Elektra

Elektra

Friday, October 19, 2018

Paris Les Huguenots Media Round-Up

I'm finding a fair number of reviews of this opera and I'm behind in elaborating on my multi-opera Letter from Paris, so!

Reviews:

Previews:


Friday Photo


Bayreische Staatsoper
Munich, Germany
August, 2015

You knew I'd have one of these, right?

Wednesday, October 17, 2018

Will He or Won't He?

I'm about ready to start a betting pool on whether tenor Bryan Hymel will sing any of his upcoming engagements. His cancelation history when I'm anywhere near by isn't good:
  • He sang half his scheduled performances of Les Troyens in San Francisco
  • He withdrew from the Santa Fe Opera Rigoletto that was scheduled immediately following Les Troyens. (He was signed up to rehearse the Duke while singing Enée - madness.)
  • He withdrew from the Paris Les Huguenots ten days before opening.
A friend who saw him earlier this year in I vespri siciliani said he was wonderful until he cracked a note, and after that, he struggled.

Figuring out what the issues are is not really possible unless you're one of Hymel's intimates (his teacher, his coach, his manager, his family). Is it nerves? Vocal problems? Voice changing, as voices do? Plain old audience members have no way to know.

My personal interest in this is a plan to attend Les Troyens in February, in Paris. I'm very curious who will sing the male lead.

Monday, October 15, 2018

ARGH.

I have no idea how that post from 2016 (or maybe 2017 - I believe I published it very very late) got pushed to the top of the blog. It was not deliberate.

Museum Mondays


Ceiling and Chandelier
Villa Stuck, Munich
August, 2015

Friday, October 12, 2018

A 70-Year Old, an 80-Year-Old, a Centenarian, and a 142-Year-Old Walk Into a Concert Hall.




And it doesn't matter that two of them are dead: these four are the face of new-ish music at San Francisco Symphony, based on the various documents comprising the 2016-17 season announcement.

It is really a glass-half-full, glass-half-empty season, and I do not say that because of the absence of P***** G**** from the schedule.

Let's start with the depressing half-empty part; a second post will cover the good stuff.
  • No works composed by women are being performed this season.
  • No works by African American composers are being performed this season.
  • Two works by composers of color are being performed; both are from China, one is being played by a visiting orchestra from China.
  • Works by seven (7) living composers are being performed this year. They are John (Coolidge) Adams, Steve Reich, Bright Sheng, Robin Holloway, Andrew Norman, Qigang Chen, and M. Tilson Thomas.
Once again, John Adams, Lou Harrison, and Charles Ives are the American Mavericks, joined this year by Steve Reich, who turns 80. Of the works being performed, the most important two are the local premiere of JCA's The Gospel According to the Other Mary, which sounds like a masterpiece based on the audio I have heard, and the composer's second violin concerto, Scheherazade.2. Looks like only one Reich work has been announced; one program is entirely TBA.

There are three SFS co-commissions, the Overture to the new opera Dream of the Red Chamber, by Bright Sheng (co-commission with SF Opera - I'm totally confused by this); Europa and the Bull, by Robin Holloway; and Four Preludes on Playthings of the Wind by M. Tilson Thomas.

The remaining works by living composers are Play, by Andrew Norman; Angegram, by MTT (it's a charming, and slight, curtain raiser);  Enchantments oubliés, by Qigang Chen, played by the China Phil; 

We don't, of course, know what will turn up on the SoundBox schedule, and it's common not to announce the chamber music series until closer to the fall. Only seven living composers are represented of the many whose orchestral works will be performed this season. Of them, Adams and Reich are now in the Grand Old Man category, and one is the music director of the orchestra.

So there you have it: a season almost entirely made up of music by dead white men. People, it is 2015. It is time for this orchestra to do a better job of performing music by women and people of color. It is time to do a better job of performing music by the rarely-heard rather than recycling Beethoven, Brahms, Tchaikowsky, Mozart, Dvorak, Bach, and the rest of the top twenty-five or fifty composers. See Alex Ross's recent article and blog post on rarely-heard symphonists. Why not, for crying out loud? 

You could consider making an explicit commitment to performing works by women, African Americans, and other composers of color, which would give you the following incomplete list of composers to choose from:
Thea Musgrave, Ruth Crawford Seeger, Johanna Beyer, Kaija Saariaho, Joan Tower, Judith Weir, Nicola LeFanu, Anna Thorvaldsdottir, Roxana Panufnik, Amy Beach, Elizabeth Maconchy, Unsuk Chin, Chen Yi, Sheila Silver, Chinnary Ung, Olly Wilson, Florence Price, George Walker, Ulysses Kay, William Grant Still, Anthony Braxton, Anthony Davis, Julius Eastman, Pamela Z, Ken Ueno, Lily Boulanger, Ethel Smyth, Cecile Chaminade, Vivian Fine, Peggy Glanville-Hicks, Galina Ustvolskaya, Vítězslava Kaprálová, any of the hundreds of composers listed here and the hundreds of composers I've missed.
As usual, Los Angeles beats the heck out of SF in the new music category.

