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BBC Proms Anticipates Record Breaking Attendance

Colin Oettle — Thu, 09 Sep 2010 17:26:28 +0000

A record number of performances sold out at the BBC Proms this year, launching the average attendance per event at Albert Hall to 4,000 concertgoers. 40 of the 76 concerts have experienced a packed house, which The Telegraph suspects might be related to the daily allotment of 1,000 tickets for £5 (~$7.50) each.

Along with programs celebrating the great masters of classical music, there were spotlights for the theatrical works of Rodgers and Hammerstein and Stephen Sondheim. There was also an event featuring the original music from Britain’s hit TV show Doctor Who.

Source: The Telegraph

Pianist Pascal Roge Is Definition Of Classy

Ian — Fri, 27 Nov 2009 02:01:46 +0000

It’s good to see that some people are already getting into the holiday spirit!

When Scott Freck, the general manager of the North Carolina Symphony made the call to virtuoso pianist, Pascal Rogé, to inform him of their inability to honor his contract for a performance of the Poulenc Concerto for Two Pianos because of financial constraints, he was more than likely ready for a verbal beat-down, or at the least a serious case of embarrassment.

What he didn’t expect, was Rogé offering not only to play the concert for free, but also to bring his wife, Ami Rogé, to play alongside him.

Rogé remains modest about his generosity, claiming that he has always loved the Poulenc Concerto and is more than happy to lend a hand to a struggling orchestra.

Don’t downplay it Maestro, you are a real class act, and are incredibly busy, so for that.. thankyouthankyouthankyouthankyou from all of us.

***Do YOU want to be a class act TOO? Send Rogé a message letting him know (even if you can’t be at the performance), how much a gesture of this nature means to the musician community.

Contact Pascal Rogé!
Love of Music Saves the Show, NewsObserver.com

Classical Is In The (White) House

Colin Oettle — Fri, 06 Nov 2009 03:26:37 +0000

A blogger with The Washington Post followed up on yesterday’s performance at the White House, commenting that the presidential exposure and attitude towards classical music is encouraging. A White House spokesperson said the event won’t be the last to feature classical music, and those in attendance noticed how the President seemed very involved in the performances.

While the press did not have access to the masterclasses conducted by world class musicians including Sharon Isbin and Joshua Bell, they were allowed to hear the two performances of the day as well as Mrs. Obama’s remarks. Click to read the perspectives of the Washington Post and Baltimore Sun.

If you missed our last article on the event, read it here.

Michelle Obama Advocates for Classical Music

Colin Oettle — Thu, 29 Oct 2009 21:07:00 +0000

A post on WQXR reports that First Lady Michelle Obama will host an event at the White House on Friday to advocate extra-curricular arts programs. The event will feature world class musicians Joshua Bell, Sharon Isbin, Awadagin Pratt, and Alisa Weilerstein, all of whom will teach 120 middle and high school students from around the country. Following their seminars, the musicians will give a recital in the White House’s East Room. The concert will be attended by the students and guests, as well as the First Family.

Source: WQXR.

A Night At The Met: Verdict – They Still Got It

Ian — Mon, 19 Oct 2009 22:05:33 +0000

Most news coming from the Metropolitan Opera these days has not been uplifting. From the boos toward director Luc Bondy after Tosca, to the similar signs of vexation shown to maestro Daniele Gatti after Aida, this native New Yorker is a tad worried that we are developing a penchant for being ~~hard~~ impossible to please. Could this reputation possibly prevent performers from coming to New York? Probably not, since New York is “where dreams are made,” after all. However, I’m afraid we may yet become known as a city full of critics—not the art lovers and appreciators we are. Because I had not yet visited my favorite opera house this season, I splurged and purchased tickets for myself and a musician-colleague to Friday night’s performance of Der Rosenkavalier featuring Renée Fleming.

