The board of governors of the Academy of Motion Picture Arts and Sciences “left intact Rule Two, the one that established that a film” — including one produced by Netflix or Amazon — “can be eligible for Oscars if it has a minimum 7-day theatrical run in a L.A. County commercial theater.” (Sorry, Mr. Spielberg.) – Deadline
Kathy LeMay: “The problem with [the complaints] is this: they do not help fundraisers unlock donor giving. … Imagine if after giving to help a family in need, articles were written about you asking why you aren’t helping families around the world?” – Inside Philanthropy
“Pascal Quoirin, a specialist who restored the Notre Dame organ in 2017, … said ‘after two hours spent examining the instrumental part, I did not notice any damage that could have been caused by the fire.'” (Apparently, there is only dust that needs to be cleaned out.) – Yahoo! (AP)
The primary beneficiary of Bloch’s largesse has been Kansas City’s Nelson-Atkins Museum of Art: he spent three years as its board chairman, he and his wife are the name donors on the museum’s 2007 expansion and its 2015-17 renovation, and at the same time the couple gave a collection of 29 major Impressionist paintings to NAMA. – ARTnews
Last week a court of appeals in Paris handed septuagenarian U.S. businessman Gary Snell a suspended prison sentence of one year and Parisian art dealer Robert Crouzet a four-month suspended prison sentence as part of an 18-year legal battle over counterfeited Auguste Rodin sculptures. – Artsy
The Story of Yanxi Palace and Ruyi’s Royal Love in the Palace smashed viewing records for the streaming services that showed them. Then the journal Theory Weekly (a title only a Communist bureaucrat could love) published an article condemning the series as “incompatible with the core values of socialism” and “[a] negative influence on society.” State media condemnation went on from there, and the series disappeared. Why? – The New Yorker
I have spoken with staff members of presenting organizations interested in community engagement who lament the fact that they are not in a position to select specific works themselves; they have to book what producing organizations are offering. Yet there are some ways in which the presenter is better positioned to support community engagement. – Doug Borwick
When an ambitious new cultural institution chooses its architect six years before appointing an artistic director/CEO, you know its priorities are upside-down and backwards. – Lee Rosenbaum
Charity Tillemann-Dick, a coloratura soprano who suffered from pulmonary hypertension and who resumed her singing career after undergoing a double lung transplant, died this morning. – Terry Teachout
Apply to join the dynamic staff at OPERA America, the national service organization for opera. You could be the thought leader curating the way into the future of contemporary opera across the field.
Learning and Leadership Director
Reports to: Chief Programs Officer
Department: Programs
Status: Full-time/Exempt
About the position
The Learning and Leadership Director advances OPERA America’s commitment to increasing the exchange and curation of knowledge across the field, building leadership skills and strengthening professional development programs. The Director is responsible for remaining current with relevant research from across the arts industry and translating findings into learning opportunities for members through annual conferences, forums and publications. The Director reports to the Chief Programs Officer and works closely with the President/CEO and senior staff to promote learning across the organization.
The Learning and Leadership Director will strengthen OPERA America’s relationship with staff at member companies, providing high-quality customer service. The Director will work with members of the staff and Board of Directors to achieve shared goals.
Responsibilities include, but are not limited to:
Develop format and content for annual conferences, managing overall session planning and related support materials, including the conference website and app.
Work with staff to design learning experiences for all network forums and coordinate the sharing of learning with all members.
Design, implement and evaluate professional development programs, including:
Assist in the design and coordination of civic practice workshops and regional meetings.
Document and disseminate learning from OPERA America grant programs.
Participate in the collection and distribution of resources for OPERA
America ‘hubs’ in the areas of innovation, civic practice and equity, diversity and inclusion.
Cultivate relationships with partner organizations, including the other national arts services organizations to share resources.
Preferred Skills
Salary and Compensation
Salary commensurate with experience, expected in $70Ks. Excellent benefits package including health and dental coverage, pension, paid time off, life insurance, access to rehearsal/performance venue, and opportunities to network with opera leaders nationwide. Desired start date by May 20, 2019.
To Apply
Please send the following materials to Laura Lee Everett, chief programs officer, at Jobs@operaamerica.org:
OPERA America is an equal opportunity employer.
The writers’ union’s memo also claimed, “Most of the writers who haven’t yet signed termination letters are retirees or no longer actively working.” – New York Magazine
Alastair Macaulay: “What makes Ms. Farrell so important? Her place in Balanchine history is central: She inspired him to make some of his most radically modernist works; opened up fresh torrents of Romanticism in him; showed how old roles could be transformed. She combined grandeur, musicality, wit, fervor and acumen to phenomenal degrees.” – The New York Times
The board of governors of the Academy of Motion Picture Arts and Sciences “left intact Rule Two, the one that established that a film” — in...
