I should preface this post by saying that from the time I was born I felt I had a connection to Wolfgang Mozart. I could identify his music even before I knew his name. With that connection came, what appeared to me as a child, to be an overwhelming burden of responsibility. I was unable to deal with it back then. It seemed he had left everything in a terrible mess and I was too small to pick up the pieces. My birth parents were dangerously immature. I had no help, no support system. So I decided to, in effect, hide the gift I had been given and live a ‘normal’ childhood. That proved to be impossible, but that’s another story…
As a young adult, when my birth family situation became unbearable, I fled to school in the UK. I had numerous opportunities to travel to the continent, and did, on my sparse student budget. I vigorously refused to go to either Austria or Germany at that time, due to their horrible Nazi past. I refused to learn German. And I refused to have anything to do with the opera Die Zauberflote.
Looking back, I can say that the turning point in my relationship with “Monostatos” was when we decided to see the Bergman film of The Magic Flute. By that time, in shell shock having to deal with the attacks against me, and the targeting of my children, I didn’t really give much thought to the fact that I was taking a major step out of my comfort zone. But then, there it was. The horrible mother, who had a split personality — one charming, one vicious — the father in the background — the kidnapping to the frozen tundra of Minnesota, the three little children — all came into focus. I had felt all along that my perspective was different from that of others. At that time I began to realize that I felt I was living inside an opera and trying to explain to others what this reality entailed.
I was able to accept the burden of responsibility, and the pain it involved. I finally accepted the call, as the hero or heroine usually does, when all other alternatives have become unbearable or unavailable..
And I have been fighting ever since…:-)
Interesting programming for the Minnesota Orchestra — starting off the year with a performance of the Overture from The Magic Flute: http://www.minnesotaorchestra.org/buy/tickets/browse-calendar/eventdetail/475/-/osmo-vaenskae-and-audra-mcdonald#.VgGhG2RViko One might be tempted to ask why they feel comfortable performing Wolf’s music while refusing to hear me and, in effect, continuing to lock me out. But then, very little about the MO surprises me these days. I wouldn’t be surprised if they were even able to come up with a counterfeit Pamina and Tamino in order to thoroughly try to confuse their audiences…:-0
Monostatos’ Orchestra seems to be attempting to go through a sort of rebirth. After the contentious and bitter lockout, which may well, in fact, have been in response to their, in effect, locking Mozart out some time ago, in terms of the great gift that I call die zauberflote, they seem to want to put the dismal recent past events behind by making a foray into new performing territory (not a bad idea) and conducting a media blitz intended to showcase them as ‘new’. Frankly, virtually nothing about this organization is ‘new’. In fact, what we may well be seeing is more of the ‘same-old, same-old’. Not that the ‘same-old’ is ‘bad’, just that it is predictably the same — a veneer of ‘grace’ and ‘loveliness’ masking the fact that its ‘voice’ (if you can even call it that) is empty and dead…
Why, you might ask, am I not tempted into mushy sentimentality about the supposed newness of the recent ‘historic’ runout or accompanying schmoozy current ad strategy? Frankly, any group who can put up with the character I call “Monostatos” is not deserving of being taken seriously. It has, in fact, settled its fate in my mind once and for all. Ironically, it appears that one of the previous administrators of this group attempted to oust this person, but in a turn of irony, they were the one to go. So I hold to no illusions about this situation. (I am, in fact, speaking from personal experience. I learned the hard way, and am not about to be fooled again.)
So, what is actually going on here? This is my impression. If this group was, in fact, put under judgment by the Lrd for their treatment, not only of an extraordinary gift of music, but of a gift of the Holy Spirit, they had the opportunity to, for example, come to repentance over the initial lockout during their own prolonged 18-month lockout and make appropriate apologies and amends. They were aware of the facts involving the initial lockout. But they chose to ignore that information and, in effect, ‘rebuild’. Not even simply rebuild, but attempt to claim they have re-invented themselves. I doubt that will work. I sincerely hope that believers will look very critically at having any involvement with this group, especially anything involving their children (yes, they manage to insinuate themselves in many schools). I consider the effect of their music unhealthy.
