Monday, August 29, 2016
It’s not one of the world’s opera destinations, but Boston Lyric are turning a 40th anniversary to good use. Looks like they have defined a market hunk. Press release: Boston, MA — August 22, 2016 – Boston Lyric Opera (BLO) Stanford Calderwood General and Artistic Director Esther Nelson announced today a multi-platform, regional recognition of the robust opera and vocal music offerings in Greater Boston over the next six weeks, and debuted an online calendar that combines them all as part of the company’s “40 Days of Opera” celebration. Inspired by BLO’s 40th season and its status as the most-enduring opera company in the city’s history, “40 Days of Opera” includes free and low-cost live events designed for audiences of all ages and all levels of familiarity, including those experiencing opera for the first time. BLO, its artistic partners, and producers and music artists across the city will be part of the celebration. In addition to live events, fresh opera-related content on partner sites and social media platforms (#40DaysOfOpera on Twitter, Facebook and Instagram) will spread opera history and information to a variety of audiences. The initiative begins this week with three opera-related events at the Boston Public Library and ends with the final performance of BLO’s Carmen on October 2. “At the heart of our mission is the belief that opera is for everyone,” Nelson said, “As the largest, oldest opera company in the region, we take seriously our position to develop future audiences for the art form and support the local organizations who produce, present and support it. It is heartening to see how many Boston-area groups are dedicated to making opera a vibrant force here.” Among the activities during the “40 Days” event: an Opera Walking Tour of Boston from Boston by Foot; concerts and educational events at the Boston Public Library and the Boston Center for Adult Education; a weekend of film screenings of acclaimed opera productions at ArtsEmerson; a special film screening and event at the Somerville Theater; live performance events from Boston Lyric Opera, the Handel and Haydn Society,Odyssey Opera, Guerilla Opera, Opera on Tap, Cerise Jacobs’ Ouroboros Trilogy (presented by ArtsEmerson and Beth Morrison Projects), and local conservatories. An in-school performance will be coordinated with theBoston Public Schools’ Arts division. Other participating groups will share Boston-centric opera highlights and create digital events across social media platforms throughout the 40 days. Additional activities are expected to be added to the calendar.
The New York Choral Society (NYChoral) is a vibrant, ever-renewing musical community which believes in the power of music to impact all lives, enriches the cultural life of New York and beyond through the world-class quality and artistic creativity of our performances, and is committed to delivering excellence to our singers, our audiences, and our supporters. An essential force in the New York choral scene since its founding in 1959, the 175-voice strong NYChoral is widely known for the outstanding artistic quality of its performances and the diversity of its repertoire, which encompasses choral masterworks as well as rarely performed and new compositions. In 2012 David Hayes joined NYChoral as its fourth Music Director (MD). Under his visionary leadership, NYChoral’s performances have included Berlioz’s L’enfance du Christ, the New York premiere of Jennifer Higdon’s The Singing Rooms, John Adams’ On the Transmigration of Souls, Paul Hindemith’s When Lilacs Last in the Dooryard Bloom’d, Mendelssohn’s St. Paul, Arvo Pärt’s Te Deum and in May 2016 a performance of Handel’s Israel in Egypt. In addition to its regular season appearances at Carnegie Hall, NYChoral has appeared at every major venue in the New York City area, including Avery Fisher Hall, Alice Tully Hall, the Metropolitan Opera House, Madison Square Garden, NJPAC, and St. Patrick’s Cathedral. NYChoral is frequently in demand as guest artists and appearances have included the Richard Tucker Music Foundation Gala since 1993, numerous appearances with Andrea Bocelli, Opera Orchestra of New York, New York Youth Symphony, American Ballet Theater, and many others. International concert tours have included China, Greece, Italy, France, Mexico, Austria, Hungry, Israel, and the Czech Republic. Please visit our website at www.nychoral.org for more information about NYChoral. Position Summary The Executive Director (ED), newly recast as a full-time position, is responsible for oversight and management of all administrative aspects of NYChoral, including, but not limited to, fundraising, marketing, board interaction and development, and day-to-day operations. This position reports to the Board of Trustees (BOT) and works in partnership with the MD and volunteer staff. In September 2015, NYChoral adopted a three-year strategic plan and supporting implementation plan. The ED will be expected to work in conjunction with the BOT to achieve the goals and initiatives of the strategic plan with an emphasis on fundraising and development. Since its founding, NYChoral has been primarily managed by dedicated volunteers from within the chorus membership. In order to accomplish its strategic