"Ainadamar" Around the World
As the finale of The Phoenix Symphony's 2007-08 Classics season, Michael Christie (joined by soloists Dawn Upshaw, Kelley O'Connor and Emily Albrink) will be presenting Osvaldo Golijov's opera Ainadamar in concert performance. Since its premiere only 4 years ago, it has been popping up in opera programs all across the world. Next season alone will see its performance in Boston, Chicago, Australia and London. As director of the Colorado Music Festival in Boulder Colorado, Michael Christie has already started the ball rolling with performances of Ainadamar this weekend and captured the attention of this reviewer from the Rocky Mountain News.
We'll be talking about Ainadamar more as we get closer to its performance this season, but since the topic of rare instruments was just mentioned here last week, it's interesting to note that Ainadamar's instrumentation calls for woodwinds, guitars, harp, keyboard, strings...and a laptop computer.
Brendan Anderson
Web Administrator
We'll be talking about Ainadamar more as we get closer to its performance this season, but since the topic of rare instruments was just mentioned here last week, it's interesting to note that Ainadamar's instrumentation calls for woodwinds, guitars, harp, keyboard, strings...and a laptop computer.
Brendan Anderson
Web Administrator
10 Comments:
This just in from Boulder, Colorado.
By Kelly Dean Hansen, Camera Classical Music Critic
Friday, July 20, 2007
After the final notes and sounds of the opera "Ainadamar" faded away on Thursday night at Chautauqua Auditorium, and after the crowd erupted in such applause flamenco guitarist Adam del Monte thanked music director MICHAEL CHRISTIE for being "audacious" enough to program the 2003 work. That was certainly an appropriate word. The Colorado Music Festival was taking a big financial and artistic risk with its concert production of Osvaldo Golijov's flamenco opera. Golijov himself was rather audacious to compose such a work.
Kelley O'Connor, who sings Lorca as a "trouser role," has a deeply resonant low register that would be the envy of many a contralto singer. (She will reprise this role with the Phoenix Symphony.)
"Ainadamar" was billed as "the event of the summer," more audacity from marketing. Fortunately, the claim is true. The audience was healthy, but Chautauqua was not full. (LET'S MAKE SURE WE SELL OUT THE PHOENIX SYMPHONY PERFORMANCES NEXT MAY 23 AND MAY 24, 2008.)
Joining Maestro Christie in Colorado from the Phoenix Symphony are violinists Jessica Guideri & Robert Simonds, violist Chiara Kingsley Dieguez (Principal), and cellist Peter Lorenzo Anderegg.
Where in the world is Phoenix Symphony's Assistant Conductor Lawrence Golan? I found him!
According to Daily Camera On-Line's Vince Darcangelo (Thursday, July 12, 2007), Golan, 40, music director of the Boulder Bach Festival, says, "There's nothing broken about classical music itself," he says. "What we need to do is evolve in the way the music is presented."
For him this includes incorporating crossover programming and presenting more nontraditional performances, but it also involves taking the music into nontraditional venues, like art galleries, warehouses and nightclubs. In the fall he is planning a performance of Bach's music within a narrative play about the composer's life. Golan is also considering putting on baroque music concerts at the Boulder Theater, a venue better known for its mosh pits than its orchestra pits. "That's just bringing classical music to a wider audience," he says.
New Topic of Discussion: WHAT IS APPROPRIATE CONCERT ATTIRE? I believe that this is one question that scares away potential audiences from coming to a Phoenix Symphony concert.
Why is it that I dress casually in a T-shirt, shorts, and sandals for the Phoenix Little Theatre and the Dodge Theatre, but dress up like I’m going to the office for the Herberger Theatre and Symphony Hall? Why am I more conscious about coordinating my outfit when dining in Downtown Scottsdale as opposed to Downtown Phoenix? Through my 27 years of living in Arizona, my Symphony attire has gone down from a coat and tie to a polo shirt, dress pants, and dress shoes. But what stops me from wearing shorts to the Symphony?
