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Musical Mayhem! Conservative Trumpeter Quits Concert Performance During Leftist Rant

We have a New Hero, folks! Conservative Manny Laureano, the principle trumpeter for the Minnesota Orchestra, walked out of a live symphony performance when guest pianist Rufus Wainwright went on a #Resistance rant between songs.

This is Yuge. (Love it that the guy is a “Trump-eter!”).

I normally don’t like to cut & paste The Whole Enchilada, but this is Too Good To Miss (and I really don’t wanna give The Red Star the clicks):

Q: Were you surprised by the scale of the reaction to your walk-off?

A: Yes. When I did it I knew there would be ramifications. It was a completely spur-of-the-moment thing. When Rufus Wainwright made his comments, I felt completely unwanted — that he would not want anything to do with me if he knew who I was and what I believed.

Q: In your 37 years with the Minnesota Orchestra, have you ever experienced anything like Wainwright’s comments before?

A: Not this strongly. The division that has happened in our society this year, seemingly willfully, has really bothered me. It’s gotten much worse. I think people are more exercised about things they would ordinarily internalize.

Q: Were you surprised by the strength of your own feelings?

A: Yes, I was. It takes a lot to push my buttons. But this particular tirade of divisiveness just really hit me in a spot that made me feel like I could not sit there and tacitly be seen as in agreement. I’ve never done anything like that before in a performance.

Q: Is it difficult to hold conservative political beliefs in the heavily liberal arts industry?

A: Yes, it is difficult, and it’s become much harder. It’s very important to make the distinction between when we are playing in the orchestra and when we’re not. When we’re playing, we’re a unified group, doing what we do. But outside that situation you have to be constantly on your guard, wondering what people are going to say to you — whether it’s just going to be a pleasantry or whether they’re going to vent. Interestingly, when you’re on stage, that’s the safest place to be — and that got taken away from me in Saturday’s performance.

Q: Are you saying that it’s wrong for a performer to express political views of any kind, conservative or liberal, at an orchestral event?

A: I think we should separate political events from social events. For example, when 9/11 happened, it was appropriate for our conductor Eiji Oue to come out and make the philosophical point that through tragedy we have to endure, beat the bad guys by enduring. That was something you couldn’t disagree with, whatever political stripe you were. But when you start saying, “This group of people are the ones who are going to solve your problems, and this group are the ones who are going to give you more problems,” that’s no longer a philosophical statement — that’s a statement of ideology.

Q: So if classical events aren’t for politics or ideology, what are they for?

A: The audience comes to Orchestra Hall primarily to hear the orchestra play. Not to listen to music as an escape, but to have things added to their lives. I don’t think they’re looking for things they already have access to at home, like the news. The music doesn’t necessarily unite people, it spurs them to individual thoughts — to open their minds, not close them. That is why I was so offended on Saturday.

Q: Should orchestras be worried about guest artists making political comments from the concert platform?

A: I don’t think people are interested in coming to concerts and feeling they’re in a re-education camp. The great composers give us the opportunity to think for ourselves. Getting political on stage robs you of that opportunity to think for yourself. With all the high-level intensity we’re experiencing politically at the moment, wouldn’t it be nice to be able to go to a concert and get that off your mind for two hours, not have more of it?

Q: Some composers do have strong political views, though, don’t they?

A: Is there a better exemplar of that than Aaron Copland? His views were more than decidedly leftist. And yet when you think of American music and you want that patriotic fervor to be ringing through your heart, you’ll put on his Third Symphony or “Appalachian Spring.” But you don’t hear his politics in his music. What you hear is a philosophical love of his country.

Q: It’s been quite a week for you, with all the media attention. Would you do the same thing again in a similar situation?

A: I’ve been asking myself that question over and over, especially now that I see the problems it’s causing for the youth symphony orchestra I work with [Laureano also serves as co-artistic director and conductor for Minnesota Youth Symphonies]. People are going onto our Facebook page and writing horrible things. According to one writer I am a “bigoted right-wing homophobe.” And I’m not. I like it when people get along. This is a road I’ve never traveled before — I’ve never been the center of a controversy.

 
Bruno Strozek

Written by Bruno Strozek

Bruno Strozek is the author of occasionally semi-coherent piffle and has been a Writer/Editor at Sparta Report since July 2016.

Strozek, along with his alter-egos the decadent, drug-addled Sixties refugee Uncle Bruno and his intolerably feminist SJW Cousin Brunoetta have been riding the not-yet crested wave of deplorability with posts covering politics, sports, entertainment and zombies.

Aptly described as both "hilarious and deeply disturbed" Strozek has enthusiastically embraced the recommendation of the late Raoul Duke that "when the going gets weird the weird turn pro."

Although he has fallen far short of his bucket-list goal of writing for such respectable rags as The National Enquirer and The Weekly World News Strozek is grateful for the opportunity to pen his unhinged screeds at Sparta Report and is constantly amazed and delighted at the reception his pieces receive in the cements.

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