By ANDREW POWELL Published: November 22, 2015 MUNICH — At five o’clock last Sunday afternoon, Munich time, three Mariinsky Orchestras began to play. Two of them launched into Pikovaya dama and Die Zauberflöte at the Mariinsky complex in St Petersburg. The third, here at the Gasteig, opened the accompaniment to a witty Shchedrin vocalise. Such […]
Read the rest of this article »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 […]
Read the rest of this article »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 […]
Read the rest of this article »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 […]
Read the rest of this article »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 […]
Read the rest of this article »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
Read the rest of this article »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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