James Levine - it's about time

[Kenny]

It would go away if he hired me.

Then his ultimate reputation would be “a brilliant musician who was also a sexual predator and a fucking moron.” Point taken.

[Moondance]

His ultimate reputation will be “a brilliant musician who was also a sexual predator” ...

@Kenny!, were you the one who updated Levine's Wikipedia page!!?

 

I notice that the second sentence -- the second sentence! -- already mentions that sexual assault allegations are one of the things he is primarily known for -- Music Director of the Metropolitan Opera and sexual assault allegations.

 

Ah, the glorious and sordid history ... both at our fingertips. Forever.

[mike carey]

Ah, the glorious and sordid history ... both at our fingertips. Forever.

I doubt it's forever. Wikipedia changes, and that will be edited in time. How long it stays there is the interesting question.

[Moondance]

I doubt it's forever. Wikipedia changes, and that will be edited in time. How long it stays there is the interesting question.

Wikipedia does change. So there's plenty of opportunity for additional charges of sexual assault to be added as more victims of Levine's long-rumored predation come forward.

 

In addition to the reference in that second sentence, there are already many more paragraphs devoted to Levine's disgusting history:

 

https://en.wikipedia.org/wiki/James_Levine

 

I daresay, the most likely part of the page to be cut is the blather about his health problems because (boo-hoo) who really cares about the aches and pains of a sexual predator?

Edited December 7, 2017 by Moondance

[+ WilliamM]

I never argued that serious accusations were not willfully ignored or fended off with money--in fact, my initial posts in this thread made exactly that point about the Met's behavior.

 

Yes, you have blamed the Met here and another forum. Levine behavior is the issue. He is an adult, and responsible for his actions.

[+ quoththeraven]

Insiders at the Met have gossiped for years about the number of times Levine had to be bailed out of trouble for approaching black teenagers in men's rooms. Since he is pretty much retired at this point in his life, this story is not likely to have much effect on his ultimate reputation.

 

I never argued that serious accusations were not willfully ignored or fended off with money--in fact, my initial posts in this thread made exactly that point about the Met's behavior.

I don't discern that from the above quote. Perhaps I missed something in my review?

 

You have minimized and qualified the seriousness and import of the charges throughout this thread, including in your first post quoted above.

[+ WilliamM]

I don't believe in hagiography...

 

News to me, considering your posts about Levine.

[+ Charlie]

I don't understand where you (QTR and William) are getting the idea that I approve of either Levine's behavior or the Met's behavior. I said in one of my first posts that I thought the Met's hypocrisy about what they have done for years is appalling. They could at least admit and explain their history of protecting Levine from the consequences of his behavior, even though most people would not approve of their reasons. For the record, I understand their reasoning, but I do not condone it. I also said that in the long run, his sexual predations will not matter as much to his reputation as the artistic accomplishments--you are free not to like that fact about human nature, but it is there. And William, I don't know if you know that hagiography is a biography of a saint that presents him/her as a paragon of virtue, but please show me where I have said that I view Levine in that light.

[Kenny]

@Kenny!, were you the one who updated Levine's Wikipedia page!!?

 

I notice that the second sentence -- the second sentence! -- already mentions that sexual assault allegations are one of the things he is primarily known for -- Music Director of the Metropolitan Opera and sexual assault allegations.

 

Ah, the glorious and sordid history ... both at our fingertips. Forever.

I think Steve Bannon did the update. “New York values” helps his ‘Bama candidate.

[+ WilliamM]

And William, I don't know if you know that hagiography is a biography of a saint that presents him/her as a paragon of virtue, but please show me where I have said that I view Levine in that light.

 

Of course I know what the word means. I graduated from a Jesuit university.

[+ Charlie]

Of course I know what the word means. I graduated from a Jesuit university.

Then please answer my question about your comment.

[+ WilliamM]

Took the time to respond to your question about hagiography, although the question was a minor insult. That's it.

[Moondance]

This perspective, a mix of great admiration and grave disappointment, was written by Anthony Tommasini, classical music critic for The New York Times, and published on December 5. His thoughts touch on some of what we've been talking about in this thread ...

"... how do Mr. Levine’s countless fans, and I as a critic, reconcile his legacy with what he’s been accused of? Is his work tainted beyond our ability to appreciate the artistry involved?"

Should I Put Away My James Levine Recordings?

 

In the living room of the apartment I share with my husband, we have a handsome dark-wood case for our stereo system. Two box sets of performances from the Metropolitan Opera with James Levine conducting have occupied a prominent spot on the lower shelf since they were released in 2010 to commemorate the 40th anniversary of Mr. Levine’s Met debut. Displaying them was a genuine expression of my admiration for a towering American artist.

 

But on Sunday, Mr. Levine was suspended by the Met after several men accused him of sexually abusing them decades ago, when they were still teenagers. Now, I’m not sure I want to keep those sets so visible in my home.

