Norman Lebrecht is a mixed bag from my perspective as an audience-oriented classical music activist and writer. I'm among those who seek reforms in the encrusted music establishment. My motivation is to work with other music lovers to stop, and if possible, reverse the decline in classical music. There's no doubt about it. Lebrecht is a superachiever who operates at an intensity beyond normal humans: writing regular columns and negotiating their wide dissemination, travelling, researching a myriad of topics, interviewing and being interviewed, and somehow finding time to write books on complex subjects on the fly. The "normal" writer may be exhausted after three years' work on one book - no other duties intruding.
The old concept of noblesse oblige suggests that people with special gifts have an implied obligation to higher purposes in society. Admittedly that's now routinely violated in the U.S. But from cultured Britain we Americans somehow expect more.
There's wide agreement about Lebrecht's facile pen, his colorful, often big-theme topics, and his willingness to be candid and provocative. As other commentators note, however, Lebrecht's motives, judgment, and net effect on the world of music and culture are widely questioned. My rather superficial quest in exploring Covent Garden (looking at reform angles) convinced me that Lebrecht did much scholarly digging. He unearthed apparently accurate, if painful and politically incorrect background. But why and for whom did he do it?
Lebrecht is unquestionably fascinated by and committed to the arts. But my conclusion is that elitist ego, the ability to tread where others fear to go, to create flamboyance for its own sake, and to sustain his reputation and sell books (income)are a large part of Lebrecht's goal for Covent Garden. I and surely many British music lovers might have welcomed more constructive motives.
Those conclusions are partly supported by Lebrecht's lack of interest in those areas where the UK is an international leader in the quest to increase the vitality and outreach of classical music: ClassicFM radio, John McLaren's bold venture in supporting competitive awards for music that is meaningful to larger audiences, and the revitalized London Symphony.
So I'll continue to dip into Lebrecht for information, but not for inspiration.
