Letting marketing slip through

My highly esteemed colleague in Vienna, Christian Henner-Fehr, highlighted a subject in his blog lately an article, which appeared on the web exactly at a point, where I banged my head against the same issue here in Slovakia. The original author Bernd Röthlingshöfer in his blog "... und jeztz zur Werbung" - translated as "and now to advertisement" - gives an interesting insight in the post for whom social media apparently is not intended. 

Not so much, that there is a real restricted area, but the title is meant ironically. Were it not, that I deal with it almost daily, where I still need convincing clients to get out of their academically stuffy cultural cocoon and try to interface with the world, since a huge potential market is almost exclusively expecting you to be on the web, especially on social media.

Just in short, these are examples - according to the article - where social media is off limits:

1. when no clear goals are defined
2. missing long-term strategies
3. relying on an agent, since they have hardly a clue what it is all about
4. not having inhouse the necessary competency to make a decision
5. having no time
6. having no staff
7. not fully understanding how social media works
8. their reaction to developments within social media takes too long

Again, it may look a bit like mockery, yet these aforementioned clients do exist. Even those, who combine several of the above, if not all. Wonder why they are dangling on a rope and not understanding why business is so slow.

About time to catch up, else you really let your marketing slip through your fingers.

MS

Managerial challenges

Running a cultural entity, whether an orchestra, theatre or museum is a bit of a different type of job as running a regular commercial business. Your output is far less tangible as let's say selling books or computers.

Speaking of the latter, computers do play an increasingly important role in every day's society. Let's admit it, we do search for the best train connections, the latest discounts or the next concert with the help of the browser. The web-page is therefore not just a fancy window, but provides the first impression to keep the visitor interested - hopefully to make avail of your offer.

Recently, one institution, despite hiring me in as to help our with their marketing, decided without consulting me into a totally different approach, implementing inadequate parallel web-domains, showing not just disregard for portfolio's but most of all, inadequate understanding of marketing and web-applications as such.

What became more apparent, was the total lack of leadership, where suddenly every one became an expert for another person's portfolio. 

Sad to see a another unique and valuable ensemble in Slovakia - with much international potential - go down the drain. Despite all warnings and written reports on threats, they cut their last life line. Slovak culture is hardly viable, since not only corruptions from above is damaging, but also human prestige is blocking much instead of taking a professional approach to move a bit forward.

MS

Reaching for yet a higher C

The Slovak Opera has definitively a bad spell, claims the far from superstitious author. When following the developments, every next step surpasses the amazement of the previous one. One expects that when the summit of blunders or unhappy mishaps occurred, that the next one will be a careful one, but then the opposite happens.

The new General Manager of the SND State National Theatre, was surprisingly selected. Despite initial doubts about the candidate's proven background, I decided to give some time as a kind of a benefit of the doubt gesture. The appointment was - again - slightly controversial, but let the man prove himself. Perhaps, there would finally be a light at the end of the tunnel.

Hardly, a few months have passed, when news of a sudden sacking of all three department managers was flung into the media, just one day before an important premiere-night. Not the best of PR skills. What was a bit bizarre, that the usual reasons given remained vague or rather unlikely. One cannot but be amazed. Among the immediate replacements were ... one of the selection-committee members, who appointed our best man into the saddle.

It could be argued, that perhaps most candidates will have supporters as well as those who would oppose. But such a move is definitively not adding to much of a convincing and professional image. It took too much time for an alibi (apparently embezzlement... don't be surprised). 

The credibility, alas,  has fully gone. Unless there is indeed a vested interest to keep this Opera in a muddle of scandals, then there is no other explanation but a bad spell. A never-ending story of intrigues and mismanagement. he new government fortunately has ousted the communist elements from the government. Now let us see, if they can effectively restructure the whole cultural sector, so it will become a bit more prominent in society again, more representative and more decent.

MS

How to loot your culture

Culture is a many faceted aspect of one's society. Especially nowadays Europe seems to struggle once every few months with a question about its identity. In such a situation, one would expect that governments would somewhat treasure their cultural heritage.In other words, rediscovering its value. This logic, however, is somewhat far fetched from normal day's reality. To which absurdities and contradictory policies a government could go, can be demonstrated in the case of Slovakia. 

While there is absolutely no visionary policy on art, furthermore any kind of quality artistic contribution to society is either underpaid or in most cases completely ignored. The reason should not be looked for in our present day crisis, for it has existed long before. On the one hand, bureaucratic systems keep cultural activities on the lowest possible level - either by funding poor quality (as long as your friend's friend is in charge, their financial support is secured) - but funding as a general remains sometimes uncertain even till after a performance. Risks that can hardly be carried on the shoulders of those who make a humble living from it.

