Harassment, hierarchies and discreetly rubbed trousers: the exhausting politics of orchestras
‘They can’t all conduct, honey”, Lydia Tár informs her daughter as she hands each of her dolls a pencil to use as a makeshift baton. “It’s not a democracy.”
In her sharp put-downs, sidelining of procedure, and singular, maniacal artistry, Tár – played by Cate Blanchett in the film of the same name – embodies all the tropes of the autocratic conductor. The first of a glut of forthcoming “maestro movies” (Bradley Cooper’s Leonard Bernstein biographical drama is currently in production, as is , on the life of firebrand Romanian conductor Sergiu Celibidache), Tár isn’t just a character study, though – it depicts the intertwined social and artistic hierarchies, subtle codes and often grotesque power dynamics of
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