#34 Music and Television Dr. Peter Herman Adler

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This is Bernard Gabriel. It can hardly be news for me to say that
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much of life today is being gleaned not from reality but from the TV
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screen so many eyes and of course particularly those of children
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are glued to the tube for hours on end each day. Certainly
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the public world of music has begun a transfer of habitat from
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the great expanses of the Opera House and concert hall to the Omni present
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intimacy. You might say of the TV screen. What day Reese that
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sense of responsibility goes on high in the television world must or should
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feel for the great power they possess to guide direct stimulate
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and lighten and entertain. I've long wanted to have
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a close look at the way music is fairing now in the nation's TV sets
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and I guess this broadcast is a distinguished man in music and in television and
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surely he has his finger on the pulse. He's Dr. Peter Herman at
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music and artistic director of National Educational Television. And for
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11 years music and artistic director of NBC television Opera Theater
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among other endeavors. He was conductor and musical director of the Baltimore
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Symphony Orchestra. Dr. Adler we all know there is a
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lot of music on television these days. But just how much serious
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music would you say ever gets to the nation's TV screens.
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Very little serious music commercial television is
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obviously not very interested. It's not a majority of the
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tourist areas so outside of an occasional
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impressive spectacular light always big isn't it when it when it does tell you have to
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do only they can do they do one spectacular maybe a year. That's all
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they can or seem to think they can afford. And certainly
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it is not. Commercial
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programs serious music is not a commercial property which soap sponsor
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would be very interested in. So we have very little serious music on
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commercial television and educational television or public television as the snow
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color is just beginning for this new policy.
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Yes I was going to ask you in radio there is of course a kind of
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polarization between the big commercial stations and the FM stations and a
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subdivision of FM stations into commercial and educational. With the
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latter being responsible for a good deal at least of the serious music on the air and you had
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already intimated that there's a similar situation in television a polarization you might say
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between commercial TV and educational.
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Well there is but systematic musically
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program like the great radio stations in the old times cultivated in
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America and still cultivating and most of the
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civilized world is non-existing in America as you know better than
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FM stations play recordings. There's nothing wrong with playing
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recordings but we all believe that a combination of presenting recordings
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and life music is a very important psychological and
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even economical factor in as I see rest of the civilized world.
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I do not know warn civilized country which has not
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a life radio program regularly still going
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strong. Only America has abandoned its own orchestra
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live music already even television came up. In only now
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public broadcasting corporation is trying to establish
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an effective public broadcasting a radio network which
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certainly will cultivate music
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better than as you could do with it or not.
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Have you any idea as to about how many educational television
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stations there are in the country right now. About a hundred and ninety. There are nervous about
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hundred and ninety cents kind of coast to coast.
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And would you say that the trend seems to be that more and more of them are coming up or
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yes they are still building in as more satisfactory and suspected problems
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money you know you talk about is money part of
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the Broadcasting Act of public broadcasting activity
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1968 which President Johnson signed.
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Basing his conclusions on the results of the Carnegie Commission for
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Public Broadcasting are encouraging but still like all visitors a fight
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an uphill fight to get from Congress normally assigned to public
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television public brokers thing and particularly assigned to it so we have
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that saw that no political influence is
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exerted because that would be self-defeating. But people try what what
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is mostly on educational television in the country I mean musically
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speaking what kinds of things generally would you say will
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give us for instance now spot that over the summer of 13 weeks
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in a row every Sunday an hour of Boston Symphony pop
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concerts which are things a good fare for the summer was good soloists.
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There was one big series of symphony broadcast some years
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ago. But a symphony orchestra on TV
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is a dullard for a kind of form of which not
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everybody likes to do is interesting and it was or wasn't popular then and the
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difference is that produced called masterclasses by signal via and
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Heifetz Haifa's because Aus were and concerts which were very
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interesting made and great educational value. But it was years ago and
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what I miss and what I would like to see you know established is a kind of a
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blueprint not in a helter skelter programming ones of
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in fact too many minute 24 hour masterclasses of Cazares I think what they did in
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one role is too much.
