News from ArtsJournal.com
Most people who use computers don’t know how to build software. Does that mean they’re digitally illiterate?
“Good taste precedes the individual. It is an inheritance, an invisible monument, a millennium of exquisite micro-choices all embedded in the fibers of the mind! Surely it will prevail!”
“Female creators, executive producers, producers, directors, writers, editors and directors of photography working on prime-time television airing on broadcast networks account for 27% of individuals working behind the scenes.”
“We are starting to see a schism as more and more AAA games are becoming worse from a critical standpoint while becoming better from a less critical, more general perspective.”
“Why is it a good idea that we continue to exist? Given that humans have caused the extinction of others, wouldn’t it be poetic justice if advanced forms of intelligence, which could probably run the world better anyway, caused our extinction?”
Two former U.S. poets laureate, Louise Glueck and Mark Strand, have made the longlist for the National Book Awards.
Bertrand de Billy says he refuses to work under opera director Dominique Meyer, mentioning “dishonesty” and “lack of loyalty.”
It’s a fact. Orchestras have struggled in Florida, and they have to scramble to stay viable. Here are four orchestras with new music directors working to find the winning formula.
The Los Angeles Philharmonic Association is currently seeking an Assistant to the Music Director (Part Time)
This part time position provides a variety of support services for the Music Director – logistical, artistic, and personal.
• Acts as centralized point to collect, coordinate, and disseminate information about the Music Director’s activities in Los Angeles and with the LA Phil. Maintains schedule and coordinates all related details. Participates in production and artistic meetings. Corresponds regularly with Music Director’s team and VP, Artistic Planning to coordinate long-term schedule and provide information about Music Director’s activities.
• Coordinates with Public Relations, Marketing, and Development departments on media, PR, and personal appearance activities. Responds to requests for Music Director’s time and appearances.
• Sorts, reads, and prepares responses to mail and email messages. Composes and sends correspondence for the Music Director. Maintains file of all correspondence. Responds to phone calls and messages. Relays messages to the Music Director or refers to others as needed.
• Coordinates travel arrangements for the Music Director and family, including air travel, hotel reservations, and ground transportation, including driving as necessary. Tracks LA Phil’s contractual obligations regarding travel; obtains reimbursements as needed from other orchestras and festivals.
• Manages aspects of the Music Director’s personal business related to his time in Los Angeles.
• Provides personal support as requested, such as handling mail and home staff.
• Principal liaison between LA Phil and El Sistema, relating to the Music Director’s projects, including communication with El Sistema artists, staff, and dignitaries.
• Assists Artist Servicing department as needed with management of guest artists, backstage hospitality, transportation and schedules.
• Serves as a resource for Artistic department for artistic/education projects.
• Other duties as assigned.
• Familiarity with classical music, music education, and the entertainment industry required.
• Comparable orchestra or artist management experience desirable; concierge experience helpful.
• Fluency in Spanish, both spoken and written.
• Valid California Driver’s License and good driving record.
• Availability to work nights and weekends and overtime as required for concert and rehearsal coverage during Music Director periods.
• Availability to travel, including international travel as needed.
• High level of reliability, flexibility, and maturity.
• Ability to establish credibility with a variety of individuals at all levels.
• Interpersonal communication skills, with the ability to work with diverse personalities.
• Ability to deal discreetly with artists, staff, and sensitive information is essential.
• Ability to deal effectively with a large amount of detail.
• Proficiency in MS Office applications.
• Regular and reliable attendance.
How to apply:
To apply, you must write “Assistant to the Music Director – AJ” in the subject line of your email or written prominently on your faxed or mailed submission. Please send resume, cover letter AND SALARY HISTORY to:
An Equal Opportunity Employer
It is the policy of the Los Angeles Philharmonic Association to provide all persons with equal employment opportunities without regard to race, color, religion, sex, national origin, disability, age, veteran or marital status or any other characteristic protected by federal, state, or local law.
Founded in 1919, the Los Angeles Philharmonic Association’s mission is to perform, present, and promote music in its varied forms at the highest level of excellence to a diverse and large audience, both at the Walt Disney Concert Hall and the Hollywood Bowl. The Los Angeles Philharmonic Association is dedicated to continuing its pre-eminent status in the music world of the 21st century.
“For someone whose life expectancy is usually less than 100 years, it’s nearly impossible to imagine something so vast as geological or deep time,” says J.D. Talasek of the National Academy of Sciences. So he – a believer in the power of metaphor – assembled a group of 18 artworks to help get the idea across.
Just for instance, when he played Hamlet for Liviu Ciulei, he recounts, “The first day’s rehearsal, I picked up a chair and moved it a few feet, and he said, ‘No, no, Hamlet would never do that, he’d never move a chair himself, because he’s a prince.’ I said, ‘I’m the prince, I can do whatever I want.'” The next time he played Hamlet, he directed himself.
“Can I just say, very loudly, bollocks. If you look after yourself and you’re healthy, then you’ll have the energy to do things. But not to recognise getting older for what it is? I do think the infantilisation of our generation is one of the huge issues of our time. People wanting to be 35 when they’re 50 makes me think: why? Why don’t you be 50 and be good at that?”
“Some critics complain that Google’s initiative to take us on virtual trips through museums and to show us great pieces of art on demand, as we sit gazing at our laptops, will discourage people from actually going to these institutions. This is flatly untrue. Museum attendance is on the rise, dramatically so.”
Not the raw meat dish, silly; she means the painter. “I am no connoisseur, cultural scholar, or art historian. I know nothing about painterly techniques, chromatic gradations, or artistic affinities, and my infatuation with him is largely affectionate fancy. I feel I know him personally, and I often sense that I am directly in touch with him across the centuries, across the continents, as one might be in touch with a living friend. But however much I delight in Carpaccio’s virtual company, I know hardly anything about the man, and in this I am not alone.”
Adam Gopnik: “Second acts there may or may not be, but American epilogues go on forever. Scott and Zelda’s friends from the Jazz Age would doubtless have spit up into their morning coffee – or, more likely, into teacups filled with bathtub gin – to find the pair, almost a century after their meeting, not a poignant footnote to an ill-named time but an enduring legend of the West, a subject adaptable for movies and novels and probably paper dolls and ice shows.”
“Pop culture is a relentless machine of newness and manufactured surprise. We queue around the block for new comic-book-movie installments and crash HBO Go to watch season finales. … Why do we spend so much time with stories whose endings we already know?” Derek Thompson lays out four reasons.
Last week, Mark Shenton wrote in passing “There are plenty of budding actors, writers, directors and even critics (though no jobs for the latter), …” To which journalist Matt Trueman responded, “Mark, saying no jobs for young critics does a disservice to young critics making a living from their writing.” Well, disservice or no, here’s Shenton’s response.
“Few producers will criticize Sir Howard [Panter], … given that his company holds the keys to 40 theaters and has plans for more in Asia and Australia.” That company – Ambassador Theatre Group – is about to open its own Broadway house, the Lyric (formerly the Foxwoods Theater).
“The Italian dancer and choreographer Francesco Ventriglia has been appointed as the director of the Royal New Zealand Ballet, following … the surprise resignation of Mr. Stiefel, a former American Ballet Theater principal dancer, who took on the job in 2011.”
Would Scottish Independence Mean The Death Of The BBC Scottish Symphony Orchestra? (These Musicians Fear As Much)
“In a letter published today, composers, conductors and a former director of the BBC Scottish Symphony Orchestra express their ‘grave concerns’ over the future of the orchestra in the event of a Yes vote and the establishment of a Scottish Broadcasting Service (SBS).”