A tardy response from the Boston Symphony Orchestra gives artistic director Andris Nelsons the chance to clarify his position on the extent of sexual harrassment in the classical music world.
It was either a deft interview on the part of the hosts, or a clumsy one.
Either way, the interviewee will be smarting a bit, and a member of the Boston Symphony Orchestra administration will be having an uncomfortable one-to-one with a line manager first thing on Monday morning, assuming that hasn’t already been had on the phone over the weekend.
Andris Nelsons appeared on WGBH’s Boston Public Radio Podcast yesterday, talking up the Boston Symphony Orchestra’s forthcoming concerts.
The Latvian cobbled together an uncomfortable response to a question about sexual harassment in the orchestral world, drawing on the kind of style and panache that would make any half-decent PR run for the hills.
Former Royal Scottish National Orchestra Chief Executive Simon Woods is set to leave his role as President and CEO of Seattle Symphony, to take up a new position at the Los Angeles Philharmonic in January.
Seattle are looking far and wide for a successor to Woods who described the organisation as one “that knows what it stands for, knows where it’s headed and knows how to get there.”
Since taking up the CEO and President role in 2011, UK born and educated Woods has worked closely with artistic director Ludovic Morlot, setting up an in-house record label – Seattle Symphony Media – as well as developing new ways for the organisation to help the homeless in Seattle.
That Seattle are sending news of management changes across the water speaks to the international reach the band now has. Whoever takes up the reins will need to recognise the importance of capitalising on that.
It’s nearly five years since Saffron Hall opened its doors. Next year the out-of-town Cambridgeshire concert venue’s programme of events shows evidence of its strategic direction.
Saffron’s 2018 line-up is impressive. A real boon for the school the concert hall is a part of, similarly for the local community.
Sometimes there are things that hang around in your head that just need to be said out loud: if we’re not careful we’re going to end up with empty concert halls.
I’ve been mulling this over for ages but never had the guts to write about it. Until now.
The issue in particular I keep returning to is the general level of priggishness, misogyny and general male-cuntishness that seems to prevail in the classical music world. And specifically those who write about it.
I’m interested in exploring what the motivation behind that behaviour, what its impact is on audiences, and what difference if any it might make if we went about to trying to change the behaviour.