There’s a nice interview (in French unfortunately) to mark the release of her latest CD.
It’s as I suspected, she doesn’t get asked to perform here much which is why she left for NYC for three years (she’s just moved back).
I don’t get it, ther must be a disconnect here between labels and concert promoters; how is it that a young French pianist recording on a French label can’t get gigs in her own country?
Does one have to be on Universal to get a look in?
She barely gets a gig, meanwhile it’s acceptable for Kissin to play the exact same fucking programme (!) twice in the same city a few months apart!
As to the recording, don’t usually like “concept” albums but I just listened to this disc on Spotify and liked it, particularly the Chaconne and Liszt BACH.
I really hope she plays at this level when she plays the programme live at the Musée du Quai Branley next month.
I would say it’s very close to that. From what I understand the big-time classical music world is hardly less corrupt than the IOC or UFC. I’m sure one day we’ll even hear classical music’s equivalent of a Harvey Weinstein person (he’ll probably work at Universal).
I’ve heard that Gergiev is like that, but probably for people who work at the Mariinsky more than the soloists he accompanies .
It’s sickening but I’d wager this behaviour is pretty ubiquitous.
Damn the Gergiev swinging his toothpick baton for all the wrong entries. No wonder this dude looks overworked. Even though he’s Putin’s mate I still can’t help but like the dude. It’s more the creepy disgusting Weinstein-like execs at DGG who should be pulled out