I hope 2021 brings brighter days for all of us! I'm sending you my love, with the wish that we find joy, that we hold on to our purpose, and that we'll soon be together again.
xox
Lara
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Opera Theatre of St. Louis is launching a fellowship program to recruit and train arts administrators of color.
Three fellows will begin work there on Jan. 4 and stay through the end of July. Two are Black and one is Latina.
Chandler Johnson will work in artistic administration, Quentin Beverly in fundraising and Lyanne Alvarado in general administration.
The theater has recruited more artists of color in recent years, but has no Black employees among its 36-person year-round office staff. Its department heads include three women of color.
“For years we’ve had really good intentions for becoming a more diverse company, and we’ve done so by telling diverse stories and having diverse casts on our stage,” Director of Administration Michelle Myers said. “But over the last year, over the last six months, we’ve really begun to understand that good intention isn’t enough.”
In September, Opera Theatre announced its Voices Fund to support the work of young artists, particularly Black, Indigenous, Asian American and Latino artists. The organization reallocated $725,000 from donors to its annual gala, canceled because of the coronavirus pandemic.
The fellowship program is funded for three years by gifts from Bob and Jane Clark and the construction firm Clayco Inc. The second round of fellows will begin work in January 2022. The length of the fellowship will extend to 10 or 11 months in its second and third years.
Johnson, who pursued a career as a singer before shifting his focus to arts administration, said he’s shared the stage with other Black artists, but the decision-makers typically are white.
“I never saw anyone that looked like me behind the table, behind the scenes," Johnson said. "Anyone that was doing the casting, doing the conducting, doing the stage management, the directing.”
A relative lack of opportunities for Black artists and other artists of color is widespread in the opera field, though Opera Theatre is among the organizations that have begun diversifying their stages.
Metropolitan Opera in New York recently announced it will open its 2021 season with “Fire Shut Up In My Bones” by jazz artist Terence Blanchard. It will be the first opera by a Black composer to appear at the Met. Opera Theatre St. Louis presented the show’s world premiere in 2019.
Benjamin Beilman, violin
Program:
Samuel Barber (1910 – 1981)
Second Essay for Orchestra opus 17
Jennifer Higdon (1962 – )
Concerto pour violon et orchestre
George Walker (1922 – 2018)
Lyric for strings
John Adams (1947 – )
Doctor Atomic Symphony
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Described as a pianist with “power and finesse” (Dallas Arts Society), “beautiful and fiery” (KMFA Austin) and having a “sense of color, balance and texture” (Austin Chamber Music Center) Artina McCain, has a built a three-fold career as a performer, educator and speaker. Recent performance highlights include guest appearances with the Oregon East Symphony, the Memphis Symphony Orchestra and the Austin Civic Orchestra. As a recitalist, her credits include performances at the Mahidol University in Bangkok, Hatch Recital Hall in Rochester, Cummer Museum of Art and Gardens in Jacksonville, FL and the Desoto Arts Commission in Desoto,TX.
McCain's performances have been heard on radio CKWR Toronto, KMFA Classical Austin, and Radio Television Hong Kong (RTHK). Television appearances include features on CSPAN for the MLK 50 Commemoration. Artina is a three-time Global Music Awards winner for the album “I, Too” (Naxos), a collaboration with soprano Icy Monroe, focused on African American Spirituals and Art Songs. Currently, McCain is touring a program of Black Female Composers with award-winning artists Gwendolyn Alfred, soprano and James Rodriguez, baritone.
Dedicated to promoting the works of Black and other underrepresented composers, McCain curates Black Composers Concerts for multiple arts organizations and is an American Prize winner for her solo piano recordings of these works. She has also won performance awards for curating the Austin Chamber Music Centers’ Black Composers Concert from the Austin Critics Table. In 2021, Hal Leonard will publish her transcriptions of African American Folk Songs.
