Season 2018-19: Concertgebouw picks up women's hand that Concertgebouw Orchestra leaves behind

Joel Fried, artistic director of the Royal Concertgebouw Orchestra visibly startled for a moment. I asked him if there is really only one female composer scheduled in the 2018-19 season. Indeed, during the presentation on Monday 26 February at the Concertgebouw, I only heard the name of Lotta Wennäkoski. Indeed, the Finn appears to be the only one to defend the honour of composing women.

Female composer conspicuous by her absence

Even the composition assignment for up-and-coming talent passes Mathilde Wantenaar, Kate Honey or Danai Bletsa by. Not that I begrudge chosen Christiaan Richter his commission, but anno 2018, this outcome is disappointing. I have been bombarding the orchestra with tips for two decades, hoping to correct the skewed male-female ratio in its programming.

By now, the argument that female composers would be hard to find sounds rather weak. A missed opportunity, as the Royal Concertgebouw Orchestra serves as an example and could win other orchestras over.

As if to correct this omission, we get the latest Horizon CD, which includes the Nasimi-Passion by Franghiz Ali-Zadeh. The Azerbaijani composed this large-scale work commissioned by the orchestra. Together with the Groot Omroepkoor and baritone Evez Abdulla, it signed for an impressive premiere in 2017. In the new season, British conductor William Christie makes his debut with a performance of Bach's St John Passion.

Louis Andriessen 80

Apart from the missing ladies, there is plenty to look forward to. Michel van der Aa, for instance, composes a double concerto for violinist Patricia Kopachinskaja and cellist Sol Gabetta. For Louis Andriessen's eightieth birthday, his pioneering The State performed at pop temple Paradiso. In addition, the controversial Mysteries remade, which Andriessen composed in 2013 for the 125th anniversary.

Equally flavourful is the primal version of the 'ballet chanté' Die Sieben Todsünden by Kurt Weill. The role of the split protagonist Anna is sung by Wende and danced by Heather Ware. There are also Dutch premieres of, among others Peter Eötvös, Detlev Glanert and Harrison Birtwistle.

Women shine with presence

As if he heard my heart's cry, Simon Reinink opens his season presentation by announcing that the focus will be on female conductors and composers. The cover of the Concertgebouw brochure features a picture of the singing conductor Barbara Hannigan.

British Tansy Davies has been recruited as house composer. She will live in Amsterdam for three months and compose a new piece for Asko|Schönberg. 'It will be a personal quest,' she says in the brochure. 'I have Dutch relatives I don't know yet. That fascinates me: where do we come from, what can we learn from that.'

Her music will also be heard during Alba Rosa Viva! in December 2017. This event inspired by the composer Alba Rosa Viëtor presents a selection of female composers. Classics such as Fanny Mendelssohn, Cécile Chaminade and Henrietta Bosmans stand alongside living greats such as Carola Bauckholt and Mayke Nas. Scattered throughout the season are Dutch premieres by Roxanna Panufnik, Raquel García-Tomás and Andrea Tarrodi. This colourful selection of very diverse composers is already making my mouth water.

Female conductor conducts all-male programme

No fewer than four female conductors will perform at the Museumplein music temple. Barbara Hannigan won a Grammy with Ludwig earlier this year for the CD Crazy Girl Crazy. In 2019, she will conduct this ensemble in The Rake's Progress by Stravinsky. - In which, incidentally, she leaves the role of Anne Trulove to soprano Sofie Asplund.

Violinist Jacqueline Shave performs Britten Sinfonia by Handel's Messiah. Susanna Mälkki conducts the Helsinki Philharmonic Orchestra in Tchaikovsky's Violin Concerto and Sibelius' Second Symphony. Lithuanian Mirga Gražinytė-Tyla also performs a all-male programme with her City of Birmingham Symphony Orchestra. Remarkable: solidarity among women does not appear to be a given. There is still a world to be won there.

Simon Reinink and his artistic staff at least set a good example. It is gratifying that after decades of 'feminist dithering', the female musician is finally being taken for granted. May the Concertgebouw's programming inspire the Royal Concertgebouw Orchestra's next round!