(Drafted the week of the season announcement, but I have had other priorities recently. Glass-half-full post to follow this week.)

Friday Photo


View into the Munich Residenz
Munich, Germany
August, 2015

Monday, October 08, 2018

Depressing Thought of the Day

On the steps of the Palais Garnier tonight, after seeing Berenice for the second time, I was thinking about what a terrific conductor Philippe Jordan is, on the basis of his Tristan and Berenice. There is no way he would give up a job like the one he has for San Francisco Symphony or San Francisco Opera, especially not the Opera. He is music director of the Opera National de Paris, with two opera houses that can simultaneously perform a total of four operas. This anniversary year for opera in Paris is special - that's how you get the budget to stage Les Huguenot and Les Troyens in the same season - but still. It is a great job.

Moreover, if you were a European working in Europe, would you want to work in the US just now, in a location that is a nine-hour flight from London, more from central Europe, given the political situation and our authoritarian-leaning president? I bet that you would not, unless you were already employed in the US and sticking around seemed better than looking for a job in Europe. So at the moment, I am betting on Americans for both of the gigs, not that I have any idea who those Americans might be.

Museum Mondays


Exterior Detail
Villa Stück, Munich
August, 2015

Sunday, October 07, 2018

Opera Tattling: Paris Opera Tristan and Berenice

The audience during Michael Jarrell's new opera, Berenice, was perfectly behaved in my vicinity.

For Tristan, it was a different matter. Some rustling of programs and coughing during the prelude, then, much worse:
  • The man in the row ahead of me and just to my right who silence, but did not turn off, his very large phone and who checked the time at least once during each act. Yes, it's a long opera, but you knew that when you bought the ticket, right? Get a watch if you really need to check the time during the performance.
  • The man two or three rows up and to my left who took photographs during the performance, at least one per act. Dude, ask the press office if you have an official use; if not, check the internet. But don't take photos during the performance. 
Both were well-dressed middle-aged men who should have known better.

Cast Changes: Santa Fe Opera, 2019

Received from SFeO:
Updates to the 2019 Season were also announced. Corinne Winters will sing the role of Leïla in The Pearl Fishers, replacing Lisette Oropesa, who will make her La Scala debut in the summer of 2019. Tracy Dahl will sing the role of Despina in Così fan tutte, replacing Rebecca Evans who has withdrawn for personal reasons. Maxine Braham (Choreographer/SFO debut) and Duane Schuler (Lighting Director) join the creative team of Jenůfa.
 In addition, the company had record-breaking ticket sales and fundraising this year.

Friday, October 05, 2018

Friday Photo


Kodak Signs
Munich, Germany
August 2015

You don't see these often in the US!

Monday, October 01, 2018

Friday, September 28, 2018

Friday Photo


Inexplicable Photo
Munich, Germany
August, 2015

I have no idea what this stuffed deer is doing on the roof.
I think it was on the building that contained the store with the green dirndls (see previous Friday Photo).

Wednesday, September 26, 2018

Compare and Contrast 36: Met Opening Night Samson and Dalila

An amusing, sort of, group of reviews:
  • Anne Midgette, Washington Post
  • Anthony Tommasini, NY Times. He's kinda cranky, and this caught my eye in particular: "But the production weighed it down. Given Mr. Gelb’s determination to make opera relevant, one might think that this, of all works — it’s set, after all, in Gaza — would scream for an updated concept." C'mon, Tony - that's The Death of Klinghoffer, and you know what happened when the Met produced that opera.
  • Justin Davidson, NY Mag / Vulture. The one I wish I'd written.
  • Christopher Corwin, Parterre Box

Russia House, I Mean Stravinsky Festival

When the 2018-19 season for SFS was announced earlier this year, there was an awful lot of sighing, whimpering, and eye-rolling among my friends, because the season opened with a Stravinsky Festival. This is the second or third of them since MTT has been the music director here, and of course they're important because you just never hear Stravinsky's music.

Okay, I could just barely type that without falling under my desk laughing. Stravinsky is one of the composers you hear most often at SFS; MTT is a great conductor of Russian music in general, and after nearly 25 years with him, the orchestra is a sleek, colorful machine when it plays the ballets and everything else Igor wrote.

But I was reminded by Rebecca Mead's wonderful New Yorker profile of George Benjamin that SFS used to be an orchestra that programmed recent music and focussed on specific living composers who weren't John Adams and Mason Bates: not that long ago, Benjamin was composer in residence here, and the orchestra and its individual players did several performances of Benjamin's music. I attended a couple of those programs and reviewed one.

It is really sad that some combination of pressure from the orchestra's administration and/or board and MTT's current preferences has resulted in pretty conservative programming for a once-adventurous orchestra. This year's eye-rolling wasn't all about the Stravinsky fest; it was about the season in general. I'm sort-of interested in a fair number of the programs, but it's not until MGT is here doing Sibelius (and, unfortunately, Tchaikovsky) that there's much that excites me. (And after that....oh, the season-end L'enfant et les sortileges.)

