Lisa Hirsch's Classical Music Blog.
The iron tongue of midnight hath told twelve. Lovers, to bed; 'tis almost fairy time.
Opinions expressed on this blog are mine and not my employer's.
I am so tired of "concept" from directors who frankly have egos larger than their real talent. Talent allows to see/intepret/work with the artists in THEIR CARE. It is not about putting your artists at risk.Artists need to feel safe - physically, emotionally, psychologically - in order to achieve the elevation of the COMPOSER; not to appease the ego of the director.Shame on LA Opera for not listening to its artists.
Have you seen any part of the Freyer Ring?
Yes, it's an anonymous source, but this is the key graf in that whole article:One source in L.A. Opera, who spoke on condition of anonymity because he was not authorized to speak for the company, said that its management structure doesn't give singers someone they can turn to with their concerns. "It's hard for singers to find someone to go to bat for them," said the source.If this is true, and given that PD is off singing pop tunes or baritone roles a good chunk of the time and the top executive seems to have no power I'd say it is, that might be why they went to the press, no place else to vent.
Soloists have agents and legal representatives who might be in a position to negotiate safety issues with a company, though I admit that two singers versus the weight of a production trying to move forward might not make much headway. I am trying to find out whether the musicians' union ever acts on behalf of soloists when safety is involved. So far, no definitive answer, but Gotterdaemmerung has a chorus and so the union might have gotten involved on the chorus's behalf.
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