Abbado and Argerich cancel October 1 concert

[Barbirollians]

That Beethoven 1 in Manchester this summer would make me forgive her anything ! . If one books an Argerich concert you know you are taking a risk that she won't turn up on the night .

If you don't like that - don't buy tickets for her concerts .

[Petrushka]

That Beethoven 1 in Manchester this summer would make me forgive her anything ! . If one books an Argerich concert you know you are taking a risk that she won't turn up on the night .

If you don't like that - don't buy tickets for her concerts .

Well, yes, but concert promoters sell shedloads of tickets at high prices on the strength of her name alone. Having said all this, though, I've never, until now, had a concert I've attended cancelled by her. She's always turned up. For this particular concert on October 1 I was going in the hope of seeing Abbado more than Argerich. I knew of the risk of Abbado not showing as I'm well aware of his health problems. In the event, I'm as big a Haitink fan as I am an Abbado fan so no real complaints. And Pires is a classy substitute.

[bluestateprommer]

http://www.artsjournal.com/slippeddi...ndon-date.html

But look who's taking over!

The full information (typical of Lebrecht not to cite primary sources and to act as though other sources aren't out there) is available at Orchestra Mozart's page:

http://www.orchestramozart.com/index.php?mact=News,cntnt01,detail,0&cntnt01articleid=169&cntnt01origid=15&cntnt01detailtemplate=dettaglio-news&cntnt01returnid=75

Indulging a bit, rather quickly, with Google Translator:

"Bernard Haitink will direct the Orchestra Mozart in its European tour at the end of September

-------------------------------------------------- ------------------------------

The Dutch conductor will replace Claudio Abbado, who on the advice of doctors has canceled his short-term commitments.

The Orchestra ("La Mozart") will start then, as planned, on September 24 in Amsterdam, where they will debut at the Concertgebouw on the 25th and 26th, continue in Brussels on the 29th and 1 and 3 October in London.

At the head of La Mozart will alternate Bernard Haitink (September 25 in Amsterdam, 29 September to 1 October in Brussels and London) and Diego Matheuz (September 26 to October 3 in Amsterdam and London), accompanied by the pianist Maria João Pires, to whom the Orchestra is grateful for substituting, following the resignation of Martha Argerich in the project, playing in all five concerts planned by the tour.

For the Beethoven program, Bernard Haitink, as originally planned, opens with the Overture "Leonore" no. 2 op. 72a, and closes with the Symphony no. 4 in B flat major, Op. 60, where in the only change to the program, Maria João Pires will perform the Concerto no. 2 for piano and orchestra, instead of the announced Concerto no. 1.

Diego Matheuz open the two nights in Amsterdam and London with the Overture from "The Marriage of Figaro' K 492 by Wolfgang Amadeus Mozart, followed by the Concerto for piano and orchestra no. 3 in C minor, Op. 37 and Symphony no. 3 in E flat major, Op. 55 "Eroica" by Ludwig van Beethoven.

The Orchestra Mozart is very sorry for the absence of Claudio Abbado and is confident to have him back soon for leadership, and is very grateful to Maestro Haitink for agreeing to lead in this important tour, which will see the orchestra in the most prestigious European concert halls."

It is doubly unfortunate to lose both Abbado and Argerich for this tour, but the door obviously opens for Haitink and Pires, more than worthy substitutes. Given Argerich's general doesn't-always-show-up reputation, it's probably no doubt that the tour organizers had discreet back-up plans.

[Richard Tarleton]

If one books an Argerich concert you know you are taking a risk that she won't turn up on the night . If you don't like that - don't buy tickets for her concerts .

That's a big assumption to make - not everyone who buys a ticket knows that. I didn't when I booked to see her - and the concert involved an investment in travel, meals etc. as well as the price of the ticket. It ought to have said in the advance boooking details that you might get someone else (TBA), playing something completely different, perhaps (as in our case) on a different instrument. How many people would book on the off chance? Fine if you live in the city and it's just a question of popping along to the hall.

[Sir Velo]

That's a big assumption to make - not everyone who buys a ticket knows that. I didn't when I booked to see her - and the concert involved an investment in travel, meals etc. as well as the price of the ticket. It ought to have said in the advance boooking details that you might get someone else (TBA), playing something completely different, perhaps (as in our case) on a different instrument. How many people would book on the off chance? Fine if you live in the city and it's just a question of popping along to the hall.

I'm with you RT on this. I don't know what the small print said on your ticket about performer cancellation but I would be on to the promoter to demand a refund (inc costs) unless it were a very special replacement.

[Ruhevoll]

That's a big assumption to make - not everyone who buys a ticket knows that. I didn't when I booked to see her - and the concert involved an investment in travel, meals etc. as well as the price of the ticket. It ought to have said in the advance boooking details that you might get someone else (TBA), playing something completely different, perhaps (as in our case) on a different instrument. How many people would book on the off chance? Fine if you live in the city and it's just a question of popping along to the hall.

I, too, agree with RT and Sir Velo about this. The Argerich case rather reminds me of Donald Rumsfeld's infamous 'known unknowns' and 'unknown unknowns' statement. I wouldn't have known that her presence at the concert would have been an unknown quantity i.e. an 'unknown unknown'. It was a 'known unknown' for those in the know.

