Political Violence

In the wake of the July assassination attempt against Donald Trump, I was amazed by the number of statements from public figures along the lines of "this isn't who we are." It's as though they'd completely memory-holed giant swaths of American history. To give you a sample:

• If the institution of slavery wasn't political violence, I don't know what is. Kidnapping free people, forcing them into servitude, making them property, forcibly breaking up families, committing rape, beating them, and abusing them in so many other ways, all on account of their skin color.
• If driving the Native Americans from their lands wasn't political violence, I don't know what is.
• Four U.S. presidents have been assassinated.
• There have been numerous assassination attempts that different presidents survived.
• Here's a handy list of all successful assassinations of American politicians, including presidents.
• Racial violence: there has been lots.

Apparently someone shot at Trump again today, and again they missed. As a friend remarked last night over dinner before The Handmaid's Tale, there's no scenario where assassinating Trump is a good thing. Campaign against him, speak out against him, campaign for the people and values you care about, vote against him. That's the way to keep him out of office.

Friday Photo

Battery at Market St.

San Francisco, CA

August, 2024

 

Stromness

Stromness, Orkney

June, 1982

 

Misinformed

 

Bayreuth Festspielhaus

August, 2015

Photo by Lisa Hirsch

Associate Justice Samuel Alito, when he's not busy making things up about constitutional law and taking away women's rights, hangs out with right-wingers from more than one country. The NY Times has an article about his visit to Princess Gloria von Thurn und Taxis (gift link), a notorious German conservative. He reported $900 in tickets to musical events on his most recent disclosure form....and the tickets seem to have been to the Bayreuth Wagner Festival.

The justice is somewhat misinformed about how difficult it is to attend the Bayreuth Festival these days:

More details have emerged about the justice’s trip to the princess’s castle, including an interview with him by Christian Eckl, the editor in chief of a newspaper in Regensburg, who recognized the justice from reporting in The Times about the Supreme Court’s 2022 decision to overturn Roe v. Wade. (Justice Alito wrote the majority opinion in the case.)

In the 32-second video, Justice Alito, with a beard and wearing a dark pinstriped blazer, spoke to an off-camera interviewer. The justice said the castle, seen in the background, was “amazing” and that he was looking forward to going to the Bayreuth Festival to see Wagner’s operas.

“I will enjoy it,” Justice Alito said. “A friend of mine has waited his whole life to get tickets to go, and so it’s quite a privilege to be able to go.”

Justice Alito did not say in the video which friend he was referring to, and he did not disclose any additional names on his annual financial form.

When I went to the festival in 2015, I'd gotten my tickets through my local Wagner Society, where I'd been a member for quite a few years without having attended. But the friend who went with me got her tickets on the festival web site in May of that year...five minutes after I told her I was going. You no longer have to spend years on a waiting list to get tickets.

Kirkwall

Bishop's Palace

Kirkwall, Orkney

June, 1982

 

San Francisco Opera Opening Night

Lianna Haroutounian as Amelia

Un ballo in maschera

Cory Weaver / Courtesy of San Francisco Opera

I'm going to lead here with email that the San Francisco Opera Orchestra is sending out in its newsletter (copied from Janos Gereben's Facebook feed):

Last night, the San Francisco Opera season opened with our performance of Verdi’s Un Ballo in Maschera. In the moments leading up to the performance, the Orchestra reached an agreement with management for a short-term contract extension through the month of September.

While this is not the longer-term contract that our members deserve, the extension agreement contains the mutual aspiration of musicians and management to negotiate a multiyear contract, which they had previously refused to consider.

This is a positive step forward, but there is still much work to be done to ensure that we can reach a multi-year agreement that provides stability and a path forward both for orchestra musicians and the organization as a whole.

We are grateful to everyone who came out to the performance last night – and to celebrate the San Francisco Opera.

We hope to be able to play for you throughout the upcoming season with a new, fair contract!

The San Francisco Opera Orchestra

I call your attention to "in the moments leading up to the performance" and suggest that you contemplate what would have happened if there hadn't been an agreement. And here's the whole story, just published in SFCV.

The performance that followed was first-class; top-notch singing, a staging I liked (although a friend was...dubious about the set for Ulrica's scene, which was not a hut outside Stockholm but something more like a basement, only with good lighting), and good conducting. I thought the conducting did not catch fire, and so noted in my review with hope that it might be more on fire later in the run.

