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Arts writing by Thomas May

Seattle Symphony Names Sunny Xuecong Xia as New Assistant Conductor

Sunny Xia conducting the Arizona State University Studio Orchestra in the Andante cantabile from Tchaikovsky’s Symphony 5

This morning Seattle Symphony announced that Sunny Xuecong Xia has been named the Douglas F. King Assistant Conductor. She will begin her appointment in September 2022. Meanwhile, the search for a new music director since the sudden departure early this year of Thomas Dausgaard is underway. Lee Mills will continue to serve as Associate Conductor through the current 2021-2022 season, until Xia succeeds him at the start of the 2022-23 season.

Currently, Xia is Assistant Conductor of the Phoenix Youth Symphony Orchestra and Arizona State University Symphony Orchestra. The selection process for the SSO position involved a working rehearsal session with SSO musicians as well as an interview with a panel comprising musicians, board, and staff. Xia is also pursuing a doctorate in Orchestral and Opera Conducting at Arizona State University.

Here’s the full bio from Xia’s website:

Recognized for her innate musicality, compelling presence, and technical precision, conductor Sunny Xuecong Xia’s ability to forge an immediate and captivating connection with orchestras and audiences alike has led to engagements around the country. Sunny currently serves as Assistant Conductor of the Phoenix Youth Symphony Orchestra and Arizona State University Symphony Orchestra while pursuing a doctorate in Orchestral Conducting under Dr. Jeffery Meyer. In the 2021-22 season, she was invited to lead a production of La bohème with the Chandler Opera Company and serve as cover conductor for Arizona Musicfest. She recently appeared with double bassist Xavier Foley and violinist Eunice Kim in a performance of Foley’s poignant For Justice and Peace at Arizona’s Mesa Arts Center. In the 2020-21 season, she appeared as guest conductor with the MusicaNova Orchestra and was invited to serve as Assistant Conductor at the National Music Festival and Pierre Monteux Music Festival. In January 2020, she made her successful debut with the Cleveland Women’s Orchestra. 


Highlights of the 2019-20 season include being selected by Marin Alsop as a Conducting Fellow in the Peabody Conducting Workshop. She was also appointed Apprentice Conductor at the North American New Opera Workshop (NANOWorks) and served as Cover Conductor for the Cleveland Orchestra Youth Orchestra and Firelands Symphony Orchestra. Chosen from a pool of 75 first-round competitors, she was one of ten semifinalists in the NRTA Conducting Competition in Tirana, Albania. Additionally, she led the Cleveland Institute of Music Orchestra in the 2019 Benefit Concert “A Legacy in Bloom: Celebrating Clara T. Rankin” with violinist Caroline Goulding.


As Assistant Conductor of the Cleveland Institute of Music Opera Theater from 2017 to 2020, Sunny assisted Maestro Harry Davidson in productions of Die ZauberflöteThe Juniper TreeLe Rossignol, and L’Enfant et les Sortilèges. A dynamic advocate for contemporary music, she has led the CIM New Music Ensemble in music series such as the Cleveland NEOSonicFest and CIM New Music Series. She also served as a Conducting Fellow in the 2020 Cortona Sessions for New Music Conductor and Advocate Virtual Summit. Dedicated to bringing music to unconventional and diverse locations, while in Cleveland, Sunny organized and led concerts in retirement communities and elementary schools, including an interactive presentation of Prokofiev’s Peter and the Wolf in East Cleveland for an audience of 4th and 5th graders. 


Sunny holds a dual master’s degree in Orchestral Conducting and Violin Performance from the Cleveland Institute of Music where she studied under the tutelage of Carl Topilow and Jan Mark Sloman. She has had the privilege to be mentored by a number of prominent conductors, including Marin Alsop, JoAnn Falleta, Giancarlo Guerrero, Tito Muñoz, Ludovic Morlot, Larry Rachleff, Robert Spano, Carl St.Clair, and Thomas Wilkins. For two summers, she attended the Monteux School and Music Festival as a Kurt & Torj Wray Conducting Scholar. An accomplished violinist, prior to becoming a conductor, Sunny performed as a soloist with orchestras in China and Australia, including the symphony orchestras of Harbin, Zheijiang, Hunan and Guangxi, and the Concertante Ensemble. While attending Cleveland Institute of music, she served as concertmaster of the CIM Orchestra. 