Perhaps it was the mediocre review given by the New York Times on Tuesday’s opening night, the flowing negativity for the other two productions currently at the venue, or the absence of James Levine, but let’s just say that I was hesitant to purchase last-minute-tickets for the sold out show (thanks to allshows.com for the tickets, but damn you for the 200% inflation without even delivering them to will-call). Upon arriving and immediately ordering champagne with the last of my cash, I took my seat.

The first thing I noticed was the number of empty seats. I won’t dwell on this for long, but seeing a sold-out theater with many vacant seats certainly makes me wonder. Although I was sitting in Family Circle—the highest seating section at the Met, where some seats were likely reserved for absent subscription holders—I would bet that many tickets were still sitting on unsuccessful scalpers’ desks. For those thinking, “at least the tickets were sold,” please read my article on the Pittsburgh Symphony Orchestra, which despite perennially outstanding ticket sales, is experiencing a half a million-dollar deficit. These companies survive on gifts and donations. Getting people in the seats is only the first part of that process.Ok I’m done with that topic, I promise.

The curtain opens, Renée Flemming and Susan Graham are truly a match made in heaven. They last paired in 2000 for a performance of the same opera, to rave reviews. I realize how fortunate I am to see them opposite each other. Baron Ochs is hilarious. Icelandic bass Kristinn Sigmundsson exemplified the perfect balance of power and “boring” I thought his role demanded. Newcomer Miah Persson, as Sophie, besides from being absolutely gorgeous, has not only the power so often lacking in her role, but also amazing acting skills. More on that soon though.

Act II, the scene I am most looking forward to is coming up, the Presentation of the Silver Rose. The set was the most breathtaking work I have ever seen. Image: Graham walks in from a sub-stage staircase dressed in all silver, servants line the extravagant spiral staircases, cue the horn fanfare, and a not so subtle gasp from everyone in the audience signals our profound appreciation. I forget all about the recent attack on my bank account. Thank you Maestro Edo de Waart for giving us a moment to appreciate this. The pause might have lasted mere seconds, but it seemed like an eternity, and I felt like I was in the scene for the rest of the act. I wanted to applaud, absolutely sensational… and on a similar idea, the Maestro knew exactly when to do this at other points in the opera (such as the renown Act III trio).

If you are familiar with the opera, you spend much of Act II waiting for the initial moment between Octavian and Sophie. You know what I’m talking about, the look that says more than words can. It can be the most subtle thing in the world, or grandiose and overdone. We know how everything ends, but the first glance of star-crossed lovers can burn an image in your brain forever. So how was it?

The tension was palpable, and even more important, the romance was believable.

I wouldn’t be doing my job if I just raved all day and night about how much I loved the trio in Act III, or the period costumes which made Flemming truly look like an Austrian princess. I want to address something else…

During one of the (lengthy) intermissions, I had the pleasure of speaking with several other members of the audience. My goal: to track down someone who attended the opening of Tosca. Mission accomplished, with a lovely couple from central Jersey who have had a subscription to the Met for 38 years. Got that? 38 years! I’m quite comfortable posting their comments online.

I asked them about Tosca, and they enthusiastically praised the production. I followed up with an inquiry into the audience’s reaction to director Luc Bondy. They were passionate in saying that the booing was not a universal reply, but centralized to specific clusters of the crowd (and not just the expensive orchestra seats). Details of the premiere performance emerge: on-stage nudity, sexual acts (we’re talking well beyond the under-the-covers stuff), things start to click into place in my mind.

What am I getting at? Nothing really, just that I’m happy I threw caution to the wind, went with my gut and respect for the Met which has been earned via decades of good performances, and spent my Friday night at the opera. It was one of the best productions I have seen in years. My colleague, for who this was the first time at the opera, is counting down the days until Madame Butterfly. If you take anything from this article, let it be that when it comes down to reviews, booing or applauding, only one opinion matters, your own.

The New Yorker: Why So Serious?

