Here are a couple of responses to my latest blog, mulling Esa-Pekka Salonen’s resignation as music director of the San Francisco Symphony: --From a major European artists’ manager of long experience: “Over a period of decades, I have witnessed a progressive decline in the quality of leadership in the music business. Cultural institutions today prefer to attribute failure to … [Read more...] about Mulling Salonen’s Resignation — Take Three: Harvey Lichtenstein and BAM
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Mulling Salonen’s Resignation — Take Two
In response to the resignation of Esa-Pekka Salonen, the San Franciso Symphony has now issued a statement denying disagreement over artistic goals – Salonen’s cited reason for quitting. Rather, according to the board, cutbacks in Salonen’s distinctive programing initiatives were mandated “solely by a lack of immediate financial resources.” Mulling Salonen’s resignation in … [Read more...] about Mulling Salonen’s Resignation — Take Two
What’s an Orchestra For? — Mulling Esa-Pekka Salonen’s Resignation from the San Francisco Symphony
The resignation of Esa-Pekka Salonen as Music Director of the San Francisco Symphony is dominating classical-music news because Salonen made no secret why he quit: a falling out with the board over his elaborate artistic plans and their cost. I have no first-hand knowledge of any of this. What I do know is that Salonen is not merely a conductor; rather, he is – a rare species … [Read more...] about What’s an Orchestra For? — Mulling Esa-Pekka Salonen’s Resignation from the San Francisco Symphony
Making Alma Mahler “actually seem like a real person”
When I embarked on my novel The Marriage: The Mahlers in New York, I felt I possessed a pretty good understanding of Gustav, and none at all of Alma. Nor are the various biographical treatments of Alma adequate – she escapes portraiture, and the basis of her legendary allure remains inscrutable. My only way forward was to endeavor to experience Mahler’s glamorous … [Read more...] about Making Alma Mahler “actually seem like a real person”
What If Porgy Happens to be White? — Celebrating the Art of Lawrence Tibbett
George Gershwin chose Lawrence Tibbett to make the first recordings of Porgy’s songs from his opera Porgy and Bess. But Tibbett did not sing them at the Alvin Theatre – Todd Duncan (called by Gershwin “the Black Tibbett”) did. Gershwin wanted a Black Porgy onstage, and Tibbett was white. He was also the supreme American operatic baritone of his (or any other) … [Read more...] about What If Porgy Happens to be White? — Celebrating the Art of Lawrence Tibbett