On May 25, I attended the first of three final programs that Leonard Slatkin had programmed for his 10th and final season as music director of the Detroit Symphony Orchestra. But Slatkin wasn’t there. The 73-year-old conductor was forced to withdraw from the concerts in order to undergo a heart-bypass operation (he’s reportedly recovering well). Continue reading “Leonard Slatkin on His Final Bow at the Detroit Symphony”
One of the more striking design aspects of the New World Center, the performance and educational facility in Miami Beach, FL, is the capacity for its resident New World Symphony to beam concerts to the surrounding community via its 7,000-square-foot projection wall. Continue reading “New World Symphony, Witnessed Indoors and Out”
The New York Philharmonic is entering a bold new era for fans of Gustav Mahler and other late-Romantic symphonists, if the opening-night gala concert, led by Jaap van Zweden, was any indication. The Sept. 19 program featured Mahler’s Fifth Symphony, performed days after van Zweden led the same work at the Dallas Symphony Orchestra, where he is in his final season as music director.
Continue reading “New York Philharmonic Can’t Get Enough of Mahler”
What can symphony orchestras learn from “Mozart in the Jungle,” the Amazon series featuring a dashing young conductor from Mexico who replaces the aging music director of an orchestra, in a bid to invigorate the stodgy institution? In this Slate article from Feb. 4, 2016, I look at various factors that contribute to an orchestra’s perceived relevance and value in its community – starting with the conductors who stand on the podium.
“Orchestras across the country have been buffeted by deficits, declining attendance, and labor unrest; and the Philharmonic, while in better health than many, remains a medium-sized fish in a New York cultural pond dominated by Broadway, fashion, and the latest restaurant openings. While a conductor’s first responsibility is to the music, is it possible in 2016 for the face of an arts institution—or one that wants to remain relevant, anyway—to avoid engaging with the social and cultural context in which he makes his art?” Read on.
Photo: Gael García Bernal as Rodrigo in ‘Mozart in the Jungle’ (Amazon)
The Seattle Symphony staged a kind of protest concert on Wednesday night, featuring composers and performers from the seven Muslim majority countries that Donald Trump has sought to bar from entering the United States. Continue reading “Seattle Symphony Stages Concert to Celebrate Immigrants”
In a year in which the 2016 presidential campaign impacted all corners of public life in the U.S., classical music often served as a diversion or even a refuge for many listeners. But musicians didn’t live in a vacuum either, as several news stories demonstrated. Continue reading “Eight Takeaways from Classical Music in 2016”
As the fall 2016 concert season begins, the musicians of three big-city orchestras are on strike: the Philadelphia Orchestra, Pittsburgh Symphony and Fort Worth Symphony. Continue reading “Three Orchestra Strikes: Considering Artistic Health”
The classical music field has had an on-and-off relationship with online gaming and personal technology. Back in 2007, users of the Nintendo Wii could play a new virtual reality-type game called the Virtual Maestro, which turned the Wii controller (which resembled a TV remote) into a baton to manipulate a digital orchestra’s tempo. Before that, there was the Concert Companion, a pre-smartphone era device that was intended to provide realtime program notes at concerts. Continue reading “5 Takeaways from Classical Music Virtual Reality Projects”
Working in the shadow of a major city is a challenge faced by suburban arts organizations across the United States, but especially in New Jersey, where New York City and Philadelphia act as strong magnets for culture lovers. The state’s opera companies have particularly struggled to stay afloat, not only in recent times, but for well over a decade. Continue reading “New Jersey Arts Groups Grapple With Changing Audiences”
“The musicians you see here are not from central casting—they’re conservatory-trained,” Bard College president and conductor Leon Botstein assured audiences on Friday night as he introduced The Orchestra Now, Bard’s new graduate training ensemble. Continue reading “New Orchestras Focus on the ‘Now’ and ‘Nu’”