Colin Oettle — Fri, 16 Oct 2009 05:49:04 +0000

While concertgoers today might resent those who unknowingly applaud or whisper between movements of a piece, it seems such gaffes have only recently begun to draw frowns. The familiar silent audience who applauds in appropriate places is of relatively new invention. Relative, of course, to the age of music in the classical repertoire. As it turns out, classical concerts used to be noisy, social gatherings where aristocrats could mingle and the public could turn bourgeois into a verb.

The September 8th issue of The New Yorker featured the article “Why So Serious?” In it, writer Alex Ross chronicles the history of classical concert tradition.

Ross cites examples from performances at the Paris Opera and recitals by the pianist credited with creating modern piano performance tradition, Franz Liszt. Ross compares Liszt’s recitals to “The Ed Sullivan Show,” claiming that Liszt would solicit suggestions from the audience for subjects to improvise at the piano. Furthermore, Liszt is said to have modulated not only between tonal centers, but entire pieces. As Ross explains it:

Once, when Liszt was beginning a performance of the "Kreutzer" Sonata with the violinist Lambert Massart, listeners began calling out "Robert le Diable!"—meaning that they wished to hear instead Liszt’s fantasy on themes from the Meyerbeer opera.

Apparently, Liszt obliged. While perhaps not as raucous, a similar concert atmosphere was the trend at the time. But with the French Revolution came the decline of aristocracy and the rise of the Bourgeoise—a new middle class who wanted unique ways to feel elite. And so modern concert tradition was born. Ross argues that the public’s “elite” new concert etiquette combined with more daring performers gave way to the traditions which solidified into modern practice. He quotes pianists Liszt and Clara Wieck (who would later become Clara Schumann) as having “ventured” to play all the movements of the “Hammerklavier” and “Appassionata” Sonatas respectively. Two performances which provoked, he cites author Kenneth Hamilton as saying, “intense debate.”

As the mood of both audience and performer became more formal, it laid the cobble-stoned road for the works of composers like Debussy and Mahler, who were able to compose lengthier, more homogeneous works. By the turn of the 20th century, symphonies were being played in full by professional orchestras of unprecedented caliber. Of course, an organization could not program a single movement of a Mahler symphony, as it would sever the programmatic and emotional themes therein.

Ross also comments on the programming tendencies of today: a halved concert where the focal symphony or concerto occurs after an intermission preceded by a tone poem or overture. He claims this monotony is starting to crumble as new conductors mount podiums around the world, renewing audience vigor and interest in classical performances. His only remaining lament is that concerts today restrict rather than “unleash” the classics—that they might not sparkle quite as much as those of a bygone era.

YOLA Dudamel! LA Phil Opens Season at Hollywood Bowl

Ian — Mon, 05 Oct 2009 23:51:23 +0000

In his first public appearance as Music Director of the Los Angeles Philharmonic, Gustavo Dudamel, the poster child of El Sistema, walked on stage at the Hollywood Bowl Saturday afternoon to a crowd of 18,000. Greeted by tremendous applause, he raised his baton and gave his first downbeat… to 200 children from southern Los Angeles.

Sporting a “YOLA” t-shirt, the Maestro conducted the Youth Orchestra of Los Angeles’s undoubtedly most important concert yet. YOLA was founded two years ago, inspired by El Sistema—the highly successful Venezuelan music education system based on the Suzuki Method. YOLA has been much more than a prototype for the future of music education; it has already changed the lives of both orchestra members and their families.

Following YOLA, the Los Angeles Philharmonic performed Beethoven’s 9th Symphony—a truly monumental piece which will undoubtedly be remembered by all in attendance.

It was not an attempt to show off the success of the YOLA program, nor simply an act of good will on the part of the LA Philharmonic. As Laurie Niles, editor and author of violinist.com put it,

“The idea of making children’s lives beautiful through music gleams with idealism; the reality is that it’s a tremendous, arduous effort for both teachers and students. Dudamel certainly knows this, having conducted so many youth orchestras himself in his native Venezuela. There was no apologizing for the fact that kids who have played for only a few years sound like kids who have played for only a few years. Their accomplishment was tremendous; and to celebrate it, to celebrate them, is legitimate.”

