crazy jane

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  1. Ditto that! I've been in the pit for Lucia and L'elisir and enjoyed both immensely. Don Pasquale was, unfortunately, covid-cancelled. Oh, the tyranny of personal opinion...
  2. It seems to me that we need to be more careful in distinguishing the performance from the music. I have heard PhilipKT elsewhere denigrate Tchaikovsky's music as that of a "spoiled baby," so I am already questioning his criticism of PatKop, which I can't really distinguish from that of the composer himself. Music resides purely in the mind--performance interprets it. That is why it is so frustrating for some players, even great ones, to feel that performance is doomed to fail. Bach wrote his Art of the Fugue for no person and no performer and no specified instrument. In that way it is like a mathematic equation, awaiting application. Beethoven's late quartets are obviously music of the mind, purely. I expect Mozart's work was never performed truly as his imagination conceived it. (I once dreamed I was on stage playing a symphony I had written. It was completely vivid, detailed, and complex, and I received pleasure from "hearing" each musical voice truly....this, though I have never composed music in my life.) As for musical opinion, which this thread is full of, some of the musical insults on this site reveal just how subjective the "trained" human ear and mind are!
  3. The role in the 20th century has been (until recently) a bass-baritone (along the lines of Ramy). There's a wonderful recording with Walter Berry, Christa Ludwig, Fritz Wunderlich and Lucia Popp (Ferdinand Leitner). But it's rather a hoot to listen to two countertenors dueling in the political roles of Caesar and Ptolemy (different production)--gotta love it (and the amazing horn playing--natural?):
  4. Here is an interesting performance, for your consideration. It features divinely beautiful music, two unparalleled singers, and (curious for Salzburg) an imported band. Obviously the direction is....unusual. Yet the performers all seem to be enjoying themselves immensely, and the idea that Cleopatra seduces Caesar here not by her physical beauty but by the music of her words is, I think, wonderful. The production is at once both fresh and modern (if not to everyone's taste) and decidedly HIP in its musical renditions. Yet those "historical" elements--the countertenor, the vocal and instrumental ornamentation--actually contribute to the freshness of the performance, I think-- as though we are hearing Handel for the first time. Just curious how it is received (& it's entertaining to read the comments).
  5. I still can't get past your categorical condemnation of Tchaikovsky as a "spoiled baby"--that, for the man who wrote not only the deeply felt score of Eugene Onegin, but who also wrote the libretto, with its deep and complex insights into the diversity of human passions. I won't even get into his ballet scores. An open mind is a great thing--it makes the world a wonderfully infinite place.
  6. May justice be served.
  7. This is a very important subject that is fully deserving of the attention of the entire music community. There are two distinct issues at play: child rape (for consent does not exist for minors) and sexual harassment of "adult" students (often accompanied by coercion and threats to one's future career). Both involve the issue of institutional oversight in addition to faculty comportment. I have had a long career in academia, and I have also observed two of my daughters navigate the snake pit that is elite music school. Both attended Meadowmount as high school students (minors), and at least two pedagogues there were well known predators, one of whom was chasing my daughter. Ultimately both were dismissed--and both were very powerful people at Meadowmount and in the music industry. Curtis obviously deals with both categories of students, serving in loco parentis for one group and as an overseeing institution for the other. As a private institution, Curtis may not have to comply with Title IX (though I assume if they receive government monies, they must play by government rules). This obligates any employee in an institution to direct a student complaint to the Title IX office at their school. Unfortunately, while faculty receives intensive training with regard to Title IX, I am not sure all students are aware of their protections. And this isn't exclusively a "women's problem." I know of at least one young man who was subjected to unwelcome sexual advances from his teacher. Even at public universities, abuse remains rampant--not simply in music schools (witness Ohio State's wrestling team). Powerful and influential teachers and coaches tend to get a pass, and students suffer the consequences. Witness the case of William Preucil at CIM. My eldest daughter is now a professional symphony player who also coaches youth orchestra musicians. One of what she considers her most important jobs in this capacity is to give her female students, in particular, "the talk"--what they must be aware of as they approach college, and what options they have. (I won't even get into her experience with some of her male colleagues in the orchestra who are only emboldened by their tenure status.) Obviously most teachers (like you, PhilipKT) have the student's best interests at heart. But with some, absolute power corrupts absolutely.
  8. To me, this has nothing to do with album covers, cultural mores, or accuser/accused credibility. It is an absolute failure of institutional oversight--knowingly turning a blind eye to allegations of abuse for fear of damaged reputation. We have seen it with Penn State football, with the US national gymnastics team, with Canadian junior hockey, and with the Catholic church. It is beyond disgusting and should be flatly condemned.
  9. Sorry to hear all of this, especially about the loss of a loved one. I hope you all stay well and heal. I have a daughter like that, who needs to be perfect at all she does. Quite gifted on the violin, the only thing worse than being reassigned another week on a piece (many tears) was getting a new one that she could not play perfectly at first read (even more). A chronic health problem forced her to reassess many aspects of her life. Fortunately surgery resolved the primary problem, but it left her with the secondary effect of insulin-dependent diabetes, which has taught her a LOT about the limits of control and perfection. I was ready to put a bid in on that viola!
  10. This? Chamber Music America also publishes a directory. (Nice to see a post from you again.)
  11. Last November--l missed the Strad article.,66617
  12. How is the project coming? I would love more pictures.
  13. whom he quotes