Summer Break for Turtles in Progress
In the vibrant world of music and culture, several intriguing developments have taken place recently.
Peter Konwitschny, renowned for stamping his unique style in opera productions, continues to captivate audiences with his innovative approaches. His latest works have been met with critical acclaim and anticipation for what he might do next is palpable.
Meanwhile, Hannah Schmidt, a prominent figure in music journalism, has been reflecting on her role in the industry. She recently praised Patrick Becker's interview series in Positions, which won the prestigious Reinhard Schulz Prize. The podcast "Takt&taktlos" also discussed Schmidt's work, delving into self-criticism in music journalism.
In a different corner of the cultural landscape, organist Anna Lapwood has been causing a stir. Her virtuosity and adaptations of film music have earned her widespread admiration. Lapwood's TikTok videos have gone viral, and the line for her concert in Cologne Cathedral was a staggering mile and a half long. Over 13,000 people attended the free concert, testament to her growing popularity.
However, discussions about the future of cultural funding remain a hot topic. Hannah Schmidt and Axel Brügemann have been at the forefront of these debates, raising concerns about dependence on state funding. Peter Gelb, the general manager of the Metropolitan Opera, has also weighed in on the matter, emphasizing the necessity of securing the survival of institutions like the Met, including controversial deals to maintain their operation.
Axel Brügemann has been comparing the approaches of Konwitschny and Hans Neuenfels in opera productions. Neuenfels, like Konwitschny, adapts his approach to each opera, constantly reinventing himself. Brügemann's meeting with Christian Thielemann added another layer to these discussions.
The issue of problematic content in performances also came to light recently. The Unichor Köln performed Brahms' Liebeslieder Waltzes with texts by Georg Friedrich Daumer that were found to be horribly sexist and misogynistic. The choir found a creative solution to this problem through intense discussions, ensuring that the performance remained respectful and inclusive.
Lastly, the Bayreuth "Meistersinger" performance and the "Giulio Cesare" in Salzburg were used as examples in discussions about the future of German cultural funding. These performances serve as a reminder of the rich cultural heritage we have and the importance of preserving and nurturing it for future generations.
As we move forward, it is clear that the world of music and culture will continue to evolve, with debates about funding, content, and innovation shaping the landscape. Whether it's through groundbreaking performances, insightful journalism, or viral organ videos, the passion for music and culture remains strong.
