++++++ 01.03.2012 ++++++
Anna and the King - Heiko Schon
It's less than a thousand days until completion of the makeover of the Knobelsdorff building. The opera house is now for the most part gutted; the main part of the necessary dismantling is finished; various harmful substances have been disposed of. Soon to follow: the removal and renovation of the ceiling of the auditorium and the sealing of the building. So that the high groundwater level does not cause trouble again, 98 small-bore piles are intended to ensure that the stage area is firmly anchored in the ground. About 100 people are currently working at the construction site; quite a few more will join them when the interior work begins.
Foto: Christian von Steffelin
The Sun King, currently sojourning in a Charlottenburg residence, invites to a benefit concert every now and then to fill the coffers in support of the renovation. This time, Daniel Barenboim succeeded in winning Anna Netrebko, who treated us in the Philharmonie to three songs by Richard Strauss, one aria each from Arrigo Boito's Mefistofele and Giuseppe Verdi's Sicilian Vespers and two Tchaikovsky pieces for dessert (with Barenboim at the piano). There's also another chance to see Netrebko this season: four times in June and on July 6th Anna will sing Donna Anna conducted by Barenboim at the Schillertheater. And there's another benefit concert on 4 July 2012 where we are expecting star violinist Anne-Sophie Mutter.
It's less than a thousand days until completion of the makeover of the Knobelsdorff building. The opera house is now for the most part gutted; the main part of the necessary dismantling is finished; various harmful substances have been disposed of. Soon to follow: the removal and renovation of the ceiling of the auditorium and the sealing of the building. So that the high groundwater level does not cause trouble again, 98 small-bore piles are intended to ensure that the stage area is firmly anchored in the ground. About 100 people are currently working at the construction site; quite a few more will join them when the interior work begins.
Foto: Christian von Steffelin
The Sun King, currently sojourning in a Charlottenburg residence, invites to a benefit concert every now and then to fill the coffers in support of the renovation. This time, Daniel Barenboim succeeded in winning Anna Netrebko, who treated us in the Philharmonie to three songs by Richard Strauss, one aria each from Arrigo Boito's Mefistofele and Giuseppe Verdi's Sicilian Vespers and two Tchaikovsky pieces for dessert (with Barenboim at the piano). There's also another chance to see Netrebko this season: four times in June and on July 6th Anna will sing Donna Anna conducted by Barenboim at the Schillertheater. And there's another benefit concert on 4 July 2012 where we are expecting star violinist Anne-Sophie Mutter.
++++++ 14.01.2010 ++++++
The berliner Operngruppe
Conductor Felix Krieger and pianist Saleem Abboud Ashkar have initiated the berliner Operngruppe. This name describes an association intended to give lay musicians a possibility to study and perform less well-known works jointly with international guest soloists. The opera Oberto will kick things off in the Radialsystem on May 3, 2010. A good 170 years ago, Giuseppe Verdi's career began with this work at La Scala in Milan. The title role will be sung by Francesco Ellero d'Artegna; musical direction is in the hands of Felix Krieger. Interested instrumentalists and singers can get informed and apply at www.berlineroperngruppe.de. Well then: break a leg!
Conductor Felix Krieger and pianist Saleem Abboud Ashkar have initiated the berliner Operngruppe. This name describes an association intended to give lay musicians a possibility to study and perform less well-known works jointly with international guest soloists. The opera Oberto will kick things off in the Radialsystem on May 3, 2010. A good 170 years ago, Giuseppe Verdi's career began with this work at La Scala in Milan. The title role will be sung by Francesco Ellero d'Artegna; musical direction is in the hands of Felix Krieger. Interested instrumentalists and singers can get informed and apply at www.berlineroperngruppe.de. Well then: break a leg!
++++++ 09.11.2009 ++++++
To good friends - Heiko Schon
You've got to admire the guy! Plácido Domingo sings six performances of Simon Boccanegra, attends his friend Daniel Barenboim's conducting engagements in between (Lohengrin, Beethoven's Eroica at the Gethsemanekirche) and still finds time to take part in the benefit concert on behalf of renovating the Staatsoper. Once his days in Berlin are over, he'll be heading—new role in his suitcase—to Milan, New York, London and Madrid. He conducts the opera houses in Washington and Los Angeles (where he plays the role of Siegmund in Achim Freyer's new Ring), successfully attends to the next generation of singers with his singing competition Operalia, works in the recording studio or in the orchestra pit—the king of opera balances it all. It's almost a miracle that the 68-year old's physical condition plays along. His Siegmund, in any case, is a symbiosis of thoroughbred tenor and comprehensible character. The way his voice is supported by breath and stays in focus even with the trumpet-like, blaring Wälse calls - sensational. And yet—there's more there than just a tenor beacon. Is it the soul of the role? The artist himself? Some factor X? It's hard to say how Domingo produces these goosebumps. At his side Michaela Schuster (Sieglinde) and Kwangchul Youn (Hunding) - partners at his level. The Staatskapelle Berlin played head-on under Daniel Barenboim. The leitmotifs: bursting with energy; the solo cello: excellent; the horns: congested. € 237,000 landed in the renovation kitty on this early November evening.
You've got to admire the guy! Plácido Domingo sings six performances of Simon Boccanegra, attends his friend Daniel Barenboim's conducting engagements in between (Lohengrin, Beethoven's Eroica at the Gethsemanekirche) and still finds time to take part in the benefit concert on behalf of renovating the Staatsoper. Once his days in Berlin are over, he'll be heading—new role in his suitcase—to Milan, New York, London and Madrid. He conducts the opera houses in Washington and Los Angeles (where he plays the role of Siegmund in Achim Freyer's new Ring), successfully attends to the next generation of singers with his singing competition Operalia, works in the recording studio or in the orchestra pit—the king of opera balances it all. It's almost a miracle that the 68-year old's physical condition plays along. His Siegmund, in any case, is a symbiosis of thoroughbred tenor and comprehensible character. The way his voice is supported by breath and stays in focus even with the trumpet-like, blaring Wälse calls - sensational. And yet—there's more there than just a tenor beacon. Is it the soul of the role? The artist himself? Some factor X? It's hard to say how Domingo produces these goosebumps. At his side Michaela Schuster (Sieglinde) and Kwangchul Youn (Hunding) - partners at his level. The Staatskapelle Berlin played head-on under Daniel Barenboim. The leitmotifs: bursting with energy; the solo cello: excellent; the horns: congested. € 237,000 landed in the renovation kitty on this early November evening.
++++++ 01.06.2009 ++++++
United Classics - Photo: Jesse Benjamin
The concert cycle Vereinte Klassik (United Classics) was presented at a photo session at the Brandenburg Gate on May 28th. Commemorating the 20th anniversary of the Fall of the Wall, the Berlin Philharmonic and the Konzerthausorchester Berlin will show the way musically with a joint chamber music series over six evenings.
The Governing Mayor of Berlin, Klaus Wowereit, presented a sprayed wall segment (designed by the artist Nick Santoro) that will be placed at various locations in the east and west of the formerly divided city to allude to the cycle.
»This concert series is a wonderful gift for all Berliners and of course all our guests for the anniversary of the fall of the wall,« Wowereit said. »I wish the two orchestras many interested members of the audience in the Philharmonic and Konzerthaus halls.«
Pamela Rosenberg, General Manager of the Berlin Philharmonic, affirmed the joint objective: »I hope and believe that we will succeed with the initiative for the concert series Vereinte Klassik in finally breaking through the glass wall between the Konzerthaus and the Philharmonie.« Prof. Frank Schneider, General Director of the Konzerthaus, pointed out the concept of interlaced contents: »In the same way that the symbolic piece of the wall will be wandering around the city in the next months, the ensembles, composers and the music itself will be oscillating between east and west, visiting and pervading each other reciprocally.«
The cycle Vereinte Klassik starts on October 21 in the Kammermusiksaal of the Philharmonie. The other concerts then take place alternately in the Konzerthaus Berlin and in the Philharmonie.
Information under www.vereinte-klassik.de
The concert cycle Vereinte Klassik (United Classics) was presented at a photo session at the Brandenburg Gate on May 28th. Commemorating the 20th anniversary of the Fall of the Wall, the Berlin Philharmonic and the Konzerthausorchester Berlin will show the way musically with a joint chamber music series over six evenings.
The Governing Mayor of Berlin, Klaus Wowereit, presented a sprayed wall segment (designed by the artist Nick Santoro) that will be placed at various locations in the east and west of the formerly divided city to allude to the cycle.
»This concert series is a wonderful gift for all Berliners and of course all our guests for the anniversary of the fall of the wall,« Wowereit said. »I wish the two orchestras many interested members of the audience in the Philharmonic and Konzerthaus halls.«
Pamela Rosenberg, General Manager of the Berlin Philharmonic, affirmed the joint objective: »I hope and believe that we will succeed with the initiative for the concert series Vereinte Klassik in finally breaking through the glass wall between the Konzerthaus and the Philharmonie.« Prof. Frank Schneider, General Director of the Konzerthaus, pointed out the concept of interlaced contents: »In the same way that the symbolic piece of the wall will be wandering around the city in the next months, the ensembles, composers and the music itself will be oscillating between east and west, visiting and pervading each other reciprocally.«
The cycle Vereinte Klassik starts on October 21 in the Kammermusiksaal of the Philharmonie. The other concerts then take place alternately in the Konzerthaus Berlin and in the Philharmonie.
Information under www.vereinte-klassik.de
++++++ 20.02.2009 ++++++
Lions for Children - Heiko Schon
For the 14th time, the Lions Club Berlin-Wannsee invited Berliners to a benefit gala. Udo Maier, host and club president, was pleased to point out that the joint-meaning the Deutsche Oper Berlin-was full once again. Good-humored, sharp-tongued Dr. Eckart von Hirschhausen led us through the program: after chatting with the concert's patron, Prof. Klaus Töpfer, about child poverty and education, he transitioned to the cultural part of the evening. Suitable for Carnival Monday, Martin Baeza Rudio conducted Camille Saint-Saens' Carnival of the Animals, which turned out quite a cute affair, not least due to narrator Jörg Schörner and Carsten Meyer's caricatures. After intermission, the house's designated General Music Director, Donald Runnicles, took over musical direction of the DOB Orchestra and served a "Best of British" selection: marches by Edward Elgar (Imperial March, Pomp and Circumstance) and Eric Coates (The Dambusters March) and the pieces On hearing the first Cuckoo in Spring by Frederick Delius and Fantasia on Greensleeves by Ralph Vaughan Williams. Von Hirschhausen opined quite rightly that it wasn't really normal to remain quietly seated during such music. Not that anyone jumped for the aisle, but the whole auditorium sang Thomas Arne's Rule, Britannia along with baritone Markus Brück. Despite its three-hour length, it was an entertaining and pleasurable evening for a good cause. The sponsors' donations and ticket sales were used this year to support the project "Magical Physics" (www.buergerstiftung-berlin.de) and the youth center Berlin-Mitte e. V. (www.kinderhaus-berlin.de). The 15th Lions Benefit Gala Concert will take place on March 19, 2010.
For the 14th time, the Lions Club Berlin-Wannsee invited Berliners to a benefit gala. Udo Maier, host and club president, was pleased to point out that the joint-meaning the Deutsche Oper Berlin-was full once again. Good-humored, sharp-tongued Dr. Eckart von Hirschhausen led us through the program: after chatting with the concert's patron, Prof. Klaus Töpfer, about child poverty and education, he transitioned to the cultural part of the evening. Suitable for Carnival Monday, Martin Baeza Rudio conducted Camille Saint-Saens' Carnival of the Animals, which turned out quite a cute affair, not least due to narrator Jörg Schörner and Carsten Meyer's caricatures. After intermission, the house's designated General Music Director, Donald Runnicles, took over musical direction of the DOB Orchestra and served a "Best of British" selection: marches by Edward Elgar (Imperial March, Pomp and Circumstance) and Eric Coates (The Dambusters March) and the pieces On hearing the first Cuckoo in Spring by Frederick Delius and Fantasia on Greensleeves by Ralph Vaughan Williams. Von Hirschhausen opined quite rightly that it wasn't really normal to remain quietly seated during such music. Not that anyone jumped for the aisle, but the whole auditorium sang Thomas Arne's Rule, Britannia along with baritone Markus Brück. Despite its three-hour length, it was an entertaining and pleasurable evening for a good cause. The sponsors' donations and ticket sales were used this year to support the project "Magical Physics" (www.buergerstiftung-berlin.de) and the youth center Berlin-Mitte e. V. (www.kinderhaus-berlin.de). The 15th Lions Benefit Gala Concert will take place on March 19, 2010.
++++++ 11.01.2009 ++++++
Raddatz to be General Director of the Berlin Opera Foundation
The Managing Director of Cologne's theaters, Peter F. Raddatz, will become General Director of the Berlin Opera Foundation. Stefan Rosinski is currently managing the Foundation on a provisional basis; Raddatz will succeed him on September 1, 2009. Rosinski remains, however, Administrative Director of the theater service of the Opera Foundation. Raddatz will take on the position for five years through 2014. Berlin's Opera Foundation combines the organizations of the Deutsche Oper, the Staatsoper and the Komische Oper. Repeatedly, there have been conflicts between the Mayor and Cultural Senator Klaus Wowereit and Rosinski.
The Managing Director of Cologne's theaters, Peter F. Raddatz, will become General Director of the Berlin Opera Foundation. Stefan Rosinski is currently managing the Foundation on a provisional basis; Raddatz will succeed him on September 1, 2009. Rosinski remains, however, Administrative Director of the theater service of the Opera Foundation. Raddatz will take on the position for five years through 2014. Berlin's Opera Foundation combines the organizations of the Deutsche Oper, the Staatsoper and the Komische Oper. Repeatedly, there have been conflicts between the Mayor and Cultural Senator Klaus Wowereit and Rosinski.
++++++ 10.01.2009 ++++++
Jürgen Flimm to be director of the Staatsoper
Jürgen Flimm will take over the direction of the Staatsoper Unter den Linden as of September 1, 2010. Jürgen Flimm has a five-year contract as artistic director, comprising the phase of reconstruction beginning in 2010, the three seasons in which the Schiller Theater serves as a substitute venue, and the ceremonial reopening of the Staatsoper for the 2013/14 season. Jürgen Flimm has made himself available in an advisory role as of January 1, 2009; jointly with the current provisional artistic director Ronald H. Adler, he is planning and shaping the future of the house.
Jürgen Flimm: "I am looking forward to working with Daniel Barenboim and Ronald Adler. And I'm looking forward to Berlin. This is an exciting task and a great challenge." Daniel Barenboim: "Jürgen Flimm is a close friend of mine and we have been working together for many years, most recently once again in Salzburg. We share a similar striving towards the highest quality. I'm very happy about this decision."
Berlin mayor Klaus Wowereit: "Professor Jürgen Flimm is quite forceful in an intellectual exchange of opinions, and equally determined and good at implementation when transferring theoretical discourse into artistic practice. With him joining the team, we have a captain on board who will safely steer the Staatsoper ship in good cooperation with General Music Director Daniel Barenboim through the reconstruction, a time which no doubt will not be easy. He can then enjoy a brilliant new start with the house's re-opening in the fall of 2013."
Jürgen Flimm will take over the direction of the Staatsoper Unter den Linden as of September 1, 2010. Jürgen Flimm has a five-year contract as artistic director, comprising the phase of reconstruction beginning in 2010, the three seasons in which the Schiller Theater serves as a substitute venue, and the ceremonial reopening of the Staatsoper for the 2013/14 season. Jürgen Flimm has made himself available in an advisory role as of January 1, 2009; jointly with the current provisional artistic director Ronald H. Adler, he is planning and shaping the future of the house.
Jürgen Flimm: "I am looking forward to working with Daniel Barenboim and Ronald Adler. And I'm looking forward to Berlin. This is an exciting task and a great challenge." Daniel Barenboim: "Jürgen Flimm is a close friend of mine and we have been working together for many years, most recently once again in Salzburg. We share a similar striving towards the highest quality. I'm very happy about this decision."
Berlin mayor Klaus Wowereit: "Professor Jürgen Flimm is quite forceful in an intellectual exchange of opinions, and equally determined and good at implementation when transferring theoretical discourse into artistic practice. With him joining the team, we have a captain on board who will safely steer the Staatsoper ship in good cooperation with General Music Director Daniel Barenboim through the reconstruction, a time which no doubt will not be easy. He can then enjoy a brilliant new start with the house's re-opening in the fall of 2013."
++++++ 15.11.2008 ++++++
To be Renovated: One Enchanted Castle - Heiko Schon
18 months to go. And then it will be pneumatic drills rather than string basses, workers and craftsmen instead of Mimi and Rodolfo, construction noise not Wagner. An unbelievable 242 million Euros has been set aside for the Knobelsdorff "boat". It is true that the federal government has promised to pay the lion's share, but that in itself won't cover everything: personal commitment is sought after! And so, for a good cause, friends, sponsors, orchestra members, conductors and tenors are placing themselves at the Staatsoper's service. Kicking off a series of benefit concerts, Rolando Villazón was the first to perform without pay, thus putting additional revenues into the renovation "kitty" of his - quote - musical family. High-caliber guests will follow the Mexican star. Thus, singer colleague Plácido Domingo, maestro Zubin Mehta and pianist Lang Lang have already agreed to participate in the next concerts. To the delight of everyone involved, the start hit the mark. In the first half of the concert, Mozart lovers got their money's worth with the Don Giovanni overture, Masonic Funeral Music und Wolferl's last piano concerto. After intermission, Captain Barenboim cast off in Russia, stopping over in Spain on his way to Argentina. Barenboim both visually and audibly played his favorite role, that of a thunderous grand old man, rattling the sabers in Carmen with lots of power, and repeating the Polonaise from Eugen Onegin with the same razor sharpness as in the season premiere which just took place. Rolando Villazón, radiating buckets of charm, celebrated the ladies Donna Anna (Il mio tesoro), Pamina (Dies Bildnis ist bezaubernd schön), Olga (Kuda, kuda), Carmen (Blumenarie) and Marola (No puede se) with melting sobs. The finale: standing amicably shoulder to shoulder, a radiant chancellor and an audience gone wild.
18 months to go. And then it will be pneumatic drills rather than string basses, workers and craftsmen instead of Mimi and Rodolfo, construction noise not Wagner. An unbelievable 242 million Euros has been set aside for the Knobelsdorff "boat". It is true that the federal government has promised to pay the lion's share, but that in itself won't cover everything: personal commitment is sought after! And so, for a good cause, friends, sponsors, orchestra members, conductors and tenors are placing themselves at the Staatsoper's service. Kicking off a series of benefit concerts, Rolando Villazón was the first to perform without pay, thus putting additional revenues into the renovation "kitty" of his - quote - musical family. High-caliber guests will follow the Mexican star. Thus, singer colleague Plácido Domingo, maestro Zubin Mehta and pianist Lang Lang have already agreed to participate in the next concerts. To the delight of everyone involved, the start hit the mark. In the first half of the concert, Mozart lovers got their money's worth with the Don Giovanni overture, Masonic Funeral Music und Wolferl's last piano concerto. After intermission, Captain Barenboim cast off in Russia, stopping over in Spain on his way to Argentina. Barenboim both visually and audibly played his favorite role, that of a thunderous grand old man, rattling the sabers in Carmen with lots of power, and repeating the Polonaise from Eugen Onegin with the same razor sharpness as in the season premiere which just took place. Rolando Villazón, radiating buckets of charm, celebrated the ladies Donna Anna (Il mio tesoro), Pamina (Dies Bildnis ist bezaubernd schön), Olga (Kuda, kuda), Carmen (Blumenarie) and Marola (No puede se) with melting sobs. The finale: standing amicably shoulder to shoulder, a radiant chancellor and an audience gone wild.
++++++ 20.10.2008 ++++++
Opera Workshop to be Built
Berlin's Opera Foundation finalized the construction of their central workshop on Franz-Mehring-Platz last week and to this end released Euro 25.5 million. This is the first positive piece of news the foundation can announce after eleven months and countless scandalous news items about the Staatsoper Unter den Linden. The funds for the building come from the sale of the properties in Chausseestraße, Zehdenicker and Französischen Straße in which the three workshops have lodged until now. The new workshop is to be complete in 2010.
The Central Workshop is an essential element of the Opera Structure Concept from 2004, with the help of which the opera houses are to achieve the savings imposed on them. It is intended that one workshop for all three opera houses and the state ballet will cost less than decentralized facilities. By 2010, it is planned to consolidate the scenery and costume workshops, staff services, bookkeeping and the head office. At this point, 270 employees are dispersed around the city at five locations.
Berlin's Opera Foundation finalized the construction of their central workshop on Franz-Mehring-Platz last week and to this end released Euro 25.5 million. This is the first positive piece of news the foundation can announce after eleven months and countless scandalous news items about the Staatsoper Unter den Linden. The funds for the building come from the sale of the properties in Chausseestraße, Zehdenicker and Französischen Straße in which the three workshops have lodged until now. The new workshop is to be complete in 2010.
The Central Workshop is an essential element of the Opera Structure Concept from 2004, with the help of which the opera houses are to achieve the savings imposed on them. It is intended that one workshop for all three opera houses and the state ballet will cost less than decentralized facilities. By 2010, it is planned to consolidate the scenery and costume workshops, staff services, bookkeeping and the head office. At this point, 270 employees are dispersed around the city at five locations.
++++++ 01.10.2008 ++++++
4:1 for Berlin - by Heiko Schon
First the bad news. The Annoyance of the Opera Year 2008 occurred - once again - in Berlin. By now, everyone involved acknowledges that by at most shrugging their shoulders. Heads, like that of former DOB artistic director Udo Zimmermann, have not rolled for a long time. And which ones would roll? Peter Mussbach, the Staatsoper's former artistic director and Georg Vierthaler, its former business director, have already been sent packing. The makers of cultural policy were doing their job by the book, making decisions the way they were expected to. Klaus Roth's blueprint - first selected and then shot down - is clearly part of the same rigmarole. After all the funders of the Staatsoper reconstruction had expressed their displeasure, it cannot really have surprised anyone that they turned the blueprint down.
It is much more probable that the 50 critics who took part in the survey run by the magazine Opernwelt were simply sick to death of weeks and weeks of wrangling about the question of How. If one takes a look at the other items in the questionnaire, in fact the three opera houses of Germany's capital city have done quite well. With Hans Werner Henze's Phaedra, the Staatsoper pulled in the World Premiere of the Year; the Staatskapelle shares the award for Orchestra of the Year with the Essen Philharmonic. In addition, the press echo around the new production Der Spieler was strikingly positive. The Komische Oper, Opera House of the Year together with Bremen last time around, was individually mentioned in the category once again, and also for Costume Director (Alfred Mayerhofer for Kiss me, Kate) and Chorus of the Year. The Director of the Year (Hans Neuenfels splits the title with Christof Loy) will be returning in November with Verdi's La Traviata at the KOB. And lo and behold: even Kirsten Harms can uncork the champagne, since her concept of rediscovering forgotten works at the Deutsche Oper is starting to yield fruit. Walter Braunfels' Jeanne d'Arc (directed according to Christoph Schlingensief) was elected Excavation of the Year. Likewise, Harms' newly appointed choir director emerged as the right choice: new entrant William Spaulding won the category Chorus of the Year. Congratulations!
First the bad news. The Annoyance of the Opera Year 2008 occurred - once again - in Berlin. By now, everyone involved acknowledges that by at most shrugging their shoulders. Heads, like that of former DOB artistic director Udo Zimmermann, have not rolled for a long time. And which ones would roll? Peter Mussbach, the Staatsoper's former artistic director and Georg Vierthaler, its former business director, have already been sent packing. The makers of cultural policy were doing their job by the book, making decisions the way they were expected to. Klaus Roth's blueprint - first selected and then shot down - is clearly part of the same rigmarole. After all the funders of the Staatsoper reconstruction had expressed their displeasure, it cannot really have surprised anyone that they turned the blueprint down.
It is much more probable that the 50 critics who took part in the survey run by the magazine Opernwelt were simply sick to death of weeks and weeks of wrangling about the question of How. If one takes a look at the other items in the questionnaire, in fact the three opera houses of Germany's capital city have done quite well. With Hans Werner Henze's Phaedra, the Staatsoper pulled in the World Premiere of the Year; the Staatskapelle shares the award for Orchestra of the Year with the Essen Philharmonic. In addition, the press echo around the new production Der Spieler was strikingly positive. The Komische Oper, Opera House of the Year together with Bremen last time around, was individually mentioned in the category once again, and also for Costume Director (Alfred Mayerhofer for Kiss me, Kate) and Chorus of the Year. The Director of the Year (Hans Neuenfels splits the title with Christof Loy) will be returning in November with Verdi's La Traviata at the KOB. And lo and behold: even Kirsten Harms can uncork the champagne, since her concept of rediscovering forgotten works at the Deutsche Oper is starting to yield fruit. Walter Braunfels' Jeanne d'Arc (directed according to Christoph Schlingensief) was elected Excavation of the Year. Likewise, Harms' newly appointed choir director emerged as the right choice: new entrant William Spaulding won the category Chorus of the Year. Congratulations!
++++++ 15.07.2008 ++++++
Reconstruction of the Staatsoper -- New Call for Tenders
After declining a new auditorium for Berlin's Staatsoper Unter den Linden, the reconstruction of the entire house is being submitted to a new call for tenders. «None of the drafts presented in the competition is capable of ensuring the required architectural conservation», said Klaus Wowereit, the governing mayor. New proceedings have been set up to find a construction supervisor for the project, estimated to cost Euro 241 million. A new architectural competition will not be run. The remodelling of the auditorium will also be required to rely closely on the existing hall created by GDR architect Richard Paulick.
After declining a new auditorium for Berlin's Staatsoper Unter den Linden, the reconstruction of the entire house is being submitted to a new call for tenders. «None of the drafts presented in the competition is capable of ensuring the required architectural conservation», said Klaus Wowereit, the governing mayor. New proceedings have been set up to find a construction supervisor for the project, estimated to cost Euro 241 million. A new architectural competition will not be run. The remodelling of the auditorium will also be required to rely closely on the existing hall created by GDR architect Richard Paulick.
++++++ 25.06.2008 ++++++
Homoki Leaves Komische Oper Prematurely
The Artistic Director of the Komische Oper Berlin, Andreas Homoki, will not fulfill his contract through 2014, but instead terminate it prematurely. He had extended it only in November of last year.
His successor will be Australian director Barrie Kosky, it was announced from sources near the Opera Foundation. They also said that current artistic director Andreas Homoki will terminate his contract prematurely and switch to the Zürich Opera House. It is intended that Barrie Kosky take over as Artistic Director at the Komische Oper Berlin in Behrenstraße in Mitte from 2012 onwards. Kosky's production of the musical Kiss me Kate is currently being performed at the Komische Oper.
Andreas Homoki was confirmed in his position only in November 2007, when he signed his contract extension. The new one was to run from 2009 through the summer of 2014. Homoki has been heading up the house since summer 2004; he has also been the Head Director since 2002.
The Artistic Director of the Komische Oper Berlin, Andreas Homoki, will not fulfill his contract through 2014, but instead terminate it prematurely. He had extended it only in November of last year.
His successor will be Australian director Barrie Kosky, it was announced from sources near the Opera Foundation. They also said that current artistic director Andreas Homoki will terminate his contract prematurely and switch to the Zürich Opera House. It is intended that Barrie Kosky take over as Artistic Director at the Komische Oper Berlin in Behrenstraße in Mitte from 2012 onwards. Kosky's production of the musical Kiss me Kate is currently being performed at the Komische Oper.
Andreas Homoki was confirmed in his position only in November 2007, when he signed his contract extension. The new one was to run from 2009 through the summer of 2014. Homoki has been heading up the house since summer 2004; he has also been the Head Director since 2002.
++++++ 25.06.2008 ++++++
Friedrich the Great - by Heiko Schon
On June 13, the Götz-Friedrich-Platz was ceremoniously opened with a festive dedication in three acts. The square is directly next to the Deutsche Oper at Krumme Straße, corner of Bismarckstraße. State Secretary for Culture André Schmitz first held an honorific speech for the house's general director of long standing. Schmitz called the director and theater head, who passed away in December 2000, one of the true greats in the national and international opera world. After the official part, the gala performance of Puccini's La Bohème showed how Friedrich's stagings put a spell on and continue to be loved by the DOB's core audience. Stefano Ranzani took on musical direction; among others, Valter Borin played Rodolfo, Markus Brück Marcello and Anja Harteros Mimi - for which she rightly received the strongest reception from the audience. Just as Fionnuala McCarthy (Musetta) did, many moved on from "Café Momus" to the house restaurant, where the Deutsche Oper's BigBand ensured a rollicking good mood until far after midnight. Among the guests: Karan Armstrong-Friedrich, honorary State Singer; Director Peter Stein; and object artist Günther Uecker, who contributed a sculpture made of nails for the square. The area, which was shouldered financially by the DOB's group of sponsors, the Richard Wagner Association and numerous comrades-in-arms, contains a set of stairs with light stripes and a fountain square. In breaks, one can stretch one's legs or sit on one of the benches blinking at the sun.
On June 13, the Götz-Friedrich-Platz was ceremoniously opened with a festive dedication in three acts. The square is directly next to the Deutsche Oper at Krumme Straße, corner of Bismarckstraße. State Secretary for Culture André Schmitz first held an honorific speech for the house's general director of long standing. Schmitz called the director and theater head, who passed away in December 2000, one of the true greats in the national and international opera world. After the official part, the gala performance of Puccini's La Bohème showed how Friedrich's stagings put a spell on and continue to be loved by the DOB's core audience. Stefano Ranzani took on musical direction; among others, Valter Borin played Rodolfo, Markus Brück Marcello and Anja Harteros Mimi - for which she rightly received the strongest reception from the audience. Just as Fionnuala McCarthy (Musetta) did, many moved on from "Café Momus" to the house restaurant, where the Deutsche Oper's BigBand ensured a rollicking good mood until far after midnight. Among the guests: Karan Armstrong-Friedrich, honorary State Singer; Director Peter Stein; and object artist Günther Uecker, who contributed a sculpture made of nails for the square. The area, which was shouldered financially by the DOB's group of sponsors, the Richard Wagner Association and numerous comrades-in-arms, contains a set of stairs with light stripes and a fountain square. In breaks, one can stretch one's legs or sit on one of the benches blinking at the sun.
++++++ 20.05.2008 ++++++
Brand in der Philharmonie
Am Dienstag den 20. Mai um 13:57 brach oberhalb des großen Saals der Berliner Philharmonie ein Feuer aus. Die Lösch- und Sicherungsarbeiten werden aller Voraussicht nach Mittwoch früh abgeschlossen sein. Das Ausmaß des Schadens ist zur Zeit nicht abschätzbar. Bis auf Weiteres bleibt die Philharmonie geschlossen. Der Betrieb im Kammermusiksaal ist nicht betroffen. Auswirkungen auf geplante Konzerte in der Philharmonie werden wir über die Presse und auf unserer Website bekannt geben. Alle sonstigen Informationen zum Brand entnehmen Sie bitte der Presse.
Am Dienstag den 20. Mai um 13:57 brach oberhalb des großen Saals der Berliner Philharmonie ein Feuer aus. Die Lösch- und Sicherungsarbeiten werden aller Voraussicht nach Mittwoch früh abgeschlossen sein. Das Ausmaß des Schadens ist zur Zeit nicht abschätzbar. Bis auf Weiteres bleibt die Philharmonie geschlossen. Der Betrieb im Kammermusiksaal ist nicht betroffen. Auswirkungen auf geplante Konzerte in der Philharmonie werden wir über die Presse und auf unserer Website bekannt geben. Alle sonstigen Informationen zum Brand entnehmen Sie bitte der Presse.
++++++ 10.05.2008 ++++++
Rattle verlängert
Die Berliner Philharmoniker haben sich für eine Verlängerung des derzeit bis 2012 laufenden Vertrages ihres Chefdirigenten Sir Simon Rattle ausgesprochen. Die Berliner Philharmoniker und Sir Simon Rattle werden sich nun darüber austauschen, wie die gemeinsame Zukunft nach 2012 aussehen könnte.
Die Berliner Philharmoniker haben sich für eine Verlängerung des derzeit bis 2012 laufenden Vertrages ihres Chefdirigenten Sir Simon Rattle ausgesprochen. Die Berliner Philharmoniker und Sir Simon Rattle werden sich nun darüber austauschen, wie die gemeinsame Zukunft nach 2012 aussehen könnte.
++++++ 09.05.2008 ++++++
A kick? Time to split? - by Heiko Schon
Everything Berliners have been hearing from the Staatsoper over the past few weeks - either via the rumor mill or in the form of a confirmed press release - sounds rather more like the War of the Roses than Rosenkavalier. First, Peter Mussbach revoked his plan to clear his director's office ahead of schedule because he found the "separation fee" offered by the Senate for Cultural Administration too piddling; then he demanded that Daniel Barenboim hand over his role as musical director of Don Giovanni (which he did immediately); and now the head of the house has also announced that three of the six staged new productions of the next season can only be carried out in concert form. It would have been great to be a fly on the wall when the artist's ego collided with the power-obsessed politician, the sore loser with the cool calculator, the theater professional with the choleric man.
The dramatic highpoint in this burlesque - anyone surprised? - a battle for money. Yesterday's session of the Foundation Council did not bring about any final clarification about what the additional Euro 10 million are to be used for. Mussbach once again attempted to plug this additional subsidy into opulently fitted stagings. The Foundation Council refused this with the rationale that the Staatskapelle was not being taken sufficiently into account. At least the cornerstones have now been confirmed. The opera board under General Director Stefan Rosinski will have to draft a joint work on that basis by the end of May. Both the long awaited budget and a season preview will also be presented. Whether the latter will be presented by Intendant Peter Mussbach, however, remains to be seen. The department heads of the Opera Unter den Linden have just demanded he resign...
Everything Berliners have been hearing from the Staatsoper over the past few weeks - either via the rumor mill or in the form of a confirmed press release - sounds rather more like the War of the Roses than Rosenkavalier. First, Peter Mussbach revoked his plan to clear his director's office ahead of schedule because he found the "separation fee" offered by the Senate for Cultural Administration too piddling; then he demanded that Daniel Barenboim hand over his role as musical director of Don Giovanni (which he did immediately); and now the head of the house has also announced that three of the six staged new productions of the next season can only be carried out in concert form. It would have been great to be a fly on the wall when the artist's ego collided with the power-obsessed politician, the sore loser with the cool calculator, the theater professional with the choleric man.
The dramatic highpoint in this burlesque - anyone surprised? - a battle for money. Yesterday's session of the Foundation Council did not bring about any final clarification about what the additional Euro 10 million are to be used for. Mussbach once again attempted to plug this additional subsidy into opulently fitted stagings. The Foundation Council refused this with the rationale that the Staatskapelle was not being taken sufficiently into account. At least the cornerstones have now been confirmed. The opera board under General Director Stefan Rosinski will have to draft a joint work on that basis by the end of May. Both the long awaited budget and a season preview will also be presented. Whether the latter will be presented by Intendant Peter Mussbach, however, remains to be seen. The department heads of the Opera Unter den Linden have just demanded he resign...
++++++ 30.03.2008 ++++++
Clear Facts and Persistent Rumors
Remarks on Berlin's Merry-Go-Round of General Managers - by Heiko Schon
As the German saying goes: When two disagree, the third will reap the benefits. And that's what it looks like here. Peter Mussbach, head of the Staatsoper, was told by his house's General Music Director, Daniel Barenboim, that the Opera Foundation Board will not be renewing his director's contract beyond the summer of 2010. It's probably cold comfort that the Administrative Director Georg Vierthaler, with whom Mussbach had a falling out long ago, is also losing his job at the same time. For several weeks now there have been rumors that Barenboim is looking for a new director. No successor was named on Tuesday, when Mussbach appeared in front of the house's employees, but Barenboim, the house's undisputed star and driving force, will no doubt approach Mr. Schmitz and Mr. Wowereit with his preferred candidate in a timely manner.
This means that while the ramshackle Staatsoper is closed down for renovations, the Mussbach era will also come to an end. The new lord of the manor will thus be responsible not only for putting together the difficult repertoire program at contingency quarters in the Schillertheater, but also for the ceremony celebrating the re-opening of Knobelsdorff's building, which will take place - if all goes according to plan - in 2013. Since that's no piece of cake, a real pro will be needed.
Someone like Pamela Rosenberg. Her name has been circulating in the hallways of the city's cultural institutions once again, especially since the rumor persists that Rosenberg is not particularly attached to her position as managing director of the Berlin Philharmonic. A Berlin opera house, namely the Deutsche Oper Berlin, was already offered to her. She turned down the offer with a reference to Christian Thielemann ("too old in his head"). People talked later about an attempt to overthrow the luckless Kirsten Harms / Renato Palumbo team, together with her former musical director of the San Francisco Opera, Donald Runnicles. Rosenberg issued an official disclaimer - and a few months later, Runnicles was introduced as the designated General Music Director of the DOB, whereas Palumbo threw in the towel on the self-same day. Since a renewal of Kirsten Harms's contract is probably a non-starter, Rosenberg may be able to select the house at which she would like to work in the future. Who knows?
