That’s a powerful and painful observation. Cultural institutions walk a fine line — but art has always been where empathy should rise above politics. Programming Mahler, Bloch, or any Jewish composer isn’t political; it’s a moral reminder that humanity speaks most truthfully through music.

Not at all — the connection’s valid. Structural bias in music and institutional leadership are two movements of the same symphony. Both need re-orchestration if we want a truly equitable arts landscape.

That’s a crucial point. Representation at the leadership level can set the tone for the entire ecosystem — from programming choices to who feels invited into the room. Opera thrives when its leadership mirrors the diversity of its audiences and artists.

Absolutely — Kleiber’s Fourth is like watching granite come alive. Every gesture feels inevitable, yet electrified. Also hard not to nod to Furtwängler’s burning depth or Giulini’s tragic glow — the piece just keeps revealing new faces with every conductor.