What makes you think you have more experience at it than me?
No need to make it personal. It doesn't help your position or make you look real good to say things like that.
My purpose wasn't to bignote mself, it was that your comment implied that I didn't know what it meant to change conductors. I have directly experienced it. It wasn't so bad. Your comment actually made me suspect that you haven't been through the same experience - more that you are accepting Argerich's rationale without having tested it yourself (of course, this is speculation at this point since we don't know what she has said about it, this is just in theory). If you have experienced it, I stand corrected.
But anyway: I don't want someone like Argerich to be "professional," not in the way you said.
There are thousands of people who are professional. If she made herself be "professional" in the way you're saying, she wouldn't be Argerich.
I find that surprising. If I had bought tickets I certainly would want her to be professional enough to show up.
One of the things that often enables people like Argerich to be what they are is that they're highly particular, in whichever kinds of ways. (In case you never noticed.)
You are quite right there. Most great performers are particular/peculiar, but for me I draw the line at accepting them not performing what they are scheduled for. I can't really accept that as a peculiarity. I don't believe other odd performers like Kissin would do that. If you can accept it, that's fine.
I'm not saying that being "professional" requires that you be so particular -- but she is. That's a big part of what makes her Argerich. She has extreme intensity, individuality, and yes, 'particularity.' And I think I can assure you that her concern goes beyond having the concert "go fine and without a hitch." When you say something like that, regardless of how much experience you may have and regardless of how excellent you may be, you make it sound like you just don't appreciate some of the considerations, as was the case with that earlier post.
I'm not saying it's ideal, but if you bought tickets for her performance and she canceled, would you be celebrating her individuality or would you rather see her play, even if it wasn't under her ideal circumstances? I certainly can appreciate what great conductors bring to the table. Indeed, even the rehearsals I had with Maestro Gamba were an inspiration. What I am talking about is making the best of a situation. I don't see why you would equate that with being undiscerning.
I didn't 'take a swipe' at you; it was about what you said. It's fine to have a strong preference for performers to be more flexible about such things, but I think it misses something to say that it's necessarily "not such a big deal" to play with a different conductor.
Ok then, it's a big deal. Do you still think a performer should cancel for this reason? Is there a point where you just have to soldier on? Do you think performers who do accept a change of conductor are somehow less discerning? I don't think they are, I just think they are fulfilling their responsibility to perform. When I had a change of conductor, I went from a internationally renowned and great man, to a virtually unknown local. It was a little disappointing for me, but I was able to adjust and I'm glad I did. No, I'm not Argerich, not even close, but does my willingness to accept a change of circumstance say something negative and undiscerning about me? Also, what about the other top-flight artists who have accepted a late change of conductor without complaint? I think it actually speaks highly of them and their adaptability.