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Arts writing by Thomas May

Shawna Lucey to Head Opera San José

Shawna Lucey; Photo Credit: Ken Howard

Shawna Lucey has been named the new General Director and CEO of Opera San José. Already in January 2022 she will take on the position recently vacated by Khori Dastoor, who is beginning her tenure as General Director and CEO of Houston Grand Opera in January as well.

From the OSJ press release:

Said Opera San José Board of Directors Chair Gillian Moran, “After conducting an extensive national search, we could not be more delighted in welcoming Shawna Lucey to launch our next chapter at Opera San José. When we began our search five months ago, we knew we were looking for a charismatic leader whose passion and vision would help us continue to grow and expand upon the incredible work and programs OSJ has to offer. Shawna more than fits the bill — her experience directing productions at America’s leading opera houses, her passion for infusing new resonance into classics, and her crystalline view of vibrant contemporary works will be enormous assets, propelling our company into a thrilling future.”

Lucey is familiar to Bay Area audiences primarily for her work with San Francisco Opera. Her legacy production of Tosca was chosen to launch the company’s 99th season in August of 2021.Lucey made her directorial debut with Opera San José in 2018 with La traviata, brilliantly staged with skill and imagination, and offering a compelling contemporary viewpoint. Her directorial work has been seen across the US, from The Metropolitan Opera to Dallas Opera, Opera Theatre of St. Louis, Santa Fe Opera, and many others. She also boasts an international reputation, staging works in Spain, Russia, and Germany, at the Gran Teatre del Liceu, the Bolshoi Theater, and Schauspiel Hannover, among many others, and has assisted esteemed directors, including Stephen Lawless, Lee Blakeley, John Caird, Peter Schumann, and Francesca Zambello.

In addition to opera, Lucey steps outside the canon into theatre and musicals, staging works such as Gilbert & Sullivan’s rollicking The Pirates of Penzance, which BroadwayWorld lauded for its “contemporary flair, dousing the classic with a touch of modern Monty Python alongside Carol Burnett Show moments. A true contemporary comic delight faithful to the original Gilbert and Sullivan intent.” 

Originally from Houston, Texas, Lucey credits much of her directorial influences to Russia, where she lived and studied for five years. She spent years working with the world-famous Bread & Puppet Theatre as both a touring performer and staff member, and then 11 seasons with Santa Fe Opera, working her way from technical apprentice to stage director. She holds BAs in Theater and Italian from the University of Texas at Austin and received her MFA in Directing & Movement from the Boris Shchukin Theatre Institute of the Vakhtangov Theater in Moscow. Most recently residing in New York City, Lucey is currently enrolled in Columbia University’s Master of Science program for Non-Profit Management and has served as an adjunct professor in Speech and Theater at the Borough of Manhattan Community College, encouraging the next generation of artists while teaching courses on acting, design, stage management, and directing.

Lucey’s appointment as the fourth General Director in OSJ’s history will begin midway through the company’s critically acclaimed 38th season and long-awaited return to the California Theatre. She will be overseeing the upcoming productions of Bizet’s Carmen and Bernstein’s West Side Story, as well as the return of the Irene Dalis Vocal Competition.

Said Opera San José Music Director and Principal Conductor Joseph Marcheso, who conducted her 2018 production of La traviata, “This is an exciting moment in our company’s history. The creativity and energy that Shawna brings to her work is incredibly inspiring, and I am very much looking forward to collaborating with her in the coming months and years. Her approach of exciting innovation, a healthy respect for tradition, and steadfast commitment to artistic excellence make her absolutely ideal for this post, and I think our audiences will be thrilled to see what she brings to our stage and to our whole community.”  

Opera San José is a flagship arts organization of Silicon Valley. Maintaining a resident company of artists, OSJ presents four mainstage productions annually in San Jose’s beautifully restored, magnificent California Theatre. It also regularly broadcasts fully produced productions from its state-of-the-art Heiman Digital Media Studio. Now in its 38th season, OSJ specializes in role debuts, serving as an artistic incubator for established and emerging artists and administrators, producing world- class operatic performances for diverse audiences throughout the Bay Area and around the globe. More information is available at www.operasj.org.

Filed under: music news, Opera San José

RIP Alvin Lucier (1931-2021)

Original 1969 recording of I Am Sitting in a Room here.

Filed under: Alvin Lucier, American music, music news

San Francisco Conservatory of Music’s Bowes Center Opens

The San Francisco Conservatory of Music (SFCM) has opened its Ute and William K. Bowes, Jr. Center for Performing Arts Center, transforming the Civic Center. Yo-Yo Ma was on hand to inaugurate the performance hall with a recital.

On 12 February 2022, there will be an open house for the public, with tours and performances throughout the day.

Here’s the report I wrote for the New York Times in 2018 when SFCM announced a major gift funding the new project, located just south of San Francisco City Hall.