As the Expo Shanghai is approaching, a bizarre anecdote came to my attention. When communicating about possibilities to be present in Shanghai for the Slovak Republic, the bottom line of the whole matter was that; "Yes you can be part of our country's representation. No, of course we will not pay you; it is obviously for the honour that you will do it to represent your country".

How arrogant can a country treat its culture is clearly demonstrated. We reached a level, where it is already expected that musicians will work for free. But even an international representation - a kind of calling-card for your own country - is worth nothing. Obviously, the managers wouldn't want to forego their juicy fees. Slovakia's culture is basically on death-row.

MS

An Odd Surprise to save the Opera?

The final verdict for the appointment to become the General Manager of the Bratislava State National Theatre (SND) has fallen. A postition which has by now gathered enough controversies, that would need supernatural attributes of the candidate, as well as a firm grip of a generalissimo, but foremost being a skilled manager - a treat which demonstratively is a rare given around the SND. One could say, some level of masochism would be required. 

In the end, what was most surprising, a candidate, who didn't want to become the GM at all - only to have his say and then keep his peace - in the end got the job: Ondrej Šoth. In these circles, life in Slovakia is far from dull and surprises are around the corner everywhere. Were it only that they would be more helpful instead of damaging. 

Interesting was one of the headlines in the economical daily Hospodárske noviny which screamed that 'scandalous foreigners want to manage the SND". When only seeing the past 3 years at the SND, I would find the label 'scandalous' rather befitting to those Slovaks, who were in charge, and ruined the whole place. Moreover, one of the Slovak candidates (and thus not or less scandalous to the newspaper author I assume), was one of the very same initiators of the decomposition of the Slovak Radio Symphony Orchestra. Need I go on?

In the end, while others are described having had a good preparation, the winner went only to give an emotional plea. Seems that romantic ideas and emotions count more than realistic visions to face managerial responsibilities.

I hardly do not dare to pronounce my feelings, where I already see this scenario to repeat itself within a relatively short time. I don't want to draw a sign on the wall. But I am afraid, that somehow something is continuously nagging in my mind, that this circus has definitively not ended yet.

MS

Da Capo for the Slovak National Theatre... al Fine?

Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture.

The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination.

Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline.

The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was agonisingly quite unconvincing.

Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Košice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started.

The fact, that suddenly a renewed attempt is detected - at least something is happening again - made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. When thinking of the wasted millions while good quality musicians hardly stand a chance to find support for their performances, it is making me far from optimistic.

One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect.

MS

Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Kosice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started. The fact, that a re-newed attempt is detected - at least something is happening - it made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect. MS

Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Kosice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started. The fact, that a re-newed attempt is detected - at least something is happening - it made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect. MS

Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was agonisingly quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Košice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started. The fact, that suddenly a renewed attempt is detected - at least something is happening again - made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect. MS Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Kosice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation ...

Translation was truncated because of the limit at 5000 characters set by Google API.

Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was agonisingly quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Košice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started. The fact, that suddenly a renewed attempt is detected - at least something is happening again - made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect. MS Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Kosice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation ...

Slovak Philharmonic's blues

A trend in Slovakia's music world is that incompetent managers do everything they can to destroy it. A manager is not to have any vision, responsibility for his product is completely unheard of, and it seems the only objective is to make sure your own salary is as optimal as it can be.

Slovakia's Philharmony, one would gather it to be a prestigious cultural institution to carefully nourish and use as a promotion abroad. Yet, it is a petty club of drifting musicians, victims of anything bad that Mr Murphy has put into his law. Season 2009/2010 has started quite a while ago, and only in February 2010, its newly appointed chief conductor Emmanuel Villaume finally came to town to present himself and 'his' orchestra. And till the end of the season only one more concert to follow. How about that?

True is, that it is becoming a general trend, where chief conductors spend much time abroad. But the quality of an - let's say - Amsterdam's Concertgebouw Orchestra  or a Berlin Phil is a bit more steady to absorb such shifts. While the Slovak Philharmonic has fell prey to management struggles, where one conductor after another walked out, this tactic (for hardly can it be considered a strategic choice) proves to be devastating. But in all honesty - merely 2 concerts for this season and having a status of chief conductor? What's the point? Having two heavy weight cultural centres around the corner - Vienna as well as Budapest, the burden is simply too massive to be ignored.

This so-called opening concert announced a Brahms symphony. Nr. 4. Whichever Brahms you take, any self-respecting philharmonic band needs to have this in its repertoire, and almost be able to play it by heart, no matter who is swaying the baton. Perhaps the bride and groom were so nervous during their first appearance (although it was not the very first co-operation between the orchestra and the conductor). But when even a minimal professionalism of playing together, following the maestro, among others, is not there, then the state of the orchestra is at a dramatic low. Unless it would have been a last-minute stand-in to replace a suddenly fallen ill conductor, it could be excused. This is an embarrassment. A better job could be outdone by an average amateur orchestra from Germany.