And it seems as though I'm not the only person who'd like to hear less Stravinsky: both last weekend and this, I got offers from SFS of $15 tickets, undercutting even Goldstar. (That's on top of my looking into tickets to hear Yuja Wang play Ravel and blanching when I saw that the cheapest seats in the house were $99, up in the second tier. I gave it a pass; I wouldn't pay that much, plus the second half of the program was a work I dislike pretty intensely.)

Maybe try playing music people haven't heard so many times, eh?

Monday, September 24, 2018

Honeck Extends Pittsburgh Symphony Contract

Manfred Honeck has extended his contract with the Pittsburgh Symphony through the 2021-22 season. If you live in the Bay Area, this means you can scratch him off the list of candidates to be the next music director of the San Francisco Symphony, because MTT's last season is 2019-20.

Museum Mondays


Exterior Detail (Drain Spout?)
Villa Stück, Munich
August, 2015

I visited Villa Stück thanks to a comment here back in 2015 from 
Alex Ross, referring to the "daft Villa Stück." It is a
wonderful and indeed slightly daft house museum. I took
the wrong damn camera and many of my photos are too
dark to be worth posting, although....perhaps they are
editable in Flickr.

Big thanks to Alex for the pointer!

Friday, September 21, 2018

Berkeley Symphony Season Opening

Berkeley Symphony is in for an exciting year or two as they search for a new music director; the last time this happened, the programs were really interesting (okay, this is usually the case with Berkeley Symphony) and the range of conducting equally interesting.

Their season opener is in about two weeks. I wish I could be there, but I'll be, well, far away. Their date is between my performances of Tristan und Isolde and the new opera Bérénice.

Otherwise, I'd be eager to see this:

Thursday, October 4, 2018, 7p – HIGDON & RAVEL
Zellerbach Hall, 101 Zellerbach Way, Berkeley

Berkeley Symphony
Ming Luke, Guest Conductor
Benjamin Beilman, Violin
 
Dimitri Shostakovich: Festive Overture, Op. 96
Jennifer Higdon: Violin Concerto
Anna Clyne: Night Ferry
Maurice Ravel: La Valse

Friday Photo


German Fashion
Dirndls?
Munich, Germany
August, 2015



Tuesday, September 18, 2018

Cast Changes: Les Huguenots at the Opéra National de Paris

The upcoming revival of Les Huguenots at the Opéra National de Paris has now had two cast changes, and, well, yeah, they're the singers you just might have expected to cancel.

Diana Damrau was original cast as Marguerite de Valois, a role that Joan Sutherland sang in her prime. Damrau withdrew a few months ago, to be replaced by Lisette Oropesa. This puts me at Martha Argerich cancelation levels with Damrau; I saw her as Fiakermilli in Arabella in 2004 and in that well-traveled Laurent Pelly Daughter of the Regiment in SF with Juan Diego Flores. She cancelled Lucia in SF a few years ago, and now there's this. I've also heard suspicions voiced that she might withdraw from the incoming Traviata at the Met.

This week, it's tenor Bryan Hymel, cast as Raoul, who has withdrawn, to be replaced by Yosep Kang. Hymel was in SF in 2015 for Les Troyens and sang three of the six performances, replaced by Corey Bix for the other three. It might be easier to find a substitute Tristan than Raoul, because there aren't many singers with Raoul in their repertory. Meyerbeer was the most popular opera composer of the 19th century, but with few performances of his works these days, there aren't singers who can just pull roles from his operas out of their back pockets.

Monday, September 17, 2018

Sunday, September 16, 2018

NY Philharmonic Fires Two Players

Not exactly, but that's what they are trying to do, according to a story in the Times by Michael Cooper: principal oboist Liang Wang and associate principal trumpet player Matthew Muckey have both been placed on unpaid leaves of absence. The orchestra plans to dismiss them and there are discussions going on with the musicians' union.

The reason for both dismissals is unspecified misconduct. From the story:
The orchestra said in a terse statement only that after it had received reports that the two players had “engaged in misconduct,” it retained Barbara S. Jones, an attorney at Bracewell and a former federal judge, to investigate. An orchestra official said the investigation took five months.
“Following the investigation, the Philharmonic advised the musicians that their employment was terminated,” the orchestra said in the statement. “At the request of their union, the Philharmonic delayed the implementation of the termination and placed the musicians on an unpaid leave of absence pending the union’s review of the matter.”
The players’ union, Local 802 of the American Federation of Musicians, said in a brief statement only that it was “aware of and currently looking into this matter.”

Runnicles and Luisotti

I did a summing up the other month of Nicola Luisotti's career at San Francisco Opera, but I omitted something I'd consider important: a summary of the composers he performed at SF. Just for the heck of it, I'm including Donald Runnicles for contrast:

Runnicles: 101 productions of operas by Wagner, Rossini, Mussorgsky, R. Strauss, Verdi Beethoven, Mozart, Puccini, Gluck, Susa, Bizet, Wallace, Britten, Debussy, Janacek, Humperdinck, Berlioz, Messiaen, Busoni, Shostakovich, Thompson, Tchaikovski, Adams, J. Strauss, Stravinsky, and Korngold.

