From a few weeks ago (things move slowly in the classicalsphere), Alex Ross in The New Yorker:
Not the least of the challenges that classical music faces is the increasingly unworkable celebrity-maestro model—a twentieth-century mutation, stemming from a disproportionate emphasis on the music of prior eras. It is fundamentally irrational for musicians to play the same passel of pieces over and over. Conductors serve to generate the illusion of novelty: as Theodor W. Adorno wrote, in his “Introduction to the Sociology of Music,” the maestro “acts as if he were creating the work here and now.” That top-tier conductors are almost always men is less an indication of institutional misogyny—though that certainly exists—than an inevitable consequence of the play-acting ritual: because the canonical composers are entirely male, so are their stand-ins. The modern orchestra concert is not entirely unrelated to the spectacle of a Civil War reënactment.