Category: music

“Present-day scholars are picking away at the myths and fantasies that have encrusted the world’s most famous composer. They describe him not as a naïve prodigy or a suffering outcast but as a hardworking, ambitious, successful musician — ‘Mozart as a Working Stiff,’ to borrow the title of a 1994 essay by Neal Zaslaw.”

In search of building audiences for the future, the London Symphony Orchestra targets babies…

The hot work on the orchestra circuit these days? Howard Shore’s symphony made up of music from the “Lord of the Rings” movies. “Shore’s two-hour distillation of his epic, 11-hour soundtrack to the film trilogy has been making the rounds, not always endearing critics, but delighting the people who matter most. It received its 100th performance over the weekend in San Francisco’s Davies Hall.”

“Beginning in fall 2007, it will make the new arts center’s 2,750-seat Williams Theatre its home. The move is historic: It marks the first time a major-city opera company will leave its established location within a city and move all its performances to a suburb, according to Opera America, a service organization based in New York. And though metro Atlanta’s reputation may be that of one large, sprawling landmass, for the opera, being in Cobb County could present an uncertain bundle of financial, sociological and political ramifications.”

The company will “sell its Midtown headquarters for $4 million and make significant cutbacks in its programming. The moves will allow the 27-year-old opera company to pay off its $2.85 million debt and trim back its annual budget by $1 million. The actions come on the heels of its historic decision last month to move its performances from Midtown’s Boisfeuillet Jones Atlanta Civic Center to the new Cobb Energy Performing Arts Centre in 2007.”

“Twice in the past, Boston has arrived at the top level of international opera, with a combination of adventurous repertoire, major singers, and theatrically exciting productions. This occurred early in the 20th century at the old Boston Opera House on Huntington Avenue, and later on with the late Sarah Caldwell. But this can’t even be a goal nowadays for two basic reasons: There isn’t the money for it because of competition for funding with older and more prestigious arts organizations such as the BSO. And there isn’t a suitable venue.”

A Canadian fiddler claims he hears music written by dead people. “Holed up in his trailer in Inverness, Cape Breton, the 81-year-old master fiddler pens 10 to 15 tunes a day, often hunched over his kitchen table. By his own count — and he keeps a daily tally on small sheets of paper — he has produced 33,300 compositions, but he still balks at publishing them, saying he hasn’t yet reached his personal goal of 35,000. Yet MacDougall insists he’s not creating art; he’s simply recording history. ‘It’s from the people who lived here before … they could make [songs], but they couldn’t write them’.”

Volunteers are building a housing village in New Orleans for musicians. “The housing program is run by Habitat for Humanity. Saxophone player Branford Marsalis and singer Harry Connick Jr., honorary chairmen of the charity’s Gulf Coast rebuilding program, dreamed up the idea to encourage musicians to move into one area. The group bought a vacant lot formerly owned by the city school board and is using its army of volunteers — about 3,000 of them so far — to build 75 homes. It plans another 225 houses elsewhere in the neighborhood.”

“The neighborhood record store was once a clubhouse for teenagers, a place to escape parents, burn allowances and absorb the latest trends in fashion as well as music. But these days it is fast becoming a temple of nostalgia for shoppers old enough to remember ‘Frampton Comes Alive!’ In the era of iTunes and MySpace, the customer base that still thinks of recorded music as a physical commodity (that is, a CD), as opposed to a digital file to be downloaded, is shrinking and aging, further imperiling record stores already under pressure from mass-market discounters like Best Buy and Wal-Mart.”

Who are the most powerful people in American opera? Opera News made a list. “You have the expected, of course: the chiefs of the four biggest opera companies (and eight of largest 10), high-powered agents from IMG and CAMI, the two maestros named James (Levine and Conlon), “The Diva” (Renée), and, naturally, The New York Times (collectively). But there are a few surprises, too.”