Be sure to take a look at the job vacancy listings on our website. Our most recent ones are from @MusicatOxford and https://t.co/57jD0NLii1
- Head of Development and Membership
- Associate Manager Conductors (80%)
https://t.co/UcXZT9Voyx
New vacancy listings at @the_halle & @muenchenmusik
- Hallé Connect Administrator
- Projektmanager (m/w/d) Nationale & Internationale Tourneen
- https://t.co/0psCwdPUnx #artsjobs#musicjobs
#iamaconference Nora Pötter’s closing message emphasises the need to find ‘collaborative solutions’ to challenges that face the classical music sector @rb_artists
#iamaconference Matthias Schulz @StaatsoperBLN: ‘It is important to make space for new and commissioned works as they provide a surge of creative energy to theatres. Meanwhile, existing operas of the 20th and 21st centuries need to take their place alongside the core repertoire.’
#iamaconference Matthias Schulz @StaatsoperBLN: ‘Opera may not be able to change the world but perhaps it can help us withstand the ambivalences of life and make us more empathetic’
#iamaconference Matthias Schulz @StaatsoperBLN: ‘Opera is not a closed system but should be open to the widest possible range of people. As such it must be pervious to the impulses that emerge from society. But from the aesthetic perspective opera is at a dead end’
#iamaconference Matthias Schulz, director general, @StaatsoperBLN: ‘Opera is in the best sense too much of everything. I believe a society that can produce a highly complex art form such as music theatre is a healthy society’
#iamaconference This year’s final session at 15:00 focuses on the challenge to opera of balancing tradition and innovation. Keynote address by Matthias Schulz, director general of @StaatsoperBLN
#audioclassique 'It's hugely important that record labels and distributors are talking to artist managers because it's artists they rely on to generate sales,' says Audio Classique coordinator Mark Pemberton #iamaconference
#iamaconference Dr Clemens Trautmann @DGclassics: ‘I understand the public access argument for institutions who stream their performances, but it is not necessarily in the artist’s interest for everything they do to be available in perpetuity’