John Malveaux of MusicUNTOLD.com writes:
Katrin Talbot
The Wisconsin Ensemble Project (aka WE Project) is a new group formed by professional musicians during the dark times of COVID-19 to bring songs and light to worthy organizations. The group's inaugural online concert features chamber music by Black women composers and benefits the Foundation for Black Women's Wellness. The program includes "Strum" and "Voodoo Dolls," by Jessie Montgomery; "Modes," by Dorothy Rudd Moore; and String Quartet in G Major, by Florence Price. Performers are Christopher Dozoryst, Karl Lavine, Leanne League and Mary Theodore. The concert will be available through Jan. 3 at wisconsinensembleproject.com, and donations will be accepted.
Chicago native Ifetayo Ali-Landing began studying music as soon as she could walk. Her mother Lucinda may have helped in that department - she is a professional violinist who also happens to be a member of Chicago Sinfonietta's orchestra). Ali-Landing has been featured with such orchestras as the Wilmington (NC) Symphony, New World Symphony, Detroit Symphony Orchestra, Pittsburgh Symphony, South Bend Symphony, Buffalo Philharmonic, Elgin Symphony Orchestra, Chicago Sinfonietta, Southwest Michigan Symphony, and the Chicago Symphony Orchestra at Ravinia. |
John Malveaux of MusicUNTOLD.com writes:
Visit our YouTube channel (www.youtube.com/EmpireOperaNY) to listen to the beautiful sounds of Christmas all day!
With your families, at parties, or relaxing alone, Christmas music brings in the spirit of the holidays.
John Malveaux of MusicUNTOLD.com writes:
John Malveaux of MusicUNTOLD.com writes:
Kanneh-Mason has performed extensively worldwide and tours frequently with her brother Sheku, the 21-year-old cellist who garnered international attention when he performed at the Royal Wedding of Prince Harry and Meghan Markle. Her 2019 debut album, Romance: The Piano Music of Clara Schumann, celebrating the anniversary of the composer’s 200th birthday, hit the UK classical charts at No 1.
The Kanneh-Mason family is a sensation in the U.K. Called “the most famous family in classical music” by Simon Cowell when they performed on Britain’s Got Talent in 2015, they were recently the subject of a documentary on BBC One’s Imagine, titled This House is Full of Music, filmed by remote cameras while the family was in lockdown together at their home in Nottingham, and aired on July 12, 2020. Their father, Stuart Mason, is a business manager originally from Antigua and their mother, Dr. Kadiatu Kanneh, is a former university lecturer originally from Sierra Leone.
Since they were not able to tour the U.S. as planned this year, on Sunday, Dec. 20, Isata and Sheku performed the final concert of their virtual residency at the Philharmonic Society of Orange County.
I chatted with Isata (pronounced Ice-ih-ta, which means source of life in the Mende language of Sierra Leone) from her home in London about her charmed life, her wonderful relationship with her family, and how things are going for her during the Covid lockdown.
What is it about classical music that attracted you? Was that the only way you saw a career path in music?
I just always loved classical music — there’s so much variety. There’s over 400 years of different styles and contrasts and the music I find has so much complexity that I never get bored and there’s always more to discover. I love listening to all kinds of music, but classical music was the only one that I was interested in performing professionally.
Your family was so devastated by the death of George Floyd that everyone participated in a tribute performance of Leonard Cohen’s “Hallelujah” on YouTube that was watched by millions. Did it ever feel like race was a barrier in your career?
It’s quite a difficult question to answer because I grew up in a very lucky position. The classical music world is very inclusive and I always had wonderful friends and family. It can be very expensive to pursue classical music, and unfortunately for many people of color, they just don’t have the income. There’s definitely a gap — a lack of opportunity. That’s something that ultimately needs to change.
Have you ever felt that being a woman was a barrier for you?
Not so far. There’s been woman pianists around for a lot longer than there have been Black pianists around, so that’s not so much of an issue.
Have you ever thought about experimenting with other genres professionally?
No, I don’t think so. There are so many years of classical music to discover, I think that would take me more than a lifetime already. I played a couple of Bob Marley pieces with my siblings for fun, but I would never seriously get into another genre.