{"id":43374,"date":"2018-01-31T08:58:16","date_gmt":"2018-01-31T12:58:16","guid":{"rendered":"http:\/\/www.musicalamerica.com\/mablogs\/?p=43374"},"modified":"2018-03-03T15:13:22","modified_gmt":"2018-03-03T19:13:22","slug":"mphil-bosses-want-continuity","status":"publish","type":"post","link":"https:\/\/www.musicalamerica.com\/mablogs\/?p=43374","title":{"rendered":"MPhil Bosses Want Continuity"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2018\/01\/fesGergievMueller20170214.jpg\" alt=\"Valery Gergiev and Munich Philharmonic Intendant Paul M\u00fcller in 2017\" width=\"400\" height=\"300\" \/><\/p>\n<p><span style=\"font-size: xx-small\">By ANDREW POWELL <br \/>Published: January 31, 2018<\/span><\/p>\n<p>MUNICH \u2014 Contrary to a London blog report yesterday, nothing has been \u201clocked down\u201d with regard to a contract extension for <a href=\"http:\/\/www.valery-gergiev.ru\/en\/\">Valery Gergiev<\/a> at the <a href=\"https:\/\/www.mphil.de\/\">Munich Philharmonic<\/a>, though things are indeed moving in that direction, for practical more than artistic reasons.<\/p>\n<p>What has happened is that <a href=\"https:\/\/www.muenchen.de\/rathaus\/Stadtverwaltung\/Kulturreferat\/Wir-ueber-uns\/Kulturreferent.html\">Hans-Georg K\u00fcppers<\/a>, <em>Kulturreferent<\/em> of the City of Munich, which operates the orchestra, has gone public with his resolve to recommend a full five-year renewal for the Russian maestro to the city council at its scheduled Feb. 21 meeting. Any contract-signing would naturally take place later.<\/p>\n<p>K\u00fcppers, MPhil <em>Intendant<\/em> <a href=\"https:\/\/www.mphil.de\/orchester\/direktion\/paul-mueller.html\">Paul M\u00fcller<\/a> (pictured last year with Gergiev), and Munich <em>B\u00fcrgermeister<\/em> <a href=\"https:\/\/www.muenchen.de\/rathaus\/Stadtpolitik\/Stadtspitze\/OB_Dieter_Reiter.html\">Dieter Reiter<\/a> are all inclined on continuity because 2020, when the present contract expires, heralds the lengthy and probably tortuous <a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=27258\">closure of the MPhil\u2019s Gasteig home for gutting<\/a> \u2014 at which time the musicians must decamp for a temporary wooden hall next to a <a href=\"https:\/\/de.wikipedia.org\/wiki\/Heizkraftwerk_S%C3%BCd_(M%C3%BCnchen)\">power plant<\/a> up the Isar River.<\/p>\n<p>Gergiev has been no more of a musical success here than anyone predicted, but the high tensions around his friendship with Vladimir Putin \u2014 at fever pitch in 2013 when he was <a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=9268\">hired<\/a> \u2014 have abated, and artistic decision-making since he began his tenure 29 months ago has gone smoothly.<\/p>\n<hr align=\"center\" width=\"10%\">\n<p>Regarding other jobs around town, rumors persist that <a href=\"https:\/\/www.lpo.org.uk\/about\/jurowski.html\">Vladimir Jurowski<\/a> has joined <a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=40167\">Andris Nelsons<\/a> <em>im Gespr\u00e4ch<\/em> for <a href=\"https:\/\/www.staatsoper.de\/staatsorchester\/kirill-petrenko.html\">Kirill Petrenko<\/a>\u2019s position as <em>Generalmusikdirektor<\/em> at <a href=\"https:\/\/www.staatsoper.de\/index.html\">Bavarian State Opera<\/a>. Petrenko steps down in fall 2020 after an unprecedented single season as head both of Germany\u2019s largest opera company and of the <a href=\"https:\/\/www.berliner-philharmoniker.de\/\">Berlin Philharmonic<\/a>. No rumors are yet floating about a successor to, or a renewal for, <a href=\"https:\/\/www.br-so.de\/symphonieorchester\/maestro-mariss-jansons\/\">Mariss Jansons<\/a>, whose contract at the <a href=\"https:\/\/www.br-so.de\/symphonieorchester\/geschichte-brso-orchester\/\">Bavarian Radio Symphony Orchestra<\/a> is up one year after Gergiev\u2019s.<\/p>\n<p>Photo \u00a9 Florian Emanuel Schwarz<\/p>\n<p>Related posts:<br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=40473\">MPhil Asserts Bruckner Legacy<\/a><br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=36226\">Flitting Thru Prokofiev<\/a><br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=26619\">Berlin\u2019s Dark Horse<\/a><br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=17390\">Gergiev, Munich\u2019s Mistake<\/a><br \/>\n<a href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=37626\">Horses for Mozartwoche<\/a><\/p>\n<div id=\"wp_fb_like_button\" style=\"margin:5px 0;float:none;height:34px;\"><script src=\"http:\/\/connect.facebook.net\/en_US\/all.js#xfbml=1\"><\/script><fb:like href=\"https:\/\/www.musicalamerica.com\/mablogs\/?p=43374\" send=\"false\" layout=\"standard\" width=\"450\" show_faces=\"false\" font=\"arial\" action=\"like\" colorscheme=\"light\"><\/fb:like><\/div>","protected":false},"excerpt":{"rendered":"<p>By ANDREW POWELL Published: January 31, 2018 MUNICH \u2014 Contrary to a London blog report yesterday, nothing has been \u201clocked down\u201d with regard to a contract extension for Valery Gergiev at the Munich Philharmonic, though things are indeed moving in that direction, for practical more than artistic reasons. What has happened is that Hans-Georg K\u00fcppers, [&hellip;]<\/p>\n","protected":false},"author":23,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1598],"tags":[1518,3806,1195,3158,2067,1520,2380,2384,1194,1808,2341,3157,794,3629,2183],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts\/43374"}],"collection":[{"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=43374"}],"version-history":[{"count":16,"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts\/43374\/revisions"}],"predecessor-version":[{"id":44561,"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=\/wp\/v2\/posts\/43374\/revisions\/44561"}],"wp:attachment":[{"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=43374"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=43374"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musicalamerica.com\/mablogs\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=43374"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}