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This is one of many articles I’ve read that eloquently describe one of a few extremely apparent imbalances in the classical music industry. Your words are well-informed and compelling on the subject of the gender equality problem. I have a friend who is struggling quite a bit to get music of hers performed in Normandy (or, for that matter, anywhere else), and when she told me that she has encountered issues with getting attention for her work despite the loving care of some well-renowned and widely acclaimed interpreters, even while Matthew Aucoin, whose music I find listenable but unremarkable, and composers like him continue to find success though they are much less experienced than she, a thought concerning “diversity” crossed my mind. I’m not saying bias applies in her case, but the thought did prompt me to do a little research. Your article is the most candid and detailed I’ve read on the subject. Bravo, my friend.
Hi Louis, thanks so much for your kind words! The deputy director of opera at the Royal Opera House ended up writing an official response to the article on the ROH website talking about the subject. While I stand by the piece and the numbers clearly speak for themselves, I think looking back perhaps I could have been more constructive rather than critical. I think there are some really interesting opportunities in the opera world to be more experimental with gender – for example I’m fascinated to see how a female barber of Seville (Figara, perhaps?!) might work and how it would be received.
Once again your note is much appreciated and I look forward to future discussions and musings about opera.