Reviews:

• Lisa Hirsch, SF Chronicle
• Lisa Hirsch, SF Chronicle. My first review for the Chronicle was the previous production of Ballo, a decade ago, in Joshua Kosman's absence.
• Steven Winn, SFCV
• Joshua Kosman, his newsletter
• Opera Tattler. Adding to the tattling: Right before the curtain went up for Act 2, someone shouted "Give them a raise!", referring to the orchestra. At the beginning of Act 3, someone in my row but across the aisle in the center section of the orchestra hadn't turned off their phone and was viewing a video on it or something.
• Michael Anthonio, Parterre Box
• Michael Strickland, SF Civic Center
• Patrick Vaz, The Reverberate Hills
• Harvey Steiman, Seen & Heard International
• Thomas May, Bachtrack

Related: the

• Michael Strickland, SF Civic Center
• Tony Bravo goes backstage and attends the dinner; from this article, we also learn that Judit Kutasi (Ulrica) is married to tenor Sunnyboy Dladla, who has a beautiful voice and is a handsome fellow as well. They have a two-year-old son who will undoubtedly have voice lessons at some point. I hope that Greg Henkel and Matthew Shilvock have heard him sing.
• Linda Liu, Chronicle, covers the Opera Ball
• Linda Liu, Chronicle, covers Opera in the Park. Note that the Beethoven 9th performance is already sold out.

Museum Mondays

From La Cartonería Mexicana, an exhibit of Mexican paper and paste art

Museum of International Folk Art, Santa Fe, NM

August, 2024

 

Name That Portrait

 

Michael Fabiano as King Gustavus III

Un ballo in maschera

Photo: Cory Weaver / San Francisco Opera

I recognized two of the portraits in this wall of paintings as real portraits, so probably the rest are as well. Do you recognize any?

Portraits seem to be a thing right now. There was a giant wall of portraits of Ryan Speedo Green as Don Giovanni in the eponymous opera, in Santa Fe's production this summer. Presumably they have to be reconstructed for every new singer in the title role.

Ryan Speedo Green as Don Giovanni

Curtis Brown Photography

Courtesy of Santa Fe Opera

Stenness

Stones of Stenness, Orkney 

June, 1982

 

Friday Photo

Battery at Market

San Francisco, CA

August, 2024

 

Xian Zhang to Seattle

Xian Zhang

Photo by Cherylynn Tsushima, courtesy of the New Jersey Symphony

Two and a half years after the departure of Thomas Dausgaard, the Seattle Symphony has named Xian Zhang, currently music director of the New Jersey Symphony, as their next music director. Zhang will join Seattle for the 2025-26 season and will remain music director of the New Jersey Symphony until the end of the 2027-28 season.

Open positions:

• New Jersey Symphony, when Xian Zhang leaves at the end of the 2027-28 season.
• Ulster Orchestra, when Daniele Rustioni leaves
• Utah Symphony
• Swedish Radio Symphony Orchestra, when Daniel Harding leaves
• Oslo Philharmonic, when Klaus Makela moves on in 2027
• Orchestre de Paris, when Klaus Makela moves on in 2027
• Gothenburg Symphony Orchestra, when Santu-Matias Rouvali leaves in 2025
• Netherlands Philharmonic Orchestra because of the departure of Lorenzo Viotti in 2025
• Netherlands Chamber Orchestra, because of the departure of Lorenzo Viotti in 2025
• Dutch National Opera, because of the departure of Lorenzo Viotti in 2025
• English National Opera
• Bergen Philharmonic
• LA. Opera, at the end of 2025-26
• San Francisco Symphony, at the end of 2024-25
• Phoenix Symphony
• Cleveland Orchestra, as of June, 2027.
• Lahti Symphony, when Dalia Stasevka leaves.
• Antwerp Symphony, with the departure of Elim Chan.
• Paris Opera is currently without a music director.
• Nashville Symphony, when Giancarlo Guerrero leaves.
• Deutsche Oper Berlin, when Donald Runnicles leaves.
• Rottedam Philharmonic, when Lahav Shani leaves.
• Los Angeles Philharmonic, as of 2026-27, when Gustavo Dudamel leaves for NY.
• Teatro Regio Turin: Open now with departure of Gianandrea Noseda. The Teatro Regio has not named a new music director.
• Marin Symphony, at the end of 2022-23.
• Vienna Staatsoper, when Philippe Jordan leaves at the end of 2025.
• Pacific Symphony, when Carl St. Clair retires.