Luisotti: 36 productions of operas by Verdi, Puccini, R. Strauss (Salome), Bizet, Wagner (Lohengrin), Boito, Bellini, Tutino (Two Women), Giordano (Andrea Chenier).

Runnicles was here for many more years, including part of the Mansouri era, which featured a lot of Russian opera, and the Rosenberg era, which was the most adventurous ever. Luisotti was here for most of Gockley and the early Shilvock era only, and as we know, David Gockley really want to restore endangered Italian opera to its full glory, so a music director whose talents lay 95% in that area was perhaps just right for him.

Still, you can see whose talents are the broader.


Roberto Devereux at San Francisco Opera


Russell Thomas in the title role of Roberto Devereux
Photo: Cory Weaver/San Francisco Opera


San Francisco Opera is currently presenting Donizetti's Roberto Devereux, for the first time since 1979. It's one of the so-called Tudor Queen Trilogy operas, although the three operas were not written as a group and were not connected in Donizetti's mind. (The others? Anna Bolena and Maria Stuarda.)

I am not a big Donizetti fan, and in fact I've walked out of more of his operas - two - than those of any other composer: La Favorite, which got an ugly production and mediocre singing, and L'Elisir d'Amore, because I was there mostly for Ramon Vargas and he didn't sing that night. In retrospect, perhaps I should I have stayed for Alek Shrader, who is a good singer whom I have enjoyed a lot since then, in Partenope, Alcina, and Albert Herring.

In any event, while I'm not much of Donizetti fan, I am a fan of good singing, and the casting for Roberto Devereux could hardly be better, with tenor Russell Thomas in the title role, Sondra Radvanovsky as Elizabeth I, and Jamie Barton as Sara, Duchess of Nottingham. If that trio sounds familiar, they made a splendid team four years ago in Norma, which had the drama of Thomas joining the cast after the run had already started. Artur Rucinsky, who made his SFO debut last year as Giorgio Germont in La Traviata, was to have sung the Duke of Nottingham; he unfortunately had to withdraw a few weeks ago owing to injuries he suffered in a bicycle accident. Adler Fellow Andrew Manea replaced him.

I'm not going to say a whole lot about the production and direction, because I was very tired Friday night, to the point of feeling like I was coming down with a cold, and I mostly let the opera wash pleasantly over me, without a lot of analysis. I am neutral about placing the action in the Globe Theater, which is hung on an alleged rumor that Elizabeth appeared anonymously in one of Shakespeare's plays, apparently A Midsummer Night's Dream, as we're told during the overture.



The Glob Theatre
No. actually, it's Russell Thomas (Devereux) and Jamie Barton (Sara, Duchess of Nottingham)
Photo: Cory Weaver/San Francisco Opera

Who knows? Certainly not me, but that explains this photo, which I thought must somehow be the last scene setting of Falstaff when I saw it in a trailer or ad or something:


This set is flown in for about 45 seconds during the overture. Pretty, though!
Photo: Cory Weaver/San Francisco Opera

I thought the direction, by Stephen Lawless, okay - I mean, there's nothing awful but also nothing great.The libretto just doesn't give the director that much to work with. There aren't many confrontations or big crowd scenes; in those confrontations that take place, the musical pacing doesn't invite what you might think of as action. It's a pretty weak libretto! So there was a lot of standing and singing, and mostly that's okay with me, given the thin plotting and the fact that I really don't care about what's happening on stage.



Sondra Radvanovsky as Queen Elizabeth 1
Photo: Cory Weaver/San Francisco Opera

The leading trio of Radvanovsky, Barton, and Thomas really could not be improved upon. They were even better than in 2014! In that Norma, I felt that Radvanovsky, who was marvelous technically, nonetheless sounded as though some of the spectacular effects she could pull off were just that: effects that weren't well-integrated dramatically or in the vocal line. There was none of that here after she was thoroughly warmed up (her entrance was a little bumpy), just a steady stream of magnificent singing, with every phrase utterly musical and sincere and integrated into the whole. Similarly, she really lived the role, most especially during her long last-act scene, with Elizabeth staggering around the stage in a nightgown, without her wig, and looking very much her age.


Russell Thomas in the title role of Roberto Devereux
Photo: Cory Weaver/San Francisco Opera

Thomas's career has really taken off in the last four or five years, I feel. He is being hired regularly, for leading roles, by major companies, and rightly so. He's got a beautiful, burnished tenor voice and he's an excellent actor - also a handsome man, which never hurts! Among current tenors singing dramatic roles, how many have Donizetti and Wagner, Bellini and heavy Verdi, in their repertory and sing them all so well?? He sang with even more subtlety and emotional range as Devereux than as Pollione.