My conclusion is, despite a Mahler symphony ahead (and my acquaintances know my appetite for Mahler), the Slovak Philharmonic is no longer on my visit-list. Unfortunately.

MS

When even the minister comes

Attended an opera: While cities like Vienna and Salzburg, have regular - if not non-stop - programmes with their native composers' oeuvre, Slovakia's capital Bratislava's frequency to perform operas of its famous son Johann Nepomuk Hummel - or his compositions in general - is almost zero. You would as why? I simply don't know. Perhaps, it's too much of a burden. But, last Sunday, Hummel's opera Mathilde de Guise was performed, and remarkably in an HIP version. Historically Informed Performance. Not the standard modern instruments, but real gut-strings, natural horns and trumpets, etc. A tantalising flavour for real connoisseurs.

It was a great surprise, that unlike during the Slovak (and world!) première of the opera Svätopluk by Eugen Suchoň, which has been hailed as the nation's national opera by the government leaders earlier, but where not one single dignitary bothered to be present, at this performance, lo and behold the Minister of Culture himself was present. Would he suddenly demonstrate interest in early music?

The performance itself was merely a concertante\show. Usually, players and singers are the one who suffer and sweat. The builders of the opera made sure that this suffering was to be more balanced; not only the acoustics of the auditorium (especially erected for operas!) is a dull as a gymnasium, they made sure, that the temperature in the hall would be at around 28 degrees centigrade, which - at least if you didn't show up in bermuda shorts and t-shirts, your going-out wardrobe became more than just uncomfortable. 

The whole project - as it was obvious - was hardly worthy than it would befit. A clever marketing boss from Bratislava would make this into a happening with fireworks, with prestigious drumrolls and streamlined PR. As the conductor himself was no one else but Maestro Didier Talpain, who happens to be in fact the cultural attaché of the French Embassy, and is using the French tax-payers' money to sponsor his own conducting projects at the expense of many Slovak musicians, it was exactly this what was wrong with the whole happening. A poorly planned musical one-nigh-stand to inflate monsieur Talpain's ego. 

But yet, since a diplomat sent an invitation, the minister bothered to attend, even if all of the early music attempts are gravely ignored by his bureaucrats. Perhaps it looks as a good sign, yet it is a harsh but real sarcasm. Only the really impressive performance and singing technique by Íride Martínez was a balming compensation for the whole.

MS

When culture seems not to matter any longer

Sadly enough, my observations throughout the past few years on Slovak culture have been a bit grim, to put it mildly. Minister Maďarič, who is bestowed with the honour of keeping a watchful eye on Slovakia's cultural institutions and developments, has - contrary of what one would expect from him - shown little interest in this field. 

Perhaps life has become too fast for the Culture Ministry to notice all the developments. Not only was it visible, that the demolition tactics within the Slovak Radio Symphony Orchestra has devastated the foundation of the oldest professional orchestra in Slovakia, money wasting in the Slovak Philharmonic by its Manager Mr Lapšanský was equally alarming, which on top was marked by again a walk-out of another Chief Conductor, Maestro Feranec. Not the first one, to leave because of internal conflicts, hardly the last. Equally with the National Museum, who is run by incompetence and letting its foreign partners in deep despait, as their project of manuscript conservation is in jeopardy. 

The State Opera has had the most dubious set of Managers' switches, with a mysterious misty shroud of quiet spokespersons, no press releases or contradictory statements. If you have every few months a new director, especially since your club is running on public tax payers' money, you have to explain a lot. Not so in Slovakia. In the best scenario, the Ministry is closing an eye and hoping that public either will not notice, or quickly forget. 

But never mind the small change - who in Europe has ever heard of a Slovak National Museum, a Slovak Philharmonic (unless you are a NAXOS collector) or the like. Better, when Slovakia has proudly boasted of making its Eastern Slovak city of Košice into a European Capital of Culture! Prestige all over from Alaska to Tahiti. So one would expect, at least.  

Nevertheless, as it appeared in the newspapers today; the prestigious project, backed by patronage the Ministry of Culture and Brussels to turn this little gem into a capital in 2013, and to make in a dazzlig cultural town full with events, it appears that the Ministry has somewhat failed to fulfill its financial obligations. One would ask why. Not that the State has gone suddenly bankcrupt. The reasons are vague, to say the least. It's just ... political. 


This is definitively not the first time, where cultural projects are bleeding because of the incompetence, to move forward, or to at least stick to the set deadlines to deliver reports, decisions or what you have. A bureaucratic moloch, which shows hardly any interest in supporting culture at all.

