Due to an impending cold, I had to leave the TSO’s Britten Requiem today barely 20 min in, but I did stay long enough to hear the conductor read a land acknowledgement before saying a few words about the piece we were about to hear.
I have never heard a land acknowledgement from the TSO podium before. Will all visiting TSO conductors now have to rattle it off, be they Japanese, Hispanic, East European or Canadian?
The acknowledgements that we are on “traditional lands” of this or that First Nation or a mix of Nations is spreading among Toronto’s arts organizations faster than you can say “performative wokeness”. It’s already obligatory in the public school system and in many corners of higher education. I haven’t been to many party political events lately, but I expect they’re heard there as well.
I am, on principle, against the mandatory “land acknowledgements” before arts events, because:
it’s an empty gesture that produces a lot of warm and fuzzy feelings in a whole lot of people, but does not improve material conditions of life of a single Native person. I suspect it’s getting so extremely popular because it makes the acknowledger look good while costing them precisely nothing, and meaning as much. Disproportionate poverty among Native Canadians? Inadequate infrastructure such as water supply? Access to education, broadband and medical care? Access to parliamentary representation? Facility of travel? Unsustainable resource extraction next to or on the majority Native territories? Reserve governance? Nevermind all that. What’s more pressing is that we ceremoniously utter certain words about who was first on the “lands”.
it’s historically inaccurate in that glosses over, well, the history of contentious claims over the territory among First Nations themselves. For denser locales with layers of history, like say Toronto, things get complicated. As a York U historian put it in this look at the L.A. by Stephen Marche for TNY, “Haudenosaunee people, some of them, don’t want to recognize that the Anishnabe took control and were here historically. Some Anishnabe people will not recognize that the Haudenosaunee people were here. And both those people sometimes want to erase the Wendat.” We also seem to forget that the this or that nation of the First Nations formed alliances with the French and the British in the course of the country’s settling history, and that the story of the omnipotent colonizer and the powerless colonized is far from neat and linear.
it’s historically, anthropologically and politically inaccurate in that no race, no people, has a pure and primordial relation to the land in this Canada of ours, AD 2018 (nor ever, really; but that’s a longer essay). We are all modern, we are all of 2018. We are all affected by the capital and the global communications and technology and medical developments and the bloody unavoidable Americans. All races (an unscientific concept that the left, it seems, now insists on as much as the right) and all ethnicities jostling north of 49th are equally close or equally far from the “land”. And yes, that means the Inuit too, who hunt seal for sustenance and send representatives to advocate before international bodies and use social media for mobilization. To presume that somehow the Native component of the hodge-podge that is Canada retains some sort of special contact to the land and nature is an ideology that’s had some unfortunate consequences in other historical periods around the world. No blood and belonging, please.
it’s politically naive in that while pretending to address an issue (of cultural inclusion of Native cultures into the Canadiana) it in fact masks many more. How many nations are we, one or multiple? What is the we in the Canadian project? Are its first nations and later waves of nations including today’s very new comers to forever remain separate quantities? What is the chance in hell that some of us who came here in, say, 1999, will ever belong? Will First Nations end up fully developing their own legal and medical systems? Is it possible to imagine this country whole, rather than a bunch of component parts? More than 50 percent of Torontonians were born in another country. I’m sure I’m not the only immigrant who’s ever thought Hang on a sec, if we are now to understand the life of this country as an ongoing settling and colonization, maybe I shouldn’t have come over and joined in the horror show? How do we indeed propose to wed this notion of indigeneity with the waves of immigration into Canada?
I grew up in a communist country where every public event had to include the prominently placed images of the Yugoslav leader Tito and (all or combination of) Marx, Engels and Lenin. There were also concepts that the officials, while speechifying for this or that occasion, had to give a nod to (for ex the people’s liberation struggle, the proletariat, the brotherhood and the unity, and post-1974 the self-government). Now I do love much about my old, now unfortunately non-existent country, and I miss it, but this kind of compelled speech during public events, and the other side of the same coin, the forbidden speech, is not something I miss. Is there any kind of compelled speech circulating about in the high income, free speech country like Canada? Is wearing poppies around Nov 11 it? Can you say no to reading a land acknowledgment–as an individual or as an organization? I sincerely hope my apprehension is baseless and my parallel exaggerated. And that those who’re not entirely sure about this public wokeness ritual that the LA is becoming can choose to skip it.
