Well, the biggest criticisms of McMaster always centred around his drama (and certain political issues - such as brining art galleries into the EIF tent), which of course is a non-issue for the proms. Actually, Bieito not withstanding, I think much of the drama criticism is unfair (he put on a number of very good things, including Blackbird and the recent Troilus), though last summer's Three Sisters was quite probably the worst thing I have ever seen in the theatre.

Music (and, more so, Opera) was his forte and it showed. He also has an extensive contact book (something that concerns me about the new Edinburgh director - all will be revealed on that score in a month or so and I wait with baited breath).

It could be argued that certain things came round rather often (he gave us a lot of Mahler and Bruckner). But, the Edinburgh audience is pretty conservative and such programming could be relied upon to sell out the Usher Hall. It is also fair to point out that a lot of that came from touring orchestras, over whose programming the festival director probably has limited sway.

I think his biggest problem was his favourites. He had a tendency to get back the same artists time and again. In some regards this was excellent (Mackerras was a regular feature - no doubt helped by their good relationship from previous collaborations, and my understanding is that he gave Mackerras plenty of latitude as to what he did). However, if you didn't like a favourite (and it's possible there were people who wished he wouldn't get Sir Charles back again), then it could be more of a problem. Personally, I could have done with a little less of, say, Richard Goode (and Bieito in the drama) . Of course, it is perhaps a little unfair to be critical here, as the line between building relationships and featuring someone too often is a very fine one. But I would have loved him to get, say, Uchida.

I suppose one must also question his financial management - he left the festival with big debts (which were only cleared recently when the Dunard fund, without whom the arts in Scotland would be in near collapse, got out the chequebook).

However, overall I think he did an excellent job and will be a very tough act to follow (which is why I was slightly concerned with Mills didn't even publish the usual preliminary information in November giving some details of the artists coming - which suggests to me the list isn't all that impressive. That said, I do sympathise with with him as his appointment was left very late and, from what I hear, surprisingly little was left in place.) Certainly I would have a preference for McMaster over Wright.


regards, Tam

The first thing to go will be off-topic choral messages between amphi and arena. Modded on the spot by security rottweilers, no doubt.

I wish everyone well in their new jobs in my usual cheery way but, while we knew John Tusa was going to be a very hard act to follow at the Barbican I have a feeling we are going to have to be prepared to come down with even more of a bump with NK than was necessary. After Tusa managed to turn round the near shipwreck he inherited, a very impressive achievement in itself, he is handing over a thriving and I'll even use the PR word 'exciting' organisation. Hmm, well, learn from his example Mr Kenyon and if you need any advice on programming, I'm always available   

On the contrary, CUJMee, it seems that you carry RW's torch through every kind of weather?  Have you noticed the damage he's done to R3?  Would you call "A Bach Christmas" a programming success?  Would you call playing Tchaikovsky marathons - involving major works going out at 4am, merely so RW could say he'd "done it" - an artistic success?   Because I would say this is utterly talentless, and a shameless waste of licence-payer's money.  Moreover, the criticisms I make of him are factual, and not at all "personal" as you most wrongly suggest - he has no relevant experience of running a Music Festival of any kind.

Yes, I knew RW briefly at University (and I am not the only one here who did).  Your attempt to suggest that some student-era tiff over the chocolate biscuits lies behind my criticisms him as a truly terrible Controller of R3 does you no credit, and I resent you putting words in my mouth like that.

Perhaps you'd like to put your cards on the table about your relationship to RW, since you are so keen to publish mine?  Are you a BBC employee?

And do you think it's a good use of Licence-payer funds to broadcast operas at 4am?  Music used as mud to fill-up schedules. No matter that no-one is listening!!  Music used for the glorification of the Controller who wished it so. What utter and flagrant disdain for the composer in question.