Jamie Barton as Sara, Duchess of Nottingham
Photo: Cory Weaver/San Francisco Opera

Jamie Barton remains one of the great singers of her generation, a mezzo with easy high and low notes, a huge range, and the same versatility as Thomas: by July, 2019, we'll have heard her in SF in Bellini, Donizetti, Dvorak, and Wagner. She sang gorgeously and acted very well as Sara, a role that really could have used more direction. I would have liked to be more convinced that she just couldn't get out fast enough to save the life of Devereux. (Elizabeth may have a crush on him, but it's Sara he really loves, and vice versa; she is under her husband's thumb and maybe we need even more evidence of this.)



Blood on his hands: Andrew Manea as the Duke of Nottingham.
Implies he personally tore Devereux's head off. I say: not likely.
Photo: Cory Weaver/San Francisco Opera

Andrew Manea, as the villain of the piece, the Duke of Nottingham, isn't quite ready to be singing leading roles at the international level. He sounded wooly and without much vocal core for most of the opera, with his voice firming up toward the end. His acting was good enough.

Riccardo Frizza conducted and was very good, with the music moving well and always sounding beautiful without becoming repetitive or oom-pah-pah-ish. I will say that the chorus sounded weirdly under-rehearsed and tentative, and that is very unusual.

I hope that Radvanovsky, Thomas, and Barton will be back in future seasons, and perhaps in Verdi (Il Corsaro, folks!).

Other writers, who all got more out of the setting and its implications than I did:




Saturday, September 15, 2018

Cleveland Orchestra Suspends Principal Trombonist

After the July WaPo story about sexual harassment in the classical music world, which included information about concertmaster William Pruecil the Cleveland Orchestra commissioned a full investigation into harassment issues at the orchestra. Now they've suspended principal trombone Massimo LaRosa, 43, who has been with the orchestra since 2007. The new WaPo story is somewhat hair-raising.

Wednesday, September 12, 2018

Luisi Withdraws, Young to Conduct

First cast change announcement of the San Francisco Symphony season: Fabio Luisi's planned April, 2019, program is postponed to a future season. Simone Young steps in with a completely different program. From the press release:

RAVEL
RAVEL
RIMSKY-KORSAKOV
Pavane for a Dead PrincessPiano Concerto in G major
Scheherazade, 
Opus 35

SAN FRANCISCO, CA—Conductor Simone Young makes her San Francisco Symphony (SFS) debut April 18–20, 2019 at Davies Symphony Hall, replacing Fabio Luisi. This change is a result of scheduling conflicts with Luisi’s new appointment as Music Director of the Dallas Symphony Orchestra. Young will lead the SFS in Ravel’s Pavane for a Dead Princess and Rimsky-Korsakov’s Scheherazade, Opus 35, and will be joined by pianist Louis Lortie for Ravel’s Piano Concerto in G major. Luisi’s program, which includes cellist Mario Brunello, has been postponed to a future season.

Simone Young is currently Principal Guest Conductor of the Chamber Orchestra of Lausanne, and this season returns to Berlin State Opera to conduct Die Frau ohne Schatten, and to Vienna State Opera with Lohengrin. She will also lead performances of From the House of the Dead, Jenufa, and Tannhäuser at Bavarian State Opera, and of Elektra at Zürich Opera. In addition to her April 2019 debut with the SFS, Young will also conduct orchestras in Stockholm, Lausanne, Berlin, Leipzig, Los Angeles, Chicago, Detroit, and Australia in the 2018–19 season.
Young’s previous positions include Principal Conductor of the Bergen Philharmonic (1998-2002), Artistic Director of the Australian Opera (2001-2003), Principal Guest Conductor of the Gulbenkian Orchestra in Lisbon, and Artistic Director of the Hamburg State Opera and Chief Music Director of the Hamburg Philharmonic (2005-2015). Along with her honorary doctorates from the Universities of Sydney and Melbourne, Young counts the Brahms Prize of Schleswig-Holstein and the Goethe Medal among her numerous awards and accolades. A “Chevalier des Arts et des Lettres” in France, member of the Order of Australia, and professor at the Academy of Music and Theatre in Hamburg, Young also has an extensive discography, most of which comes from her time as Chief Music Director of the Hamburg Philharmonic. Please visit Young’s website for more biographical information. 

Monday, September 10, 2018

Museum Mondays


Nativity Scene
Alte Pinakothek, Munich
Germany, 2015


This otherwise lovely and atmospheric painting 
has a remarkably cartoonish and unrealistic
Christ child. Perhaps it was left to a younger
member of the studio??

Sunday, September 09, 2018

Tearing My Hair Out: NY Times Does It Again

Do women in classical music matter to the NY Times?

What has me going this week is an article that is, exasperatingly, called "Five Minutes to Make You Love Classical Music." Exasperating because that's as clickbait as it gets; the entire proposition is dubious because so many works last longer than that, and because whether you love a piece or not is so dependent on the performance and the circumstances in which you hear it. I mean, who is going to be converted by just five minutes?

The article itself....well, the author got responses from 18 people, who are all critics for the Times or "some of our favorite artists." Here's the breakdown by sex of those who responded:

  • 14 men
  •   4 women

Breakdown by what they do:

One of the four women is Corinna da Fonseca-Wollheim, who is a Times writer. The others are composers Carolyn Shaw and Julia Wolfe, and soprano Julia Bullock.