A whole bunch of us missed the Muse 9 staging of Dominick Argento’s song cycle From the Diary of Virginia Woolf because it took place on the night of the Nightingale premiere at the COC. There’s a chance to see the same cast in a more or less concert version of the piece coming up at the RBA on November 13. I talked with the director Anna Theodosakis (pictured above) about what the Muse 9 Productions is, and how they ended up working on this particular piece. She’s one of the bright young things in Toronto’s opera world that give me great hope. Read the profile here.
Another new thing that piqued my interest, as you’ll see in the Wholenote article, is the recently created song series The Linden Project, based in Hamilton. Singer-spouses Julie and Jeremy Ludwig have announced the inaugural two-concert series, and have expansion plans and some really good ideas about the presentation and *purpose* of song recitals. The first concert took place earlier in the month, the second one is booked for early spring.
And here are my Quick Picks for November. The endemic Toronto problem of people not publicizing (deciding on) the program until close to the performance day persists, so I’m not sure what’s going to be heard in some of these, but the blurb copy sounds intriguing enough.
I first visited Rome in 2006 and for a long while before and after it was my favourite city of all actual and possible cities. I had read the Yourcenar novel about the Emperor Hadrian especially before the trip and enjoyed it much more than I enjoy the memory of it now. Then, I thought it was a terribly sophisticated, subterranean investigation of a “good” emperor’s public and (verrrrry subtly) private life. Now I find Yourcenar’s académicienne sentence a bore, and the multiply veiled story coy (the way exciting literature usually isn’t): a writer writing from deep within the closet.
At any rate, I of course went to Hadrian’s Mausoleum and loved it. The only picture I seem to have taken is this one above, with Hadrian’s poetry chiseled fairly recently onto a stone plate and placed high up (or was it low down? I forget) on a wall inside the mausoleum. There’s a modern-day Italian intro at the top: “Words from the dying Emperor Hadrian to his soul”.
Hadrian likely wrote more, but as far as I know only this poem remains, & has been translated in multiple versions. Yourcenar amplified further its importance in the novel.
I was surprised after I’ve read Daniel MacIvor’s libretto for Hadrian, his and Rufus Wainwright’s operatic child which just premiered at the COC, that he did not include this famous bit of Hadriana in the text. All the same, it’s a decent libretto, and a functioning (if clunkily) opera which has alas been given a commercial theatre-type production. Why nobody said at any point Waiiitthat’s just too many bare bottoms mixed in with the extras from A Funny Thing Happened on the Way to the Forum, I don’t know.
I think it’s a touch of (devious gay) genius that Antinous tops the Emperor in their very detailed and leisurely sex scene. If any of you have read Alan Hollingurst’s The Swimming Pool Library, the brilliant last sex scene in that book comes to mind. You know, the one where the wealthy English aristocratic narrator who’s been topping everybody in the book finally gets bottomed–and totally naturally and ordinarily, with no words exchanged on the topic–by a working class guy of Middle Eastern origin. Hollinghurst has this incredibly poetic, uber-stylish way of describing the filthiest sex between men, and he doesn’t disappoint here. “He fucked him with leisurely vehemence”, he writes of the guy topping Will the aristocratic narrator. Leisurely vehemence! A phrase to make you guffaw and blush at the same time. Well yes. Quite. There was some leisurely vehemence in evidence in that Hadrian-Antinous encounter.
I’d love you to give this a read, as it’s an issue that’s been on the Canadian opera radar for a while now. http://operacanada.ca/live-streaming-opera-canada/ Why are there no Canadian operatic productions online or DVD? I talked to a CultureBox exec, media people from the Bavarian State Opera and Komische Oper Berlin, Stratford Festival’s ED, COC’s ED, Equity’s ED, TSO’s former digital initiatives man Michael Morreale, and CBC’s classical music producer Denise Ball.
TL; DR? Canadian situation is a cluster-fuck of unfortunate elements: the CBC is not interested (bless their hockey and crime reporting soul), opera companies can’t afford to do it themselves, the unions want their members to be paid for this extra usage (and that’s not an unreasonable request), and Canada Council’s Digital Fund won’t fund the streaming or digital archives because they consider it all marketing and therefore going under existing operating grants, for those orgs that get them.
But do give it a read and tell me what you think.
A question for another article though: are streaming and VOD going to put paid to proper DVD recordings that you buy and take home, like music streaming put paid to CD recordings, and CD recordings to LPs? I think that would be a terrible development, because we can’t count on Medici and OperaVision to work as the historical performance archives. Are they going to keep those videos in perpetuity on their servers? I’d guess they’re more likely to do so than the Spotify corporation is, and probably less likely than CultureBox, owned by France’s public television channels, which have the mandate to do so. As the CBC did once, long time ago: recorded and preserved the best of nation’s performing arts.
