When opera house directors and administrators go to the movies, what do they think about (and if they don’t go to the movies, what are they thinking)? Do they consider the box office receipts, the number of people cycling through the theater that day, the number of theaters showing that same movie across the globe? […]
Category: Opinion
Posted inOpinion
Color Blind
We can’t cancel Anna Netrebko. But one of the Russian soprano’s recent Instagram posts, taken backstage during a performance of “Aida” at St. Petersburg’s Mariinsky Theatre and showing off the diva’s makeup-darkened skin, may have been enough to get most any other opera singer to file for moral bankruptcy. “Beautiful singing!” wrote one follower under […]
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Adams 2.0
Thanks to John Adams, I am no longer a snob. When I was studying composition in graduate school, I was possessed by a young man’s certainty about his own knowledge and taste. Still, I was exposed to enough contradictory opinions and ideas that I began to— fortunately—entertain doubts. What if I didn’t know everything? One […]
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The Mystic Void
The term Wagnerian never applied to me, though Bayreuth holds a special place in the family lore. In the 1950s, a rare honor was bestowed upon my grandfather: along with the other chosen ones, he was permitted to play his violin in the theater’s “mystic void.” (Also known as the pit.) When I went to […]
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Shush Money
In December, James Levine was fired from his emeritus music directorship at the Metropolitan Opera, after five men stepped forward to credibly accuse him of sexual assault when they were teenagers and young adults, over a period ranging from the 1970s to the 1990s. Some might have expected him to recede into the background. Instead, […]
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Music of the Middle Degree
One night this spring, a composition by Jörg Widmann made me cringe. Mitsuko Uchida was playing a program of Schoenberg, Schubert, and the 44-year-old German composer at the Pierre Boulez Saal in Berlin. His piece, “Sonata facile” (2016), quoted the Mozart original extensively, interrupting it at times with modified dissonant bass lines, interjections of clusters […]
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The Maestro Will See You Now
“The situation is rather complicated because Maestro himself is not yet in Wrocław…” read the email. The wheels had just come off an interview we’d already spent 10 Polskibus hours (equivalent to around 100 earth-hours) traveling to. “Maestro,” first name Krzysztof, last name Penderecki, written as if there was and could only ever be one. […]
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Who’s Afraid Of Daniel Hope?
Yes, we’ve seen the video. Over the last few days, the classical music media has become aware of a small but telling scandal. A Berlin-based concert curator, dramaturg, and VAN contributor named Arno Lücker published a shred on his blog. The video, part of a mashup genre in which new audio tracks are added to […]
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Patchwork History
Andreas Staier was born in 1955 in Göttingen, Germany. He was the harpsichordist for Musica Antiqua Köln for three years and has performed as a Hammerklavier and harpsichord soloist with all the major early music ensembles. In this article, he responds to the controversial VAN interview with Mahan Esfahani from April 6, 2017. By now […]
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Surveying the Orchestra
From the inquisitive “Is Timid Programming Classical Music’s Biggest Threat?” in WQXR to the damning “America’s Orchestras are in Crisis” in New Republic, discussions of programming repeat an alarming diagnosis: performing groups choose repertoire from a rapidly shrinking list. The Republic’s Philip Kennicott thinks that managements cater to a caricature of an elderly audience who […]