From Marlissa Hudson: Going out on my own (2)

marlissa-1003

The story so far, in Marlissa's words: I realized I had to be a singer. I moved from my home in St. Louis to the Washington, DC area, to work with contacts I’d made when I was a graduate student at Peabody. And I made plans to create a big splash with my second album. All of that is in my first post.  And so, continuing: When I thought of my sophomore album project, I knew I wanted to do something vastly different than anything I’d heard or done previously. Something that would highlight my strongest attributes as an artist, and present … [Read more...]

From Marlissa Hudson: Going out on my own (1)

marlissa extra blog

[From Greg: [Just about a year ago, Marlissa Hudson emailed to say that she liked my blog, had ideas that synced with it, and wondered if we could meet. If I remember rightly, she'd put me on her mailing list (a good networking move), so I knew her name, and knew she was a soprano working in the Washington, DC area, where I live. And in any case I'm often contacted by people who read me, all kinds of people, by (for instance) the executive director of an orchestra in France, and by many music students. I always try to meet these people if I … [Read more...]

The Monday post

corelli staring blog

One of my favorite opera-going moments: When Franco Corelli started an aria facing the back of the stage. Of course you're never supposed to do that. You always face forward in your big moments, partly because you don't want to eclipse yourself theatrically, but also to make sure your voice is heard. But Corelli, or so it seemed, didn't see it that way. He was singing the tenor lead in La gioconda at the Met, maybe in the '70s. The opera calls for him to sing his big aria, "Cielo e mar," alone on stage. "Cielo e mar," he sings. Meaning … [Read more...]

The Friday post

erica book blog

Many items today. Mannes -- formally known as Mannes College the New School for Music -- is headed down a new road, led by its dean, my old friend Richard Kessler. Among much else, they'll stress new music as a central part of their curriculum. This is a revolutionary step for a conservatory, and they're just starting down this road. You can read about it in a story from Opera News. Of course I'll blog more about this, in months to come. Along with radical developments at least at one other music school. *** The Knights, already an … [Read more...]

From Nicole Canham: Opening up what we do (2)

baby0049

[Now we come to the changes Nicole Canham made, which drew such an explosion of new people when she was artistic director of the Canberra International Music Festival.] [In part one of her post, she told us why changes were needed. And why she also continued the festival's older programming, because, as she says: Something I’ve observed and find difficult to understand is why in our discourse there isn’t more tolerance for integrating both the best of traditional practice with a realistic understanding of contemporary culture. It has been my … [Read more...]

From Nicole Canham: Opening up what we do (1)

NicoleCanham1_2-1024x1014

[From Greg: Nicole Canham — an Australian musician, festival director, creative producer, scholar, and innovator -- is, as you're about to see, someone who fits perfectly with what we're doing here. She herself was attracted to my work, and contacted me a few years ago when she was in New York. I later met her in Sydney, when I was visiting Australia to give a keynote speech at what was billed as a "Classical Music Summit," a conference that brought people from around the country together, to talk about where classical music should go.  [We … [Read more...]

The Monday post

MarieDuplessis

Many people in classical music know the name Marie Duplessis, because she was the real-life Paris courtesan whose story — greatly fictionalized, in a novel by Alexandre Dumas — was the inspiration for La traviata.  And a New York Times review of a new biography of her starts by almost deploring the disconnect between fiction and reality. How sad, some people think, that the real courtesan didn't nobly sacrifice herself, the way her idealized persona in Dumas and Verdi did. But how her life really ended was, to my mind, much more touching. … [Read more...]

The Friday post

paperpixels

Set in stone From the University of Chicago comes a major study of arts building — the boom, during the past two decades, in building major arts facilities, including many performing arts centers. The study (called Set in Stone) examined 700 building projects, launched between 1994 and 2008. And its conclusions suggest that caution in building might be a good idea. To quote a quick overview available online (along with the complete final report): "The research we conducted does indeed point to substantial evidence that there was … [Read more...]

Out of touch

pso steelers blog

Sometimes some of us in classical music talk and act as if we know very little about the outside world. This hurts us gravely. Here we are, losing support in the outside world, but unwilling to poke our heads outside our bubble, to learn about the people we so badly want to reach. Sad example: a very nice man (I know him slightly), who's been a musicologist, a university president, and the head of a major foundation. At the League of American Orchestras conference last month he received an award for his foundation work, and made what I'm … [Read more...]

The Monday post

czardas blog

Crazy fun. Twelve teachers from the Washington Conservatory (a community music school) play Monti's "Csárdás," a famous old chestnut for the violin. Here they're taking turns on the piano. Truly crazy. How'd it happen? The director of the conservatory knows a producer at the TEDMED conference, an annual April gathering at DC's Kennedy Center, where health and science professionals brainstorm and collaborate. Could the conservatory, the producer asked, come up with a musical metaphor for fun, creative collaboration? This was the result. … [Read more...]

A link that works

Apologies to all for the Conan link in my Friday post that didn't work. I've fixed the post. The link now works. And here it is, for anyone who doesn't want to click back. … [Read more...]

The Friday post

retta blog

Happy I'll start with one of the happiest endorsements for classical music we'll ever see.  Retta, who stars in Parks and Recreation, holds forth with great delight on the Conan show. You have to watch this. Trust me! New World Concerts aimed at new audiences — with paid admission  — bring more new people to an orchestra, more even than free concerts do. They also have a younger, more diverse, more satisfied, and more engaged audience than concerts for the normal audience. Those are some of the findings from a study by the New World … [Read more...]

Imagining — last post

tabatha blog

To finish my account of the session I led at the League of American Orchestras conference (and sorry for the delay)… The story so far (clicking the link takes you to my last post, where I began this): I asked participants to imagine that in 10 years, all the problems orchestras now have will be solved. They'll have vibrant young audiences, eager support from their communities, no funding problems, and freedom to play any music they like.  Yes, that's a dream. But dreams can be freeing. As a first step toward examining this one, I asked … [Read more...]

From Lara Downes: Success and Surprises

Christopher Lara convo Artist Sessions

[From Greg: Among much else, this is a killer guide to how to promote a concert in our new age, how to develop an audience. The old ways, as Lara notes, don't work in new situations. So we have to do something new. She does it!  [I'll add that I saw Chris O'Riley play the DC-area show on the tour Lara describes, and I loved it. He played his new Liszt album, and took Liszt where he belongs, way over the top. Most pianists tame Liszt, consciously or not. But not Chris! And, though he didn't say this publicly, he out-Liszts Liszt in his version … [Read more...]

The Monday post

Petrushka blog

This must have been delightful: The New York Philharmonic played — and staged — Petrushka, with the musicians as dancers and actors. Here's what happened, as described by Anthony Tommasini in his New York Times review: In this “Petrushka” the musicians, many wearing Russian hats and jackets, played the piece and also the rowdy crowd participating in the festivities, stomping their boots in unison with the downbeats and swaying to the swings of the music like the orchestral equivalent of a wave at a baseball stadium. On a screen above the … [Read more...]