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Wednesday, April 25, 2018

SFCM Story, Before the Press Conference: A Big (BIG) Gift

Thomas May has the story in the NY Times (I am surprised that this wasn't embargoed until noon SF time or something, but seeing a tweet with this story on Twitter means I've scooped the Chron, SFCV, etc., so it's all good):
Capping the celebration of its 100th anniversary, the San Francisco Conservatory of Music on Wednesday announced a gift of $46.4 million from the William K. Bowes, Jr. Foundation, among the largest donations ever to an American music school.  
The gift will help fund construction of a $185 million, 12-story building on a site just south of San Francisco City Hall. Designed by Mark Cavagnero Associates and scheduled to open in 2020, it will include two concert halls, rehearsal spaces, high-tech studios and classrooms, and will provide housing for the student body.
The article doesn't have a map to indicate what the site "just south of SF City Hall" is, and looking at a map, I can't figure it out. Looking forward to the Conservatory's press release.

The William K. Bowes, Jr. Foundation is local, with offices on Bush St.  It does not make grants to individuals. Its web site says:
The William K. Bowes, Jr. Foundation supports nonprofit organizations in several areas including (but not exclusively) medical research, access to college, the arts, and higher education.
Possibly I'll have more thoughts on this later today.

UPDATE: This Chron article from 2015 has details on the location of the new building(s). H/T @phibetakitten for the link.

Tuesday, April 24, 2018

Sills Award to Sierra


Nadine Sierra as Lucia, with Piotr Beczala
Photo by Cory Weaver, SF Opera


I kinda don't get this; I've seen Nadine Sierra a couple of times and thought she was a charming Papagena and a good, but not particularly memorable, Lucia. She dropped out of two other operas where I would have seen her, Carmen (Micaela, "personal reasons") and Manon (title role; "too heavy for me just now"). I skipped her Nozze Countess.

Met Press release:

New York, NY (April 24, 2018) – Soprano Nadine Sierra has been named the winner of the 13th annual Beverly Sills Artist Award for young singers at the Metropolitan Opera. The $50,000 award, the largest of its kind in the United States, is given to extraordinarily gifted singers between the ages of 25 and 40 who have already appeared in featured solo roles at the Met. The award, given in honor of Beverly Sills, was established in 2006 by an endowment gift from the late Agnes Varis, a managing director on the Met board. In 2009 Sierra became the youngest ever winner of the Metropolitan Opera National Council Auditions and has gone on to make her mark at the Met with memorable performances in Verdi’sRigoletto, and Mozart’s Le Nozze di FigaroIdomeneo and Don Giovanni. In the Met’s 2018-19 season, Sierra will reprise the role of Gilda in Rigoletto.
Met General Manger Peter Gelb presented Sierra with the award today, saying: “Nadine is a most deserving recipient. I’m sure that Beverly would have been pleased with our choice.”
The Sills Award was created to help further recipients’ careers, including funding for voice lessons, vocal coaching, language lessons, related travel costs, and other professional assistance. Sills, who passed away in 2007, was well known as a supporter and friend to developing young artists, and this award continues her legacy as an advocate for rising singers. The 29-year-old Sierra is the 13th recipient of the award, following baritone Nathan Gunn in 2006, mezzo-soprano Joyce DiDonato in 2007, tenor Matthew Polenzani in 2008, bass John Relyea in 2009, soprano Susanna Phillips in 2010, mezzo-soprano Isabel Leonard in 2011, soprano Angela Meade in 2012, tenor Brian Hymel in 2013, tenor Michael Fabiano in 2014, baritone Quinn Kelsey in 2015, soprano Ailyn Pérez in 2016, and mezzo-soprano Jamie Barton in 2017.
Nadine Sierra said: “This award is a true gift to singers because it honors not only a beautiful artist in Beverly Sills, but treasures the legacy she left behind. It's not enough to say that I'm honored to be receiving it, but more that I feel incredibly humbled. Opera can and should belong to anyone who has the pleasure of witnessing its timeless beauty. I believe Ms. Sills, through all of her achievements and generosity of sharing this music with people around the world for many decades, would certainly agree. I'm very thankful to the Metropolitan Opera for selecting me as the recipient of such a meaningful and empowering award.”
Nadine Sierra made her Met debut in 2015 as Gilda in Verdi’s Rigoletto. She followed that with three Mozart roles at the Met: Zerlina in Don Giovanni, her role and Live in HD debuts as Ilia in Idomeneo, and earlier this season, her role debut as Susanna in Le Nozze di FigaroShe made her professional debut with Palm Beach Opera while still a teenager, in her home state of Florida. She studied in New York at Mannes College of Music and was an Adler Fellow with San Francisco Opera. She made her debut at San Francisco Opera in 2011 as Juliet/Barbara in the world premiere of Christopher Theofanidis's Heart of a Soldier.  Recent engagements include Gilda in Rigoletto (La Scala, Milan, Chorégies d'Orange, Opéra Bastille, Seattle Opera), Lucia in Lucia di Lammermoor (La Fenice, Venice, San Francisco Opera, Zürich Opera), Zerlina in Le Nozze di Figaro (Paris Opera), Tytania in A Midsummer Night's Dream and Norina in Don Pasquale (Valencia), Musetta in La Bohème, Countess Almaviva in Le Nozze di Figaro and Pamina in Die Zauberflöte (San Francisco Opera), Flavia Gemmira in Eliogabalo (Paris Opéra) and Nannetta in Falstaff (Staatsoper Berlin). In June she sings the role of Norina in Donizetti's Don Pasquale (Paris Opéra)She is the winner of the Marilyn Horne Foundation Vocal Competition, the 2017 Richard Tucker Award Winner, and has recently signed a record contract with Deutsche Grammophon/Universal.

