Cher Public

Blind arrogance

Which rat-faced former elected official—who has been coasting on (and profiting off) the one good week he had 13 years ago ever since then—is now about to stick his notoriously art-hating snout into Monday night’s anti-Klinghoffer demonstrations?

  • Don_Dano

    I am a bit afraid to ask this question…. but is XMSirius NOT broadcasting opening night?

    I was just looking at what I think is an accurate XMSirius schedule and I am not seeing it for Monday.

    • Indiana Loiterer III

      XMSirius isn’t broadcasting any of the Klinghoffers.

    • Don_Dano

      Thanks everyone. I am quite glad that I have a long weekend in NYC planned for November since it seems to be, “hear it in person; or not at all”.

  • Constantine A. Papas

    Are we going through a new period of inquisition? BTW, New York is not the greatest of the world; it’s the world.Period.

    • Jungfer Marianne Leitmetzerin

      Not so much an inquisition as a group of professional victims and their mindless sheep making enough noise, not the least of which is financial in nature: it’s been clearly stated that Gelbs’s decision to cancel all broadcasts of “The Death of Klinghoffer” in all media was formed after complaints by the Anti-Defamation League AND – this is the important part – several prominent members of the Met’s board, who telephoned and e-mailed him. Shall we hazard a guess that something like “You stage this piece of blasphemy and you’ll never see another dollar from me” was offered up by some of those board members?

      And yes, NYC is the world, but can Wien be, say, Venus? Say something nice or we won’t let our Philharmoniker go to Carnegie Hall anymore.

      • Satisfied

        We love your wiener schnitzel! Now please allow your philharmoniker to return…ideally without Most conducting.

        • Jungfer Marianne Leitmetzerin

          Rest assured: Most is toast! I cannot tell you how much we hate that arrogant little bastard! Let Staatsoper go without a Music Director -- it has for long periods in the past -- until it can find someone who can actually fulfill the post (Ozawa was, sad to say, a total joke in the position).

          Too bad that Bertrand de Billy and Dominique Meyer (whose contract has been extended through 2020) had such an acrimonious parting of the ways, and Philippe Jordan (who has just taken over the Symphoniker) is operatically tied to Paris through (I believe) 2018.

          I think we have a strong enough podium roster that we can go a season or more without an official GMD.

          Let me also just mention that the Philharmoniker is a bit up in the air over the Welser-Most situation, as all of its members either had to or still have to play in the Staatsopernorchester. So his future with the Philharmoniker is (thankfully) in doubt. But lucky Cleveland gets to keep him!

          And, by the way, Tafelspitz trumps Schnitzel any day, if done right.

          • umangialaio

            Any rumors about who is going to step on the podium for Elektra statt Franz? I am dreaming of Salonen…



            • Feldmarschallin

              Will you be there as well? We will be there on the 4th and 5th for the Elektra and Parsifal. I would also take Petrenko :) Just no Gatti for me please.

            • Jungfer Marianne Leitmetzerin

              I haven’t heard anything yet. It may very well come down to either an unknown – perhaps some young talent from Praha or Budapest – or someone who always seems available, like Peter Schneider or Adam Fischer or Michael Boder. Or possibly Cornelius Meister (GMD of RSO-Wien), who jumped into a “Walküre” this past spring for his Staatsoper debut.

              Welser-Möst was pretty quiet about the conditions which led him to resign, but the fiery speech by Bertrand de Billy against Dominique Meyer certainly has not painted Staatsoper as a place for unbridled artistic freedom of expression (oh, the world of Viennese arts politics!). So perhaps someone who worked with Meyer in his Paris years…?

              I wouldn’t hope for a “world class” maestro like Salonen, or even Gatti (who I also hope does NOT find time in his busy schedule). I just checked and Jordan is set for the Matthäuspassion with the Symphoniker on the night of the prima (29. March) which is the performance I’ll be attending.

              After a really packed traversal of the summer festivals (three shows at Bregenz, seven at Bayreuth, six at Salzburg), I haven’t quite gotten back into the swing of things except for the “Charodeyka” at Theater an der Wien. I may go to a Staatsoper “Tannhäuser” (into which Peter Schneider has jumped), primarily to see Claus Guth’s wondrous production again, and will see if there are any rumors floating about. I’ll keep you posted.

              Perhaps we can all meet before or after the shows on 04 or 05 April – coffee or cocktails? 04 April would be better for me as I am planning to run over to Salzburg on 05 or 06 April for Jonas Kaufmann’s “Cav”/”Pag” at the Osterfestspiele. Let’s keep in touch on this, please.

