Klarinet Archive - Posting 000024.txt from 2011/05

From: "Forest Aten" <forestaten@-----.com>
Subj: Re: [kl] For Forest Aten
Date: Thu, 05 May 2011 09:21:55 -0400


>
> I see that the Dallas opera has released is managing poobah. Is there a story behind that?
>
> Opera directors generally don't get released. Instead they are put on a tumbrel, transported to the
> place of execution, and decapitated. The head is then placed on a pike, and displayed at city hall.
> That is the most modest punishment available. Drawing and quartering is known to happen for stage
> directors, but not often enough. Waterboarding has become fashionable.
>
> Showing male and female nudes on the stage is not considered a punishable offense unless the woman is
> ugly, can't dance, or is unwilling to sing with the head of John the Baptism held tight to her ample
> bosoms. For male nudes, the punishable offense is should the party stuff a salami in jock.
>
> There should be a pre-natal test for operatic stage directors, and if the infant shows a disposition
> to become an operatic stage director, abortion is immediately carried out without recourse to any
> other test.
>
> Dan Leeson
> _______________________________________________

Dan

Here's a link to the article:
http://www.dallasnews.com/entertainment/columnists/scott-cantrell/20110503-graeme-jenkins-leaving-dallas-opera.ece

Graeme Jenkins is leaving after next season...he wasn't released. He will remain, in spirit/and hopefully in the form of
a guest conductor. He's been named Conductor Emeritus by the Dallas Opera. Graeme has been with the company for 17
years. Also...he's the conductor/music director....not the general director. Graeme has ALWAYS been prepared...for every
production....from top to bottom. He has been amazing it that regard. Singers, orchestra, production staff.....overall
productions....all great. Graeme moved us into our new hall and it has been a wonderful move. Our productions, under
Graeme have received very good overall reviews....and the orchestra is a constant glowing moment in the reviews.
(Whew..)
Graeme is from the UK. He has lots and lots of work available to him in Europe. Currently he's involved with the Vienna
State Opera and does a ton of work as a featured guest conductor with European orchestras. That's one reason he's going.
Second....the change to the new hall made it more difficult for him to take the work available to him, in Europe.
Before, in the old hall....our season ran contiguous weeks. In the new hall, we've had to move to a season in three
sections. The breaks between the sections make it difficult to take other major work on a different continent....they
are about a month in length and between prep, travel...etc., it would be tough. Third...I don't believe the Dallas Opera
was keeping pace in pay/benefits for a conductor/music director of his caliber. Simply put...he could make more money
and more opportunity to make money...in Europe.

Jenkins is very fine musician. When he arrived, his conducting was simple and right to the point. Over the years, he
became more flamboyant. (he was a pup when he first came to Dallas) Toward the end of our stay in our old hall...I and
other orchestra members, if asked, would probably say....too flamboyant. The move to the new hall meant changes for both
the orchestra and Graeme. While the music product out in the hall is amazing to behold....out in the hall....it's not a
perfect acoustical situation in the pit. It's tough to hear across our huge pit. As Graeme's conducting got more
flamboyant over the years, the orchestra seasoned and we could anticipate what was going to happen (as all seasoned
orchestras do) and while in the old hall the musical product in the hall was very poor...it was easy to hear in the
pit....so we depended a lot on listening and aural communication. In the new pit....we needed clarity from the
conductor. It was tough on Graeme at first....but he responded in fine fashion. By the end of the first season...he had
figured it out and his conducting was clear (for the most part :-) and more to the point. This year, the second
year...it was even better.

He was a musician's advocate.... I'm sorry to see him go. I wish him nothing but the best.

Best

Forest

PS we didn't do much (but some) "Euro-trash" production in Dallas. Those decisions are usually made by
producers/production people in management. I'm sure Graeme had some say and in some cases probably recommended
stage/production "stars" that he may have had previous professional experience with...in Europe. The Dallas
market...isn't really a good place to push "new" ideas. :-)

PPS for the politicians of you out there.... You might have noted the critics use of "part-time" to describe the Dallas
opera orchestra. A better word choice would/should have been "seasonal". Cantrell....the critic, has been on the inside
with management of the DO for years. It's a negotiation year. In non-contract years..."we" (the orchestra) are "world
class" and "exceptional" and "all things needed"...etc., but in negotiation years, we are "part-time" and "can be
replaced" and "free lancers"...etc. Just part of the game. Philly is in the middle of that game right now. It's not
fun....

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