January 25, 2013   |
| | | Thought of the Day | | It takes a long time to become young. --Pablo Picasso
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| Quote of the Week | | Art is the objectification of feeling. --Herman Melville
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NY Times Classical Music Editor to Exit |  James R. "Jim" Oestreich, longtime classical music editor of The New York Times and arguably the most powerful non-performing figure in classical music, has accepted a buy-out offer. He leaves Jan. 31. The Times recently announced it was laying off 30 members of the newsroom, and apparently Oestreich decided to get out while the going was good, one day before the deadline for voluntary layoffs. He follows Culture Editor Jonathan Landman out the door. With those two key positions now vacant, one worries about the future of classical music coverage in The New York Times. In an email to colleagues, Oestreich writes, "The opportunity to do this work, in a field and on behalf of an art form that I truly love, at The Times... was a privilege beyond measure." MA.com subscribers read the full story |
| | | Benjamin MIllepied to Run Paris Opera Ballet |  Benjamin Millepied, a.k.a. Mr. Natalie Portman, is to be the new director of dance at the Paris Opera Ballet, starting in Sept. 2014. The appointment, announced Thursday by the Opera's General Director Nicolas Joel, comes as a bit of a surprise. The expectation had been that the job would go to an insider. He succeeds Brigitte Lefèvre, in the post since 1995, who will retire at the end of next season. Millepied, 35, will arrive at roughly the same time as the Paris Opera's new general director, Stéphane Lissner, current artistic director of La Scala, who succeeds Joel in 2015. It was Lissner who first contacted Millepied about the job. The French-born, largely U.S.-trained choreographer, whose name became widely known with his appearance in Black Swan and his marriage to its star, Natalie Portman, is a former New York City Ballet principal turned choreographer. |
Gergiev to Munich Philharmonic |  Valery Gergiev is to be the next principal conductor of the Munich Philharmonic, starting in 2015. His five-year contract was ratified by the City of Munich Wednesday. The general and artistic director of the Mariinsky Theater for 20 years, Gergiev, 59, succeeds Lorin Maazel, who took over the Munich Philharmonic in 2011, a season prior to his contractual obligation, due to the early departure of Christian Thielemann. "Valery Gergiev is without doubt one of the most important, influential, and inspirational conductors of our time," said Munich's Culture Minister Hans-Georg Kueppers in his comments. The London Symphony Orchestra, where Gergiev has served as principal conductor since 2007, released a statement accepting that he will not hold his position beyond the 2015/16 season. |
Bolshoi Names Acting Artistic Director |  MOSCOW -- The Bolshoi Ballet on Tuesday named a former prima ballerina to fill in for Artistic Director Sergei Filin, whose face and eyes were burned in an acid attack. The appointment of Galina Stepanenko, who joined the company in 1990 and retired from dancing only last year, was approved and supported by Filin.He and Stepanenko, both 42, danced together for many years. The acid attack on Filin last week was seen as possible retaliation for his selection of certain dancers over others for prized roles. His attacker has not been identified. Filin underwent surgery Tuesday to treat burns on his face and is scheduled to have a second eye operation on Wednesday. Doctors are most concerned about saving the sight in his right eye. MA.com subscribers read the full story |
| Monte Carlo Philharmonic Gives Gelmetti the Job (Again) |  In March of 2012, the Monte Carlo Philharmonic appointed its former music director Italian conductor Gianluigi Gelmetti, now 67, to serve as chef référent as the orchestra continued its search for a successor to Yakov Kreizberg, who died in 2011. Yesterday, the orchestra made Gelmetti's appointment permanent. Gelmetti was the orchestra's principal conductor from 1990-92; he is onetime principal conductor of the Stuttgart Radio Symphony Orchestra (1989-1998), of the Teatro dell'Opera di Roma (2001-2006), and the Sydney Symphony Orchestra (2004-2008), and has been a regular presence on the podium of the Monte Carlo Opera. Also a composer, Gelmetti studied conducting with Sergiu Celibidache, to whom he dedicated his piece Prasanta Atma. |
| The Female Balanchine Body |  From The Torn Tutu by Rachel Straus Last week at The Juilliard School, my dance history students and I were looking at the Slaughter on Tenth Avenue number by Balanchine from the 1939 film On Your Toes. Our subject for the day was Balanchine in Hollywood. After watching the back-bending, jazz-inflected, bravura performance of Vera Zorina in Slaughter, I asked the students a question: "Does a particular image come to mind when you think of a female Balanchine dancer?" Surely, I thought Zorina fits the bill: she had legs for days, a short torso, and was slim as a cigarette. To my question, the students answered with similar descriptions about the Balanchine female body. Yet one female student raised her hand and protested: "What about Sara Mearns? And Ashley Bouder, and Teresa Reichlen?" said Amelia Sturt-Dilley. "They have very different body types, and they are stars!"
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| Commissioners Beware! |  To submit a question to GG Arts Law write to LawAndDisorder@MusicalAmerica.com Dear Law & Disorder: When a composer/songwriter is commissioned to write a song, who owns the copyright to the song? The commissioner or the writer? And for either party, when the other owns the copyright, what kind of controls and/or royalties does the holder have? |
When the Right Things Happen at the Right Time | | 
From Ask Edna by Edna Landau Having lived in New York all my life, I have been a big fan of the Mostly Mozart Festival since its inception. I enjoyed many concerts under the direction of Gerard Schwarz and was surprised that when the festival announced a new music director in late 2002, Louis Langrée, it was someone totally unfamiliar to me. Ten years later, the festival thrives with consistently excellent playing by the Mostly Mozart Orchestra and visiting orchestras, as well as expanded imaginative programming. Also ten years later, Mr. Langrée has been named music director of the Cincinnati Symphony Orchestra at the age of 52. As things go these days, Mr. Langrée is earning major recognition, at least in America, at a later stage of his career than many of his colleagues. I was curious to know whether he had wished at any point that his career would develop more quickly. A phone conversation with him revealed a degree of wisdom, patience and acceptance that can serve as a model for some of today's young conductors. Read the full story |
| Latest Roster Changes | |  Musical America is helping presenters keep up with its advertisers! Managers whose rosters appear in the 2013 edition of the Musical America Directory should write to listings@musicalamerica.com with the names of artists and attractions that have been either added or removed, and please be sure to indicate "added" or "removed."
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