Author: Joanna Bettelheim

In response to a February 23 article about the Charlotte Arts & Science Council’s apology for its role in perpetuating and worsening inequities against Blacks and other minorities, Charlotte Symphony Orchestra board member Mike Rutledge submitted a letter to Thursday’s (3/11) Charlotte Observer. “I applaud, and share, the Arts & Science Council’s deep commitment to cultural equity. However, I worry that their labeling of the Charlotte Symphony as a ‘white, Western Eurocentric organization’ in their Cultural Equity Report could undermine that goal by perpetuating the stereotype that orchestral music is only created by, and for, certain people. It’s true that symphonies in the U.S. originate from a European tradition—that’s part of our story. But we’ve grown tremendously to truly be an American orchestra for the 21st century, performing a wide range of music from composers of diverse backgrounds; increasing access through partnerships with schools, hospitals, and community centers; and offering free/low cost concert tickets and tuition to remove financial barriers. As we continue to evolve, we’re committed to being a partner for our community in the area of cultural equity and to work with others, like the ASC, to break down barriers created by systemic racism and provide access to music for everyone.”

“Philharmonia Baroque Orchestra & Chorale has named Tarik O’Regan as its composer in residence—the first time in its 40-year history that the early-music ensemble has supported such a position,” writes Joshua Kosman in Tuesday’s (3/9) San Francisco Chronicle. “Plans for the British American composer’s 3½-year residency include three major commissioned works for Philharmonia: a concerto for oud (an Arabic cousin of the lute), followed by an opera and a choral work. He will also oversee a commissioning program for other composers, a composition competition, and the creation of a new ensemble under the Philharmonia umbrella dedicated to contemporary music…. Philharmonia, whose musicians perform on period instruments, has always focused almost exclusively on music of the 18th and early 19th centuries…. The residency promises to make new music a more prominent part of the orchestra’s activity…. O’Regan, 43, is a prolific composer of opera, chamber and choral music…. He and his wife, Joel Cabrita … moved to the Bay Area in 2019 from the small African kingdom of Eswatini (formerly Swaziland) to take up positions at Stanford University. His music incorporates … stylistic influences including minimalism, Renaissance polyphony, rock and the music of northern Africa, where his mother’s family is from.”

“In some ways, it seems like the directors of Door County concert series are getting ready for their summer seasons just like they usually do,” writes Christopher Clough in Wednesday’s (3/10) Green Bay Press-Gazette (Wisconsin). “Door Community Auditorium is selling tickets for its schedule of national touring acts. Tickets also are available for Peninsula Music Festival’s traditional nine-concert season of classical music concerts by a full orchestra of about 80 musicians this August, also at the auditorium. Midsummer’s Music … is working to finalize its schedule…. The COVID-19 pandemic … made the auditorium and the music festival cancel their entire 2020 seasons…. From Aug. 3 to 21, the [Peninsula Music Festival] is scheduled to present the same nine programs … as were on the slate for 2020…. Executive Director Christoph Ptack said he hopes to be able to make a firm go-or-no decision by early May…. ‘If the restrictions [on audience size] are still part of the equation, then we’ll need to take a hard look at the viability of the series as it relates to the financial impact on the organization….. It’s about maintaining a calibrated organization that leads with artistic integrity and financial stability.’ ”

“Interlochen Center for the Arts will hold its 2021 Arts Camp in person with reduced capacity this summer, with protocols in place to limit the spread of COVID-19,” writes Beth Milligan in Wednesday’s (3/10) Traverse Ticker (Michigan). “The organization will also offer a virtual educational option of two three-week summer sessions through Interlochen Online. Programs in all arts disciplines will continue this summer with 50 percent fewer students. As part of safety protocols, campers will be grouped by their program and will experience all aspects of camp within their ‘cohort,’ including classes, recreational activities, and meals. All students and employees will be required to wear masks at all times on campus except while seated and eating six feet apart, or in cabins (special masks will be provided for wind and brass players). Interlochen’s year-round faculty and staff were already vaccinated for COVID-19 in the ‘1B’ priority vaccination group in Michigan…. Instructors will take advantage of open-air classes and rehearsal spaces, and several performances will be livestreamed or broadcast on Interlochen Public Radio.… Interlochen is also eyeing a possible return of summer concerts this year, with more details to come later this spring.”

“The Oregon Symphony on Tuesday announced its plans for returning to the stage to celebrate its 125th season in the fall of 2021 with a full slate of concerts and a significant sound upgrade,” writes Rosemarie Stein in Tuesday’s (3/9) Oregonian (Portland). “The symphony has been shuttered since coronavirus restrictions went into effect in March 2020. Under the direction of new music director David Danzmayr … the symphony’s 2021-22 season will bring a new concert-going experience for audiences at the Arlene Schnitzer Concert Hall. During the performance break, the venue has been equipped with a new Meyer Constellation Acoustic System … the biggest upgrade to the [hall] since it became the symphony’s permanent home 40 years ago. Danzmayr’s first season also brings the formation of a Creative Alliance, which Danzmayr described as ‘musical innovators, who will harness their own unique perspectives throughout this historic season.’ … The symphony has scheduled its opening performances for Oct. 2-4. Danzmayr will conduct Mahler’s second symphony ‘Resurrection.’ Other highlights include … Dvořák’s ‘New World’ … Handel’s ‘Messiah’ … and Beethoven’s ‘Pastoral’ symphony … [and] Pops Concerts and family concerts…. Violinist Joshua Bell … pianist Yefim Bronfman and … violinist James Ehnes are on the schedule.”

On December 12, New Philharmonic, the professional orchestra in residence at the McAninch Arts Center in Glen Ellyn, Illinois, will post its “Holiday Sing-Along with the Symphony” concert, recorded outdoors at the McAninch Arts Center’s Lakeside Pavilion in October with safety guidelines and protocols in place. The program features sing-along versions—with lyrics scrolled on the bottom of the screen—of music ranging from “Joy to the World” to the “Hallelujah Chorus” from Handel’s Messiah. The New Philharmonic also performs LeRoy Anderson’s “Sleigh Ride, “March of the Toys” from Babes in Toyland, “Waltz of the Flowers” from The Nutcracker, Lucas Richmond’s Hanukkah festival overture, and other selections. Vocalists include soprano Emily Birsan, mezzo-soprano Kate Tombaugh, tenor Jesse Donner, and bass-baritone Bill McMurray. The holiday sing-along program will be available on demand through January 3. The New Philharmonic’s all-virtual 2020 concert season was launched with a recorded concert of music by John Williams, streamed on Oct. 24-25; a New Year’s Eve concert will premiere on Dec. 31.

“When a soprano’s voice blooms on a high C, I want to turn to the person next to me with a grin and say exactly what color the note reminds me of,” writes Zachary Woolfe in Wednesday’s (12/9) New York Times. “But for all the communal energy of live classical performances, they are fundamentally solitary events; shushing is still common…. As the classical field moved onto the internet, the experience everyone has long had with Super Bowl commercials and the Oscars became the experience I had with recitals, symphonies and operas: I chatted my way through them, in text chains that started with a message out of nowhere (‘Are you WATCHING this?’) and flowed for hours from there…. Unplanned, shared streams of consciousness … sprouted when the pianist Conrad Tao played Frederic Rzewski’s fiery variations on ‘The People United Will Never Be Defeated’ in his apartment….. After this crisis is over, I certainly don’t ever want to be thumbing my phone during a ‘real’ performance…. But I hope we all carry with us into a healthier future a renewed appreciation for the community that can form—with sublime spontaneity, and even virtually—around music.”