Romantic Leads

Cast change announcements from the Met

  • In last night's RomeoAndrea Shin sang Roméo, replacing Charles Castronovo, who was ill.
  • Najmiddin Mavlyanov will sing the role of Cavaradossi in the May 8 and 12 performances of Puccini’s Tosca. These are the last two performances of the run; the previous cast change said "Yusif Eyvazov will sing the role of Cavaradossi in the first four performances of the spring run of Puccini’s Tosca, replacing Marcelo Álvarez."

Something's Up at SFCM

I know this because I've gotten invitations to a press conference tomorrow, one that I can't attend, with hints of BIG NEWS TO COME. Originally, the Mayor of SF was going to attend, but now he will not. There will be other speakers, the press office has asked whether reporters are bringing photographers, etc.

There's just one hint in the email I received today:

We're about to redefine the musical life of the Civic Center.

No idea what's going on here, and I'd prefer not to speculate, but looking forward to the eventual press release about it!

Monday, April 23, 2018

Apollo's Fire: L'Orfeo

Wedding of Orfeo and Euridice
Apollo's Fire
Photo by Mark Nelson


I finally got to see Monteverdi's L'Orfeo, the master's first opera, and it was a first-class performance, by Apollo's Fire. (I've seen four different productions of Poppea, only one of Ulisse.) I reviewed it for SFCV.




Museum Mondays Bonus Photo


St. George and the Dragon

Museum Mondays



Frog
Painting Detail
Bavarian National Museum, Munich
August, 2015













Sunday, April 22, 2018

Nope. Not Me.

An eagle-eyed friend spotted this on an upcoming program at the Center for New Music in San Francisco:
Permutations presents New York’s Ghost Ensemble in their West Coast debut, with an evening of music featuring works by Pauline Oliveros, Ben Richter, Sky Macklay, Andrew C. Smith, and Liisa Hirsch.
The ii is distinctive. Definitely not me - I don't have a sideline as a composer.

Friday, April 20, 2018

Wednesday, April 18, 2018

Repertory Madness

The three big presenting organizations in the Bay Area -- Cal Performances, SF Performances, and Stanford Lively Arts -- have announced their 2018-19 seasons. I will try to get some thoughts posted this week, but no promises as I've got a couple of reviews to write.