Altogether another question is: is this era of digital transmission of performing arts here to stay, or is it a temporary trend? Are people going to lose interest in internet VOD of opera in, say, 20 years–because the experience definitely cannot compare to the Real Thang? Or is it, gasp, going to eat into the live audience, like Met in HD does in some regions?
I’ve only recently found this out, but: the COC actually engaged their own administrative and artistic staff as the models in the promotional photos for the new season. The lovely people we see in those B&W pics in posters and programs for Otello, Hadrian, Cosi, Onegin etc are the COC staff. I’ve read somewhere (I think it was John in Opera Ramblings) that they also honoured their staff in the 18/19 season launch event, which is equally fabulous.
Reminder that only about 15 percent of the COC budget comes from the government. The rest needs to be self-generated year after year. Chapeau to all who make that happen.
Not sure what to think of this. Grandstanding, is my first thought. When did funding cuts help diversify anything?
I get that the board members of the majors like the COC and the TSO need diversifying. But the main job of a board member is to fund-raise for the organization — such is our art funding structure, there’s no escaping it. And what is the best connected, wealthiest demographic that can bring in most buck and best connections? Are we expecting from board rooms of large arts organizations to diversify faster than other structures, than business boardrooms, arts journalism, government (hello, City Council. Not exactly diverse, and each member elected on, like, 40 percent turnout).
If anybody’s willing to explain to me how a funding cut might achieve the desired effects of “diversifying board rooms, staff, audiences and what we see on stage”, I’m happy to listen.
I don’t mind when readers and opera goers review my reviews. Fair game. And I welcome the interaction. But I don’t understand the upset that I hear is brewing on Facebook and through emails to my editor around my review of Anna Bolena at the COC. It’s a fairly sedate review, but even that amount of disagreement comes across as RADICAL in a reviewing environment that has become extremely timid and let’s-all-get-along. Perhaps people should read some British, French or American negative reviews for comparison?
I don’t give negative reviews in a cavalier and off-hand manner. If something’s not working for me, I try to explain why. Large budget and established, stable organizations and in-demand, established singers and the fans of each should be able take a negative review without a hissy fit. Or not? Is it allowed not to like a certain opera? A certain production? A certain singer? Just keep that in mind. That not everybody will like every singer and every production and every composer. And some times they’ll have a public forum to say so and be lucky enough to have readers interested in their opinion (yes, this is a privilege and I do my darnest to earn it.)
To artists and arts administrators I say: just go on with your job and focus on your work. That should be your response.
And I am not talking out of school: I have been on both sides. My two books have received some good reviews and award shortlists, and some mixed reviews and a couple of negative reviews and some indifference/no reviews too. I think indifference is probably something you want the least. But it’s true: we remember certain sentences from negative reviews for a long time to come, and the stuff from positive reviews pales with time. (Unless you’re a massive narcissist… in which case, viceversa.)
Those of us who have had our work reviewed should also keep in mind: it’s incomparably better to create something and have it commented upon by other people, than spending your life commenting on other people’s work. Some of criticism certainly equals creation: but that takes more time, more studiousness, knowledge of wider culture, a longer view, maybe the book format or film or TV documentary format. And some of the ad hoc reviews for the media, which do an extremely important public service, will also be works of art, if the luck strikes. But overall, reviewing is derivative because it depends on something else for it to exist, whereas creation is creation.
So: stop worrying and get on with the work. Neither good reviews nor bad reviews should matter to a creator. You do your art the way you feel it must be done and keep going and growing.
There’s something else that’s been worrying me lately regarding Toronto’s opera and classical scene: a certain uniformization and overlap of reviewing and performing circles. Everybody is friends with everybody. These writers went to same music school and performed with those other people. This reviewer being hired by an arts organization for task X or Y, then a few months later writing about the same organization as a journalist or critic. This editor hanging out with this executive, this donor or board member working for both an org and a magazine. This person dating that person, and having the same social circles as that other person. Everybody schmoozing at the same parties.
Under similar circumstances, it becomes extremely difficult to express disagreement of any substantial kind, or to even soberly look at a work of art. Everything will be great, everything will be a miracle.
And that’s simply not healthy. And it destroys the art of the positive review too: if everything is good, nothing is. The positive review loses its purpose and its credibility.