The men are Zachary Woolfe, Anthony Tommasini, Seth Colter Walls, Joshua Barone, and Michael Cooper of the Times (four critics and one music-biz writer); Esa-Pekka Salonen, Leon Botstein, Yannick Nézet-Séguin, John Eliot Gardiner (conductors; Salonen is, of course, also a distinguished composer); composers Nico Muhly and Nicholas Britell; pianists Daniil Trifonov and Ethan Iverson; director Yuval Sharon.

Fifteen of the works chosen were by men, three by women.

So, the Times has no control over what people choose as their potential gateway classical music drugs, but they sure had some control over who they asked about this. Just to suggest a few women who could have been asked and might be among "our favorite artists:" Susanna Mälkki, Marin Alsop, MGT, Yuja Wang, Martha Argerich, Leila Josefowicz, Alisa Weilerstein, Claire Chase, Francesca Zambello, Kaija Saariaho. And as long as the Times's critics got to have their say, how about a couple of highly visible non-artists, Anne Midgette and Deborah Borda?


Future Women's Intensive Self-Defense Class: Send Me Email!



Not enough sign-ups for the class I'd planned for this month, so I'm going to try something a little different: ask potential students what dates would work for them, because we are all so busy.

Here are dates that would work for me from October to the end of the year:

Saturday, October 20 - any two or three hour block between 11:30 and 3:30
Sunday, October 21 - 3:30 to 6:30 pm

Saturday, October 27 - any two or three hour block between 11:30 and 3:30

Saturday, November 3 - any two or three hour block between 11:30 and 3:30
Sunday, November 4 - 3:30 to 6:30 p.m.

Saturday, November 17 - any two or three hour block between 11:30 and 3:30
Sunday, November 18 - 3:30 to 6:30 p.m.

(Possibly, because I may go to a jujitsu event this weekend:
Saturday, December 1 - any two or three hour block between 11:30 and 3:30
Sunday, December 2 - 3:30 to 6:30 p.m.)

Saturday, December 8 - any two or three hour block between 11:30 and 3:30
Sunday, December 9 - 3:30 to 6:30 p.m.

Saturday, December 15 - any two or three hour block between 11:30 and 3:30
Sunday, December 16 - 3:30 to 6:30 p.m.

The class can be taught as two three-hour or three two-hour sessions, with the latter being better for learning the material. I can't teach the class over just one weekend. I can teach it on non-consecutive weekends.

If you'd like to take this class, send email to sensei@opendoorjujitsu.com with the dates that would work for you.

Class is $95/students, open to all regardless of ability to pay. Open to all adult women, cis and trans, age 16 and up. Classes are in El Cerrito near BART and AC Transit buses.

Friday, September 07, 2018

Monday, September 03, 2018

Friday, August 31, 2018

Friday Photo


Grain Mill
Hotel Breakfast Room
Munich
August, 2016

Yes, you can grind your own grain for breakfast at this hotel in Munich.
I did not try as I was not sure what I would do after grinding the grain.

Thursday, August 30, 2018

And SFS Has a Two New Members

Also in that email from SFS, important news:
This year, we welcome two new members of the orchestra: Wyatt Underhill joins the San Francisco Symphony as Assistant Concertmaster and Aaron Schuman joins as Associate Principal Trumpet. Underhill comes to the SFS from the Baltimore Symphony Orchestra, where he has been Assistant Concertmaster since 2016. A native of Buffalo, New York, Schuman graduated from Northwestern University before pursuing graduate studies at Rice University.
Underhill replaces Mark Volkert, who retired last year following a long and distinguished career in the orchestra.

Welcome, Wyatt Underhill and Aaron Schuman!


Oh, No: Robin Sutherland is Retiring!

San Francisco Symphony's annual personnel update came out today, and this was what first jumped out at me:
Longtime Principal Keyboard Robin Sutherland retires this season, following more than 40 years with the Symphony. Details of a celebration of Sutherland’s tenure with the Orchestra will be announced in the future.
He's been a member of the orchestra since 1972, and was hired right out of SFCM by Seiji Ozawa, who created the principal keyboard job for him.

I hope that celebration includes Sutherland performing whatever the heck he wants to play. He's a wonderful pianist and musician, and I will miss him so much.

And if you are wondering, the important solo piano part in the upcoming performances of Petrouchka will be played by John Wilson. I expect that at some point MTT will name a new principal keyboard [after the usual audition process, to make this clear!].

Rare, Not Unprecedented

LA Opera's latest email trumpets an achievement of its general director:
Last week, The New York Times ran a touching feature on LA Opera's own Eli and Edythe Broad General Director Plácido Domingo, remarking on his extraordinary career feat: an unprecedented 150 roles under his belt. This season, LA audiences have the opportunity to see Maestro Domingo in two great roles: once in Don Carlo (opening Sept. 22) and again in his 151st role debut in El Gato Montés: The Wildcat. This is an opportunity that is not to be missed!
It's not unprecedented, and certainly one had better note that the 150 includes at least one role that Domingo never sang on stage, only on record, that of Tristan in the eponymous opera. (Anyone know whether and when he sang the Emperor in Die Frau ohne Schatten?)

