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kevinpearce's review
2.0
This was an interesting read, but I wouldn't call it a real "page turner." It's basically mini-biographies of famous conductors up to the point at which this was first published (1991 maybe?). It portrays most of these people as not very admirable human beings, i.e. how many of their marriages fell apart, etc. It's a bit dated and perhaps has been updated since. It does portray a few of them, such as Simon Rattle, as decent.
It also describes, similarly to Mozart in the Jungle, how much conductors' fees have increased over the last few decades, and that this is a problem for the classical music industry. It's also dated, as so much has happened with the conductors who were still alive at the time of its publication (most obviously Levine). It's interesting for serious classical music fans, but not super engaging.
It also describes, similarly to Mozart in the Jungle, how much conductors' fees have increased over the last few decades, and that this is a problem for the classical music industry. It's also dated, as so much has happened with the conductors who were still alive at the time of its publication (most obviously Levine). It's interesting for serious classical music fans, but not super engaging.
mgerboc's review
4.0
This book was truly eye-opening. While released in 1991, the trajectory documented and foreseen by Norman Lebrecht of the role of conductor/music director and classical music in general is spot on, and connections through today can easily be made. Capitalism is truly evil, and market economics have wreaked havoc in this artistic sphere. The construct of the conductor as mystic musical priest may have its roots in some sort of the truth, but market forces, really propelled by Herbert von Karajan, created an unholy marriage between art and money, has made monopoly inevitable (especially as seen in the chapter on Ronald Wilford - DAMN), forced a sort of bland middle-of-the-road interpretive style the only commercially successful venture, and has excluded women and people of color from the industry.
There is some hyperbole and a few annoying factual inaccuracies, and the book starts a bit slow. However, these issues don't really affect the overarching story that's being told.
Of particular note - the entire chapter dedicated to Karajan; the guy was a Nazi and never apologized for it. Why don't more people talk about that? Is there so much money still being made on the Karajan-records industry that people turn a blind eye? He also, in his insanely successful, egomaniacal, and fascist need for control and domination, basically ruined the conductor/musician/audience relationship and salted the fields for anyone trying to come up in his shadow.
Additionally, as a Clevelander, there is a cool section on Franz Welser-Möst as one of the very few bright spots among younger conductors.
If you're at all interested in classical music and its history, or the business side the music industry, this is definitely a must read.
There is some hyperbole and a few annoying factual inaccuracies, and the book starts a bit slow. However, these issues don't really affect the overarching story that's being told.
Of particular note - the entire chapter dedicated to Karajan; the guy was a Nazi and never apologized for it. Why don't more people talk about that? Is there so much money still being made on the Karajan-records industry that people turn a blind eye? He also, in his insanely successful, egomaniacal, and fascist need for control and domination, basically ruined the conductor/musician/audience relationship and salted the fields for anyone trying to come up in his shadow.
Additionally, as a Clevelander, there is a cool section on Franz Welser-Möst as one of the very few bright spots among younger conductors.
If you're at all interested in classical music and its history, or the business side the music industry, this is definitely a must read.
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