If I am correct, this glossy sheen of new-found respectability will in time wear thin and the public will once again have no choice but to deal with the grisly reality at the core of this group. As long as Monostatos is being protected there, this is an organization that can only be called Anti-Mozart. And, as we are, artistically speaking, currently in the middle of what I call “Minnegeddon” (this being ‘PartDeux’ as post-MO lockout) — that is the time when all Anti-Mozart is revealed. And so it will be. I could be wrong. But I don’t think so…
*Mozart for Believers…
Even I can’t make this stuff up, and, you may have noticed, I have a fairly good imagination. But no, this has completely taken even me by surprise. During the course of one week two different venticellis made there way from halfway around the world (one Croatia, the other West Africa) to locations that have a connection to me (one to a library in the town where I live) and apparently my pony and I were slated to have been set up for sacrifice (so to speak) on a plain in the Twin Cities (read ‘the plain of Mediggo’ in Revelation…:-0).
I have been talking about a Minnegeddon in the Twin Cities since I found myself under attack (for no other reason than being good) as a flute performance major at the UofM. That was quite a while ago. I brought up this concept again during the lockout of the Minnesota Orchestra, particularly as it had occurred to me that my three (at the time, little) children and I may have had a tangential connection to it. As a result, I even wrote to different people at the orchestra — Mr. Henson, Mr. Sprenger, and even Mr. Vanska, asking for an opportunity to play for them on the stage where I was once encouraged and even enticed to play by a tiny cadre of players, again, long ago. But I was not even granted the courtesy of a reply. Instead, there seems to have been waves of controversy that threatened to engulf my family and me. There have been hidden agendas and dirty tricks, all of which have been discouraging. People I hoped would be eager to help have run away, throwing others to, apparently, act as proxies in their place.
In other words, this has been very confusing. But during this time I have had a safe haven. Almost every day I go to visit and ride my horse. Out into the country — beautiful rolling hills with stunning horse estates…There was a terrible accident a few weeks ago at the barn. One of my friends’ horses was severely hurt in what seems to be a freak accident (nobody was watching) and had to be put down. I was at the barn that day. This was very traumatic. Once I realized I was getting worried looks from Miles, my horse, I left, realizing that I was no help to anyone that day. About a week later I was asked if I wanted to play the flute for a wake that would be held in the pasture where the accident took place. Full of sadness and wanting to help, I said I would consider it. I was then told that they would love to have someone lead my horse out to the pasture while I played. All of this would be advertized in a flier to be handed out. Last but not least, they would be including my birth family name (which I stopped used at the level of the press some years ago) in the flier. I found myself with a bad case of dread. I speak at times of feeling that I am under attack by a dark angel that I call Lermontov. This concept seemed to me to be pure Lermontov. I decided to decline, and was met with a great deal of pressure to do this, using a great deal of emotional and flattering rhetoric. When it became evident that I really did mean ‘no’ I finally had a sense of relief. And so the wake went off beautifully, led by a bagpiper who played on the plain as the sun was starting to set…if anyone thinks “Minnegeddon” is just a concept I invented, I ask you to think again. Plus, it is my thinking that all of this could have been prevented if those in the know at the MO had given me the opportunity to validate my credentials as the Other Mozart and had then confirmed them at the level of the press. But then, as the ringleader of the cadre I call “Monostatos” (I’m not being cute, I don’t want to be sued by using a real name) loves to say, “Some people just have to do things the hard way”…:-0
This photograph was taken by one of the cadre of players that I call “Monostatos”. I was introduced to this person at Orchestra Hall and since this person was also an avid amateur photographer they asked if they could photograph me. I was looking for a photo for an upcoming recital and was delighted at the offer.
When this person arrived at my house for the photo session , I was practicing in my studio with the windows open. I happened to be practicing a Mozart violin concerto. When I went to open the front door they practically burst in and almost literally ran around the first floor, whispering, “Mozart! Mozart! Mozart!” I laughed, and said, “Yes, that is what I was playing,’ but they then gave me a horrified look, as though I didn’t understand. At that point I became puzzled. I have since been told that some people think they hear the voice of Mozart in the sound of die zauberflote, but at that time didn’t really have a clue. (I am not aware of hearing any voice, for the most part.) Later I did ask their help in getting me a proper introduction to the Music Director, but they declined to do so. I was, of course, puzzled and disappointed. Some time after this, this person contracted a terminal illness and died.
For those who thought I was not supportive of the current players during the lockout, I ask you to look at this situation from my somewhat unique and eccentric viewpoint, which is that if I did not care about them I would have remained silent and not bothered to try to warn them about the one of the clique who remains who may have led them astray. And I would have to have that burden on my conscience as well…