Knowing, that the Manager, Ms Zora Jaurová, who as usual thoroughly prepared all documentation is far from happy. The whole project is at peril, perhaps to fatally end in a disaster. I know the feeling. Unfortunately, Mr Maďarič doesn't. Another case, where Slovakia has lost international prestige and added another embarrassment to its list. I am afraid, it's far from the last scandalous result of the present government. The frustrations of all those, who put their heart, soul and endless energy, ending up with empty hands cannot be described. In Slovakia, officially culture seems not to matter any more. One can only pray for a miracle, but almost too much harm has been done. 

MS 

Opera Soap

After the last stalemate in the candidacy race to become the next lucky (perhaps rather unlucky) General Manager of Slovakia's National Opera, there is - believe it or not - some movement. In fact, any movement would be more than welcome, as the incompetency of not being able to find a suitable manager for a prestigious organisation like the Opera is really becoming more than embarrassing.

The fact remains that for more than three years a centralist management has been causing many upheavals and controversies, where the Opera wore out every few months another manager. Controversially mainly because all new incumbents were hailed as the brighter than bright future, leading the Opera to the heights of European, eh no: even World level! The dream-team bubble burst only within a too short a period, with a record of merely 3 months to be attributed to the famous singer Gabriela Beňačková. Whoever was to blame, three in a row was simply too much of a coincidence, yet it had to take a coup-d'état of 3 directors had to take place, before the General Manager Ms Hroncová was forced to step down.

While these things might equally happen in any other country as well, what is a bit frustrating or disturbing is the fact, that misty and vague interviews (if any) are given, leaving an odd flavour of political intrigues and hidden agendas. But let's call it sheer mismanagement.

As I described in one of my earlier blogs on this, 7 new candidates submitted their applications to the selection committee. For some unconvincing reasin one candidate withdrew one day before the interviews. The outcome: nobody made it. Fulfilling al requirements, plus handing in a fully elaborated strategic business plan seemed not sufficient enough to convince the committee to pick the right successor. 

Then Minister of Culture offered the famous singer Peter Dvorský - currently also in charge of the Košice Opera - to become the next General Manager. Although in this was suspected for a long time, this obviously was far from a surprise. Knowing, that Mr Dvorský has aspirations for this post, there is however a slight twist to the matter; somehow, Mr Dvorský didn't meet the requirements as stipulated in the aforementioned selection procedure. Since this was unsuccessful, now the Minister can adjust the requirements according to his own discretion, paving the way for a selected... well; preselected candidate. 

Whether Mr Dvorský would be able to manage the SND Opera is debatable. What is a big shame is the murky process. A farce to justify the next political moving of the chess figures on the board. A slight sense of exhaustion takes hold of me when I try to fathom all this fiddling around and wasting money just to play the pathetic old game of who gets what. Bratislava will probably never reach any level at all with its Opera, neither the global, nor the European standard. It's a costly soap situated in a provincial village where nobody cares. Very costly with a dragging yet sad ending.

MS

Unbelievable!

My daughter would call it "a bad hair day"; when daddy is not in the mood, manages to create a bit of stupendous chaos, or says something which is utterly inappropriate and then wants to crawl in the deepest pit. Happens to all of us. As musicians we are, after all, still human. But what I read in the papers, would - in case I would be quoted these opinions - cause me to jump of the highest building in town. Perhaps I was born on a wrong planet, perhaps in a wrong century, but if my memeory serves me right, when we used to study music, or for that matter whatever we did, we tried to keep an eye on quality. Or else...

It was a few days ago in the SME newspaper - culture section, where the Slovak violinist Juraj Čižmarovič gave an interview. (For those able to read Slovak you can find the article here.) Just for your information, Mr Čižmarovič is currently concert master with the Cologne based WDR Fernsehenorchester and is lately taking up the conductor's baton as well. Quite an achievement. Chapeau.

While elaborating on the usual stuff like his youth, parents, studies and achievements, he places a remark, which made my hair raise as if electrocuted with 20 thousand Volts - the least. He was asked on the question of quality (in music). The conclusion was, that quality is determined by consensus and therefore, when (the majority) of the audience like a piece it is therefore quality.

Now that is an interesting statement, when taken out of context might be interpreted a bit, .. well wrongly. I re-read that paragraph a few times; the exact questions, the immediate answers (the journalist seemed surprised as well, and reiterated his question to clarify whether he understood Čižmarovič correctly), and cannot conclude that he meant it that way.

Some time ago, the very same Mr. Čižmarovič came to Bratislava, to perform Vivaldi's Four Seasons. It was a kind of a weak rendition of "Mr. So-and-so and Friends", where - in all honestly - the professionality of Mr Čižmarovič was at stake. The playing was not only outdated (over vibrated, acrobatic show off instead of refined music due to the piece), it was out of tune, full of mistakes, where even a tone-deaf listener would notice mistakes, for the Four Seasons are almost known to everyone.

