“Don’t let any revisionist historian tell you otherwise — it was a closed system. The battle lines were clearly drawn: tonality versus atonality, serialization versus alleatoric/open form/conceptualism.”
Tag: 11.30.12
In What Direction Does Oregon Ballet Theatre Go Now?
“With this week’s resignation of artistic director Christopher Stowell, Oregon Ballet Theatre faces a midseason crisis that raises questions about the financial and artistic future of Portland’s premier dance company. The abrupt departure comes as OBT is experiencing staff turnover and belt-tightening that echoes what it underwent in 2009, when the company … came close to shuttering for good.”
Cleveland Orchestra Makes Progress (Though Its Problems Aren’t Solved Yet)
“Even as the group in fiscal 2012 reduced debt, attracted new listeners and raised near-record amounts, its endowment barely grew and the root causes of past deficits lingered. … One of the brighter spots in the report: the near-elimination of the annual deficit.”
China Has Money For North American Movie Talent
China’s notorious history of artistic censorship may have some disputing that it would be a “really good partner,” but many recognize China as the land of filmmaking opportunity: with available financing, a growing market and a strong desire to beat Hollywood at its own game.
Chicago Lyric Opera Allows Food For All (For Once)
“The thought of thousands of tiny, oily hands rubbing away for 70 minutes on the velvet upholstery and pristine gilded walls of the opera house?”
What’s Wrong With How The TV Biz Is Run
“If you ask execs how they watch TV, they’re either not watching a particular product or they just watched five seasons on Netflix. So, why is (this exec) any different than anyone at home? We are way too obsessed with one another and not with the consumer.”
Human Evolution – We’re Volatile Right Now
“In a way, we’re more evolvable now than at any time in our history.”
Netflix Takes On Original Content (Powered By Your Data)
“Netflix doesn’t just want to compete head-to-head with the established television networks with exclusive content. It wants to do it by using something that traditional networks don’t have: Access to your viewing habits and preferences.”