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I would say he is the epitome of what it should mean to 'popularise': to be approachable, informal, but above all extremely knowledgeable - and wanting to impart that knowledge which is special to them.
It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
This is the paragraph that struck me (think it's within the copyright allowable length):
" ... Tony Pappano has arguably (by the age of 53) already done more as a populariser of his art than any media maestro since Leonard Bernstein. His TV outings – first Opera Italia!, then this year's guide to Wagner's Ring – originated when the BBC spotted that the still-youthful toast of the world's opera houses could not only beat and play, but talk. "The BBC decided that I had a flair for it after seeing me do some intermission features." Since then, "I've realised that I can talk simply but with knowledge to people – so they actually get the message without being scared off by that. I love opera, and if you can demystify some of it, it's not a bad idea". He has spoken in the past about the "fear" of classical music that erects an invisible barrier, whatever institutions might do to cut prices, open doors, and generally put on a face as friendly and accessible as Pappano's own. "You have to keep at it," he says about the mission to explain. "But in the schools, not enough attention is paid to the importance of music as something that can enhance everything else, and just open your brain to other things." Music lessons, he insists, should not bring with them a paralysing burden of expectation. "Not everyone has the kind of talent to be able to make a go of it. But what it brings to you in terms of appreciation – of science, maths, the physics of music – is just wonderful."
Just in case anyone should think that 'we' (FoR3) think 'popularisation' is a dirty word - I've linked to this article on our homepage.
Popularisation should not mean trivialisation. Classical music isn't eezy listening for background sound. And if that's all people want, don't try and cater for them (that's a millstone): tell them Radio 3 isn't for them.
Gardeners talk about gardening.
It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
A very modern, open-minded man with the effortless ability to radiate knowledge to others. You have a fair bit in common MrGG, ever thought of working with him?
I think in his early freelance work and also his gift for communication there are parallels with another musician I greatly admire, André Previn. I'm really looking forward to Pappano's Proms concerts with the Santa Cecilia orchestra as whatever his great achievements at Covent Garden he gets the best out of the Italian orchestra. Their performance of William Tell at the Proms was superb.
As I've mentioned before, Tony was outstanding as a 12 year-old when I was in my first teaching job. The school had a specialist music course, but he was not part of it. Some of those on that course are now successful musicians, but most are pursuing other avenues. Tony was head and shoulders above most of them, even at that age. Inevitably, when I tried to point out his talents to my superiors, his gifts were dismissed. (Mark Glanville's book, The Goldberg Variations, tells a similar story.)
I particularly recall Tony in the practice rooms at breaks, cavorting through a Mendelssohn Piano Concerto, watched by admiring friends, mostly non-musicians. I wonder if they remember. Recent perusal of my old teaching notes (yes, we did keep them pre-Gove), confirms my memory that he was not always well-behaved; I have records of having to give him detentions.
I think in his early freelance work and also his gift for communication there are parallels with another musician I greatly admire, André Previn. I'm really looking forward to Pappano's Proms concerts with the Santa Cecilia orchestra as whatever his great achievements at Covent Garden he gets the best out of the Italian orchestra. Their performance of William Tell at the Proms was superb.
Excellent observation. There isa strong parallel with Previn.
A very modern,open-minded man with the effortless ability to radiate knowledge to others. You have a fair bit in common MrGG, ever thought of working with him?
Anyhoo, moving on, I do think Tony P is one of the best communicators classical music has seen for a long time. Engaging, approachable without sounding dumbed-down, and with a personality that comes across very well on TV. I have enjoyed his Wagner programme and the series on Italian Opera. Hopefully there will be more.
I'm a great fan of Tony
and (like others here) have always enjoyed working with him
what always impresses me is his effortless ability to connect with music whether it's by a 15 year old who doesn't read notation or Wagner
and like many of the really great musicians I have had the pleasure of meeting he is at home talking about Cage, Jazz, Wagner or horror film soundtracks
perhaps someone could bring themselves down to my level in a simple, communicative, popularising way and explain what that means in relation to Mr Pappano
perhaps someone could bring themselves down to my level in a simple, communicative, popularising way and explain what that means in relation to Mr Pappano
Radio 3 (and BBC Radio) seem to have a thing about airing gardeners' views on classical music: Alan Titchmarsh, Rachel de Thame, Pippa Greenwood, Monty Don. That is their idea of popularising and make classical music 'accessible'.
It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
Radio 3 (and BBC Radio) seem to have a thing about airing gardeners' views on classical music: Alan Titchmarsh, Rachel de Thame, Pippa Greenwood, Monty Don. That is their idea of popularising and make classical music 'accessible'.
Whereas the estimable Percy Thrower never uttered a word about Bartok string quartets or OVPP choral practice.
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