BACKCovid has had devastating impact on school music education, report finds
A report published by the Incorporated Society of Musicians (ISM) reveals that Covid-19 has had a ‘devastating’ impact on music education in schools, with almost 10% of primary and secondary schools not teaching music at all.
Entitled The heart of the school is missing, the report draws on a survey of UK music teachers launched on 7 September 2020, which received 1,307 responses.
Key findings of the report include:
- Almost 10% of primary and secondary schools are not teaching class music at all.
- 68% of primary school and 39% of secondary school teachers state that music provision is being reduced.
Case Scaglione et l’Orchestre National d’Île-de-France retrouvent la Philharmonie de Paris !
En 9 mois, depuis le 1er confinement, l’Orchestre National d’Île-de-France (ONDIF) n’a pu jouer qu’une seule fois à la Philharmonie de Paris dont il est l’un des orchestres en résidence. Le 10 décembre, sans public mais en direct et en ligne, l’orchestre francilien s’installera à nouveau dans la grande salle Pierre Boulez pour un concert prestigieux.
Case Scaglione dirige l’Orchestre National d’Île-de-France depuis 2019.
Depuis le 12 mars, juste avant le 1er confinement, l’ONDIF et ses 95 musiciens permanents, dirigés depuis l’année dernière par le chef d’orchestre américain Case Scaglione, n’avaient pu se produire qu’une seule fois, en octobre, à la Philharmonie de Paris dont ils sont résidents avec l’Orchestre de Paris. D’autres concerts avec jauge réduite ou enregistrés à huis-clos ont bien été proposés en région parisienne mais c’est avec beaucoup de plaisir que la formation francilienne va retrouver la grande salle Pierre Boulez le jeudi 10 décembre.
Case Scaglione and the Orchestre National d’Île-de-France return to the Philharmonie de Paris!
In 9 months, since the 1st lockdown, the Orchestre National d’Île-de-France (ONDIF) has only been able to play once at the Philharmonie de Paris, of which it is one of the orchestras in residence. On December 10th, without an audience but live and online, the Orchestre Ile-de-France orchestra will once again take up residence in the great Pierre Boulez hall for a prestigious concert.
Case Scaglione has been conducting the Orchestre National d’Île-de-France since 2019.
Since 12 March, just before the 1st lockdown, ONDIF and its 95 permanent musicians, conducted since last year by the American conductor Case Scaglione, had only been able to perform once, in October, at the Philharmonie de Paris, where they are resident with the Orchestre de Paris. Other concerts with a reduced gauge or recorded behind closed doors have indeed been offered in the Paris region, but it is with great pleasure that the Parisian ensemble will return to the great Pierre Boulez Hall on Thursday 10 December.
An der Bar das Leben vergessen – die Kölner Oper ging mit Erich Wolfgang Korngolds „Die tote Stadt“ ins Netz
Das Virus, bei dem man auch von dessen Design-Abbild auf dem Bildschirm langsam genug hat, treibt immerhin die Digitalisierung voran. Auch die der Opernhäuser bzw. der Übertragung ihrer Produkte ins Netz. Manche von ihnen sind damit schon ziemlich weit. Die Opernhäuser in München, in Zürich oder in Wien, um nur die routiniertesten Beispiele zu nennen. Jetzt hat auch die Oper in Köln nachgezogen. Mit George Benjamins „Written on Skin“ als Video-on-Demand. Und gleich danach mit der Liveübertragung von Tatjana Gürbacas Inszenierung von Erich Wolfgang Korngolds Jugendwurf „Die Tote Stadt“.
Dafür konnte man sich ein Ticket buchen (von kostenlos bis nach oben offen) und dann pünktlich vor dem Schirm einfinden. Technisch lief diese Premiere suboptimal. So einfach, wie sich der Laie das vorstellt, ist es offenbar nicht.
Forget life at the bar – the Cologne Opera went online with Erich Wolfgang Korngold’s “Die tote Stadt”
The virus, which is also slow to get enough of its design image on the screen, is at least pushing digitalisation. The same applies to opera houses and the transmission of their products to the net. Some of them are already quite far along with this. The opera houses in Munich, Zurich or Vienna, to name but the most experienced examples. Now the opera in Cologne has followed suit. With George Benjamin’s “Written on Skin” as video-on-demand. And immediately afterwards with the live broadcast of Tatjana Gürbaca’s production of Erich Wolfgang Korngold’s youth project “Die Tote Stadt”.
You could book a ticket for this (from free to open to the top) and then arrive punctually in front of the screen. Technically this premiere ran suboptimally. Obviously, it is not as simple as the layman imagines it to be.