Chicago City Council Considers Law That Would Restrict Music

“The ordinance as it stands requires independent promoters to apply for a license at a cost between $500 and $2,000 every two years, submit to fingerprinting and a criminal background check, secure as much as $300,000 in liability insurance and be at least 21 years old. These requirements add an additional layer of bureaucracy and expense on promoters who are working at venues that have already met Chicago’s insurance and licensing requirements, which are some of the most stringent in the United States.”

NEA Chooses Four Opera Stars To Honor

“The United States government is honoring opera. The National Endowment for the Arts said on Tuesday that it was establishing yearly Opera Honors awards, and named the first four recipients: James Levine, the Metropolitan Opera’s music director; the soprano Leontyne Price; the composer Carlisle Floyd; and Richard Gaddes, the general director of the Santa Fe Opera.”

Are “Best Of” Albums A Thing Of The Past?

“In an age when we can create our own album in a few rapid mouseclicks – we’ll decide what the best of Radiohead is, thanks very much Mr Hands – the contract-filling compilation seems increasingly obsolete. Few will mourn its passing. It has always been the runt of the album litter; they’re not ‘proper’ albums, after all. Just cheap, cynical exercises in making money from old rope.”

A New Look At Duke Ellington’s Opera

“Duke Ellington’s Queenie Pie, the jazz opera he left uncompleted at his death in 1974, some infectious music, a strange libretto and a satiric opera buffa style pose a considerable challenge. The consistently ambitious Oakland Opera Theater has taken it on in a fitfully engaging, overstuffed production, under Tom Dean’s artistic direction, that opened over the weekend at the Oakland Metro Operahouse.”

NY City Opera Anticipates A Controversial New Director

“You can’t blame City Opera regulars for worrying about what Gerard Mortier has in mind. Not many American opera buffs have direct experience with his work, which has been seen predominantly in Europe. But those who follow the field have certainly heard about him, especially from his 10-year tenure as director of the prestigious Salzburg Festival, which ended in 2001.”