tag:blogger.com,1999:blog-30712330.post7315591621612001390..comments2023-02-26T06:56:57.963-08:00Comments on Classical in Seattle: Is the Oregon Symphony broken?Z. Carstensenhttp://www.blogger.com/profile/11171998761327140850noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-30712330.post-22080466635342523532007-11-03T06:49:00.000-07:002007-11-03T06:49:00.000-07:00The author failed to include the fact that, in add...The author failed to include the fact that, in addition to the standard rep and a novelty here and there, the absence of world-class soloists (aka stars) with the Oregon (and others) is contributing to the decline. Personally I couldn't get paid to hear an unkown, provincial newbie. Sorry. Where are Anna Netrebko, Renee Fleming, Cheryl Studer, Angela Gheorghiu, for example and to stick with renowned sopranos, in the Oregon programs?Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-30712330.post-4573612725682703212007-11-02T19:04:00.000-07:002007-11-02T19:04:00.000-07:00I notice the inclusion above of the South Dakota S...I notice the inclusion above of the South Dakota Symphony Orchestra programming Lowell Liebermann's Third Concerto, written for me. Before Delta David Gier arrived as Music Director of the South Dakota Symphony, the SDSO did not program as much new music as they do presently. David introduced new music during his first season by including a work by a Pulitzer Prize composer for each concert of the season. This allowed him to bring the South Dakota Symphony into the Liebermann project, and introduced new music to the audiences in a slow progression. We are now exploring having the South Dakota Symphony in the 2010-11 William Bolcom 'Choral Fantasy' project for piano, orchestra and chorus. The Oregon Symphony is one that Mr. Bolcom suggested to me with my project team, and they are indeed aware of the project. They have included new music in concert, and I have heard fine things about their progress under the baton of Maestro Kalmar. I also believe that it is not just the Music Director's presence that makes or breaks an orchestra, but the community support, and the internal groups of people that stir activity and enthusiasm in the organization. Volunteers, Women's Leagues, Visiting Guest Artists throughout the community, etc, are what keep the spirit of the organization in motion. Although I have not yet been a guest artist of the Oregon Symphony, (though hope to be sometime soon), they have a national presence and high reputation and it is the hope of many that they will progress as time moves forward. Of course, one cannot deny that we live in the 21st century, and what was new music 20-30 years ago will inevitably be accepted in the standard repertoire during the course of this century--providing it is accessible and audience-friendly music.Jeffrey Biegelhttps://www.blogger.com/profile/13161658312936781336noreply@blogger.comtag:blogger.com,1999:blog-30712330.post-54495879828680609232007-11-02T18:23:00.000-07:002007-11-02T18:23:00.000-07:00The problem is just randomly mixing contemporary i...The problem is just randomly mixing contemporary in with the standard rep. It alienates the people who really do just want to hear Beethoven, and many of the people who are excited about contemporary music don't want to pay a lot of money and sit through 2 hours of standard rep to hear 15 minutes of new music which may or may not be good.<BR/><BR/>So, program a new music concert, and see how it plays. If you can't develop the audience in your big concert hall, do chamber music (cheaper!) in a smaller space.Unknownhttps://www.blogger.com/profile/13743437587084972281noreply@blogger.com