por Leandro Oliveira
Nada vai acontecer, mas não deixa de ser bom poder ler a carta de Gidon Kremer contra a espetacularização dos eventos de música clássica. Alguns excertos, onde cancela sua participação no Festival de Verbier (15 a 31 de julho):
(…) Most of my life I tried to stick to my word (and I am aware that promised you that I’d come) but a time has now come in which the overall devaluation of the word “interpreter” has resulted in a misguided fixation with glamour and sex appeal.
This is not anymore “my” time. I leave it to those who believe in it, be it the audiences or the new bread of performers, who have overwhelming capacities to please crowds, but who are often themselves quite EMPTY and artistically lost, chasing a hunger for recognition over ability.
Let it be like this.(…)
I wish as well some day, that you find some distance from all those musicians, who use the given opportunity to share and SERVE music by simply showing up and “enjoying themselves”.
Many festivals these days unfortunately allow mixing self-enchantment with entertainment – (be it crossover or “events”) and they succeed to remain a magnet for all those, who want to be seen or hailed.
Yes I am a bit ironic and with a bitter feeling in saying these words;
REAL artists like those that we still remember, haven’t vanished completely. But the “greenery” of Verbier rather contributes to forgetting them and hails mystifications and substitutes of those, who truly served ART. Opposing such a tendency, I simply want to find peace with myself. Lately being warn out by so many dissatisfying partnerships, I simply need a rest. I do hope this will be the best remedy for the hype that surrounds many of us.
I want to conclude with these well known words from a song used by my favorite composer Robert Schumann: “Ich grolle nicht”.(…)
Palavras não do seu querido blogueiro, falando mal de langs e dudaméis, mas de Gidon Kremer. Além de Kremer, o Festival teve baixas significativas: Thomas Quasthoff, Charles Dutoit, Bryn Terfel… Todos, declaradamente, por motivo de doença. Kremer parece ser o único a colocar o dedo na ferida.
Não que o Festival de Verbier mereça. É um espaço tal como o nosso de Campos do Jordão – só que com Martha Argerich, Evgueni Kissin e outros que, de fato, fizeram por merecer suas brilhantes carreiras. Mas atirando onde viu, Kremer acerta o que não viu. E Fabio Luisi endossa:
(…)Could Jessye Norman have become Jessye Norman without her time spent in Düsseldorf as member of the Ensemble, allowing her to deepen the repertoire and to learn new roles away from the “big” (and dangerous) stages, and even making a pause for learning, refusing to sing opera for five years?
Or conductors: Karajan without having been in Aachen, Kleiber in Stuttgart, Thielemann as coach in Berlin and Bayreuth (and then in Nürnberg as conductor), emerging on the “big” podiums of important orchestras and opera houses relatively late.
We are now experiencing an attitude of ”the younger, the better”, insinuating the following message: if they conduct (or sing, or play) with such orchestras, in such opera houses, in TV, on DVD, they must really be geniuses. They are presented as such and the media swallow these PR-strategies, slavishly repeating pre-cooked sentences.
(…) I blame those who sell as “art” something which is mainly “business”, and those who are not willing to tell (or maybe to see? even worse!) that “the emperor has no clothes”. We see many young, gifted musicians who reach the most important music places in the world, pushed by managers and sought after by presenters who must constantly offer “fresh meat” to the audience: the next Netrebko, the next Pavarotti, the next Bernstein, the next Rubinstein, the next Oistrakh. They are “the nextes” and they don’t have time to be themselves, to develop to be themselves – many of them will disappear soon (we already have seen how many have disappeared after a couple of CDs, after concerts in Salzburg, Verbier, after productions in Milano, New York or London) although they might have talent and skills for a serious career.
This is the reason I appreciate this wonderful Gidon Kremer letter, because it is fresh, ironical, true and it comes from a real artist which constantly worked on himself trying to improve himself, refusing to be pushed by whomever.
Na mosca. Música, como quase tudo que vale a pena na vida, é sobre comunidade, cultivo, sensibilidade e inteligência. Mas nada disso parece vender mais.