Originally from Guangzhou, China, Sunny relocated to Sydney, Australia at the age of 14 on a sponsorship from the Australian String Academy that allowed her to further her violin studies with Peter Shi-xiang Zhang and Charmian Gadd. A talented basketball athlete, she competed in the semi-professional New South Wales Metro Junior League before focusing primarily on her musical pursuits. When not performing or enjoying a pick-up game, Sunny can be found reading, kayaking, or learning languages. She speaks Cantonese, English, German, Mandarin and Teochew, and is improving her French and Italian.

Filed under: music news, Seattle Symphony

Six Centuries of Keyboard Music by Women

Byron Schenkman & Friends present the following program of Six Centuries of Keyboard Music by Women (available in the video above):

Maddalena Casulana: Amor per qual cagion

See the entire concert https://youtu.be/SzTiG4tMVcQ

Élisabeth Jacquet de la Guerre: Gavotte in A Minor

Specially recorded for this event

Anna Bon: Sonata in C Major, op. 2, no. 4

Specially recorded for this event

Clara Schumann: Nocturne in F Major, op. 6, no. 2, for piano

See the entire concert https://youtu.be/O_WLph0Y2Ts

Teresa Carreño: Un rêve en mer, op. 28

See the entire concert https://youtu.be/3qM-ik4G8zM

Margaret Bonds: Troubled Water

See the entire concert https://youtu.be/3qM-ik4G8zM

Mari Elabel Valverde: “his eyes were in the stars”

Filed under: Byron Schenkman, music news, women composers

Musical America’s New Artist of the Month: Lee Mills

For this month’s column, I had the privilege of writing about this very talented young conductor:

When he was still in college, Lee Mills had a dream job of becoming a roller coaster designer. But the unexpected career path he ended up following has given the young conductor another way of providing some very memorable thrills—especially during the current season of turbulent twists and turns….

continue

Filed under: conductors, music news, Musical America, Seattle Symphony

An Evening of John Luther Adams

The sudden cold blast, climate change, a pandemic that seems never-ending, World War III angst — I’d rather take a night off and focus instead on the transportive music of John Luther Adams. Erin Jorgensen has curated a program of small-ensemble works that is being presented at 8pm on Thursday, 24 February, at the Chapel Performance Space in Seattle.

JLA of course has an important relationship with this city: Seattle Symphony commissioned his Pulitzer Prize-winning (and Taylor Swift-approved) Become Ocean as well as its companion work Become Desert.

Thursday’s program, which includes lighting designed by Charles Smith, will consist of:

The Farthest Place | violin, vibes, piano, marimba, double bass

The Wind in High Places | string quartet

Among Red Mountains | piano

The Light That Fills the World | violin, vibes, keyboard, marimba, double bass

Seattle Symphony members Mikhail Shmidt (violin), Andy Liang (violin), and Joseph Kaufman (double bass) are among the musicians, who also include Rose Bellini (cello), Storm Benjamin (vibraphone), Rebekah Ko (marimba), Jesse Myers (piano), and Erin Wight (viola). Mask and vaccination required for entry; tickets $15-$30.

PS In case you missed it, JLA’s memoir Silences So Deep came out in the height of the pandemic.

Filed under: John Luther Adams, music news, Uncategorized

Happy Birthday, John Adams!

A spirited toast to the matchless John Coolidge Adams, who celebrates his 75th birthday today. This is an especially busy year for the composer: San Francisco Opera will launch its centenary season in September with the world premiere of Adams’s latest opera, Antony and Cleopatra.

Filed under: John Adams, music news

George Crumb: An Appreciation

George Crumb’s final work: Kronos — Kryptos

Reflecting on George Crumb for Musical America:

The American composer George Crumb, whose innovative, theatrically charged soundscapes explored a new kind of musical poetry, has died after a long and far-reaching career. He was 92. 