The author of the Times article didn't note, and should have, that the great soprano Lilli Lehmann sang 170 roles in 119 operas. She performed more than one role in multiple operas because of her extraordinary career trajectory: in 1876, she sang a Rheinmaiden in the first Bayreuth Ring performances, and by the end of the century, she was singing Brünnhilde, Isolde, and other heavy roles.

Someplace, somewhere, there are undoubtedly a few other singers who've made it to 150 roles, though my first candidate after Lehmann, tenor Charles Anthony, clocked in at only 111 roles in 69 operas.

Tuesday, August 28, 2018

Return (Again) of the Rubin Institute

The Rubin Institute for Music Criticism is back at San Francisco Conservatory, in late October.

Dates: Thursday, October 25 to Monday, October 29, 2018
Location: San Francisco Conservatory of Music

The full schedule is here.

Who:

Writers Panel 
Members of the 2018 Rubin Institute Writers Panel represent some of the most respected journalists in the music industry: Gary Giddins, author of Bing Crosby: Swinging on a Star, The War Years 1940-1946 (Brown, Little, 2018); Joshua KosmanSan Francisco Chronicle critic;Anne MidgetteThe Washington Post critic and author; Tim Page, professor, former Washington Post critic, and special contributor to Past / Forward: The LA Phil at 100 (Los Angeles Philharmonic, 2018); John Rockwell, writer, critic, and former editor of The New York Times Sunday Arts & Leisure section; Alex RossThe New Yorker magazine critic and author; Stephen Rubin, Institute benefactor and president of Henry Holt & Co.; and Heidi WalesonThe Wall Street Journal critic and author of Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America (Metropolitan Books, Henry Holt and Company, 2018). Members of the Writers Panel will present pre-concert lectures (tickets required) and a public panel discussion (free/no ticket required) over the course of the five-day symposium, offering the public the chance to hear firsthand from those at the forefront of music criticism.


Rubin Institute Fellows
Eighteen aspiring young writers from colleges, universities, and conservatories around the U.S. and abroad have been selected by the Writers Panel through an open application process, marking another first in the history of the Rubin Institute; previously, fellows were nominated by leadership at five partnering schools. The 2018 Rubin Institute Fellows are: Philip de Oliveira-Kent State University; Timothy Diovanni-Dublin Institute of Technology; Hannah Edgar-University of Chicago; Tamzin Elliott-University of Southern California; Peter FeherJohn Masko, and Evan Pengra Sult-San Francisco Conservatory of Music; Jennifer Gersten-State University of New York at Stony Brook; Patrick Jankowski and Amanda Vosburgh-Yale University; Alice KoeningerRory O'Donoghue, and Parker Ramsay-Oberlin College and Conservatory; Jason McCool-Boston University; Grace Odell-University of Missouri-Kansas City; Madison Schindele-Goldsmiths, University of London; Brin Solomon-New York University; and Alexander Sutton-University of Virginia. Through the application process, these writers demonstrated an exceptional level of intellectual energy and an original approach to criticism, and, collectively, they represent an emerging vitality and renewal of spirit for the future of music journalism. 

A couple of personal notes:
  • Enabling all interested participants to apply is a huge improvement over nominations from five "partner" colleges and universities.
  • I'd suggest expanding that writers' panel by adding a freelancer and someone under 50, or someone on an "alternative" career path. One example: Tim Mangan, now on the staff of the Pacific Symphony. Or maybe Thomas May.
  • Or even have a completely different panel each year, though I understand the advantages of consistency.
  • The combo of the Rubin Institute and Getty Foundation is now funding five or so classical music critic positions at newspapers. This still isn't the solution to the problems facing the profession, though it's a partial solution for a few locations.
  • The problem is still not a lack of people who can produce well-written and well-informed music criticism.
  • I'm planning to attend a reasonable number of sessions this year!

Monday, August 27, 2018

Saturday, August 25, 2018

Concerned About Your Personal Safety?




Take a women's self-defense class!
       

Dates:   Two Saturdays, September 15 and 22, 2018
Time:    12:30 p.m. to 3:30 p,m.

Who:    Adult women, cis or trans, age 16 and up. (Will consider mature youth) No athletic
            or martial arts experience required.

Cost:    $95. Class open to all, regardless of ability to pay. If you  need to pay less, just let 
             me know.

Where:  Open Door Jujitsu at Mind Body Dojo
              7512 Fairmount Ave.
              El Cerrito, CA 94530

             (Near BART & Buses)
         
You'll learn basic kicks and strikes; effective defenses against common attacks; self-protection strategy. It's a fun, energetic, power-building class.

Any questions, ask here! Or email me at sensei@opendoorjujitsu.com or phone me at 510-842-6243.

Friday, August 24, 2018

.....and Another Resignation

Earlier this week, it was David Daniels, whose autograph I have in the program of a long-ago, fondly remembered Poppea. Now it's the organist James David Christie, with whom I exchanged a friendly round of email when I tried to find out just what he'd played at the funeral of the late Senator Ted Kennedy.

