Archive for March, 2018

Ministry Split, Minister Fired

Wednesday, March 21st, 2018

Ludwig Spaenle, Bavaria’s former Kultusminister

By ANDREW POWELL
Published: March 21, 2018

MUNICH — Bavaria’s Culture Ministry, responsible for Bayerische Staatsoper and Staatstheater am Gärtnerplatz, among many other entities, underwent a sudden double shake-up this morning with the firing of its cheerful chief, Ludwig Spaenle, and an organizational severing into two parts.

Bernd Sibler, 47, is the new Kultusminister. The former Bayerisches Staatsministerium für Bildung und Kultus, Wissenschaft und Kunst (Bavarian State Ministry of Education and Culture, Science and Art) is now two ministries, divided at that comma for the third time in its history. In a more subtle change, the word Bildung (learning) has been replaced with the sterner term Unterricht (instruction).

The shake-up came at the behest of Bavaria’s forceful new Minister-Präsident, Markus Söder, 51, who replaced Horst Seehofer when the latter joined Angela Merkel’s cabinet in Berlin last week as Federal Minister of the Interior. (The two are pictured.) Merkel and Seehofer, who differ on the sore topic of immigration, belong to the CDU party and its Bavarian ally, the CSU, respectively. Söder and Sibler are CSU members.

It is unclear what moves Söder, through Sibler, will make on Bavaria’s lavish arts budgets. He has been Seehofer’s Finanzminister these last seven years, and known as a fiscal hawk not much connected to the classical music scene.

Bavarian King Ludwig I established the Culture Ministry in 1847, soon broadening it to embrace “all aspects of upbringing, instruction, morals, spiritual and artistic learning, and the institutions for them.” It became a state body in 1918, when the monarchy fell; a purveyor of Nazi ideology in schools and universities, art and culture, in 1933; and a champion of freedom, rule of law, and democracy after the Second World War.

Minister-Präsident Franz Josef Strauß in 1986 was the first to divide the ministry, on the pattern now mimicked by Söder. It was reunited in 1990, divided again eight years later, and reunited in 2013. Its spiritual mandate never disappeared: Kultus means worship, or adoration, as well as culture.

Photo © Deutsche Presse-Agentur

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Houston Has No Problem

Tuesday, March 20th, 2018

Andrés Orozco Estrada and the Houston Symphony Orchestra at work in Jones Hall

By ANDREW POWELL
Published: March 20, 2018

MUNICH — Judging from reports around the country here, the Houston Symphony Orchestra today returns to Texas mission-accomplished. The clarity of its tone colors, the exuberance of its brass section, the articulate luster of its strings — all have been remarked upon during an eleven-day tour to busy German cities (plus Brussels, Vienna and Warsaw) already awash in art music. Last night’s concert in the Gasteig certified the plaudits, although the advance acclaim had not filled every seat. Stronger programming might have helped. Music director Andrés Orozco Estrada opened with the so-called Overture to West Side Story (1956), “a compilation of tunes not made by [Bernstein]” (Jack Gottlieb), when he could have chosen the work’s tense and authentic Prologue and thrown a cleverer light on his musicians. A heavily pregnant Hilary Hahn then meandered in good taste and with pure intonation through the same composer’s conceited Serenade after Plato’s Symposium (1954), unable to do much about its weak structure but sensitively supported by harpist Megan Conley and six astute percussionists. Dvořák’s D-Minor Seventh Symphony (1885) received a brilliantly flowing, sunny performance, with smooth work from the Houston horns and much soft, detailed playing. The Vienna-based, Colombian-Austrian maestro, who learned music at a school next to the rainforest east of Medellín, and first conducted there, will be with the 105-year-old HSO until at least 2022. An ideal appointment, on the evidence.

Photo © Anthony Rathbun

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Dorny, Jurowski to Staatsoper

Tuesday, March 6th, 2018

Vladimir Jurowski photographed by Simon Pauly in Berlin

By ANDREW POWELL
Published: March 6, 2018

MUNICH — The rumor emerged last fall, lingered, and today became fact during a Free State of Bavaria cabinet meeting: Serge Dorny, 56, and Vladimir Jurowski, 45, will in Sept. 2021 take over as Intendant and Generalmusikdirektor, respectively, at Bavarian State Opera. So said a statement from Bavaria’s Kultusminister Ludwig Spaenle, listing the appointments in that sequence. No contract term was disclosed, and no salary. The opera company will go without a GMD in the preceding season, after incumbent Kirill Petrenko steps down.

Lyon-based Dorny and Berlin-based Jurowski have been colleagues before, if not salaried together, notably by way of the London Philharmonic and the Glyndebourne Festival. Presumably they will get along, as have Petrenko and outgoing Intendant Nikolaus Bachler. Bavaria’s Culture Ministry did not answer questions about the joint nature of the new hiring.

Dorny drew attention around Germany when in 2014 he sued Dresden’s Semperoper for wrongful termination. He had been appointed Intendant of that company for five years, to start that fall, but was peremptorily fired in February, midway through an agreed preparative season, and suffered the further indignity of a Saxon minister’s televised description that he had behaved “like the Sun King.” He won the case, and pay and damages to the tune of a reported €1.5 million, and in July 2016 fended off the Free State of Saxony’s appeal.