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THIS IS NOT be it and it does appear to get what we need is a
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systematic comprehensive musical program and we are hoping no
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that. It will establish and will be used as a
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blueprint. It's expensive and it especially
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for my job has to be created in television.
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Now the educational TV station in New York in The New York City area is
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Channel 13 and you're connected with that.
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Considerably particularly only since and since not recent weeks it is a
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move between and Indian channels 13 more I didn't realize yet it was not a band
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just to achieve which is probably a very good idea.
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Now I believe that you feel that opera or that the intimate kind of
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opera is almost a natural for television and that's
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that's your big interest isn't it of course that you had all this experience with NBC television opera.
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But that's what you're mostly concerned with and most passionate about if I can say that Dr Adler.
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Yes this is real of course believes that not every
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opener but it cannot ever be a grand opera is good or even possible on television I
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gotta ask you why you didn't think it's big because we've got not only the spectacle really would
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be good but our present loudspeakers on television sets are not
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equipped to take a really big symphonic sound. Chamber music
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and lighting the camera you mean little crowd all those are we are not equipped but we
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will be equipped Of course there is no reason why a television manufacturer should have
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inserted expensive TVs because in the if there are no
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programmes or nobody wants it. So first we have to have programs
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and then people will demand better speakers. And since technically it's no
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problem of course whatsoever it's just a matter of money to get more
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money invested in better speakers for what will certainly come now
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was a cassette on the horizon so that you will have a set of
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still fully XP cuz plugged in and you are set.
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Technically it is no problem it is a money problem but you
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feel that opera at least on the intimate side is almost
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geared for television.
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Well a certain size it is elevenses certain dimensions of part of
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the intimate side the meds that watch it.
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Timid love do it of course is an intimate thing which on a big stage never again come over
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really.
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Yeah on the other hand how about all these close ups of singers that don't look too photogenic
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where they're When you get right at them as a movie camera my.
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Well first of all television will need singers who look or write
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bad ahead of what might be sacrificed.
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No the world shouldn't be sacrificed but grand open as open as was ground.
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Big voices which I've also usually £200 This is
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doubly or say I don't write for Tristan because interest and
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again the great poet W.H. are all things that all Tetrazzini were alive she
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just didn't have a chance that a witchy were in the room telling her she wasn't that good looking not not she
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wasn't fat but when she was in that beauty.
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When I know you have not done as you listen to.
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But I'm just thinking that that's one detriment almost isn't it of a TV camera and if you get
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close ups of singers singing it doesn't always look too good. You know it's nice when you're
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way back it up in the air you know an opera house.
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You don't see anything but the big out exactly but there are seeing those of course and
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their openness which for instance do not apply these big high notes which
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are the touchy ones of a singer said never to go away either.
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Now I ask you Dr. Adler what is happening at the moment in
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your work with National Educational Television where we are presenting and
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he is presenting next season on the network.
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One Oprah among us next season begins when in October.
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At the time going to be Sunday with 10 o'clock in the evening some people
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consider good for this kind of thing some people do nothings. I mean this would be on all the
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stations all the stations all 190 all said tema Yes including in New
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York City each absolutely sure it was the network people who
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do not want this kind of program can have not to dig it but
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most people are aware of and represent every month an opera of which
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some produce newly produced some Markku
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produced with foreign organizations like BBC and England
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and CBC in Canada. Also we present a very interesting little opera from
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Tokyo. Do you know what is Germany's called it of an opera
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called or feels in Hiroshima. It's an NHK the
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Japanese commissioned opera very experimental very
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interesting and beautiful to look at which we will present in short it will be a series
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seven operas many. Three of them with us. First you first want
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to be Mozart's abduction from the seraglio.
