The Seckerson Tapes: Philanthropist Ian Rosenblatt | reviews, news & interviews
The Seckerson Tapes: Philanthropist Ian Rosenblatt
The Seckerson Tapes: Philanthropist Ian Rosenblatt
The man who brought Flórez and Cura to these shores reveals all
Saturday, 20 November 2010
It has been said that making money is music to the ears of any entrepreneur. In the case of Ian Rosenblatt you might need to turn that concept on its head. The music itself is his passion and the financial losses he routinely absorbs in pursuit of musical excellence is for him a small price worth paying. Well, not so small actually: through Rosenblatt Solicitors - his prestigious City law firm - he spends around £400,000 a year financing the Rosenblatt Recital Series, a now internationally recognised platform for up-and-coming operatic talent. Major young singers of today, stars of tomorrow.
It has been said that making money is music to the ears of any entrepreneur. In the case of Ian Rosenblatt you might need to turn that concept on its head. The music itself is his passion and the financial losses he routinely absorbs in pursuit of musical excellence is for him a small price worth paying. Well, not so small actually: through Rosenblatt Solicitors - his prestigious City law firm - he spends around £400,000 a year financing the Rosenblatt Recital Series, a now internationally recognised platform for up-and-coming operatic talent. Major young singers of today, stars of tomorrow.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Opera
Tosca, Opera Holland Park review - passion and populism
1800, 1968, 2024: a smart revival makes Puccini's evergreen shocker sing again
Die Zauberflöte, Glyndebourne review - cornucopia of visual inventiveness eclipses everything else
An operatic feast for the eyes doesn't translate into conceptual satisfaction
Carmen, Glyndebourne review - total musical fusion
Production tells the story, mostly, but it’s the lead and the conductor who electrify
L'Olimpiade, Irish National Opera review - Vivaldi's long-distance run sustained by perfect teamwork
Sporting confusions and star-crossed lovers clarified by vivacious singing and playing
Remembering conductor Andrew Davis (1944-2024)
Fellow conductors, singers, instrumentalists and administrators recall a true Mensch
Götterdämmerung, LPO, Jurowski, RFH review - outside looking and listening in, always with fascination
Every orchestral phrase and colour perfect, vocal drama often a notch below
Simon Boccanegra, Hallé, Elder, Bridgewater Hall, Manchester review - thrilling, magnificent exploration
Verdi’s original version of the opera brought to exciting life
Aci by the River, London Handel Festival, Trinity Buoy Wharf Lighthouse review - myths for the #MeToo age
Star singers shine in a Handel rarity
Carmen, Royal Opera review - strong women, no sexual chemistry and little stage focus
Damiano Michieletto's new production of Bizet’s masterpiece is surprisingly invertebrate
La scala di seta, RNCM review - going heavy on the absinthe?
Rossini’s one-acter helps young performers find their talents to amuse
Death In Venice, Welsh National Opera review - breathtaking Britten
Sublime Olivia Fuchs production of a great operatic swansong
Salome, Irish National Opera review - imaginatively charted journey to the abyss
Sinéad Campbell Wallace's corrupted princess stuns in Bruno Ravella's production
Add comment