              Right now, I am more concerned with our fellow Parterrians in NYC who will brave the teaming throngs at the prima of “The Death of Klinghoffer” at the Met tomorrow night. It looks as if it has the potential to turn very nasty, and with the media blackout which Gelb agreed to, I will be checking the news on the Internet every half hour or so.

            • umangialaio

              I have a reservetion to bestaetigen und bezahlen (within tomorrow evening) for the last Eelktra on April 16th. So I have to make up my mind.

              By the way, I very much enjoyed the Ariadne broadcast yesterday evening with Fally, Botha, Isokoski and Thielemann conducting. I like Thilemann’s R. Strauss more than his Wagner.


      • Howling in Tune

        Viennese desserts are delicious.

        • Jungfer Marianne Leitmetzerin

          Howlking: Vielen Dank! I am channeling virtual Punschkrapfen to you!

        • Feldmarschallin

          Marianne we arrive in Wien on the 4th in the afternoon. Leaving Monday morning since no desire to see that ancient Rosenkavalier with Serafin even though Garanca would sweeten the deal.

    • Guestoria Unpopularenka


      • Jungfer Marianne Leitmetzerin

        I had to go to Urban Dictionary to understand “Murica,” but I now understand your comment. Having not been to the States in more than a decade I may be too removed and/or naive, but is this kind of reaction so pervasive in American culture in 2014? I kind of had the impression that it was dying out (or at least being called out) in the post-Bush years.

        • aulus agerius

          Did you watch the video with Fabiano and Scotto, Marianne? MF seems to have at least one foot in that camp.

  • Constantine A. Papas

    Having lived in Cleveland, and season-ticket holder of the Cleveland orchestra, its board is obsessed with Germanic conductors like Most. They extended his contract through 2020. Maazel made the cut because he was part of the same genre. And being born in Paris helped. Rosenberg, the Cleveland Plain Dealer’s chief music critic was fired from reviewing the Cleveland (he was assigned to review other classical music events) because he was critical of some Most’s performances. Talking about free speech and artistic freedom. BTW, the editor of Cleveland Plain Dealer (the largest newspaper in Ohio) is a member of the Cleveland Orchestra’s board!

  • Chanterelle

    Here’s a choice example of anti-Klinghoffer stridency from the NY Post:

    Wondering whether I should take extra precautions (like what?) when heading to the Met tomorrow.

    • Flora del Rio Grande

      Chanterelle: The best precaution you can take concerning
      the Met’s Klinghoffer is: Don’t Attend!!!
      Nothing would be more corrective (to all sides) than for
      the public to stay away from the controversial piece and
      the even more controversial decisions by Gelb, the pro-
      and con- groups et al. Tempest aux Teapot!!!

    • Bring a ham sandwich, perhaps.

    • Phyllis Chesler is a joke, one of those hacks that the far right likes to trot out as a convert to their point of view. In her case, it is her special role to type “As a feminist, I…” followed by a lot of racist drivel.

      Here she makes the point common to philistines (sorry for the etymology of the word, especially in this context!) that every opera should be a potboiler like Tosca, plot-wise, with clear heroes and villains. If it doesn’t do that, or better yet tie everything up in a nice big bow with a big, fat moral at the end, then it is a moral cesspool.

      I fear to contemplate a world where the only kind of art permitted has this sub-Reaganite cartoon mentality. I also appreciate that in addition to revealing herself as a moral/ethical child, Chesler also confirms that she is a musical idiot. Witness this:

      “Composer John Adams has given the opening ‘Chorus of Exiled Palestinians’ a beautiful, sacred musical ‘halo,’ à la Bach. ‘Chorus of Exiled Jews,’ by contrast, is dogged, mechanical, industrial, aggressive — relentless, military, hardly angelic.”

      Huh? Chesler is either lying about having seen/heard this opera, or incapable of understanding music. The Post is counting on people not going to “Klinghoffer” and therefore not realizing how preposterous this paragraph is (among all the others) — and of course, that is also the point.

      • Indiana Loiterer III

        Chesler is either lying about having seen/heard this opera, or incapable of understanding music.

        Actually, I suspect that Chesler is mangling Richard Taruskin’s famous article here.

        I fear to contemplate a world where the only kind of art permitted has this sub-Reaganite cartoon mentality.

        Welcome to post-9/11 America.

  • verliebtenmadeleine

    DAMN, I wish I was in New York to see this. Fuck you, Abraham Foxman!

  • Chanterelle

    One last link: a balanced look at both sides published in The Jewish Forward, of all places.