Remarks on Berlin's Merry-Go-Round of General Managers - by Heiko Schon
As the German saying goes: When two disagree, the third will reap the benefits. And that's what it looks like here. Peter Mussbach, head of the Staatsoper, was told by his house's General Music Director, Daniel Barenboim, that the Opera Foundation Board will not be renewing his director's contract beyond the summer of 2010. It's probably cold comfort that the Administrative Director Georg Vierthaler, with whom Mussbach had a falling out long ago, is also losing his job at the same time. For several weeks now there have been rumors that Barenboim is looking for a new director. No successor was named on Tuesday, when Mussbach appeared in front of the house's employees, but Barenboim, the house's undisputed star and driving force, will no doubt approach Mr. Schmitz and Mr. Wowereit with his preferred candidate in a timely manner.
This means that while the ramshackle Staatsoper is closed down for renovations, the Mussbach era will also come to an end. The new lord of the manor will thus be responsible not only for putting together the difficult repertoire program at contingency quarters in the Schillertheater, but also for the ceremony celebrating the re-opening of Knobelsdorff's building, which will take place - if all goes according to plan - in 2013. Since that's no piece of cake, a real pro will be needed.
Someone like Pamela Rosenberg. Her name has been circulating in the hallways of the city's cultural institutions once again, especially since the rumor persists that Rosenberg is not particularly attached to her position as managing director of the Berlin Philharmonic. A Berlin opera house, namely the Deutsche Oper Berlin, was already offered to her. She turned down the offer with a reference to Christian Thielemann ("too old in his head"). People talked later about an attempt to overthrow the luckless Kirsten Harms / Renato Palumbo team, together with her former musical director of the San Francisco Opera, Donald Runnicles. Rosenberg issued an official disclaimer - and a few months later, Runnicles was introduced as the designated General Music Director of the DOB, whereas Palumbo threw in the towel on the self-same day. Since a renewal of Kirsten Harms's contract is probably a non-starter, Rosenberg may be able to select the house at which she would like to work in the future. Who knows?
++++++ 08.12.2007 ++++++
Homoki remains Artistic Director of the Komische Oper
The Artistic Director of the Komische Oper Berlin, Andreas Homoki, has been confirmed in his post. The Berlin Opera Foundation extended his contract as artistic manager and head director through the 2013/2014 season, the Komische Oper announced in November.
Homoki was engaged as head director at the beginning of the 2002/2003 season as successor to Harry Kupfer; in August 2004 he took on the responsibilities as artistic director. Homoki said he is pleased that his work at the Komische Oper has been confirmed.
This success has also been attested to with the recent "Opera House of the Year" award, he went on. With "credible music theater", the house has a distinctive trademark in Berlin's opera landscape. In the future he intends to get young singers and directors with a profile to commit to the opera house, as Peter Konwitschny, Calixto Bieito and Barrie Kosky have already done.
The Artistic Director of the Komische Oper Berlin, Andreas Homoki, has been confirmed in his post. The Berlin Opera Foundation extended his contract as artistic manager and head director through the 2013/2014 season, the Komische Oper announced in November.
Homoki was engaged as head director at the beginning of the 2002/2003 season as successor to Harry Kupfer; in August 2004 he took on the responsibilities as artistic director. Homoki said he is pleased that his work at the Komische Oper has been confirmed.
This success has also been attested to with the recent "Opera House of the Year" award, he went on. With "credible music theater", the house has a distinctive trademark in Berlin's opera landscape. In the future he intends to get young singers and directors with a profile to commit to the opera house, as Peter Konwitschny, Calixto Bieito and Barrie Kosky have already done.
++++++ 21.11.2007 ++++++
More Music - Fewer Prisons
German Family Ministerin Ursula von der Leyen (CDU) has emphasized the value of music in German households: "Music is part of infant education just as language and movement are." ... Children should make music, dance and listen to music even in the first years after they are born. States and communes should attend intensely to that need. The manager of the Berlin Philharmonic, Pamela Rosenberg, also warned against further cuts in personnel and funds at Germany's 950 public music schools. "Alarm bells are ringing," she said, as many underprivileged families can no longer afford music lessons for their children. ...
At a conference on "Cultural Education" in Berlin, Minister of Culture Bernd Neumann (CDU) stressed that public culture institutions should not only be measured in terms of box office takings and visitor numbers. What is very important is their contribution to integrating people, particularly those who are not the classic clientele for cultural events.
Learning a musical instrument can encourage perseverance and lead one to experience success, which can be formative, Rosenberg said. Music can develop an "existential significance for children," she said. "We produce many people who can cope neither with themselves nor with society." And lots of money is spent in the wrong place. "Half of the prisons could be dispensed with if we invested more in early musical education," the Berlin Philharmonic Manager said.
Die Zeit, November 21, 2007
German Family Ministerin Ursula von der Leyen (CDU) has emphasized the value of music in German households: "Music is part of infant education just as language and movement are." ... Children should make music, dance and listen to music even in the first years after they are born. States and communes should attend intensely to that need. The manager of the Berlin Philharmonic, Pamela Rosenberg, also warned against further cuts in personnel and funds at Germany's 950 public music schools. "Alarm bells are ringing," she said, as many underprivileged families can no longer afford music lessons for their children. ...
At a conference on "Cultural Education" in Berlin, Minister of Culture Bernd Neumann (CDU) stressed that public culture institutions should not only be measured in terms of box office takings and visitor numbers. What is very important is their contribution to integrating people, particularly those who are not the classic clientele for cultural events.
Learning a musical instrument can encourage perseverance and lead one to experience success, which can be formative, Rosenberg said. Music can develop an "existential significance for children," she said. "We produce many people who can cope neither with themselves nor with society." And lots of money is spent in the wrong place. "Half of the prisons could be dispensed with if we invested more in early musical education," the Berlin Philharmonic Manager said.
Die Zeit, November 21, 2007
++++++ 01.11.2007 ++++++
Donald Runnicles will replace Renato Palumbo
British conductor Donald Runnicles will be new General Music Director of the Deutsche Oper Berlin. Runnicles, born in Edinburgh in 1954, will succeed Renato Palumbo on August 1, 2009 for five years. Palumbo himself requested the premature dissolution of his contract -- which originally ran through 2009 -- as of November 1, 2007. Berlin's State Secretary for Culture André Schmitz appears to be pleased with the appointment of Runnicles, which he said was "a clear signal of encouragement and of a new start for the Deutsche Oper".
Runnicles has been Music Director of the San Francisco Opera since 1992 and is permanent guest conductor of the Atlanta Symphony Orchestra. He began his international career in 1980 in Germany, where he became General Music Director in Freiburg in 1989. Runnicles has conducted at the most important opera houses and at the Glyndbourne Music Festival. In San Francisco he conducted two complete cycles of Wagner's Ring des Nibelungen.
Palumbo will, however, continue to fulfill his artistic obligations through the end of this season. The Italian will remain linked to the Deutsche Oper as Guest Conductor and will conduct, among other productions, Verdi's Traviata with star soprano Anna Netrebko this November and the new production of Aida in March 2008.
British conductor Donald Runnicles will be new General Music Director of the Deutsche Oper Berlin. Runnicles, born in Edinburgh in 1954, will succeed Renato Palumbo on August 1, 2009 for five years. Palumbo himself requested the premature dissolution of his contract -- which originally ran through 2009 -- as of November 1, 2007. Berlin's State Secretary for Culture André Schmitz appears to be pleased with the appointment of Runnicles, which he said was "a clear signal of encouragement and of a new start for the Deutsche Oper".
Runnicles has been Music Director of the San Francisco Opera since 1992 and is permanent guest conductor of the Atlanta Symphony Orchestra. He began his international career in 1980 in Germany, where he became General Music Director in Freiburg in 1989. Runnicles has conducted at the most important opera houses and at the Glyndbourne Music Festival. In San Francisco he conducted two complete cycles of Wagner's Ring des Nibelungen.
Palumbo will, however, continue to fulfill his artistic obligations through the end of this season. The Italian will remain linked to the Deutsche Oper as Guest Conductor and will conduct, among other productions, Verdi's Traviata with star soprano Anna Netrebko this November and the new production of Aida in March 2008.
++++++ 17.10.2007 ++++++
Staatsoper Reconstruction
Berlin's Staatsoper Unter den Linden is going to be retrofitted. The cost of the reconstruction is currently estimated at about EUR 260 million, as the building's core is to be removed entirely in order to install an additional tier. The federal government is offering EUR 150-200 million for the reconstruction provided that the city of Berlin increases the annual budget of the Opera Foundation by EUR 10 million. The sponsors' circle of the Staatsoper and the state of Berlin (last ageed sum: 50 million) will also contribute to the reconstruction.
Artistic Director Peter Mussbach estimates that the Staatsoper will move into the Schillertheater in Charlottenburg during the retrofit, planned to start in 2010. Mayor Klaus Wowereit also appears to be in favor of this plan, Mussbach told the Frankfurter Rundschau. The conversion of the Schillertheater would cost about EUR 20 million: "That's feasible." The theater is about 500 meters away from the Deutsche Oper. He is planning to stage ten premieres in the substitute venue because he doesn't believe "that we can take along much from our old schedule to a new site". All premieres should be effective at the new site and are not necessarily conceived so they can be staged in the renovated Staatsoper. The Tempelhof airport as a substitute venue was not financeable because they would have had to build completely new theatrical facilities. Mussbach himself drafted a model for the Marx-Engels-Platz in front of the Rotes Rathaus (Berlin's city hall). However, its glass "drum" would have cost EUR 40 million and could not have stayed on after the construction.
Berlin's Staatsoper Unter den Linden is going to be retrofitted. The cost of the reconstruction is currently estimated at about EUR 260 million, as the building's core is to be removed entirely in order to install an additional tier. The federal government is offering EUR 150-200 million for the reconstruction provided that the city of Berlin increases the annual budget of the Opera Foundation by EUR 10 million. The sponsors' circle of the Staatsoper and the state of Berlin (last ageed sum: 50 million) will also contribute to the reconstruction.
Artistic Director Peter Mussbach estimates that the Staatsoper will move into the Schillertheater in Charlottenburg during the retrofit, planned to start in 2010. Mayor Klaus Wowereit also appears to be in favor of this plan, Mussbach told the Frankfurter Rundschau. The conversion of the Schillertheater would cost about EUR 20 million: "That's feasible." The theater is about 500 meters away from the Deutsche Oper. He is planning to stage ten premieres in the substitute venue because he doesn't believe "that we can take along much from our old schedule to a new site". All premieres should be effective at the new site and are not necessarily conceived so they can be staged in the renovated Staatsoper. The Tempelhof airport as a substitute venue was not financeable because they would have had to build completely new theatrical facilities. Mussbach himself drafted a model for the Marx-Engels-Platz in front of the Rotes Rathaus (Berlin's city hall). However, its glass "drum" would have cost EUR 40 million and could not have stayed on after the construction.
++++++ 09.10.2007 ++++++
Komische Oper "Opera House of the Year"
Together with the Bremen Opera, the Komische Oper Berlin has received the title "Opera House of the Year" in a survey among 50 critics held by the magazine Opernwelt. This was revealed in the periodical's yearbook on Sept. 28, 2007.
Theater Manager and Director Andreas Homoki has established the Komische Oper as a "hip address for a fresh audience". The critics noted the distinctive ensemble spirit, effective youth work and the "rakish marketing", which helped win over a new audience. With its departing General Music Director Kirill Petrenko, the house also won "Conductor of the Year". The opera house's choir -- according to the jury "both musically and stage particularly flexible" -- has been awarded the trophy "Choir of the Year".
Berlin also provided the "Annoyance of the Year": the Deutsche Oper, headed up by Kirsten Harms, received the most negative votes of the critics surveyed. The reasons were Hans Neuenfels' production of Idomeneo, hastily removed from the schedule, the critics wrote, but also the artistic results of the 2006-07 season as a whole.
Together with the Bremen Opera, the Komische Oper Berlin has received the title "Opera House of the Year" in a survey among 50 critics held by the magazine Opernwelt. This was revealed in the periodical's yearbook on Sept. 28, 2007.
Theater Manager and Director Andreas Homoki has established the Komische Oper as a "hip address for a fresh audience". The critics noted the distinctive ensemble spirit, effective youth work and the "rakish marketing", which helped win over a new audience. With its departing General Music Director Kirill Petrenko, the house also won "Conductor of the Year". The opera house's choir -- according to the jury "both musically and stage particularly flexible" -- has been awarded the trophy "Choir of the Year".
Berlin also provided the "Annoyance of the Year": the Deutsche Oper, headed up by Kirsten Harms, received the most negative votes of the critics surveyed. The reasons were Hans Neuenfels' production of Idomeneo, hastily removed from the schedule, the critics wrote, but also the artistic results of the 2006-07 season as a whole.
++++++ 16.11.2006 ++++++
Schindhelm quits
Berlin music expert Paul Moor offers a cogent analysis of the most recent éclat to shake up Berlin’s Opera Foundation. Its Generaldirektor Michael Schindhelf has quit in disgust over a federal government mandate cutting the foundation budget. It now appears he will continue his job – at least temporarily.
Read the full story at musical america
Berlin music expert Paul Moor offers a cogent analysis of the most recent éclat to shake up Berlin’s Opera Foundation. Its Generaldirektor Michael Schindhelf has quit in disgust over a federal government mandate cutting the foundation budget. It now appears he will continue his job – at least temporarily.
Read the full story at musical america
++++++ 01.09.2006 ++++++
Konzerthausorchester Berlin
Lothar Zagrosek will become the principal director of the Berliner Sinfonie-Orchester in August. The name of the orchestra will also be new: Konzerthausorchester Berlin. Zagrosek relates: "When my friends asked, where are you going? I told them: to the BSO. Aha, to Nagano's orchestra. No, I said, that's the DSO. I'm going to the Berliner Sinfonie-Orchester. Oh, you mean the orchestra that's being disbanded? No, that's the Berliner Symphoniker."
The Berliner Zeitung writes: This conductor is characterized by "his pedagogic interest, his work with young people, his commitment to music that doesn't thrive on being 'representative' and a sense of programming."
Lothar Zagrosek will also become acting director. The orchestra will also be more decisively involved in the Konzerthaus's conceptual work, the development of thematic concert series and new concert forms. About his new function as acting artistic director of the Konzerthaus he says, "That's more of a symbolic title - it doesn't comprise any operative or pragmatic function. It's simply a commitment to this great house, characterized by an attitude towards art through its manager Frank Schneider and director Heike Hoffmann that corresponds exactly to mine. That's why I'm here."
The Berliner Morgenpost spoke with Lothar Zagrosek: "I believe that we need to open our institutions more to the present day. But not with crossover or event culture. I hate that affected stuff. It's absolutely the wrong way to go."
And on the effects of the rebuilding done to improve the acoustics of the great hall: "We have removed the overly long reverberation times in various areas. It has been a complete success. Berlin's two halls - the Konzerthaus and the Philharmonie - are now on a par with each other."
Lothar Zagrosek will become the principal director of the Berliner Sinfonie-Orchester in August. The name of the orchestra will also be new: Konzerthausorchester Berlin. Zagrosek relates: "When my friends asked, where are you going? I told them: to the BSO. Aha, to Nagano's orchestra. No, I said, that's the DSO. I'm going to the Berliner Sinfonie-Orchester. Oh, you mean the orchestra that's being disbanded? No, that's the Berliner Symphoniker."
The Berliner Zeitung writes: This conductor is characterized by "his pedagogic interest, his work with young people, his commitment to music that doesn't thrive on being 'representative' and a sense of programming."
Lothar Zagrosek will also become acting director. The orchestra will also be more decisively involved in the Konzerthaus's conceptual work, the development of thematic concert series and new concert forms. About his new function as acting artistic director of the Konzerthaus he says, "That's more of a symbolic title - it doesn't comprise any operative or pragmatic function. It's simply a commitment to this great house, characterized by an attitude towards art through its manager Frank Schneider and director Heike Hoffmann that corresponds exactly to mine. That's why I'm here."
The Berliner Morgenpost spoke with Lothar Zagrosek: "I believe that we need to open our institutions more to the present day. But not with crossover or event culture. I hate that affected stuff. It's absolutely the wrong way to go."
And on the effects of the rebuilding done to improve the acoustics of the great hall: "We have removed the overly long reverberation times in various areas. It has been a complete success. Berlin's two halls - the Konzerthaus and the Philharmonie - are now on a par with each other."
++++++ 01.09.2006 ++++++
Ingo Metzmacher and the DSO
Starting in August 2007, Ingo Metzmacher will become the new principal conductor of the Deutsche Symphonie-Orchester Berlin (DSO). His initial contract is for three years. Metzmacher will succeed Kent Nagano, who will leave the orchestra at the end of this season. Metzmacher laid down the condition that the DSO retain its "special position" within the Berliner Rundfunkorchester und -chöre GmbH (ROC). This comment can only mean that the DSO continues to be favored in the ROC's budget to the disadvantage of the Rundfunk-Sinfonieorchester Berlin.
Starting in August 2007, Ingo Metzmacher will become the new principal conductor of the Deutsche Symphonie-Orchester Berlin (DSO). His initial contract is for three years. Metzmacher will succeed Kent Nagano, who will leave the orchestra at the end of this season. Metzmacher laid down the condition that the DSO retain its "special position" within the Berliner Rundfunkorchester und -chöre GmbH (ROC). This comment can only mean that the DSO continues to be favored in the ROC's budget to the disadvantage of the Rundfunk-Sinfonieorchester Berlin.
++++++ 30.08.2006 ++++++
Opera Foundation Head Schindhelm
Berlin's Opera Foundation cannot fulfill its savings targets for 2008 and 2009. After the Berlin elections this fall, foundation head Michael Schindhelm will present suggestions for a "re-alignment of the foundation". He told the Berliner Morgenpost: "We will not be able to increase the total number of opera-goers from last year's 687,000 to 900,000, not in three or four years, not with this economic situation. We would have to focus on blockbusters even more strongly than in the past. The opera houses would be forced increasingly to converge. Each would have to play what sells best. Financial pressure thus doesn't necessarily sharpen their profiles, but rather compels the operas to execute similar programming strategies, that is if money is the only concern."
He said about the Staatsoper's condition: "I have never seen such a maltreated theatre. Even the smaller theatres in Thuringia where I worked 15 years ago - Nordhausen, Altenburg or Gera - were in better condition before the wall came down!"
Asked about a reform in the three houses' current operation, he says: "There are three variants of reform: destroying - when the problems are intractable; preserving - if those players responsible in politics and at the opera houses agree that everything can stay the way it is; and changing - which could be uncomfortable for all parties involved. Variant 1 is not up for discussion in my eyes; Variant 2 exceeds my fantasy in cultural politics. And whether there will be a third variant doesn't depend on me."
Berlin's Opera Foundation cannot fulfill its savings targets for 2008 and 2009. After the Berlin elections this fall, foundation head Michael Schindhelm will present suggestions for a "re-alignment of the foundation". He told the Berliner Morgenpost: "We will not be able to increase the total number of opera-goers from last year's 687,000 to 900,000, not in three or four years, not with this economic situation. We would have to focus on blockbusters even more strongly than in the past. The opera houses would be forced increasingly to converge. Each would have to play what sells best. Financial pressure thus doesn't necessarily sharpen their profiles, but rather compels the operas to execute similar programming strategies, that is if money is the only concern."
He said about the Staatsoper's condition: "I have never seen such a maltreated theatre. Even the smaller theatres in Thuringia where I worked 15 years ago - Nordhausen, Altenburg or Gera - were in better condition before the wall came down!"
Asked about a reform in the three houses' current operation, he says: "There are three variants of reform: destroying - when the problems are intractable; preserving - if those players responsible in politics and at the opera houses agree that everything can stay the way it is; and changing - which could be uncomfortable for all parties involved. Variant 1 is not up for discussion in my eyes; Variant 2 exceeds my fantasy in cultural politics. And whether there will be a third variant doesn't depend on me."
++++++ 30.08.2006 ++++++
ROC Berlin
On July 1, Gernot Rehrl took over as director of roc berlin. Born in Bamberg in 1955, he served in responsible positions with the Munich Philharmonic under head conductor Sergiu Celibidache, with the Windsbacher Boys' Choir and the Bavarian Radio Chorus, and was orchestra manager of the Munich Radio Orchestra. In an interview with the Berliner Zeitung, he said, "Where is Berlin out in front in European competition? As an industrial metropolis? Definitely not. As a location for business and finance? Also definitely not. Some things are emerging in the service sector, in new technologies and media. But there's no doubt that Berlin is a cultural metropolis. Through reunification, energies came together and strengthened each other (whereas they cancelled each other out in other areas). Culture is one of the capital city's essential assets. Collaborating on how it is carried out in a responsible position is a great task."
Asked about the role of director of this umbrella organization consisting of two orchestras and two choirs, he said, "The ensembles are individually responsible, though in the future moderating and coordinating will be the director's role. The choirs and orchestras put on joint concerts. That's one starting point for consultations and discussions about programming. Given our particular constellation, we can realize some major projects more efficiently; this is why you will always find works in our programs that are rarely heard elsewhere in concert life. In any case, the umbrella brand will be enhanced, and synergy effects will be availed of more. We will position ourselves more clearly as a Gesamtkunstwerk and as a cultural institution."
On July 1, Gernot Rehrl took over as director of roc berlin. Born in Bamberg in 1955, he served in responsible positions with the Munich Philharmonic under head conductor Sergiu Celibidache, with the Windsbacher Boys' Choir and the Bavarian Radio Chorus, and was orchestra manager of the Munich Radio Orchestra. In an interview with the Berliner Zeitung, he said, "Where is Berlin out in front in European competition? As an industrial metropolis? Definitely not. As a location for business and finance? Also definitely not. Some things are emerging in the service sector, in new technologies and media. But there's no doubt that Berlin is a cultural metropolis. Through reunification, energies came together and strengthened each other (whereas they cancelled each other out in other areas). Culture is one of the capital city's essential assets. Collaborating on how it is carried out in a responsible position is a great task."
Asked about the role of director of this umbrella organization consisting of two orchestras and two choirs, he said, "The ensembles are individually responsible, though in the future moderating and coordinating will be the director's role. The choirs and orchestras put on joint concerts. That's one starting point for consultations and discussions about programming. Given our particular constellation, we can realize some major projects more efficiently; this is why you will always find works in our programs that are rarely heard elsewhere in concert life. In any case, the umbrella brand will be enhanced, and synergy effects will be availed of more. We will position ourselves more clearly as a Gesamtkunstwerk and as a cultural institution."
++++++ 30.08.2006 ++++++
Philharmonic Managing Director Rosenberg
The Berliner Morgenpost writes about the Berlin Philharmonic's new managing director, Pamela Rosenberg: "The pure power question has traditionally been resolved differently with the Philharmonic. ... The 'orchestra republic' and the incumbent head conductor continue to have the final word. And if the two disagree, it's not a laughing matter for the third party - her role is intermediary. This is the function in which Ms. Rosenberg will be working starting immediately. She is the woman in change of the Philharmonic consensus - both towards the external world and internally. Officially. The Berlin Philharmonic is constructed like a foundation with an executive board. It has four members: the head conductor, two orchestra board members and the managing director. What's needed is a flexible and patient diplomat. Possibly also to relieve Simon Rattle towards the public, in fact to protect him from himself. The head conductor, who seems so energetic, active and cheerful at the podium, is apparently much more thin-skinned and doubts himself more than people thought. Which ennobles him as an artist, but makes him vulnerable as the leader of the Philharmonic."
The Berliner Morgenpost writes about the Berlin Philharmonic's new managing director, Pamela Rosenberg: "The pure power question has traditionally been resolved differently with the Philharmonic. ... The 'orchestra republic' and the incumbent head conductor continue to have the final word. And if the two disagree, it's not a laughing matter for the third party - her role is intermediary. This is the function in which Ms. Rosenberg will be working starting immediately. She is the woman in change of the Philharmonic consensus - both towards the external world and internally. Officially. The Berlin Philharmonic is constructed like a foundation with an executive board. It has four members: the head conductor, two orchestra board members and the managing director. What's needed is a flexible and patient diplomat. Possibly also to relieve Simon Rattle towards the public, in fact to protect him from himself. The head conductor, who seems so energetic, active and cheerful at the podium, is apparently much more thin-skinned and doubts himself more than people thought. Which ennobles him as an artist, but makes him vulnerable as the leader of the Philharmonic."
++++++ 06.05.2006 ++++++
New Principal Conductor at the RIAS-Kammerchor
For its 2007/2008 season, the RIAS Chamber Choir will be joined by a new Principal Conductor, Hans-Christoph Rademann, currently professor of conducting in Dresden and, as a counterpoint to Britisher Simon Halsey's work with the Rundfunkchor Berlin, a notable exponent of the great Saxon choral tradition. Rademann intends to maintain the high standards and versatile repertoire of the present conductor, Daniel Reuss, who will be parting after this year's summer season, but he also gave a hint of some of his own particular fields of interest: C.P.E. Bach and Georg Philipp Telemann.
For its 2007/2008 season, the RIAS Chamber Choir will be joined by a new Principal Conductor, Hans-Christoph Rademann, currently professor of conducting in Dresden and, as a counterpoint to Britisher Simon Halsey's work with the Rundfunkchor Berlin, a notable exponent of the great Saxon choral tradition. Rademann intends to maintain the high standards and versatile repertoire of the present conductor, Daniel Reuss, who will be parting after this year's summer season, but he also gave a hint of some of his own particular fields of interest: C.P.E. Bach and Georg Philipp Telemann.
++++++ 05.05.2006 ++++++
Open letter from Kent Nagano to Senator Böger
In an open letter to Berlin's Education Senator Klaus Böger, Kent Nagano deplores the planned "joint contingent of school hours in the subjects music and art."
You will find the complete letter in German in a pdf format:
Brief an Senator Böger
In an open letter to Berlin's Education Senator Klaus Böger, Kent Nagano deplores the planned "joint contingent of school hours in the subjects music and art."
You will find the complete letter in German in a pdf format:
Brief an Senator Böger
++++++ 10.09.2005 ++++++
Pamela Rosenberg to manage the Berlin Phil
Starting in 2006, 60-year old American music manager Pamela Rosenberg will become manager of the Berlin Philharmonic. Rosenberg is engaged as the head of the San Francisco Opera until summer 2006. She is to take up work in Berlin in January 2006 with a preliminary contract. It is an open secret that Pamela Rosenberg was a candidate for the position of general director of the Berlin Opera Foundation, the Salzburg Festspiele and the Bavarian State Opera in Munich. But she has now decided in favor of Berlin.
At that point, the manager position will have been unfilled for three years, as Rosenberg's predecessor Franz Xaver Ohnesorg requested that his contract be suspended on January 1, 2003. Three years in which Ohnesorg, who ostensibly continued to serve as a consultant, had to be paid off on a large scale. Orchestra board member Peter Riegelbauer says they are pleased to be represented in the future by a personality with so much "natural authority". But first and foremost, they hope to experience an enhancement in their artistic programming from her and with her. "Overall, this woman with her winning cleverness represents the rather infrequent type of an unneurotic manager. She will probably not heat up the traditional conflict of power and interest between the Philharmonic's orchestra board, the head conductor and its management," the Berliner Zeitung writes.
She said at a press conference: "We'll be confronted with a major crisis in our culture if we don't manage to integrate the completely different life experiences of the younger generation into our art. Everything depends on whether we can make art relevant once again. Classical music has been marginalized, irrelevant for 98 percent of the population. There's not an opera house in the world that would currently give me the possibility to devote myself to these issues to the extent that I can do so here with the Berlin Philharmonic."
Starting in 2006, 60-year old American music manager Pamela Rosenberg will become manager of the Berlin Philharmonic. Rosenberg is engaged as the head of the San Francisco Opera until summer 2006. She is to take up work in Berlin in January 2006 with a preliminary contract. It is an open secret that Pamela Rosenberg was a candidate for the position of general director of the Berlin Opera Foundation, the Salzburg Festspiele and the Bavarian State Opera in Munich. But she has now decided in favor of Berlin.
At that point, the manager position will have been unfilled for three years, as Rosenberg's predecessor Franz Xaver Ohnesorg requested that his contract be suspended on January 1, 2003. Three years in which Ohnesorg, who ostensibly continued to serve as a consultant, had to be paid off on a large scale. Orchestra board member Peter Riegelbauer says they are pleased to be represented in the future by a personality with so much "natural authority". But first and foremost, they hope to experience an enhancement in their artistic programming from her and with her. "Overall, this woman with her winning cleverness represents the rather infrequent type of an unneurotic manager. She will probably not heat up the traditional conflict of power and interest between the Philharmonic's orchestra board, the head conductor and its management," the Berliner Zeitung writes.
She said at a press conference: "We'll be confronted with a major crisis in our culture if we don't manage to integrate the completely different life experiences of the younger generation into our art. Everything depends on whether we can make art relevant once again. Classical music has been marginalized, irrelevant for 98 percent of the population. There's not an opera house in the world that would currently give me the possibility to devote myself to these issues to the extent that I can do so here with the Berlin Philharmonic."
++++++ 10.09.2005 ++++++
"Let's make a wish"
The "Berliner Philharmoniker" foundation will no longer receive Euro 1.7 million of their Euro 14.7 million subsidies from the state of Berlin from lottery moneys - but the musicians needn't fear a reduction in salaries. This is because Berlin committed itself to the sum of Euro 14.7 million in 2001. The subsidy for 2006-7 thus will not increase in total, but the entire sum now has to be provided from the state budget.
The Berliner Zeitung writes: The plan provides for subsidies to increase from Euro 13.3 to 15 million. Politicians were 'puzzled' and 'shocked' about this request. "Thomas Flierl explained this was the Philharmonic musicians' wish. They wanted the costs for their increasing salaries to be made up, and also wished for compensation for the planned cancellation of the lottery moneys. Well, are we playing "Let's make a wish" here? Is the orchestra completely out of touch with reality? Doesn't it also have four million Euros in sponsor money at its disposal? [This sum is sponsored by the Deutsche Bank for the Philharmonic's work with Berlin schoolchildren. editor's note] Is it already history that the Symphoniker were liquidated? The destitution of this city does not seem to get through to its best-paid musicians."
The "Berliner Philharmoniker" foundation will no longer receive Euro 1.7 million of their Euro 14.7 million subsidies from the state of Berlin from lottery moneys - but the musicians needn't fear a reduction in salaries. This is because Berlin committed itself to the sum of Euro 14.7 million in 2001. The subsidy for 2006-7 thus will not increase in total, but the entire sum now has to be provided from the state budget.
The Berliner Zeitung writes: The plan provides for subsidies to increase from Euro 13.3 to 15 million. Politicians were 'puzzled' and 'shocked' about this request. "Thomas Flierl explained this was the Philharmonic musicians' wish. They wanted the costs for their increasing salaries to be made up, and also wished for compensation for the planned cancellation of the lottery moneys. Well, are we playing "Let's make a wish" here? Is the orchestra completely out of touch with reality? Doesn't it also have four million Euros in sponsor money at its disposal? [This sum is sponsored by the Deutsche Bank for the Philharmonic's work with Berlin schoolchildren. editor's note] Is it already history that the Symphoniker were liquidated? The destitution of this city does not seem to get through to its best-paid musicians."
++++++ 10.09.2005 ++++++
Marek Janowski has signed until 2011
Marek Janowski has signed a contract as head conductor and artistic director of the Rundfunk-Sinfonieorchester Berlin through the end of the 2010-11 season. Marek Janowski has been influencing the RSB as its artistic director since September 2002. With his commitment, the oldest German radio symphony orchestra has been able to sustain and expand its position among the top Berlin orchestras and at the front line of German radio orchestras. Last year, the RSB was able to increase its attendance by 20% to a total utilization of 89%.
The Berliner Zeitung writes: "Unlike some of his colleagues, Marek Janowski does not beam down on the city from walls of posters, the concerts he conducts are not media spectacles and don't get difficult teenagers all worked up; they don't revel in throwing together programming combinations, but focus on quality, even when the composer is not a crowd-puller, such as with Paul Hindemith or Karl Amadeus Hartmann. In the same way, Janowski's interpretations are averse to all outward signs, all momentary special effects. Instead they are steeped in details and always built on a competent formal overview; one can always look forward to an evening when he is conducting as a serious and yet sensual confrontation with the music."
Marek Janowski has signed a contract as head conductor and artistic director of the Rundfunk-Sinfonieorchester Berlin through the end of the 2010-11 season. Marek Janowski has been influencing the RSB as its artistic director since September 2002. With his commitment, the oldest German radio symphony orchestra has been able to sustain and expand its position among the top Berlin orchestras and at the front line of German radio orchestras. Last year, the RSB was able to increase its attendance by 20% to a total utilization of 89%.
The Berliner Zeitung writes: "Unlike some of his colleagues, Marek Janowski does not beam down on the city from walls of posters, the concerts he conducts are not media spectacles and don't get difficult teenagers all worked up; they don't revel in throwing together programming combinations, but focus on quality, even when the composer is not a crowd-puller, such as with Paul Hindemith or Karl Amadeus Hartmann. In the same way, Janowski's interpretations are averse to all outward signs, all momentary special effects. Instead they are steeped in details and always built on a competent formal overview; one can always look forward to an evening when he is conducting as a serious and yet sensual confrontation with the music."
++++++ 10.09.2005 ++++++
Biased cultural subsidies?
Norbert Lammert, expert on culture in the CDU competency team, is criticizing German federal support of Berlin. The SPD-Green coalition took over a whole series of Berlin's cultural institutions, and the consequence is "a bias at the expense of the other 15 states," Lammert said in an interview with Focus. Since it is "not realistic" that the federal government give back institutions to Berlin, he stressed it would be necessary to rethink the capital city cultural fund, endowed with about Euro 11.65 million. If the government changes, he is considered the candidate for minister of state for culture.
The Berliner Zeitung published a discussion between cultural politician Norbert Lammert (CDU) and theater head Matthias Lilienthal (HAU):
Lilienthal: Berlin has a vibrancy that goes a bit beyond that of other western and eastern German metropoli. Excellent international artists are drawn to Berlin because of the low rents, the inexpensive living circumstances, the good art infrastructure. That's a tremendous opportunity.
Lammert: If this scene is so vital, I wonder why it should be exclusively dependent on grants from the federal government.
Lilienthal: This city has no industry, no economic power. But it has universities and an art scene. Science and culture need to interact in a completely new way and obtain a completely new significance in the city. We need to promote these processes. What is important to me is a different concept of culture, charged with pop culture.
Norbert Lammert, expert on culture in the CDU competency team, is criticizing German federal support of Berlin. The SPD-Green coalition took over a whole series of Berlin's cultural institutions, and the consequence is "a bias at the expense of the other 15 states," Lammert said in an interview with Focus. Since it is "not realistic" that the federal government give back institutions to Berlin, he stressed it would be necessary to rethink the capital city cultural fund, endowed with about Euro 11.65 million. If the government changes, he is considered the candidate for minister of state for culture.
The Berliner Zeitung published a discussion between cultural politician Norbert Lammert (CDU) and theater head Matthias Lilienthal (HAU):
Lilienthal: Berlin has a vibrancy that goes a bit beyond that of other western and eastern German metropoli. Excellent international artists are drawn to Berlin because of the low rents, the inexpensive living circumstances, the good art infrastructure. That's a tremendous opportunity.
Lammert: If this scene is so vital, I wonder why it should be exclusively dependent on grants from the federal government.
Lilienthal: This city has no industry, no economic power. But it has universities and an art scene. Science and culture need to interact in a completely new way and obtain a completely new significance in the city. We need to promote these processes. What is important to me is a different concept of culture, charged with pop culture.
++++++ 10.09.2005 ++++++
Utilization at the "Young Euro Classic" festival
The average utilization of the "Young Euro Classic" festival - a get-together of 17 youth orchestras from all around the world - is 97 percent. The Berliner Zeitung reports a statement from the head of the senate law office: these dream figures came about despite 'calumny' in the press. "Why is it considered nagging if one declares that "Young Euro Classic" does not represent any idea of art? If any doubt was ever condoned that this festival was not about music but rather well-behaved cooperation, deriding critical voices as calumny - an assertion sure of broad acceptance - would have dispelled it for good. ... Not that there's anything to say against well-behaved cooperation, our life on both the small and larger scales could use a lot more of it. But music is not a glimpse of these circumstances, it can and should leave room for anarchy, for incomprehension, for the completely actualized individual - it is one of the few places where this is at all possible."