However, something jumped out at me, because it's unmissable: there are three cellists performing the complete Bach suites this season. Here they are:
  • Yo-Yo Ma - September 30, 2018, Greek Theater (the perfect venue, right?) (Cal Performances)
  • Jean-Guihen Queyras - October 30, 2018, Herbst (SF Performances)
  • Alicia Weilerstein - May 1, 2019, First Congo (Cal Performances)
Yeah, I had to check to see whether Stanford Live had the same program with a fourth cellist. Nope. Maybe it's not too late for them to engage Clemens Hagen, or, for a little novelty, a Baroque cellist such as Pieter Wispelwey.

Does anybody think about the ticket sales implications of this? Especially when Ma is one of the cellists?

SF Opera Annual Meeting

I was able to go to the annual meeting of San Francisco Opera this year. It was held on Wednesday, April 11, at Herbst Theater, just across the courtyard from the opera house.

There were financial and artistic reports, and also some singing. I don't have the program in front of me, so this is largely from memory. I may make some updates when I find the program.

The company's financial condition is improving, in that the endowment has been going up, owing to both contributions to it and the stock market, and the draw on it is going down. After two seasons of 9.5% draw (gulp - that is a big, bad number), the next report will show a 4.5% draw on the endowment. Ticket sales are....as projected, producing about 21% of income. As recently as the 90s, this number was much higher, and there's no denying that everybody would like that number higher.

Someone asked, during the Q&A, about getting younger people into the house, and I was not thrilled by John Gunn's answer, which was along the lines of "Young people are often raising kids, and when their time and money frees up, then they come into the house." Sorry, won't do: young technical people making $150,000/year and up often have the time and disposable income, and really can afford to hire sitters, and many of them are making that kind of salary for years before they have kids.

Matthew Shilvock talked about the artistic side of things. He mentioned three pillars of the company's artistic vision: Community, Total Art, and Cutting Edge, if I have this right. Unfortunately, he picked the company's new Tosca production to introduce how these concepts apply, and, you know, every big company has to have a Tosca production and nobody expects it to be especially visionary. The opera is too damn grounded in specific locations on a particular day in time. Everybody knows what the Castel Sant'Angelo looks like. This was....not very convincing.

Things were a little livelier during the Q&A. I got in line with a question, and I know the poor man was thinking "OMG DO I HAVE TO HEAR ANOTHER BIRTWISTLE QUESTION FROM HER" because I could practically see the sigh of relief when I asked about Opera for All Voices instead. 

No, actually, I couldn't; he has a good poker face. (I sort of regret not asking about Birtwistle. :) In any event, a few people later, Ilana Walder-Biesanz asked about diversifying the repertory and got a non-answer from, I think, John Gunn, who dodged around a bit to mention performers, which was not her question. Shilvock jumped in at this point, without any specific repertory to name, to say that "we're in discussions with a very exciting woman composer," which of course left us guessing. 

Here are some plausible candidates for the composer they're talking to - and bear in mind that Shilvock's phrasing was vague enough that we should presume there's no contract yet. In alphabetical order, and I'm listing these composers because they're all composed well-received operas:
  • Unsuk Chin
  • Jennifer Higdon
  • Laura Kaminsky
  • Missy Mazzoli
  • Meredith Monk
  • Olga Neuwirth
  • Rachel Portman
  • Kaija Saariaho
  • Du Yun
And there are a whole bunch of women out there who've written important or interesting works in other genres that SFO might be willing to commission (remember, Jake Heggie had not written an opera when he got the commission for Dead Man Walking).

In any event, I hope the discussions lead to a finished work, and I'm looking forward to more news about this.

UPDATE: Of course, I'd be happy to see performances at SFO of existing operas by any of the above composers. L'Amour de Loin, Breaking the Waves, Alice in Wonderland, Atlas, Adriana Mater, etc.