Archive for July, 2016

MPhil Launches Own Label

Monday, July 18th, 2016

Provisional album art for 2016 Munich Philharmonic CDs

By ANDREW POWELL
Published: July 18, 2016

MUNICH — Late to an unprofitable game, the Munich Philharmonic on Friday announced a new recording label of its own, “MPhil,” in partnership with Warner Classics.

Its purpose? To broaden the audience.

Content will be sourced live, mainly from concerts at the orchestra’s Gasteig home. But archive releases are promised too, as are “celebrity” conductors. Distribution: physical media, downloads, and streaming offers.

The label will issue up to six titles yearly with emphasis “on the abundant German repertory and works by composers with whom the ensemble has been closely connected since its founding 125 years ago.”

Exactly how MPhil Chefdirigent Valery Gergiev fits this artistic focus is unclear. Anyway, the first titles appear in September: a symphony each by Bruckner and Mahler with provisional album art showing Gergiev’s name twice the size of the orchestra’s.

Which begs a question, given the maestro’s affinities and the hopelessly saturated market. Who in their right mind would want a Gergiev recording of any Bruckner or Mahler symphony? The MPhil’s archivist?

To be sure, the new imprint will expose the Munich Philharmonic’s work in the way BR Klassik and Berliner Philharmoniker Recordings already do for its “competitors,” to cite only German examples.

But such ventures nowadays hemorrhage serious euros.

MPhil releases will follow, after a delay of at least a year, broadcasts of the same performances via outlets like Bayerischer Rundfunk.

Warner’s Erato label, meanwhile, has recently issued live recordings from 2013 and 2014 of Gergiev’s Mariinsky Orchestra: the Shostakovich Cello Concertos as expansively shaped by Gautier Capuçon.

Image © Warner Classics

Related posts:
MPhil Bosses Want Continuity
Gergiev, Munich’s Mistake
Honeck Honors Strauss
Blomstedt’s Lucid Bruckner
MKO Powers Up

Bayreuth Parsifal Due Online

Sunday, July 17th, 2016

Festspielhaus in Bayreuth

By ANDREW POWELL
Published: July 17, 2016

MUNICH — Bayerischer Rundfunk confirmed on Thursday it will video-stream the premiere of Uwe Eric Laufenberg’s new staging of Parsifal at the Bayreuth Festival.

— when: 9:57 a.m. EDT on July 25, 2016
— where: www.br-klassik.de/concert

Laufenberg is reportedly intent on exploring the religious aspect of Wagner’s 1881 Bühnen-Weih-Festspiel, not without reference to Islam.

Watching at home may have advantages. Attendees on Bayreuth’s Grüner Hügel face new security procedures for this festival opener, and indeed all 2016 dates, obliging earlier arrival than in past years. The German chancellor won’t be among them.

Saxon conductor Hartmut Haenchen, taking over from a less practiced colleague, makes his Bayreuth debut with this opera, which he led in a filmed Brussels run five years ago directed by Romeo Castellucci.

Elena Pankratova sings Kundry, Klaus Florian Vogt the naive hero; Ryan McKinny, Georg Zeppenfeld and Gerd Grochowski impersonate Amfortas, Gurnemanz and Klingsor.

Coming from a dedicated broadcaster, the Internet data for listening and viewing should be both stable and detailed.

Photo © Deutsche Presse-Agentur

Related posts:
Portraits For a Theater
A Complete Frau, at Last
Festive Sides
Berlin’s Dark Horse
Kušej Saps Verdi’s Forza

Harteros Warms to Tosca

Sunday, July 17th, 2016

Anja Harteros and Bryn Terfel

By ANDREW POWELL
Published: July 17, 2016

MUNICH — When Anja Harteros was singing her first Toscas three seasons ago, it was clear she had the vocal resources for the role, and the Mediterranean temperament. Even so, the portrayal didn’t quite compute.

Enter Bryn Terfel, a Scarpia to rattle the aloofest, longest-legged of prima donnas. And Jonas Kaufmann, trusted stage buddy, sweet Cavaradossi. Now the diva’s doubt, fear, passion and rage turn on the instant, her slashing knife grip extending a ferrous will.

Harteros fairly lived the part July 1 here at the National Theater, teamed as she must have wanted and apparently undeterred by Luc Bondy’s clunky 2009 stage conception. Warm chest tones and creamy highs, floated or hurled, came into thrilling dramatic focus this time around. Illica and Giacosa’s words made inexorable sense, the Attavanti canvas and Terfel’s guts sure targets.

The tenor, too, had a great night: astutely colored phrases, gleaming top notes, a clarion but unexaggerated Vittoria! For once, E lucevan le stelle emerged as spontaneous thought, always in Kaufmann’s wonderfully lucid Italian.