The average utilization of the "Young Euro Classic" festival - a get-together of 17 youth orchestras from all around the world - is 97 percent. The Berliner Zeitung reports a statement from the head of the senate law office: these dream figures came about despite 'calumny' in the press. "Why is it considered nagging if one declares that "Young Euro Classic" does not represent any idea of art? If any doubt was ever condoned that this festival was not about music but rather well-behaved cooperation, deriding critical voices as calumny - an assertion sure of broad acceptance - would have dispelled it for good. ... Not that there's anything to say against well-behaved cooperation, our life on both the small and larger scales could use a lot more of it. But music is not a glimpse of these circumstances, it can and should leave room for anarchy, for incomprehension, for the completely actualized individual - it is one of the few places where this is at all possible."
++++++ 14.08.2005 ++++++
Ingo Metzmacher will head up the DSO
After eight years as the General Music Director of the Hamburg State Opera and the Philharmonic State Orchestra of Hamburg, Ingo Metzmacher will replace Kent Nagano as head conductor of the Deutsches Sinfonie-Orchester in the fall of 2007. The orchestra says in their press release: "What tipped the scales for the decision that the appointment committee and the orchestra made is that Ingo Metzmacher - given his personality, authority and charisma - enables us to expect a further rise of the orchestra." And Der Tagesspiegel writes: "Sometimes, the best possible solution is found. And the recently announced news that Ingo Metzmacher is to succeed Kent Nagano at the DSO starting in 2007 is just that."
After eight years as the General Music Director of the Hamburg State Opera and the Philharmonic State Orchestra of Hamburg, Ingo Metzmacher will replace Kent Nagano as head conductor of the Deutsches Sinfonie-Orchester in the fall of 2007. The orchestra says in their press release: "What tipped the scales for the decision that the appointment committee and the orchestra made is that Ingo Metzmacher - given his personality, authority and charisma - enables us to expect a further rise of the orchestra." And Der Tagesspiegel writes: "Sometimes, the best possible solution is found. And the recently announced news that Ingo Metzmacher is to succeed Kent Nagano at the DSO starting in 2007 is just that."
++++++ 14.08.2005 ++++++
On Berlin's Orchestra Landscape
The Berliner Zeitung writes about Berlin's orchestra landscape: "Presiding over the city's most famous orchestra, conductor Simon Rattle, despite difficulties in evaluating new music, is driving the search towards new developments of the symphonic sound. If Metzmacher is added in mid-2007, and presumably Lothar Zagrosek a year earlier as head of the Berliner Sinfonie-Orchester, then one can say that Berlin has really completed a paradigm shift in its concert scene. Already Marek Janowski, head of the Rundfunk-Sinfonieorchesters, is on the terrain of the classical modern with his seemingly so conservative appeal of mastering his metier. At that point, only Daniel Barenboim with his Staatskapelle would still represent the traditionally compact orchestral sound, a psychology of the works oriented towards the forms of the 19th century and a romantic conductor pathos."
The Berliner Zeitung writes about Berlin's orchestra landscape: "Presiding over the city's most famous orchestra, conductor Simon Rattle, despite difficulties in evaluating new music, is driving the search towards new developments of the symphonic sound. If Metzmacher is added in mid-2007, and presumably Lothar Zagrosek a year earlier as head of the Berliner Sinfonie-Orchester, then one can say that Berlin has really completed a paradigm shift in its concert scene. Already Marek Janowski, head of the Rundfunk-Sinfonieorchesters, is on the terrain of the classical modern with his seemingly so conservative appeal of mastering his metier. At that point, only Daniel Barenboim with his Staatskapelle would still represent the traditionally compact orchestral sound, a psychology of the works oriented towards the forms of the 19th century and a romantic conductor pathos."
++++++ 14.08.2005 ++++++
Orchestra musicians need to work more
The German Theater Association is pressing for more effective work assignments for the approximately 10,000 orchestral musicians in Germany. To that end, at the end of June it terminated essential parts of the collective labor agreement for musicians in culture orchestras - i.e., opera, concert and radio orchestras, organizations subsidized with taxes or radio and television fees. The terminations particularly affect the arrangements about compensation and working time. The rules about a 13th monthly salary and vacation pay have also been cancelled. From the association's perspective, the compensation paid until now can only continue if there are essential changes in how musicians are deployed. This primarily affects the number of services played in many orchestras.
Composers are to blame for the whole dilemma. Die Morgenpost: "Classical composers paid no mind whatsoever to today's tariff rules. Statistically speaking, strings have more to do, for instance, than winds and brass. That may be unfair and contradicts the will to regulate things with eight three-hour services per week for opera and two-and-a-half hour services for concerts. And if an opera tragedy lasts longer, as in the case of Richard Wagner, they get another service on top of the first one. According to tariff law, a musician may only carry out a maximum of nine services per week - if a conductor or organizer intends to do something bigger, he's quickly forced into the defensive."
The German Theater Association is pressing for more effective work assignments for the approximately 10,000 orchestral musicians in Germany. To that end, at the end of June it terminated essential parts of the collective labor agreement for musicians in culture orchestras - i.e., opera, concert and radio orchestras, organizations subsidized with taxes or radio and television fees. The terminations particularly affect the arrangements about compensation and working time. The rules about a 13th monthly salary and vacation pay have also been cancelled. From the association's perspective, the compensation paid until now can only continue if there are essential changes in how musicians are deployed. This primarily affects the number of services played in many orchestras.
Composers are to blame for the whole dilemma. Die Morgenpost: "Classical composers paid no mind whatsoever to today's tariff rules. Statistically speaking, strings have more to do, for instance, than winds and brass. That may be unfair and contradicts the will to regulate things with eight three-hour services per week for opera and two-and-a-half hour services for concerts. And if an opera tragedy lasts longer, as in the case of Richard Wagner, they get another service on top of the first one. According to tariff law, a musician may only carry out a maximum of nine services per week - if a conductor or organizer intends to do something bigger, he's quickly forced into the defensive."
++++++ 14.08.2005 ++++++
Foyer of the Komische Oper
Andreas Homoki, managing director of the Komische Oper, refers to surveys among members of the audience that attest that the audience is dissatisfied with the ambiance of the foyer. Only the auditorium in Viennese late Baroque style and parts of the staircase survived the Second World War. The rest is GDR presentation. The announced renovation is intended to reconstruct the "fusty" foyer of the Komische Oper. With mirrors all around reaching to the ceiling, the foyer is to be enlarged into the infinite. Next to the window arches, architect Stefan Braunfels has planned to place a long sofa below the mirror wall, in front of them lounge groups of small square tables made of unscratchable glass and cubical stools.
Andreas Homoki, managing director of the Komische Oper, refers to surveys among members of the audience that attest that the audience is dissatisfied with the ambiance of the foyer. Only the auditorium in Viennese late Baroque style and parts of the staircase survived the Second World War. The rest is GDR presentation. The announced renovation is intended to reconstruct the "fusty" foyer of the Komische Oper. With mirrors all around reaching to the ceiling, the foyer is to be enlarged into the infinite. Next to the window arches, architect Stefan Braunfels has planned to place a long sofa below the mirror wall, in front of them lounge groups of small square tables made of unscratchable glass and cubical stools.
++++++ 14.08.2005 ++++++
Stage engineering at the Staatsoper
The current state of stage engineering at the Staatsoper: cracks in the walls of the courtyard, water in the administration building, tar welling out from below the foundations. The stage engineering that the house works with today was installed in the twenties and the fifties. For a long time now, there have been no spare parts for the GDR technology, installed in a mini-renovation in the eighties. The technology needs to be modernized, the house rid of water and mold. The climate control, cloakrooms and sanitary equipment are also in wretched condition. The safety engineering needs to be improved. And the fourth balcony, removed in the fifties, is to be built in again.
The "Friends and Sponsors of the Staatsoper" have been observing the technical developments for a long time with great concern. Overall renovation is estimated to cost between 120 and 160 million Euro. The Friends intend to contribute 30 million - at this point a declaration of intent, since the money will need to be raised in the next few years.
The current state of stage engineering at the Staatsoper: cracks in the walls of the courtyard, water in the administration building, tar welling out from below the foundations. The stage engineering that the house works with today was installed in the twenties and the fifties. For a long time now, there have been no spare parts for the GDR technology, installed in a mini-renovation in the eighties. The technology needs to be modernized, the house rid of water and mold. The climate control, cloakrooms and sanitary equipment are also in wretched condition. The safety engineering needs to be improved. And the fourth balcony, removed in the fifties, is to be built in again.
The "Friends and Sponsors of the Staatsoper" have been observing the technical developments for a long time with great concern. Overall renovation is estimated to cost between 120 and 160 million Euro. The Friends intend to contribute 30 million - at this point a declaration of intent, since the money will need to be raised in the next few years.
++++++ 14.08.2005 ++++++
Summary of the opera season 04-05
Der Tagesspiegel writes: "Particularly the Komische Oper has in the meantime a good chance to become the republic's Regietheater, giving impetus to the others ... The Staatsoper, in its mixture of washed-out substance, great tradition and questionable hype, seems to personify the Berlin's state of mind en miniature. ... At the Deutsche Oper, managing director Kirsten Harms, paralysed by the plans of her predecessors, has been holding off so far on making programmatic statements. She won't be able to keep doing so for long."
Der Tagesspiegel writes: "Particularly the Komische Oper has in the meantime a good chance to become the republic's Regietheater, giving impetus to the others ... The Staatsoper, in its mixture of washed-out substance, great tradition and questionable hype, seems to personify the Berlin's state of mind en miniature. ... At the Deutsche Oper, managing director Kirsten Harms, paralysed by the plans of her predecessors, has been holding off so far on making programmatic statements. She won't be able to keep doing so for long."
++++++ 14.08.2005 ++++++
Alexander von Pfeil Head Director at Deutsche Oper
At the beginning of the fall season, the position of head director at the Deutsche Oper will be filled by 34-year old Alexander von Pfeil, who will be moving from Kiel to Berlin. Quite a remarkable career leap for a young director who has only close to 20 productions under his belt. Opera literally runs in his family: his father Carl von Pfeil is conductor at medium-sized opera houses, his mother Astrid Schirmer, Wagner singer, is now professor in Hanover. Alexander von Pfeil considers himself a team player. The Berliner Zeitung writes: "In the past, with Götz Friedrich, director and manager of the Deutsche Oper, and Harry Kupfer, head director of the Komische Oper, a generation prevailed that determined everything all alone, down to the very last detail."
At the beginning of the fall season, the position of head director at the Deutsche Oper will be filled by 34-year old Alexander von Pfeil, who will be moving from Kiel to Berlin. Quite a remarkable career leap for a young director who has only close to 20 productions under his belt. Opera literally runs in his family: his father Carl von Pfeil is conductor at medium-sized opera houses, his mother Astrid Schirmer, Wagner singer, is now professor in Hanover. Alexander von Pfeil considers himself a team player. The Berliner Zeitung writes: "In the past, with Götz Friedrich, director and manager of the Deutsche Oper, and Harry Kupfer, head director of the Komische Oper, a generation prevailed that determined everything all alone, down to the very last detail."
++++++ 14.08.2005 ++++++
New personnel at the Opera Foundation
The council of Berlin's Opera Foundation has decided to replace the commercial directors at the Deutsche Oper and the Komische Oper. Axel Baisch, formerly managing director of the Nuremberg State Theater, will take over the post as commercial director at the Deutsche Oper on Jan. 1, 2006. Susanne Moser will start her position at the Komische Oper on Sept. 1. The 32-year old has worked in culture marketing, managed controlling at Vienna's Burgtheater and served most recently as managing director of the Vienna Schauspielhaus.
Stefan Rosinski will be appointed managing director of the Stage Service and also Deputy General Director of the Opera Foundation. Born in 1961, he studied music theater directing with Götz Friedrich and then worked as assistant director, theatre critic, director, actor, producer, screenwriter and university lecturer.
The council of Berlin's Opera Foundation has decided to replace the commercial directors at the Deutsche Oper and the Komische Oper. Axel Baisch, formerly managing director of the Nuremberg State Theater, will take over the post as commercial director at the Deutsche Oper on Jan. 1, 2006. Susanne Moser will start her position at the Komische Oper on Sept. 1. The 32-year old has worked in culture marketing, managed controlling at Vienna's Burgtheater and served most recently as managing director of the Vienna Schauspielhaus.
Stefan Rosinski will be appointed managing director of the Stage Service and also Deputy General Director of the Opera Foundation. Born in 1961, he studied music theater directing with Götz Friedrich and then worked as assistant director, theatre critic, director, actor, producer, screenwriter and university lecturer.
++++++ 14.08.2005 ++++++
Orchestra Academy at the Staatsoper
Alice Ströver is the new chairman of the board of the Orchestra Academy of the Staatsoper Unter den Linden. The Green politician, who also heads the cultural committee of Berlin's House of Representatives, said that the Academy contributes significantly for prospective musicians when they're starting out professionally. Together with musicians from the Staatskapelle, the Academy, founded in 1996 by General Music Director Daniel Barenboim, trains 20 young graduates at any given time until they have achieved the musical maturity to join an orchestra. The orchestra board member Matthias Glander stresses that many German music conservatories focus more on soloist careers in their programs.
Alice Ströver is the new chairman of the board of the Orchestra Academy of the Staatsoper Unter den Linden. The Green politician, who also heads the cultural committee of Berlin's House of Representatives, said that the Academy contributes significantly for prospective musicians when they're starting out professionally. Together with musicians from the Staatskapelle, the Academy, founded in 1996 by General Music Director Daniel Barenboim, trains 20 young graduates at any given time until they have achieved the musical maturity to join an orchestra. The orchestra board member Matthias Glander stresses that many German music conservatories focus more on soloist careers in their programs.
++++++ 14.08.2005 ++++++
Ingmar Bergman believes in Bach
The Swedish film director believes more in Bach and Beethoven than in God. "I believe in other worlds, other realities. But my prophets are Bach and Beethoven. They definitely show another world," the director said at a discussion event on Farø, an island in the Baltic Sea.
The Swedish film director believes more in Bach and Beethoven than in God. "I believe in other worlds, other realities. But my prophets are Bach and Beethoven. They definitely show another world," the director said at a discussion event on Farø, an island in the Baltic Sea.
++++++ 05.06.2005 ++++++
Utilization at Berlin's operas
From January to March 2005, 217,468 people attended 222 performances at Berlin's three opera houses, more than 10,000 more than in the same quarter in 2004. Ticket sales also increased compared to 2004 by Euro 1.62 million, to Euro 6.74 million.
From January to March 2005, 217,468 people attended 222 performances at Berlin's three opera houses, more than 10,000 more than in the same quarter in 2004. Ticket sales also increased compared to 2004 by Euro 1.62 million, to Euro 6.74 million.
++++++ 05.06.2005 ++++++
Future of the Staatsoper
Angela Merkel has promised: If she becomes chancellor, the Berliner Staatsoper is to be taken over by the federal government. And if the Staatsoper is transformed into a national opera, Ms Merkel would be at loggerheads with a man with whom she shared a laboratory in Adlershof in the eighties: Michael Schindhelm, the director of the Opera Foundation.
Angela Merkel has promised: If she becomes chancellor, the Berliner Staatsoper is to be taken over by the federal government. And if the Staatsoper is transformed into a national opera, Ms Merkel would be at loggerheads with a man with whom she shared a laboratory in Adlershof in the eighties: Michael Schindhelm, the director of the Opera Foundation.
++++++ 05.06.2005 ++++++
Conductor Zagrosek wants to take over BSO
Conductor Lothar Zagrosek intends to take over the Berliner Sinfonie-Orchester (BSO) as head conductor in the 2006/2007 season when his contract in Stuttgart runs out. The contract of Eliahu Inbal, the orchestra's current head, will end in 2006. "I'm firmly assuming that I will become head conductor," said Zagrosek in Stuttgart. However, there are still some contractual issues to be clarified. "These are primarily involved with ensuring the orchestra's future over the long term," said the General Music Director of the Stuttgart Opera. The negotiations are fairly advanced, though he said he would no longer dare to forecast when they could be concluded.
Zagrosek is evidently demanding an improvement in the working conditions of the Berliner Sinfonie-Orchester: competitive salaries, a sustainable number of orchestra seats, probably also an improvement in the Konzerthaus's acoustics. The Senate is currently not willing to give its binding commitment to these improvements.
Conductor Lothar Zagrosek intends to take over the Berliner Sinfonie-Orchester (BSO) as head conductor in the 2006/2007 season when his contract in Stuttgart runs out. The contract of Eliahu Inbal, the orchestra's current head, will end in 2006. "I'm firmly assuming that I will become head conductor," said Zagrosek in Stuttgart. However, there are still some contractual issues to be clarified. "These are primarily involved with ensuring the orchestra's future over the long term," said the General Music Director of the Stuttgart Opera. The negotiations are fairly advanced, though he said he would no longer dare to forecast when they could be concluded.
Zagrosek is evidently demanding an improvement in the working conditions of the Berliner Sinfonie-Orchester: competitive salaries, a sustainable number of orchestra seats, probably also an improvement in the Konzerthaus's acoustics. The Senate is currently not willing to give its binding commitment to these improvements.
++++++ 05.06.2005 ++++++
Marathon for an opera role
In a three-day singing marathon in Berlin in mid-June, 100 young singers from all over the world will apply to be engaged by an opera house. The prospective soloists from 32 countries have the possibility to perform for decision makers from leading opera houses at a singing audition between June 20-22 - and the possibility to win a contract. Opera representatives from Chicago, Los Angeles, Paris, Copenhagen and Madrid will be taking part in the "Berlin International Opera Auditions", the Deutsche Oper Berlin announced.
In a three-day singing marathon in Berlin in mid-June, 100 young singers from all over the world will apply to be engaged by an opera house. The prospective soloists from 32 countries have the possibility to perform for decision makers from leading opera houses at a singing audition between June 20-22 - and the possibility to win a contract. Opera representatives from Chicago, Los Angeles, Paris, Copenhagen and Madrid will be taking part in the "Berlin International Opera Auditions", the Deutsche Oper Berlin announced.
++++++ 23.05.2005 ++++++
News from the Komische Oper
Andreas Homoki, artistic director of the Komische Oper, has criticized artists without an operatic background working as opera directors. The Morgenpost quotes: "It is a 'decline of good music theater when it not only doesn't matter whether someone is able to stage an opera - not to be able to do so is even described as positive.' There is an increasing need to reinterpret the well-known works from the opera repertoire for a younger audience and free them from clichés, Homoki, who took over from Harry Kupfer as head of the smallest of Berlin's three opera houses four years ago, said. "But you need to have a good grasp of the craft."
Instead of betting on names, the Komische Oper intends to convince with its ensemble performance, Homoki said. "The audience should know that we are offering a coherent performance every evening." As examples, Homoki named Die Entführung aus dem Serail directed by Spaniard Calixto Bieito or Peter Konwitschny's Don Giovanni. The Komische Oper may have lost a share of its core audience in this manner, but it has won over a younger audience.
The Tagesspiegel also commented on the Komische Oper's new audience: "Unlike many artists cum managers, Homoki recognizes quality in his colleagues without envy and has managed to commit directing stars over the long term to the Komische Oper, stars who are highly in demand, such as Bieito, Kosky, Konwitschny and Neuenfels. In the meanwhile, the audience has also been re-sorted: it's precisely the controversial works that cause the number of visitors to soar, while for straighter productions like Decker's Albert Herring the seats remain empty."
Andreas Homoki, artistic director of the Komische Oper, has criticized artists without an operatic background working as opera directors. The Morgenpost quotes: "It is a 'decline of good music theater when it not only doesn't matter whether someone is able to stage an opera - not to be able to do so is even described as positive.' There is an increasing need to reinterpret the well-known works from the opera repertoire for a younger audience and free them from clichés, Homoki, who took over from Harry Kupfer as head of the smallest of Berlin's three opera houses four years ago, said. "But you need to have a good grasp of the craft."
Instead of betting on names, the Komische Oper intends to convince with its ensemble performance, Homoki said. "The audience should know that we are offering a coherent performance every evening." As examples, Homoki named Die Entführung aus dem Serail directed by Spaniard Calixto Bieito or Peter Konwitschny's Don Giovanni. The Komische Oper may have lost a share of its core audience in this manner, but it has won over a younger audience.
The Tagesspiegel also commented on the Komische Oper's new audience: "Unlike many artists cum managers, Homoki recognizes quality in his colleagues without envy and has managed to commit directing stars over the long term to the Komische Oper, stars who are highly in demand, such as Bieito, Kosky, Konwitschny and Neuenfels. In the meanwhile, the audience has also been re-sorted: it's precisely the controversial works that cause the number of visitors to soar, while for straighter productions like Decker's Albert Herring the seats remain empty."
++++++ 23.05.2005 ++++++
News from the Deutsche Oper
In a fire in the armory of the Deutsche Oper Berlin at the end of April, about 300 square meters of workshops and warehouses were damaged. Walking sticks, umbrellas, clubs and many folding swords and suits of armor fell victim to the fire.
Der Tagesspiegel writes of the Deutsche Oper: the area below the stage and the orchestra pit are to be renovated, and that will entail costs and cancellations. A highly ranked general music director needs to be found, high-quality directors encouraged to achieve something. "The search for a new head conductor is particularly urgent: but what world-class maestro would be interested in a house that goes ahead and cancels all its symphony concerts with the argument that the stage is needed completely for scenic performances because the modernization of the mechanics below stage necessitates closing the house down in May 2006? There is basically no planning yet for those two months in which the house is thus closed during the season. It will be interesting to see what the employees get up to for eight weeks. ... Kirsten Harms is currently in a dilemma of the worst sort: her house's artistic line cannot be recognized. ... This case shows how awkward it is these days to install artistic directors at the biggest houses. Harms got by brilliantly at the medium-sized theater in Kiel - but to get a lurching music theater tanker like the Deutsche Oper back on course, it's quite obvious a professional culture manager is needed."
In a fire in the armory of the Deutsche Oper Berlin at the end of April, about 300 square meters of workshops and warehouses were damaged. Walking sticks, umbrellas, clubs and many folding swords and suits of armor fell victim to the fire.
Der Tagesspiegel writes of the Deutsche Oper: the area below the stage and the orchestra pit are to be renovated, and that will entail costs and cancellations. A highly ranked general music director needs to be found, high-quality directors encouraged to achieve something. "The search for a new head conductor is particularly urgent: but what world-class maestro would be interested in a house that goes ahead and cancels all its symphony concerts with the argument that the stage is needed completely for scenic performances because the modernization of the mechanics below stage necessitates closing the house down in May 2006? There is basically no planning yet for those two months in which the house is thus closed during the season. It will be interesting to see what the employees get up to for eight weeks. ... Kirsten Harms is currently in a dilemma of the worst sort: her house's artistic line cannot be recognized. ... This case shows how awkward it is these days to install artistic directors at the biggest houses. Harms got by brilliantly at the medium-sized theater in Kiel - but to get a lurching music theater tanker like the Deutsche Oper back on course, it's quite obvious a professional culture manager is needed."
++++++ 23.05.2005 ++++++
News from the Staatsoper
A disaster - without any injury - took place before a May performance of Tannhäuser at the Staatsoper Unter den Linden. A hydraulic podium sank about 3 m in an uncontrolled and unbraked way. All hydraulic equipment below the stage was immediately shut down. Eliminating the defects in the hydraulic equipment would cost about Euro 30 mil. Given the necessary overall refurbishment of the Staatsoper Unter den Linden, such an investment to refurbish just the hydraulics is out of proportion. According to a statement from the Culture Senator Thomas Flierl, a concept for overall refurbishment for the Staatsoper Unter den Linden is to be presented in the fall of 2005, including a financing plan.
Peter Mussbach's concept begins with renovating the office building while the theater is in use. "We will then build an underground logistical connection between the office building and the opera house. And thirdly, the opera house itself will be renovated. We can handle that in one season. Which means the opera will be closed for just one year."
The Staatsoper has just engaged Philippe Jordan of Switzerland, just 30 years old, as its "First Guest Conductor" as of fall 2006: Jordan will conduct 20 performances per season, including a premiere. His contract runs through 2011.
A disaster - without any injury - took place before a May performance of Tannhäuser at the Staatsoper Unter den Linden. A hydraulic podium sank about 3 m in an uncontrolled and unbraked way. All hydraulic equipment below the stage was immediately shut down. Eliminating the defects in the hydraulic equipment would cost about Euro 30 mil. Given the necessary overall refurbishment of the Staatsoper Unter den Linden, such an investment to refurbish just the hydraulics is out of proportion. According to a statement from the Culture Senator Thomas Flierl, a concept for overall refurbishment for the Staatsoper Unter den Linden is to be presented in the fall of 2005, including a financing plan.
Peter Mussbach's concept begins with renovating the office building while the theater is in use. "We will then build an underground logistical connection between the office building and the opera house. And thirdly, the opera house itself will be renovated. We can handle that in one season. Which means the opera will be closed for just one year."
The Staatsoper has just engaged Philippe Jordan of Switzerland, just 30 years old, as its "First Guest Conductor" as of fall 2006: Jordan will conduct 20 performances per season, including a premiere. His contract runs through 2011.
++++++ 23.05.2005 ++++++
Rehrl to head up Berlin's radio orchestras
Gernot Rehrl, former orchestra director of the Munich Radio Orchestra, is to take over as head of the Rundfunk-Orchester und -Chöre GmbH (ROC) as of September 2006, its shareholders decided in Berlin. The ROC is made up of the Deutsche Symphonie-Orchester, the Rundfunk-Sinfonieorchester Berlin, the Rundfunkchor and the RIAS Kammerchor.
Gernot Rehrl, former orchestra director of the Munich Radio Orchestra, is to take over as head of the Rundfunk-Orchester und -Chöre GmbH (ROC) as of September 2006, its shareholders decided in Berlin. The ROC is made up of the Deutsche Symphonie-Orchester, the Rundfunk-Sinfonieorchester Berlin, the Rundfunkchor and the RIAS Kammerchor.
++++++ 23.05.2005 ++++++
Berlin's first music preschool
Daniel Barenboim, general music director of the Staatsoper, will open a music preschool center in September 2005 in Berlin; it will focus on early music education for children aged 3 to 6 years. Awakening and sensitizing the senses is our first obligation when bringing up small children, he said in his opening speech. A special link will be established: the musicians of the Staatskapelle Berlin will pass on their musical passion and their abilities to the children.
Daniel Barenboim, general music director of the Staatsoper, will open a music preschool center in September 2005 in Berlin; it will focus on early music education for children aged 3 to 6 years. Awakening and sensitizing the senses is our first obligation when bringing up small children, he said in his opening speech. A special link will be established: the musicians of the Staatskapelle Berlin will pass on their musical passion and their abilities to the children.
++++++ 23.05.2005 ++++++
Training musical mentors
The German Orchestra Union (Deutsche Orchestervereinigung) has called for a training program for young music mentors. Schoolchildren are to be won over as communicators who will campaign for music in schools, music schools and clubs.
The German Orchestra Union (Deutsche Orchestervereinigung) has called for a training program for young music mentors. Schoolchildren are to be won over as communicators who will campaign for music in schools, music schools and clubs.
++++++ 23.05.2005 ++++++
New conservatory location
The Neue Marstall, the royal stables erected in 1901, accommodated 300 horses and the court's fleet of carriages in the days of the emperors. The rebuilt stables will provide ideal learning and working conditions for the Hanns Eisler conservatory. Besides the "Coronation Coach Hall" and the two "Gala Coach Halls", now equipped for orchestra and chamber concerts, there are 19 practice rooms in the palace wing and 72 well-insulated practice rooms of varying size in the Spree wing, which has four additional floors - a total of 3000 square meters of floor space. Not all of the institution's 850 students will be moving to the bank of the Spreeufer, but just the strings, winds and percussionists. Music theater, conducting and piano, as well as all theoretical subjects, will remain at the location in the Charlottenstraße.
The rector Christhard Gössling, solo trombonist of the Berlin Philharmonic, is pleased with the renovation and also with the conservatory's fine reputation: "In professional musical circles, the name Hanns Eisler is connected less these days with the composer it is named after, and more with the institution named after him."
The Neue Marstall, the royal stables erected in 1901, accommodated 300 horses and the court's fleet of carriages in the days of the emperors. The rebuilt stables will provide ideal learning and working conditions for the Hanns Eisler conservatory. Besides the "Coronation Coach Hall" and the two "Gala Coach Halls", now equipped for orchestra and chamber concerts, there are 19 practice rooms in the palace wing and 72 well-insulated practice rooms of varying size in the Spree wing, which has four additional floors - a total of 3000 square meters of floor space. Not all of the institution's 850 students will be moving to the bank of the Spreeufer, but just the strings, winds and percussionists. Music theater, conducting and piano, as well as all theoretical subjects, will remain at the location in the Charlottenstraße.
The rector Christhard Gössling, solo trombonist of the Berlin Philharmonic, is pleased with the renovation and also with the conservatory's fine reputation: "In professional musical circles, the name Hanns Eisler is connected less these days with the composer it is named after, and more with the institution named after him."
++++++ 23.05.2005 ++++++
Rundfunkchor with Simon Halsey
In May 1925, the first contracts were signed for an ensemble originally called Chor der Berliner Funk-Stunde. This date is considered the official founding of the Rundfunkchor Berlin, which is why they are celebrating their 80th birthday this year. Head conductor Simon Halsey's contract has just been extended through 2011. The Morgenpost writes of the choir's accomplishments: "On an international basis, there is probably no choir that surpasses the Berliner in terms of perfection, intonation, expressivity and sound. ... This is essentially the work of the jolly and enthusiastic head conductor Simon Halsey, who was waved into the position from Rattle's Birmingham circle. Continuing the successful work of his predecessor Robin Gritton, he has transformed the choir into a music making entity of practically luxuriating colorfulness, into a simultaneously splendiferous and filigree marvel of voices."
In May 1925, the first contracts were signed for an ensemble originally called Chor der Berliner Funk-Stunde. This date is considered the official founding of the Rundfunkchor Berlin, which is why they are celebrating their 80th birthday this year. Head conductor Simon Halsey's contract has just been extended through 2011. The Morgenpost writes of the choir's accomplishments: "On an international basis, there is probably no choir that surpasses the Berliner in terms of perfection, intonation, expressivity and sound. ... This is essentially the work of the jolly and enthusiastic head conductor Simon Halsey, who was waved into the position from Rattle's Birmingham circle. Continuing the successful work of his predecessor Robin Gritton, he has transformed the choir into a music making entity of practically luxuriating colorfulness, into a simultaneously splendiferous and filigree marvel of voices."
++++++ 23.05.2005 ++++++
DSO searches for head conductor
The most pressing problem for the Deutsche Sinfonie-Orchester is to find a successor to Kent Nagano, whose last season as chief conductor begins in the fall. Vladimir Ashkenazy and Kent Nagano, preceded by Riccardo Chailly, have shaped the ensemble and brought up a new type of orchestra musician, says Andreas Lichtschlag, who has been a cellist in the DSO for 30 years. He says these musicians know not only their own parts but the whole score, and are aware of their significance in the musical whole at any time - that is, they are self-reliant individuals acting as partners. He adds that this orchestra can no longer imagine working with an authoritarian Kapellmeister as its head conductor.
The most pressing problem for the Deutsche Sinfonie-Orchester is to find a successor to Kent Nagano, whose last season as chief conductor begins in the fall. Vladimir Ashkenazy and Kent Nagano, preceded by Riccardo Chailly, have shaped the ensemble and brought up a new type of orchestra musician, says Andreas Lichtschlag, who has been a cellist in the DSO for 30 years. He says these musicians know not only their own parts but the whole score, and are aware of their significance in the musical whole at any time - that is, they are self-reliant individuals acting as partners. He adds that this orchestra can no longer imagine working with an authoritarian Kapellmeister as its head conductor.
++++++ 30.03.2005 ++++++
Renovations at the Deutsche Oper
The Deutsche Oper will be renovated for under 10 million Euros this summer. The first step for the house, which opened in Charlottenburg in 1961, is new windows. Next year it is planned to renovate the stage, including orchestra podium, swivelling turntable and stageside wagons.
The Deutsche Oper will be renovated for under 10 million Euros this summer. The first step for the house, which opened in Charlottenburg in 1961, is new windows. Next year it is planned to renovate the stage, including orchestra podium, swivelling turntable and stageside wagons.
++++++ 20.03.2005 ++++++
Staatsoper: Renovation to cost 160 million
In the Theater Committee of Berlin's House of Representatives, Berlin's
Cultural Senator Thomas Flierl stated that Euro 160 million would be needed to get the Staatsoper in shape once again. The individuals responsible at the Staatsoper have been complaining for years that the grandious building is about to be closed down by the building inspection department. Despite this, the show has gone on without any disturbances visible to the audience. The exact amount the project will cost depends on whether, besides essential repairs to the stage technology and the building's foundations, an additional tier of seats and a café on the roof terrace are carried out, as the opera house wishes. After the parliament's summer break, Flierl will provide details on the financing.
In the Theater Committee of Berlin's House of Representatives, Berlin's
Cultural Senator Thomas Flierl stated that Euro 160 million would be needed to get the Staatsoper in shape once again. The individuals responsible at the Staatsoper have been complaining for years that the grandious building is about to be closed down by the building inspection department. Despite this, the show has gone on without any disturbances visible to the audience. The exact amount the project will cost depends on whether, besides essential repairs to the stage technology and the building's foundations, an additional tier of seats and a café on the roof terrace are carried out, as the opera house wishes. After the parliament's summer break, Flierl will provide details on the financing.
++++++ 20.03.2005 ++++++
Opera visitors in 2004
The first annual report from Berlin's Opera Foundation registered a further drop in the audience figures at the three opera houses, from 62.7 percent in the year 2003 to 62.1 percent in 2004. In total, 665,361 tickets were sold; a good 400,000 more would have been possible.
The problems at the three opera houses of various sizes differ. The Komische Oper continues to bring up the rear, though theatre manager Andreas Homoki sees a "clear trend upwards" in the increase from 48.7 to 52.7 percent. The Staatsoper remains number one, although they suffered losses by subtracting audience figures for the Staatsballett (from 76.4 to 72.8 percent). At the Deutsche Oper, capacity utilization grew from 61.9 to 64 percent.
But the Deutsche Oper Berlin had on average 1,194 paying opera-goers with a total of 1,865 seats, while the Deutsche Staatsoper Unter den Linden (with 1,396 seats in total) had an average of only 1,016 per evening.
The first annual report from Berlin's Opera Foundation registered a further drop in the audience figures at the three opera houses, from 62.7 percent in the year 2003 to 62.1 percent in 2004. In total, 665,361 tickets were sold; a good 400,000 more would have been possible.
The problems at the three opera houses of various sizes differ. The Komische Oper continues to bring up the rear, though theatre manager Andreas Homoki sees a "clear trend upwards" in the increase from 48.7 to 52.7 percent. The Staatsoper remains number one, although they suffered losses by subtracting audience figures for the Staatsballett (from 76.4 to 72.8 percent). At the Deutsche Oper, capacity utilization grew from 61.9 to 64 percent.
But the Deutsche Oper Berlin had on average 1,194 paying opera-goers with a total of 1,865 seats, while the Deutsche Staatsoper Unter den Linden (with 1,396 seats in total) had an average of only 1,016 per evening.
++++++ 07.03.2005 ++++++
Performance-based pay for the Philharmonic
In the future, the Berlin Philharmonic will be remunerated depending on the orchestra foundation's economic development and performance. With the new contract on tariffs that goes into effect at the beginning of the next season, the orchestra's binding commitment to civil service law, no longer suited to contemporary circumstances, will for the most part be eliminated, announced Culture Senator Thomas Flierl, chairman of the foundation council. With their new legal form, the orchestra itself can also canvass for sponsor's money.
In the future, the Berlin Philharmonic will be remunerated depending on the orchestra foundation's economic development and performance. With the new contract on tariffs that goes into effect at the beginning of the next season, the orchestra's binding commitment to civil service law, no longer suited to contemporary circumstances, will for the most part be eliminated, announced Culture Senator Thomas Flierl, chairman of the foundation council. With their new legal form, the orchestra itself can also canvass for sponsor's money.
++++++ 07.03.2005 ++++++
Schindhelm gets a start
Michael Schindhelm has signed a five-year contract and will start his double activity as Intendant in Basel (contract through summer of 2006) and General Director of Berlin's Opera Foundation on April 1, 2005. At a press conference he said that the savings at the opera houses cannot be allowed to "lead to a deadly spiral. If the houses are so starved that they can no longer be creative and they lack the power to win more audience, then they're doomed to failure." A concept for the workshops is lacking, as is a head of the service company for the stages.
Michael Schindhelm has signed a five-year contract and will start his double activity as Intendant in Basel (contract through summer of 2006) and General Director of Berlin's Opera Foundation on April 1, 2005. At a press conference he said that the savings at the opera houses cannot be allowed to "lead to a deadly spiral. If the houses are so starved that they can no longer be creative and they lack the power to win more audience, then they're doomed to failure." A concept for the workshops is lacking, as is a head of the service company for the stages.