Conductors looking for jobs (that is, as of the near future, or now, they do not have a posting). The big mystery, to me, is why an orchestra hasn't snapped up Susanna Mälkki. Slightly lesser mystery: Henrik Nanasi, whose superb Cosi fan tutte is still lingering in my ears.

• Marc Albrech
• Markus Stenz
• Esa-Pekka Salonen, if he wants such a position again
• James Conlon, if he wants such a position again.
• Dalia Stasevska (though her contract at Lahti has been extended by a year)
• Elim Chan
• Kirill Karabits
• Tito Muñoz 
• Andrey Boreyko
• Osmo Vänskä
• Susanna Mälkki, who left the Helsinki Philharmonic at the end of 2022-23.
• MGT (apparently does not want a full-time job, as of early 2022)
• Miguel Harth-Bedoya (seems settled in at Baylor)
• Sian Edwards
• Ingo Metzmacher
• Jac van Steen
• Ilan Volkov
• Aleksandr Markovic
• Lothar Koenigs
• Henrik Nanasi
• Philippe Jordan, eventually
• Franz Welser-Möst, if he wants such a job

And closed:

• Edward Gardner starts as music director of Norwegian National Opera this season,
• Sarasota Orchestra: Giancarlo Guerrero just got named music director, as of 2025.
• Hong Kong Philharmonic: Tarmo Peltokoski becomes music director in 2026.
• Tokyo Symphony, with the appointment of Lorenzo Viotti.
• Oakland Symphony, where Kedrick Armstrong succeeds the late Michael Morgan.
• Minnesota Opera: closed with the appointment of Christopher Franklin.
• The Chicago Symphony Orchestra gets to share Klaus Mäkelä with the Concertgebouw.
• The Hallé Orchestra's next conductor will be Kahchun Wong.
• Marin Alsop becomes principal guest conductor of the Philadelphia Orchestra, I believe succeeding Nathalie Stutzmann.
• Simon Rattle becomes principal guest conductor of the Czech Philharmonic.
• John Storgards will becomes chief conductor of the Turku Philharmonic.
• Update and correction: San Francisco Chamber Orchestra was unable to hire Cosette Justo Valdés. Instead, Jory Fankuchen, a violinist in the orchestra, has been named Principal Conductor and will lead this season's programs.
• Cincinnati Symphony Orchestra: Cristinia Mačelaru becomes music director in 2025
• Indianapolis Symphony hires Jun Markel, effective September 1, 2024.
• Andris Nelsons renewed his contract with the Boston Symphony. He's now on an evergreen rolling contract, which will continue as long as he and the orchestra are happy with each other. MTT had one of these at SFS.
• Shanghai Symphony, with the appointment of Long Yu.
• Virginia Symphony, with the appointment of Eric Jacobsen.
• Warsaw Philharmonic, with the appointment of Krzysztof Urbański.
• Bern Symphony, with the appointment of Krzysztof Urbański.
• Berlin State Opera, with the appointment of Christian Thielemann.
• Dresden Philharmonic, with the appointment of Donald Runnicles.
• New York Philharmonic, with the appointment of Gustavo Dudamel. Note that Jaap van Zweden leaves in 2024 and there will be a two-season gap before Dudamel arrives.
• Helsinki Philharmonic: Jukka-Pekka Saraste to succeed Susanna Mälkki.
• Staatskapelle Dresden, with the appointment of Daniele Gatti.
• Seoul Philharmonic appoints Jaap van Zweden.
• Royal Opera appoints Jakub Hrůša to succeed Antonio Pappano

 

Facepalm

Davies Symphony Hall

Photo by Lisa Hirsch

Found all over the place, on social media, in email, and elsewhere:

Crude as a gut punch, tender as a kiss, Verdi’s Requiem translates the medieval Latin mass for the dead into the vivid and visceral idiom of Italian opera.

Very seriously, who writes this stuff? That first clause is ridiculous, inaccurate, a likely turn-off to potential audience members, and frankly embarrassing. SF Symphony can certainly hire better people than this....well, wait, maybe they just can't afford to these days.

 

It Doesn't Have To Be This Way.

From the NY Times:

There have been about 70 shootings at K-12 schools in Georgia between early 1970 and June 2022, according to data compiled by the Naval Postgraduate School’s Center for Homeland Defense and Security. But none were as deadly as Wednesday’s attack at Apalachee High School in Winder, Ga., which killed four and injured nine others.

The United States is essentially the only country with such lax gun controls and with such high levels of gun violence. We can choose to live our lives differently. 

