So the ADO and I finished up with Tosca yesterday. We had three quite extraordinary Australian opera singers join us who were superb (tell me again why we are importing non-Australian overseas opera singers to perform Opera in Australia with the major companies?) and the orchestra handled the material on just two calls quite magnificently.
All to the good. But, this morning, bemoaning the soreness I now get after long days rehearsing and concertising as a consequence of my spinal surgery back in 2014 (sic.), I was aimlessly trawling through Orchestra Twitter feeds I follow whilst consuming the days’ first ‘heart-starter’ coffee, only to be lurched into mental activity by some appalling orchestra conducting video snippets.
These (always soundless) video bites of various ‘profile’ conductors doing their thing (it’s BBC Proms season right now, so there a lot of these to view) seem to inadvertently capture the unwary (or uninformed) conductor looking like a performing seal.
These ‘social media’ marketing activities – no doubt put together by millenial-age assistant producers or even more lowly artistic adminstrative assistants with minimal artistic judgement – working with whichever orchestra or Arts organisation, are a blight.
Nobody outside of the syncophantic echelons of orchestra management cares what conductors do – it’s only the quality of the music they assist orchestra players in making in which they have a role. I quite realise that the aforementioned video snippets are nothing more than (mostly inane) marketing exercises, but surely it must eventually dawn on the administrative gurus of orchestras that it is the rank and file musicians whom audiences are fascinated by; not in imagining their personal lives and narratives therein, per se, but in observing the sound that emanates from their respective instruments; individually and, within an ensemble setting. Continue Reading →