Orchestras and high-flying opera houses experience migratory movements of musical directors every change of season. The rentrée Deixa see a new world order to the international podiums. This time the batute ball sees protagonists such as Simon Rattle or Gustavo Dudamel, who have made drastic decisions about leaving London or Paris.
The British master, fabulous head of the Berlin Philharmonic for two decades, had the motive to have announced, the gener of 2021, that, after setting any years at the capdavant of the London Symphony, the 2022-2023 season would become conductor emeritus per Marxar Germany. But not only “personal” reasons, as he will give to understand how he will reveal that his next stage would be the capdavant of the Rolls-Royce of the classic that is the Bavarian Radio Symphony, with the characteristic so ple i fosc.
Discontent in London
Rattle has left the London Symphony in the hands of Pappano to become the leader of the Simfònica de la Ràdio de Baviera
Living in Berlin with his seven-wife, the mezzo Magdalena Kožená, and his seus fills, Rattle’s main problem was that the concert hall project he was going to promote with the London Symphony’s new seu (in lloc of the Barbican has expired Centre) it doesn’t seem like you’re coming to reality. After the covid and Brexit, the equipment for which Rattle had a luster that showed campaign and that was announced with a second and a transformative power for the classic to the Great Britain, like the one that the Tate Modern will have per In the visual arts, it is seen with an elitist idea of what it is I could do without.
Curiously, the Munic Orchestra that Sir Simon Rattle will lead has trobat in it a continuation of the somni of Mariss Jansons, the darrer conductor, died in 2019. It is to say, a new music hall in the financial district of the Bavarian capital . “London and Munich are cities that do not have a proper music room,” declared Rattle.
The vacancy at the London Symphony is filled by an alumnus Antonio Pappano, who in October is presented at the National Auditorium of Madrid and the Palau de la Música Catalana. The one who has been musical director of the Royal Opera House in London and also of the Accademia Nazionalie di Santa Cecilia in Rome for two decades has been obliged to highlight singular proposals this period: places such as La Scala, Paris, Bayreuth… The English master of Italian descent has not been able to trepitjar these podis with the leader of the London opera. And he just once directed the Met in New York.
If Pappano stood out in Verdi or Puccini, Covent Garden will give you Jakub Hrůša, a specialist in Central European and Spanish repertoire
The versatile master was born in Essex (1959) and handed over the throne of the Covent Garden feu to the Moravian Jakub Hrůsa (Brno, 1981). If Pappano excelled in Verdi or Puccini more than in Central European and Slavic opera, Covent Garden will begin a period opposed to this in these repertoires, and will probably go through the invitations that it is able to fulfill both. italianità .
On the other hand, the buit that Pappano leaves to the Santa Cecilia is Daniel Harding, the gifted conductor/pilot who continues to lead the Swedish Radio Symphony (in addition to being principal guest of the London Symphony).
The projects that Dudamel had in Paris took over non-necessarily related batutes, with which he will direct the new ‘Lohengrin’ by Serébrennikov
The fact that Gustavo Dudamel, the fugitive of the Paris Opera, will leave the French institution as musical director behind. Tot i also haven’t pressed it to find out. “Volem estar-ne ben segurs”, admitted the mayor from the theater, Alexander, after the two short breaks of happy marriage with Venezuela. Així doncs, els projects that had been taken over by the Dudamel desitjat are transferred to different batutes, and not necessarily related, as they pass to the new Lohengrin by Kiril Serebrennikov.
Dudamel assures that he will be “with his family and friends.” Paris was massively absorbent and inflexible on the calendar of a global star. I, of course, he intends to have time for other projects calling for America, with the ownership of the New York Philharmonic, which will begin in 2026, as he is already on his way, without abandoning the adventure with the Philharmonic of Los Angeles and the moments of glory at the Walt Disney Concert Hall.
Barenboim’s Health Statute invites the Staatskapelle Berlin to rejoice, but… who would lead directly to a German Chancellor?
But if we return to Europe, another hot point that the world of classical music pays special attention to is the release of a totem with Daniel Barenboim, ja delicat de salut, to the capdavant of the Staatskapelle Berlin. Under him, this orchestra has become the most well-endowed in Germany, with first-class institutional connections. Who else speaks to both sponsors? Which director would have a direct relationship with the German Chancellery with Angela Merkel?
Keeping all distances, his substitute could be Christian Thielemann. Or not. The question is that the German musician, director of the Salzburg Easter Festival and aspiring (frustrated) to the podium of the Berlin Philharmonic, is leaving the title of the Staatskapelle Dresden in the summer of 2024. A podium that he has held since 2012 and that He will have Daniele Gatti. Així doncs, the musical world would do to overcome the erratic behavior that the Milanese master will have with some gifts from the Concertgebouw Orchestra in 2018, shortly after obtaining the venerated place in Amsterdam.
To no one is it surprising that, disgraced by youth, the Concertgebouw fes director associat, advertiser that would be the owner from 2027
Afterwards, the members of the formation will not be able to detect the baton of the future. I have all the patience to obtain it. It is a tract of the very young Klaus Mäkelä. The 27-year-old Finnish master (currently with the Paris Orchestra, since Harding is about to be liquidated) leaves the public speechless there as he passes by. I am not surprised that, despite his youth, he was appointed associate director of the Concertgebouw in 2021, with a view to becoming effective in 2027, since it is an orchestra that has maintained its leadership for decades.
Per cert, there is a fracas sound that of the Israeli Lahav Shani at the capdavant of the Munic Philharmonic at the recent Musical Quinzena of Sant Sebastià. I noticed that in 2026 the title of the German city began, after the invasion of Ukraine, the formation was dismissed by Valery Gergiev.
Gustavo Gimeno, to Real; but… what will be the relleu to the Liceu?
The Teatro Real has already done its part in the future of its musical direction: Gustavo Gimeno will replace Ivor Bolton starting in late 2025, when the period of the Valencian baton to the capdavant of the Luxembourg Philharmonic also ends. And, at the same time, there is a question about the future of the main director of the invitation, Pablo Heras-Casado, twenty years ago that he has tingut with Parsifal to Bayreuth. It is up to the Liceu to decide what Josep Pons will take over when in 2026 he will complete the task begun in 2012 with the creator of the excellence of the theater’s artistic works. The estranged person will inherit an artistically and humanly cohesive orchestra, for which in many aspects they will be invited to be continuous, but also to generate a contrast. Let’s see if the Liceu is going to become the first great opera house in the world that will have a donation to the musical direction, because, surpassing the first quarter of the 21st century, it faces no hi ha cap dona – and n’hi ha preparations – to the capdavant of one of the top ten orchestras. The revolution has not just arrived.