In case you’re wondering what I’ve been up to, read this.
“Thousand dollar fine”? In this very rare case, I’d support the death sentence, but, failing that, I’ll settle for the proposal Tim Smith floats in the last three paragraphs of his coverage.
UPDATE: Amanda Kell has more details and perspective.
My “official” review is live at Classical Source, but I’m going to add a few comments here.
My review is live at Classical Source. My quibbles with the Corigliano’s One Sweet Morning notwithstanding, it is a substantial work showcasing a superb singer that got a top-shelf US premiere. I recommend you give a listen when it becomes available — which it almost certainly will, as the telling forest of mics above and in front of the orchestra telegraphed. My guess: we’ll see it appear on DG Concerts early next year.
Margalit Fox breaks the bad news at the NY Times. He made a handful of fine recordings of virtuoso repertoire for RCA and a few independent labels. I met the affable, easygoing Fodor on a number of occasions before and during my tenure at BMG. His longstanding battles against chemical dependency were well known in (and outside) the classical music world, and Fox details the usual “cautionary tale” spin that one would expect from his death. And yes, I have to question the role of his early management in the path that his life took.
I’ve never warmed to Andrea Bocelli’s opera recordings, but I am that rare classical snob who likes his pop and Neapolitan offerings. Zachary Woolfe’s negative review of Bocelli’s MET recital in the NY Times spreads the blame quite properly. Woolfe did not make mention of Bocelli’s management, which has also done an extraordinary job, at least up until now. The talented, likable crooner should sack whoever it was on his team that persuaded him to do a MET recital.
The NY Times’ Daniel Wakin reports that NYPhil president and CEO Zarin Mehta is stepping down.
Go read Steve Smith’s interesting NY Times feature on the Kronos Quartet — an ensemble whose revolutionary programming and concertizing laid much of the groundwork for the “alternative classics” championed by Bang on a Can, Absolut Ensemble and innumerable other adventurous ensembles and series — as they celebrate their 25th anniversary. To be honest, though, the more traditonal but often more daring Arditti Quartet deserves the same amount of ink.