plan and related goals, the organization has determined that a transition to professional management is now necessary, starting with the engagement of a full-time ED. The successful candidate will be flexible and sensitive to this dynamic, and will have the ability to provide leadership and guidance, yet work in a collaborative manner with both volunteer staff and Board while overseeing the transition to an operating model that reflects the organization’s mission, goals, and values. Duties and Responsibilities The ED will be responsible for directly executing or overseeing volunteers/staff in the execution of the duties and responsibilities outlined below. It is expected that some tasks will begin immediately upon the start of employment while other responsibilities will be rolled out over the first 3-5 years. Development and Fundraising Develop, coordinate, and execute a comprehensive strategy of financial development and support, including cultivating, securing, and sustaining new sources of revenue from individual, corporate, foundation, and governmental sources. Secure funding for specific projects/programs/concerts Organizing events, including the annual gala, donor cultivation, and other events. Prepare grant requests and reports. Work with the BOT to establish and support committees to implement fundraising initiatives. Governance, Management, and Finance Direct and manage all aspects of the organization’s finances, operations, budget, and administration to ensure fiscal responsibility and the most effective use of resources. Work directly with the Treasurer on budget preparation and approval, and manage financial operations in accordance with the budget and governmental regulations. Determine upcoming season with MD and administrative costs. Monitor expenses to budget line items; coordinate proper expense allocations with Treasurer. Comply with all local, state, and federal tax regulations, and prepare and file reports as needed. Prepare and present regular financial reports to the BOT and identify potential issues. Oversee short- and long-range planning while ensuring alignment with the strategic plan; engage BOT, music staff, and volunteer staff in periodic planning sessions. Collaborate with the BOT to cultivate and recruit new potential Board members. Support and advise the board in the regular review and revision of by-laws and policies. Create mechanisms for institutional memory. Operations and Concert Production/Management Oversee day-to-day operations including rehearsal management. Liaise with concert venues and producers of guest engagement. Oversee orchestral and professional soloist relations. Provide support to the tour planning and tour operations committees for periodic national and international tours. Serve as the year-round point of contact for potential new members and oversee the audition process in conjunction with the music staff. Audience Development, Marketing, Public Relations, and Community Relations Develop and implement a comprehensive marketing strategy both internally and externally for each season and individual concerts and projects. Oversee and track ticket sales with the goal of audience enhancement. Work in conjunction with external public relations firm to oversee all advertising efforts. Ensure that PR work is conducted in accordance with marketing strategy and the organization’s brand. In conjunction with the MD, establish and maintain an educational/community outreach program to increase awareness of the chorus by corporations, grant sources, and the general public. Provide oversight and maintenance of the website and social media. Develop and maintain an ongoing presence and relationship within the NYC arts community. Together with the MD, act as a spokesperson for the chorus to the media, government agencies, corporate community, foundations, donors, and represent the chorus at appropriate functions. Manage and perform data analysis of donors, membership, alumni, etc. Internal Communications Develop and maintain interpersonal relations with and be the liaison between the BOT, music staff, volunteer staff, chorus members, and alumni. Ensure chorus members stay adequately abreast of relevant information and enthusiastic about chorus. Maintain and enforce provisions of the member guide. Participate in the annual member review at end of season with music staff. Maintain roster of current singers, concert rosters, and seating charts. Act as central resource for member inquiries. Human Resources and Volunteer Management Identify, recruit, staff, and manage volunteers from within chorus; consider means of including external volunteer support. In the long-term, identify support staffing needs, obtain Board of Trustee approval to pursue, and oversee funding to initiate recruitment. Create and maintain job descriptions for all approved positions with Personnel Committee. Hire, train, and supervise support staff as needed/approved to achieve the organization’s goals and objectives. With Personnel Committee, create all human resources policies, practices, and procedures and ensure that they comply with state and federal employment laws and regulations. Create an administrative structure and decision making mechanisms that promote a productive working atmosphere