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I hope you've got a good singer for that. Modern art and everybody mentions that model
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now that I'm rich then we have the lame
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recording of that yeah as everybody mentions happened in a very interesting thing as far
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as the opera are concerned.
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The the sync speed is not the most important piece
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of the show piece and you know of course that Mozart wrote about it about the
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aria about this particular piece to his father I have sacrificed.
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I would quote almost verbatim I have sacrificed a big audio of the
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Constanza to the German get annoyed. Good
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again which is a very funny expression. The well-oiled vocal chords of
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Madame Coverly Arry also at that time composers had to make concessions
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to the bananas.
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Mozart didn't do it. Later on when he wrote was a masterful Liberty
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just like the pontiff of the libretto of the fellow Audley but I don't
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for the abduction is really a deliberate. Where do you get your singers. We
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auditioned and we mostly have for sure that we have our office in
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our studios for in the end I mean anybody who would like to audition for you
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could get an order. We really really have of course to check before because otherwise we
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wouldn't have the apparatus and the time or people who want to be checked very carefully
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and use mostly young talent. Train them keeps
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them in the studio coach will work for them. Television is a very
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dangerous medium and not every singer was comfortable unless he is carefully
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trained. As you said even with mouth yanking him which
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very often is not necessary.
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Well now you have your first production is the Mozart. Yeah abduction from the seraglio and then Thomas.
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Then we have a repeat performance of our first production which was young
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checks up at all from the house of the dead. After the dust we have skied know which
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was our first book let me have a quick production was kind of the
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hands of them Gretel which we represent. Christmas is a new one
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production in for Made in Canada and the
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variety is all your children since you mention children before they look so much of television today.
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We hope the children will not only look at hands look good at all but listen a little to
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nothing that's not a male but our first opera of the abduction from the seraglio
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reapers richt really a fairy tale it's a very funny and Abra
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was fair daily shopper and young people can look at that. I will get some kid got it
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now.
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Dr. Adler what Support Foundation wise.
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Or otherwise have you had for these ventures
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more of the of what foundation has given us a three year grant
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for the establishing of the project of the project and any team
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gives us additional help.
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In bookkeeping promotion and some
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money for discussion programs which next year will be connected
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with each opera broadcast we will have two mostly prominent
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guests or guests who will discuss possibility of music on television in
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general and opera in particular.
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So at least for the moment you don't have financial worries.
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We have free non financial war worries because one's budget when the venture was
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drafted prices whereas a low when oil prices are increasing and the
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competition is foreign countries which spend march more money and time
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and up better than we do they do. Of course as well I mean our TVs on
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everywhere on television and opera houses and things where the music is much more subsidized than the
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rest of the world as you know it's such a hard light in this country isn't it to get where we
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have to start any structure. Twenty five years ago it was considered impossible that the
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government or anybody would give but. It is beginning to move though we have a
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long way to go but of course the financial crisis.
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I like to do a whole series with government officials and see if I can't lend a helping hand to
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get them more involved and more interested I did what I did an interview with Mayor former Mayor
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Wagner you know New York City you have and that was a start
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perhaps I can go on from there.
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And when you have more do productions Rockefeller Rockfeller has been wonderful to see you guys want
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wasn't anybody else but where you have really to go and to push is Washington.
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There is really where we result federal support in the long run
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needs a symphony orchestras but all those nor
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noncommercial television can exist.
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Dr. Adler speaking of opera so many people are saying these days an opera as
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presented by the Metropolitan for instance is dying the death of the dodo.
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But isn't that a little hard to believe with prices as they now are for tickets
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and celebrated singers such as Joan Sutherland able to command perhaps a
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good million dollars or more a year by singing old fashioned opera in an old fashioned
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way.
