Reader comments
Changes are long overdue at Utah Symphony & Opera

I deeply hope that the Symphony can find a new music director with both musicality and courage. Thirty years ago, the Utah Symphony was known as a gutsy and bold organization. Now, the Utah Symphony isn't known at all. The programming is horrible, tending toward treacle. It's time for some protein, with a mix of both old and new music. Let's worry less about targeted marketing and more about giving the orchestra and the region something to chew on.

There are other options in the community for the arts. They have drunk from the money trough enough. If they can not put there house in order and keep it staffed its time to say farewell and have them fold.

An excellent commentary! The biggest pitfall is that boards of directors usually want a music director who can talk donors into giving big bucks and who presents a happy face to the public. That may not be a conductor who can make great music. (Beethoven would not get the job.) The highest priority in a search should always be musical.

Everything that you have said is true, but the new CEO choice is also one of critical importance. If it is possible to find someone whose concern for the good of the organization transcends his/her personal ego and self-interests, and who is able to work honestly and with integrity with all parties (musicians, the board, and the public), it will be a major step forward toward ensuring the long term success of the organization. If the right music director is engaged, the new CEO will also need to remember what falls within the jurisdiction of the music director, and will then need to know how to allow that music director to do the job.

I'm not as well-acquainted with the Symphony as I should be, but I agree in principal with many of the comments here. The best symphonic music being written to day is, in my view, big-budget movie scores and I'd like to see more of them--they would be good from a marketing viewpoint, as they are most familiar to today's younger potential audience members. That doesn't mean they should replace classical, baroque, light opera or any other genre. As a concertgoer, I want to hear great music, I don't care what century it was written. But, as a babyboomer, I sometimes have the attention span of a six-year-old and, I think, variety always makes for a better show. The Utah Symphony has produced some spectacular shows in my time in Utah, as good as some I heard from the NY Philharmonic when I was growing up near NYC. The next leader has to take into consideration all the factors that make a quality program--the musicians, the music, the audience and the community as a whole. Lockhart has done a good job, but, as noted, has made mistakes; the next director should build on his successes and learn from his mistakes.

Paval Kogan!
We should be glad to get rid of the pops boy, Kogan is the man who brought excitement to the concerts and he should be the new music director.

Contemporary music is not the problem. We need a mix of music types not just classical. We are not all highbrows.
I have been to preformances of the late Henry Mancini and heard comments like, "If they played that kind of music, I would attend more often."
I suggest finding someone who will live in this community, not someone who calls Boston, Mass. his home. A "real" resident conductor would be able to know what folks want to hear.

I can sympathize with comments such as those made by Tcabin. At the same time, playing exclusively "what people want to hear" is a recipe for the death of a symphony orchestra. Once there was tremendous resistance to the music of Beethoven and Brahms, just as there is now resistance to the music of Elliott Carter or Sofia Gubaidulina. Musicians of past generations had the courage to continue programming Brahms until listeners understood. Challenging music of today offers just as much.

Certainly there should be comfort in music. But there should also be challenge. As far as Mancini (or Jerry Goldsmith, or Michael Kamen or the many other good film composers), those are most appropriately addressed in a good pops series. That would provide both summer employment for players and a nice place to go on a summer evening.

Gerard Schwarz has overstayed his welcome in Seattle but has a lot to offer in terms of institution-building - if he would want to go through all that again with another orchestra.

Thierry Fischer and Pavel Kogan are both terrific conductors, and the Utah SO would be well served by either of them (or any number of others). The problem with hiring Lockhart seems to me that priority was put on his Boston Pops connection and seemingly clean-cut, wholesome image over his actual conducting talent.

In recent years I've acquired many old Abravanel/Utah CDs, and was impressed by their quality and the boldness of the institution back then. It would be nice to see them recapture that.

The USO has many talented musicians. However, one of the problems is that where once the orchestra had many Utahms who were memebers of the orchestra. Now we have many musicians who have become temporary residents of our state while they are members of the USO. The local connection has been lost. Maurice Abravanel came to Utah with the purpose of building a world class orchestra for our state. He succeeded. The old library of recordings ought to be re-released. They are magnificent. Along with tours abroad and across America they gave the USO a national reputation. We have lost that reputation now. Cute ideas such as date night or pre-concert parties are contrived and do not serve developing long term concert goers. Symphony orchestras must play symphonic music and much of it must be the traditional classics. Pops music, show tunes and similar programming has its place in a pops series. Criteria for chosing a conductor for the orchestra must include Abravanel characteristics and dedication as well as a clear focus on restoring the USO to its former place as a national orchestra of substance supported by recordings of its work.

I feel that parents now have a responsibility to introduce true quality music to their children. I worked for the Symphony for years, and one event I loved was the Lollipops. I know it doesn't bring in money, but I think it is wonderful to get youth interested. Good luck US&O. Keith, we will miss you.