++++++ 07.03.2005 ++++++
Update on the Berliner Symphoniker
The Berliner Symphoniker now have their office in the building where the administration of the Senate for Culture resides, the organization that quit paying subsidies to the orchestra on Sept. 1 last year. This is the site of the box office, bookkeeping and management; this is where the orchestra continues to fight for its life.
Immediately after the subsidies were cut - corresponding to a loss of 80 percent of the budget - Intendant Jochen Thärichen had to file for bankruptcy; the organization shut down on December 1st.The new managing director, former orchestra board member Andreas Moritz, negotiated a transitional solution with the musicians: they register as unemployed and are hired on a purely fees basis from one concert to the next; thus they need to register and de-register each time at the Employment Office.
Some have found new employment, not always in the music business. Those remaining play for fees far below what orchestra musicians otherwise earn; otherwise tickets would cost around Euro 200 each. That they don't intend to give up their music education program makes the situation more difficult. By the beginning of the next season, the managing director needs to have found private financing; this self-exploitation model will not work after that.
The Berliner Symphoniker now have their office in the building where the administration of the Senate for Culture resides, the organization that quit paying subsidies to the orchestra on Sept. 1 last year. This is the site of the box office, bookkeeping and management; this is where the orchestra continues to fight for its life.
Immediately after the subsidies were cut - corresponding to a loss of 80 percent of the budget - Intendant Jochen Thärichen had to file for bankruptcy; the organization shut down on December 1st.The new managing director, former orchestra board member Andreas Moritz, negotiated a transitional solution with the musicians: they register as unemployed and are hired on a purely fees basis from one concert to the next; thus they need to register and de-register each time at the Employment Office.
Some have found new employment, not always in the music business. Those remaining play for fees far below what orchestra musicians otherwise earn; otherwise tickets would cost around Euro 200 each. That they don't intend to give up their music education program makes the situation more difficult. By the beginning of the next season, the managing director needs to have found private financing; this self-exploitation model will not work after that.
++++++ 07.03.2005 ++++++
Was Mozart on the Munich Town Council?
Following the presentation of a previously unknown Mozart portrait, the reactions were euphoric. But now Munich's town archivist Richard Bauer is making contrary claims: the portrait is not of Mozart, but a town councilman from Munich. Rainer Michaelis, chief custodian of Berlin's portrait gallery, defends himself against the attack. "His facts are a joke! Absolutely ridiculous. We're not laymen. We X-rayed and studied the picture. It's definite: the Munich painter Johan Georg Edlinger painted the picture in 1790. The experts have acknowledged its authenticity. And now someone from Munich comes along and says we're all wrong. Nonsense. The shape of the nose, the eyes, the X-rays, the time: it all fits. Please, all the Mozart experts agree - just some guy from Munich speaks of the opposite. He's declaring us Prussians dumb."
Following the presentation of a previously unknown Mozart portrait, the reactions were euphoric. But now Munich's town archivist Richard Bauer is making contrary claims: the portrait is not of Mozart, but a town councilman from Munich. Rainer Michaelis, chief custodian of Berlin's portrait gallery, defends himself against the attack. "His facts are a joke! Absolutely ridiculous. We're not laymen. We X-rayed and studied the picture. It's definite: the Munich painter Johan Georg Edlinger painted the picture in 1790. The experts have acknowledged its authenticity. And now someone from Munich comes along and says we're all wrong. Nonsense. The shape of the nose, the eyes, the X-rays, the time: it all fits. Please, all the Mozart experts agree - just some guy from Munich speaks of the opposite. He's declaring us Prussians dumb."
++++++ 23.02.2005 ++++++
Conductor Marc Albrecht says no
The conductor Marc Albrecht, much talked about as General Music Director and successor to Christian Thielemann at the Deutsche Oper Berlin, has submitted an official refusal to the Intendantin Kirsten Harms. "What is needed there first and foremost is presence. Since I will be taking over the Orchestre Philharmonique in Straßburg in the 2006/07 season and, beyond that, have already completely planned the next three years, I cannot provide that to the extent needed in the next few years." Albrecht, 41 years old, left the question open of whether he would continue to work in Berlin as First Guest Conductor.
The conductor Marc Albrecht, much talked about as General Music Director and successor to Christian Thielemann at the Deutsche Oper Berlin, has submitted an official refusal to the Intendantin Kirsten Harms. "What is needed there first and foremost is presence. Since I will be taking over the Orchestre Philharmonique in Straßburg in the 2006/07 season and, beyond that, have already completely planned the next three years, I cannot provide that to the extent needed in the next few years." Albrecht, 41 years old, left the question open of whether he would continue to work in Berlin as First Guest Conductor.
++++++ 23.02.2005 ++++++
Renovating the Staatsoper
Berlin's Cultural Senator Thomas Flierl reacted with pleasure to the demand of the Greens that the federal government should finance the renovation of the Staatsoper Unter den Linden with money from the fund called "Development Actions for the Capital Berlin": "That's a good idea, one that the Senate has also had." Until now, the federal government has insisted that the legal definition of the fund does not make it possible to finance the Staatsoper renovation.
Berlin's Cultural Senator Thomas Flierl reacted with pleasure to the demand of the Greens that the federal government should finance the renovation of the Staatsoper Unter den Linden with money from the fund called "Development Actions for the Capital Berlin": "That's a good idea, one that the Senate has also had." Until now, the federal government has insisted that the legal definition of the fund does not make it possible to finance the Staatsoper renovation.
++++++ 23.02.2005 ++++++
Inbal renews his contract for a year
The head conductor of the Berliner Sinfonie-Orchester, Eliahu Inbal, has extended his contract for a year. The conductor, who has held this position since September 2001, will continue his work through the end of August 2006, the Cultural Administration announced. With a view to a continuation of the orchestra's work beyond the 2006/2007 season, Cultural Senator Thomas Flierl is currently conducting talks about Inbal's successor.
The head conductor of the Berliner Sinfonie-Orchester, Eliahu Inbal, has extended his contract for a year. The conductor, who has held this position since September 2001, will continue his work through the end of August 2006, the Cultural Administration announced. With a view to a continuation of the orchestra's work beyond the 2006/2007 season, Cultural Senator Thomas Flierl is currently conducting talks about Inbal's successor.
++++++ 23.02.2005 ++++++
Children often musically illiterate
More and more children in Germany are "musical illiterates," the German Orchestra Association laments. "They can't sing right any more, let alone play an instrument," general manager Gerald Mertens said. And he referred to recent psychological studies according to which children's openness for new musical impressions starts decreasing when they are six, and musical taste has consolidated by about twelve years of age. British orchestras, said Mertens, have already drawn the consequences and develop special programs and ensembles for pre-school children. German orchestras have a lot to catch up on, he continued. The main responsibility for this plight can be seen in the decline in music lessons at schools. "Increasingly, instruction is either completely omitted or cut in half."
More and more children in Germany are "musical illiterates," the German Orchestra Association laments. "They can't sing right any more, let alone play an instrument," general manager Gerald Mertens said. And he referred to recent psychological studies according to which children's openness for new musical impressions starts decreasing when they are six, and musical taste has consolidated by about twelve years of age. British orchestras, said Mertens, have already drawn the consequences and develop special programs and ensembles for pre-school children. German orchestras have a lot to catch up on, he continued. The main responsibility for this plight can be seen in the decline in music lessons at schools. "Increasingly, instruction is either completely omitted or cut in half."
++++++ 05.02.2005 ++++++
Berlin operas: first joint discount ticket
The first joint marketing initiative of "Opera in Berlin" is a Janacek ticket, offered across the region. For the composer's 150th birthday, the three Berlin opera houses are issuing a discount ticket from January to June. If you buy tickets for three performances, you get a ticket for a fourth Janacek performance for free. The audience can choose among 32 performances of Janacek's works.
The first joint marketing initiative of "Opera in Berlin" is a Janacek ticket, offered across the region. For the composer's 150th birthday, the three Berlin opera houses are issuing a discount ticket from January to June. If you buy tickets for three performances, you get a ticket for a fourth Janacek performance for free. The audience can choose among 32 performances of Janacek's works.
++++++ 05.02.2005 ++++++
Mozart portrait in Berlin
A previously unknown Mozart portrait has been discovered in Berlin's portrait gallery. The oil painting by Johann Georg Edlinger, 80 by 62 cm, was probably painted during Mozart's last stay in Munich in 1790. Berlin's Staatliche Museen announced that it is probably the last authentic portrait of the musician, who died in 1791.
This new determination of the portrait was the work of music lover Wolfgang Seiller, who performed a thorough analysis using computer technology. The IT specialist from Ottobrunn bei München, a descendant of the painter Edlinger, used a special computer program to compare anthropometrically the facial traits of the portrait with the last known portrait of the musician.
According to the most recent research, Mozart died in 1791 neither of syphilis nor as a result of Antonio Salieri's envy. Mozart was a victim of bleeding kidneys. The signs of the mercury treatment he was receiving months were perceptible earlier. It made him appear slightly bloated - as he does on this portrait.
"I would drink a beer with him any time," the German pianist Lars Vogt, who is currently playing Mozart sonatas, rejoiced. Albrecht Mayer, solo oboist of the Berlin Philharmonic, finds the picture's "melancholy" striking. "You can see that Mozart scandalized people and was a torn individual. That makes this one of the most human Mozart portraits I know." The pianist Hélène Grimaux says, "What a fat pug face! But the eyes are definitely Mozart. They radiate lots of curiosity - and then this mocking Amadeus trait around his mouth. Yes, it's him."
"I don't know who's pictured there," says Ulrich Konrad, Mozart editor and academic council member of the Mozarteum. He said that Mozart was 1.55 meter tall, and the man in the portrait appears significantly larger.
A previously unknown Mozart portrait has been discovered in Berlin's portrait gallery. The oil painting by Johann Georg Edlinger, 80 by 62 cm, was probably painted during Mozart's last stay in Munich in 1790. Berlin's Staatliche Museen announced that it is probably the last authentic portrait of the musician, who died in 1791.
This new determination of the portrait was the work of music lover Wolfgang Seiller, who performed a thorough analysis using computer technology. The IT specialist from Ottobrunn bei München, a descendant of the painter Edlinger, used a special computer program to compare anthropometrically the facial traits of the portrait with the last known portrait of the musician.
According to the most recent research, Mozart died in 1791 neither of syphilis nor as a result of Antonio Salieri's envy. Mozart was a victim of bleeding kidneys. The signs of the mercury treatment he was receiving months were perceptible earlier. It made him appear slightly bloated - as he does on this portrait.
"I would drink a beer with him any time," the German pianist Lars Vogt, who is currently playing Mozart sonatas, rejoiced. Albrecht Mayer, solo oboist of the Berlin Philharmonic, finds the picture's "melancholy" striking. "You can see that Mozart scandalized people and was a torn individual. That makes this one of the most human Mozart portraits I know." The pianist Hélène Grimaux says, "What a fat pug face! But the eyes are definitely Mozart. They radiate lots of curiosity - and then this mocking Amadeus trait around his mouth. Yes, it's him."
"I don't know who's pictured there," says Ulrich Konrad, Mozart editor and academic council member of the Mozarteum. He said that Mozart was 1.55 meter tall, and the man in the portrait appears significantly larger.
++++++ 05.02.2005 ++++++
Rattle spoke with The Guardian about his first two years with the Philharmonic
"The musicians are very articulate, they are very open, they are very curious. They always want to know why we are doing something. They don't just do it - they are not an obedient orchestra in that way, but they are a very creative orchestra. They are not that easy to deal with but it's a lot of fun. Big temperaments, big personalities. It's difficult."
Comparing the German orchestra with its British counterparts, Sir Simon, who conducted the City of Birmingham Symphony Orchestra for 18 years, said: "There really is a truth that British players are more flexible and are faster and have fewer fixed opinions. Some things are much harder for German musicians. But what I know is that when I start [Wagner's] Prelude [from Tristan and Isolde] there's a feeling of, 'Oh yes, we're at home, here is our sound.' And this extraordinary glow comes out that you don't get in many places."
Berlin "reminds me of Liverpool," said Sir Simon, who was born and raised there. He said the Berliners had a similar style of wit: "The slightly direct thing - you say exactly where you are but there is a rough warm humor that is very welcoming."
"The musicians are very articulate, they are very open, they are very curious. They always want to know why we are doing something. They don't just do it - they are not an obedient orchestra in that way, but they are a very creative orchestra. They are not that easy to deal with but it's a lot of fun. Big temperaments, big personalities. It's difficult."
Comparing the German orchestra with its British counterparts, Sir Simon, who conducted the City of Birmingham Symphony Orchestra for 18 years, said: "There really is a truth that British players are more flexible and are faster and have fewer fixed opinions. Some things are much harder for German musicians. But what I know is that when I start [Wagner's] Prelude [from Tristan and Isolde] there's a feeling of, 'Oh yes, we're at home, here is our sound.' And this extraordinary glow comes out that you don't get in many places."
Berlin "reminds me of Liverpool," said Sir Simon, who was born and raised there. He said the Berliners had a similar style of wit: "The slightly direct thing - you say exactly where you are but there is a rough warm humor that is very welcoming."
++++++ 05.02.2005 ++++++
Mozart's opera scores in digital form
The scores preserved in Berlin's Staatsbibliothek of Wolfgang Amadeus Mozart's major operas have been digitalized. To do so, a special process was deployed for the first time that led to a precision of detail in the reproductions that has never yet been achieved, the library announced. Thus, for instance, it was possible to precisely capture all the structures found in Mozart's way of writing. The digitalization of the 1948 pages was the first step towards the planned facsimile edition.
The scores preserved in Berlin's Staatsbibliothek of Wolfgang Amadeus Mozart's major operas have been digitalized. To do so, a special process was deployed for the first time that led to a precision of detail in the reproductions that has never yet been achieved, the library announced. Thus, for instance, it was possible to precisely capture all the structures found in Mozart's way of writing. The digitalization of the 1948 pages was the first step towards the planned facsimile edition.
++++++ 05.02.2005 ++++++
Head of the ROC to go
The head of the Rundfunk-Orchester und Chöre GmbH (ROC), Bettina Pesch, will be leaving her post next year. The organization's partners announced that Pesch has reached the targets that were set for her: She has financially consolidated ROC, built up reserves, and preserved them from the eager attention of Berlin's Senate for Culture. Pesch herself says she saw further potential for her work: "I like to hand something over that is completed." As the managing director of a company with 328 employees, her primary task, however, was to manage the economic aspects: "I am not the artistic director and I've never pretended to want to be one."
It appears that the plans of Culture Senator Flierl to form a "strategic alliance" between ROC and Berlin's Konzerthaus are off the table for good. Many people had feared that they would result in an orchestra merger. Flierl's ideas have been refused both by ROC and in the Berlin Senate.
The head of the Rundfunk-Orchester und Chöre GmbH (ROC), Bettina Pesch, will be leaving her post next year. The organization's partners announced that Pesch has reached the targets that were set for her: She has financially consolidated ROC, built up reserves, and preserved them from the eager attention of Berlin's Senate for Culture. Pesch herself says she saw further potential for her work: "I like to hand something over that is completed." As the managing director of a company with 328 employees, her primary task, however, was to manage the economic aspects: "I am not the artistic director and I've never pretended to want to be one."
It appears that the plans of Culture Senator Flierl to form a "strategic alliance" between ROC and Berlin's Konzerthaus are off the table for good. Many people had feared that they would result in an orchestra merger. Flierl's ideas have been refused both by ROC and in the Berlin Senate.
++++++ 05.02.2005 ++++++
Seats filled at the Deutsche Oper
The Deutsche Oper announced that the positive trend for the year 2004 continued in December. The largest Berlin opera house was filled to 85.8 percent in the Christmas month. Capacity utilization was 77.8 percent in the comparable month in 2003.
The Deutsche Oper announced that the positive trend for the year 2004 continued in December. The largest Berlin opera house was filled to 85.8 percent in the Christmas month. Capacity utilization was 77.8 percent in the comparable month in 2003.
++++++ 03.01.2005 ++++++
Donations for tsunami victims
The Vienna and Berlin Philharmonic dedicated their traditional New Year's concerts to the victims of the tsunami in southeast Asia. The Vienna Philharmonic donated the proceeds of one of the two pre-concerts to their New Year's concert totaling Euro 115,000 to the World Health Organisation WHO and abstained from playing the usual Radetzky march at the end of their January 1st performance. The Berlin orchestra provided Euro 50,000 for the victims at their New Year's Eve concert. Both conductors, Lorin Maazel and Simon Rattle, also called for further donations to be made. Collections were also taken up in concerts held by the Deutsche Symphonie-Orchester and the Rias-Kammerchor. The New Year's concert of the Berliner Sinfonie-Orchester began with a minute of silence.
The Vienna and Berlin Philharmonic dedicated their traditional New Year's concerts to the victims of the tsunami in southeast Asia. The Vienna Philharmonic donated the proceeds of one of the two pre-concerts to their New Year's concert totaling Euro 115,000 to the World Health Organisation WHO and abstained from playing the usual Radetzky march at the end of their January 1st performance. The Berlin orchestra provided Euro 50,000 for the victims at their New Year's Eve concert. Both conductors, Lorin Maazel and Simon Rattle, also called for further donations to be made. Collections were also taken up in concerts held by the Deutsche Symphonie-Orchester and the Rias-Kammerchor. The New Year's concert of the Berliner Sinfonie-Orchester began with a minute of silence.
++++++ 03.01.2005 ++++++
Promising Outlook for the Komische Oper
Jörg Königsdorf wrote on February 2nd in the Tagesspiegel: "After the new start under Andreas Homoki in the first one and a half years was slowed down by several unfortunate productions and, accordingly, low capacity utilization, Berlin's smallest opera hose is suddenly noticeably on the upswing. The critical voices have for the most part fallen silent, the musical work performed by head conductor Kirill Petrenko continues to be respected. ... Why? The Homoki house has a relatively easy time cutting a fine figure in Berlin these days: the Staatsoper had little luck with their first two premieres of the season, while the Deutsche Oper is currently still paralyzed by their about-turn to music theater of the sixties. ... However, the protests at the last premiere, Puccini's Manon Lescaut, showed that Berlin is not yet Vienna - and that theater of historical décors is also no longer a solution for an audience that, after all, has two decades of Götz Friedrich behind it. ... Berlin's new head of the opera foundation Michael Schindhelm has at least one house that he doesn't need to worry about."
Jörg Königsdorf wrote on February 2nd in the Tagesspiegel: "After the new start under Andreas Homoki in the first one and a half years was slowed down by several unfortunate productions and, accordingly, low capacity utilization, Berlin's smallest opera hose is suddenly noticeably on the upswing. The critical voices have for the most part fallen silent, the musical work performed by head conductor Kirill Petrenko continues to be respected. ... Why? The Homoki house has a relatively easy time cutting a fine figure in Berlin these days: the Staatsoper had little luck with their first two premieres of the season, while the Deutsche Oper is currently still paralyzed by their about-turn to music theater of the sixties. ... However, the protests at the last premiere, Puccini's Manon Lescaut, showed that Berlin is not yet Vienna - and that theater of historical décors is also no longer a solution for an audience that, after all, has two decades of Götz Friedrich behind it. ... Berlin's new head of the opera foundation Michael Schindhelm has at least one house that he doesn't need to worry about."
++++++ 03.01.2005 ++++++
Poor Prospects for Professional Musicians
The prospects for professional musicians in Germany have gotten significantly worse in the past years. More and more musicians are not finding permanent employment after completing conservatory, the head of Germany's Orchestra Association pointed out. In the period between 1998 and 2002, only 844 positions became available due to orchestra members retiring; in the next three seasons, only 400 positions will become available in German orchestras, radio choirs and big bands. There are currently 136 professional orchestras in Germany with 10,220 positions. Since 1992, 32 orchestras have been dismantled because they have closed down, merged or gone bankrupt.
The prospects for professional musicians in Germany have gotten significantly worse in the past years. More and more musicians are not finding permanent employment after completing conservatory, the head of Germany's Orchestra Association pointed out. In the period between 1998 and 2002, only 844 positions became available due to orchestra members retiring; in the next three seasons, only 400 positions will become available in German orchestras, radio choirs and big bands. There are currently 136 professional orchestras in Germany with 10,220 positions. Since 1992, 32 orchestras have been dismantled because they have closed down, merged or gone bankrupt.
++++++ 28.12.2004 ++++++
Pianist Jeffrey Burns deceased
Jeffrey Burns, born in May 1950 as the son of a Jewish businessman, has died. He came to Germany in 1972 as recipient of a DAAD scholarship, taught at the University of Münster until 1983, and then moved to Berlin. He interpreted primarily contemporary music, and also gave computer courses for composers and directed master classes in Rheinsberg.
Jeffrey Burns, born in May 1950 as the son of a Jewish businessman, has died. He came to Germany in 1972 as recipient of a DAAD scholarship, taught at the University of Münster until 1983, and then moved to Berlin. He interpreted primarily contemporary music, and also gave computer courses for composers and directed master classes in Rheinsberg.
++++++ 26.12.2004 ++++++
Schindhelm General Director of Opera Foundation
The honorary council has declared Michael Schindhelm, the future General Director of Berlin's Opera Foundation, to be "unobjectionable". It was not clear from the start that the Berlin committee would reach this vote. Evaluators in Switzerland who examined the Stasi files in 2001 were appointed by the Basel Theater administrative council. This time, personages came together who had been directly affected by the system in the GDR. Schindhelm informed his commanding officer in writing about council member author Lutz Rathenow during his time as Inofficial Employee (IM).
Schindhelm committed himself in writing to cooperating with the Ministry for State Security and, among other measures, wrote reports about fellow students during his study in the Soviet Union. The honorary council summarized: "This is not a pure paean of praise, but we have taken the facts into account and in sum have come to a positive vote in terms of appointment to the post of General Director." The representative of the staff council gained confidence in the candidate; despite misgivings expressed several times in the run-up period merely abstained from voting.
The foundation is in a kind of quandary: since operational contract terminations have been excluded through 2009, savings can really only be made by reducing staff. If not enough employees are found who are prepared to leave, the entire foundation will inevitably slip into insolvency. Important decisions on issues such as a location for the workshops and founding the planned service company must be made soon. Merging the workshops, intended to bring about the lion's share of the synergy effects, will no doubt keep Michael Schindhelm busy for a long time. Equipped with the clearly limited powers of a German president, Schindhelm must sell the union to the outside world as a model for the future, worthily represent the three opera houses at official events, cultivate contacts and charm politicians.
The honorary council has declared Michael Schindhelm, the future General Director of Berlin's Opera Foundation, to be "unobjectionable". It was not clear from the start that the Berlin committee would reach this vote. Evaluators in Switzerland who examined the Stasi files in 2001 were appointed by the Basel Theater administrative council. This time, personages came together who had been directly affected by the system in the GDR. Schindhelm informed his commanding officer in writing about council member author Lutz Rathenow during his time as Inofficial Employee (IM).
Schindhelm committed himself in writing to cooperating with the Ministry for State Security and, among other measures, wrote reports about fellow students during his study in the Soviet Union. The honorary council summarized: "This is not a pure paean of praise, but we have taken the facts into account and in sum have come to a positive vote in terms of appointment to the post of General Director." The representative of the staff council gained confidence in the candidate; despite misgivings expressed several times in the run-up period merely abstained from voting.
The foundation is in a kind of quandary: since operational contract terminations have been excluded through 2009, savings can really only be made by reducing staff. If not enough employees are found who are prepared to leave, the entire foundation will inevitably slip into insolvency. Important decisions on issues such as a location for the workshops and founding the planned service company must be made soon. Merging the workshops, intended to bring about the lion's share of the synergy effects, will no doubt keep Michael Schindhelm busy for a long time. Equipped with the clearly limited powers of a German president, Schindhelm must sell the union to the outside world as a model for the future, worthily represent the three opera houses at official events, cultivate contacts and charm politicians.
++++++ 26.12.2004 ++++++
Audience numbers at the operas
In the opera foundation's first year, the audience did not grow, announced the theater committee of the house of representatives. The three houses have close to 660,000 paying attendees this year; last year there were 667,000. 685,000 were planned, and in the upcoming years the number of audience members is intended even to increase by 180,000. This means the foundation is lacking Euro 2.7 million, the speaker on cultural politics from the PDS declared.
The Staatsoper achieved utilization of 76.5 percent in the first nine months of this year - thus almost fulfilling the expectations it had set itself. A similar situation at the Komische Oper, though at a significantly lower 55 percent level. At the Deutsche Oper, there is a big gap between claim and reality: on average, close to two thirds of all seats were filled, but the business plan optimistically assumes utilization of close to 73 percent. A total of 258,000 seats were not sold.
In the opera foundation's first year, the audience did not grow, announced the theater committee of the house of representatives. The three houses have close to 660,000 paying attendees this year; last year there were 667,000. 685,000 were planned, and in the upcoming years the number of audience members is intended even to increase by 180,000. This means the foundation is lacking Euro 2.7 million, the speaker on cultural politics from the PDS declared.
The Staatsoper achieved utilization of 76.5 percent in the first nine months of this year - thus almost fulfilling the expectations it had set itself. A similar situation at the Komische Oper, though at a significantly lower 55 percent level. At the Deutsche Oper, there is a big gap between claim and reality: on average, close to two thirds of all seats were filled, but the business plan optimistically assumes utilization of close to 73 percent. A total of 258,000 seats were not sold.
++++++ 26.12.2004 ++++++
Berliner Symphoniker newly founded
The Berliner Symphoniker are not giving up, even after support from the state of Berlin has run out. At the beginning of December, the orchestra founded itself anew as a non-commercial company, second name "Music Pedagogy Center". Besides their concert activities, it is intended to earn money with the work at schools with which the orchestra established its reputation. All the musicians are registered as unemployed and receive only fees for the concerts they play. They then re-register at the Federal Employment Office. The general manager hopes to be able to offer employment contracts starting in September 2005, though at conditions below the already reduced ones of the past years. The orchestra size aspired to is given as 55, including permanent temporary personnel. The administration is to be further reduced; the former director, Jochen Thärichen, is no longer carrying out his office. One primary source of income is to be sponsoring: the Symphoniker offer to sell individual concerts or series (such as the successful family concerts) to investors.
The Berliner Symphoniker are not giving up, even after support from the state of Berlin has run out. At the beginning of December, the orchestra founded itself anew as a non-commercial company, second name "Music Pedagogy Center". Besides their concert activities, it is intended to earn money with the work at schools with which the orchestra established its reputation. All the musicians are registered as unemployed and receive only fees for the concerts they play. They then re-register at the Federal Employment Office. The general manager hopes to be able to offer employment contracts starting in September 2005, though at conditions below the already reduced ones of the past years. The orchestra size aspired to is given as 55, including permanent temporary personnel. The administration is to be further reduced; the former director, Jochen Thärichen, is no longer carrying out his office. One primary source of income is to be sponsoring: the Symphoniker offer to sell individual concerts or series (such as the successful family concerts) to investors.
++++++ 26.12.2004 ++++++
Future of Artists' Social Insurance?
The institution called Künstlersozialkasse (Artists' Social Insurance), unique in the world and very German, was founded in 1982, back in West Germany's well-off years, to provide basic financial security to freelance artists. In essence it is a gift: as members, freelance artists and journalists have to pay only half of their health and old age insurance; the Artists' Social Insurance takes over the other half. Thus it functions like an employer, helping to pay the costs of contributions for its employees. This is a privilege compared to freelance plumbers and electricians: the state saves artists from social hardship, as it protects many forms of art from the market through the present day.
The system worked for 18 years; then the state intervened and decreed a unilateral change. Until then it was precisely determined by law who covered what share for the Artists' Social Insurance (KSK): the artists 50 percent, organizations that use their work 25 percent, and the state the remaining 25 percent. These organizations are gallery owners, publishing houses, recording companies, opera houses and concert organizers, institutions that are closely linked with the artists and live from them.
The KSK has grown dramatically: 12,000 artists were insured in 1983, 102,000 five years ago, and now 130,000. This is mostly because companies, particularly newspapers and publishing houses, have released their employees into autonomy to save on social insurance contributions. There is something grotesque if precisely these organizations are now protesting against a relatively small increase in their social insurance contribution (from 4.3 to 5.8%).
Would concert organizers, gallery owners and publishers profit if the social net was withdrawn from 130,000 artists in Germany? Umpteen thousand would then slip into social welfare status. Already now, according to the KSK's statistics, artists have an average income of only Euro 11,000 per year. Even if some of them fudge the figures a bit, the sum is ridiculous compared to the per capita income of the German population on the whole: Euro 24,500.
The institution called Künstlersozialkasse (Artists' Social Insurance), unique in the world and very German, was founded in 1982, back in West Germany's well-off years, to provide basic financial security to freelance artists. In essence it is a gift: as members, freelance artists and journalists have to pay only half of their health and old age insurance; the Artists' Social Insurance takes over the other half. Thus it functions like an employer, helping to pay the costs of contributions for its employees. This is a privilege compared to freelance plumbers and electricians: the state saves artists from social hardship, as it protects many forms of art from the market through the present day.
The system worked for 18 years; then the state intervened and decreed a unilateral change. Until then it was precisely determined by law who covered what share for the Artists' Social Insurance (KSK): the artists 50 percent, organizations that use their work 25 percent, and the state the remaining 25 percent. These organizations are gallery owners, publishing houses, recording companies, opera houses and concert organizers, institutions that are closely linked with the artists and live from them.
The KSK has grown dramatically: 12,000 artists were insured in 1983, 102,000 five years ago, and now 130,000. This is mostly because companies, particularly newspapers and publishing houses, have released their employees into autonomy to save on social insurance contributions. There is something grotesque if precisely these organizations are now protesting against a relatively small increase in their social insurance contribution (from 4.3 to 5.8%).
Would concert organizers, gallery owners and publishers profit if the social net was withdrawn from 130,000 artists in Germany? Umpteen thousand would then slip into social welfare status. Already now, according to the KSK's statistics, artists have an average income of only Euro 11,000 per year. Even if some of them fudge the figures a bit, the sum is ridiculous compared to the per capita income of the German population on the whole: Euro 24,500.
++++++ 26.12.2004 ++++++
Carnegie Hall invites Philharmonic
The Berliner Philharmonic will work more closely with New York's Carnegie Hall. They were chosen as the first orchestra for the new "Orchestra Residency Project", with which the orchestra is intended to be more closely linked with the American concert hall and the city starting in 2007. Each concert season, the invited musicians are to perform for a certain period not only in Carnegie Hall, but also beyond, and take part in the musical education program for young people.
The Berliner Philharmonic will work more closely with New York's Carnegie Hall. They were chosen as the first orchestra for the new "Orchestra Residency Project", with which the orchestra is intended to be more closely linked with the American concert hall and the city starting in 2007. Each concert season, the invited musicians are to perform for a certain period not only in Carnegie Hall, but also beyond, and take part in the musical education program for young people.
++++++ 22.11.2004 ++++++
Opera not popular with youth
Classical cultural offerings have a tough time of it with young people. As revealed in the "Youth Cultural Barometer 2004", only eight percent of those surveyed were frequently in classical concerts and six percent at the opera. According to the survey, young people are more interested in art shows and design. 52 percent indicated they had been to exhibitions several times last year. The Center for Cultural Research surveyed more than 2,500 young people between the ages of 14 and 24 on behalf of the Federal Ministry of Education and Research.
Classical cultural offerings have a tough time of it with young people. As revealed in the "Youth Cultural Barometer 2004", only eight percent of those surveyed were frequently in classical concerts and six percent at the opera. According to the survey, young people are more interested in art shows and design. 52 percent indicated they had been to exhibitions several times last year. The Center for Cultural Research surveyed more than 2,500 young people between the ages of 14 and 24 on behalf of the Federal Ministry of Education and Research.
++++++ 22.11.2004 ++++++
Mussbach and the Staatsoper
Peter Mussbach's contract, which will run out in 2007, will be up for renegotiation soon. According to reports, Mussbach is not keen on remaining artistic director. Within the opera house, ever more frustrated employees are complaining about their boss's lack of motivation. No production is planned this year with Daniel Barenboim; Mussbach prefers to produce with Kent Nagano in Berlin, München and Dresden.
Peter Mussbach's contract, which will run out in 2007, will be up for renegotiation soon. According to reports, Mussbach is not keen on remaining artistic director. Within the opera house, ever more frustrated employees are complaining about their boss's lack of motivation. No production is planned this year with Daniel Barenboim; Mussbach prefers to produce with Kent Nagano in Berlin, München and Dresden.
++++++ 22.11.2004 ++++++
Opening the Holocaust Memorial
The celebrations for the opening of the Holocaust Memorial in Berlin begin on May 9, 2005 with a festive concert played by the Junge Deutsche Philharmonie in the Philharmonie. The program will include Schönberg's A Survivor from Warsaw and the premiere of Wolfgang Rihm's requiem Bruchstücke.
The celebrations for the opening of the Holocaust Memorial in Berlin begin on May 9, 2005 with a festive concert played by the Junge Deutsche Philharmonie in the Philharmonie. The program will include Schönberg's A Survivor from Warsaw and the premiere of Wolfgang Rihm's requiem Bruchstücke.
++++++ 22.11.2004 ++++++
News on the Berlin Symphoniker
Since the organization committee can no longer pay its musicians' salaries, it has had to file for bankruptcy. Everyone was fired as of the end of the season. There are 42 members of the Symphoniker. The insolvency administrators have the say.
The Symphoniker have already experienced marketing actions. American management consultant Frederick Metz Shepperd announced in May that it would be possible to help out the Symphoniker with inline skating, benefit dinners and family concerts. The actions never took place; meanwhile, Shepperd is demanding advance payments from the subsidies. "It would have been the wrong signal anyway", Thärichen says today, "since no orchestra in Berlin can survive from sponsoring alone. You'll always have to play against subsidized orchestras."
Since the organization committee can no longer pay its musicians' salaries, it has had to file for bankruptcy. Everyone was fired as of the end of the season. There are 42 members of the Symphoniker. The insolvency administrators have the say.
The Symphoniker have already experienced marketing actions. American management consultant Frederick Metz Shepperd announced in May that it would be possible to help out the Symphoniker with inline skating, benefit dinners and family concerts. The actions never took place; meanwhile, Shepperd is demanding advance payments from the subsidies. "It would have been the wrong signal anyway", Thärichen says today, "since no orchestra in Berlin can survive from sponsoring alone. You'll always have to play against subsidized orchestras."
++++++ 22.11.2004 ++++++
News from the Opera Foundation
The staff council of the Berlin Opera Foundation has announced it is against appointing Stasi-incriminated Michael Schindhelm as its general director. This would be an unreasonable demand from all employees, they wrote in a letter to the artistic directors of the Staatsoper Unter den Linden, the Komische Oper and the Deutsche Oper. They write that Schindhelm made public his activities as Inofficial Employee (IM) of the DDR Secret Police only after rumors arose, shortly before the authorities handed over the relevant documents. This behavior is "typical for those who were active as servants of the DDR system", the staff council wrote. The head of the "Opera Foundation in Berlin", now respected throughout the country, can only be filled with a respectable and trustworthy person - and this does not apply to Schindhelm, they wrote.
The honorary council appointed by Cultural Senator Flierl to confer on the "Stasi" contacts of Basle director Michael Schindhelm met for the first time. The members of the committee are former DDR civil rights activists Ulrike Poppe and Wolfgang Templin, the president of Berlin's house of representatives, Walter Momper, and author Lutz Rathenow, the cultural administration announced. The honorary council will examine documents from the Stasi documents authority and communicate their insights to the foundation council and the public. Until then they have agreed to remain silent.
Now not only the staff council but also the parliament's SPD faction has said it is in favor of a new start in the search for a candidate for the post of head of the Berlin Opera Foundation. Cultural politics speaker Brigitte Lange demanded "the process be started once again".
The staff council of the Berlin Opera Foundation has announced it is against appointing Stasi-incriminated Michael Schindhelm as its general director. This would be an unreasonable demand from all employees, they wrote in a letter to the artistic directors of the Staatsoper Unter den Linden, the Komische Oper and the Deutsche Oper. They write that Schindhelm made public his activities as Inofficial Employee (IM) of the DDR Secret Police only after rumors arose, shortly before the authorities handed over the relevant documents. This behavior is "typical for those who were active as servants of the DDR system", the staff council wrote. The head of the "Opera Foundation in Berlin", now respected throughout the country, can only be filled with a respectable and trustworthy person - and this does not apply to Schindhelm, they wrote.
The honorary council appointed by Cultural Senator Flierl to confer on the "Stasi" contacts of Basle director Michael Schindhelm met for the first time. The members of the committee are former DDR civil rights activists Ulrike Poppe and Wolfgang Templin, the president of Berlin's house of representatives, Walter Momper, and author Lutz Rathenow, the cultural administration announced. The honorary council will examine documents from the Stasi documents authority and communicate their insights to the foundation council and the public. Until then they have agreed to remain silent.
