‘Wise’ and Otherwise

Each time I visit Los Angeles, I find myself hoping that the music community realizes how fortunate it is to have Mark Swed as classical music critic. His writing manages to be passionate and sane at the same time, and it is informed, intelligent, elegant and wise. Hands down, he is the best in his field since Virgil Thomson retired from the New York Herald Tribune nearly 50 years ago. And, of course, kudos to The Times, not only for having had the sense to employ Mr. Swed in the first place but also for giving him the space in which to write so comprehensively.

MICHAEL STEINBERG

Edina, Minn.

Editor’s note: Musicologist Steinberg writes the program notes for the San Francisco Symphony and the New York Philharmonic. He delivered the preconcert talks for the L.A. Philharmonic’s all-Beethoven programs last week.

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In his review of Anne-Sophie Mutter’s recent program at Royce Hall (“Mutter’s Engaging Move to the 20th Century”), your critic, Mark Swed, seemed more concerned with Ms. Mutter’s dress and the fact that she was standing during the chamber music piece than he did with the music. He apparently failed to notice that the audience I was in was captivated by one of the worlds greatest violinists performing four challenging pieces. Perhaps on his next assignment, The Times should have a fashion and etiquette critic accompany Mr. Swed so he can pay closer attention to the music.

ED MAPES

Los Angeles

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In Swed’s review of Mutter’s performance, he decries that she performed “well-established audience favorites.” What Mutter understands, and Swed does not, is that classical music is show business. It must work on an audience level.

SAM WOODS

Los Angeles

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Like Mark Swed, my wife and I attended Sunday night’s performance of Meredith Monk’s sci-fi opera at the Alex (“The Wonder of ‘Magic Frequencies,’ ” Feb. 29), but unlike him, we were not wonder-struck by the performance. Rather, we were amazed at how many foundations and organizations had been persuaded or conned into anteing up the funds to stage such an amateurish and pretentious entertainment, featuring singers who could not sing, actors who could not act and dancers who could not dance.

The true wonder is how such works get produced and staged, when there is so much good material with fine performers which cannot get a hearing. The critics who praise dreadful works like this one enable the “artist” to use the reviews to convince organizations to fund their “work,” irrespective of its merits.

CARL PEARLSTON

Torrance