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Subject: Re: James Levine situation at the Met
From: "G. Paul Padillo" <[log in to unmask]>
Reply-To:G. Paul Padillo
Date:Sat, 6 Jan 2018 20:15:14 -0500

text/plain (58 lines)

Mr. Rideout wrote (in part):

"Padillo suggested a while back that he might find a country that has no extradition 
agreement, and now we get this lunacy, right on the heels of the Ponti/Ricchi 6th grade 
assessment of the Trump incompetence!"

Incorrect.  In response to a post questioning why Levine hadn't publicly apologized,  I wrote 
I was willing to bet his attorneys advised him to keep quiet during this process, and. . . . 
"quite possibly" . . . find a country without extradition laws.  I, however neither suggested 
nor recommended such a thing.

Frankly, I'm surprised Mr. Rideout even reads my posts, though I suppose I shouldn't be 
surprised he'd use one to lump me in with the Trump lunacy.  

Other than that post, I've kept quiet on this situation on the List, but have been very vocally 
supportive of Maestro Levine on other sites (and taken much heat for it).  This includes the 
bashing he's taken from Norman Lebrecht's site where everything about him was attacked 
him with appalling vengeance - most of them using fake names, while I used my own.  I 

"I find it fascinating that so many now feel, finally comfortable to take the conducting 
achievements of Levine to task, particularly the person above who claimed he was “less 
than third rate” and all he will be remembered for is his penchant for young boys. While not 
every performance was great . . . a Brahms 2nd, and an Andrea Chenier both tanked on 
arrival . . . many were among the greatest evenings of my life. in particular, I recall a 
Wozzeck that every phrase from start to finish tied the harrowing drama together, all 
leading up to the final interlude that destroyed an opening night crowd. Alan Held and 
Katarina Dalayman responded to his sensitivities and gave among the best performances 
I’ve experienced of Berg’s harrowing masterpiece. In Boston, Schoenberg’s Gurrelieder 
elicited a similar response and the work between Levine and Lorraine Hunt Lieberson as the 
Wood Dove (in one of her final performances) was of such intimacy one felt as if intruding in 
on the most private and heartbreaking of moments. I can recall many such evenings with 
Levine. Not all of us respond to a conductor’s ways or mannerisms, but to denigrate one 
who’d achieved so many awards and accolades as a “hack” or “third rate” is the height of 

I also brought up Father Owen Lee's intermission feature during a Jenufa broadcast about 
the power of forgiveness, as one of the most moving, persuasive talks I've ever heard by 
anyone.  I took heat for that, too.  

Other than clearing the air about my misrepresented statement, I'll say no more (here) 
about the topic, and nothing about politics which I presently try to ignore to the best of my 


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