March 18, 2019

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The 10 Biggest Upheavals of Lincoln Center’s Tumultuous Year

The 10 Biggest Upheavals of Lincoln Center’s Tumultuous Year
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Adam Crane, the Philharmonic’s vice president for external affairs, said that the men were dismissed after a five-month investigation of allegations of misconduct. He said that the accusations against them were sexual in nature but did not elaborate. Lawyers for both men have denied any wrongdoing, and their union has filed a grievance to contest their firings. The case will go to arbitration early next year.

[Read more about the firings here.]

Mr. Nézet-Séguin, the dynamic music director of the Philadelphia Orchestra, had already been tapped as the Met’s next music director before Mr. Levine’s troubles began. But as the crisis mounted, he moved up his start date to this season, two years ahead of schedule.

His presence is already being felt. He and the Met’s general manager, Peter Gelb, have announced plans to collaborate with other arts organizations around the city and to commission new works, including the first operas the Met has ever commissioned from women. After he led his first opera as music director, a new production of Verdi’s “La Traviata,” Anthony Tommasini wrote in the Times, “I expected his ‘Traviata’ to be good, but not this good.”

[Read about the start of the Nézet-Séguin era at the Met.]

When Mr. Van Zweden, an exacting Dutch conductor, was named the next music director of the Philharmonic, some critics questioned whether he would be as committed to new music as his predecessor, Alan Gilbert. It had not been a centerpiece of his previous job, as music director of the Dallas Symphony Orchestra, which made him the best-paid conductor in America, paying him a record $5.1 million in 2013.

His answer? He opened each of his first three Philharmonic programs this fall with the premiere of a commissioned work: Ashley Fure’s “Filament,” Conrad Tao’s “Everything Must Go” and Louis Andriessen’s “Agamemnon.” Mr. Tommasini praised the decision to open the van Zweden era with the experimental Fure piece as “a strong statement of artistic purpose.”

[Read about Mr. van Zweden’s countdown to opening night.]

Juilliard reached into the arts world for its new president: Mr. Woetzel, a former City Ballet star who was credited with injecting new life into the Vail Dance Festival as its artistic director, and who has taught as a visiting lecturer at Harvard Law School.

“Each of us has the chance to seize this moment, and to create a powerful artistic voice,” he said in his first convocation speech. “And to take that artistic voice and share it. We seek to foster a growing community of these voices. Your voices. Our voices together. A community that is open, and pluralistic, and recognizes that if it isn’t, then it is lessened. A community that furthers civil discourse, and knows that arts and culture are an antidote to division.”



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