Friday, September 4, 2015

Notes on the Arts

Apologies for the recent blog slump. I’ve been prepping for some out-of-town coverage. This weekend it’s Glyndebourne (pictured), where Vladimir Jurowski is leading a new Richard Jones production of Verdi’s Falstaff. Then I’m off to Venice, where the Philadelphia Museum of Art and Bruce Nauman are filling the U.S. Pavilion at the 53d Biennale. I’ll be blogging and filing stories from both places. Coverage starts Sunday. In the meantime, some random arts notes. - Just a few more days for the Cezanne and Beyond show at the Philadelphia Museum of Art. We saw it Saturday, and reports that viewers were parking themselves in front of works for long periods were true. This led to rows two or three viewers deep, which made it hard to see much of the show. The price of success. It’s up through May 31. - The orchestral world continues its contractions. The Chicago Symphony shrunk the budget, while the music critic there points out the enormous sums conductors still make. Musicians of the Philadelphia Orchestra vote Thursday on a set of give-backs. Can it what you want – I call it stumbling toward a new business model - but clearly major changes in compensation are underway nationally.

Notes on the Arts

0 comments

Apologies for the recent blog slump. I’ve been prepping for some out-of-town coverage. This weekend it’s Glyndebourne (pictured), where Vladimir Jurowski is leading a new Richard Jones production of Verdi’s Falstaff. Then I’m off to Venice, where the Philadelphia Museum of Art and Bruce Nauman are filling the U.S. Pavilion at the 53d Biennale. I’ll be blogging and filing stories from both places. Coverage starts Sunday.
In the meantime, some random arts notes.
- Just a few more days for the Cezanne and Beyond show at the Philadelphia Museum of Art. We saw it Saturday, and reports that viewers were parking themselves in front of works for long periods were true. This led to rows two or three viewers deep, which made it hard to see much of the show. The price of success. It’s up through May 31.
- The orchestral world continues its contractions. The Chicago Symphony shrunk the budget, while the music critic there points out the enormous sums conductors still make. Musicians of the Philadelphia Orchestra vote Thursday on a set of give-backs. Can it what you want – I call it stumbling toward a new business model - but clearly major changes in compensation are underway nationally.
 

Inquirer Classical Music Critic
0 comments
We encourage respectful comments but reserve the right to delete anything that doesn't contribute to an engaging dialogue.
Help us moderate this thread by flagging comments that violate our guidelines.

Comment policy:

Philly.com comments are intended to be civil, friendly conversations. Please treat other participants with respect and in a way that you would want to be treated. You are responsible for what you say. And please, stay on topic. If you see an objectionable post, please report it to us using the "Report Abuse" option.

Please note that comments are monitored by Philly.com staff. We reserve the right at all times to remove any information or materials that are unlawful, threatening, abusive, libelous, defamatory, obscene, vulgar, pornographic, profane, indecent or otherwise objectionable. Personal attacks, especially on other participants, are not permitted. We reserve the right to permanently block any user who violates these terms and conditions.

Additionally comments that are long, have multiple paragraph breaks, include code, or include hyperlinks may not be posted.

Read 0 comments
 
comments powered by Disqus
About this blog

Peter Dobrin is a classical music critic and culture writer for The Inquirer. Since 1989, he has written music reviews, features, news and commentary for the paper, covering such topics as the Philadelphia Museum of Art at the Venice Biennale, expansion of the Curtis Institute of Music, the Philadelphia Orchestra's bankruptcy declaration in 2011, Philadelphia's evolving performing arts center and the general health of arts and culture.

Dobrin was a French horn player. He earned an undergraduate degree in performance from the University of Miami, and received a master's degree in music criticism from the Peabody Institute of the Johns Hopkins University, where he studied with Elliott Galkin. He has no time to practice today.

Arts Watch
Latest Videos:
Also on Philly.com:
letter icon Newsletter