With Viotti, MRO Looks Back

November 19th, 2015

By ANDREW POWELL Published: November 19, 2015 MUNICH — Eleven years ago the late Marcello Viotti quit as chief conductor of the Münchner Rundfunk-Orchester because he foresaw existential cuts in its budget. Happily the MRO survived, and today thrives. Tasked with exploring rare repertory, it is artistically the livelier of BR’s two orchestras, forcibly more […]

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International Touring: A Report From The Front Lines

November 19th, 2015

By Brian Taylor Goldstein, Esq. As the U.S. Legal Advisor to the International Artist Managers’ Association (IAMA), I’ve been asked to prepare an update on a variety of current issues involving international touring at the next membership meeting in London on November 27, 2015. Not only do I adore IAMA, but as this would provide […]

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Those Incredible Shrinking Budgets!

November 12th, 2015

By: Frank Cadenhead Since 2008, the world economies have been flat. Governments have managed to maintain the appearance of “business as usual” but world-wide graphs of economic activity have been just plugging along without any noticeable uptick. What this means is that every town, region and country in the Western world have been struggling to […]

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November 10th, 2015

By James Conlon I can barely remember a time when I didn’t know Dick Horowitz. The Metropolitan Opera’s Principal Timpanist first joined the orchestra in 1946 and retired only three years ago, in 2012. Those sixty-six years are a record: the longest-serving musician in the history of the Met’s orchestra. It has been estimated that […]

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Mark Morris’s Pleasant Ballet for ABT

November 9th, 2015

Mark Morris’s After You, a new commission from American Ballet Theatre, is textbook pleasant and thus a convenient opener for a company wishing to present a thirty-minute ensemble work. Performed by 12 dancers and set to a composition by Johann Hummel (Septet in C-major, Op.114 “The Military”), the ballet’s title, After You, refers to what is said when two people nearly collide. One person gives permission for the other to take the lead. Thus the ballet, seen October 27 at the former New York State Theater, evokes an abnormally civilized world of dance—especially for Morris, who has been celebrated for making ballets to classical music that dabble in physicalized human faux pas

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Simone Dinnerstein: Own Your Recordings (Licensing)

November 5th, 2015

Pianist Simone Dinnerstein has enjoyed great recording successes; her estimable career was launched by her recording of Bach’s Goldberg Variations. Here, Simone talks with Noted Endeavors founders Eugenia Zukerman and Emily Ondracek-Peterson about the importance of artists owning their own masters and the process of licensing recordings. American pianist Simone Dinnerstein is a searching and […]

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Nico Muhly: Depression and Mental Health in Classical Music

October 31st, 2015

Star composer Nico Muhly has blogged about his struggles with depression. Here, Nico talks with Noted Endeavors founders Eugenia Zukerman and Emily Ondracek-Peterson about mental health issues in classical music. Nico advocates for a destigmatization of depression and mental illnesses (and their treatments) and a divorce of mental illness from analysis. Nico Muhly (b. 1981) […]

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Press “Pause” On That Recording

October 29th, 2015

By Brian Taylor Goldstein, Esq.    Dear Law and Disorder In reviewing an engagement contract for one of my artists, I was surprised to see that the presenter wants the right to record the artist’s performance as a “work-for-hire”. The Presenter says that this is a standard requirement and also that its reasonable because my […]

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Basil Twist Camps History in Sisters Follies

October 19th, 2015

Basil Twist’s “Sister’s Follies: Between Two Worlds,” commissioned for the 100th anniversary of the Abrons Playhouse, is a testament to how camp can save performance history from oblivion. Dance and theater works of yore are notoriously difficult to stage because they often look hopelessly old fashioned. But in “Sisters’ Follies,” Twist—a newly minted MacArthur Genius and a third generation puppeteer—casts Joey Arias, the celebrated drag queen chanteuse, and Julie Atlas Muz, the burlesque performance artist, to play the titular sisters: Alice and Irene Lewisohn, who founded the Playhouse in 1915. Muz and Arias are stars of satire, but they aren’t real-life divas (like the Lewisohn sister were). Under Twist’s direction, Muz and Arias often flip and dangle from wires, which divas don’t do. They prance and preen, belt and belittle each other in the jewel-box size theater, which is made spectacular through the efforts of 11 behind the scenes performers, who manipulate large and small puppets in costumes that range from camels to biblical figures. The Lewisohn’s Playhouse becomes Twist’s camp marionette theater.

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Opera Rapprochement?

October 18th, 2015

By: Frank Cadenhead The opera companies of Marseille and Greater Avignon have opened talks to explore a rapprochement. Another word used was mutualisation. The two companies are considering being partners and sharing productions and other resources. The annual budget for Marseille is currently 21.6 million euros and, for Grand Avignon, 13.2 million. How closely they […]

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