Detail from a Pieta, LACMA
For example, he said, it takes exactly the same number of people and the same amount of time to play a Beethoven string quartet today as it did in, say, 1817. Yet the musicians who spent years studying and practicing — and still have to eat and live somewhere while doing that — cannot be paid the same as their 19th-century counterparts. Their wages, too, will rise, even though they are no more productive than their predecessors were. As a result, their work eventually becomes increasingly expensive compared with more efficiently produced goods.That paragraph takes an extremely unsophisticated view of what musicians do. The violinist of 1817 had far fewer technical resources than the violinist of today, because of changes in how violin is taught, changes in expectations, and changes in the music professional violinists must be able to play today. The violinist of 1817 hadn't seen anything more difficult than Beethoven and Bach. The violinist of today has seen Paganini, Bartok, Wagner, Ligeti, Lutoslawski, Stravinsky, Berg, and many, many other composers who make great demands on a player's technique.
SAN FRANCISCO, CA (May 12, 2017) — San Francisco Opera’s 2017 Summer Season will include Wolfgang Amadeus Mozart’s Don Giovanni at the War Memorial Opera House beginning for eight performances. In a cast change announced today, Uruguayan bass-baritone Erwin Schrott and American bass Erik Anstine will sing the role of Leporello. Both artists are making their first appearances with San Francisco Opera and stepping in for previously scheduled bass Marco Vinco, who has withdrawn from the production for health reasons. Schrott is scheduled to sing the first six performances and Anstine the last two.I did not much care for Marco Vinco's last appearance here, as Don Alfonso in Cosi fan tutte in a dispiriting performance of a great opera, so no regrets here, especially with Erwin Schrott coming in for most of the performances.
Santa Fe Opera has commissioned an opera by Mason Bates called The (R)evolution of Steve Jobs. Bates is a popular guy in San Francisco, with SF Symphony commissions and a Beethoven/Bates Festival to his name, not to mention, a Grammy-nominated CD.
If I were the general director of a prominent opera company that is situated at the north end of Silicon Valley, in a city overrun with young (and not so young) nerds who work for companies such as Twitter, Facebook, Google, and, yes, Apple, and I had an interest in attracting more young, well-off audience members, well, I would be chatting with Santa Fe about doing the second bring-up of an opera about the loved and hated founder of Apple. Note: as announced, it also has a smallish cast, which, in these economic times, is always welcome.As I noted at the time, I had and have absolutely no inside information about this, but I did call this one. Here's the press release I just got, announcing dates and also the news that SFO has signed on as a co-commissioner along with Santa Fe and Seattle. Co-produced with Indiana U and with support from Cal Performances, too.
4 flutes, 2 oboes and 2 English horns, 4 clarinets, 4 bassoons, 8 trombones (all offstage), 3 tubas, 8 timpani (some timpanists also play percussion), bass drum, suspended cymbals, tam-tam, tenor drum, and strings (16 1st violin, 14, 2nd violin, 12 violas, 10 cellos, 8 double basses), mixed chorus of 80 sopranos and altos, 60 tenors, 70 basses, and a tenor soloist. In addition, 4 brass ensembles positioned at the four points of the compass, consisting of N, 2 cornets, 2 trombones, and tuba, E 2 trumpets and 2 trombones, W 2 trumpets and 2 trombones, and S 2 trumpets, 2 trombones, and 2 tubas.The score also gives instructions should a performance feature more players.
AJ Glueckert will make his Met debut as Erik in Wagner’s Der Fliegende Holländer and will sing the role in the first four performances of the opera at the Met this season onHoping all is well with Jay Hunter Morris, a fine singer of whom I am fond; he was a memorably beautiful young Siegfried in the 2011 SF Ring, both vocally and physically.
This is also Mr. Glueckert’s role debut as Erik, a role he will reprise at Oper Frankfurt later this season. As a member of the ensemble at Oper Frankfurt, he has sung the Prince in Dvořák’s Rusalka and Lyonel in Flotow’s Martha. Additionally, he has sung with other opera companies including Don José in Bizet’s Carmen at Pittsburgh Opera, Steersman inDer Fliegende Holländer and the Preacher in the world premiere of Mark Adamo's The Gospel of Mary Magdalene at San Francisco Opera, Bacchus in Strauss’s Ariadne auf Naxosat Opera Theatre of St. Louis, and the Crown Prince in Kevin Puts’s Silent Night at Minnesota Opera and Opera Philadelphia. Later this season, he will sing Bacchus in Ariadne auf Naxos at the Glyndebourne Festival.
Der Fliegende Holländer will be conducted by Yannick Nézet-Séguin and also star Michael Volle as Holländer, Amber Wagner as Senta, Dolora Zajick as Mary, Ben Bliss as Steersman, and Franz-Josef Selig as Daland. The May 12 performance casting of Erik will be announced at a later date. For further information, including casting by date, please visit , 29matinee, , and 8. The American tenor replaces the originally announced Jay Hunter Morris, who has withdrawn from his scheduled performances for personal reasons.www.metopera.org.
...the title role in Dvorak’s “Rusalka” (an opera that was practically unheard-of until Ms. Fleming brought it back into the repertory)...First thing is, Rusalka has never been out of the repertory in Czech-speaking areas. Second thing, it has never been in, or brought back into, the repertory (that is, a piece that is regularly performed) in the US. (Take a look at the opera's recent and forthcoming performance history at Operabase.) Thus, McGrath's phrasing is simply bizarre.
Ms. Fleming doesn’t have much interest in becoming a figure like Adelina Patti, the hugely popular 19th- and early-20th-century opera star who went around, like Cher, giving farewell concerts for 20 years after she “retired.”I'm really pretty sure that he's thinking of Nellie Melba.
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.