Now not only the staff council but also the parliament's SPD faction has said it is in favor of a new start in the search for a candidate for the post of head of the Berlin Opera Foundation. Cultural politics speaker Brigitte Lange demanded "the process be started once again".
++++++ 08.11.2004 ++++++
Berliner Symphoniker at the Deutsche Oper
When the curtain rises on Gioacchino Rossini's Semiramide at the Deutsche Oper Berlin November 11, 15 and 18, it won't be the house musicians in the pit, but rather the Berliner Symphoniker. The Deutsche Oper orchestra will be on tour in Europe with their former chief conductor Christian Thielemann at this time. To be able to stage her only production thus far at the Deutsche Oper as planned, the new artistic director Kirsten Harms spontaneously hired the Berliner Symphoniker, to whom Berlin's senate recently cut off all state subsidies.
When the curtain rises on Gioacchino Rossini's Semiramide at the Deutsche Oper Berlin November 11, 15 and 18, it won't be the house musicians in the pit, but rather the Berliner Symphoniker. The Deutsche Oper orchestra will be on tour in Europe with their former chief conductor Christian Thielemann at this time. To be able to stage her only production thus far at the Deutsche Oper as planned, the new artistic director Kirsten Harms spontaneously hired the Berliner Symphoniker, to whom Berlin's senate recently cut off all state subsidies.
++++++ 08.11.2004 ++++++
General Director of the Opera Foundation
Michael Schindhelm will be proposed as new general director to the foundation council.
In Switzerland, besides his work as general manager of the theater in Basle, the quantum chemist has established himself as the head of a talk show. "Schindhelm is a master of the art of talking. For the position of General Director of Berlin's opera foundation - in the future the most significant of music theaters performing in German - that is no doubt an advantage." (Berliner Zeitung) "He is considered passionately ambitious, has both intellectual and artistic capacity, and he has accumulated good experience with all sorts of non-union organizational forms in Switzerland. Do keep in mind: a daunting savings potential has to be achieved on the part of the foundation, the orchestras' tariff contracts are awaiting being reworked, etc. The individual who takes this job not only needs to be good at calculating, he needs to be able to communicate why he's calculating." (Tagesspiegel)
The opera houses in the foundation will - on the basis of the annual subsidy of Euro 113.6 million last year - have to manage with just over Euro 97 million in the year 2009, at an increasing cost level. If they do not succeed in increasing their own revenues, there will be a deficit as early as the 2006-7 season.
However: Schindhelm signed on as an Informal Employee (IM) of the Staatssicherheit (Stasi) in the GDR on March 15, 1984. And many Berlin administration employees, also at the Staatsoper and the Komischen Oper, were fired due to their activities as IM after rigorous checks in the early nineties. This 'episode' in Schindhelm's life deserves to be examined precisely. According to the Berliner Zeitung: "The personality analysis of the intelligence corps virtually recommends Schindhelm for the office in Berlin. It praises his 'exceptionally intelligent and gifted' nature, 'his many contacts and constant effort to make interesting contacts', and continues, 'the candidate is strikingly gifted in languages and understands how to argue winningly and aptly'."
The foundation council has postponed the decision about an opera director. "It does not want to be a committee that just agrees to things, but rather to get involved and intervene." (Morgenpost)
Michael Schindhelm will be proposed as new general director to the foundation council.
In Switzerland, besides his work as general manager of the theater in Basle, the quantum chemist has established himself as the head of a talk show. "Schindhelm is a master of the art of talking. For the position of General Director of Berlin's opera foundation - in the future the most significant of music theaters performing in German - that is no doubt an advantage." (Berliner Zeitung) "He is considered passionately ambitious, has both intellectual and artistic capacity, and he has accumulated good experience with all sorts of non-union organizational forms in Switzerland. Do keep in mind: a daunting savings potential has to be achieved on the part of the foundation, the orchestras' tariff contracts are awaiting being reworked, etc. The individual who takes this job not only needs to be good at calculating, he needs to be able to communicate why he's calculating." (Tagesspiegel)
The opera houses in the foundation will - on the basis of the annual subsidy of Euro 113.6 million last year - have to manage with just over Euro 97 million in the year 2009, at an increasing cost level. If they do not succeed in increasing their own revenues, there will be a deficit as early as the 2006-7 season.
However: Schindhelm signed on as an Informal Employee (IM) of the Staatssicherheit (Stasi) in the GDR on March 15, 1984. And many Berlin administration employees, also at the Staatsoper and the Komischen Oper, were fired due to their activities as IM after rigorous checks in the early nineties. This 'episode' in Schindhelm's life deserves to be examined precisely. According to the Berliner Zeitung: "The personality analysis of the intelligence corps virtually recommends Schindhelm for the office in Berlin. It praises his 'exceptionally intelligent and gifted' nature, 'his many contacts and constant effort to make interesting contacts', and continues, 'the candidate is strikingly gifted in languages and understands how to argue winningly and aptly'."
The foundation council has postponed the decision about an opera director. "It does not want to be a committee that just agrees to things, but rather to get involved and intervene." (Morgenpost)
++++++ 31.10.2004 ++++++
Honorary membership for Bernard Haitink
The Berlin Philharmonic have awarded conductor Bernard Haitink honorary membership. The first time he conducted the Berlin Philharmonic was in March 1964. He has conducted the Philharmonic close to 130 times in Berlin, in addition to concerts on various tours.
Bernard Haitink expressed great pleasure in the distinction. He said it was a great honor for him to have become an honorary member of the Philharmonic and the award is especially significant because it comes from the musicians themselves. In a discussion with Andrew Clark that was published recently, Haitink admitted: "I enjoy the luxury of being a guest of the Berlin Philharmonic. I know they can be quite difficult, but once they're up on the podium, they play their souls out ..."
The Berlin Philharmonic have awarded conductor Bernard Haitink honorary membership. The first time he conducted the Berlin Philharmonic was in March 1964. He has conducted the Philharmonic close to 130 times in Berlin, in addition to concerts on various tours.
Bernard Haitink expressed great pleasure in the distinction. He said it was a great honor for him to have become an honorary member of the Philharmonic and the award is especially significant because it comes from the musicians themselves. In a discussion with Andrew Clark that was published recently, Haitink admitted: "I enjoy the luxury of being a guest of the Berlin Philharmonic. I know they can be quite difficult, but once they're up on the podium, they play their souls out ..."
++++++ 29.10.2004 ++++++
Staatsballet's future
Starting in this season, the Staatsballett is dancing at two houses: at the Staatsoper, where they reached a capacity of 90 percent last season, and in the Deutsche Oper, where only 30 percent of the seats were filled. The first ballet performances this season were sold out at the Staatsoper, but only 30 percent of the seats were taken at the Deutsche Oper.
The Berliner Zeitung interviewed Georg Vierthaler: "In all its services, the ballet depends on the opera houses. It has no technicians of its own, no carpenters, no musicians; it is completely intertwined with the opera houses, and the houses must support the Staatsballett with all their know-how. Collaboration is necessary."
Der Tagesspiegel on the topic: "Black and patchwork - is that how new beginnings, fundamental changes look? The new state ballet would have to reposition itself, to get kicked off as an independent power, and most of all develop a real concept for the Deutsche Oper as a second venue. But instead, there were just a few hundred enthusiasts in Preljocaj's exquisite Le Parc, and utilization is stagnating further at 30 percent. You don't see posters anywhere in the city, nor can you recognize a marketing concept."
Starting in this season, the Staatsballett is dancing at two houses: at the Staatsoper, where they reached a capacity of 90 percent last season, and in the Deutsche Oper, where only 30 percent of the seats were filled. The first ballet performances this season were sold out at the Staatsoper, but only 30 percent of the seats were taken at the Deutsche Oper.
The Berliner Zeitung interviewed Georg Vierthaler: "In all its services, the ballet depends on the opera houses. It has no technicians of its own, no carpenters, no musicians; it is completely intertwined with the opera houses, and the houses must support the Staatsballett with all their know-how. Collaboration is necessary."
Der Tagesspiegel on the topic: "Black and patchwork - is that how new beginnings, fundamental changes look? The new state ballet would have to reposition itself, to get kicked off as an independent power, and most of all develop a real concept for the Deutsche Oper as a second venue. But instead, there were just a few hundred enthusiasts in Preljocaj's exquisite Le Parc, and utilization is stagnating further at 30 percent. You don't see posters anywhere in the city, nor can you recognize a marketing concept."
++++++ 29.10.2004 ++++++
Interview with Kirsten Harms
The Berliner Morgenpost spoke with Kirsten Harms, artistic director of the Deutsche Oper Berlin
Asked about her model to give the Deutsche Oper a profile, she answers: "The point for me is an opera program that contains rarities besides the major repertoire. But we won't have a focus on Baroque or the like - that's better suited to other houses. Instead, we'll have Wagner and Strauss, Verdi and Puccini. In addition, we are distinguishing ourselves in how we retell the works in a comprehensible, precise language of direction."
About the orchestra at the Deutsche Oper, she says: "It's important to prevent good musicians from leaving us. And to do that, we need political willingness."
And on the desired "tonality" at her opera house: "Well, I don't like to put sex and crime on the stage because I'm missing a constructive approach in so doing. I do indeed see such things in society, but demonstrating them again as a deterrent is not enough for me to be an approach. I'm interested in a different culture of interaction. Everything's always being put down, criticized, bullied, absorbed. I believe, however, that people need something quite different to be comfortable: respect and a feeling of belonging."
The Berliner Morgenpost spoke with Kirsten Harms, artistic director of the Deutsche Oper Berlin
Asked about her model to give the Deutsche Oper a profile, she answers: "The point for me is an opera program that contains rarities besides the major repertoire. But we won't have a focus on Baroque or the like - that's better suited to other houses. Instead, we'll have Wagner and Strauss, Verdi and Puccini. In addition, we are distinguishing ourselves in how we retell the works in a comprehensible, precise language of direction."
About the orchestra at the Deutsche Oper, she says: "It's important to prevent good musicians from leaving us. And to do that, we need political willingness."
And on the desired "tonality" at her opera house: "Well, I don't like to put sex and crime on the stage because I'm missing a constructive approach in so doing. I do indeed see such things in society, but demonstrating them again as a deterrent is not enough for me to be an approach. I'm interested in a different culture of interaction. Everything's always being put down, criticized, bullied, absorbed. I believe, however, that people need something quite different to be comfortable: respect and a feeling of belonging."
++++++ 29.10.2004 ++++++
Christian Thielemann against culture cutbacks
The new General Music Director of the Münich Philharmonic, Christian Thielemann, has warned against further savings in culture. This would offend against future generations, Thielemann said. He said he was shocked that the Bayerische Rundfunk intends to liquidate its radio orchestra. The impact of this signal would be fatal. At the same time, Thielemann said he was in favor of more sponsoring: "I would find it very, very fine. You can't demand everything from the state."
The new General Music Director of the Münich Philharmonic, Christian Thielemann, has warned against further savings in culture. This would offend against future generations, Thielemann said. He said he was shocked that the Bayerische Rundfunk intends to liquidate its radio orchestra. The impact of this signal would be fatal. At the same time, Thielemann said he was in favor of more sponsoring: "I would find it very, very fine. You can't demand everything from the state."
++++++ 29.10.2004 ++++++
Culture as a state objective in the constitution
The Federal Parliament's Inquiry Commission on "Culture in Germany" recommends anchoring culture as an objective of the state in the constitution. This was recently agreed by the parliamentarians dealing with cultural and educational policy. State Minister for Culture Weiss welcomed the vote: "The cultural nation of Germany needs a chartered commitment to shared roots and values for its self-image."
The artistic director of the Weimar Art Festival, Nike Wagner, also argues in its favor. The unique cultural landscape in Germany and Europe can only be preserved if it is possible to sue for cultural support, Wagner said. She does not mean, she said, that one has to spend a particularly huge sum of money on culture. Savings are also possible. Wagner warned against cultural support by giving everyone an equal share. One can at least maintain and shape attractive individual points by providing support using the "lighthouse principle".
The Federal Parliament's Inquiry Commission on "Culture in Germany" recommends anchoring culture as an objective of the state in the constitution. This was recently agreed by the parliamentarians dealing with cultural and educational policy. State Minister for Culture Weiss welcomed the vote: "The cultural nation of Germany needs a chartered commitment to shared roots and values for its self-image."
The artistic director of the Weimar Art Festival, Nike Wagner, also argues in its favor. The unique cultural landscape in Germany and Europe can only be preserved if it is possible to sue for cultural support, Wagner said. She does not mean, she said, that one has to spend a particularly huge sum of money on culture. Savings are also possible. Wagner warned against cultural support by giving everyone an equal share. One can at least maintain and shape attractive individual points by providing support using the "lighthouse principle".
++++++ 29.10.2004 ++++++
Benefit concert for Berliner Symphoniker
The Deutsche Symphonie-Orchester Berlin will give a benefit concert on November 18 for the Berliner Symphoniker, who have not received any support from the Berlin Senate since September. DSO Chief Conductor Kent Nagano will present works by Bach and Beethoven, with pianist Olli Mustonen as soloist. The takings will be solely for the benefit of the Symphoniker.
The Deutsche Symphonie-Orchester Berlin will give a benefit concert on November 18 for the Berliner Symphoniker, who have not received any support from the Berlin Senate since September. DSO Chief Conductor Kent Nagano will present works by Bach and Beethoven, with pianist Olli Mustonen as soloist. The takings will be solely for the benefit of the Symphoniker.
++++++ 12.10.2004 ++++++
Philharmonic as WM promoters
Berlin' mayor Klaus Wowereit has appointed the Berlin Philharmonic as cultural ambassadors for the football world championships (WM) in 2006.
Their main function is - when performing in Germany and abroad - to advertise those WM encounters that will be taking place in Germany's capital, Wowereit said.
Berlin' mayor Klaus Wowereit has appointed the Berlin Philharmonic as cultural ambassadors for the football world championships (WM) in 2006.
Their main function is - when performing in Germany and abroad - to advertise those WM encounters that will be taking place in Germany's capital, Wowereit said.
++++++ 12.10.2004 ++++++
Berlin's Culture Administration
Starting in January, Berlin's cultural administration under Senator Thomas Flierl will have a department head for culture: Volker Heller (45), currently managing director of Kulturmanagement GmbH Bremen. The post has been empty since September 2003, and apparently the search for a successor has been very difficult. The first search process advertising the highest paid position of a civil servant in public administration was unsuccessful and had to be repeated. For months, Flierl has had neither a state secretary nor a department head. Volker Heller studied music and culture management, and has worked as musician, composer, lecturer on culture and management consultant.
Starting in January, Berlin's cultural administration under Senator Thomas Flierl will have a department head for culture: Volker Heller (45), currently managing director of Kulturmanagement GmbH Bremen. The post has been empty since September 2003, and apparently the search for a successor has been very difficult. The first search process advertising the highest paid position of a civil servant in public administration was unsuccessful and had to be repeated. For months, Flierl has had neither a state secretary nor a department head. Volker Heller studied music and culture management, and has worked as musician, composer, lecturer on culture and management consultant.
++++++ 12.10.2004 ++++++
Simon Rattle receives the Comenius Prize
The chief conductor of the Berlin Philharmonic, Sir Simon Rattle, has received the Comenius Prize of Euro 25,000. He was honored for his "exemplary and passionate commitment to communicating cultural education to young people."
The chief conductor of the Berlin Philharmonic, Sir Simon Rattle, has received the Comenius Prize of Euro 25,000. He was honored for his "exemplary and passionate commitment to communicating cultural education to young people."
++++++ 06.10.2004 ++++++
Exhibition on Wolfgang Stresemann
The Berlin Philharmonic orchestra celebrated the 100th birthday of their well-known director Wolfgang Stresemann with a party on Berlin's Marathon Sunday, opening an exhibition that can be viewed in the foyer of the Philharmonie through December 5: documents about the musician from Dresden, letters signed by Walter, Böhm, Serkin, Carlo Maria and Daniel.
The Berlin Philharmonic orchestra celebrated the 100th birthday of their well-known director Wolfgang Stresemann with a party on Berlin's Marathon Sunday, opening an exhibition that can be viewed in the foyer of the Philharmonie through December 5: documents about the musician from Dresden, letters signed by Walter, Böhm, Serkin, Carlo Maria and Daniel.
++++++ 06.10.2004 ++++++
The audience of the BSO
The Berlin audience for the concerts of the Berliner Sinfonie-Orchester continues to be residents of the east half of the city: more than 80 percent of their listeners, with an average age of 58. This is particularly surprising since the rest of the offerings at the Konzerthaus are also accepted by residents of the western half, where the ratio of west to east is 60 to 40 percent.
The Berlin audience for the concerts of the Berliner Sinfonie-Orchester continues to be residents of the east half of the city: more than 80 percent of their listeners, with an average age of 58. This is particularly surprising since the rest of the offerings at the Konzerthaus are also accepted by residents of the western half, where the ratio of west to east is 60 to 40 percent.
++++++ 06.10.2004 ++++++
Reconstruction of the Konzerthaus
The Konzerthaus am Gendarmenmarkt, one of the main works of the great architect Karl Friedrich Schinkel, lay in ruins for more than thirty years. This was where Weber's Freischütz was first performed, where Wagner presented the Flying Dutchman to Berliners. Gustaf Gründgens headed up the house until it was destroyed in the last year of the war. It then simply brooded between the two cathedrals looking like it had been through a disaster. More than thirty years passed until the executive of the GDR rebuilt the house from 1979 to 1984 in the run-up to the celebration of 750 Years Berlin. The 20-year anniversary of the reconstruction was celebrated in early October 2004.
Der Tagesspiegel writes critically about the architectural results: "New rooms in a retro-look were fit into the classicist shell, as well as possible with the available resources. ... failed murals, on which Venus rising from the foam looks like the protagonist in a socialist soft porn movie and nymphs and fauns with 'worker and farmer' physiognomy cavort in pastel-colored arcades."
But that musicologist Frank Schneider is the head of the music dramaturgy team at the Konzerthaus is unanimously praised: "one of the few fortunate jobs filled in Berlin's musical life". Schneider and his team abide by their concept of the "forgotten, the unknown, the contemporary" and do not let the hall become a backdrop for events.
The Konzerthaus am Gendarmenmarkt, one of the main works of the great architect Karl Friedrich Schinkel, lay in ruins for more than thirty years. This was where Weber's Freischütz was first performed, where Wagner presented the Flying Dutchman to Berliners. Gustaf Gründgens headed up the house until it was destroyed in the last year of the war. It then simply brooded between the two cathedrals looking like it had been through a disaster. More than thirty years passed until the executive of the GDR rebuilt the house from 1979 to 1984 in the run-up to the celebration of 750 Years Berlin. The 20-year anniversary of the reconstruction was celebrated in early October 2004.
Der Tagesspiegel writes critically about the architectural results: "New rooms in a retro-look were fit into the classicist shell, as well as possible with the available resources. ... failed murals, on which Venus rising from the foam looks like the protagonist in a socialist soft porn movie and nymphs and fauns with 'worker and farmer' physiognomy cavort in pastel-colored arcades."
But that musicologist Frank Schneider is the head of the music dramaturgy team at the Konzerthaus is unanimously praised: "one of the few fortunate jobs filled in Berlin's musical life". Schneider and his team abide by their concept of the "forgotten, the unknown, the contemporary" and do not let the hall become a backdrop for events.
++++++ 20.09.2004 ++++++
Looking for clarinetists
Die Berliner Philharmoniker laden Klarinettisten - professionelle und Laienmusiker - aus ganz Berlin ein, sich zu einem großen Klarinettenorchester zu formieren und beim diesjährigen Tag der Musik am 17. Oktober in der Philharmonie aufzutreten.
Interessenten, die die Klarinette gut beherrschen, werden gebeten, sich schriftlich oder per e-mail zu bewerben beim Künstlerischen Betriebsbüro der Berliner Philharmoniker, Herbert-von-Karajan-Straße 1, 10785 Berlin, kb@berliner-philharmoniker.de. Ein formloses Schreiben mit biographischen Daten und Angaben über die klarinettistischen Fähigkeiten der Bewerber ist ausreichend. Gesucht werden auch Bass- und Kontrabassklarinettisten sowie Bassetthornspieler.
Die Noten der aufzuführenden Werke, die momentan noch nicht feststehen, werden rechtzeitig versandt. Die Interessenten sollten sich folgende Termine reservieren: 15. Oktober, 16-19 Uhr, Probe in der Philharmonie, 17. Oktober, 13-14 Uhr Anspielprobe, 14:30 Uhr Aufführung.
Die Berliner Philharmoniker laden Klarinettisten - professionelle und Laienmusiker - aus ganz Berlin ein, sich zu einem großen Klarinettenorchester zu formieren und beim diesjährigen Tag der Musik am 17. Oktober in der Philharmonie aufzutreten.
Interessenten, die die Klarinette gut beherrschen, werden gebeten, sich schriftlich oder per e-mail zu bewerben beim Künstlerischen Betriebsbüro der Berliner Philharmoniker, Herbert-von-Karajan-Straße 1, 10785 Berlin, kb@berliner-philharmoniker.de. Ein formloses Schreiben mit biographischen Daten und Angaben über die klarinettistischen Fähigkeiten der Bewerber ist ausreichend. Gesucht werden auch Bass- und Kontrabassklarinettisten sowie Bassetthornspieler.
Die Noten der aufzuführenden Werke, die momentan noch nicht feststehen, werden rechtzeitig versandt. Die Interessenten sollten sich folgende Termine reservieren: 15. Oktober, 16-19 Uhr, Probe in der Philharmonie, 17. Oktober, 13-14 Uhr Anspielprobe, 14:30 Uhr Aufführung.
++++++ 18.09.2004 ++++++
Kent Nagano cuts back
When Kent Nagano, currently conductor of Berlin's Deutsche Symphonie-Orchester, signed a contract as music director of the Los Angeles Opera, he also accepted the appointment as music director of the Bayerische Staatsoper - which included an exclusivity clause. He has just announced that he will leave the L.A. Opera at the end of the 2005-2006 season. "I'm very sad that circumstances don't allow me to accept an extension in Los Angeles. I feel that things are just starting to click and that opera is really beginning to take root here and has already become very, very sophisticated."
When Kent Nagano, currently conductor of Berlin's Deutsche Symphonie-Orchester, signed a contract as music director of the Los Angeles Opera, he also accepted the appointment as music director of the Bayerische Staatsoper - which included an exclusivity clause. He has just announced that he will leave the L.A. Opera at the end of the 2005-2006 season. "I'm very sad that circumstances don't allow me to accept an extension in Los Angeles. I feel that things are just starting to click and that opera is really beginning to take root here and has already become very, very sophisticated."
++++++ 15.09.2004 ++++++
Slump in attendance at classical music events
The slump in attendance at classical music events is continuing, said the president of the Association of German Concert Management (VDKD), Michael Russ. The number of attendees has fallen by between 12 and 15 percent in this segment in the past three years.
The slump in attendance at classical music events is continuing, said the president of the Association of German Concert Management (VDKD), Michael Russ. The number of attendees has fallen by between 12 and 15 percent in this segment in the past three years.
++++++ 15.09.2004 ++++++
Kent Nagano in the Morgenpost
The Berliner Morgenpost asked Kent Nagano whether he has any specific rituals when he takes over an orchestra.
"Definitely. I do three things right at the beginning. First one or two years beforehand I take time to research the orchestra's history. Every orchestra has its own essence. We always think that tradition is what we can remember from 20 or 30 years ago. But it's more. For me, the tradition of the Deutsche Symphonie-Orchester stretches back much longer than to 1946 when it was officially founded as the RIAS Symphony Orchestra. There were musicians from the Staatskapelle in the group. And you start immediately to think in much bigger timeframes. Secondly, I try to learn the language of the orchestra, of the house. I would never expect that musicians have to speak my languages. And now if someone asks me where I learned German, I can say: with the Deutsche Symphonie-Orchester. I have 114 wonderful teachers. They just love to correct me (laughs). Thirdly, I learn all the names of the musicians by heart ahead of time."
The Berliner Morgenpost asked Kent Nagano whether he has any specific rituals when he takes over an orchestra.
"Definitely. I do three things right at the beginning. First one or two years beforehand I take time to research the orchestra's history. Every orchestra has its own essence. We always think that tradition is what we can remember from 20 or 30 years ago. But it's more. For me, the tradition of the Deutsche Symphonie-Orchester stretches back much longer than to 1946 when it was officially founded as the RIAS Symphony Orchestra. There were musicians from the Staatskapelle in the group. And you start immediately to think in much bigger timeframes. Secondly, I try to learn the language of the orchestra, of the house. I would never expect that musicians have to speak my languages. And now if someone asks me where I learned German, I can say: with the Deutsche Symphonie-Orchester. I have 114 wonderful teachers. They just love to correct me (laughs). Thirdly, I learn all the names of the musicians by heart ahead of time."
++++++ 15.09.2004 ++++++
Rattle: Philharmonic not in danger
As response to the question, "Can you imagine that the Berlin Philharmonic could one day become unaffordable?", Simon Rattle, chief conductor of the Berlin Philharmonic, said on Monday in an interview with the Spiegel, "Unfortunately, one has to envision the worst-case scenario". The British conductor emphasized to the Tagesspiegel that he had by no means intended to specify an acute threat with his words. Nonetheless, no artist can be sure of being sponsored eternally: "If I'd said we're guaranteed to be supported forever, the first reaction would have been: boy, the Philharmonic are arrogant!"
On the occasion of the opening of the film Rhythm is it! on the education project with 250 schoolkids to Le sacre du printemps, the Berliner Zeitung writes: "Well, Simon Rattle didn't invent music education work with young people in Berlin. The Konzerthaus has been staging concerts and workshops for children for years; the Staatsoper Unter den Linden has also found itself a capable and committed music theater pedagogue in Rainer O. Brinkmann in the last three years. And particularly the Berliner Symphoniker with more than 200 appearances per year in schools are performing hard basic pedagogy work in Berlin. But this activity has not yet been recognized with a film, or a prize, but by discontinuing the Senate subsidies to the Symphoniker at the beginning of this season. … To stand up and whinge about a threat to his orchestra that isn't even there, an orchestra hat is being stuffed with money from the state and from big business like a Christmas goose - well, it's simply obscene."
As response to the question, "Can you imagine that the Berlin Philharmonic could one day become unaffordable?", Simon Rattle, chief conductor of the Berlin Philharmonic, said on Monday in an interview with the Spiegel, "Unfortunately, one has to envision the worst-case scenario". The British conductor emphasized to the Tagesspiegel that he had by no means intended to specify an acute threat with his words. Nonetheless, no artist can be sure of being sponsored eternally: "If I'd said we're guaranteed to be supported forever, the first reaction would have been: boy, the Philharmonic are arrogant!"
On the occasion of the opening of the film Rhythm is it! on the education project with 250 schoolkids to Le sacre du printemps, the Berliner Zeitung writes: "Well, Simon Rattle didn't invent music education work with young people in Berlin. The Konzerthaus has been staging concerts and workshops for children for years; the Staatsoper Unter den Linden has also found itself a capable and committed music theater pedagogue in Rainer O. Brinkmann in the last three years. And particularly the Berliner Symphoniker with more than 200 appearances per year in schools are performing hard basic pedagogy work in Berlin. But this activity has not yet been recognized with a film, or a prize, but by discontinuing the Senate subsidies to the Symphoniker at the beginning of this season. … To stand up and whinge about a threat to his orchestra that isn't even there, an orchestra hat is being stuffed with money from the state and from big business like a Christmas goose - well, it's simply obscene."
++++++ 11.09.2004 ++++++
Harms and Vierthaler talk to the Culture Committee
The new Intendantin of the Deutsche Oper, Kirsten Harms, described her vision of the opera house at her first appearance before the Berlin Senate's Culture Committee. She intends to continue the Deutsche Oper's tradition of addressing a competent audience, particularly with directors that work solidly and "have a clue about opera". She attaches importance to "telling stories in a comprehensible style." Unlike the emphasis placed at the other two opera houses on directors and events, she will focus on "authenticity", "sincerity" and on "directors who know their craft". She defines her new house as in opposition to "directing experiments". Conglomerates of modernistic ideas as found in the productions of movie director Doris Dörrie [Turandot and Così fan tutte at the Staatsoper] are out of place at her house. She intends to focus on rediscoveries and revivals, especially of operas from the beginning of the 20th century.
To fulfill the Senate's saving guidelines, she sees only two possibilities: either synergies, as are expected primarily from merging the workshops, or higher sales revenue. Georg Vierthaler, provisional head of the Opera Foundation, clarified that the foundation will only make ends meet financially in the mid-term if the audience numbers increase by "20 to 25 percent". He spoke of "higher revenue per member of the audience" - thus discreetly announcing price increases. In addition he reported: The three operas and the ballet are working as independent units; there is a marketing concept beyond the region; about Euro 7.5 million have been saved in personnel costs; and the foundation bylaws have been drafted, the foundation council filled.
The CDU, Greens and FDP opposition parties, on the other hand, enquired primarily about the foundation's deficits: the allocation contract has not yet been concluded with the state of Berlin; the rights of the employees taken over have not yet been clarified; the positions of General Director and Managing Director of the not yet founded Service Company have still not been filled. In addition, there is still no concept for reorganizing the workshops, and no site for their centralization.
The new Intendantin of the Deutsche Oper, Kirsten Harms, described her vision of the opera house at her first appearance before the Berlin Senate's Culture Committee. She intends to continue the Deutsche Oper's tradition of addressing a competent audience, particularly with directors that work solidly and "have a clue about opera". She attaches importance to "telling stories in a comprehensible style." Unlike the emphasis placed at the other two opera houses on directors and events, she will focus on "authenticity", "sincerity" and on "directors who know their craft". She defines her new house as in opposition to "directing experiments". Conglomerates of modernistic ideas as found in the productions of movie director Doris Dörrie [Turandot and Così fan tutte at the Staatsoper] are out of place at her house. She intends to focus on rediscoveries and revivals, especially of operas from the beginning of the 20th century.
To fulfill the Senate's saving guidelines, she sees only two possibilities: either synergies, as are expected primarily from merging the workshops, or higher sales revenue. Georg Vierthaler, provisional head of the Opera Foundation, clarified that the foundation will only make ends meet financially in the mid-term if the audience numbers increase by "20 to 25 percent". He spoke of "higher revenue per member of the audience" - thus discreetly announcing price increases. In addition he reported: The three operas and the ballet are working as independent units; there is a marketing concept beyond the region; about Euro 7.5 million have been saved in personnel costs; and the foundation bylaws have been drafted, the foundation council filled.
The CDU, Greens and FDP opposition parties, on the other hand, enquired primarily about the foundation's deficits: the allocation contract has not yet been concluded with the state of Berlin; the rights of the employees taken over have not yet been clarified; the positions of General Director and Managing Director of the not yet founded Service Company have still not been filled. In addition, there is still no concept for reorganizing the workshops, and no site for their centralization.
++++++ 11.09.2004 ++++++
Thielemann hasn't let go yet
The Deutsche Oper announces that Christian Thielemann will conduct the Strauss Festival 2005 as a guest. His part consists of the 3rd symphony concert on January 30, five performances of Rosenkavalier, one Frau ohne Schatten and twice Daphne. In addition, there will be a European tour in November and December and the Aids gala on November 13.
The Deutsche Oper announces that Christian Thielemann will conduct the Strauss Festival 2005 as a guest. His part consists of the 3rd symphony concert on January 30, five performances of Rosenkavalier, one Frau ohne Schatten and twice Daphne. In addition, there will be a European tour in November and December and the Aids gala on November 13.
++++++ 11.09.2004 ++++++
Quasthoff instead of Bartoli
Mezzosoprano Cecilia Bartoli has cancelled her Lieder recital in the Philharmonie on March 22, 2005 "for scheduling reasons". In her stead, bass baritone Thomas Quasthoff will sing Schubert's Winterreise accompanied by Daniel Barenboim at the piano on the same day. The evening makes up part of the annual Festtage at the Staatsoper Unter den Linden.
Mezzosoprano Cecilia Bartoli has cancelled her Lieder recital in the Philharmonie on March 22, 2005 "for scheduling reasons". In her stead, bass baritone Thomas Quasthoff will sing Schubert's Winterreise accompanied by Daniel Barenboim at the piano on the same day. The evening makes up part of the annual Festtage at the Staatsoper Unter den Linden.
++++++ 11.09.2004 ++++++
Berlin musicians win "Echo-Klassik"
The Russian soprano Anna Netrebko and bass baritone Thomas Quasthoff (singing professor at the Hanns-Eisler-Hochschule as of October 2004) have received the "Echo-Klassik" prize as "singers of the year". Other prizes will go to composer György Ligeti and conductor Sir Simon Rattle (chief conductor of the Berlin Philharmonic).
The Russian soprano Anna Netrebko and bass baritone Thomas Quasthoff (singing professor at the Hanns-Eisler-Hochschule as of October 2004) have received the "Echo-Klassik" prize as "singers of the year". Other prizes will go to composer György Ligeti and conductor Sir Simon Rattle (chief conductor of the Berlin Philharmonic).
++++++ 01.09.2004 ++++++
An answer to Senator Flierl's white paper
The Forum Zukunft Kultur (Forum Future Culture) - consisting of Nele Hertling (former head of Hebbel-Theater), Volker Hassemer (former Culture Senator), Peter Raue (lawyer and head of the association of Friends of the National Gallery) and Jürgen Schitthelm (Director of the Schaubühne) react to the white paper presented by Culture Senator Thomas Flierl:
"The Senate must determine how important culture is for its future strategy for the whole city. What it intends from culture and what it wants for the city from culture. Only then is it possible to derive its tasks. Culture (in a broad definition including science) is not just any old Berlin resource, it's Berlin's basic resource. We are of the opinion that Berlin must recognize culture and science as the city's basic characteristic and make them into a leading indicator in its development strategy. ...
"We need a pact among all involved parties. Everyone now needs to move in an unaccustomed way, and be ready for changes: of course politics, but also the institutions and their heads, even the artists themselves, and also those who are interested in culture, be it as audience participant or as sponsor.
"Until the present day, the opera foundation has not achieved any of its important constructive objectives, and it has ultimately obstructed some of them. It has hardly been communicated nor can it be communicated as anything other than a savings measure. It has all the prerequisites to become a great example, not of Berlin's new possibilities, but of its old impossibilities."
(Tagesspiegel, 25.08.)
The Forum Zukunft Kultur (Forum Future Culture) - consisting of Nele Hertling (former head of Hebbel-Theater), Volker Hassemer (former Culture Senator), Peter Raue (lawyer and head of the association of Friends of the National Gallery) and Jürgen Schitthelm (Director of the Schaubühne) react to the white paper presented by Culture Senator Thomas Flierl:
"The Senate must determine how important culture is for its future strategy for the whole city. What it intends from culture and what it wants for the city from culture. Only then is it possible to derive its tasks. Culture (in a broad definition including science) is not just any old Berlin resource, it's Berlin's basic resource. We are of the opinion that Berlin must recognize culture and science as the city's basic characteristic and make them into a leading indicator in its development strategy. ...
"We need a pact among all involved parties. Everyone now needs to move in an unaccustomed way, and be ready for changes: of course politics, but also the institutions and their heads, even the artists themselves, and also those who are interested in culture, be it as audience participant or as sponsor.
"Until the present day, the opera foundation has not achieved any of its important constructive objectives, and it has ultimately obstructed some of them. It has hardly been communicated nor can it be communicated as anything other than a savings measure. It has all the prerequisites to become a great example, not of Berlin's new possibilities, but of its old impossibilities."
(Tagesspiegel, 25.08.)
++++++ 01.09.2004 ++++++
Schneider reacts to proposed structural changes
From an interview in the Berliner Morgenpost with the head of the Konzerthaus, Frank Schneider
"The proposed structural change with the ROC GmbH would be much more complicated than Berlin's Opera Foundation has been for many reasons. And besides, nobody knows what will remain at the end of the proposed merger or rather what is intended to become of it. ... By the way, the house is already being intensively used for representative purposes for society. A whole series of events beyond art is taking place. But fun culture simply tolerating music is not something I'll go along with. I only hope that the Senate continues to support the idea that two houses are indispensable for concert life in our capitol city."
From an interview in the Berliner Morgenpost with the head of the Konzerthaus, Frank Schneider
"The proposed structural change with the ROC GmbH would be much more complicated than Berlin's Opera Foundation has been for many reasons. And besides, nobody knows what will remain at the end of the proposed merger or rather what is intended to become of it. ... By the way, the house is already being intensively used for representative purposes for society. A whole series of events beyond art is taking place. But fun culture simply tolerating music is not something I'll go along with. I only hope that the Senate continues to support the idea that two houses are indispensable for concert life in our capitol city."