Filed under: American music, George Crumb, music news, Musical America

Seattle Opera Announces Its New Season

Seattle Opera today announced the program for its 2022-23 season. Of special note are the world premiere of A Thousand Splendid Suns, an opera by composer Sheila Silver and librettist Stephen Kisakos based on Khaled Hosseini’s novel and the return of Wagner (for the first time since 2016) with Tristan und Isolde staged by Argentinian director Marcelo Lombardero, with conductor Jordan de Souza. Mary Elizabeth Williams will sing Isolde to Stefan Vinke’s Tristan, and Amber Wagner makes her Seattle Opera debut as Brangäne.

The rest of the season will include a concert version of Saint-Saëns’s Samson and Delilah conducted by Ludovic Morlot and starring soprano J’Nai Bridges, as well as full productions of Donizetti’s The Elixir of Love (the Stephen Lawless staging) and Verdi’s La traviata directed by Francesca Zambello.

“Next season is a reminder of all that live opera can be,” says General Director Christina Scheppelmann. “After an extended period of restrictions, we are thrilled to offer an expansive vision of the operatic universe that encompasses a remarkable breadth of stories and operatic styles. Music is a window to the world, and we cannot wait to show that in full force once again.”

Overview of the 2022-23 season

Filed under: music news, Seattle Opera

RIP George Crumb (1929-2022)

Sad news via Bridge Records of the passing of George Crumb, who reportedly passed away today, 6 February 2022, at his home in Media, Pennsylvania.  The Pulitzer Prize-winning composer was 92 years old. My appreciation for Musical America is here.

Filed under: American music, music news

San Francisco Opera’s 100th Anniversary Season

So it’s now official: San Francisco Opera will launch its centennial season with the world premiere of a new John Adams opera: Antony and Cleopatra, set to the composer’s own libretto culled from Shakespeare’s tragedy and various classical sources (Virgil, Plutarch, etc.). Music Director Eun Sun Kim will conduct the production directed by Elkhanah Pulitzer; the cast will be led by Julia Bullock and Gerald Finley as the lovers, with Paul Appleby, as the young Caesar, Octavius, Alfred Walker as Antony’s confidante Enobarbus, and mezzo-soprano Elizabeth DeShong as Octavia (Octavius’ sister and the wife of Antony).

But there’s much more that promises to make this an extraordinary season, with a return to eight mainstage offerings. SFO will present the local premiere of El último sueño de Frida y Diego by Gabriela Lena Frank, an SFO co-commission that will receive its first performances at San Diego Opera in October 2022 before coming to the War Memorial Opera House in June 2023.

There will be new SFO productions of La Traviata directed by Opera San José’s incoming general director Shawna Lucey, Gluck’s Orpheus and Eurydice featuring countertenor Jakub Józef Orliński in a new production by Matthew Ozawa, and Madame Butterfly directed by Amon Miyamoto and starring Karah Son and Michael Fabiano.

Two operas that received their American premieres in the 1950s are also being featured: Poulenc’s Dialogues of the Carmelites and the Richard Strauss masterpiece Die Frau ohne Schatten in a David Hockney production. Tchaikovsky’s Eugene Onegin is also part of the lineup, in the Bay Area premiere of the Robert Carsen production. On 16 June 2023, there will additionally be a gala 100th Anniversary Concert.

Complete press release here.

Bookmark sfopera.com/100 for the latest news and updates.

Filed under: John Adams, music news, San Francisco Opera, Uncategorized

And Still More on Dausgaard and the Seattle Symphony…

The first actual in-depth reporting on the disaster that has befallen the Seattle Symphony with Thomas Dausgaard’s sudden departure has just been published at Post Alley.

The formidable Doug McLennan brings powerful journalistic chops to a dismayingly complex story that appears to involve a toxic work environment. Many questions are left unanswered — not least because of the stonewalling he reports, which itself would seem to reinforce the picture painted of an institution out of balance.

I would also add that this story fails to give proper credit to Dausgaard’s predecessor, Ludovic Morlot. He played an undeniably important role in developing the orchestra’s current level of artistic excellence.

I rather like the use of “repotia” here — the same rhetorical device Shakespeare uses in “Friends, Romans, countrymen, lend me your ears…”: “Again though, when a new leader comes in, culture inevitably changes, and there’s almost always turnover among staff.”

So sad that the fallout from all of this will inevitably affect these amazing musicians for some time to come — just as we’re coming out of the pandemic…

Filed under: music news, Seattle Symphony, Thomas Dausgaard

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