Filed under: music news, San Francisco Conservatory of Music

Some New Recommendations for November

Kate Soper, The Fragments of Parmenides

–From Kate Soper, the final revision of her metaphysical cabaret piece The Fragments of Parmenides (score is available here, audio here). Plus, Soper’s “telepathy installation manual” ClearVoice is out now in the latest issue of McSweeney’s Quarterly.  Order here (use the code “audioodyssey” for a 10% discount). 

–Meredith Monk’s latest evening-length work, Indra’s Net, inspired by the ancient Buddhist/Hindu legend of the same name, premieres in a concert version at Mills College on 12 and 13 November to both limited in-person audiences and online via livestream.

-world premiere recording of Yotam Haber’s Estro Poetico-armonico III, one of the winners of the 2020 Azrieli Music Prize: continues a long exploration into the music of Rome’s Jewish community, as discovered through the archival recordings of ethnomusicologist Leo Levi. The recording also includes Yitzhak Yedid‘s Kadosh Kadosh and Cursed, Keiko Devaux’s Arras and Dissidence by Pierre Mercure (arr. by Jonathan Monro); liner notes here.

FLOW, new studio album from the amazing clarinetist/composer Kinan Azmeh: after his award-winning album Uneven Sky with the Deutsches Symphonie Orchester Berlin, Azmeh returns with the NDR Bigband led by conductor/arranger Wolf Kerschek. “I was the Damascene in New York and the New Yorker in Damascus,” observes Azmeh. “I am now more interested in being the New Yorker in New York and the Damascene in Damascus…Both cities with all their contrasting qualities are intellectually stimulating to me. Places, people, nature, tragedies, and celebrations, all of these elements have found their way into the music I create. Being in a constant state of FLOW is now my new zone of comfort.”

–link to Abraham’s Land steaming site — an original musical by playwright Lauren Goldman Marshall and Pulitzer-nominated composer, Roger Ames, with additional music by David Nafissian and Paul Linnes, premiered to widespread acclaim at Kirkland Performance Center, Kirkland, WA, 15-18 July 2021

Filed under: music news

Ludovic Morlot to Barcelona Symphony

Nostalgic clip from October 2009, when Ludovic Morlot was rehearsing with the Seattle Symphony

Congratulations to Ludovic Morlot, Conductor Emeritus of Seattle Symphony, who has just been named music director of the Barcelona Symphony Orchestra. His tenure starts September 2022 for an initial four seasons. He succeeds Kazushi Ono.

From the press release:

Morlot will conduct a minimum of eleven weeks a year. Ambitious plans together will include an increased digital presence, CD recordings, international residencies, talent development and youth programs, and a commitment to expand the permanent symphony orchestra size. His appointment is the culmination of a three-year search process, and follows conducting weeks with the orchestra in December 2020 and then again last month.  

Robert Brufau, the Director of L’Auditori, stated that ‘with Ludovic Morlot at the helm, the OBC reaches an international level to defend the role that symphonic music has to play in the 21st century. Morlot has proven his capacity to promote the artistic growth of large groups that, thanks to his leadership, have achieved great success. Modernity and rigour are part of his DNA as an artist, and this is evident in everything he does, from management to the stage with full awareness of the challenges of modern society’. 

Morlot remains Associate Artist of the BBC Philharmonic Orchestra, and Conductor Emeritus of the Seattle Symphony – an honorary title bestowed on him for the extraordinary achievements of his eight years as the orchestra’s Music Director. 

The public of Catalonia will next be able to enjoy Ludovic Morlot’s artistry in the week of 17 January at L’Auditori, conducting the Barcelona Symphony in works by Bach, Betsy Jolas, Schumann, Carter, and Mahler, with the pianist Pierre-Laurent Aimard as guest soloist.

Filed under: Ludovic Morlot, music news

Mozart and the Genius of Love

Next up from Byron Schenkman & Friends: on Sunday 14 November 2021at 7:00 PM, Pacific Time, Byron is joined by violinist Rachell Ellen Wong and violist Susan Gulkis Assadi for an all-Mozart program. You can watch the performance free on YouTube (you can donate here).

To get in the mood, tonight, Friday 5 November, Sean MacLean hosts all three musicians in a live studio performance on Classical KING FM 98.1at 8:00 PM. They will play Mozart’s “Kegelstatt” Trio in E-flat major from the upcoming concert and other musical gems Byron wants to share.

Program for 14 November Concert


Wolfgang Amadeus Mozart:

Sonata in G Major, K. 301, for violin and piano

Wolfgang Amadeus Mozart:

Sonata in C Major, K. 330 (300h), for piano

Wolfgang Amadeus Mozart:

Adagio in C Major, K. 356 (617a), for glass harmonica (or piano)

Wolfgang Amadeus Mozart:

Trio in E-flat Major “Kegelstatt” K. 498 for violin, viola, and pian

Filed under: Byron Schenkman, Mozart, music news

RIP Nelson Freire (1944-2021)

Filed under: music news, Nelson Freire, pianists

Recovered Voices 2021: Schulhoff and More

On Tuesday 2 November, an online series delving into the life and music of Erwin Schulhoff (1894-1942) will be launched. Titled Recovered Voices 2021: Schulhoff and More and presented by the Los Angeles-based Colburn School’s Ziering-Conlon Initiative for Recovered Voices, the series will explore this prolific and multi-faceted composer who drew on an enormous range of styles and influences.

