Tag: sjm

“Although he has never written an opera, his appointment grew out of Cycles of My Being, a set of emotionally complex songs he composed for [tenor Lawrence Brownlee and] Opera Philadelphia exploring the African American male experience.” – The Philadelphia Inquirer

Ted Gioia argues that that is music’s basic pattern throughout history – for symphonic music, church music, operas, chamber music, atonalism, you name it. No matter how disciplined, codified and venerated the music may be now, it always started on the fringe, rooted in sex, blood and altered states. – Art & Seek

The Stage senior reporter Georgia Snow talks to women working as directors, designers, and administrators in opera in the UK — who tell her that things are getting better, but not fast enough. (Opera companies are, after all, large, expensive, slow-moving machines.) Says English National Opera’s new artistic director, Annelese Miskimmon, “Unless we reflect our audience we can’t serve them. According to every statistic I have seen, it’s women who buy opera tickets. So it doesn’t matter what people’s own feelings are – it’s sensible economics.” – The Stage

“I won’t say women are discriminated against as much as not given the same pathways as men. mostly because there is a male dominance in terms of personnel in the business. It’s been generations of music schools having faculty members who were renowned male soloists or conductors. The system was created that way, so it takes a lot of time to get women in those roles and as mentors to other talented women.” – Dallas Morning News

“Instead of singing Mozart or Verdi, she has made a precocious impact on the concert stage and as a curator, serving as artist in residence last season at the Metropolitan Museum of Art — where she delved deeply into the African-American experience, past and present — and this season in the same role with the San Francisco Symphony.” Says director Peter Sellars, “This is who we’ve been waiting for. You see someone who’s not just a vehicle, but an agent of change. She’s actually moving the whole art form into a new relevance.” – The New York Times

Joseph Young: “I went up to her and said ‘I really want to go to grad school for conducting’ and she said ‘why don’t you come study with me.’ That moment changed my life. Before that I had no examples. I had no mentor. All I knew was that I wanted to conduct orchestras. In that moment I had all of that. Someone from whom I learned there is a transcendental power in what we do in music, which I began to appreciate. Someone who showed me, by example, to be a leader not only of an orchestra, but of a community, as when I was with her in Baltimore.” – San Francisco Classical Voice

“‘I am not an Otello,’ Thomas says … [Yet] suddenly, it seems that Otello is all anybody wants to hear from him. … The problem [is] that there are very few tenors, white or black, who are able to sing the role. Thomas, now, is one of them, and the opera world is eager to seize on him, not only as an Otello but also as a representative of the diversity that the field claims to be desperately seeking.” – The Washington Post

This Little Light of Mine: The inimitable Mr. Cummings speaks to the League’s annual meeting about how the arts has the power to change lives. “As I march toward the twilight of my life, there’s nothing more important to me than seeing children have opportunities. – YouTube

“The [Me2/Orchestra’s] beginnings were humble — seven people showed up to the first rehearsal in Burlington, Vt., in 2011. Yet it has grown — almost entirely by word of mouth, [Ronald] Braunstein said proudly — to an extent that the Boston-based orchestra numbers some 60 people. In addition to the Boston and Burlington orchestras, affiliated ensembles also exist in Manchester, N.H., and Portland, Ore. ‘That’s what a need there is for people who live with mental illness and play instruments,’ Braunstein said.” – The Boston Globe