 

I feel heartache for the men, who say they were taken advantage of by someone they looked up to, someone in a position of intimidating authority. But how do Mr. Levine’s countless fans, and I as a critic, reconcile his legacy with what he’s been accused of? Is his work tainted beyond our ability to appreciate the artistry involved?

 

People have asked me over the years whether I had heard talk about Mr. Levine’s private behavior. I had, but just vague rumors. I knew that reporters at The Times and other publications had done some investigating over the years and turned up nothing concrete.

 

One time, though, I brought up his personal life with him in an on-the-record exchange. Reading that 1998 interview today, nearly 20 years later, his comments seem more revealing than they did then.

 

At the time, his appointment as music director of the Munich Philharmonic had recently been announced. Some German tabloids had dropped innuendoes about his sexuality. In his office, I asked Mr. Levine how he was handling this and whether he still felt welcomed by the city of Munich. Would he finally address this talk head on, and open up about his very guarded personal life? (I was hoping that he might discuss being gay.)

 

“I’ve never been able to speak in public generalities about my private life,” he said. “Day by day, my world is filled with real music, real people, real interactions,” implying that the rumors were simply fake.

 

He refused to reply to all the speculation about his life. “How much do you have to give?” he asked, sounding almost plaintive. “How good do you have to be?” How good, in other words, before you are given a pass to keep your private life private?

 

As we now know, he should never have gotten such a pass.

 

What do we now do about the work he has left us? I attended Mr. Levine’s concert performance of Verdi’s Requiem at the Met on Saturday afternoon, a few hours before news about the accusations against him broke. He seemed to me a little burdened and looked a little tired. It’s entirely possible that Saturday’s lackluster performance will end up being Mr. Levine’s final appearance with the company.

 

But I have just listened again to one of the recordings from the Levine commemorative box set, a 1980 performance of Berg’s “Wozzeck,” the staggering 20th-century masterpiece, with José van Dam in the title role. Mr. Levine was an inspired conductor of this music, drawing out the eerie beauties of Berg’s Expressionist score and revealing the profound human truths and compassion that run through this depressing tragedy. I can’t imagine not being moved by it always.

 

And yet, immersing myself in Berg’s story of an impoverished, delusional soldier forced by superior officers to perform humiliating tasks for menial pay, a man driven to murder and self-destruction by feelings of powerlessness, I couldn’t help thinking about Mr. Levine’s accusers.

 

So what do I do with these commemorative collections? I won’t give them away.

 

But I’m going to move them out of my living room.

[BaronArtz]

The thing that puzzles me about his Illinois accuser is how do you engage in a relationship with a man for 30 years and accept gifts of $50,000 and then claim "abuse". Was there not, at some point, a transition from victim to volunteer. Did he not stop being a minor shortly after their relationship began? Was he not expecting help with his career in exchange for his interactions with a prominent Conductor and Music Director. Does it not strike anyone as convenient that his allegations arise only after the payments stop?

While Mr. Levine's proclivities have been long discussed ( I was first made aware of them by a Composer in 1973) this particular case strikes me as odd.

 

Thank you, that is very well said.

 

And to those of us who point the finger at Mr. Levine - isn't seeking sexual favors from young men something we all do? We seek them out, discuss them, hire them. How consensual is it really, in many cases? With the exception of career escorts, how many young men are out there, struggling to make ends meet, accepting to provide certain services for money or other benefits? How often are these encounters coerced? We are not that different from Mr. Levine. So let us not be hypocrites.

 

I make an exception, of course, for acts involving minors. Those are inexcusable.

Edited December 7, 2017 by BaronArtz

[+ quoththeraven]

Thank you, that is very well said.

 

And to those of us who point the finger at Mr. Levine - isn't seeking sexual favors from young men something we all do? We seek them out, discuss them, hire them. How consensual is it really, in many cases? With the exception of career escorts, how many young men are out there, struggling to make ends meet, accepting to provide certain services for money or other benefits? How often are these encounters coerced? We are not that different from Mr. Levine. So let us not be hypocrites.

 

I make an exception, of course, for acts involving minors. Those are inexcusable.

Acts involving minors is exactly what Levine is accused of.

[rogerG]

"Artists create their own moral universe" and certain art-loving communities are more accepting of this notion. "Turning a blind eye" is more prevalent among the super creative types and those who work with them.

[Kenny]

We are not that different from Mr. Levine.

Happily, and horrifyingly, you are presumably speaking for yourself. Not for “we.”

[+ bigjoey]

"Artists create their own moral universe" and certain art-loving communities are more accepting of this notion. "Turning a blind eye" is more prevalent among the super creative types and those who work with them.

 

The same feeling (up until the last few days) seems to have been the feeling of members of Congress.

[gallahadesquire]

Just turn them around so his name doesn't appear.

 

This perspective, a mix of great admiration and grave disappointment, was written by Anthony Tommasini, classical music critic for The New York Times, and published on December 5. His thoughts touch on some of what we've been talking about in this thread ...

