Apparently one reason we don't see certain musicians performing in the U.S. much, if at all, has to do with the immigration folks who issue travel visas. While googling one of my new favorite tenors, I came across a reference in a blog called The City and the World, to this article from the New York Times, dated March 16, 2010 (bolding is mine):
Recently the Cleveland Orchestra’s application for Martin Mitterrutzner, an acclaimed young Austrian tenor, was denied for reasons that left the orchestra perplexed: the report from immigration officials said, among other things, that the scheduling of Mr. Mitterrutzner’s performances did not indicate prestige, since he was booked for matinees, not evening performances. After two denials, the orchestra retained a lawyer and got the decision reversed in the nick of time — but only after considerable expense.
Here's hoping Herr Mitterrutzner develops a better reputation with U.S. Immigration Services, so that he can travel more freely, and soon!
(P.S. Since 2010, Herr Mitterutzner has managed to perform more in the U.S. Hopefully other young musicians will not have as much trouble as he did. Of course, this whole situation also begs the question: why isn't the Cleveland Orchestra working harder on engaging talented young tenors who live in the United States already?)
(P.S. Since 2010, Herr Mitterutzner has managed to perform more in the U.S. Hopefully other young musicians will not have as much trouble as he did. Of course, this whole situation also begs the question: why isn't the Cleveland Orchestra working harder on engaging talented young tenors who live in the United States already?)
Which is interesting, because the opera world has far less trouble with ICE and the visa process than everybody else does. A lot of bands I used to see don't come to the US anymore because, given the amount of time and money they have to shell out for visas, it is soooo not worth it. And if they did, there is always the possibility that one member of a group doesn't get a visa and that kills a tour -- I think this happened to Ibrahim Maalouf a few weeks ago -- or, even better, they all get visas but ICE comes up with some bizarre reason to deport one member from the airport.
ReplyDeleteThings were so much easier back in the eighties, when all you had to worry about was whether or not the INS knew someone was a commie.
Since prestigious performers never do afternoon concerts . . .yeah. I would very much like to read the opera blog written collectively by the INS. "Dear Diary. Today we deported an alto for unwillingness to soprano roles; failure to give 110% percent in this matter indicates lack of red-blooded American can-do spirit; do not readmit."
ReplyDelete(this is earwormopera, anonymous as ever)
DeleteWell, I am glad they're letting DR and ASvO in!!
DeleteIf they stop letting those two in, I think we would have to stage some sort of massive protest.
DeleteI can see it in the New York Times:
DeleteCrazed Opera Fans Storm INS Office
ReplyDeleteMore of the same as of this time last year:
http://www.nytimes.com/2012/04/11/arts/us-visa-rules-frustrate-foreign-performers.html?pagewanted=all&_r=0
Coming next... drone strikes on orchestras suspected of playing unAmerican music
ReplyDeleteHey, pal, that bassoonist went to Oberlin Conservatory where she hung out with somebody who was the third cousin of someone who facebook friended a guy who was known to have a dentist who was from Pakistan and had traveled there recently to see his great aunt whose gardener...
DeleteTIA, man, that's where it's at. That unAmerican stuff is so Web 1.0.
Too funny! and probably pretty darned close to the truth!
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