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Jenny Vogel

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ENTERTAINMENT
April 5, 1992 | BARBARA ISENBERG, Barbara Isenberg is a Times staff writer.
Los Angeles Philharmonic impresario Ernest Fleischmann was on the phone. Andre Previn had just resigned as the orchestra's music director, and Esa-Pekka Salonen was a key contender for the job. Never mind that Salonen's manager, Jenny Vogel, was home on maternity leave that day in April, 1989. A few meetings later, she realized that phone calls back and forth to Salonen and his European managers weren't enough. She headed for the airport. Salonen was impressed.
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ENTERTAINMENT
April 5, 1992 | BARBARA ISENBERG, Barbara Isenberg is a Times staff writer.
Los Angeles Philharmonic impresario Ernest Fleischmann was on the phone. Andre Previn had just resigned as the orchestra's music director, and Esa-Pekka Salonen was a key contender for the job. Never mind that Salonen's manager, Jenny Vogel, was home on maternity leave that day in April, 1989. A few meetings later, she realized that phone calls back and forth to Salonen and his European managers weren't enough. She headed for the airport. Salonen was impressed.
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ENTERTAINMENT
May 11, 1991 | JOHN HENKEN
Southern California arts executives reacted heatedly and sharply to the proposal to drastically limit foreign performers in the United States. Idiotic, shortsighted and unworkable were how some described the INS draft regulations . "It's so idiotic, it's just laughable," said Erich A. Vollmer, executive director at the Orange County Philharmonic Society. "The business of the 90-day timing--it's unworkable.
ENTERTAINMENT
May 11, 1991 | JOHN HENKEN
Southern California arts executives reacted heatedly and sharply to the proposal to drastically limit foreign performers in the United States. Idiotic, shortsighted and unworkable were how some described the INS draft regulations . "The negative effect on our ability to produce opera would be really significant," said Patricia Mitchell, deputy director of Music Center Opera. "How can you make any kind of sensible advanced planning?
ENTERTAINMENT
July 30, 1986 | DANIEL CARIAGA
With just two weeks remaining on his contract with the Sydney Symphony, Zdenek Macal, outgoing music director of the Australian orchestra, left Australia suddenly on Friday--ostensibly because of personal fears over the fluctuating Australian dollar. According to Trevor Green, managing director of the concert division of Australian Broadcasting Corp.
ENTERTAINMENT
March 4, 1990 | RANDY LEWIS
After two years, the search is over. With the appointment this week of Carl St. Clair as music director for the Pacific Symphony, the orchestra's weary search committee can finally relax. Executive director Louis G. Spisto can relax. The board of directors can relax. Everyone can relax--except, of course, St. Clair, whose job has just begun. And it's going to be a challenging one, for it encompasses more than just eliciting beautiful music from the orchestra.
ENTERTAINMENT
March 7, 1990 | RANDY LEWIS, TIMES STAFF WRITER
When the New York Philharmonic launched a fund-raising radio telethon last weekend, music director Zubin Mehta was there, using his pitch-making talents to elicit a mighty noise from a bank of telephones poised to field incoming donations. When the St. Louis Symphony was courting a major contributor recently, music director Leonard Slatkin personally asked for a $9-million donation.
ENTERTAINMENT
March 15, 1990 | RANDY LEWIS, TIMES STAFF WRITER
When the New York Philharmonic launched a fund-raising radio telethon recently, music director Zubin Mehta was there, using his pitch-making talents to elicit a mighty noise from a bank of telephones poised to field incoming donations. When the St. Louis Symphony was courting a major contributor recently, music director Leonard Slatkin personally asked for a $9-million donation.
ENTERTAINMENT
June 1, 1997 | Barbara Isenberg, Barbara Isenberg is a frequent contributor to Calendar
About a year ago, Emanuel Ax got an invitation he never expected. His friend Ara Guzelimian, artistic director of the Ojai Festival, wanted Ax to take on the role of music director for Ojai 1997. The pianist was nonplused. "Ara said they'd had John Adams, [Pierre] Boulez, people like Stravinsky, and how would I like to do the music directorship," Ax remembers. "I said I thought he was slumming; he couldn't find anybody better." Hardly.
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