Here’s my March art song column in this month’s Whole Note.
It looks better in print, as always, so do grab a copy somewhere. It is, as usual, free and priceless.
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On a pleasantly cold February evening, Toronto Masque Theatre held one of its last shows. It was a program of songs: Bach’s Peasant Cantata in English translation, and a selection of pop and Broadway numbers sung by musician friends. An actor was on hand to read us poems, mostly of Romantic vintage. The hall was a heritage schoolhouse that could have passed for a church.
The modestly sized space was filled to the last seat and the audience enjoyed the show. I noticed though what I notice in a lot of other Toronto song concerts – a certain atmosphere of everybody knowing each other, and an audience that knows exactly what to expect and coming for exactly that.
I was generously invited as a guest reviewer and did not have to pay the ticket, but they are not cheap: $40 arts worker, $50 general audience, with senior and under-30 discounts. And the way our arts funding is structured, this is what the small-to-medium arts organizations have to charge to make their seasons palatable. Now, if you were not already a TMT fan (and I appreciate their operatic programming and will miss it when it’s gone), would you pay that much for an evening of rearranged popular songs and a quaint museum piece by Bach?
The stable but modest and stagnating audience is the impression I get at a lot of other art song concerts in Toronto. Talisker Players, which also recently folded, perfected the formula: a set of readings, a set of songs. Some of their concerts gave me a lot of pleasure over the last few years, but I knew exactly what to expect each time. Going further back, Aldeburgh Connection, the Stephen Ralls and Bruce Ubukata recital series, also consisted of reading and music. It also folded, after an impressive 30-year run. It was largely looking to the past, in its name and programming, and it lived in a cavernous U of T hall, but it could have easily continued on and its core audience would have continued to come. Stable audience, yes, but also unchanging.
The issue with a stable and unchanging audience is that the programming will suffer. It’ll go stale, ignore the not already converted, abandon the art of programming seduction. And the ticket will still cost at least $50.
I’ve also sat in the Music Gallery’s contemporary music recitals alongside the audience of eight so it’s not entirely the matter of heritage music vs. new music. Empty halls for contemporary music concerts are as depressing as book events in Toronto, to which nobody, not even the writer’s friends, go. (I know this well; don’t ask me how.)
So, where is art song performance in Canada’s largest city going?
Due to the way they’ve been presented for decades now, there’s a not-negligible whiff of Anglican and Methodist churchiness to Toronto’s art song concerts. They usually take place in a church (Trinity-St. Paul’s, Rosedale United, Trinity Chapel, St. Andrew’s, etc) or a place very much like a church (Heliconian Hall). They are often programmed as an occasion for personal edification – as something that’ll be good for you, that will be a learning opportunity. Why are we being read to so much in recitals – instead of, for example, being talked to and with? Does anybody really enjoy being read to in a music concert?
I sometimes wonder if the classical music infrastructure of concertgoing, its comportment etiquette, regulation of space, fussy rituals of beginning, presentation, breaks and ending wasn’t built to control and disguise classical music’s visceral power over humans? And to keep tame its community-expanding, boundary-blurring potential?
In other words, getting out of the church and the U of T will benefit Toronto’s art song performance. Classical music, including art song, is a pleasure, not homework; it’s inviting the stranger over, not getting together with the same group each time. Some of those who program art song and chamber music in Toronto are already grappling with these questions, fortunately.
Among them is the ensemble Collectìf, consisting of three singers and a pianist: Danika Lorèn, Whitney O’Hearn, Jennifer Krabbe and Tom King. They scour the city for locations and choose places off the beaten path. They held a recital in an Adelaide St. W. loft, and a raucous songfest at an old pub in Little Italy. For a Schubert Winterreise, performed in the more familiar quarters of Heliconian Hall, Danika Lorèn had prepared video projections to accompany the performance and the singing was divided among the three singers, who became three characters. For an outing to the COC’s free concert series, they created their own commedia dell’arte props and programmed thematically around the poets, not the composers who set their poems to music. Collectìf is a shoestring operation, just starting out, yet already being noticed for innovation. Lorèn is currently member of the COC’s Ensemble Studio, which is why the Collectìf somewhat slowed down, but when I spoke to her in Banff this summer, she assured me that the group is eager to get back to performing. Winterreise toured last fall to Quebec and an art song program around the theme of nightmares returns to the same festival later in the year.
