Spanish dancer and choreographer Avatâra Ayuso is set to learn the ropes of a dance company, thanks to a new bursary that aims to cultivate business skills amongst dance artists. Dance UK awarded ‘Business of Dance’ bursaries to eight dancers and choreographers, who will work in a host dance organisation or company, ...
Date: 29th May 2013
Now in its second year, Classical:NEXT invites the classical music industry to Vienna for networking, presentations and a trade fair. What’s up for discussion? Classical:NEXT kicks of...
SummerWorks is looking to hire a new General Manager. The position is part-time from early June until August 19th 2013 to shadow the current General Manager and then full time from August 20th 20...
The ageing process has started to worry me. Until a few years ago my main concern was that I looked too fresh-faced to be taken seriously. My fears were unfounded; age soon slipped through the back door and robbed me of my youthful skin. Whereas once I was concerned with edgy indie-bands causing a stir, now I’m examining the tradition of having shiny luscious hair – and doing everything I can to keep it that way. Staying youthful is a costly business.
Masking age runs through this edition. In Russia the new 2,000-seat opera house of the Mariinsky Theatre, Mariinsky II, welcomed its first audiences last week. And this was no cheap enhancement, even with a price tag of €531m, the modern venue, with its slick glass structure was dividing opinion, with some branding it the ‘Mariinsky mall’. Perhaps Mariinsky II is, for some, a bitter pill to swallow – stirring feelings of jealousy and discontent like those in Anton Chekhov’s The Seagull, or like the discord between a mother and her adolescent daughter.
Elsewhere a much cheaper project, Linz Opera House, with its conservative price tag of €185m has drawn accolades. In contrast it is treated as a welcome new arrival to some sensible, modern and frugal parents. In our interview (p19-21) you can read how the executive director and architect hope the venue will become a hub for the community.
Also in our focus on Austria, Gunter Rost, professor at Graz University of Music and Performing Arts, writes energetically about how an instrument that was deemed close to the confines of a retirement home, the organ, has swallowed an elixir and been given a whole new lease of life. His is a vibrant arguement and I’m certainly convinced. And the youthful approach to presentation continues; from London Contemporary Orchestra's concerts underground, to Pountney's programming of ambitious new opera The Wasp Factory at Bregenz. A sharp approach is everywhere: in Spotlight, Jennifer Dautermann talks about classical music’s cutting edge.