Dorny grew up in a Flemish-speaking family on western Belgium’s French border. He began his career in 1983 as a dramaturge working for Gerard Mortier at the Théâtre Royal de la Monnaie. Four years later he was heading the Festival van Vlaanderen. From 1996 to 2003 he served as chief executive and artistic director of the London Philharmonic, a post that took him yearly to Glyndebourne, before he started in his present, acclaimed role as directeur général of the Opéra de Lyon.

The Moscow-born conductor, whose family emigrated to Germany in 1990, promises high standards and a slightly freer approach to music direction than Petrenko. His theater work has centered on projects at Glyndebourne, where between 2003 and 2013 he filmed operas by all three of BStO’s so-called “house gods”: Mozart, Wagner and Strauss.

Janowski debuted with BStO in Nov. 2015 leading an adrenaline-charged Akademiekonzert program of Liszt, Hindemith and Prokofiev, and weeks later presided over a musically and dramatically successful new Ognenny angel (Огненный ангел). Although he did return for one performance of that opera the next summer, he has not appeared with the company since.

Andris Nelsons’ name was also floated for the GMD position. He moved to Munich in 2015 and had seemingly been interested in vitalizing the thinnish opera side of his career at Germany’s biggest opera company. However, as Munich’s Merkur newspaper has reported, his schedule was deemed too full to take on all the GMD duties — a fair assessment but one that could equally apply to Jurowski, who today heads orchestras* in London, Berlin and Moscow. Four performances of Rusalka last June have been Nelsons’ only BStO assignment.

[*He is concurrently principal conductor of the London Philharmonic, chief conductor and artistic director of the Rundfunk-Sinfonie-Orchester Berlin and artistic director of the State Academic Symphony Orchestra of Russia (in Moscow, formerly the USSR State Symphony Orchestra) … as well as principal artist of the Orchestra of the Age of Enlightenment, in London, and artistic director of the George Enescu Festival, in Bucharest.]

Photo © Simon Pauly

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SOME CANTANKEROUS MUSINGS ON PROPOSED LEGISLATION TO SPEED UP USCIS INCOMPETENCY

Thursday, March 1st, 2018

By Brian Taylor Goldstein, Esq.

For those of you who are unaware, on February 28, 2018 U.S. Senators Orrin Hatch (R-Utah) and Patrick Leahy (D-Vt.), both former chairmen of the Senate Judiciary Committee, have introduced the Arts Require Timely Service Act (ARTS Act); a bill that would require U.S. Citizenship and Immigration Services to provide premium processing (15-day turnaround) free of charge for any arts-related O or P visa petition that it fails to adjudicate within 14 days as required by law. You can read the official press release here:

https://www.leahy.senate.gov/press/leahy-and-hatch-introduce-bipartisan-arts-act-to-speed-processing-of-visas-for-visiting-artists

Many people have already asked us to weigh in on this development.

Be careful what you ask for.

First, and foremost, I must express my sincere awe and admiration with regard to the amazing and tireless arts advocacy of many people, but particularly that of Heather Noonan of the League of American Orchestras, who have been working on this for years. Given that this is actually a bill that is being “re-introduced”, having been previously introduced and rejected, getting it back on the table for re-consideration is nothing less than heroic.

However, as to my thoughts? Let me first share two recent Requests for Evidence (RFE) issued by USCIS which were brought to our attention. One asked for further evidence as to whether or not an artist who led a group which also bore the name of the artist performed a “critical role” with the group. The requested clarification as to an artist’s actual country of nationality where the petitioner wrote the word “German” as opposed to “Germany” on the i-129 form where it asked for “Country of Citizenship.” Given such stellar cognitive abilities, you can forgive my hesitation if my heart does not sing out to the heavens in joy and tearful gratitude over the prospect of merely speeding up a broken, illogical, frustrating, and inane process as opposed to actually proposing anything substantive to fix it. Its like offering the captain of the Titanic the option of actually averting the iceberg and, instead, having him decide merely to speed up the ship and get the disaster over with more quickly.

Its also important to understand that term “adjudicate” does not mean “approve.” An “adjudication” merely means that USCIS will review the petition and either approve it or issue an RFE. When an RFE is issued, the adjudication process is put on hold until the petitioner responds to the RFE. So, if passed, the prosed bill would provide that USCIS either has to approve a petition or issue an RFE within 14 days after a petition is received, or USCIS will be required to spew out some sort of inane dribble free of charge within the next 15 days to stop the clock and buy itself some more time. In short, if you want to guarantee any adjudication in less than 30 days, a petitioner will still be required to pay an additional $1225 for Premium Processing.

Nonetheless, given the lack of any meaningful acknowledgement or support of the arts on the part of the U.S. Government, I am always grateful for any crumbs that are tossed to us, however inadvertently, from the banqueting table. Still, I’d personally rather forgo free expedited USCIS processing time if it meant that, in exchange, USCIS would implement some sort of meaningful screening process when hiring USCIS examiners, as opposed to the current system of requiring only a pulse, potty training, and a patriotic dedication to protecting the American way of life from nefarious violinists.

In the meantime, I’ll take my crumbs, crawl back into my hole, and work on visa petitions.

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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!