Monday, February 8, 2016

Simon Rattle Berlin Contract Not Signed

Simon Rattle left a lot of yearning in the wake of his last visit to the Philadelphia Orchestra. It was a lovefest among musicians, the British conductor, audiences and, I might add, the critics. Why can't he be music director here? Board members are parroting the usual line: he's got a contract with the Berlin Philharmonic.

Simon Rattle Berlin Contract Not Signed

0 comments

Simon Rattle left a lot of yearning in the wake of his last visit to the Philadelphia Orchestra. It was a lovefest among musicians, the British conductor, audiences and, I might add, the critics. Why can't he be music director here? Board members are parroting the usual line: he's got a contract with the Berlin Philharmonic.

While it's certainly true he's music director of that orchestra, and that his future in Berlin was affirmed publicly a year ago, it's interesting to note that the Philharmonic has been expecting a signed contract for some time - and that a signed contract it does not have.

Various representatives of the Philharmonic and Rattle have predicted a succession of dates for having a signed deal. The latest was the end of the calendar year - as in six months ago.

And so last week I once again posed the question to a spokeswoman for the Philharmonic: Does the Berlin Philharmonic have a signed contract with Rattle?

"Not yet," the response came this morning. "But should be done by end of this season (June)."

Does Rattle have some other idea up his sleeve? Is he negotiating something else he wants in Berlin? Or keeping his options open for Philadelphia?

Conductors are mysterious creatures with complex needs. I hope every musician and board member of the Philadelphia Orchestra understands this. And that it's not over until it's over.

 

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