To read statements that compares the Utah Symphony with the bests in this country is a rude slap in the face to the the Boston Symphony, New York Phil, Chicago Symphony, and Philadelphia orchestras. The Utah Symphony don't come anywhere near these caliber players. I always hear intonation problems with the Utah Symp that can has never been fixed and can't ever be fixed, less we replace the players from the big 4.

It's strange how none of the world-class-name conductors would ever come to Utah, but they fight for conducting spots at the big 4 or 5 of top US orchestras. Sorry, but it may require sharper ears to hear the huge lack of luster, refinement, intonation, and overall togetherness that the aforementioned orchestras is known for all over the world.

Bring Ozawa, or Maazel, or Barenboim, or Rattle, or Haitink, then, maybe, and only maybe, with long hard work will the orchestra shape up to even come close to being equal with the best in this country. That's if you can convince them to come, which they won't.

For those who even hint as to the Utah Symphony is being up there haven't really, truly heard.

one of the things is we should have mostly local artist. We have plenty of local talent, it is fine to have some outside talent but there should be a certain percentage (higher) of utahns. Much support of this organization comes from taxes.

The US&O would be well served by hiring and retaining competent employees. The turn over at the US&O has been too high for many years.

This turn over directly affects patrons who have to sort through messy emails, excessive direct mail, and confusing subsription processes.

I believe that positive change can and will happen.

The real fact as to why Lockhart is leaving is for him to leave his typecasting of being a Utah Symphony conductor and get passed up for openings to real big opportunities with the super orchestras. According to the New York Times, his reputation as being a pops and Utah Symphony conductor, is a double negative, hence, with major openings that has happened, some already filled, with Chicago, Los Angeles, Philadelphia, Boston, Cleveland, NY, and even Baltimore, all of this juicy opportunities has passed him by without a blink of a consideration for Lockhart, which gets him extremely frustrated, because he wants to be principle with a major orchestra.

His move to disassociate himself from Utah Symphony, is a calculated risk on his part to hopefully rebuild his reputation as a stronger player in the small community of powerhouse symphony conductors, which he can never remove himself if he is still stuck with the Utah Sym.

Lockhart mentioned that he wants to guest conduct more, which is a strong clue that he wants the powerhouse orchestras to give him opportunities, with the hope that one of them will stick.

I grew up in Utah and loved the fact that it was high in local content. But we must remember that even Abravanel brought in section leaders that raised the level significantly. Perhaps some have forgotten that many of these outstanding players were not from Utah.

The other thing to remember is that way back when the orchestra was not a full-time institution and it had (does it still have?) a two tiered contract. The players were well connected with the community as university professors, high school teachers, private instructors, and even real estate agents etc. We even had some very fine high school students in the orchestra. Everybody knew one or two people who played in the orchestra and enjoyed making the connection. Students frequently went backstage at intermission to talk to their teachers and fantasize about playing in the orchestra. We enjoyed the conceit that it was a world class orchestra.

I come back to Utah occasionally. It is a different place. Some better and some worse but I hope the best for Utah and its musicians.

As ushers for 10 years my husband and myself saw many guest conductors. It was evident to us that ticketholders and their disappearance told the story of their likes and dislikes. At the end of Silverstein's reign his selections were dry and appealed only to the elite and university music majors. Intermissions showed many empty seats on high classical evenings as compared to the entertainment series. It was a breath of fresh air when Keith Lockhart arrived and though the reputation of the USO has apparently declined it is due to the talent of the orchestra as evidenced by the talent of the Tablernacle Orchestra on Temple Square. Their concerts showcase an orchestra which can rival the USO. The USO needs dedicated musicians who put the USO as their sole occupation. Let's face it folks if Craig Jessop can pull great music from his volunteer orchestra why can't the orchestra administration find the same quality. Keith Lockhart knows his audiences it's just a shame he could not fight the long-haired aristocrats in SLC. Good luck Keith we're sorry to see you depart!

I don't know why Keith Lockhart is leaving the Utah SO, but anyone who thinks that being there is a hindrance to a higher-profile career is likely mistaken; good work in Utah will get noticed. Lockhart likely didn't get considered for any recent top-tier U.S. position because he simply hasn't proven himself a conductor of appropriate stature. His credibility as a serious big-league conductor is likely hurt much more by his association with the Boston Pops, which pays him well but surely typecasts him as a lightweight.

Lockhart may think he's done all he can with the Utah SO, but more likely they've done all they can with him. These days any orchestra that pays close to a living wage is capable of playing well, if not brilliantly, and I have no doubt that the Utah SO can find itself an excellent new music director.

Do any of these "commenters" have season tickets? Do they care enough to come and support. If not. Shame on all.

What this organization needs is an audience. One that sticks even when everything isn't perfect.

If we don't do this, the day will come when we will only be able to hear this music in New York and LA.

Come, you can buy a ticket for $12...