But putting these two things - the embarrassing performance and the interview - together, gave me suddenly an insight what Mr. Čižmarovič is all about: playing lousy music - but as long as the audience loves it - is quality to you. Perhaps the artist shoudl have a sense to feel responsible to deliver quality to the audience, also to educate the audience to become more appreciative to quality... or am I too naive?

Well, in that case there's little hope for Slovakia's audience. You get medicority as a standard of quality. Even the professional musician seems no longer to be interested in true musical quality. Unbelievable. Perhaps I am having a bad hair-day.

MS

A Spell on the Opera

After the resignation of the controversial General Manager of the Slovak National Opera, the Ministry of Culture has - for the first time - publicly announced a hiring process for the said post. While one would be used to broad publications for similar posts in Amsterdam, London, Los Angeles, Milan or even unconventional places like Singapore or Sydney, Slovakia prefers a hush-hush announcement. Albeit, that those really following the whereabouts of the Opera, were able to get the needed information. Anyhow, the cultural world - or let's say, the Slovak cultural world - was closely following the developments. Last Friday, the long awaited results of the candidate-selection would be finalised, and the eagerly awaited new General Manager would be appointed. 

The formal requirements were a bit of a farce; previous directors either fulfulling the expected preconditions or not, have never been able to fulfill their tasks, and either left on their own chosing, or were bluntly sacked, under mysterious circumstances (where even the official spokesperson would not be able to give comments to the occasions). Nevertheless, a total of seven candidates have come forth to run for this race of the titans. 

Therefore, last Friday was a big day. Another step forward. How more susprising it was, that the current interim manager suddenly withdrew from the race. His reason seems a bit unconvincing in my eyes, but let it be. The shock - or disappointment - was a bit bigger to find, that the commision has not chosen anyone. Leaving the door open for any other possible solution. A solution, which might be politically driven. Left aside, who the candidates were, one cannot wonder, who would still really be interested to hold this post. Either a complete masochist or somebody completely detached from culture.

For a few years I have monitored many public institutions here in Slovakia in their management struggles (or rather their lack of it). One can hardly stop feeling amazed by the events and whichever angle one takes into consideration, such wild-west solutions would be far from acceptable in most Western opera houses. There is much awe and question-marks left. It seems that Bratislava and its Opera have a magic spell. Not to excel, but to be doomed to mediocre level of amateur games of those, who wallow in political intrigues. It would be an interesting scenario on stage, but not behind it. 

MS

Hidden Baroque Music in Poprad

Last week, an international early music project called Central European Music Academy took place in the Slovak city of Poprad, just under the majestic High Tatras mountains. Slovakia's most prominent early music ensemble Musica Aeterna from Bratislava was present. Even some of my acquaintances from abroad would attend. Good news one would say. 

Except from the fact that such a 'prestigious' event had no medial coverage in Slovakia whatsoever. Despite my close connection to early music in general, I was personally shocked to find out of this festival through foreign sources - I reckon, that it was just a slight error for me not being informed of this beforehand. Newspapers wrote a brief article during the festival - where one would expect to publicise in advance in order to attract attention and to point out dynamic activities in the field of early music. But not so. One news item on public television, focussed on the presence of the dance department of Prague's National Theatre, who were performing original baroque choreography to the music of Jean Baptiste Lully. Not one mention of their own Slovak participants. Why?!

What gnaws on my mind is; are Slovaks so embarrassed about themselves, that they purposely eliminate all traces of themselves from such worthwhile activities, such that only foreign prominence gets the sole attention? I have witnessed many early music projects go to waste, because insufficient public interest and most of all lacking interest at the Ministry of Culture level, where they should be eager to support such trends.

The artistic music director of Musica Aeterna, Peter Zajíček was quoted in the said SME newspaper article that baroque music in the West doesn't sound other than in the Historically Informed Performance practice - and implying, that Slovakia seems not to realise this given, continuing to play a 1960s-ish Karajanesque rendition of baroque music as is the case with e.g. Warchal Chamber Orchestra. I totally agree with that statement - but I have to add something to complete the picture; this state is partly also caused by the lack of a structured and professional marketing approach. It is highly underestimated.


Continuing like this, may result in Musica Aeterna to bleed to death within a few years. The foundation of this music quality of Musica Aeterna, which had a profoundly genuine and pure approach to early music thanks to the late Ján Albrecht, will find itself in a dead-end alley. A quality gone to waste. Such that hidden attic performances will be the last sighs of breath. And despite that Poprad's 'music academy' was an interesting highlight, to me it looks like a missed train.

MS

Slovak culture and Web 2.0

While Slovakia has experienced during the decades of totalitarianism political limitations to free information until 1989, for 20 years now it has entered formally the free "western" world, where information is accessible, especially since the introduction of internet and the like. Our world has gradually changed - we became more dynamic, more global, and more technological. IT-technological that is: Our borders have somewhat vanished, and we can nowadays access instantaneously electronic data whether from Anchorage or Auckland.

