#Minnegeddon — Is there another reason why the MO has ground to a halt? s d reply to “Amy”

My reply was intended to help anyone who is interested think outside of the box.

And btw, P2A is finished, except for the epilogue, which happens to be entitled “Revenge of the Mozarts”. :-)



#Minnegeddon — the clock ticks down…s d reply

This is not attempt to ‘justify’ any of the MOA actions. However, there may be a possibility than an understanding of this issue might further define the complexity of the situation MOA could be facing.

What if, for example, they are scurrying around trying to figure out how how not to be labeled ‘the band that locked out Mozart’? What if they have done what they can to flush out anyone involved? Now what do they do? :-0


#Minnegeddon — Are Hensen, et al ‘vandal’s or not? s d reply…

“Henson, Campbell, and Davis are vandals, pure and simple.”

Just suppose for a moment that they are (also) dealing with something that happened behind their backs that may have involved one or more of the players that could have a significant effect on the public perception of the orchestra? Would ‘vandal’ still be an appropriate term?


The other, ‘other’ shoe that may be contributing to the current #Minnegeddon

If you are willing to think outside-of-the-box, find a copy of the score to Mozart’s last major opera and check out the character Monostatos. Take a moment to figure out how this character tries to take fate into his own hands, and lead the noble vision of Sarastro and his priests astray.  How does Monostatos try to influence Pamina?

In the opera, Sarastro promptly removes Monostatos when he realizes he is a traitor.  The temple is preserved, the knights are safe (until the final battle).  What if Sarastro were to have allowed Monostatos to remain in the temple?  What would have happened then?  Would the priests have been destroyed and Sarastro be out of a job?

#Minnegeddon — another issue that Hensen et al may be dealing with…s d reply…

With all due respect, that is your opinion about Hensen and you are entitled. My position on him and MOA is somewhat different. I happen to have a somewhat unique perspective, which you may choose to accept or not.

While I agree that MOA does seem to have actual malevolence against the players, I think that they may perceive that as not entirely unjustified. In one case, at least, things have happened behind the back of the board that could also affect the existence of the orchestra. It may be that MOA is flushing trying to flush anyone involved with this out, albeit in a clumsy manner with dire consequences.


#Minnegeddon — the fallout continues…and expands…

I have been talking about what I call “Minnegeddon” since I was a flute performance major at the U of M.  I have been tweeting and posting about it from the time I wrote that episide of “Piper to the Alternative” in 2012, before the MO lockout.  But my statements have, for the most part, been ignored.  I’m just apparently not the kind of person one takes seriously.  I take responsible for having a sarcastic air and a goofy Pythonesque sense of humor, using emoticons, and making outrageous statements.  These aspects of my character probably tend not to persuade others of my brilliance or sagacity, not to mention, prophetic abilities.  

Oh yes, there is one more thing — I have yet to be given a proper introduction by one who does have ‘credibility’ in the area of performance of classical music.  This one, a “Monostatos”, if you will, could, with just a few words, provide definition to the other issue that has been a part of the events in Minnesota over the last year.  

So now, there seems to be a stalemate in the MO situation that is mollified only by the tenacity of Rep. Kahn, who is proposing that the entire structure of the MO be changed and made accountable to the State of Minnesota, not to its own board. One can hardly imagine what the current board members are saying about this…

In addition, we seem to have a US govt shutdown.  If there were to be a default, it would occur, ironically, on Oct. 17th.  Four years ago, my Mother passed away on that date.  An odd coincidence.  

How long will it take for people to start thinking outside of the box?  How many will actually go to a score of Mozart’s last major opera and check out the character with a name that sounds like “Minnesota”?  In 1791, of course, before Mozart’s untimely death, there was no “Minnesota”.  




I wish I could do more…my reply on the departure of Mr. Vanska on the s d blog

Perhaps you didn’t read the first sentence of my post, where I stated that I would do my best to summarize the situation from MOA’s point of view, for the sake of discussion. You seem to have interpreted my statements as those of my opinion. That is something entirely different.

If I were to give my opinion, there would be a lot of !%^^*@# in the post. I am devastated by everything that has happened. I am heartbroken at the loss of Mr. Vanska, who was able to give a voice to the MO. I am frustrated and livid at the plight of the players, who have now been left without their leader.

As there is another situation involving the MO that I was involved in, I reached out to both MOA and Mr. Vanska to do what I could to keep this family together, in the far-off chances that what happened to me was in any tangential way connected to this tragic situation. (I put some information in that regards in my blog.)

As I, too, was, in effect ‘locked out’ ,I do not have a voice. Those who could, have chosen not to give me a proper introduction. I hope you can come to understand that I am doing the best I can under the circumstances.


A challenge of defining MOA’s position on this, unfortunately, historic morning…s d reply

Well, let’s try…(this is observation, not my opinion)

When Mr. Vanska was hired in 2003 it was to take the MO to the next level as a top US orchestra with international status. At about that time the MOA also began borrowing money to make this vision happen. Although the MO received some stellar reviews, and played like champs, this was not enough to hold the attention of donors with money, so there were ongoing losses that threatened to drain the endowment.

With the rebuilding of the Hall, the MOA realized that this might be their one chance to put the MO back into a fiscally sound position. They probably hoped that the status and recognition already earned by the MO under Mr. Vanska would hold while they trimmed and streamlined everything to make a financially viable model for the long-term future. Having discovered how expensive having a world-class orchestra can be, they decided to err on the side of caution. They hoped everyone would support their new paradigm.

The players, however, believed their own press more than the MOA, and now, since they were ‘elite’, chose to hold their ground. They then did something, however, that was reminiscent of Diana’s attacks on the monarchy — they demanded full financial disclosure and moved toward demonizing the board, perhaps in hopes that the public would help them. This backfired, however, and MOA only fought back with additional ferocity. When would the players acknowledge the financial crisis the MO is in? When will they live in the real world?