Addida

A friend heard yesterday on a Memphis radio station that I was back in town to conduct ADDIDA. Shoe 'nuf!

Aida in Memphis

This week, Opera Memphis started rehearsals for AIDA. Here is Radames, tenor, Hugo Vera. Hugo makes his MET debut this year and this is his first turn at Radames. AIDA starts with a tenor aria "Celeste Aida" and Hugo says this turns out to be perhaps the most difficult thing in the whole show. The pianissimo high Bb at the end of the aria is always a challenge, but Hugo has figured out how to do it.

Surviving the Crunch

Dan Belcher did an article for Opera News which has come out. It talks about how five companies--San Diego, St. Louis, Cincinnati, Tulsa, and Memphis have reacted to the recession. I don't remember saying "furniture" instead of "scenery" but it's still a good piece.

John Douglas

We are sorry to note the passing of opera conductor, coach, and producer John Douglas. John had one of the best ears of any musician I have ever met. He was meticulous--when he listened to a singer, he made very careful lists of issues. Sometimes the list was overwhelming, but John was able to communicate in a very level headed and helpful manner. Although I don't know the full list of singers with whom John worked,I know there were some great ones, including Denyce Graves, William Stone, and Victoria Livengood. John was also willing to delve into the area of contemporary opera--including works by opera composer Bruce Trinkley.

State Fairs and Opera Programming

Here's a weird confluence of challenges--state fair programs and opera seasons. Opera companies struggle between balancing the familiar tried and true--the BOHEMES, CARMENS, and FIGAROS--with more adventurous programming. If you program too many of the old standbuys, then some of the audience is truly tired of them and won't come back. On the other hand, innovation is costly and might scare away the traditionalists. Apparently state fairs like Iowa's have the same problem--as the Des Moines Register says, balancing the "wows with the butter cows."

Small is challenging, but worth it

Two different articles about the challenges of small organizations. One, by Terry Teachout, says that smaller regional orchestras might be dinosaurs if they limit their programming to the tried and true. Another, by Michael Kaiser, says that adventurous programming is not just for large organizations. Both articles, of course, are agreeing with each other. It is somewhat amusing that Kaiser's example of a "small organization" is the Glimmerglass Opera, one of the nation's most important summer opera festivals.

Exhausted?

Here's Michael Kaiser's take on how the recession has worn out arts administrators. I can relate to some degree, but I for the most part I never felt worn down by the board or by artists. The board felt I was doing the best I could and the artists were grateful for the work. It was really more from within--we expect to be able to pull off a miracle, to get a dollar's worth of art for fifty cents. When it gets cut to forty cents, you still expect to be able to pull it off and when you can't it gets to you.

Opera Memphis' Violetta in 1957

Today I received a beautiful photo from Joy Jemison who sang Opera Memphis' first production, a TRAVIATA in 1957. Joy was one of the many Memphis based singers who sang in the company's early productions.

Madame Butterfly

We had a great experience with Jun Kaneko's colorful and creative BUTTERFLY production. Originally created for Opera Omaha, Kaneko's sensibility, at once modern and Japanese brought out the essence of the opera and was a kind of visual amplifier for Puccini's musico-dramatic sensibility. The audiences reacted warmly to the production with many indicating it was a "top five" in their experience with Opera Memphis.

This picture, by Sean Davis, is of Pinkerton (Stephen Mark Brown) and Sharpless (Kenneth Overton)

Bust of Virginia Clark

Earlier this week, we unveiled a bust of the late Virginia Clark at the opera center. Virginia's pledge of a million dollar gift from the Adams Foundation launched the drive to build Opera Memphis' headquarters, which was named after her and her husband Henry Clark. Picture is with Renee Guibao, Virginia's daughter--also a great supporter of O.M.