If the mighty Welshman sounded a smidgen less opulent of voice than in previous Munich Scarpias, his characterization was as potent as ever, and his savoring of Puccini’s lines most enjoyable.

The snag, alas, was Kirill Petrenko’s conducting. Forceful and weighty, it never felt rooted in the language it was supposedly driving. Still, a terrific night for the Munich Opera Festival, and nowhere more refined than during Io de’ sospiri as sung by the Tölzer Knabenchor’s uncredited soloist.

Photo © Wilfried Hösl

Related posts:
Manon, Let’s Go
Tonhalle Lights Up the Beyond
Busy Week
Time for Schwetzingen
Schultheiß Savors the Dvořák

Never Rent Your Theater To Cannibals

Thursday, July 14th, 2016

By Brian Taylor Goldstein, Esq.   

Dear Law and Disorder:

We have a non-profit theater company with our own performance space. We are looking for additional ways to increase our revenue stream within the terms of the lease. Two questions: Can a non-profit collect revenue for rented space or must it take the form of a voluntary donation? Do you know off hand if there are tax implications?

Yes, you can definitely collect revenue for the rented space.  However, this is called Unrelated Business income (UBI) by the IRS, and it would constitute taxable income as it’s not related to you non-profit’s mission as a theater company—assuming, of course, that the missing statement filed with the IRS does not include running a catering hall. This might be different if you were renting the space to other non-profit organizations constituent with your own mission, such as local dance groups, community theater, theater camps, etc.

Regardless, I wouldn’t try calling the rent a “voluntary donation” to avoid the taxes.  It’s not voluntary if the lessee is required to pay it, and it’s not a donation if the lessee is receiving something of value in return for the money. Being entrepreneurial is admirable. Committing tax fraud is not.

In addition to considering the tax implications, you should also consider the liability and insurance implications as well. Regardless of who rents your space, should anyone be injured while on your property, your organization will be the one named in a lawsuit—especially if you will be renting it for any purpose that will involve children—the little darlings are pits of liability! While it’s a great idea to make any renters be responsible for any damages or claims, you need to require them to have insurance as well as obtain your own independent insurance. Making a renter contractually responsible does not mean they will actually pay.

Lastly, in additional crafting a well-drafted rental agreement (which means having terms that actually apply to your group, as opposed to borrowing a template from the strip club down the street that rents itself out for bachelor parties), you want to have specific written rules and guidelines as well as the ability to refuse to rent to any group or organization that you deem to be inappropriate—provided, of course, that such decisions are not made for discriminatory reasons. Just as people will blame your organization for any accidents or injuries that occur on your premises, people will associate you with tacit approval of any group or organization that rents your premises. So, hosting the North American Association of Cannibal’s Annual Banquet and Pot Luck may not be a wise idea.

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For additional information and resources on this and other GG_logo_for-facebooklegal, project management, and business issues for the performing arts, visit ggartslaw.com

To ask your own question, write to lawanddisorder@musicalamerica.com

All questions on any topic related to legal, management, and business issues will be welcome. However, please post only general questions or hypotheticals. GG Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously and/or posthumously.

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THE OFFICIAL DISCLAIMER:

THIS IS NOT LEGAL ADVICE!

The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!

 

 

Good Things Happen when You Speak to Presenters

Tuesday, July 5th, 2016

As pianist Anthony de Mare’s fabulous project, LIAISONS: Re-Imagining Sondheim from the Piano, took shape, he and producer Rachel Colbert found that having Anthony speaking passionately about the project with presenters yielded great results. Here, Mr. de Mare discusses with Eugenia Zukerman and Emily Ondracek-Peterson (founders of Noted Endeavors) how artists speaking with presenters can result in securing a concert.

Noted EndeavorsANTHONY DE MARE is one of the world’s foremost champions of contemporary music. Praised by The New York Times for his “muscularly virtuosic, remarkably uninhibited performance [and] impressive talents”, his versatility has inspired the creation of over 60 new works by some of today’s most distinguished artists, especially in the speaking-singing pianist genre, which he pioneered over 25 years ago with the premiere of Frederic Rzewski’s groundbreaking ‘De Profundis’.

He has performed Liaisons programs across the U.S., Canada and Cuba including Virginia Tech Center for the Arts, The Ravinia Festival, the Gilmore Keyboard Festival, the Virginia Arts Festival, the Clarice Smith Performing Arts Center, Schubert Club in Minneapolis, Mondavi Center at UC Davis, Rockport Music Festival, the Cliburn Series in Fort Worth, and Music at Meyer in San Francisco.

For more about Anthony, go to:
anthonydemare.com

For more about Noted Endeavors (including videos), go to:
notedendeavors.com