Cher Public

reviewer no longer to be confused by his notes

La Cieca’s cher public — and music lovers around the world — won’t have Bernard Holland to kick around any more.  The veteran classical music reviewer is leaving the New York TImes after 27 years, though to us who read him regularly it has easily seemed twice that.  Holland is one of about 85 NYT newsroom employees who have accepted a buyout offer intended to streamline the paper’s staff.

Remaining full-time classical music reviewers are Anthony Tommasini and Allan Kozinn; the paper also publishes reviews by James R. Oestreich (editor of classical music and dance) and freelancers Steve Smith and Vivien Schweitzer. [via]

  • Sanford

    I was reading the NYTimes this sunday and saw those tantalizing bits of casting news.

  • Nerva Nelli

    Well, Ewa is ill with bronchitis and has cancelled ; Sonia Prina will be taking her place. Also in the cast: Richard Croft and Veronica Cangemi.

  • “Veronica Cangemi” sounds like a great name for a commenter.

  • High C’s @ 4:20


  • Berlinfan

    I can’t quite imagine anything by Zimmermann amounting to a “Disney ride.” But that said, I also can’t quite imagine why the moving tracks of audience seating are necessary. Has anyone seen the original production at the Ruhr Festival?

  • kashania

    jfmurray3: I have a recording of that Jessye double-header in Troyens as well and she is simply stupendous. The 3-minute ovation she gets after “Adieu fiere cite” is huge. What’s amazing is that she sings her heart out throughout the whole performance, never holding back as Cassandre and with plenty of voice left for Didon. Too bad her Enee was Ed Sooter.

  • “It is past time for Peter Martins to depart, but there is no one, anywhere, with the requisite knowledge of the Balanchine repertory to replace Martins.”

    What about Sean Lavery?

  • “I also can’t quite imagine why the moving tracks of audience seating are necessary.”

    Probably not necessary, but possibly useful. Have you ever been in the Armory? It runs all the way from Park Avenue to Lexington Avenue. A big opera house if you’re wearing heels!

  • Hey thanks for the nod, above, jfmurray3. Nice of you to say!

  • jack jikes

    Indeed Macaulay and his ilk were suckled on the venomous
    tit of Arlene Crotchrot. Martins’s preservation of a wide spectrum of work by established masters is unique in ballet history. He is the world’s greatest living CLASSICAL choreographer and has a body of work of great distinction.

  • DirkVa: Sean Lavery has only been successful in developing male dancers. Lavery is a very serious dance master, and he works very closely and very successfully with Peter Martins, but neither Lavery nor Martins seems to have any luck in developing female dancers. That is probably the single most critical concern right now.

    Jack: Not everyone thinks highly of Martins’ choreographic skills. What do you think is his finest ballet? I have no candidate to name, other than “none of the above”. And I am not a Martins hater, I assure you. He has excellent administrative skills and has kept the company in excellent financial health for a quarter century. Not everyone could have accomplished that.

  • brooklynpunk


    Company moral at NYCB under Peter M. has reached epically low levels…, he is , indeed a good fund raiser…but a horrible successor to the Balanchine Style..

    I would love to see…but know it will never happen--Susanne Farrell take her rightful place, as custodian of Mr. B’s works…

    I WOULD be very interested in hearing what you feel is a good Martins dance-work—and no flame intended to you…or for that matter, Mr. Martens (who danced like a dream , in his day….

  • jfmurray3

    I like Maury D’annato’s writing so much I might change my name to Jfmaury3. Seriously, I would love to see MauryD and JJ take over some opera writing at the Times.

    On a side note -- superb performance this evening by Kelly O’Connor in Lieberson’s Neruda Songs with the Chicago Symphony Orchestra at Carnegie Hall. The last 3 sonnets in particular were exceptional. (Haitink and the CSO brass brought down the house in Mahler 1.)

  • jack jikes

    Drew and brooklynpunk: Suzanne was -- along with Callas and Gould -- among the performing artists who, consumed my life and therein reigned supreme . As an administrator she is challenged on every level. She has no achievement of distinction in that realm.
    As to Martins’s many masterworks, I offer another trinity --
    ‘Morgen’ ( Richard Strauss songs), ‘Les Petites Riens’ (Mozart -classicism of the highest order) and ‘Fearful Symmetries’ (John Adams -- in worldwide repertory.) There are many, many more.
    Save for a brief time in Baryshnikov’s tenure and extending into Balanchine’s dotage, company morale was never particularly ‘high.’ Many got the big thing -- most did not.
    (Many ballet goers and dancers STILL don’t.)
    Lincoln Kirstein was fond of quoting Samuel Goldwyn --
    ‘Happy companies make bad movies.’
    I don’t agree. I can imagine an enchanted order.