Ives at Indiana University

Ives image courtesy Charles Ives Papers / Irving S. Gilmore Music Library / Yale University

Indiana University is having what looks like an amazing Charles Ives festival from September 30 to October 8. Here's a chunk of the press release:

Throughout 2024 - the sesquicentenary of the birth of America's first great classical composer, Charles Ives - celebrations of the man and his work continue to proliferate - panels, colloquia, recordings, videos and concerts abound. The largest and most impressive of these efforts by far is an entire festival to be held in Bloomington, Indiana from 30 September through 08 October at the Jacobs School of Music at Indiana University. Titled Charles Ives at 150: Music, Imagination and American Culture, the festival is organized by eminent Ives scholar J. Peter Burkholder, and author/broadcaster/producer Joseph Horowitz. Years in preparation, Charles Ives at 150 - all of its events over a 9-day period - will be offered free to all attendees. Registration (available through the festival website) is recommended, to enable festival updates on important details.

Highlights of Charles Ives at 150 include masterfully curated and themed concert programs with in-concert commentaries, colloquia, panels, and a round table discussion on performing the Concord Sonata. Featured artists include, among others, baritone William Sharp, pianists Jeremy Denk, Gilbert Kalish and Steven Mayer, violinist Stefan Jackiw, and the Pacifica Quartet. Concerts include performances of Ives's Second and Third Symphonies, Three Places in New England (including a new visual presentation by Peter Bogdanoff which helps audiences hear the events and images Ives describes), both string quartets, all three piano sonatas, all four violin sonatas, dozens of songs, and works for piano, chorus, and concert band.

Festival talks include presentations on "Ives and the Visual" by art historian Tim Barringer and "Charles Ives's Civil War" by Civil War historian Allen Guelzo, alongside talks by historian Alan Lessoff, musicologist Denise Von Glahn, Ives editor James B. Sinclair, Ives biographer Jan Swafford, geographer Mark Sciuchetti, and music theorists Chelsey Hamm, Derek G. Myler, and David Thurmaier.

The complete program of the festival can be found on the festival website: https://go.iu.edu/ives

Ticketing Fees, Once Again

Found on the Cal Performances website:

There is a $15 per order service charge on single ticket purchases that partially underwrites the cost of our ticketing platform, credit card processing, Ticket Office staffing, and ticket delivery. To avoid this fee, tickets can be purchased in person at our Ticket Office during our regular office hours. Note: there is a $20 service charge for all subscription orders.

It's nice to see an explanation, but for heaven's sake: credit charge processing and Ticket Office staffing apply even if you buy tickets in person, assuming that you use a credit card. For that matter, the ticketing platform has to be updated even if you buy in person. The seat or seats you just bought are no longer available. So I still don't get it.

Stones of Stennes

Over at The Rest is Noise, Alex Ross has posted a photo of the Stones of Stenness, a Neolithic monument on the island of Orkney. Click the photo to enlarge it, so you can see the Stones of Stennes in their full glory.

I previously posted my own photos from a long-ago trip to Orkney:

• October, 2020
• August, 2019

Museum Mondays

From La Cartonería Mexicana, an exhibit of Mexican paper and paste art

Museum of International Folk Art, Santa Fe, NM

August, 2024

 

The Quality of NY Times Reporting

I see a lot of complaining, much of it righteous, about the quality of NY Times reporting on politics and particularly the presidential election. There was that full-court press to get Biden to step aside; there's the constant normalizing of Trump's behavior and speeches even when he is outrageous and incoherent. And there there are specific stories that leave me pounding the table.

For example, take Jennifer Medina's story of August 22, Are Voters Ready to Elect a Woman? Democrats Say They Have No Doubt (gift link). Well, gosh. Medina goes into all kinds of twists and turns about why or why not this year is different from 2016.

What she doesn't mention: Hillary Clinton got three million votes more than Donald Trump. Americans were ready to elect a woman eight years ago. It's only the ridiculous and undemocratic Electoral College that kept her out of office. In any other country, she would have been elected president.

SFS: Eric Owens Withdraws from Verdi Requiem

Davies Symphony Hall

Photo by Lisa Hirsch

Bass Eric Owens has withdrawn, for personal reasons, from September's performances of the Verdi Requiem at San Francisco Symphony. He'll be replaced by Peixin Chen. The other soloists are soprano Leah Hawkins, mezzo-soprano Karen Cargill, and tenor Mario Chang, The program opens with three works for chorus and orchestra by Gordon Getty, conducted by Symphony Chorus Director Jenny Wong.