This would, in theory, give us a grand virtual mobility, where the geographic distances are irrelevant. On the one hand, as we became more computer literate (let's admit it - how many people were 25 years ago knowledgeable about RAM, kbps, IP, UTLs and you name it) we have a rich scala of comparison at our fingertips; in the event I recall a certain title by e.g. Jane Austen, I can google the book and eventually legally download it, or read some background info on it. All within a few minutes. In the old days, I could visit the nearest library, and if the book was taken, I had to wait another couple of weeks perhaps.

Technology has definitively also influenced our connection to arts. Not just Picasso's works can be viewed, music of all sorts is available from our sofas. While in the old days, we savoured unique life concerts, records brought - be it with some quality limitation - music into our homes. Nowadays, we can hear performances from Sydney, Los Angeles, Seoul, or Covent Garden, and compare them with the Concertgebouw, Berliner Philharmoniker, La Scala or the Gewandthaus. But now in full hi-fi quality, digitally remastered. A former manager of a Dutch symphony orchestra once described it as our "Ear-Phone Experience": When being at a live-concert, it is no longer the experience of hearing beautiful music to pleasantly spend the evening, but it has become a "comparing notes" with the other dozens of prominent performers.

Departing from this, technology moved us a bit forward also in a different field; now that we have become more informed, we have also must have added to our critical preferences - or at least we should. While all over the world the era of the so-called Web 2.0 is not a mere phenomenon of just globalising business vis a vis your home, strengthening networking; even arts has now strongly boarded this vehicle for their marketing purposes. While major orchestras even appear on Facebook or Twitter (to name a few), actively informing about there upcoming concerts, even providing possibilities of viewing online or downloading their concert, there is an odd silence in Slovakia. 

Although urging colleagues and other institutions to utilise these available tools, the vast majority has no connection to them. The effect of internet (or Web 2.0) is highly underestimated. There is hardly any connection felt for the possible synergy. The role of a marketing manager is grossly downgraded, as the willingness to invest in this field is close to zero. Slovakia has - sad to say - hardly understood how to deal with quality and how to sell it. Political structures hold a stiffling grip on culture, which is obvious on how institutions are run and when the chief editor of the only classical music magazine, is very selective in his criticism towards key figures in Slovak's culture, giving it a slight flavour of party propaganda. Well, perhaps his job is at stake.

While I sadly see how fast forward moving culture has connected all over the world, where colleagues in my direct neighbourhood like Christian Henner-Fehr, David Röthler, Karin Janner and many more, are successfully channeling art through the Web 2.0, I see Slovakia like a time-capsule, still experimenting as if still in the 1950s. Where music trends are generally speaking outdated, and where innovation is rather smothered than encouraged. Web 2.0 is a great tool, but for Slovakia it is still an unknown field, where the only problem is the Slovak mentality, unfortunately. The prospects are not very optimistic I am afraid.

MS

Operatic hurdles

At the end of August, the Slovak State Opera came at a turning point; after years of dragging and pulling, four run-out managers, finally the General Manager resigned, after which the then (resigned) Opera Director received the position of overlooking - albeit temporarily - the management of the whole organisation. What was known to insiders, a shrouded mystery remained on the reasons why everything took place. Took place then, and most of all, why after so many turbulent, or let's say rather chaotic years, where no truly professional management was in place. 

Mr Pavol Smolík, who currently runs the house has given lately an interview to publicly give some insights (so one hopes). What is immediately apparent that none of the answers give a conclusive impression of what is ahead. Not sure how well the author prepared his questions, what was edited, but it must be said in all fairness, that given the situation in which Mr Smolík finds himself, it is also difficult to work in, and therefore, difficult to conceptualise, implement and carry out to the end a necessary innovation project to help the Opera out of the ditch. 

While having been closely observing the period, where the famous opera star Gabriela Beňačková was endowed with the task of forming the Opera house to equal the great international levels of other famous centres like La Scala, the Royal Opera House, the Metropolitan, and you name it. Afraid to say, that neither Ms Beňačková possessed the skills nor did Ms Hroncová, whose only talent was to keep on firing people and having a talented non-communication style.

What is sad for Mr Smolík is, that Bratislava is not bestowed with many essential elements, that could (or should) lead to this goal of putting the Opera into real and splendid action. There are a few, but nevertheless persistent, hurdles that prevent the Opera to excel: Firtsly a very old-fashioned style of working. The most basic functions operate as if a scene from a 1950s comedy show; innovation is regarded as a threat, and therefore not readily appreciated (concurrently, doomed to fail); new 'talent' is - due to the education system in general - difficult to find or below an acceptable standard; financing of culture and marketing skills is one of the most neglected areas in this country. If you want to change the Bratislava shed into a New York Metropolitan Opera style, it is only a naive perception. Here neither the specialists at the Culture Ministry hardly understand what their role is, nor the faculty of Arts Management of the Bratislava University have produced capable anybody who could or wants to solve this Gordian knot. The question should be asked also: why?

