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Review by Seth Rogovoy
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Review by Seth Rogovoy
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A critic's dismissal raises questions of conflicts of interest
9.27.08
A Sour Note
By GREG SANDOW
WALL STREET JOURNAL
Not long ago I was asked if music critics have a code of conduct. They don't, as far as I know, but there are strict rules about conflicts of interest. If a critic appears to have some connection to a group he or she reviews, then those reviews aren't legitimate. And note the word "appears." As all critics know, the appearance of conflict of interest is what matters most. A critic might be objective, but if there appears to be some reason to think otherwise -- if, let's say, a critic has been paid to do something by the group being reviewed, or, in an extreme case, serves on its board -- then the reviews shouldn't be written.
Bear this in mind as we look at an explosion that happened in Cleveland. The Cleveland Plain Dealer had a classical-music critic, Donald Rosenberg, who served at the paper for 16 years. He's admired by colleagues at other publications, and respected by Cleveland musicians. But he ran into a problem. In 2003, a new music director, Franz Welser-Möst, came to the Cleveland Orchestra, and for the most part Mr. Rosenberg didn't like the way Mr. Welser-Möst conducts.
So Mr. Rosenberg and the orchestra were locked in an uncomfortable dance. Mr. Rosenberg of course wrote negative reviews (though not always; sometimes he liked what he heard). The orchestra had to put up with them. For six years this went on. And then, on Sept. 18, the Plain Dealer's editor, Susan Goldberg, told Mr. Rosenberg that he was no longer the paper's classical critic. He was now just an arts reporter, and while he still could write music reviews, the orchestra was off-limits. A new classical critic, Zachary Lewis, had been appointed, and he'd write the orchestra reviews.
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