Or you can read it from the link in Prommer's post above, by courtesy of Norman Lebrecht:
There are areas of the repertoire where she’s trying things out. Perhaps that symphony (Mahler 1) and others like it might have a certain maleness built in to them, actually…. It’s the sheer size of those musical statements that requires perhaps a more directing personality… Maybe she’s going to have to find her inner man, as it were, just to pull off those really big, rather showy extravagantly subjective pieces… I am sure she’ll crack it. She’ll master anything she turns her hand to.
Before the inner man bit, however ironic or enclosed in quotation marks, he'd already referred to a certain maleness built into certain symphonic works.
Time perhaps to stop thinking of particular qualities as 'male' or 'female'?
(I'm quite glad they didn't ask Vasily Petrenko for his opinion.)
There are areas of the repertoire where she’s trying things out. Perhaps that symphony (Mahler 1) and others like it might have a certain maleness built in to them, actually…. It’s the sheer size of those musical statements that requires perhaps a more directing personality… Maybe she’s going to have to find her inner man, as it were, just to pull off those really big, rather showy extravagantly subjective pieces… I am sure she’ll crack it. She’ll master anything she turns her hand to.
Before the inner man bit, however ironic or enclosed in quotation marks, he'd already referred to a certain maleness built into certain symphonic works.
Time perhaps to stop thinking of particular qualities as 'male' or 'female'?
(I'm quite glad they didn't ask Vasily Petrenko for his opinion.)
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