I sincerely wish Mr Smolík a lot of strength and wisdom. He has some goodwill among the stakeholders, which is a good start. How far he will be able to go, is a question mark.

MS

What was or ... what wasn't

The sudden resignation of the whole Opera management is rocking the boat a bit. Initially, somebody, who has been following the whole developments, could make an estimated guess of what went on - an those, who had more first-hand accounts were fairly informed.

Today brought (finally) a certain reaction by the General Manager Ms. Hroncová, who after 4 opera managers in 3 years, finally stepped down herself. Every person deserves a chance to give his or her view on the matter, at least to help us getting a more balanced conclusion of the whole thing. So more than glad to read the interview.

While in some of my earlier blogs, I have pointed out the desperate lack of any official information, giving the Slovak National Theatre (and it's Opera) a misty and secretive wall around it. The communication with the public has always been a neglected issue. Does it matter? A shareholder of any kind of company has obviously the right to know - to a certain extent decide - on management matters. The National Theatre is a public institution, financed with tax-payers' revenues, and therefore; yes, we have the right to know.

The demise of the first three managers, followed by the resignation of Ms. Hroncová has until today still no clear (or official) explanation. Either the parties keep quiet, or express a vague argument, which could be interpreted either way.

Ms. Hroncová has expressed and stressed foremost all her positive results during her 3 year reign. Higher profits than ever before. But who can tell, if all of it is continuously kept suspiciously secret? Was it really such a good result, held back by 'conservative forces within the organisation', or wasn't it? That is in fact the whole problem of the Opera and the National Theatre. Nobody can tell, as all is kept behind the doors of the Ministry of Culture.

Such interviews are therefore a bit pathetic, as this shrouded mystery is the biggest problem (of all the institutions - Radio Symphony, Philharmonic, State Television). Moreover, it's in a legal sense a faux pas. It's sometimes hard to understand, how this keeps on persisting. Twenty years after getting rid of communist rule, culture is still a hostage of the same clique.

MS

Drama at the Opera...

The Slovak National Opera is not blessed with success. To the contrary; it is haunted with resignations, sloppiness and incompetent management(s). Indeed managements - in plural! Ever since I have arrived in Slovakia (only in 2006), the opera has had 4 managers [sic]. Breath deeply and calm down. Yes, you calculated right, 3 years with 4 managers. Not that health reasons overtook the abilities of the said people, or that they reached retirement age. Simply, the general manager of the Slovak National Theatre (under which the State Opera falls) seemed to have an unusual craving for changing her staff a bit. Last week, all of a sudden the new manager (only to accept his job in May) resigned together with the director and chief-conductor. This was an act mutiny at its best.

It shall not be my intention to reiterate what I have written earlier in my blog on earlier decisions and management styles within the SNT/SO, but this development is too grave to let it pass without a comment. In all honesty, because of these former developments, I have somehow completely lost interest in this Opera house. Yet the news of the threesome demise caused a kind of "Andropov-Chernenko"-reaction in me. Perhaps you remember, Andropov who took over from Brezhnev suddenly died a year after in office. The joke went that watching the state funeral (first B. then A.) that people were a bit disappointed, and wouldn't plan to attend next year's funeral. How we laughed about this wry "wishful" thinking... until it indeed happened!

The fact that the SO-manager Mr Smolík's decision was taken so soon (just about 3 months) was indeed a blow of shock. While doing some correspondence, I saw my twitter-bar message appearing and was practically nailed to the ground.

Mr. Smolík was hailed in as the new manager by Ms. Hroncová, as he has shown the best worked out concept for the future of the Opera. It must be said, that at least Mr. Smolík has gotten this post through a public selection procedure - contrary to the previous selections, who were personally hand picked by Ms. Hroncová, which was, to say the least, not according to legal regulations regarding functions in public offices. This, obviously, causing much controversy in the first place.

So the first open procedure was finalised, and Ms. Hroncová fully supported (although, so she did in the previous instances) Mr. Smolík's plans - concepts - experience - know-how and you name it. Why then, the sudden run away? Even the more, Mr Smolík has worked with the Opera all the time before, so one would expect that even on a person-to-person basis, both parties knew eachother, knew what to expect...

The following day, Ms. Hroncová stepped down. In a press conference, she proclaimed what good intentions she had with the SNT (to raise it to a European level), which in some extent could have been true. Yet, there is a slight difference about one's envisioned goals and how to implement it.