++++++ 01.09.2004 ++++++
Flierl's Agenda for Culture
The Berliner Zeitung summarizes Culture Senator Flierl's white paper "Berlin's Agenda 21 for Culture", presented in mid-August: "Thanks to a 'strategic alliance' between Konzerthaus and the Rundfunk-Orchester und -Chöre-GmbH (ROC), the former could create a stronger profile towards the Philharmonie 'as a music centre with its own dramaturgy', and in turn the ROC would have a fixed venue to perform and could save on personnel costs. These considerations, which at first glance seem to make sense, are all that Flierl's Agenda really says. What they could mean for Berlin's cultural life in actual fact if implemented - that one can learn elsewhere. An internal paper of the Culture Administration, a discussion document prepared for a Berlin Senate meeting in June, sketches out the means by which this alliance is intended to be brought about: It proposes to gradually merge the two east Berlin orchestras BSO and RSB ' to become the Konzerthaus orchestra starting in the 2006/2007 season'. This is intended to bring about an orchestra with up to 120 members; up to 90 permanent positions could be saved. De facto, this would mean the end of one orchestra."
The Berliner Zeitung summarizes Culture Senator Flierl's white paper "Berlin's Agenda 21 for Culture", presented in mid-August: "Thanks to a 'strategic alliance' between Konzerthaus and the Rundfunk-Orchester und -Chöre-GmbH (ROC), the former could create a stronger profile towards the Philharmonie 'as a music centre with its own dramaturgy', and in turn the ROC would have a fixed venue to perform and could save on personnel costs. These considerations, which at first glance seem to make sense, are all that Flierl's Agenda really says. What they could mean for Berlin's cultural life in actual fact if implemented - that one can learn elsewhere. An internal paper of the Culture Administration, a discussion document prepared for a Berlin Senate meeting in June, sketches out the means by which this alliance is intended to be brought about: It proposes to gradually merge the two east Berlin orchestras BSO and RSB ' to become the Konzerthaus orchestra starting in the 2006/2007 season'. This is intended to bring about an orchestra with up to 120 members; up to 90 permanent positions could be saved. De facto, this would mean the end of one orchestra."
++++++ 01.09.2004 ++++++
For the state retreating from sponsoring culture
Christoph Stölzl (CDU), Vice President of Berlin's House of Representatives, demands that the state gradually retreat from sponsoring art and culture. Instead, a citizens' society should take on more responsibility for theaters, museums and other cultural institutions, he said. Prerequisite, however, he continued, would be that the state drastically reduce taxes and fees to create enough leeway for the citizens' initiative. "The crisis has arrived," said Stölzl, who was Berlin's Culture Senator from 2000 to 2001. "It's time to jump across the gaping hole." In Stölzl's opinion, the state should remain as a political factor but be reduced to its core competencies.
Christoph Stölzl (CDU), Vice President of Berlin's House of Representatives, demands that the state gradually retreat from sponsoring art and culture. Instead, a citizens' society should take on more responsibility for theaters, museums and other cultural institutions, he said. Prerequisite, however, he continued, would be that the state drastically reduce taxes and fees to create enough leeway for the citizens' initiative. "The crisis has arrived," said Stölzl, who was Berlin's Culture Senator from 2000 to 2001. "It's time to jump across the gaping hole." In Stölzl's opinion, the state should remain as a political factor but be reduced to its core competencies.
++++++ 01.09.2004 ++++++
Rau donates to the Berlin Symphoniker
Former German president Johannes Rau has donated Euro 15,000 for the music pedagogy work performed by the Berlin Symphoniker, who are threatened with dissolution. The money comes from the President's Benefit Concert held on July 22 with the Staatskapelle conducted by Daniel Barenboim, the orchestra announced. Since August, the Symphoniker have no longer been receiving any city subsidies.
Former German president Johannes Rau has donated Euro 15,000 for the music pedagogy work performed by the Berlin Symphoniker, who are threatened with dissolution. The money comes from the President's Benefit Concert held on July 22 with the Staatskapelle conducted by Daniel Barenboim, the orchestra announced. Since August, the Symphoniker have no longer been receiving any city subsidies.
++++++ 22.08.2004 ++++++
Legal complaint of the Berliner Symphoniker appeal dismissed
On Aug. 19, the Upper Administrative Court refused the application from the Berlin Symphoniker that their orchestra be further financed by the state of Berlin. This is a confirmation of the Senate's decision: subsidies for the orchestra will end in late August. In July, the Administrative Court had denied the urgent request of the sponsoring association that the state continue to pay.
With this judgment, the worst of all scenarios has come about. In the best case, the Symphoniker were counting on additional financing for at least a transitional time. At the least, they had hoped the state of Land Berlin would pay the contractual penalties for artists who have already committed for the upcoming season. Now the sponsoring association is threatened with insolvency.
Orchestra members remind one of the town of Suhl, where an orchestra of the unemployed kept going for a year. The politicians yielded: in the end, the musicians from Suhl merged with their colleagues from Gotha to become the Thüringen Philharmonie. Union spokesman Strulick says no one was made redundant during the merger unless he or she accepted the redundancy payment or took another position.
On Aug. 19, the Upper Administrative Court refused the application from the Berlin Symphoniker that their orchestra be further financed by the state of Berlin. This is a confirmation of the Senate's decision: subsidies for the orchestra will end in late August. In July, the Administrative Court had denied the urgent request of the sponsoring association that the state continue to pay.
With this judgment, the worst of all scenarios has come about. In the best case, the Symphoniker were counting on additional financing for at least a transitional time. At the least, they had hoped the state of Land Berlin would pay the contractual penalties for artists who have already committed for the upcoming season. Now the sponsoring association is threatened with insolvency.
Orchestra members remind one of the town of Suhl, where an orchestra of the unemployed kept going for a year. The politicians yielded: in the end, the musicians from Suhl merged with their colleagues from Gotha to become the Thüringen Philharmonie. Union spokesman Strulick says no one was made redundant during the merger unless he or she accepted the redundancy payment or took another position.
++++++ 22.08.2004 ++++++
Museum Island for Modern Art
The Berlin Kulturforum between the Philharmonie, Gemäldegalerie and the New Nationalgalerie should become a "Museum Island for Modern Art". The buildings designed by famous architects like Hans Scharoun or Mies van der Rohe should be brought together into a museum complex for European art of the 20th century, said the General Director of Berlin's State Museums, Peter-Klaus Schuster, at the opening of an exhibition with drafts for re-designing the area. The exhibition shows studies and models of a future culture forum that were developed under the guidance of architect Benedict Tonon at the Universität der Künste.
For Senate Building Director Hans Stimmann, the plaza is an "elephant cemetery of famous architects" and a "heavy mortgage that we lug around with us". Apparently horrified upon seeing the models, he said: "We mustn't lose our respect for the great monuments and try if possible to overtrump them!" What is important for him is a significantly more modest urban completion of the Forum.
The Berlin Kulturforum between the Philharmonie, Gemäldegalerie and the New Nationalgalerie should become a "Museum Island for Modern Art". The buildings designed by famous architects like Hans Scharoun or Mies van der Rohe should be brought together into a museum complex for European art of the 20th century, said the General Director of Berlin's State Museums, Peter-Klaus Schuster, at the opening of an exhibition with drafts for re-designing the area. The exhibition shows studies and models of a future culture forum that were developed under the guidance of architect Benedict Tonon at the Universität der Künste.
For Senate Building Director Hans Stimmann, the plaza is an "elephant cemetery of famous architects" and a "heavy mortgage that we lug around with us". Apparently horrified upon seeing the models, he said: "We mustn't lose our respect for the great monuments and try if possible to overtrump them!" What is important for him is a significantly more modest urban completion of the Forum.
++++++ 22.08.2004 ++++++
Not enough money
The new head of the Deutsche Oper, Kirsten Harms, criticizes the house's financial endowment under the umbrella of Berlin's opera foundation together with the Staatsoper Unter den Linden and the Komischen Oper. The way the savings are currently planned will ruin the Deutsche Oper, warns the former Kiel opera director in the September edition of the magazine "Die Deutsche Bühne".
The new head of the Deutsche Oper, Kirsten Harms, criticizes the house's financial endowment under the umbrella of Berlin's opera foundation together with the Staatsoper Unter den Linden and the Komischen Oper. The way the savings are currently planned will ruin the Deutsche Oper, warns the former Kiel opera director in the September edition of the magazine "Die Deutsche Bühne".
++++++ 22.08.2004 ++++++
Opera foundation board complete
Director of Rundfunk Berlin-Brandenburg Dagmar Reim, the artistic director of the Bavarian State Opera, Sir Peter Jonas, Heike Kramer from the German Savings Bank Association and Hans-Kornel Krings from the Dresdner Bank have been proposed by Berlin's Culture Senator Thomas Flierl to become members in the opera foundation board. Chairman is the Culture Senator. The selection is made by the house of representatives.
Director of Rundfunk Berlin-Brandenburg Dagmar Reim, the artistic director of the Bavarian State Opera, Sir Peter Jonas, Heike Kramer from the German Savings Bank Association and Hans-Kornel Krings from the Dresdner Bank have been proposed by Berlin's Culture Senator Thomas Flierl to become members in the opera foundation board. Chairman is the Culture Senator. The selection is made by the house of representatives.
++++++ 06.08.2004 ++++++
Thielemann goes to Munich
The American conductor James Levine recently conducted his last concerts as head of the Munich Philharmonic. In the near future, he will be taking over the position of Music Director of the Boston Symphony Orchestra. He will be replaced in Munich by Christian Thielemann in September; he has signed a seven-year contract as the orchestra's new general music director.
The American conductor James Levine recently conducted his last concerts as head of the Munich Philharmonic. In the near future, he will be taking over the position of Music Director of the Boston Symphony Orchestra. He will be replaced in Munich by Christian Thielemann in September; he has signed a seven-year contract as the orchestra's new general music director.
++++++ 06.08.2004 ++++++
Culture Senator plans to merge orchestras
Culture Senator Thomas Flierl is planning the merger of two Berlin orchestras for 2006 to become the " Konzerthaus orchestra". One of the two orchestras, however, belongs to Rundfunk-Orchester und -Chöre GmbH (ROC) - whose four partners, including the federal government, have to agree. The Berliner Morgenpost spoke to Ernst Elitz, who as head of DeutschlandRadio also represents the main partner.
Flierl is offering that DeutschlandRadio be situated in Berlin's Konzerthaus. Isn't that a fair price?
DeutschlandRadio has two broadcasting studios that meet its needs in Cologne and Berlin. As radio for all Germany's states, its mission is to show presence in all regions. For instance, next season we will be holding 100 public concerts in 27 towns. It is completely unrealistic for us to take over a piece of real estate like the Konzerthaus. No one in the other fifteen states would understand that.
But Berlin is also the capital for Deutschland-Radio?
True, but that doesn't mean we operate real estate or administer houses.
Culture Senator Thomas Flierl is planning the merger of two Berlin orchestras for 2006 to become the " Konzerthaus orchestra". One of the two orchestras, however, belongs to Rundfunk-Orchester und -Chöre GmbH (ROC) - whose four partners, including the federal government, have to agree. The Berliner Morgenpost spoke to Ernst Elitz, who as head of DeutschlandRadio also represents the main partner.
Flierl is offering that DeutschlandRadio be situated in Berlin's Konzerthaus. Isn't that a fair price?
DeutschlandRadio has two broadcasting studios that meet its needs in Cologne and Berlin. As radio for all Germany's states, its mission is to show presence in all regions. For instance, next season we will be holding 100 public concerts in 27 towns. It is completely unrealistic for us to take over a piece of real estate like the Konzerthaus. No one in the other fifteen states would understand that.
But Berlin is also the capital for Deutschland-Radio?
True, but that doesn't mean we operate real estate or administer houses.
++++++ 06.08.2004 ++++++
Politicians and culture
Young politicians in Germany are not interested in culture, claims theater director Amélie Niermeyer (38). "I find it alarming that most politicians of my generation cannot relate to culture and for that reason don't have the feeling they need to protect it", the head of the Freiburg theater criticized in an interview with the professional theater magazine, "Die Deutsche Bühne".
Young politicians in Germany are not interested in culture, claims theater director Amélie Niermeyer (38). "I find it alarming that most politicians of my generation cannot relate to culture and for that reason don't have the feeling they need to protect it", the head of the Freiburg theater criticized in an interview with the professional theater magazine, "Die Deutsche Bühne".
++++++ 04.07.2004 ++++++
Best of Berlin's opera houses
Christina Tilmann writes in the Tagesspiegel: "The two most recent productions that the capital city's biggest and small opera houses [Komische Oper - Entführung aus dem Serail and Staatsoper - Don Carlo] are presenting at the end of the season are paradigmatic for the state of affairs at the opera houses. Of the three Berlin music theaters, recently only the Komische Oper has come up with exciting productions: David Alden's Alcina, his Tamerlano, Peter Konwitschny's Don Giovanni and just now Spanish director Calixto Bieito's Entführung. The shining battleship Staatsoper, on the other hand, just keeps sailing untroubled from one uninspired production to the next. That despite all the opera reform plans only the small Komische Oper, which is not supported by any lobby, was under discussion - never the Staatsoper, protected by the Chancellor's hand: That in turn is paradigmatic for the state of Berlin's cultural policy-making."
Christina Tilmann writes in the Tagesspiegel: "The two most recent productions that the capital city's biggest and small opera houses [Komische Oper - Entführung aus dem Serail and Staatsoper - Don Carlo] are presenting at the end of the season are paradigmatic for the state of affairs at the opera houses. Of the three Berlin music theaters, recently only the Komische Oper has come up with exciting productions: David Alden's Alcina, his Tamerlano, Peter Konwitschny's Don Giovanni and just now Spanish director Calixto Bieito's Entführung. The shining battleship Staatsoper, on the other hand, just keeps sailing untroubled from one uninspired production to the next. That despite all the opera reform plans only the small Komische Oper, which is not supported by any lobby, was under discussion - never the Staatsoper, protected by the Chancellor's hand: That in turn is paradigmatic for the state of Berlin's cultural policy-making."
++++++ 04.07.2004 ++++++
Flierl's strategy white paper
The Berliner Morgenpost writes about Senator Thomas Flierl's strategy white paper "Future of Berlin's Orchestral Landscape", "which until now was locked away in someone's desk." 9 million Euros are to be saved on Berlin's orchestras. This means that an additional Berlin orchestra will have to be disbanded. The Berliner Sinfonie-Orchester (BSO) is the last purely community concert orchestra. Disbanding them would violate the agreement on reunification, and the musicians employed by the state of Berlin have certain rights and would cost significant severance payments. Besides, Flierl is scared of the "pronounced emotionality" in the public discussion - after all, the BSO has 15,000 subscribers. ... The speaker of Berlin's Senate Cultural Administration, Torsten Wöhlert, confirmed plans of this nature. He added that the decision depends on the partners in the Rundfunk-Orchester und -Chöre GmbH (ROC), to which the federal government, Deutschlandradio and the RBB belong, besides the state of Berlin. This decision is to be made at a partners' meeting in September. According to Wöhlert, the job savings have not yet been calculated in detail. A merged orchestra would have 120 positions; about 90 orchestra positions would have to be eliminated.
The Berliner Morgenpost writes about Senator Thomas Flierl's strategy white paper "Future of Berlin's Orchestral Landscape", "which until now was locked away in someone's desk." 9 million Euros are to be saved on Berlin's orchestras. This means that an additional Berlin orchestra will have to be disbanded. The Berliner Sinfonie-Orchester (BSO) is the last purely community concert orchestra. Disbanding them would violate the agreement on reunification, and the musicians employed by the state of Berlin have certain rights and would cost significant severance payments. Besides, Flierl is scared of the "pronounced emotionality" in the public discussion - after all, the BSO has 15,000 subscribers. ... The speaker of Berlin's Senate Cultural Administration, Torsten Wöhlert, confirmed plans of this nature. He added that the decision depends on the partners in the Rundfunk-Orchester und -Chöre GmbH (ROC), to which the federal government, Deutschlandradio and the RBB belong, besides the state of Berlin. This decision is to be made at a partners' meeting in September. According to Wöhlert, the job savings have not yet been calculated in detail. A merged orchestra would have 120 positions; about 90 orchestra positions would have to be eliminated.
++++++ 04.07.2004 ++++++
Symphoniker's request turned down
A rush claim submitted by the support association of the Berliner Symphoniker for further support of the orchestra was dismissed by the administrative court. Since the house of representatives has not approved the funds, the culture administration may not grant them. Support behind Parliament's back cannot be justified by a right to artistic freedom.
A rush claim submitted by the support association of the Berliner Symphoniker for further support of the orchestra was dismissed by the administrative court. Since the house of representatives has not approved the funds, the culture administration may not grant them. Support behind Parliament's back cannot be justified by a right to artistic freedom.
++++++ 04.07.2004 ++++++
Simon Rattle is looking for a place to live
The Berliner Morgenpost spoke with Sir Simon Rattle about his first two years as head conductor: "I keep thinking about what Herbert von Karajan said to me: If you give such an orchestra ten percent, the orchestra will develop that further and give much more in return. Other orchestras give you that back - if they're good - that you wanted. These musicians, on the other hand, give you much, much more. ... At the moment I'm testing the possibilities of this orchestra - and I keep being astonished how far they can go. By now I really believe the Berliner could fly." Asked whether he is considering other forms of presentation for the orchestra, Rattle said: "We are discussing the concert as a ritual. On the other hand, I find it very beautiful that there are still a few places in a city where the light goes out and people quiet down and concentrate on what will come. ... Berlin has become the center of my work. That's why my wife and I have decided to make Berlin the middle point of our life. We will be looking for an apartment in a quiet side street off Kudamm or in Prenzlauer Berg."
The Berliner Morgenpost spoke with Sir Simon Rattle about his first two years as head conductor: "I keep thinking about what Herbert von Karajan said to me: If you give such an orchestra ten percent, the orchestra will develop that further and give much more in return. Other orchestras give you that back - if they're good - that you wanted. These musicians, on the other hand, give you much, much more. ... At the moment I'm testing the possibilities of this orchestra - and I keep being astonished how far they can go. By now I really believe the Berliner could fly." Asked whether he is considering other forms of presentation for the orchestra, Rattle said: "We are discussing the concert as a ritual. On the other hand, I find it very beautiful that there are still a few places in a city where the light goes out and people quiet down and concentrate on what will come. ... Berlin has become the center of my work. That's why my wife and I have decided to make Berlin the middle point of our life. We will be looking for an apartment in a quiet side street off Kudamm or in Prenzlauer Berg."
++++++ 24.06.2004 ++++++
Scandal at the Komische Oper
Because of Calixto Bieito's interpretation of Mozart's Entführung aus dem Serail, DaimlerChrysler is considering withdrawing its financial support for the Komische Oper (Euro 10,000 a year). The corporate group's consultant for sponsoring announced according to the Bild-Zeitung: "The entire representation of sex and violence was absolutely inacceptable for me." Berlin's daily newspapers comment: "Culture can learn from this: for the sake of its independence, it cannot let itself become dependent on private sponsors. That's why there are subsidies. For beauty and truth. For perception and pain. For art." (Der Tagesspiegel) "Only if opera develops, plumbs aesthetic frontiers and remains passionately discussed does it have a chance to survive. Even if some images hurt." (Morgenpost)
From an interview with Calixto Bieito in Die Zeit (June 19, 2004):
"This violence is also ubiquitous in real life. ... Modern wars are not as clean as television always wants to make us believe. ... It appeals to me to show such abysmal dullness on the stage. If it's inherent to the work! ... Opera must be a mirror of society. It is a fantastic opportunity to let people contemplate themselves. At the end they should think: My God, that's what's happening in Afghanistan, in Iraq, in the Congo or wherever. Opera is incredibly emotional. The music goes right to the gut. It is linked with the images on the stage into an incredibly strong unit. ... I work with extreme images of sexuality. Sex as a quickly consumable commodity, sex as a garish expressionist gesture. Sex is everywhere, on television, in advertising for perfume or butter, everywhere. Only on the stage people don't want to see sex. People want to maintain opera as a kind of paradise."
Because of Calixto Bieito's interpretation of Mozart's Entführung aus dem Serail, DaimlerChrysler is considering withdrawing its financial support for the Komische Oper (Euro 10,000 a year). The corporate group's consultant for sponsoring announced according to the Bild-Zeitung: "The entire representation of sex and violence was absolutely inacceptable for me." Berlin's daily newspapers comment: "Culture can learn from this: for the sake of its independence, it cannot let itself become dependent on private sponsors. That's why there are subsidies. For beauty and truth. For perception and pain. For art." (Der Tagesspiegel) "Only if opera develops, plumbs aesthetic frontiers and remains passionately discussed does it have a chance to survive. Even if some images hurt." (Morgenpost)
From an interview with Calixto Bieito in Die Zeit (June 19, 2004):
"This violence is also ubiquitous in real life. ... Modern wars are not as clean as television always wants to make us believe. ... It appeals to me to show such abysmal dullness on the stage. If it's inherent to the work! ... Opera must be a mirror of society. It is a fantastic opportunity to let people contemplate themselves. At the end they should think: My God, that's what's happening in Afghanistan, in Iraq, in the Congo or wherever. Opera is incredibly emotional. The music goes right to the gut. It is linked with the images on the stage into an incredibly strong unit. ... I work with extreme images of sexuality. Sex as a quickly consumable commodity, sex as a garish expressionist gesture. Sex is everywhere, on television, in advertising for perfume or butter, everywhere. Only on the stage people don't want to see sex. People want to maintain opera as a kind of paradise."
++++++ 24.06.2004 ++++++
Thielemann's successor?
From an interview in the Berliner Morgenpost with Marc Albrecht, favorite as Thielemann's successor at the Deutsche Oper
What, do you think, will a General Music Director at the Deutsche Oper need as personal characteristics?
Someone is needed who plays more the classical role of GMD. That means: presence, presence, presence. Someone who besides the centrally important work with the orchestra also intensively cares for building up the ensemble. In addition, given the currently somewhat depressive mood in all areas of the house, motivation is urgently needed. It's a big task. The level of an opera house is determined not at the best premiere but at the gloomiest repertoire performance.
From an interview in the Berliner Morgenpost with Marc Albrecht, favorite as Thielemann's successor at the Deutsche Oper
What, do you think, will a General Music Director at the Deutsche Oper need as personal characteristics?
Someone is needed who plays more the classical role of GMD. That means: presence, presence, presence. Someone who besides the centrally important work with the orchestra also intensively cares for building up the ensemble. In addition, given the currently somewhat depressive mood in all areas of the house, motivation is urgently needed. It's a big task. The level of an opera house is determined not at the best premiere but at the gloomiest repertoire performance.
++++++ 24.06.2004 ++++++
The discussion on the Kulturforum continues
The new Building Senator Ingeborg Junge-Reyher named four thematic complexes that the Senate would like to clear up: first, the visual relationship between the Neue Nationalgalerie and the Philharmonie; second, whether the Matthäikirchplatz should be designed as a "city square" once again; third, the future of the "piazzetta" (the ramp in front of the museum) and museum access; and fourth, the relationship between the two concert halls and the surrounding space. It's about whether the area will become a "forum in the proper sense of the word". There is, however, no money in the state's budget. The necessary moneys are instead to be produced by marketing the real estate. An exhibition was opened in the House for City Planning Administration, explaining the plans approved by the Senate on wall charts. In addition, "online dialogue" with citizens is being sought after: interested parties can take part in expressing their opinion at www.kulturforum-dialog.de in the next few months.
The new Building Senator Ingeborg Junge-Reyher named four thematic complexes that the Senate would like to clear up: first, the visual relationship between the Neue Nationalgalerie and the Philharmonie; second, whether the Matthäikirchplatz should be designed as a "city square" once again; third, the future of the "piazzetta" (the ramp in front of the museum) and museum access; and fourth, the relationship between the two concert halls and the surrounding space. It's about whether the area will become a "forum in the proper sense of the word". There is, however, no money in the state's budget. The necessary moneys are instead to be produced by marketing the real estate. An exhibition was opened in the House for City Planning Administration, explaining the plans approved by the Senate on wall charts. In addition, "online dialogue" with citizens is being sought after: interested parties can take part in expressing their opinion at www.kulturforum-dialog.de in the next few months.
++++++ 13.06.2004 ++++++
Young people can listen to classical music for less
Concerts, opera and ballet, classical and jazz music, from baroque to modern - it's all available to you with the ClassicCard. Anyone under the age of 28 can acquire the ClassicCard for a one-time charge of Euro 25. This entitles you to the best seats in the house: among participating organizers, concerts then cost only eight Euros and opera and ballet only ten Euros. The ClassicCard network consists of: Berliner Festspiele, Berliner Symphoniker, Deutsche Oper Berlin, Komische Oper Berlin, Konzerthaus Berlin, Staatsoper Unter den Linden and the roc berlin ensembles (Deutsches Symphonie-Orchester Berlin, Rundfunk-Sinfonie-Orchester Berlin, RIAS-Kammerchor and Rundfunkchor Berlin).
The card is valid for twelve months after the date you choose and can be used as often as you would like for events organized by the ClassicCard partners. Purchasing tickets with the ClassicCard can only be at the box office for that evening in conjunction with a valid identity card. The card is valid for all events held by the ClassicCard partners. The ClassicCard is non-transferrable.
The ClassicCard can be ordered by telephone at 030 203545-55 or by fax at 030 202987-29. You can also place your order by mail by writing to roc berlin, Team ClassicCard, Charlottenstraße 56, 10117 Berlin or via the Internet at www.classiccard.de.
For young people between 16 and 21, the berlinerjugendabo offers 6 concerts from the 6 orchestras taking part, each with their chief conductors, at a price for the package of €33. The concerts will be taking place between September 2004 and April 2005. The Berlin Philharmonic, the Berliner Sinfonie-Orchester, the Berliner Symphoniker, the Deutsche Symphonie-Orchester Berlin, the Landesjugendorchester Berlin and the Rundfunk-Sinfonieorchester Berlin will be directed by chief conductors Simon Rattle, Marek Janowski, Eliahu Inbal, Kent Nagano and Lior Shambadal. Special highlights are doubtless the October concert of the Philharmonic with works by Stravinsky, Lindberg and a premiere by Mark Anthony Turnage, an RSB concert with works exclusively by Richard Strauss and Maurizio Pollini as the soloist playing Chopin's 2nd Piano Concerto with the Deutsches Symphonie-Orchester. The subscription can be ordered via the JugendKulturService (Tel. 030 / 23 55 62 0) or the Internet address www.berlinerjugendabo.de.
Concerts, opera and ballet, classical and jazz music, from baroque to modern - it's all available to you with the ClassicCard. Anyone under the age of 28 can acquire the ClassicCard for a one-time charge of Euro 25. This entitles you to the best seats in the house: among participating organizers, concerts then cost only eight Euros and opera and ballet only ten Euros. The ClassicCard network consists of: Berliner Festspiele, Berliner Symphoniker, Deutsche Oper Berlin, Komische Oper Berlin, Konzerthaus Berlin, Staatsoper Unter den Linden and the roc berlin ensembles (Deutsches Symphonie-Orchester Berlin, Rundfunk-Sinfonie-Orchester Berlin, RIAS-Kammerchor and Rundfunkchor Berlin).
The card is valid for twelve months after the date you choose and can be used as often as you would like for events organized by the ClassicCard partners. Purchasing tickets with the ClassicCard can only be at the box office for that evening in conjunction with a valid identity card. The card is valid for all events held by the ClassicCard partners. The ClassicCard is non-transferrable.
The ClassicCard can be ordered by telephone at 030 203545-55 or by fax at 030 202987-29. You can also place your order by mail by writing to roc berlin, Team ClassicCard, Charlottenstraße 56, 10117 Berlin or via the Internet at www.classiccard.de.
For young people between 16 and 21, the berlinerjugendabo offers 6 concerts from the 6 orchestras taking part, each with their chief conductors, at a price for the package of €33. The concerts will be taking place between September 2004 and April 2005. The Berlin Philharmonic, the Berliner Sinfonie-Orchester, the Berliner Symphoniker, the Deutsche Symphonie-Orchester Berlin, the Landesjugendorchester Berlin and the Rundfunk-Sinfonieorchester Berlin will be directed by chief conductors Simon Rattle, Marek Janowski, Eliahu Inbal, Kent Nagano and Lior Shambadal. Special highlights are doubtless the October concert of the Philharmonic with works by Stravinsky, Lindberg and a premiere by Mark Anthony Turnage, an RSB concert with works exclusively by Richard Strauss and Maurizio Pollini as the soloist playing Chopin's 2nd Piano Concerto with the Deutsches Symphonie-Orchester. The subscription can be ordered via the JugendKulturService (Tel. 030 / 23 55 62 0) or the Internet address www.berlinerjugendabo.de.
++++++ 13.06.2004 ++++++
Uncompromising passion for theater
Andreas Homoki, acting Intendant and head director of the Komische Oper Berlin: "As the Intendant of the Komische Oper, I'm glad that one of the most interesting directors in the world will be giving his Berlin debut with us on June 20th: Calixto Bieito will be staging Mozart's Abduction from the Seraglio. I wish that the Berlin public will be infected by his uncompromising passion for theater - just as our ensemble has been at the rehearsals. ... In these days of empty box offices and painful social restructuring, art and theater may seem a luxury. But I think that the playful spirit of artistic work is essential for a humane society. ... I would wish that a political discourse about art - even with all the needed restructuring - would finally be oriented towards contents. Because: it's culture that distinguishes people from animals ..."
Andreas Homoki, acting Intendant and head director of the Komische Oper Berlin: "As the Intendant of the Komische Oper, I'm glad that one of the most interesting directors in the world will be giving his Berlin debut with us on June 20th: Calixto Bieito will be staging Mozart's Abduction from the Seraglio. I wish that the Berlin public will be infected by his uncompromising passion for theater - just as our ensemble has been at the rehearsals. ... In these days of empty box offices and painful social restructuring, art and theater may seem a luxury. But I think that the playful spirit of artistic work is essential for a humane society. ... I would wish that a political discourse about art - even with all the needed restructuring - would finally be oriented towards contents. Because: it's culture that distinguishes people from animals ..."
++++++ 02.06.2004 ++++++
Kirsten Harms taking over
Kirsten Harms, 48, will take over as Intendantin of the Deutsche Oper Berlin beginning in the fall of 2004. A renowned opera and stage director, she had left her position running the opera company in Kiel in the summer of 2003 after eight years to have more time to work as a stage director. The role of Intendant has been unfilled since Udo Zimmermann was unceremoniously "dumped" a year ago by Berlin's cultural Senator after a head-on collision with former GMD Thielemann.
Kirsten Harms, 48, will take over as Intendantin of the Deutsche Oper Berlin beginning in the fall of 2004. A renowned opera and stage director, she had left her position running the opera company in Kiel in the summer of 2003 after eight years to have more time to work as a stage director. The role of Intendant has been unfilled since Udo Zimmermann was unceremoniously "dumped" a year ago by Berlin's cultural Senator after a head-on collision with former GMD Thielemann.
++++++ 02.06.2004 ++++++
Thielemann is out
Christian Thielemann, General Music Director of the Deutsche Oper, will be cutting short his time with the opera house at the end of this season, though he is contractually committed until 2007. The opera will have to get by without a music head starting immediately, as he has already completed all his conducting obligations for this season. In the words of the Berliner Zeitung: "The biggest problem of the Deutsche Oper is the lack of coherent artistic work and the resulting weak resonance among the public." Various well-known conductors are being discussed as his successor, including for instance Philippe Jordan, Lothar Zagrozek, Ingo Metzmacher, and Marc Albrecht.
Christian Thielemann, General Music Director of the Deutsche Oper, will be cutting short his time with the opera house at the end of this season, though he is contractually committed until 2007. The opera will have to get by without a music head starting immediately, as he has already completed all his conducting obligations for this season. In the words of the Berliner Zeitung: "The biggest problem of the Deutsche Oper is the lack of coherent artistic work and the resulting weak resonance among the public." Various well-known conductors are being discussed as his successor, including for instance Philippe Jordan, Lothar Zagrozek, Ingo Metzmacher, and Marc Albrecht.
++++++ 02.06.2004 ++++++
International understanding
Daniel Barenboim, General Music Director of the Staatsoper Unter den Linden, has been pleading for years for international understanding between Israelis and Palestinians. Speaking at the Knesset in Jerusalem where he received the Wolf Foundation Prize, his remarks elicited angry responses from President Moshe Katsav and Education Minister Limor Livnat. In his speech he said "Is there logic to the independence of one people if the cost is a blow to the fundamental rights of another people? Can the Jewish people, whose history is full of suffering and persecution, allow itself to be apathetic about the rights and suffering of a neighboring people?" In a recent essay, he wrote: "I don't believe in a military solution to the conflict in the Middle East. Neither morally nor politically. ... If like me you don't believe in the military, there are two possibilities. Either the whole thing leads directly into a total catastrophe - which we're well on our way to - or else there's a peaceful solution. If this happens, contacts will be formed: cultural, academic, societal, economic. ... If as a musician I have the possibility to establish contacts, why shouldn't I do so, here and now? And if it does come to a catastrophe, then these young people will have at least lived in a kind of oasis for a few months."
Daniel Barenboim has just donated the prize money of the Israeli Wolf Prize for the music education of young Palestinians and Israelis. The sum will go in equal proportions to the Friends School in Ramallah and the Jerusalem Music Center, the General Music Director of the Staatsoper announced.
Daniel Barenboim, General Music Director of the Staatsoper Unter den Linden, has been pleading for years for international understanding between Israelis and Palestinians. Speaking at the Knesset in Jerusalem where he received the Wolf Foundation Prize, his remarks elicited angry responses from President Moshe Katsav and Education Minister Limor Livnat. In his speech he said "Is there logic to the independence of one people if the cost is a blow to the fundamental rights of another people? Can the Jewish people, whose history is full of suffering and persecution, allow itself to be apathetic about the rights and suffering of a neighboring people?" In a recent essay, he wrote: "I don't believe in a military solution to the conflict in the Middle East. Neither morally nor politically. ... If like me you don't believe in the military, there are two possibilities. Either the whole thing leads directly into a total catastrophe - which we're well on our way to - or else there's a peaceful solution. If this happens, contacts will be formed: cultural, academic, societal, economic. ... If as a musician I have the possibility to establish contacts, why shouldn't I do so, here and now? And if it does come to a catastrophe, then these young people will have at least lived in a kind of oasis for a few months."
Daniel Barenboim has just donated the prize money of the Israeli Wolf Prize for the music education of young Palestinians and Israelis. The sum will go in equal proportions to the Friends School in Ramallah and the Jerusalem Music Center, the General Music Director of the Staatsoper announced.
++++++ 02.06.2004 ++++++
President Rau's cultural statement
Wrapping up his term of office, German president Johannes Rau has announced: "I am in favor of anchoring culture at all levels of the state. Only then is culture on an equal footing when it comes to distributing public funds. The public funds for culture do not serve only a small group, but rather our whole country." At a last meeting of the "Alliance for Theater", an organization he himself created in 2002, he formulated his vision of future cultural assistance: not a voluntary accomplishment of the state, but a duty.
Wrapping up his term of office, German president Johannes Rau has announced: "I am in favor of anchoring culture at all levels of the state. Only then is culture on an equal footing when it comes to distributing public funds. The public funds for culture do not serve only a small group, but rather our whole country." At a last meeting of the "Alliance for Theater", an organization he himself created in 2002, he formulated his vision of future cultural assistance: not a voluntary accomplishment of the state, but a duty.
++++++ 13.05.2004 ++++++
Thielemann in the Tagesspiegel
Christian Thielemann spoke with the Tagesspiegel about the situation of the opera orchestra at the Deutsche Oper. In his own words:
"For years I've been kept hanging, I've been put off, fed with false hopes and misinformation. During this time, working conditions at the Deutsche Oper have deteriorated dramatically. We're being 'saved to death'. ... No one is interested if I have to conduct Brahms' Second with 16 substitutes, no one is interested if that for a long time now we have not had the 125 positions we need for the type of repertory theater expected of us. Nonetheless we continue to survive in the international competitive war - for now, anyway. ... Do they want Christian Thielemann to feel - terrible word - overqualified - at his own opera house? In the last two years I've done everything I could. I've nattered with politicians until my lips were in tatters. ... If I'm told next week that the orchestra of the Deutsche Oper will continue to be positioned worse than the Staatskapelle, then I'll have to go. I would be a poor General Music Director if I didn't utter a warning here. Or am I supposed to be second place winner forever and eternity? ... Then it will be clear that they've quite simply scared away the German conductor who's come the farthest in his generation."