Another group that caught my eye did not even have a name when I first heard them in concert. They are now called Happenstance, the core ensemble formed by clarinettist Brad Cherwin, soprano Adanya Dunn and pianist Nahre Sol. That’s an obscene amount of talent in the trio (and check out Nahre Sol’s Practice Notes series on YouTube), but what makes them stand way out is the sharp programming that combines the music of the present day with musical heritage. “Lineage,” which they performed about a year ago, was an evening of German Romantic song with Berg, Schoenberg, Webern and Rihm and not a dull second. A more recent concert, at the Temerty Theatre on the second floor of the RCM, joined together Françaix, Messiaen, Debussy, Jolivet and Dusapin. The evening suffered from some logistical snags – the lights went down before a long song cycle and nobody but the native French speakers could follow the text – but Cherwin tells me he is always adjusting and eager to experiment with the format.
Cherwin and I talked recently via instant messenger about their planned March concert. As it happens, both the pianist and the clarinettist have suffered wrist injuries and have had to postpone the booking for later in March or early April. Since you are likely reading this in early March, reader, head to facebook.com/thehappenstancers to find out the exact date of the concert.
In the vocal part of the program, there will be a Kurtág piece (Four Songs to Poems by János Pilinszky, Op.11), a Vivier piece arranged for baritone, violin, clarinet, and keyboards, and something that Cherwin describes as “structured improv involving voice”. “It’s a structured improv piece by André Boucourechliev that we’re using in a few different iterations as a bridge between sections of the concert,” he types.
I tell him that I’m working on an article on whether the art song concert can be exciting again, and he types back that it’s something they’ve been thinking about a lot. “How can we take everything we love about the chamber music recital and take it to a more unexpected place. How can repertoire and presentation interact to create a narrative/context for contemporary music. How can new rep look back on and interact with old rep in a way that enhances both?”
He tells me that they’re looking into the concert structure at the same time – so I may yet live to see recitals where the pieces are consistently introduced by the musicians themselves.
Will concerts continue to involve an entirely passive audience looking at the musicians performing, with a strict separation between the two? There were times, not so long ago, when people bought the published song sheets to play at home and when the non-vocational (better word than amateur) musicianship enhanced the concert-goers’ experience of music. Any way to involve people in the production of at least a fraction of the concert sound or concert narrative?, I ask him, expecting he’ll politely tell me to find a hobby.
“We’ve thought a lot about that actually,” he types back. “It’s a difficult balance. Finding a way to leave room for collaboration while also having a curated experience.” Against the Grain Theatre, the opera company where he now plays in the permanent ensemble, also wants to push in that direction, he tells me.
There is a corner of the musical avant-garde, it occurs to me as I thank him and log off from our chat, that actively seeks out non-professional participation. There are Pauline Oliveros’ tuning meditations, of course, but more locally there is also Torontonian Christopher Willes, whose various pieces require participation and are fundamentally collective and collaborative. Though he isn’t a musician, Misha Glouberman’s workshops in social behaviour, like Terrible Noises for Beautiful People, are arguably a process of music-making.
But how to achieve an active audience in the small, chamber or lieder situations? It’s easier with choruses and large production, where sing-alongs are possible – some smaller opera houses are already doing it, for example Opéra-Comique in Paris. The Collectìf trio did get the audience to sing at the Monarch Tavern that one time (the Do Over, January 2016) but the experiment hasn’t been repeated in Toronto.
Speaking of pub recitals, Against the Grain’s Opera Pub is a glorious project (first Thursday of every month at the Amsterdam Bicycle Club), but it’s more operatic than art song, at least for now. ClassyAF are a group of instrumentalists who perform in La Rev and The Dakota Tavern, no vocals. Drake One Fifty restaurant in the Financial District has just started the Popera Series with opera’s greatest hits performed in a restaurant full of people, but again, it’s opera, the more glamorous and easier-to-sell sibling to the art song.
Will Happenstance, Collectif and similar innovative upstarts, and their more established peers like Canadian Art Song Project, endure over the years, obtain recurring arts council funding and renew art song audience?
With that goal in mind, my immodest proposal for the present and future art song presenter: move out of the churches and university halls. Musicians, talk to people, introduce the pieces. Program the unfamiliar. Always include new music, maybe even by composers who can be there and say a few words. If the music is danceable, allow for concerts with audience dancing. (I’m looking at you, Vesuvius Ensemble.) Engage the people. If live music is to be different from staring at the screen, make it different from staring at the screen.
Some March highlights
Meanwhile, here are my March highlights, which are of the more traditional Toronto kind, though still of interest.