and effective staff relations. Qualifications and Skills A bachelor’s degree is required; an advanced degree in an appropriate discipline may be considered a plus. A successful track record with at least 7-10 years of experience in non-profit management with an emphasis on fundraising/development experience, marketing, and audience development is required. The ideal candidate will be a seasoned, well-connected individual with an established reputation and network in the arts, preferably in choral music, and will be familiar with the philanthropic community with connections to the NYC artistic community. S/he will be a strategically minded, resourceful, and organized individual with strong attention to detail and strong communications skills (both written and verbal) with previous experience in the following: Fundraising, including program/project based financing and/or sponsorship, grant writing, donor cultivation (individual and corporate), “Grassroots” campaign Administrative skills, including supervision of staff/volunteers/recruitment and hiring, facilitation of organizations in governance transition, demonstrative collaborative and team building ability Development and implementation of budgets and financial management Cultivation/development of not-for-profit boards Knowledge of choral repertoire and related orchestra/soloists requirements Marketing, audience development, community/educational outreach program development, website and social media skills Term: Start date – as available; preferably January 1, 2017 Compensation: Competitive; commensurate with experience Application Instructions: To apply, email the following to NYChoralED@nychoral.org : Cover letter of interest. To increase your chances of success, we’d be interested in hearing about a successful development initiative you pursued or one you might be interested in investigating for NYChoral. Resume 2-3 professional references (optional for initial application package) [Please note that all submitted information, including references, will remain confidential; references will not be contacted without the applicant’s prior notification and agreement.] Priority deadline for application materials is September 15, 2016, or until the position is filled.
Aksel Rykkvin (treble), Orchestra of the Age of Enlightenment/Short (Signum) Boy trebles have a limited lifespan, and need to be captured at their peak, but they have a unique appeal. Voices break earlier today than they did in the baroque period, which makes the achievement of 13-year-old Norwegian Aksel Rykkvin in demanding repertory all the more remarkable. This disc is packed full of confident, musical singing, though not always impeccable in intonation. Apart from the ambiguity of having Cherubino’s arias sung by a real boy rather than a girl playing a boy, the pungent style in the Handel arias, also written for women, seems to be copied from the early-music sopranos of today, which gives the disc a rather postmodern feel. Continue reading...
We are very happy to announce our first collaboration with, Maestro Filippo Maria Bressan, that will lead our 22nd Masterclass for Choral and Orchestral Conductors. The program will consist of one masterpiece, G. F. Händel – The Messaiah. The piece will be performed almost completely in its entirety by the masterclass participants at the final concert of the masterclass. […]
Espada/Redmond/Fumagalli/Ghislieri Choir and Consort/Prandi (Deutsche Harmonia Mundi)At the end of 1706, the 21-year-old Handel arrived in Rome from Germany and immediately started making a stir in the wider musical world. The three vocal and choral works chosen by Giulio Prandi and his Pavia-based Ghislieri Consort, all recorded live in concert, date from the ensuing 12 months. Dixit Dominus sounds spirited and shapely, if not ideally pointed; the higher choral voices especially seem far back in the mix. British soprano Rachel Redmond impresses among a mixed bag of soloists. Handel geeks will be more excited by the two relatively unfamiliar cantatas. Ah Che Troppo Ineguali comprises a recitative and long aria, sung with poise by the soprano Maria Espada. Donna, Che in Ciel is more substantial, and we can hear Handel’s confidence and originality in arias such as Sorge Pure dall’Orrido Averno, which has unison strings overlapping with and anticipating the vocal melody, playing with our expectations. Continue reading...
Opera House, Buxton An unfamiliar but compelling version of Leonore precedes an assured staging of Bellini’s Romeo and Juliet opera and the challenges of Handel’s great tragedyThis year’s Buxton festival opens with Beethoven’s only opera, in an unfamiliar edition: the original version of 1805, usually called Leonore (Beethoven’s preferred title) as opposed to the final revision of 1814, known as Fidelio.Conductor Stephen Barlow and director Stephen Medcalf declare themselves partisans of Leonore, which they believe to be more satisfying and illuminating than Fidelio, though the majority of Beethoven commentators disagree, arguing that the tighter structure of the later revision and the composer’s innumerable rewrites, small and large, turned something exceptional but awkward into a masterpiece. Continue reading...
Great composers of classical music