Christian Thielemann spoke with the Tagesspiegel about the situation of the opera orchestra at the Deutsche Oper. In his own words:
"For years I've been kept hanging, I've been put off, fed with false hopes and misinformation. During this time, working conditions at the Deutsche Oper have deteriorated dramatically. We're being 'saved to death'. ... No one is interested if I have to conduct Brahms' Second with 16 substitutes, no one is interested if that for a long time now we have not had the 125 positions we need for the type of repertory theater expected of us. Nonetheless we continue to survive in the international competitive war - for now, anyway. ... Do they want Christian Thielemann to feel - terrible word - overqualified - at his own opera house? In the last two years I've done everything I could. I've nattered with politicians until my lips were in tatters. ... If I'm told next week that the orchestra of the Deutsche Oper will continue to be positioned worse than the Staatskapelle, then I'll have to go. I would be a poor General Music Director if I didn't utter a warning here. Or am I supposed to be second place winner forever and eternity? ... Then it will be clear that they've quite simply scared away the German conductor who's come the farthest in his generation."
++++++ 07.05.2004 ++++++
Extending Inbal's contract
The Berliner Sinfonie-Orchestra's head conductor Eliahu Inbal is currently negotiating the extension of his contract beyond 2005. Something that his BSO's future - threatened by mergers - also depends on. "In case it is really necessary to disband the Berliner Symphoniker, the city will have to make all the more of an effort as regards its other orchestras. Not constantly playing through all possible merger combinations. I also think the entanglement of the radio and the city is outrageous. That only happens in Berlin. Why does the city have to co-finance the radio orchestras? That's immoral and illegal. The radio stations live from the not insubstantial fees that everyone in Berlin and Brandenburg pays. Nonetheless, Berlin is subsidizing the Rundfunk-Orchester und -Chöre GmbH (Radio Orchestras and Choirs Inc.) though it no longer has the money. Radio needs to finally appreciate its responsibility. ... Just as the Philharmonie is the home of the Berlin Philharmoniker, the Berliner Sinfonie-Orchester belongs to the Konzerthaus. That was and is the case. And this link must be conceptually assured for the future. That would only be fair - also taking into account the number of subscribers." [currently about 15,000]
The Berliner Sinfonie-Orchestra's head conductor Eliahu Inbal is currently negotiating the extension of his contract beyond 2005. Something that his BSO's future - threatened by mergers - also depends on. "In case it is really necessary to disband the Berliner Symphoniker, the city will have to make all the more of an effort as regards its other orchestras. Not constantly playing through all possible merger combinations. I also think the entanglement of the radio and the city is outrageous. That only happens in Berlin. Why does the city have to co-finance the radio orchestras? That's immoral and illegal. The radio stations live from the not insubstantial fees that everyone in Berlin and Brandenburg pays. Nonetheless, Berlin is subsidizing the Rundfunk-Orchester und -Chöre GmbH (Radio Orchestras and Choirs Inc.) though it no longer has the money. Radio needs to finally appreciate its responsibility. ... Just as the Philharmonie is the home of the Berlin Philharmoniker, the Berliner Sinfonie-Orchester belongs to the Konzerthaus. That was and is the case. And this link must be conceptually assured for the future. That would only be fair - also taking into account the number of subscribers." [currently about 15,000]
++++++ 07.05.2004 ++++++
Thielemann's future
Conductor Christian Thielemann is in the news quite a lot, most recently due to his appearance at the Deutsche Oper's annual press conference. Christine Lemke-Matwey recently took a closer look at him in the Tagesspiegel: "Knowledgeable little birds have been singing the song for quite a while: Christian Thielemann no longer fancies Berlin. ... A loss for the Deutsche Oper? Maybe even a new opportunity? That depends what Berlin's cultural policy makers are planning - if they're intending anything at all. A loss for Thielemann? On a personal level definitely. His city, his orchestra, his audience. ... Christian Thielemann is considered difficult. In a sympathetic closer look at the young Berlin conductor, Joachim Kaiser coined the meaningful phrase, 'Prussia, just as God created it'; others praise Thielemann's 'conducting confidence' and his will towards the 'sheer extraordinary'; others eye him rather more suspiciously as the 'grandson of Furtwängler, Karajan, Böhm, Krauss, Knappertsbusch' and as the last Mohican of the German-Austrian musical tradition of the 20th century. Others know only that he likes to drink expensive red wine, and that he drives fast cars and wears white socks. ... A musical landscape, a musical life without the Thielemann phenomenon would not only be poorer, but also just poor. ... [B]ecause certain pieces - like Tristan, like Die Meistersinger - cost him an incredible amount; in crisis times they literally 'break him', and one can feel that; because he's anything but a musical automaton, a so-called 'pro', but rather someone who is in excellent form on certain evenings and on others not at all, one who can be hellaciously good and sometimes outrageously bad."
Conductor Christian Thielemann is in the news quite a lot, most recently due to his appearance at the Deutsche Oper's annual press conference. Christine Lemke-Matwey recently took a closer look at him in the Tagesspiegel: "Knowledgeable little birds have been singing the song for quite a while: Christian Thielemann no longer fancies Berlin. ... A loss for the Deutsche Oper? Maybe even a new opportunity? That depends what Berlin's cultural policy makers are planning - if they're intending anything at all. A loss for Thielemann? On a personal level definitely. His city, his orchestra, his audience. ... Christian Thielemann is considered difficult. In a sympathetic closer look at the young Berlin conductor, Joachim Kaiser coined the meaningful phrase, 'Prussia, just as God created it'; others praise Thielemann's 'conducting confidence' and his will towards the 'sheer extraordinary'; others eye him rather more suspiciously as the 'grandson of Furtwängler, Karajan, Böhm, Krauss, Knappertsbusch' and as the last Mohican of the German-Austrian musical tradition of the 20th century. Others know only that he likes to drink expensive red wine, and that he drives fast cars and wears white socks. ... A musical landscape, a musical life without the Thielemann phenomenon would not only be poorer, but also just poor. ... [B]ecause certain pieces - like Tristan, like Die Meistersinger - cost him an incredible amount; in crisis times they literally 'break him', and one can feel that; because he's anything but a musical automaton, a so-called 'pro', but rather someone who is in excellent form on certain evenings and on others not at all, one who can be hellaciously good and sometimes outrageously bad."
++++++ 07.05.2004 ++++++
American strategies
To rescue the Berliner Symphoniker the American management consultant Frederick Metz Shepperd proposes actions that sound rather tailored for the American market: Dinners for fundraising in and other benefit dinners in Cologne, Munich, Vienna; the "Family Walkathon", where musicians pass through the city and its institutions, making music, handing out presents and casually collecting sponsors. An inline skating day is to take place in July or August. Shepperd ... is giving the orchestra various guidelines, including more cross-over, performances, pop and TV. Which may well be difficult in a region with radio orchestras and a film orchestra.
To rescue the Berliner Symphoniker the American management consultant Frederick Metz Shepperd proposes actions that sound rather tailored for the American market: Dinners for fundraising in and other benefit dinners in Cologne, Munich, Vienna; the "Family Walkathon", where musicians pass through the city and its institutions, making music, handing out presents and casually collecting sponsors. An inline skating day is to take place in July or August. Shepperd ... is giving the orchestra various guidelines, including more cross-over, performances, pop and TV. Which may well be difficult in a region with radio orchestras and a film orchestra.
++++++ 02.05.2004 ++++++
Death of Cellist Boris Pergamenschikow
Cellist and conservatory professor Boris Pergamenschikow, born and raised in Russia, died on April 30th at the age of 55 after a long illness. This was announced by the Hochschule für Musik "Hanns Eisler", where he was appointed Professor for Violoncello in 1998. Prior to that, he taught for many years at Cologne's Conservatory. He accorded special affection to his master students, many of whom are now themselves performing on the world's concert stages. Pergamenschikow worked together with Claudio Abbado, Gidon Kremer, Yehudi Menuhin, Krysztof Penderecki and Mstislav Rostropovich, among others.
Cellist and conservatory professor Boris Pergamenschikow, born and raised in Russia, died on April 30th at the age of 55 after a long illness. This was announced by the Hochschule für Musik "Hanns Eisler", where he was appointed Professor for Violoncello in 1998. Prior to that, he taught for many years at Cologne's Conservatory. He accorded special affection to his master students, many of whom are now themselves performing on the world's concert stages. Pergamenschikow worked together with Claudio Abbado, Gidon Kremer, Yehudi Menuhin, Krysztof Penderecki and Mstislav Rostropovich, among others.
++++++ 02.05.2004 ++++++
Deutsche Oper's annual press conference
At the Deutsche Oper's annual press conference, General Music Director Christian Thielemann made a rare appearance, speaking directly to the public. The musicians are running away "for base financial reasons." He said that continuous work is hardly possible due to the many temporary musicians in the orchestra, and the Deutsche Oper threatens to become a "transitional house" for good musicians; it's becoming less and less possible to show it on an international basis. In truth, Thielemann is actually only attempting to get back the "media lump sum" for his orchestra musicians.
At the Deutsche Oper's annual press conference, General Music Director Christian Thielemann made a rare appearance, speaking directly to the public. The musicians are running away "for base financial reasons." He said that continuous work is hardly possible due to the many temporary musicians in the orchestra, and the Deutsche Oper threatens to become a "transitional house" for good musicians; it's becoming less and less possible to show it on an international basis. In truth, Thielemann is actually only attempting to get back the "media lump sum" for his orchestra musicians.
++++++ 02.05.2004 ++++++
A "brazen lack of solidarity"
Many orchestras used to receive a so-called "media lump sum" with which actually media claims that arose from extra performances were to be globally compensated. But in reality these lump sums were hidden salary increases, just that they couldn't be called that for reasons of tactical shame. In the case of the orchestra of the Deutsche Oper, the "media lump sum" served to bring about equal tariff footing with members of the Berlin Philharmonic Orchestra and the Bavarian State Orchestra. These media lump sums were first cut in half and ultimately canceled completely. Up to the present day, the orchestra is upset they were canceled. Particularly because their counterparts from the Staatskapelle get them: The extra pay there has a different name - and the Euro 1.8 million annually come from the federal government. General Music Director Daniel Barenboim ensured this would happen. In the case of the orchestra of the Deutsche Oper, however, the state of Berlin - which just closed down the Berliner Symphoniker -would have to pay. The Berliner Morgenpost writes: "To demand from the state to pay the amount saved to other musicians reveals a certain loss of contact with reality. One could also call it a brazen lack of solidarity."
Many orchestras used to receive a so-called "media lump sum" with which actually media claims that arose from extra performances were to be globally compensated. But in reality these lump sums were hidden salary increases, just that they couldn't be called that for reasons of tactical shame. In the case of the orchestra of the Deutsche Oper, the "media lump sum" served to bring about equal tariff footing with members of the Berlin Philharmonic Orchestra and the Bavarian State Orchestra. These media lump sums were first cut in half and ultimately canceled completely. Up to the present day, the orchestra is upset they were canceled. Particularly because their counterparts from the Staatskapelle get them: The extra pay there has a different name - and the Euro 1.8 million annually come from the federal government. General Music Director Daniel Barenboim ensured this would happen. In the case of the orchestra of the Deutsche Oper, however, the state of Berlin - which just closed down the Berliner Symphoniker -would have to pay. The Berliner Morgenpost writes: "To demand from the state to pay the amount saved to other musicians reveals a certain loss of contact with reality. One could also call it a brazen lack of solidarity."
++++++ 26.04.2004 ++++++
They're still alive...
As Jochen Thärichen, managing director of the Berliner Symphoniker, announced at a podium discussion in Berlin's House of Representatives, the orchestra's support association has engaged an American management consultancy to fundraise money from sponsors in Europe, Asia and North America. The intention is for these funds to support in particular the orchestra's pedagogic work at Berlin's schools and music conservatories. Frederick Metz Shepperd, American management consultant and partner in Quadral Group, is considered an expert in developing survival strategies for companies in the age of globalization. Despite the decision of the Berlin Senate not to pay any more subsidies as of September 1, 2004 (which amounted to 3/4 of the budget), the Symphoniker will carry out its concerts in the 2004/2005 season as planned.
As Jochen Thärichen, managing director of the Berliner Symphoniker, announced at a podium discussion in Berlin's House of Representatives, the orchestra's support association has engaged an American management consultancy to fundraise money from sponsors in Europe, Asia and North America. The intention is for these funds to support in particular the orchestra's pedagogic work at Berlin's schools and music conservatories. Frederick Metz Shepperd, American management consultant and partner in Quadral Group, is considered an expert in developing survival strategies for companies in the age of globalization. Despite the decision of the Berlin Senate not to pay any more subsidies as of September 1, 2004 (which amounted to 3/4 of the budget), the Symphoniker will carry out its concerts in the 2004/2005 season as planned.
++++++ 25.04.2004 ++++++
All set for summer at Schloss Rheinsberg
The Chamber Opera at Schloss Rheinsberg can take place in 2004: "The Euro 950,000 budget has been committed, according to the most recent commitment from the county," announced managing director and festival manager Rainer Schwarz. "Thus we'll be able to offer the festival for the 14th time with an attractive program from June 26 through August 14," Schwarz emphasized. One of the high points of the program will be Harry Kupfer's production of the Händel opera Otto und Theophanu.
www.kammeroper-schloss-rheinsberg.de
The Chamber Opera at Schloss Rheinsberg can take place in 2004: "The Euro 950,000 budget has been committed, according to the most recent commitment from the county," announced managing director and festival manager Rainer Schwarz. "Thus we'll be able to offer the festival for the 14th time with an attractive program from June 26 through August 14," Schwarz emphasized. One of the high points of the program will be Harry Kupfer's production of the Händel opera Otto und Theophanu.
www.kammeroper-schloss-rheinsberg.de
++++++ 25.04.2004 ++++++
News from the Neuköllner Oper
Peter Lund is leaving the Neuköllner Oper to become head of the musical/show program of study at the Universität der Künste. He has headed up the music theater in the Karl-Marx-Straße, founded in 1977, for eight years. A new dramatic advisor (Bernhard Glocksin) and a Commercial Director (29-year old lawyer Sebastian König) will complement the crew. As Lund says: "I would like to generate a bit of low pressure to make room for new strengths." One hopes the house will do well without him. In the words of the Tagesspiegel: "a house that with comparably trivial subsidies came up with exemplary productions again and again, where Baroque opera discoveries found a place as did catchy operettas, contemporary music theater, children's opera and musicals." Or the Berliner Morgenpost: "The house may have given off the charm of a shabby carpet warehouse. But the productions that one saw here made up hardly less than half of the perceived overall creativity of Berlin music theater." With ten new productions on 280 days, the opera house lives from Euro 900,000 in annual subsidies, a bit tight but nonetheless secured for the next 2.5 years. The newest production, Der Elefantenmensch, started on April 22nd.
Peter Lund is leaving the Neuköllner Oper to become head of the musical/show program of study at the Universität der Künste. He has headed up the music theater in the Karl-Marx-Straße, founded in 1977, for eight years. A new dramatic advisor (Bernhard Glocksin) and a Commercial Director (29-year old lawyer Sebastian König) will complement the crew. As Lund says: "I would like to generate a bit of low pressure to make room for new strengths." One hopes the house will do well without him. In the words of the Tagesspiegel: "a house that with comparably trivial subsidies came up with exemplary productions again and again, where Baroque opera discoveries found a place as did catchy operettas, contemporary music theater, children's opera and musicals." Or the Berliner Morgenpost: "The house may have given off the charm of a shabby carpet warehouse. But the productions that one saw here made up hardly less than half of the perceived overall creativity of Berlin music theater." With ten new productions on 280 days, the opera house lives from Euro 900,000 in annual subsidies, a bit tight but nonetheless secured for the next 2.5 years. The newest production, Der Elefantenmensch, started on April 22nd.
++++++ 25.04.2004 ++++++
City planning
Discussions have been hot since the concept on the further development of the Kulturforum was presented in the House of Representatives in March. Edgar Wisniewski, once Hans Scharoun's office partner, accuses Senate Building Director Hans Stimmann of in no way further developing Scharoun's organically spread out city landscape. Now the Federal Office for Building and Planning, involved with projects related to the Stiftung Preußischer Kulturbesitz, has spoken up: It wants a 250-meter high "library tower" to be built on a left-over expanse between the Staatsbibliothek and the canal, to be answered by a 150-meter high "diplomat tower" for embassies, residencies and other representations. The plans involve building new buildings rather than thinking constructively about how to actually use the square. In the words of the Berliner Zeitung: "A comparison with the Schlossplatz is suggested: there too, the urbanistic form and the facade of the Palast der Republik are seen as the real problem, pushing the needed debate on how to utilize the area completely into the background, driven by the idealistic hope to solve all city planning issues with the palace facade."
Discussions have been hot since the concept on the further development of the Kulturforum was presented in the House of Representatives in March. Edgar Wisniewski, once Hans Scharoun's office partner, accuses Senate Building Director Hans Stimmann of in no way further developing Scharoun's organically spread out city landscape. Now the Federal Office for Building and Planning, involved with projects related to the Stiftung Preußischer Kulturbesitz, has spoken up: It wants a 250-meter high "library tower" to be built on a left-over expanse between the Staatsbibliothek and the canal, to be answered by a 150-meter high "diplomat tower" for embassies, residencies and other representations. The plans involve building new buildings rather than thinking constructively about how to actually use the square. In the words of the Berliner Zeitung: "A comparison with the Schlossplatz is suggested: there too, the urbanistic form and the facade of the Palast der Republik are seen as the real problem, pushing the needed debate on how to utilize the area completely into the background, driven by the idealistic hope to solve all city planning issues with the palace facade."
++++++ 25.04.2004 ++++++
Decline in number of concertgoers
The Komische Oper has not been able to stop the negative trend of the first half of 2003 in the new season. Its audience capacity is plodding along at 49 percent: The house was termed a "problem child" by Barbara Kissinger, the state secretary responsible. It looks like the audience is drifting to the competition, since both the Staatsoper (76 percent capacity utilization) and the Deutsche Oper (60 percent) sold more tickets. In the concert area, the number of events and thus the number of listeners fell. The Philharmonie announced 14,000 fewer visitors than last year; the decline at the Konzerthaus is by 14,600 concertgoers.
The Komische Oper has not been able to stop the negative trend of the first half of 2003 in the new season. Its audience capacity is plodding along at 49 percent: The house was termed a "problem child" by Barbara Kissinger, the state secretary responsible. It looks like the audience is drifting to the competition, since both the Staatsoper (76 percent capacity utilization) and the Deutsche Oper (60 percent) sold more tickets. In the concert area, the number of events and thus the number of listeners fell. The Philharmonie announced 14,000 fewer visitors than last year; the decline at the Konzerthaus is by 14,600 concertgoers.
++++++ 24.04.2004 ++++++
Pollini on 20th-century music
From an interview with Maurizio Pollini in the Berliner Morgenpost on April 10, 2004: "The more often modern works are played, the greater the acceptance of them by the public. People have to get accustomed to the completely transformed musical language since Schönberg. ... The masters of the 20th century ... have written great music in the highest sense of the word. It's a crying shame that our relationships to the individual epochs are so limited. Just think what an enrichment we've experienced through the re-discovery of the Renaissance! Something similar will happen with the modern era. ... You can't give up hoping that younger people will discover classical music as an unequalled creative and substantial art form."
From an interview with Maurizio Pollini in the Berliner Morgenpost on April 10, 2004: "The more often modern works are played, the greater the acceptance of them by the public. People have to get accustomed to the completely transformed musical language since Schönberg. ... The masters of the 20th century ... have written great music in the highest sense of the word. It's a crying shame that our relationships to the individual epochs are so limited. Just think what an enrichment we've experienced through the re-discovery of the Renaissance! Something similar will happen with the modern era. ... You can't give up hoping that younger people will discover classical music as an unequalled creative and substantial art form."
++++++ 24.04.2004 ++++++
The Festtage in 2005 at the Staatsoper
For the Festtage in 2005, the Staatsoper will be returning to familiar territory. The premiere of Wagner's Parsifal will be on March 19, 2005. Film producer Bernd Eichinger will be the director; about his new field he says, "Movies and opera live from emotions, and telling stories is the craft I come from." General Music Director Daniel Barenboim explained: "I prefer to work with a director who's a passionate story-teller than with one who's inhibited about disturbing the music." Parsifal will be played by Burkhard Fritz; Roman Trekel and Michaela Schuster have signed on to sing Amfortas and Kundry respectively. Two performances of Carmen will take place on March 20th and 23rd. The work will be premiered in December 2004. It will be director Martin Kusej's first production at the Staatsoper. Three concerts with the Chicago Symphony Orchestra (March 24th to 26th), an homage to Pierre Boulez (March 27th) and another Liederabend with Cecilia Bartoli (March 22nd) round off the program. Conducting it all: GMD Daniel Barenboim.
For the Festtage in 2005, the Staatsoper will be returning to familiar territory. The premiere of Wagner's Parsifal will be on March 19, 2005. Film producer Bernd Eichinger will be the director; about his new field he says, "Movies and opera live from emotions, and telling stories is the craft I come from." General Music Director Daniel Barenboim explained: "I prefer to work with a director who's a passionate story-teller than with one who's inhibited about disturbing the music." Parsifal will be played by Burkhard Fritz; Roman Trekel and Michaela Schuster have signed on to sing Amfortas and Kundry respectively. Two performances of Carmen will take place on March 20th and 23rd. The work will be premiered in December 2004. It will be director Martin Kusej's first production at the Staatsoper. Three concerts with the Chicago Symphony Orchestra (March 24th to 26th), an homage to Pierre Boulez (March 27th) and another Liederabend with Cecilia Bartoli (March 22nd) round off the program. Conducting it all: GMD Daniel Barenboim.
++++++ 04.04.2004 ++++++
Peter Konwitschny: "Not a poor country"
Opera director Peter Konwitschny considers envy a fundamental theme in the discussion around savings at German's theaters. "In a certain way, art is a therapy in a time where otherwise there's almost nothing left that has to do with the truth of people. And we artists are even paid for it", said the 59-year old to the theater magazine "Die Deutsche Bühne" [The German Stage]. "When the argument comes that we can no longer afford it, I think what's behind that is also envy", he said. He added that money is there, this is not a poor country: "It's just a question of distribution."
Opera director Peter Konwitschny considers envy a fundamental theme in the discussion around savings at German's theaters. "In a certain way, art is a therapy in a time where otherwise there's almost nothing left that has to do with the truth of people. And we artists are even paid for it", said the 59-year old to the theater magazine "Die Deutsche Bühne" [The German Stage]. "When the argument comes that we can no longer afford it, I think what's behind that is also envy", he said. He added that money is there, this is not a poor country: "It's just a question of distribution."
++++++ 28.03.2004 ++++++
DSO's plans for the 2004/5 season
Although Kent Nagano will give up his position as music director of the Deutsche Symphonie-Orchester in 2006 to take over Montréal's orchestra, he will be Principal Guest Conductor for the two following years and assist in searching for his successor. He will conduct 33 of the 62 symphony concerts of the 2004-5 season. Next year's composer in residence will be George Benjamin of England, who will also conduct three concerts. Bach, Beethoven, Schumann and Brahms are the main focus of next year's repertoire; rare works like Charles Ives's fragmentary Universe Symphony and Dieter Schnebel's Symphonie X will also be performed. The orchestra's new director is Andreas Richter, long music critic for the Tagesspiegel and most recently head of the PR department at the Komische Oper.
Although Kent Nagano will give up his position as music director of the Deutsche Symphonie-Orchester in 2006 to take over Montréal's orchestra, he will be Principal Guest Conductor for the two following years and assist in searching for his successor. He will conduct 33 of the 62 symphony concerts of the 2004-5 season. Next year's composer in residence will be George Benjamin of England, who will also conduct three concerts. Bach, Beethoven, Schumann and Brahms are the main focus of next year's repertoire; rare works like Charles Ives's fragmentary Universe Symphony and Dieter Schnebel's Symphonie X will also be performed. The orchestra's new director is Andreas Richter, long music critic for the Tagesspiegel and most recently head of the PR department at the Komische Oper.
++++++ 28.03.2004 ++++++
Reproaching the Cultural Senator Flierl
The German Orchestral Association (DOV) reproaches Senator of Culture Thomas Flierl for not having made any serious efforts to keep the Berliner Symphoniker alive. The managing director of the DOV, Gerald Mertens, said: "It's become clear that, given much more wide-ranging plans, the offer of solidarity made by Berlin's orchestras was never intended to be a real opportunity; that's why negotiations were conducted in such a lukewarm way. This Culture Senator is no longer credible."
The German Orchestral Association (DOV) reproaches Senator of Culture Thomas Flierl for not having made any serious efforts to keep the Berliner Symphoniker alive. The managing director of the DOV, Gerald Mertens, said: "It's become clear that, given much more wide-ranging plans, the offer of solidarity made by Berlin's orchestras was never intended to be a real opportunity; that's why negotiations were conducted in such a lukewarm way. This Culture Senator is no longer credible."
++++++ 23.03.2004 ++++++
It's all over for the Symphoniker
On March 18th, the decision was made to disband the Berliner Symphoniker in August 2004. The city of Berlin's annual subsidies of Euro 3.3 million will be economized, even though representatives of all parties "always unanimously voted against liquidation in never-ending committee meetings, stressing the Symphoniker's lean structure, efficiency, popularity and exemplary work at grass-roots level". (Berliner Zeitung) In so doing, Mayor Klaus Wowereit let Culture Senator Thomas Flierl "be seen as one of the big failures in the House of Representatives ... the government needs a scapegoat. A Culture Senator willing to make sacrifices lends himself well to such a purpose - the curse of reforms." The Berliner Morgenpost analyses further: "No prominent figures spoke up publicly about rescuing the Symphoniker. Neither the Federal Cultural Minister nor heads of opposition, such as recently for the Staatsoper Unter den Linden, nor top managers who like to gather in the Philharmonie, which is already financially well endowed. The Symphoniker are just not their milieu." Further changes in Berlin's orchestra landscape are likely: In an interview with the Berliner Zeitung Flierl said: "For me the Philharmonic Orchestra and the Berliner Sinfonie-Orchester are the two pillars of the city. I'm assuming an alliance of the BSO and the two orchestras in the Rundfunkorchester- und Chöre GmbH ... It needn't be called a merger, it could be bundling, anchoring the ROC in the Konzerthaus."
On March 18th, the decision was made to disband the Berliner Symphoniker in August 2004. The city of Berlin's annual subsidies of Euro 3.3 million will be economized, even though representatives of all parties "always unanimously voted against liquidation in never-ending committee meetings, stressing the Symphoniker's lean structure, efficiency, popularity and exemplary work at grass-roots level". (Berliner Zeitung) In so doing, Mayor Klaus Wowereit let Culture Senator Thomas Flierl "be seen as one of the big failures in the House of Representatives ... the government needs a scapegoat. A Culture Senator willing to make sacrifices lends himself well to such a purpose - the curse of reforms." The Berliner Morgenpost analyses further: "No prominent figures spoke up publicly about rescuing the Symphoniker. Neither the Federal Cultural Minister nor heads of opposition, such as recently for the Staatsoper Unter den Linden, nor top managers who like to gather in the Philharmonie, which is already financially well endowed. The Symphoniker are just not their milieu." Further changes in Berlin's orchestra landscape are likely: In an interview with the Berliner Zeitung Flierl said: "For me the Philharmonic Orchestra and the Berliner Sinfonie-Orchester are the two pillars of the city. I'm assuming an alliance of the BSO and the two orchestras in the Rundfunkorchester- und Chöre GmbH ... It needn't be called a merger, it could be bundling, anchoring the ROC in the Konzerthaus."
++++++ 20.03.2004 ++++++
Opera debut for Thomas Quasthoff
Thomas Quasthoff, one of the leading bass-baritones today, will make his opera debut on April 9 as Amfortas in Wagner's Parsifal at Vienna's State Opera. He would also be interested in other opera tasks: "I'd very much fancy singing Amfortas somewhere else too - why not at the Met?" And on the role of Ochs von Lerchenau in Strauss's Rosenkavalier: "I know that I can sing the role well from a vocal perspective. And who says he has to be big?"
He has just won his second Grammy as "best classical soloist", the most prominent record prize in the world, for a recording of Schubert songs arranged for orchestra by Brahms, Reger, Webern, Britten and others. He sings with mezzo-soprano Anne Sofie von Otter, accompanied by the European Chamber Orchestra conducted by Claudio Abbado (Deutsche Grammophon).
In October, the 43-year old bass-baritone will become professor of singing at Berlin's Hanns Eisler Hochschule, switching from the Hochschule für Musik in Detmold. As he recently said on American TV, "I need the big city, and I'm really looking forward to teach there and to get a little bit more from this culture life and the spirit, which is amazing in the city at the moment."
Thomas Quasthoff, one of the leading bass-baritones today, will make his opera debut on April 9 as Amfortas in Wagner's Parsifal at Vienna's State Opera. He would also be interested in other opera tasks: "I'd very much fancy singing Amfortas somewhere else too - why not at the Met?" And on the role of Ochs von Lerchenau in Strauss's Rosenkavalier: "I know that I can sing the role well from a vocal perspective. And who says he has to be big?"
He has just won his second Grammy as "best classical soloist", the most prominent record prize in the world, for a recording of Schubert songs arranged for orchestra by Brahms, Reger, Webern, Britten and others. He sings with mezzo-soprano Anne Sofie von Otter, accompanied by the European Chamber Orchestra conducted by Claudio Abbado (Deutsche Grammophon).
In October, the 43-year old bass-baritone will become professor of singing at Berlin's Hanns Eisler Hochschule, switching from the Hochschule für Musik in Detmold. As he recently said on American TV, "I need the big city, and I'm really looking forward to teach there and to get a little bit more from this culture life and the spirit, which is amazing in the city at the moment."
++++++ 20.03.2004 ++++++
Gidon Kremer appointed to Hanns Eisler Hochschule
Gidon Kremer has been appointed honorary professor at Berlin's Hochschule für Musik "Hanns Eisler". Born in Riga in 1947, Kremer was in David Oistrach's master class at the Moscow Conservatory. He won the Tschaikovsky prize in Moscow and the Paganini competition in Genoa. He founded a successful chamber music festival in Lockenhaus / Burgenland and also the orchestra Kremerata Baltica. Besides works of the classical and romantic eras, he has focussed on contemporary composers like Alfred Schnittke, Arvo Pärt, Sofia Gubaidulina, Luigi Nono, and Aribert Reimann.
Gidon Kremer has been appointed honorary professor at Berlin's Hochschule für Musik "Hanns Eisler". Born in Riga in 1947, Kremer was in David Oistrach's master class at the Moscow Conservatory. He won the Tschaikovsky prize in Moscow and the Paganini competition in Genoa. He founded a successful chamber music festival in Lockenhaus / Burgenland and also the orchestra Kremerata Baltica. Besides works of the classical and romantic eras, he has focussed on contemporary composers like Alfred Schnittke, Arvo Pärt, Sofia Gubaidulina, Luigi Nono, and Aribert Reimann.
++++++ 20.03.2004 ++++++
Decision on development of the Kulturforum
It's likely to be the biggest transformation of the Kulturforum ever. The senator for urban development Peter Strieder says that the central idea is opening the Kulturforum all the way to Potsdamer Platz so that there is better access for pedestrians. He stressed that it is important that the visual relationships among the Philharmonie, the Nationalgalerie and the Staatsbibliothek are not blocked, and that at the same time the Matthäikirche should be highlighted once again with a square of its own. Along its edges, the Kulturforum is to attract more visitors with apartments, classy stores and restaurants and possibly offices. Visitors could thus tarry a while after visiting a museum or concert. In addition, it is intended that the Philharmonie and Kammermusiksaal get a second approach from Potsdamer Platz.
It's likely to be the biggest transformation of the Kulturforum ever. The senator for urban development Peter Strieder says that the central idea is opening the Kulturforum all the way to Potsdamer Platz so that there is better access for pedestrians. He stressed that it is important that the visual relationships among the Philharmonie, the Nationalgalerie and the Staatsbibliothek are not blocked, and that at the same time the Matthäikirche should be highlighted once again with a square of its own. Along its edges, the Kulturforum is to attract more visitors with apartments, classy stores and restaurants and possibly offices. Visitors could thus tarry a while after visiting a museum or concert. In addition, it is intended that the Philharmonie and Kammermusiksaal get a second approach from Potsdamer Platz.
++++++ 14.03.2004 ++++++
Opera foundation coordinator: Georg Vierthaler
The interim head of the Opera Foundation (still without management board, supervisory board and general director) is Georg Vierthaler, managing director of the Staatsoper. His title is Coordinator. At the end of February he held interviews with the Berliner Zeitung and the Berliner Morgenpost - here are a few excerpts.
"Ther three opera houses and the ballet must learn to think for each other and with each other. ... Of course it's a challenge to manage in 2009 with Euro 17 million less in subsidies. That's why the box office proceeds need to increase. The houses currently generate only 13 percent of their revenue at the box office; the Hamburg State Opera generates 19 percent; we need to make 20 percent - not an insurmountable goal." (Berliner Zeitung)
"We have agreed with the General Music Directors that each orchestra will lose only a few musicians. What is important that in the rules about the services the musicians execute we arrive at greater flexibility in the future. And we will also have to hold talks with the musicians about the pay scale. Public servants in Berlin are forgoing eight to twelve percent of their salary. We will have to talk about that with the orchestral musicians and the members of the choirs." (Berliner Morgenpost)
Mr. Vierthaler, will there still be three opera houses in 15 years? "If we succeed in generating higher acceptance among the public. 750,000 opera-goers are not enough - we have to have 900,000 per year. 50 or 60 percent capacity utilization is unacceptable. It must be the artistic directors' top obligation to show their full commitment to win over the public." (Berliner Zeitung)
The interim head of the Opera Foundation (still without management board, supervisory board and general director) is Georg Vierthaler, managing director of the Staatsoper. His title is Coordinator. At the end of February he held interviews with the Berliner Zeitung and the Berliner Morgenpost - here are a few excerpts.
"Ther three opera houses and the ballet must learn to think for each other and with each other. ... Of course it's a challenge to manage in 2009 with Euro 17 million less in subsidies. That's why the box office proceeds need to increase. The houses currently generate only 13 percent of their revenue at the box office; the Hamburg State Opera generates 19 percent; we need to make 20 percent - not an insurmountable goal." (Berliner Zeitung)
"We have agreed with the General Music Directors that each orchestra will lose only a few musicians. What is important that in the rules about the services the musicians execute we arrive at greater flexibility in the future. And we will also have to hold talks with the musicians about the pay scale. Public servants in Berlin are forgoing eight to twelve percent of their salary. We will have to talk about that with the orchestral musicians and the members of the choirs." (Berliner Morgenpost)
Mr. Vierthaler, will there still be three opera houses in 15 years? "If we succeed in generating higher acceptance among the public. 750,000 opera-goers are not enough - we have to have 900,000 per year. 50 or 60 percent capacity utilization is unacceptable. It must be the artistic directors' top obligation to show their full commitment to win over the public." (Berliner Zeitung)
++++++ 14.03.2004 ++++++
Completing the Kulturforum
The Kulturforum - the open space between the Philharmonie together with the Kammermusiksaal, the Staatsbibliothek, the Neue Nationalgalerie, the Matthäikirche and the State Museums - has been under discussion for four decades. "Anyone who stands on the terrace in front of the Nationalgalerie ... will be seized by melancholy. The cultural buildings come into view of course; but between them extends sheer sadness. Car traffic rushes past ceaselessly. And since the building boom of the nineties, other buildings push themselves obtrusively into the picture. ... In front of the buildings - nothing but parking spaces for cars." (Tagesspiegel) "Today's Kulturforum is an embarrassing suburban hodge-podge about which any halfway civilized metropolis would be completely embarrassed." (Berliner Morgenpost) The Kulturforum was once on the edge of West Berlin in the shadow of the Berlin Wall. But it is now right in the middle. Berlin's Senate and House of Representatives are undertaking a new attempt to unify the collection of valuable cultural buildings into an attractive whole with a Senate bill on the further development of the open space.
The Kulturforum - the open space between the Philharmonie together with the Kammermusiksaal, the Staatsbibliothek, the Neue Nationalgalerie, the Matthäikirche and the State Museums - has been under discussion for four decades. "Anyone who stands on the terrace in front of the Nationalgalerie ... will be seized by melancholy. The cultural buildings come into view of course; but between them extends sheer sadness. Car traffic rushes past ceaselessly. And since the building boom of the nineties, other buildings push themselves obtrusively into the picture. ... In front of the buildings - nothing but parking spaces for cars." (Tagesspiegel) "Today's Kulturforum is an embarrassing suburban hodge-podge about which any halfway civilized metropolis would be completely embarrassed." (Berliner Morgenpost) The Kulturforum was once on the edge of West Berlin in the shadow of the Berlin Wall. But it is now right in the middle. Berlin's Senate and House of Representatives are undertaking a new attempt to unify the collection of valuable cultural buildings into an attractive whole with a Senate bill on the further development of the open space.