True, in some fairness I need to mention that some voices aired that many within the Opera are still having a background from the totalitarian regime. That especially such conservative camps were opposing to her innovative style. In my view, Ms Hroncová's style was far from innovative, and equally imperious as the old regime was - and as mentioned, even trespassing even regulations. Even, when the truth is somewhere in the middle, the (general)manager has a managerial role and managerial responsibilities. Failing communication, transparency, and some counterproductive decisions were not exactly a good example of skilled management. So far a manager's opinion.

Mr. Smolík - after Ms. Hroncová's resignation - agreed to return temporarily to the Opera. Time will now tell, whether he can pull the Opera out of the bog. It is a trend to be seen even in the Slovak Radio, Slovak Television. Just one big drama. Let's see what's next.

MS

Sale season (part II)

The Znojmo Music Festival (see previous article) will have a small encore: Haydn's La terra della luna" will be performed once again in Prague coming October. In fact, just after the closing concert, musicians were pushed a contract for this event in their hands to sign. Fortunately, due to the after concert rush, o few open issues had to be addressed, so further communication followed.

The point for instance was, that a majority of musicians comes from abroad: the contract stipulated only to play a rehearsal and a concert, for a price of 100 Euros. In case you would live around the corner, travelling 30 minutes by subway or tram, it might be acceptable for a fanatic music lover. But in reality, we deal with a following situation: You have to travel from Bratislava to Prague, which is a long trip and you should take the train if you want to avoid the frequent collision related traffic jams. There is indeed a good intercity train connection, which goes only a few times a day. I order to make it to the rehearsal on time, yoru train will leave at 5:35am from the main station. Your day will thus start at around 4:00am!

So the early riser will arrive at the rehearsal and physically play the whole lot including needing the concentration. After the session, there are empty hours before the actual performance. What can you do? Shopping? You have no facility provided to take a siesta, to rest, to practice, ... you are in fact kicked into the streets. After the performance (again full commitment, physical effort and concentration, you can head home, which means you arrive - if you are lucky - at around 3am.

For almost a 24-hours shift, plus artistic output you will get 100 Euros. In case you would take a hotel on your own (which would be ideal, so you will be well rested), out of these 100 Euro's you will left perhaps 20 Euros. When addressing this issue, the organisation simply replies with the statement that there's so more money. Basta.

The fact, that you have a limited budget is quite possible, but then: where do you have the impertincence, to insist professional musicians to work under such conditions?! I would like to ask the organiser Mr Roman Válek one question: Have you ever tried to go to a supermarket, take a product to the counter and tell the cashier lady that you can only pay 10% of the price? Can you imagine what would happen? You will be kicked out. Musicians have also their value.

MS

Wrong expectations...

Slovakia's music scene is relatively small. It's in fact just a small village. Only the lack of a good high-way system makes the country seem vast, where you travel almost a whole day to reach the other end (instead of just a couple of hours). One of the reasons, where one's focus on music is therefore determined to be confined to the capital itself - and thus even a smaller village.

Referring to my earlier articles, where I have encountered a detached type of provincialism in cultural life, something came along my path recently. Although I have marginally noticed this ensemble during one of my surf-sessions, it was only now, where I came across the "Baroque Quartett" from Žilina. My relatively intensive dealing with early music in Slovakia, caused my heart to skip a beat, as I realised why how come I haven't hear anything about this ensemble before. A recent concert in Trenčín would be able to give clarification.

Right at the onset, a serious concert-goer would maybe hear alarm horns sound: what in fact would a "baroque quartett" mean? Calling a group a quartett, would mostly imply perhaps a string quartett, yet the string quartetts became fashionable since the classical period... any other four-some group one would refer to as ensemble so-and-so. Nevertheless, this group is fixed and indeed officially called "Baroque Quartett Žilina". Well, baroque music can indeed be played in an almost unlimited variety of constellations, so let's see. First of all, it appears none of the instruments are period instruments - all modern. OK, I know of instances, where Jan Willem de Vriend also manages to create a fairly convincing baroque sound out of modern instruments. But this was a bit different: when seeing the programme, after Händel (pretty baroquish of course) there were works by Mozart (a bit classicism according to my books, but still ...) then 2 contemporaries and César Franck......... To be honest, a bit strange.

I shall not delve on the technical imperfections, the poor technique and not being able to understand any of the phrasing by the musicians (all professionals as I must believe). The only thing to say this big disappointing concert is this: If a professional musician, is not capable to do his job right - don't be a professional musician. Never mind that one doesn't want to agree with a bit more informed performance of pre-classical music. In that event, don't call your band a baroque quartett. It creates certain expectations. That's pretension to the fullest, and you make your audience look like a bunch of ignorant crowd. This is a 1970s Mantovani style kitsch. This was a level, one would not even send one's kids to as an educational concert. It is appalling and embarrassing. No wonder I never really encountered much of this ensemble, and perhaps better I never will.

MS