March 19 at 7:30pm, Canadian Art Song Project presents its 2018 commission, Miss Carr in Seven Scenes by Jeffrey Ryan. Miss Carr is Emily Carr, and the song cycle, based on her journals, was written for Krisztina Szabó and Steven Philcox. At (alas) U of T’s Walter Hall.
March 4, as part of Syrinx Concerts Toronto, mezzo Georgia Burashko will sing Grieg’s Lieder with Valentina Sadovski at the piano. Baritone Adam Harris joins her in Schumann duets for baritone and mezzo, whereas solo, he will sing Canadian composer Michael Rudman’s The City.
March 11 at Temerty Theatre, Andrea Botticelli will give a lecture-recital (I like the sound of this) on the Koerner collection, “Exploring Early Keyboard Instruments.” Vocal and keyboard works by Purcell, Haydn and Beethoven on the program with tenor Lawrence Wiliford singing. The only U of T chapel to which I will always gladly return, the Victoria College Chapel, hosts the Faculty of Music’s Graduate Singers Series, also on March 11.
Finally, if you are in Waterloo on March 7 and up for some Finnish folk, the U of W’s Department of Music presents the EVA-trio (cellist Vesa Norilo, kantele player Anna-Karin Korhonen and soprano Essi Wuorela) in a noon-hour concert.
I’m really liking the number of the TSO conducting debuts in the new concert season announced yesterday. Han-Na Chang, Trondheim Symfoniorkester’s Chief Conductor is coming to Toronto next season, and so is Hamilton Philharmonic’s Gemma New. Barbara Hannigan and Tania Miller return. Melanie Leonard, the Sudbury SO’s MD, debuts with an, alas, Fred Penner program, mais bon.
Among the notable non-returns this season, Keri-Lyn Wilson. I was hoping she was on the list of potential MDs, but maybe she is indeed but the scheduling just couldn’t be worked out this season.
Among notable returns, the TSO regulars Juanjo Mena, Andrey Boreyko, Thomas Dausgaard, Donald Runnicles. TSO regulars who are otherwise engaged this season: Stephane Deneve, Hannu Lintu and Gianandrea Noseda, and that is just fine. It’s good to mix it up.
Because the conductors we don’t usually see on the TSO roster who will be there next season: Louis Langree, the French-born, Cincinnati SO MD, Karl-Heinz Steffens, German-born MD director of the Oslo Opera, Aurora Orchestra’s Nicholas Collon and Kirill Karabits, Bournemouth SO’s and Staatskapelle Weimar’s MD. Interestingly, Aziz Shokhakimov, known to the readers of this blog the very young, underdog candidate from the documentary Dirigenten! that I recently reviewed, will also have his TSO debut.
Not a whole lot of new in the soloists department – a lot of names we see just about every year (Zukerman, Lisiecki, Goodyear, Josefowicz). Repertoire-wise, the interim era in an orchestra’s life is not usually time to experiment and try out new programming visions, so the war horses it’ll be. An extremely modest sprinkling of Debussy and Ravel, exactly one Stravinsky and one Berlioz, zero R Strauss and Scriabin, and not much past early 20th century. New Creations Festival is usually announced much closer to the date of the festival, and there is a chunk of empty dates in early March so I’m hoping it’ll return. New Creations Festival, it has been confirmed, is cancelled for good. BTW, the TSO website now has a nifty search engine for the 2018-19 season, worth spending some time with.
And what’s ahead for Peter Oundjian? His tenure as the MD of the Royal Scottish National Orchestra too ends this year, Thomas Søndergård taking over (also one of the regulars returning for a TSO gig next season). Oundjian’s agency website offers the following on the artist’s page: Oundjian was recently named Artistic Advisor for the Colorado Music Festival, and this season he returns to the Baltimore, Atlanta, and NHK Symphonies, and the Los Angeles Chamber Orchestra. Maybe a few years of freelancing after two busy MD-ships, I am guessing.
This and next season’s Interim MD will be Andrew Davis. As Opera Ramblings put it in his recent post, he won’t be “hogging the podium”, which is an excellent thing for an interim MD to do.
Really eager for some TSO news soon, though.
(And let’s hope for no more program copy faux pas like the unfortunate Ligeti graf that went globally viral-ish on Twitter. I found myself having to explain to Twitter friends from Seattle and Paris that no, the TSO is not usually terrified of the twentieth century and new music and that no, we don’t usually print warnings in programs and that I’d attribute the graf to a distracted program editor rather than read too much into it etc etc. )