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Thread: Cannelakis Trifonov OSM

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    Default Cannelakis Trifonov OSM

    The performance started with the Prelude from Wagner’s Tristan und Isolde. Sadly the performance didn’t fit together, lacked in passion, with the dominant feeling a stroll in the park, at its worse a boring one, at its best a playful one with a sense of something delicate walking at your side. Climaxes were badly timed and fell flat, although with undoubtedly some nice moments, and a generally good sound, with good command of the orchestra—she got what she wanted. Very limited understanding of what Wagner was feeling when he wrote the piece; very confident young woman who brought the piece to her own world, to the emotions she comprehends.


    The second piece was Lutoslawski’s concerto for orchestra which was played unessesarily loud, and was all in all a painful experience for the musically sensitive; lack of cohension, and lack of balance prevailed, but yet again a very good control of the orchestra by Cannelakis, and a good job by the muscicians.


    Rachmaninov’s 3rd piano concerto: her and Trifonov were a little out of sync at times, and again she lacked the passion top conductors bring, but Danill made the world stop seemingly at will; an unbelievable rubato artist that will leave a mark in the history of music. A performance that made up for the previous two and left a sweet taste to what was in the end a fantastic night, a tale of two opposite worlds, and a wonderful lesson in the type of world we currently live in.

    In conclusion, a very professional effort by Cannelakis, she is without a doubt an extraordinary woman and I wish her continued success in her career.
    Last edited by 1996D; May-17-2019 at 05:09.

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    Senior Member Rogerx's Avatar
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    ^^^^^
    We do have a special section for this, see:

    Latest concerts
    Theatre, a forum for public debate, an arena for cathartic spectacle and somewhere for vain bitchy people to show off in front of big crowds!


    I forgive criticisms, I like to embrace enemies.

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    Quote Originally Posted by Rogerx View Post
    ^^^^^
    We do have a special section for this, see:

    Latest concerts
    This is actually a response to the thread 'misogyny on the podium' to clarify that the criticism female conductors have been getting is in fact not misogyny, but genuine constructive criticism of their performances.

    And I will add that she is the worst conductor I have seen to date, being very generous with my review. She belongs in a lower tier and absolutely should not be conducting at this level. Maybe if they let her fight her way up, like many have, she would develop the much needed character that's needed in a conductor.

    If it wasn't for Trifonov the night would've been very disappointing and a waste of time. There is a place for female conductors, but at a third of the price.

    She did something that not many women have done before and that should be recognized, but not at this proportion.
    Last edited by 1996D; May-18-2019 at 00:37.

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    Senior Member Minor Sixthist's Avatar
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    Quote Originally Posted by 1996D View Post
    This is actually a response to the thread 'misogyny on the podium' to clarify that the criticism female conductors have been getting is in fact not misogyny, but genuine constructive criticism of their performances.
    ...
    There is a place for female conductors, but at a third of the price.
    Honestly, your argumentation on this matter has proven just so insanely stupid that it's upsetting any of us are continually wasting our time with it, but I guess I'm obligated.

    It shouldn't take anyone older than elementary child age to grasp the concept that one person having a characteristic does not mean every member of their population shares that characteristic. That she was a crappy conductor, if that was indeed the case, is not tied to her womanhood. That her "climaxes fell flat", or that she "lacked passion", or whatever of your several other vague critiques, have nothing to do with her womanhood. She was a crappy conductor because she was a crappy conductor. And at that, I already know from your earlier posts on the other thread that you were literally going into this performance prepared to come back with this diatribe. You stated so in the other thread. In fact, on the off-chance this woman had superseded your expectations, I am sure you would have too much ego to come admit that here on TC: that a woman you so wanted to hate did give a good performance. Because that would, in your mind, be an admittance of defeat. That's the problem, of one of them.

    I have seen tons of crappy conductors, across all levels and in many places. Never once did I see a flimsy conductor, and think, wow, guess all male conductors are flimsy. It doesn't take more than idiot to realize that simple fallacy of all fallacies.

    In short, you failed in this post to “clarify that the criticism female conductors have been getting is in fact not misogyny, but genuine constructive criticism of their performances.” In fact, this whole thread, which you claim is a response to the misogyny thread, fails in that very purpose because you’re not even responding at all to the content in that thread. The misogyny we discussed over there had everything to do with general attitudes toward the idea of women conductors, especially as indulged by high-profile professional conductors around right now. It had nothing to do with comparing performance of women to that of men. Which, if it were your intention to do here, was not achieved in this thread either. You can’t take a one-person sample size and a massive confirmation bias and expect some sound statistical conclusion to come out of it.

    Your criticism of a conductor you saw live is welcome. Your claiming that criticism proves a single thing about... anything, really, is not. There’s a place for ‘critics’ like you, but at a third of the price. And a third of the age.
    Last edited by Minor Sixthist; May-20-2019 at 02:23.

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