A MUSICAL ANALYSIS OF THE MOVIE, TAR

 I recently wrote a lengthy review of the movie, TAR. My focus was primarily on the performances, the narrative of the story, and my expectation that there will be Oscar nominations for best film and best actress (Cate Blanchett). Since I have studied the art of conducting in the past, in addition to the fact that I continue to follow the careers of conductors I admire (wanted to be one once-upon-time), a musician friend asked me what I thought of Cate Blanchett's character and how I felt about the manner in which classical music is treated in this film. So, I will address these issues now.

It is important to state that Lydia Tar is a fictitious conductor. Cate Blanchett carries the role very well, and I guarantee she will send chills up and down the spines of viewers. That said, from a musical standpoint, I felt that the movie did an injustice to conductors in general, especially women conductors. The best conductors know how to collaborate well with orchestra musicians. It is this type of collaboration that produces respect and trust between conductors and orchestras. A dictator on the podium, such as Lydia Tar, will only instill fear and disrespect.

Two female conductors I highly respect and admire are Marin Alsop and JoAnn Falletta. I have no doubt they were horrified if they watched the film, TAR. The primary symphony used in the movie is Gustav Mahler's #5, a challenging work by all accounts. We see Cate Blanchett's portrayal of Lydia Tar as a tyrant, with temper tantrums reminiscent of those displayed by the late Arturo Toscanini. Her berating of conducting students in a master class was beyond the pale. Her method of choosing a cellist for Elgar's Cello Concerto (made famous by the late Jacqueline Dupree) was also contrived and would be inexcusable in a real-life setting.

There is much more I could say about TAR. If you simply watch it for its intent, which is a study of musical power gone wrong, you might agree with me that Cate Blanchett is deserving of an Oscar nomination. It is simply important to keep in mind that a conductor such as Lydia Tar would be immediately dismissed by an orchestra's board of directors. My deep admiration continues for Marin Also and JoAnn Falletta for being perfect role models for women who aspire toward careers on the conducting podium.