The Los Angeles Philharmonic has tried “Casual Fridays” concerts. But according to my buddy Contra-Cat, it was the orchestra players who showed up dressed down, some to a shocking extent, while the Friday night audience looked classy as usual. In laid back Phoenix, do you think a true “casual” atmosphere would succeed? We don’t need to be confined in uncomfortable clothing to enjoy great music. (Strangely, Presto the Cat frowns upon the unshaven look…) I believe that the players should continue to wear formal attire. As a musician, donning that tux does give an appearance of professionalism.
Here’s my idea. Let’s turn all 5 Sunday Matinee Classics in 2007/08 into “Casual Sundays.” Advertise in the newspapers that the audience may choose to wear T-shirts, jeans, shorts, or otherwise what’s known as “country club casual.” Relax, sit back, and enjoy Brahms, Berlioz, Bernstein, Debussy, Ravel, and Mahler!
By comparison, here is a quote from a webpage called "Classical music concert etiquette."
Although you don’t need to dress as if you were attending a state dinner at the White House or a royal wedding, you will probably feel more comfortable at a classical concert if you dress in a respectful manner... you should generally avoid clothing with holes, rips, or tears; very casual shorts, skirts, or jeans; and very casual t-shirts or tank tops.
A safe outfit for a female would be a nice dress or suit, and for a male, nice pants and a jacket and tie... a good rule of thumb might be to dress as if you were going to attend your church, synagogue, or other house of worship, visit the bank for a loan, or make an appearance to defend yourself in court.
Sonny pleads: GUILTY, Your Honor.
I had the pleasure of attending the performance of Ainadamar at the Colorado Music Festival last week. While I already knew it would be one of the most amazing concerts we will perform as part of our 2007-08 season, now I am over the top with anticipation. Both Kelley O'Connor (last seen in Phoenix as Hansel in Nov. 2006)and Emily Albrink will reprise their roles in Phoenix. Joined by Dawn Upshaw in the lead role of Margarita Xirgu, which was created for her, this is a show you will not want to miss.
For more information check out Osvaldo Golijov's website (www.osvaldogolijov.com) or the Grammy-award winning recording from Deutshe Grammophon.
Kimberly Koniecki
Artistic Manager
The Phoenix Symphony
Dear Ms. Kimberly Koniecki:
What are your duties as "Artistic Manager?" I was not aware that such a position existed or was necessary. When did the position come into existence? Please introduce yourself.
Dear Sonny the Cat (and other readers),
The basic role of the Artistic Manager is to manage the artistic programming process for the organization through coordination of the Orchestra's schedule and booking of guest artists, assist with the production of concerts, and maintain and convey the highest artistic standards of the organization. This is done in consultation with our staff conductors (Michael Christie, Lawrence Golan, and Kayoko Dan) as well as key staff and board members.
The position exists in most organizations, though the title varies among them (Artistic Administrator, VP of Artistic Planning, Manager of Artistic Operations, etc). The first full time staff Artistic Administrator at The Phoenix Symphony began in the fall of 2005. I have been the Artistic Manager since the fall of 2006.
Kimberly Koniecki
Artistic Manager
Excerpts from Kelly Dean Hansen, Camera Classical Music Critic
Friday, July 27, 2007
Macedonian virtuoso Simon Trpceski
... was helped in (the Prokofiev Concerto No. 3) by the splendid CMF orchestra under director Michael Christie. The interaction between piano and orchestra is intricate and difficult in many spots of the score. Both conductor and soloist had an assured command of the music throughout.
The first movement drew enthusiastic applause, a rare occurrence for the usually disciplined CMF audience, who typically strictly observe the "no applause between movements" convention, but in this case it was very much justified. The ovation at the end of the entire concerto was as loud as it has been for any soloist this season.
We in Phoenix can look forward to the dynamic duo of Trpceski & Christie on September 20-22 in the Tchaikovsky Piano Concerto No. 1.
ATTENTION ROUSE FANS! This just found in the Cabrillo Festival of Contemporary Music (Santa Cruz, CA) web page.
"For the 2008 season, the festival has raised more than half of the $60,000 needed to cover its commission of Christopher Rouse for a Concerto for Orchestra."
Can Phoenix raise enough money to sponsor the Arizona premiere? Has the PSO management ever given thought to a "civilian" fund-raising commitee?
The official website of the composer confirms:
"Currently, Rouse is working on a concerto for orchestra."
I will be making my reservations for July 2008 in Santa Cruz. Is anyone with me?
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