Being a Suzuki teacher or simply a music educator, one cannot help but feel incredibly moved by this. To think that a professional orchestra would gladly share the stage with YOLA simply echoes of the ideals of Shinichi Suzuki. To the founder of the famous method, the goal of music education was not simply to develop professional musicians, but to nurture loving human beings, and promote every student’s character through their study of an instrument.

You can find links to more articles by Laurie Niles on El Sistema and Saturday’s memorable concert below. I encourage you to read more about this revolutionary system, and spread the word to all music educators. This is the future of music education!

Welcome to Los Angeles, Gustavo Dudamel – Violinist.com

What real music education can create: The Simón Bolívar Youth Orchestra of Venezuela – Violinist.com

Not So Warm Welcome for Gatti

Ian — Mon, 05 Oct 2009 20:31:54 +0000

The beginning of Fall has different meanings for everyone. Some love the changing colors, the cooler temperatures, or as is the case with this writer, the exodus of summer tourism from New York City. All kidding aside, the beginning of the concert season for the country’s major orchestras and opera companies is always an interesting sight. Opening night reviews can truly make or break a ~~career~~ season. The introduction of Gustavo Dudamel with the Los Angeles Philharmonic was met with spectacular reviews, much as Alan Gilbert with the New York Philharmonic.

Unfortunately, not all welcomes are quite so warm… On Friday, Verdi’s Aida returned to the Metropolitan Opera under the baton of Daniele Gatti. Perhaps feeling empowered after recently destroying Luc Bondy’s self esteem, the audience greeted Gatti with a wave of boos following the performance, despite applauding energetically for the singers.

Whether or not the boos were deserved is personal opinion. The patrons of the Met opera are known for being outspoken to say the least. If the majority of the crowd was disappointed, then I say the boos were justified. Perhaps I have seen too many concerts where the ten loudest people in the audience swayed the entire opinion of the hall with their over-the-top dismissal and protest. Then again, I was not in the audience on Friday evening.

Is this a step in the right direction? Are the days of snoring and expected standing-ovations a thing of the past?
Original article on nytimes.com

VLOG #1: ICSO Wrap Up

Ian — Mon, 05 Oct 2009 04:36:03 +0000

Again, we would like to thank Steven Stucky and Jeffery Meyer for speaking with us this past week. And thank you to OUR VIEWERS! Thank you so much for spreading the word about The Sound Post. We love you all and will continue to bring you somewhat scholarly articles from the world of classical music everyday. We have a special interview with Sanford Reuning next week. Please send all questions or comments to Ian@soundpostnews.com, or find me on twitter at twitter.com/iansalmon. Video after the jump.

Exclusive: Interview With Conductor Jeffery Meyer

Colin Oettle — Fri, 02 Oct 2009 15:57:13 +0000

Today’s interview is with Dr. Jeffery Meyer. He is the Director of Orchestras at Ithaca College, Artistic Director of the St. Petersburg Chamber Philharmonic, and Artistic Director of the Water City Chamber Orchestra. Meyer will lead the opening performance of Ithaca College’s 09-10 season tomorrow night, Saturday October 3rd. One of the works on the program is Jeu de Timbres by Steven Stucky, who we interviewed yesterday (see his interview here).

Also scheduled is Ravel’s Ma Mère l’Oye (Mother Goose Suite), and Berlioz’s Symphony Fantastique, op. 14. The concert takes place tomorrow night, Saturday October 3rd, at 8:15pm in Ford Hall, Ithaca College.

Please click on through for the video interview and full written transcript.

Sound Post News: Hi everyone this is Ian with another Sound Post News Video Blog.

