BACKMusicians’ Union calls for better deal for Edinburgh Tattoo musicians
The Musicians’ Union (MU) is highlighting its concerns that the musicians engaged to perform in this year’s stage band at the Royal Edinburgh Military Tattoo (REMT) were not remunerated for their work. Having liaised with the members involved, the organisation entered into dialogue with the REMT organisers, advising them that asking the musicians to work for free was ‘unacceptable’. The MU reports that, despite encouraging early talks, the REMT organisers have not engaged fully in discussions, deferring any decision to a committee meeting scheduled for October.
Telemann-Preis an Flötistin Dorothee Oberlinger
Der Georg-Philipp-Telemann-Preis 2020 wird an die Flötistin Dorothee Oberlinger verliehen. Damit würdige die Stadt Magdeburg die herausragende und beispielgebende Auseinandersetzung der Interpretin und Pädagogin mit dem künstlerischen Werk des Komponisten (1681-1767), teilte das Zentrum für Telemann-Pflege und -Forschung am Donnerstag mit. Die Auszeichnung werde Oberbürgermeister Lutz Trümper im Rahmen eines Festakts am 3. März 2020 überreichen.
“Mit spielerischer Leichtigkeit vermittelt Prof. Dorothee Oberlinger Telemanns Einfallsreichtum und seine Maßstäbe setzende Kompositionskunst”, heißt es in der Begründung des Auswahlgremiums. “Weltweit vermag sie das Publikum für Telemanns Kompositionen zu begeistern durch ihre stets energiegeladenen und dabei einfühlsamen Interpretationen mit Sensibilität fürs Detail, ’singender’ Tongebung, mitreißend virtuosem Spiel, Witz und außergewöhnlicher Musikalität.” Oberlinger habe wesentlich dazu beigetragen, insbesondere den Werken Telemanns für Blockflöte einen neuen Stellenwert im Musikleben zu verschaffen.
Telemann Prize to flutist Dorothee Oberlinger
The Georg Philipp Telemann Prize 2020 is awarded to the flutist Dorothee Oberlinger. With this award, the city of Magdeburg honoured the outstanding and exemplary engagement of the interpreter and teacher with the composer’s artistic work (1681-1767). The award will be presented at a ceremony on 3 March 2020.
“Prof. Dorothee Oberlinger conveys Telemann’s ingenuity and the art of composition that sets standards with playful ease,” says the jury’s reasoning. “She is able to inspire audiences around the world with Telemann’s compositions through her always energetic and sensitive interpretations with sensitivity for detail, ‘singing’ tone, rousing virtuosic playing, wit and extraordinary musicality.” Oberlinger made a major contribution to giving Telemann’s works for recorder a new status in musical life.
Nomination : Louise Jeffreys à la direction du English National Opera
Le président de la prestigieuse compagnie anglaise a annoncé la nomination de Louise Jeffreys au poste stratégique de vice-présidente du English National Opera (ENO) et du London Coliseum. Elle y remplace Nicholas Allan qui rejoint le National Opera Studio. Louise Jeffreys n’est pas une inconnue pour le personnel de l’institution londonienne où elle déjà a assumé, au cours des années 80, un certain nombre de responsabilités, dont celles de directrice de production puis directrice technique. Depuis 1999, elle travaillait pour le Barbican Center, l’un des plus grands centres des arts du spectacle en Europe, où elle s’est occupée du marketing artistique, de la stratégie, des relations avec les médias avant d’en prendre la direction artistique à partir de 2010. Entre temps, elle avait occupé les fonctions de directrice de la production du prestigieux Bayerische Staatsoper de Munich et de directrice administrative au Nottingham Playhouse. Sans oublier la présidence de l’Association des techniciens de théâtre britanniques.
Louise Jeffreys as Director of the English National Opera
The president of the prestigious English company has announced the appointment of Louise Jeffreys to the strategic position of vice-president of English National Opera (ENO) and the London Coliseum. She replaces Nicholas Allan who joins the National Opera Studio. Louise Jeffreys is no stranger to the staff of the London institution, where she already held a number of responsibilities during the 1980s, including those of production manager and then technical director. Since 1999, she has worked for the Barbican Center, one of the largest performing arts centres in Europe, where she was responsible for artistic marketing, strategy, media relations and then took over as artistic director in 2010. In the meantime, she had held the positions of Production Director of the prestigious Bayerische Staatsoper in Munich and Administrative Director at Nottingham Playhouse. Not to mention the presidency of the Association of British Theatre Technicians.