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My old fashioned opera in my opinion are
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as old fashioned as an emblem does old fashion that's not old fashioned. This
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set the story in music like in many arts is that that
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is no really important new production coming up that is new
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productions. People are not interested and capable to ride
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to begin impressive operas. There hasn't been an opera written
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since the last 30 or 40 years which was able to get a foothold on the
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repertoire.
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Don't you think that's partly due to the difficulty in
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getting people to consider melody and important thing in serious music
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anymore where malice is such an important thing. You know opera and
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in gaining an audience response.
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Well you know as a musician that it came a time when the turning point was very clearly beginning
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of the century where after Wagner
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Strauss would Cheaney people fear that's the end you cannot. I would Strauss
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out strollers and you cannot go beyond Puccini and melody. And there is nothing
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to gain anymore from that and begin to turn away from that and that is
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magically a very dangerous void because Open I was out someone singing in
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lines is not opera anymore.
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So the worry then is that new things new put in new works of importance are
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not coming along. But that's true as you have told me even before we went on the air
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with any kind of sizable work in music and I mean there are
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very much in the way of symphony that's very important.
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I don't think organic works are whiling where most people don't write for big symphonies anymore
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and it's not the time our time is turning since the beginning of a century from the
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monumental to the intimate and so there's no question about it. People don't
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write dredges large spectacle even of the money would be here
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and in music being is just a question of style I mean just you know cycles that kind of thing go
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Blues.
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Maybe the symphony form for instance. Is exhausted going to do
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us 100 years on the 50 years before me.
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But it did no artform really in the same way as going on eternally
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as all the changes do you feel that maybe Iraq is going to be as
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into all of us and that's not a facetious remark because a lot of people are very serious
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will about what they say feel that this is really the expression of the age
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of a new age.
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Well it is an expression of the age as far as popular or similar but they're making it into more
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than that a little bit more but that's fine money as an operator you can see there was an A but I don't
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like freedom as that's a very classical music eyeglass music that is semi popular
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where you have not to cooperate with an audiences not to cooperate too much.
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Mission Otto's would say that it's exulting and is just as deep and just as important as
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Bach or Beethoven or what he don't compare by compare.
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Well I mean they say this is the current equivalent emotions of
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these great composers of the past and evoked Well I don't know whether we have great composers and
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those are not my people in particular because of the quality
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but you feel that it's strictly a popular kind of thing interesting I mean you're
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considered you know so far it hasn't trend towards it and there's some very good
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and interesting numbers of it but why compare like compares a division
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between serious music which needs and demands
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very serious cooperation of the listener. Yes. And semi popular
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is in all the other trying to do that that's the reason I bring that up.
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You try to do what you consider the element of rock or the
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realm of rock as a realm of serious music.
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The press and many people have said this to me. They are just interviewing the man who wrote a
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book on the subject and he certainly feels that way now that it's not to be considered
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a light type of entertainment.
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So where to look this I do want to first of all I'm not a specialist the middle
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I'm very interested in it but there is no question that the fact that
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rock is based on a beat that's malice is a big ask which of us so
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much getting lost in modern music classical music is of course a
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reaction against the beat less kind of music which in
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which the desire Lucian of the person which is in classical music happened in this
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respect I mean you can consider the announcer and the fact that Bach is a
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favorite composer as he has such a power because he has he has he has an anti-romantic
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that's not the romantic at the moment.
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The movement is anti-romantic to a degree in music but all these
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trends probably change and I'm looking forward to hear
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more but I don't know why somebody calls this Tommy air rock opera
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because somebody stands at the microphone and sings the electric
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guitar or some songs which may be very good or not so good. Why call it off but I there's nothing to
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do with opera.
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Well there's a trend to take take popular music and put it into a serious mold
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popular artists are called great artists today. They give performances in Carnegie
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Hall. They do everything they can to
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operas you know there's always this this business of trying to to make everyone
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think of it as a serious art.
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Well isn't that so you know these people are not any of them very
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serious but rather they're odd isn't the same way. That's because it
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is another version which was they are very serious people it's very worthwhile and by all means
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let them strive for what they really feel.