"... how do Mr. Levine’s countless fans, and I as a critic, reconcile his legacy with what he’s been accused of? Is his work tainted beyond our ability to appreciate the artistry involved?"

 

Should I Put Away My James Levine Recordings?

 

In the living room of the apartment I share with my husband, we have a handsome dark-wood case for our stereo system. Two box sets of performances from the Metropolitan Opera with James Levine conducting have occupied a prominent spot on the lower shelf since they were released in 2010 to commemorate the 40th anniversary of Mr. Levine’s Met debut. Displaying them was a genuine expression of my admiration for a towering American artist.

 

But on Sunday, Mr. Levine was suspended by the Met after several men accused him of sexually abusing them decades ago, when they were still teenagers. Now, I’m not sure I want to keep those sets so visible in my home.

 

I feel heartache for the men, who say they were taken advantage of by someone they looked up to, someone in a position of intimidating authority. But how do Mr. Levine’s countless fans, and I as a critic, reconcile his legacy with what he’s been accused of? Is his work tainted beyond our ability to appreciate the artistry involved?

 

People have asked me over the years whether I had heard talk about Mr. Levine’s private behavior. I had, but just vague rumors. I knew that reporters at The Times and other publications had done some investigating over the years and turned up nothing concrete.

 

One time, though, I brought up his personal life with him in an on-the-record exchange. Reading that 1998 interview today, nearly 20 years later, his comments seem more revealing than they did then.

 

At the time, his appointment as music director of the Munich Philharmonic had recently been announced. Some German tabloids had dropped innuendoes about his sexuality. In his office, I asked Mr. Levine how he was handling this and whether he still felt welcomed by the city of Munich. Would he finally address this talk head on, and open up about his very guarded personal life? (I was hoping that he might discuss being gay.)

 

“I’ve never been able to speak in public generalities about my private life,” he said. “Day by day, my world is filled with real music, real people, real interactions,” implying that the rumors were simply fake.

 

He refused to reply to all the speculation about his life. “How much do you have to give?” he asked, sounding almost plaintive. “How good do you have to be?” How good, in other words, before you are given a pass to keep your private life private?

 

As we now know, he should never have gotten such a pass.

 

What do we now do about the work he has left us? I attended Mr. Levine’s concert performance of Verdi’s Requiem at the Met on Saturday afternoon, a few hours before news about the accusations against him broke. He seemed to me a little burdened and looked a little tired. It’s entirely possible that Saturday’s lackluster performance will end up being Mr. Levine’s final appearance with the company.

 

But I have just listened again to one of the recordings from the Levine commemorative box set, a 1980 performance of Berg’s “Wozzeck,” the staggering 20th-century masterpiece, with José van Dam in the title role. Mr. Levine was an inspired conductor of this music, drawing out the eerie beauties of Berg’s Expressionist score and revealing the profound human truths and compassion that run through this depressing tragedy. I can’t imagine not being moved by it always.

 

And yet, immersing myself in Berg’s story of an impoverished, delusional soldier forced by superior officers to perform humiliating tasks for menial pay, a man driven to murder and self-destruction by feelings of powerlessness, I couldn’t help thinking about Mr. Levine’s accusers.

 

So what do I do with these commemorative collections? I won’t give them away.

 

But I’m going to move them out of my living room.

[+ sniper]

"Artists create their own moral universe" and certain art-loving communities are more accepting of this notion. "Turning a blind eye" is more prevalent among the super creative types and those who work with them.

It's more prevalent among the powerful in general. It's by no means unique to creatives.

[+ quoththeraven]

"Artists create their own moral universe" and certain art-loving communities are more accepting of this notion. "Turning a blind eye" is more prevalent among the super creative types and those who work with them.

That's not a world I want to live in.

 

Also, it's not always true that the person you think is super-creative actually is. They may be relying heavily on someone else. An example might be a long-term editor, for a filmmaker or writer, or a spouse or assistant.

 

This goes double for business people.

 

I realize this doesn't apply to conductors.

[BaronArtz]

Acts involving minors is exactly what Levine is accused of.

 

Thank you. I knew that.

[BaronArtz]

Happily, and horrifyingly, you are presumably speaking for yourself. Not for “we.”

 

As usual, you entirely missed the point. Don't tell me you have never approached young men in bars, restrooms or on the internet.

[hornytwells]

He is denying everything.....

 

https://mobile.nytimes.com/2017/12/07/arts/music/met-opera-james-levine-trovatore-luisa-miller.html?smid=fb-share&referer=http%3A%2F%2Fm.facebook.com

[Kenny]

As usual, you entirely missed the point. Don't tell me you have never approached young men in bars, restrooms or on the internet.

I have never approached young men in restrooms or on the Internet. I haven’t approached young men in bars, where they are of legal age, in decades.

 

And your post is about coercion, in which I have never engaged.