Christie resigned from positions at Holy Cross and Oberlin, following reports from several of his former students about sexual abuse of different kinds that took place over a long period of Time. From the Globe's report, it sounds as though this was one of those situations where "everybody knew." Le sigh.

Friday Photo


Dragon, New Town Hall, Munich
August, 2015

Every town hall should have a dragon.

Thursday, August 23, 2018

Future Cast Change Announcement, San Francisco Opera

Countertenor David Daniels has been accused of rape. The NY Daily News has the details, and they are damning, because they include the victim contemporaneously telling a friend and a psychotherapist about what had happened.

Daniels is scheduled to appear in next summer's Orlando. I have a theory about who his replacement might be, assuming SFO consults its contract with Daniels and finds a morals clause or other reason to release him from the production.

Update, 4:30, 8/22/2018: Daniels has taken a leave of absence from the University of Michigan, where he teaches, according to the NY Times.

Update, 8/23/2018: San Francisco Opera investigating the situation, committed to a safe environment for all, according to statements to the Daily News.

Going, Going, Gone


Nicola Luisotti


San Francisco Opera web site, July 31, 2018:
















San Francisco Opera web site, August 1, 2018:









That's right: Nicola Luisotti's term as Music Director of San Francisco Opera ended on July 31. It's just over two years since he announced his departure, and there is no replacement in sight. As Matthew Shilvock has said on more than one occasion, he's being very careful to get the right person.

As he's not saying, this is also probably one way for the company to save a few bucks, or hundreds of thousands of bucks, at a time of belt-tightening. (Note the eight-production season coming up.) But I also appreciate his care, because Luisotti turned out to be a something of a disappointment as a conductor.

His first appearance in SF, 2005's La Forza del Destino, led everybody to have high hopes; it was a spectacular debut, at least if you were at the first performance, which I believe I was. Since then...he could be inspired, or he could be off form, all in the same run. His talents proved to be largely in Italian opera, but because of his inconsistency, you couldn't count on him from performance to performance or opera to opera. His Otello, seen at the last performance in the run, was mediocre and the principal singers barely engaged with each other, which must have been at least partly his fault.

His Cost fan tutte, of which I also saw the last in the run, was the worst-conducted Mozart at an international company that I've seen. His Lohengrin was competent, but cautious. I remember the Salome as oddly paced, but others liked it and at the time (2009) I wasn't a fan, so maybe you shouldn't trust me.

His Italian opera certainly could be very good, and he was an excellent advocate for La Ciociara, a mediocre work that got a good performance from him. (Maybe he should have conducted more new music at SFO.) He made a couple of excellent hires in principal oboe Mingjia Liu and principal clarinet José González Granero, both of whom joined the orchestra in 2010 and both of whom are great players.

He put his foot in his mouth pretty badly following La Ciociara, when both he and David Gockley spoke ill of 20th and 21st century music, while running the company as though Italian opera were an endangered species ("returning the company to its Italian roots"). That...was not a good look for the ranking leadership of a major opera company. He waved it away in an interview with Joshua Kosman last fall, around when he conducted his last performance as music director, but I wasn't completely convinced. I mean, he could have made the case for staging Lulu or reviving St. Francois, but did he? I suppose we'll never know; it's not as if SFO is releasing the minutes of any talks he had with Gockley.

In the meantime, absent a music director, what happens if there's an opening in the orchestra, through retirement or the decision by a player to join a different performing organization, say, the one across the street? (Who among us has not had nightmares of Kay Stern deciding that Mark Volkert's assistant concertmaster spot looks like a good position to play for the next 15 years?) Last year, as the months went by with no new music director, I actually asked SFO how this would be handled, but I didn't get an answer. 

I will now speculate about how it would be handled: with the contract hire of a temporary player to fill whatever seat opened up, whether a principal or section position, and when a music director is appointed, that person gets to hold auditions for a permanent hire for the job. This is sort of what happened at SFS during their long search for a new principal oboe to replace the late William Bennett, and then for a new associate principal oboe to replace Jonathan Fisher: Christopher Gaudi played each of those positions during the search, and eventually MTT hired a pair of oboists. 

Monday, August 20, 2018

SFO Cast Change: Roberto Devereux

First cast change of the SF Opera 2018-19 season: baritone Artur Rucinski is out of Donizetti's Roberto Devereux, in which he was to sing the Duke of  Nottingham. He "has withdrawn due to lung injuries sustained in a serious  bicycling accident involving a car in his native Poland. He is expected to  make a full recovery. Rucinski deeply regrets having to withdraw but looks forward to returning to San Francisco Opera in the future," to quote the press release. Rucinski made his SFO debut during the 2017-18 season as Giorgio Germont in La Traviata.

Replacing him is Adler Fellow Andrew G. Manea. I assume he was the cover for Rucinski. 

Best wishes to Mr. Rucinski as he recovers, and toi toi toi to Andrew Manea.