Oakland, March 2017
I see that once more, I cleverly posted the same Friday photo twice. Here is a make-up photo.
BERKELEY, CA (March 23, 2017) – Guest conductor Christian Reif will lead Berkeley Symphony in Shostakovich's evening-long, epic Symphony No. 13, “Babi Yar,” on Thursday, May 4 at 8 pm at Zellerbach Hall. The Orchestra is joined for the Berkeley Symphony’s season finale performance by bass Denis Sedov and a men’s chorus comprised of alumni of the UC Berkeley Chamber Chorus, the Pacific Boychoir Academy, and members of the St. John of San Francisco Russian Orthodox Chorale, led by chorusmaster Marika Kuzma. Reif is stepping in for Berkeley Symphony Music Director Joana Carneiro, who recently gave birth to triplets.
Tickets for the Berkeley Symphony concert on May 4 start at $15 and are available at www.berkeleysymphony.org or by phone at (510) 841-2800, ext. 1.
This year’s winners are Samantha Hankey, 24, mezzo-soprano (Eastern Region: Marshfield, MA); Kirsten MacKinnon, 26, soprano (Middle Atlantic Region: Vancouver, BC, Canada); Aryeh Nussbaum Cohen, 23, countertenor (Eastern Region: Brooklyn, NY); Richard Smagur, 26, tenor (Central Region: Clarkesville, GA); Kyle van Schoonhoven, 28, tenor (Central Region: Lockport, NY); and Vanessa Vasquez, 26, soprano (Middle Atlantic Region: Scottsdale, AZ).Kyle van Schoonhoven is a first-year Adler Fellow; Aryeh Nussbaum Cohen was in last year's Merola program. Congratulations to all of these talented singers!
Subject line: Come sing with us!
[omitted: a couple of notes about their upcoming season] What makes this jaw-dropping piece particularly special is that the playwright asks us to to welcome a completely different choir for each performance!!! What an amazing challenge and opportunity! In this spirit of community, we are reaching out to you - our loyal supporters - for recommendations and thoughts.
Here are the main points we have been sharing with the choirs:
If you or someone you know is in a choir, we hope you might consider joining the dozens we already have booked on this special project. We really think it will be a memorable experience for everyone involved. If you are interested in joining us, would like to see the music, or have any additional questions please email me at [email address omitted]My reply:
My first thought is this: does [theater company] pay its actors?
I am confident that the answer is yes.
You are here asking for 12-20 singers per performance, and it looks as though there are 20-25 performances. So you're asking for something between 240 to 500 singers to put in 4 to 5 hours each to learn the music, or approximately 960 to 2500 aggregate hours, depending on how fast the singers learn and how many singers there are.
Then they've got to attend a rehearsal and appear in the show, more hours. For this, you are offering a discount code, in hopes of selling tickets to people who want to see their friend or relative perform.
Would you ask actors to put in this much unpaid labor? If not, perhaps you should be hiring a professional chorus for this show. If it's too much money for you to do that, it's the wrong show for [theater company] to perform.
I have not yet renewed my subscription or made my donation for this year. This makes me rethink whether I should continue to support [theater company].
Why would Borda want to return to a job she already had? Speculation is already running rampant. Her last stint at the New York Philharmonic was a mixed experience. She was the first woman to run a major American orchestra when she took over in 1991, but she had a contentious relationship with Kurt Masur, the music director for her entire tenure. Does this return offer her a chance to realize her vision for the orchestra in the company of a new music director?
Or did she want to live in the same city as her longtime partner, Coralie Toevs, the chief development officer of the Metropolitan Opera? Or did the board just offer her a boatload of money?
The answer is likely some combination of all three, but perhaps outweighed by the thrill of a challenge. The New York Philharmonic, for all of its longtime foibles, is widely seen as one of the pinnacles of the orchestra world, the peak of a career. And it’s in such dire straits right now that only a real visionary can help fix it. No one doubts that Borda could be the person to turn it around; still, it would certainly be a major coup for her were she to pull it off.I think Anne is absolutely right: the thrill of the challenge has to be a huge factor in the decision. The Philharmonic post is a difficult one, between the musicians' reputation, the apparent lack of direction of the orchestra over a long period, the years of financial problems, and the huge task of raising money for the renovation. If Borda can pull off the renovation and stabilize the orchestra's finances, she'll go down in history as a hero, the savior of the country's oldest orchestra.
There are women all over the world writing music of great individuality, vividness and intensity that would not only excite listeners but remind young people that yes, women can be composers too. There are countless black and Asian and Latino composers who deserve better than to be consigned to silence, or to the dubious spotlight of the ethnic-celebration concert.
If the Los Angeles Philharmonic can find these creative figures, other organizations can too. All that’s lacking, presumably, is the will — and the consciousness, lacking for far too long, that this needs to be a priority.
And if increasing the ethnic and gender diversity of the repertoire means bringing it that much closer to the music of our own time — well, we’ll consider that an ancillary benefit.So what can we all do about the hegemony of (mostly dead) white men? Well, for one thing, let your local orchestras and concert presenters know that you would like to hear more music not written by dead white men. Send 'em letters. Tell them that you will contribute more or buy more tickets when they start programming music (or more music) by women and non-white composers. Keep track of how local organizations are doing and take public note of their repertory: use Twitter, Facebook, and your blog / LiveJournal / Instagram /whatever account to hold these groups responsible for their programming.
Vittorio Grigolo will sing the role of Cavaradossi for the first time in his career in next season’s much-anticipated new production of Puccini’s Tosca, opening on New Year’s Eve. Grigolo replaces the originally announced Jonas Kaufmann, after the Met learned earlier this week that Mr. Kaufmann was not able to meet his commitments for the rehearsal and performance schedule.
"Our disappointment in losing Jonas was quickly reversed at the prospect of Vittorio singing Cavaradossi," said Met General Manager Peter Gelb. "This season, Vittorio has proven himself to be one of opera's most thrilling performers."The invaluable Michael Cooper had an article about this in the Times in which Kaufmann is quoted saying that he is reconsidering his commitments for "personal and professional reasons," and in which there is also a hint that maybe JK would be available for some performances later in the run.
Members of both the Lincoln Center and Philharmonic boards said that the timing of Mr. VanBesien’s departure was fortunate because it would allow a new team of leaders at both organizations to move forward together, with Mr. VanBesien’s successor joining Ms. Spar at Lincoln Center and Mr. van Zweden at the Philharmonic.What spinmeister in PR came up with that nonsense? There is no way that having so many new people coming on board at once is a good thing. In fact, that little paragraph reminds me of the board-level floundering that eventually destroyed the original NYCO.