[amateur51]

I, too, agree with RT and Sir Velo about this. The Argerich case rather reminds me of Donald Rumsfeld's infamous 'known unknowns' and 'unknown unknowns' statement. I wouldn't have known that her presence at the concert would have been an unknown quantity i.e. an 'unknown unknown'. It was a 'known unknown' for those in the know.

Although Rumsfeld certainly made these apparently eccentric constructions well-known, I think I'm right in saying that they first saw the light of day in the form of Knots by R.D.Laing.

**Stands by for deluge of thirteenth century Dutch references**

[Petrushka]

The RFH was only about two-thirds full at the concert last night, presumably all the hordes of Argerich fans having returned their tickets leaving the hall with no chance selling out in such a short period of time. All I can say is more fool them because they missed out on a wonderful evening's music making.

Beethoven's Leonore Overture No 2 does go on a bit and hasn't the drama and cohesion of No 3 but still received a fine performance. The second item, in which Bernard Haitink and the Orchestra Mozart were joined by Maria Joao Pires, was Beethoven's 2nd Piano Concerto. After years of not caring for it too much I now have a real soft spot for it and this was reinforced by the fine and delicate playing, excellently accompanied, as is usual with Haitink.

I have an even softer spot for Beethoven's 4th Symphony as it featured in the very first classical concert I attended (RPO/Kempe, May 19 1972). Here you really did appreciate the kettle drums hit with hard sticks giving wonderful impetus and drive and such an important feature of this symphony. Haitink was alive to the mystery, wit and humour of the 4th and it was again excellently played.

The most dramatic reading of the evening, however, came with the encore, a thrilling account of the Egmont Overture, real edge of the seat stuff. Superb.

[amateur51]

The RFH was only about two-thirds full at the concert last night, presumably all the hordes of Argerich fans having returned their tickets leaving the hall with no chance selling out in such a short period of time. All I can say is more fool them because they missed out on a wonderful evening's music making.

Beethoven's Leonore Overture No 2 does go on a bit and hasn't the drama and cohesion of No 3 but still received a fine performance. The second item, in which Bernard Haitink and the Orchestra Mozart were joined by Maria Joao Pires, was Beethoven's 2nd Piano Concerto. After years of not caring for it too much I now have a real soft spot for it and this was reinforced by the fine and delicate playing, excellently accompanied, as is usual with Haitink.

I have an even softer spot for Beethoven's 4th Symphony as it featured in the very first classical concert I attended (RPO/Kempe, May 19 1972). Here you really did appreciate the kettle drums hit with hard sticks giving wonderful impetus and drive and such an important feature of this symphony. Haitink was alive to the mystery, wit and humour of the 4th and it was again excellently played.

The most dramatic reading of the evening, however, came with the encore, a thrilling account of the Egmont Overture, real edge of the seat stuff. Superb.

I was there too Pet and can only agree with everything you've said, particularly how sad it was to see so many empty seats in all parts of the Hall.

The band was new to me, quite modest in number but by gum they made a good sound, divided violins, restrained use of vibrato, hard sticks on the drums, and some beautiful woodwind and brass playing.

I was seated in the Choir with an excellent view of conductor and soloist and they were both in good form.

An excellent evening of wonderful music-making

[Petrushka]

I was seated in the Choir

I was in the topmost box (Box 8 all to myself) overlooking the orchestra on the Green side (stage right as you look at it).

[amateur51]

I was in the topmost box (Box 8 all to myself) overlooking the orchestra on the Green side (stage right as you look at it).

I've never sat in a Box, Pet - how was it for sound & view?

[Petrushka]

I've never sat in a Box, Pet - how was it for sound & view?

I had a bird's eye of the orchestra with no heads in the way. I was sceptical about the sound in the boxes at one time but having done it a few times now prefer it. Everything came across very clearly indeed and in some ways the RFH might suit an orchestra of this size better.

[Barbirollians]

Rather odd but the ticket prices were rather high . I am surprised that any true fan of great pianism would regard Pires as anything other than a highly worthy sub for Argerich.

[amateur51]

Rather odd but the ticket prices were rather high . I am surprised that any true fan of great pianism would regard Pires as anything other than a highly worthy sub for Argerich.

Yes pricey's the word Barbs, I paid £15 to sit in the Choir, but all the seats have backs now & I think perhaps at least a row was lost in the refurbishment and there's plenty of leg room.

Pires was certainly on great form and she and Haitink seemed rather fond of each other - he listened attentively to her playing in the cadenzas and he gave her a lovely hug (most unusual for this generally shy reserved man) and they kissed at the end. He is not as fast on his feet as he once was and she was careful not set too fast a pace on & off stage

[Petrushka]

Rather odd but the ticket prices were rather high . I am surprised that any true fan of great pianism would regard Pires as anything other than a highly worthy sub for Argerich.

I think Argerich fans come into some sort of special category of their own in that none but their idol will do. Possible that many never returned tickets to the RFH either perhaps considering the money forked out as being nothing more than a 'normal trade risk' if you know what I mean, given the rate at which Argerich cancels her appearances.

Anyway it was a very fine concert indeed which will long live in the memory. It was also yet another orchestra which I've seen Haitink conduct (must be getting up to a dozen by now).