprising that nobody at the Kennedy Center came up with a new
way to kick off the tenure of their new music director: rather, it was
the same gala and regular-season opener they do every year.
What makes for a good music director publicity campaign? Is it possible that while music director may be the perfect or near-perfect fit for the orchestra, he or she (…”she”…laugh/sob) may not be particularly newsworthy, charismatic, or personally interesting? And, when music director designates are announced years in the future, how does an orchestra keep the initial buzz going and the national press interested? Should the orchestra politely decline interviews until the launch (Dudamel style) to build anticipation and demand, or should they slowly introduce the designate to their community and familiarize the press his or her (I’ll just keep saying “her” to be hilarious) story and style?
Meanwhile, it was announced yesterday that Riccardo Muti is already canceling concerts. This means even more press for Chicago, but not the kind you want. Ah well: life things happen.
Maybe it is because Eschenbach is old news. He was fired by Philadelphia (OK, not renewed), and the news is new conductors who are younger than their audiences.
Alas, Eschenbach, while a very good conductor, lacks charisma (despite the fact that his magnificently shaped dome recalls Mitropoulos’s). His music-director history reflects this. Houston? Orchestre de Paris? Philadelphia? He was even dropped by his long-term record label, decades ago, when he declared his future “lebensbahn” would be on the podium, not the keyboard. A pity, really.
Eschenbach turned down a contract extension at Philadelphia Orchestra. They offered him 3 more years. The relationship grew better at the end. Lacks charisma??? I know no other conductor that works in America regularly with half his charisma! Houston, Orch de Paris, Philly?? All damn good orchestras for one of the most thoughtful, intellectual, dynamic conductors of the world today. Not standard, yes, and thankfully not!