From the press release:

The Ziering-Conlon Initiative for Recovered Voices was established in 2013 with the purpose of championing composers such as Schulhoff whose lives were disrupted—or even ended—during the years of the Nazi regime in Europe. In collaboration with Robert Elias and with the critical support of individual philanthropists, the Initiative continues to bring this important repertory back to life for generations to come through performances, classes, competitions, symposia, recordings, and more.
For the past seven years, the Ziering-Conlon Initiative offered an annual semester-long course, “Recovered Voices: An Examination of Lesser-Known Composers and Works of the Early Twentieth Century,” with weekly lectures by Conlon, Elias, and other experts. Due to COVID, the annual in-person course was reimagined for digital platforms. This free series will consist of four 45-minute multimedia presentations by Conlon exploring the life and legacy of composer Erwin Schulhoff, including musical examples—most performed and recorded by Colburn musicians—in each installment.

Recovered Voices 2021: Schulhoff and MorePresented by James ConlonAll episodes premiere at 12pm PT
Nov. 2, 2021Recovered Voices 101
Nov. 16, 2021Erwin Schulhoff’s Early Life and Music: Tradition Meets Dada
Nov. 30, 2021Erwin Schulhoff: A Classical Music Jazz Prophet
Dec. 14, 2021Erwin Schulhoff: The Twenties and a Turn Toward Socialist Realism


All episodes will be available at colburnschool.edu/schulhoff.

Filed under: James Conlon, music news, recovered voices

RIP Bernard Haitink (1929-2021)

Bernard Haitink has died. The 92-year-old conductor passed away peacefully at home, according to his representatives.

I had the privilege of attending his very final concert, in the summer of 2019, when he led the Vienna Philharmonic Orchestra at Lucerne Festival. He maintained a close association with Lucerne for many years, including a nearby residence. Haitink’s farewell song was Bruckner’s Symphony No. 7 (without score), paired with Beethoven’s G major Piano Concerto, with Emanuel Ax as the soloist.

Christian Wildhagen penned an eloquent review: ““Hatte er zuvor bei Beethovens 4. Klavierkonzert vorrangig Emmanuel Ax, einem feinsinnigen Pianisten der alten Schule, in nobel-zurückhaltender Weise die Bühne bereitet, so kam bei Bruckner noch einmal der grosse Architekt, der überragende Formgestalter Haitink zur Geltung. Wie beim späten Günter Wand wird die Detailarbeit hier mitnichten zur Nebensache, sie bildet aber lediglich die Basis für eine viel weiter ausgreifende Gestaltung, in der Entwicklungen teilweise über drei, vier Minuten behutsam entfaltet werden (etwa in der magischen Rückführung zur Reprise im ersten Satz oder beim grossen Wagner-Epitaph im Adagio), während sich die Spannungsbögen sogar bruchlos über ganze Sätze wölben.”

That summer–the last before the pandemic–there was also a vernissage for the publication of Erich Singer and Peter Hagmann’s fine collection of essays and conversations with Haitink: Dirigieren ist ein Rätsel. An English translation has yet to be issued.

Filed under: Bernard Haitink, Lucerne Festival, music news

Joy and Sorrow Across the Waters

UPDATE: Here’s a link to this lovely concert.

Byron Schenkman & Friends launch their ninth season on Sunday, 17 October, with the program Joy and Sorrow Across the Waters. It promises to be a fascinating program, presenting traditional music and stories of the Coast Salish People alongside 17th-century European Baroque music for violin and harpsichord from Spain, Italy, Germany, and the Netherlands. The performers include Native American flutist Paul Chiyokten Wagner, Ingrid Matthews, and Byron Schenkman.

This free digital premiere will launch at 7:00 PM, Pacific Time, and remain available on the BS&F website (www.byronandfriends.org) and the BS&F YouTube channel (https://youtube.com/c/ByronSchenkmanFriends). Free access; donations welcome here.

The program lineup:

Bartolomeo de Selma y Salaverde: Canzona III (for violin and continuo)
Maddalena Casulana: Amor per qual cagion (for harpsichord)
Paul Chiyokten Wagner: Elk Spirit Calls (for flute and drum)
Jan Pieterszon Sweelinck: Unter der Linden grüne (for harpsichord)
Johann Schop: Lachrymae Pavan (for violin and continuo)
Paul Chiyokten Wagner: Skitu: story of a merwoman
Paul Chiyokten Wagner: Gentle Crystalline Waters (for solo flute)
Paul Chiyokten Wagner & Byron Schenkman: Salish Sea Improvisation (for flute and harpsichord)
Andrea Falconieri: La Monarca (for violin and continuo)
Giovanni Battista Fontana: Sonata III (for violin and continuo)

Filed under: Byron Schenkman, music news

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