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Right and I get to television once more.
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Do you feel that instrumentalists were to stage and present their concerts more
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visually than they now do but this might be an advantage on television.
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RESIDENT It is an advantage to present absolute music like Symphony and concert
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music while occupying as much as a
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television screen does is another question. Real musicians very often
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prefer to listen to music man and not look so much right. You look in a
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concert hall all right but you don't look soo much the camera doesn't switch
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around all the time which it has to do in short is strictly
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musical. Maybe I'm like concert music to present on a
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visual medium is touchy. Opera is a mixed media has
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ordeal an ordeal hard and then we do
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concert music has no video or in the score inserted
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so many people prefer to listen to a recording.
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But there is no question that there is a future one is to find a form out and
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for instance Lenny Bernstein's use concert by any intelligent
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conversation talking or start with things isn't I really interesting in my opinion the only
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legitimate musical form of concept existing anywhere.
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I'm sure this question is one subject for a whole broadcast but anyway
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perhaps you might have a few pertinent comments. Are there any developments right now in
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Europe or Asia that that is to say an connection with music on television
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that seem particularly significant to you.
[25:18 - 25:23]
Well significant visit both Europe and Asia is far ahead in presenting
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studios music and television. What instance jump back is the only
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country which has steel lines for
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television that means television sound can be
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transmitted through particularly equipped lines which present
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stereo sound needs or you would hope as that North America
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and in Japan for instance Japan is not an operator
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country. They have lots of orchestras they love classical symphonic
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music in spite of Madame Butterfly.
[25:58 - 26:05]
You know it's not a problem they present all the time symphony concerts almost daily you
[26:05 - 26:10]
can see in Tokyo simply concerts and they have a few pretty good pianists let me tell you
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I reviewed on the air.
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What is his name. No more late last year.
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Fabulous YOUNG LiVE bows and string players even more brain string players and
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young string players and be on his are coming. Japan is now the country
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was in Russia which was 20 years ago the big producer of young that's what are the
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ages. Yes it's now Japan as a long story why was there
[26:35 - 26:40]
sat by most obstinate intensity and seriousness that you know they are
[26:40 - 26:45]
unbeatable. And France England. Italy
[26:45 - 26:51]
has a have it all be doing a lot with opera. No not a vision not much not much
[26:51 - 26:55]
not much that's very very touchy uses good I'm typical Italian opera does
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not lend itself was expansive kind of singing and I know what's I think
[27:00 - 27:06]
your job or is not the ideal really ideal where you lose what is a modern than I do
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as it does which was first commissioned opera and b c I can almost
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answer my last question to you myself from just our chat.
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I've got to ask you what trends you see for the near future in music in television and
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I can almost tell you right now that you see there is a lot of opera and you're
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involved in it and you think it's a growing and you're most optimistic
[27:29 - 27:32]
and it looks like a wonderful season or two.
[27:32 - 27:37]
Not really no you know but I believe in a comprehensive music program which presents
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all assets of music all the concert music and use guns in the
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recital.
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But it has to be developed step by step it is not so easy transfer to
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transfer to an electronic medium like in when the radio was
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invented you hang a microphone in the concert hall and you have a concept.
[27:56 - 27:58]
That's right you're going to let them see it you know.
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How true. Well the future of music on television and the current
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developments and projects now in the making comprise a vast subject that will bear delving
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into often and soon again. I am enormously grateful to
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you Dr. Peter Herman Adler music an artistic director of any opera for being
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my guest and for giving us the behind the scenes look that you have. My
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very best wishes for continued success in your work right now and may it bear the
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complete fruition that you so strongly desire. This has been Bernard
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Gabriel with my constant wish for a most musical week.
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This program was acquired with funds provided by the Corporation for Public Broadcasting.
[28:46 - 28:49]
This is the national educational radio network.