Here with me today is Dr. Jeffery Meyer, Director of Orchestras at Ithaca College, also the Artistic Director of the St. Petersburg Chamber Philharmonic. Thank you Dr. Meyer for being with us today.

We’re here to talk about the Ithaca College Symphony Orchestra. Tomorrow night, Saturday October 3rd, opens the 2009-2010 season. On the program is Stucky, Ravel, and Berlioz. Could you tell us a little bit about this program and what inspired you to choose this repertoire?

Jeffery Meyer: Well, the Berlioz is the centerpiece of the program. It’s interesting—I don’t know if you were paying attention—both one of the early concerts with Dudamel and LA Phil was Berlioz’s Symphony Fantastique. There’s an incredible recording available on iTunes with that performance. And also the debut of Alan Gilbert with New York Phil was also Berlioz. It’s interesting—I didn’t know these things were going on, but I don’t think it’s just in the air. I think this piece is a showcase for both orchestras and conductors. So it’s been on my list to do with this orchestra for some time. It is such a virtuosic showpiece for everyone involved. So the program started with that germ. And then I spoke to Steve Stucky earlier in the spring I think, about a piece that would be appropriate to do here. I’m not sure if you know, but Steve is turning 60 this year—so it’s a big anniversary—and I thought it would be the right time to do something of Steve’s. So he suggested this as a possibility. And the program then is filled out with Ravel. And the whole program then falls within this kind of French orchestral idea, so there’s a real unity to the program which I like a lot.

SPN: If you haven’t caught it yet, Steven Stucky did a great interview with us yesterday (link). He talked about his piece Jeu de Timbres—as he said yesterday, lots of French moments and we’ll see it tying together. So tomorrow night, first concert of the season, what do you look forward to most in working with the Ithaca College Symphony Orchestra as compared to your experiences with the St. Petersburg Chamber Philharmonic?

JM: Well there’s a few things. The exciting part about working with younger musicians: the growth rate is fast but of course the rehearsal cycle is over a longer period of time. With a professional orchestra you come in, you conduct 3-4 rehearsals, have a concert, and it’s done. But there’s a development process that happens over 5 or 6 weeks of rehearsal which is very exciting to partake in. And as a conductor I get to dig into these works in a deeper way than I do in some ways working with professionals, because I have to take apart everything. Nothing happens by itself really. So I get to know the work in a really intimate way. And then to watch the students grow is pretty fascinating and exciting. This is a very large undertaking for a first concert, and there’s a lot of younger players in this orchestra because there was a big incoming class this year. I sort of feel like I took most of the players, especially the first year players, and threw them into the deep end of the orchestral waters to see if they would swim, and they are.

SPN: As Mr. Stucky said yesterday, his piece Jeu de Timbres is a showpiece designed for a professional caliber orchestra, and he seemed pleased with how the orchestra is doing—and we all know Berlioz is not a walk n the park either.

JM: No, it’s virtuosic for everybody. Everybody has something to do. I don’t think there’s an instrument that’s not called upon to do something difficult and extraordinary. It’s a great piece. And Steve’s piece, it quotes Ravel as you know—I watched the interview this morning—and then we play Ravel right after that, so the program has a really nice flow to it.

SPN: So for the most part it’s very high energy, very French.

JM: Yeah, although the Ravel is certainly the most calm of all the pieces. Steve’s piece is brilliant—it was written as an encore so we’re using it as an opener. It sort of fills the same function to either start or end something with great energy. And then the Ravel is mostly calm, beautiful wind solos. It calls on every instrument in the wind section, including a very difficult contrabassoon solo, which Noah is doing a very good job on. And that’s a little bit more calm. The whole Ravel piece inhabits a more quiet, fairy like role. And of course Berlioz is off the deep end.

SPN: Certainly a concert to catch. Again the concert is at 8:15pm tomorrow night, October 3rd in Ford Hall at Ithaca College.