++++++ 14.03.2004 ++++++
Amati viola returns to Saxony
The Stiftung Preußischer Kulturbesitz [Foundation for the Prussian Cultural Heritage] has given the state of Saxony back a valuable musical instrument, an Amati viola from 1613. The purchase price of Euro 100,000 paid by the foundation in 1988 will be reimbursed; the instrument's present market value is estimated to be higher. The foundation emphasized that it took this step out of respect for the historical context, not for legal reasons. The instrument's origin is clearly documented: it is a product of the famous violin maker's workshop of Antonius and Hieronymus Amati from Cremona. Presumably, the instrument was acquired by Heinrich Schütz during his second trip to Italy for the Saxon Electoral Court Orchestra. In a letter, Schütz explained that only in Cremona could one find instruments in the desired quality. It cost four taler (in today's currency, about Euro 200). The instrument got lost in the confusion of the Second World War.
The Stiftung Preußischer Kulturbesitz [Foundation for the Prussian Cultural Heritage] has given the state of Saxony back a valuable musical instrument, an Amati viola from 1613. The purchase price of Euro 100,000 paid by the foundation in 1988 will be reimbursed; the instrument's present market value is estimated to be higher. The foundation emphasized that it took this step out of respect for the historical context, not for legal reasons. The instrument's origin is clearly documented: it is a product of the famous violin maker's workshop of Antonius and Hieronymus Amati from Cremona. Presumably, the instrument was acquired by Heinrich Schütz during his second trip to Italy for the Saxon Electoral Court Orchestra. In a letter, Schütz explained that only in Cremona could one find instruments in the desired quality. It cost four taler (in today's currency, about Euro 200). The instrument got lost in the confusion of the Second World War.
++++++ 14.03.2004 ++++++
Decision about the Symphoniker
On March 17, the Main Committee of Berlin's House of Representatives will decide on the future of the Berlin Symphonic Orchestra. On the previous Thursday, the management side (German Stage Association, Berlin's Opera Foundation, the Konzerthaus Berlin) met with representatives of the German Orchestra Union, the three Berlin opera orchestras and the Berlin Sinfonie-Orchester (BSO) for collective bargaining talks. The musicians showing solidarity with the BSO are forgoing 9 percent of their salary; in exchange they receive an additional 7 days off and the exclusion of redundancies until the end of 2009. This measure would provide Euro 1.215 million annually - but Euro 3.3 mil. are needed. An additional two million will have to be rustled up by the Cultural and Main Committees of the House. Senator of Culture Thomas Flierl "has passed the liquidation buck on to Parliament," says the Berliner Morgenpost. The Greens propose "estimating interest realistically in the budget. The missing Euro 2.1 million could be generated this way, explained Alice Ströver, the party's speaker on cultural policy."
On March 17, the Main Committee of Berlin's House of Representatives will decide on the future of the Berlin Symphonic Orchestra. On the previous Thursday, the management side (German Stage Association, Berlin's Opera Foundation, the Konzerthaus Berlin) met with representatives of the German Orchestra Union, the three Berlin opera orchestras and the Berlin Sinfonie-Orchester (BSO) for collective bargaining talks. The musicians showing solidarity with the BSO are forgoing 9 percent of their salary; in exchange they receive an additional 7 days off and the exclusion of redundancies until the end of 2009. This measure would provide Euro 1.215 million annually - but Euro 3.3 mil. are needed. An additional two million will have to be rustled up by the Cultural and Main Committees of the House. Senator of Culture Thomas Flierl "has passed the liquidation buck on to Parliament," says the Berliner Morgenpost. The Greens propose "estimating interest realistically in the budget. The missing Euro 2.1 million could be generated this way, explained Alice Ströver, the party's speaker on cultural policy."
++++++ 08.03.2004 ++++++
Johann Sebastian Bach manuscripts restored
The Staatsbibliothek zu Berlin (German National Library in Berlin) has restored 3,579 original manuscripts of the composer Johann Sebastian Bach. Almost 8,000 manuscripts, i.e. about 80 percent of what remains of Bach's work, are stored in the library; they are valued at Euro 50,000 per note paper. A single sheet of St. Matthew's Passion is worth more than a million Euros, it is said. The musical folios were severely damaged due to ink corrosion caused by the overly high level of iron flaws in the ink; over the centuries, this destroyed the paper through oxidization. They were treated with a special paper splitting procedure: the folios were split into front and back pages and affixed to supporting sheets with gelatin. The restoration, which cost a total of Euro 1.8 million, was enabled by 1,100 donors from around the world.
The Staatsbibliothek zu Berlin (German National Library in Berlin) has restored 3,579 original manuscripts of the composer Johann Sebastian Bach. Almost 8,000 manuscripts, i.e. about 80 percent of what remains of Bach's work, are stored in the library; they are valued at Euro 50,000 per note paper. A single sheet of St. Matthew's Passion is worth more than a million Euros, it is said. The musical folios were severely damaged due to ink corrosion caused by the overly high level of iron flaws in the ink; over the centuries, this destroyed the paper through oxidization. They were treated with a special paper splitting procedure: the folios were split into front and back pages and affixed to supporting sheets with gelatin. The restoration, which cost a total of Euro 1.8 million, was enabled by 1,100 donors from around the world.
++++++ 08.03.2004 ++++++
Director wanted
The Berliner Philharmonic Orchestra is looking for a director - and has been since former director Franz Xaver Ohnesorg left at the end of 2002. Together with the orchestra and the hall's administrative director, Simon Rattle is currently managing the Philharmonic's business: "a great crash course in business management", as he said recently. Peter Riegelbauer, bassist and orchestra chairman, says that the search committee has been in contact with more than 100 applicants for the position; it is intended to announce a name by June. One important task for a new director: renegotiating the allocation contract with the state of Berlin at the beginning of 2005, as the current subsidy from the lottery foundation of Euro 1.176 million a year will be dropped.
The Berliner Philharmonic Orchestra is looking for a director - and has been since former director Franz Xaver Ohnesorg left at the end of 2002. Together with the orchestra and the hall's administrative director, Simon Rattle is currently managing the Philharmonic's business: "a great crash course in business management", as he said recently. Peter Riegelbauer, bassist and orchestra chairman, says that the search committee has been in contact with more than 100 applicants for the position; it is intended to announce a name by June. One important task for a new director: renegotiating the allocation contract with the state of Berlin at the beginning of 2005, as the current subsidy from the lottery foundation of Euro 1.176 million a year will be dropped.
++++++ 08.03.2004 ++++++
Opera foundation in the New York Times
On March 2, Alan Riding wrote an article in The New York Times on the new opera foundation entitled "A New Act in Berlin's Opera Wars". He cites Daniel Barenboim's recent interview with Die Zeit: "Mr. Barenboim's greatest fear is that the foundation will not respect the artistic independence of each house. If the foundation has a general manager who is responsible for all three houses, he said, it's not very credible that each house will keep its own identity. In the end, we won't have three different houses but only one house with three stages.
"Yet a common criticism has been that the houses lack clear identities. There was, for instance, frequent programming duplication, including one famous night when all three presented Mozart's Marriage of Figaro. It is therefore likely that the foundation will encourage the houses to develop different profiles. At the moment the repertories of the Deutsche Oper and the Staatsoper are interchangeable, said Ms. Barbara Kisseler, under secretary for culture who is overseeing the reform. ... As for the foundation's projected 2007 deficit, Ms. Kisseler said there was ample room for increasing efficiency in non-artistic areas and raising box office and other revenues. We need centralized artistic marketing to fill the houses, she said. At present there is not even central ticketing. Until now each house was interested only in itself. In future we have to serve the interests of all opera in Berlin."
On March 2, Alan Riding wrote an article in The New York Times on the new opera foundation entitled "A New Act in Berlin's Opera Wars". He cites Daniel Barenboim's recent interview with Die Zeit: "Mr. Barenboim's greatest fear is that the foundation will not respect the artistic independence of each house. If the foundation has a general manager who is responsible for all three houses, he said, it's not very credible that each house will keep its own identity. In the end, we won't have three different houses but only one house with three stages.
"Yet a common criticism has been that the houses lack clear identities. There was, for instance, frequent programming duplication, including one famous night when all three presented Mozart's Marriage of Figaro. It is therefore likely that the foundation will encourage the houses to develop different profiles. At the moment the repertories of the Deutsche Oper and the Staatsoper are interchangeable, said Ms. Barbara Kisseler, under secretary for culture who is overseeing the reform. ... As for the foundation's projected 2007 deficit, Ms. Kisseler said there was ample room for increasing efficiency in non-artistic areas and raising box office and other revenues. We need centralized artistic marketing to fill the houses, she said. At present there is not even central ticketing. Until now each house was interested only in itself. In future we have to serve the interests of all opera in Berlin."
++++++ 08.03.2004 ++++++
Flierl demands € 8 mil. savings
Stefan Kirschner writes in the Berliner Morgenpost that total savings of more than Euro eight million by 2007 are being demanded by the Senator for Culture Thomas Flierl. "To achieve this objective, it's not enough for the senator to call an end to the Berlin Symphoniker. Anyone who was listening to the overtones [in the Berlin Senate's Culture Committee] has to be worried about the BSO. Closing them down or integrating them into the ROC [Rundfunk-Orchester und -Chöre Gmbh] and then merging them - that seems to be the question for the house orchestra of the Konzerthaus once again."
more...
Stefan Kirschner writes in the Berliner Morgenpost that total savings of more than Euro eight million by 2007 are being demanded by the Senator for Culture Thomas Flierl. "To achieve this objective, it's not enough for the senator to call an end to the Berlin Symphoniker. Anyone who was listening to the overtones [in the Berlin Senate's Culture Committee] has to be worried about the BSO. Closing them down or integrating them into the ROC [Rundfunk-Orchester und -Chöre Gmbh] and then merging them - that seems to be the question for the house orchestra of the Konzerthaus once again."
more...
++++++ 06.03.2004 ++++++
"A hopeless optimist" - Interview with Simon Rattle
Wolfgang Fuhrmann, music writer for the Berliner Zeitung, held an interview with Simon Rattle, chief conductor of the Berlin Philharmonic Orchestra, in the course of which Rattle made several interesting statements about Berlin's culture and music scene. Klassik-in-Berlin is publishing a few excerpts here [translation by Nancy Chapple]; you can find the complete interview at www.berlinonline.de.
"I have the feeling that even despite all the financial problems [in Berlin], there is a will to preserve culture. Of course the city has been bankrupt for quite some time - but not in the arts. Not all institutions can survive; that's been clear for quite some time, but the musical variety of this city is really important. Maybe I'm just a hopeless optimist. ... The artistic variety in Berlin is one of the reasons why people come here, why people want to live here. ... The idea of public-private partnership has long been established in England and America, and here too things will have to change."
Asked how the orchestra's playing has changed recently, Rattle said: "They've been confronted with so many new ideas - new ways of developing program concepts, new ways of playing, the new Education project - and what I love about them is the generosity with which they say: Give it to us! ... I came here and was afraid the orchestra would complain that I rehearse too much. Instead they come to me and say: 'We need more time for that.'"
On the recurring question of a new director for the Philharmonic Orchestra: "I think it's not so complicated to lead this organization, since it's full of committed people. But one does need a very special person to head up such a democracy. It really is one. Part of my task when I came here was to encourage these democratic tendencies. ... There were a number of really very interesting candidates, and there still are. And I'm very optimistic that we will find someone - though I already said that nine months ago. We need someone who can help us in so many different ways. Not least to find out: What is an orchestra in this century? What should we do in ten, in twenty years? What is our position in the world, in this city? How can we help to prevail over the problems of art in this city?"
Wolfgang Fuhrmann, music writer for the Berliner Zeitung, held an interview with Simon Rattle, chief conductor of the Berlin Philharmonic Orchestra, in the course of which Rattle made several interesting statements about Berlin's culture and music scene. Klassik-in-Berlin is publishing a few excerpts here [translation by Nancy Chapple]; you can find the complete interview at www.berlinonline.de.
"I have the feeling that even despite all the financial problems [in Berlin], there is a will to preserve culture. Of course the city has been bankrupt for quite some time - but not in the arts. Not all institutions can survive; that's been clear for quite some time, but the musical variety of this city is really important. Maybe I'm just a hopeless optimist. ... The artistic variety in Berlin is one of the reasons why people come here, why people want to live here. ... The idea of public-private partnership has long been established in England and America, and here too things will have to change."
Asked how the orchestra's playing has changed recently, Rattle said: "They've been confronted with so many new ideas - new ways of developing program concepts, new ways of playing, the new Education project - and what I love about them is the generosity with which they say: Give it to us! ... I came here and was afraid the orchestra would complain that I rehearse too much. Instead they come to me and say: 'We need more time for that.'"
On the recurring question of a new director for the Philharmonic Orchestra: "I think it's not so complicated to lead this organization, since it's full of committed people. But one does need a very special person to head up such a democracy. It really is one. Part of my task when I came here was to encourage these democratic tendencies. ... There were a number of really very interesting candidates, and there still are. And I'm very optimistic that we will find someone - though I already said that nine months ago. We need someone who can help us in so many different ways. Not least to find out: What is an orchestra in this century? What should we do in ten, in twenty years? What is our position in the world, in this city? How can we help to prevail over the problems of art in this city?"
++++++ 03.03.2004 ++++++
News on Berlin's conductors
Starting in the fall of 2006, Kent Nagano will become music director of the Orchestre Symphonique de Montréal, which was headed by Charles Dutoit until 2002. His contract with the Deutsche Symphonie-Orchester will run out at that point, though he has agreed to conduct the orchestra in four concert projects each in both the 2006/2007 and 2007/2008 seasons. He is already music director of the Los Angeles Opera, where he will inaugurate a new production of Wagner's Ring Cycle in 2006. In 2006, he also replaces Zubin Mehta as music director of the Bavarian State Opera in Munich. In recent months, Nagano had been touted as a potential successor to Daniel Barenboim at the Chicago Symphony Orchestra and even Lorin Maazel at the New York Philharmonic.
After fifteen years, Daniel Barenboim, music director of Berlin's Staatsoper, will be giving up his position as music director of the Chicago Symphony Orchestra at the end of the 2005/06 season. He said there have been ongoing conflicts with administration and trustees regarding the ‚non-artistic' side of his directorship. In interviews with the Chicago Tribune and Chicago Sun-Times, he is quoted as saying "It is expected in America for the music director to be, I suppose, more present than has been the case. Because of financial difficulties and the diminished role of music, there are expectations for music directors to do a lot of things concerned with fund-raising, with social activities. With age, I get less interested and less patient with managerial and administrative problems. I have neither the energy nor the time to fulfill those added responsibilities."
Starting in the fall of 2006, Kent Nagano will become music director of the Orchestre Symphonique de Montréal, which was headed by Charles Dutoit until 2002. His contract with the Deutsche Symphonie-Orchester will run out at that point, though he has agreed to conduct the orchestra in four concert projects each in both the 2006/2007 and 2007/2008 seasons. He is already music director of the Los Angeles Opera, where he will inaugurate a new production of Wagner's Ring Cycle in 2006. In 2006, he also replaces Zubin Mehta as music director of the Bavarian State Opera in Munich. In recent months, Nagano had been touted as a potential successor to Daniel Barenboim at the Chicago Symphony Orchestra and even Lorin Maazel at the New York Philharmonic.
After fifteen years, Daniel Barenboim, music director of Berlin's Staatsoper, will be giving up his position as music director of the Chicago Symphony Orchestra at the end of the 2005/06 season. He said there have been ongoing conflicts with administration and trustees regarding the ‚non-artistic' side of his directorship. In interviews with the Chicago Tribune and Chicago Sun-Times, he is quoted as saying "It is expected in America for the music director to be, I suppose, more present than has been the case. Because of financial difficulties and the diminished role of music, there are expectations for music directors to do a lot of things concerned with fund-raising, with social activities. With age, I get less interested and less patient with managerial and administrative problems. I have neither the energy nor the time to fulfill those added responsibilities."
++++++ 18.02.2004 ++++++
MoMA and the Berlin Philharmonic
New York's MoMA, the Museum of Modern Art, will be a guest in Berlin's Neue Nationalgalerie from February 20 to September 19. The exhibition will consist of 200 of their most significant paintings and sculptures, from the late Impressionists to works of the classical modern period to contemporary art (Edward Hopper, Willem de Kooning, Roy Lichtenstein, Paul Cézanne, Marc Chagall, René Magritte, Auguste Rodin, Pablo Picasso, Wassily Kandinsky, Salvador Dali, Vincent van Gogh and Barnett Newman).
A total of 93 events will be staged around this cultural highlight - to be called the "American Season 2004". The Berlin Philharmonic will kick it off on February 19 with John Adams's "Century Rolls" for piano and orchestra.
You can find more information about the exhibition at
www.das-moma-in-berlin.de.
New York's MoMA, the Museum of Modern Art, will be a guest in Berlin's Neue Nationalgalerie from February 20 to September 19. The exhibition will consist of 200 of their most significant paintings and sculptures, from the late Impressionists to works of the classical modern period to contemporary art (Edward Hopper, Willem de Kooning, Roy Lichtenstein, Paul Cézanne, Marc Chagall, René Magritte, Auguste Rodin, Pablo Picasso, Wassily Kandinsky, Salvador Dali, Vincent van Gogh and Barnett Newman).
A total of 93 events will be staged around this cultural highlight - to be called the "American Season 2004". The Berlin Philharmonic will kick it off on February 19 with John Adams's "Century Rolls" for piano and orchestra.
You can find more information about the exhibition at
www.das-moma-in-berlin.de.
++++++ 12.02.2004 ++++++
Capital City Cultural Fund 2004
The Joint Commission for the Capital City Cultural Fund has decided which projects it will sponsor in the year 2004. 103 of a total of 405 submitted project applications will be awarded a total volume of Euro 5.1 mil. The sponsored projects with a direct link to music are contributions to contemporary opera productions in cooperation with the Komische Oper and the Staatsoper and the presentation of contemporary Iraqi and Palestinian musik. Other interesting projects include an homage to Heiner Müller, a comprehensive exhibition of Japanese archaeology and a symposion on the status of the political in current art and culture.
The Joint Commission for the Capital City Cultural Fund has decided which projects it will sponsor in the year 2004. 103 of a total of 405 submitted project applications will be awarded a total volume of Euro 5.1 mil. The sponsored projects with a direct link to music are contributions to contemporary opera productions in cooperation with the Komische Oper and the Staatsoper and the presentation of contemporary Iraqi and Palestinian musik. Other interesting projects include an homage to Heiner Müller, a comprehensive exhibition of Japanese archaeology and a symposion on the status of the political in current art and culture.
++++++ 02.02.2004 ++++++
Fewer professional musicians
The number of salaried professional musicians in German orchestras fell by 120 positions in the past 24 months to 10,325 instrumentalists. Nonetheless, the number of people attending orchestral concerts increased by an average of 3.9 percent.
The number of salaried professional musicians in German orchestras fell by 120 positions in the past 24 months to 10,325 instrumentalists. Nonetheless, the number of people attending orchestral concerts increased by an average of 3.9 percent.
++++++ 30.01.2004 ++++++
Restructuring the Berliner Festwochen
Under the responsibility of their director Joachim Sartorius, the Berliner Festwochen have often been subject to severe criticism ("too unspectacular, too long, too undifferentiated", Berliner Morgenpost, Jan. 24, 2004; "disappointed reviews, scathing retrospectives, lack of interest from the public and public reprimands from the State Minister of Culture", Berliner Zeitung, Jan 24, 2004). As a reaction, they will be replaced in the fall of 2004 by "spielzeiteuropa" and an international orchestra festival. The festival will also make more use of their own theater, the Haus der Berliner Festspiele in Schaperstraße. "spielzeiteuropa" will present European guest performances and co-productions with Berlin ensembles from mid-November through January, up to 15 productions. The focus next winter will be on The Netherlands. The orchestra festival will be in cooperation with the Berlin Philharmonic Orchestra. According to Sartorius, it is intended to bring star orchestras, exquisite smaller groups and also a "major opera guest performance" to the city. And as far as contemporary music theater: there will be premieres in September 2004 of Interzone by Enno Poppe, with a libretto based on a novel by William Burroughs, and Bérenice by Johannes Maria Staud, libretto by Durs Grünbein.
Under the responsibility of their director Joachim Sartorius, the Berliner Festwochen have often been subject to severe criticism ("too unspectacular, too long, too undifferentiated", Berliner Morgenpost, Jan. 24, 2004; "disappointed reviews, scathing retrospectives, lack of interest from the public and public reprimands from the State Minister of Culture", Berliner Zeitung, Jan 24, 2004). As a reaction, they will be replaced in the fall of 2004 by "spielzeiteuropa" and an international orchestra festival. The festival will also make more use of their own theater, the Haus der Berliner Festspiele in Schaperstraße. "spielzeiteuropa" will present European guest performances and co-productions with Berlin ensembles from mid-November through January, up to 15 productions. The focus next winter will be on The Netherlands. The orchestra festival will be in cooperation with the Berlin Philharmonic Orchestra. According to Sartorius, it is intended to bring star orchestras, exquisite smaller groups and also a "major opera guest performance" to the city. And as far as contemporary music theater: there will be premieres in September 2004 of Interzone by Enno Poppe, with a libretto based on a novel by William Burroughs, and Bérenice by Johannes Maria Staud, libretto by Durs Grünbein.
++++++ 17.01.2004 ++++++
roc
The Rundfunk-Orchester und -Chöre (roc) GmbH, an association of two orchestras and two choirs, was founded in 1994: Deutsches Symphonie-Orchester, Rundfunk-Sinfonieorchester Berlin, RIAS Kammerchor and Rundfunkchor. Thus far, financing has been divided among the federal government (35%), Deutschlandradio (40%) - which records many of the concerts for international distribution, Berlin's state radio station Radio Berlin-Brandenburg (RBB: 5%), and the city of Berlin (20%). The federal government has also recently announced their intention to reduce their subsidy by 1.5% in 2004 and 3% in 2005. It is thus likely that the three other partners will reduce their support accordingly. This would mean that the overall budget for 2005 will be reduced by almost one million Euros. The four ensembles employ 360 people.
The Rundfunk-Orchester und -Chöre (roc) GmbH, an association of two orchestras and two choirs, was founded in 1994: Deutsches Symphonie-Orchester, Rundfunk-Sinfonieorchester Berlin, RIAS Kammerchor and Rundfunkchor. Thus far, financing has been divided among the federal government (35%), Deutschlandradio (40%) - which records many of the concerts for international distribution, Berlin's state radio station Radio Berlin-Brandenburg (RBB: 5%), and the city of Berlin (20%). The federal government has also recently announced their intention to reduce their subsidy by 1.5% in 2004 and 3% in 2005. It is thus likely that the three other partners will reduce their support accordingly. This would mean that the overall budget for 2005 will be reduced by almost one million Euros. The four ensembles employ 360 people.
++++++ 17.01.2004 ++++++
Opera house employees react to contractual changes
As planned, the new opera foundation went into effect on January 1, 2004. Numerous employees of the three Berlin opera houses have vetoed being taken over in the opera foundation. Senator of Culture Thomas Flierl responded with a press release entitled "Theater Thunder in the Opera Foundation": the transition of all employment contracts to the foundation has been regulated by law, and thus employees have no right of objection.
As planned, the new opera foundation went into effect on January 1, 2004. Numerous employees of the three Berlin opera houses have vetoed being taken over in the opera foundation. Senator of Culture Thomas Flierl responded with a press release entitled "Theater Thunder in the Opera Foundation": the transition of all employment contracts to the foundation has been regulated by law, and thus employees have no right of objection.
++++++ 17.01.2004 ++++++
Opera audiences
The Staatsoper unter den Linden sold 277,000 tickets in 2003, and the Deutsche Oper close to that number (276,831). However, the Deutsche Oper has 470 more seats to fill every night. Thus the Deutsche Oper was working at 67 percent capacity, while the Staatsoper managed 80 percent.
The Staatsoper unter den Linden sold 277,000 tickets in 2003, and the Deutsche Oper close to that number (276,831). However, the Deutsche Oper has 470 more seats to fill every night. Thus the Deutsche Oper was working at 67 percent capacity, while the Staatsoper managed 80 percent.
++++++ 17.01.2004 ++++++
Komische Oper
Per Boye Hansen, formerly Artistic Operating Director at the Komische Oper Berlin, became the opera house's new Opera Director in September, forming a team with Andreas Homoki, Acting Head and Chief Director, and Kirill Petrenko, General Music Director. In an interview with the Berliner Morgenpost, the Norwegian stresses that he sees the Komische Oper "in a lucky position", points out that leading directors can work under better conditions at his house than at others, citing Peter Konwitschny, Willy Decker and David Alden. He thinks of himself as a vocal discoverer: in his role as head of casting he has assembled a young ensemble of soloists from thirteen countries over the past two years.
Per Boye Hansen, formerly Artistic Operating Director at the Komische Oper Berlin, became the opera house's new Opera Director in September, forming a team with Andreas Homoki, Acting Head and Chief Director, and Kirill Petrenko, General Music Director. In an interview with the Berliner Morgenpost, the Norwegian stresses that he sees the Komische Oper "in a lucky position", points out that leading directors can work under better conditions at his house than at others, citing Peter Konwitschny, Willy Decker and David Alden. He thinks of himself as a vocal discoverer: in his role as head of casting he has assembled a young ensemble of soloists from thirteen countries over the past two years.
++++++ 01.12.2003 ++++++
ClassicCard - The Card for young people
The ClassicCard network consists of: Berliner Festspiele, Berliner Symphoniker, Deutsche Oper Berlin, Komische Oper Berlin, Konzerthaus Berlin, Staatsoper Unter den Linden and the roc berlin ensembles (Deutsches Symphonie-Orchester Berlin, Rundfunk-Sinfonie-Orchester Berlin, RIAS-Kammerchor and Rundfunkchor Berlin).
The card is valid for twelve months after the date you choose and can be used as often as you would like for events organized by the ClassicCard partners. Purchasing tickets with the ClassicCard can only be done at the box office for that evening in conjunction with a valid identity card. The card is valid for all events held by the ClassicCard partners; unfortunately, admission to guest events cannot be discounted. The ClassicCard is non-transferrable.
The ClassicCard can be ordered by telephone at 030 203545-55 or by fax at 030 202987-29. You can also place your order by mail by writing to roc berlin, Team ClassicCard, Charlottenstraße 56, 10117 Berlin or via the Internet at www.classiccard.de.
The ClassicCard network consists of: Berliner Festspiele, Berliner Symphoniker, Deutsche Oper Berlin, Komische Oper Berlin, Konzerthaus Berlin, Staatsoper Unter den Linden and the roc berlin ensembles (Deutsches Symphonie-Orchester Berlin, Rundfunk-Sinfonie-Orchester Berlin, RIAS-Kammerchor and Rundfunkchor Berlin).
The card is valid for twelve months after the date you choose and can be used as often as you would like for events organized by the ClassicCard partners. Purchasing tickets with the ClassicCard can only be done at the box office for that evening in conjunction with a valid identity card. The card is valid for all events held by the ClassicCard partners; unfortunately, admission to guest events cannot be discounted. The ClassicCard is non-transferrable.
The ClassicCard can be ordered by telephone at 030 203545-55 or by fax at 030 202987-29. You can also place your order by mail by writing to roc berlin, Team ClassicCard, Charlottenstraße 56, 10117 Berlin or via the Internet at www.classiccard.de.
++++++ 27.10.2003 ++++++
Opera foundation, part II
The heated discussions go on. Most recently, the political opposition (i.e., the CDU, CSU and FDP) has proposed that a separate federal foundation be established for the Staatsoper Unter den Linden. The national significance of the Staatsoper has been compared to La Scala in Milano and Austria's Viennese State Opera, and Angela Merkel of the CDU said, "This is one of Germany's national symbols." It is cited as historically important that the opera house was created by the Prussian kingdom and financed by the government or the Prussian state through the end of the Second World War, that the GDR took over this institutional heritage - and that the federal government omitted to take it on in the confusing days of reunification. The FDP asserts that private individuals and companies are eager to endow a national opera - and that they would not be willing to do so with an intransparent foundation for all three houses. It appears to be a political move to unsettle the SPD's proposed set-up of one foundation for all three Berlin opera houses.
The service union ver.di greeted the proposal as "a feasible way to give all three operas in Berlin a secure long-term perspective." The reaction from Christina Weiss, Federal Minister of Culture: "Demanding a national opera is a sad reflection of what passes for cultural policy making. It's the most expensive of all conceivable options and would be the end of the trio of operas in the capital." Andreas Homoki, artistic director of the Komische Oper: "The whole purpose of the opera reform - abolishing the unhealthy competition among the three houses and transitioning to productive dialogue - would be called into question once again." The artistic director of the Deutsche Oper, Heinz-Dieter Sense, considers this initiative a last rebellion against the opera reform - and a personal slap in the face for the Staatsoper's fellow negotiating partners.
The heated discussions go on. Most recently, the political opposition (i.e., the CDU, CSU and FDP) has proposed that a separate federal foundation be established for the Staatsoper Unter den Linden. The national significance of the Staatsoper has been compared to La Scala in Milano and Austria's Viennese State Opera, and Angela Merkel of the CDU said, "This is one of Germany's national symbols." It is cited as historically important that the opera house was created by the Prussian kingdom and financed by the government or the Prussian state through the end of the Second World War, that the GDR took over this institutional heritage - and that the federal government omitted to take it on in the confusing days of reunification. The FDP asserts that private individuals and companies are eager to endow a national opera - and that they would not be willing to do so with an intransparent foundation for all three houses. It appears to be a political move to unsettle the SPD's proposed set-up of one foundation for all three Berlin opera houses.
The service union ver.di greeted the proposal as "a feasible way to give all three operas in Berlin a secure long-term perspective." The reaction from Christina Weiss, Federal Minister of Culture: "Demanding a national opera is a sad reflection of what passes for cultural policy making. It's the most expensive of all conceivable options and would be the end of the trio of operas in the capital." Andreas Homoki, artistic director of the Komische Oper: "The whole purpose of the opera reform - abolishing the unhealthy competition among the three houses and transitioning to productive dialogue - would be called into question once again." The artistic director of the Deutsche Oper, Heinz-Dieter Sense, considers this initiative a last rebellion against the opera reform - and a personal slap in the face for the Staatsoper's fellow negotiating partners.
++++++ 26.10.2003 ++++++
Changing times
Changing times for orchestral musicians: German's Theater Association (Deutscher Bühnenverein) wants to remove the privileges musicians have compared to other theater employees. In the future, musicians who play fewer shifts in their own orchestra than in their contracts are to be lent out to other orchestras. The Bühnenverein also argues that instrumental musicians should work under short-term contracts - just as actors, singers and dancers do.
Christina Weiss, German state minister of culture, comments on these proposed changes in orchestral musicians' collective wage agreements: "The radical transformation in our cultural landscape necessitates that musicians take leave of their spoiled life in ivory towers. If the orchestras are to have a future, privileges and monetary advantages have to be abolished. An expectation of financial entitlement should be in healthy proportion to a state's economic situation."
Changing times for orchestral musicians: German's Theater Association (Deutscher Bühnenverein) wants to remove the privileges musicians have compared to other theater employees. In the future, musicians who play fewer shifts in their own orchestra than in their contracts are to be lent out to other orchestras. The Bühnenverein also argues that instrumental musicians should work under short-term contracts - just as actors, singers and dancers do.
Christina Weiss, German state minister of culture, comments on these proposed changes in orchestral musicians' collective wage agreements: "The radical transformation in our cultural landscape necessitates that musicians take leave of their spoiled life in ivory towers. If the orchestras are to have a future, privileges and monetary advantages have to be abolished. An expectation of financial entitlement should be in healthy proportion to a state's economic situation."
++++++ 13.10.2003 ++++++
Subsidies
In the next five years, Berlin will reduce its subsidies for orchestras by more than 25%. This will take place within mid-term financial planning related to Berlin's financial distress and the city's ongoing lawsuit for higher federal assistance. Thus of the EUR 38 million with which the state of Berlin currently supports its symphonies, about EUR 9 million are to be removed from the budget by 2008.
In the next five years, Berlin will reduce its subsidies for orchestras by more than 25%. This will take place within mid-term financial planning related to Berlin's financial distress and the city's ongoing lawsuit for higher federal assistance. Thus of the EUR 38 million with which the state of Berlin currently supports its symphonies, about EUR 9 million are to be removed from the budget by 2008.
++++++ 13.10.2003 ++++++
Berliner Symphoniker
Since divided Berlin became one, the city has 8 orchestras, including three at the opera houses. Berlin's smallest orchestra - the Berliner Symphoniker with 52 musicians - is threatened with having to close down completely. Berlin's Senator for Culture, Thomas Flierl, has announced that the entire subsidy of EUR 3.3 million will be slashed, and that the orchestra should be phased out by the summer of 2004. The orchestra has specialized in youth work, and has many loyal subscribers. They've already had to cut close to 20 positions over the last ten years, which means they omit Bruckner or Mahler symphonies from their repertoire. They tend to focus on the more traditional repertoire, i.e. Mozart, Beethoven and Brahms, leaving more modern experiments to the larger orchestras. The orchestra's director, Jochen Thärichen, calls them "the orchestra for the small wallet" - referring to both the ticket prices and what the musicians earn.
Since divided Berlin became one, the city has 8 orchestras, including three at the opera houses. Berlin's smallest orchestra - the Berliner Symphoniker with 52 musicians - is threatened with having to close down completely. Berlin's Senator for Culture, Thomas Flierl, has announced that the entire subsidy of EUR 3.3 million will be slashed, and that the orchestra should be phased out by the summer of 2004. The orchestra has specialized in youth work, and has many loyal subscribers. They've already had to cut close to 20 positions over the last ten years, which means they omit Bruckner or Mahler symphonies from their repertoire. They tend to focus on the more traditional repertoire, i.e. Mozart, Beethoven and Brahms, leaving more modern experiments to the larger orchestras. The orchestra's director, Jochen Thärichen, calls them "the orchestra for the small wallet" - referring to both the ticket prices and what the musicians earn.
++++++ 13.10.2003 ++++++
Philharmonie's 40th birthday
Berlin's Philharmonie recently celebrated its 40th birthday in style. When it was built, it was quite a brave idea to construct a dramatic new building directly facing the Berlin wall at the end of the bus line. Perhaps building it there was prophetic, because after re-unification, it became the middle of town. Hans Scharoun's hall fits in well with the other modern architecture projects built at Potsdamer Platz. And the back doors are now just as much in use as the front.
Berlin's Philharmonie recently celebrated its 40th birthday in style. When it was built, it was quite a brave idea to construct a dramatic new building directly facing the Berlin wall at the end of the bus line. Perhaps building it there was prophetic, because after re-unification, it became the middle of town. Hans Scharoun's hall fits in well with the other modern architecture projects built at Potsdamer Platz. And the back doors are now just as much in use as the front.
++++++ 13.10.2003 ++++++
Opera foundation
The culture committee of Berlin's House of Representatives has discussed the draft law on founding an opera foundation for Berlin's opera houses, to be started on January 1, 2004. Christina Weiss, federal minister of culture, has described the foundation's basic objectives:
The culture committee of Berlin's House of Representatives has discussed the draft law on founding an opera foundation for Berlin's opera houses, to be started on January 1, 2004. Christina Weiss, federal minister of culture, has described the foundation's basic objectives:
- The Berlin operas will be managed as economically independent and artistically autonomous companies under the umbrella of a foundation.
- The modern operating structures of the individual opera houses should serve as an example for other states and communities.
- The foundation council and the supervisory board are to be distant from the state and filled with experts and multipliers.
- The opera houses are to work with modern tariff arrangements that take into account theaters' specific operating conditions.
- The houses themselves bear responsibility for success and failure. Cross-subsidies are absolutely not allowed.
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Annoyance of the Year
The monthly glossy "Opernwelt", Germany's most important opera magazine, has declared Frankfurt's Opera "Opera of the Year". Berlin's opera houses were awarded the title "Annoyance of the Year" due to their management and the overall cultural adversity in Berlin's politics. Explicitly, the magazine wrote that the Komische Oper had had several flops in a row under their new Head Director Andreas Homoki; that they resented new productions at the Staatsoper; and that at the Deutsche Oper, the "over-appreciation" of General Music Director Christian Thielemann made for minus points. Frankfurt's opera house was praised for their eight opera premieres and belcanto concerts, and also for the supertitles used at every performance (including those in German).
The monthly glossy "Opernwelt", Germany's most important opera magazine, has declared Frankfurt's Opera "Opera of the Year". Berlin's opera houses were awarded the title "Annoyance of the Year" due to their management and the overall cultural adversity in Berlin's politics. Explicitly, the magazine wrote that the Komische Oper had had several flops in a row under their new Head Director Andreas Homoki; that they resented new productions at the Staatsoper; and that at the Deutsche Oper, the "over-appreciation" of General Music Director Christian Thielemann made for minus points. Frankfurt's opera house was praised for their eight opera premieres and belcanto concerts, and also for the supertitles used at every performance (including those in German).
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