NEWS: San Diego Opera avoids closure, announces 50th anniversary season

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

In a scenario that would make great grand opera, the board of directors of San Diego Opera voted to rescind a previous decision to close the company and announced plans for a slimmed-down 50th anniversary season of three fully-staged operas and a “gala concert.” Previous years have featured four full productions.

The company’s board voted on March 19 to close the company and sell its assets due to dwindling fund-raising and ticket sales. About half of those board members have since resigned and the company raised $2,116,376 in donations from 2,461 of donors as of midnight Sunday, May 18, 2014. 48% of these donors have never given before, said the company. The campaign received gifts from six countries — Austria, Australia, Canada, England, Italy, and Mexico — 36 States.

The 50th season will open on Jan. 24 with four performances of Puccini’s La Boheme,• which was the first opera the company produced. Other productions will be Mozart’s Don Giovanni and John Adams’ Nixon in China. All will be presented in San Diego’s Civic Theatre. In place of a previously planned production of Wagner’s Tannhauser, the company will present concerts on April 18 and 19 at the Jacobs Music Center – Copley Symphony Hall, home of the San Diego Symphony, which plays for the opera.

Left unstated were any plans for beyond 2015 or how the company plans to make up the gap between the funds raised and the estimated budget of $6.5 million in contribution income for the season. The reported operating budget for the season is 10.5 million, with ticket sales making up the bulk of the difference. The company is also negotiating a financial settlement after parting ways with long-time Artistic Director and General Ian Campbell and Ann Spira Campbell, the company’s deputy director (and Ian’s former wife).

• The San Diego Union-Tribune story is HERE.
• The KPBS story is HERE.
• The San Diego Opera Web site is HERE

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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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AROUND TOWN/MUSIC: A new direction for opera?

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this article was first published today in the above papers.

ARenée Fleming stars as Blanche DuBois in André Previn’s “A Streetcar Named Desire,” being presented May 18, 21 and 24 at the Dorothy Chandler Pavilion. Photo by Todd Rosenburg, Lyric Opera, Chicago.

Los Angeles Opera: André Previn’s A Streetcar Named Desire
May 18 at 5 p.m.; May 21 and 24 at 7:30 p.m.
Dorothy Chandler Pavilion, Los Angeles
Information: www.laopera.org

Los Angeles Philharmonic: Mozart’s Così fan tutte
May 23 and 29 at 7:30 p.m.; May 25 and 31 at 2 p.m.
Walt Disney Concert Hall, Los Angeles
Information: www.laphil.com
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Although unintended, it’s ironic that as San Diego Opera continues to struggle with the question of how or even whether it should move forward, Los Angeles during the next couple of weeks offers two notable examples of what the future might look like not only for San Diego but for other opera companies, as well.

On May 18, 21 and 24 at the Dorothy Chandler Pavilion Los Angeles Opera presents an innovative staging of André Previn’s opera A Streetcar Named Desire with superstar soprano Renée Fleming in the role of Blanche DuBois. Then on May 23, 25, 29 and 31 the Los Angeles Philharmonic will conclude its three-year cycle of Mozart/Da Ponte operas when Gustavo Dudamel conducts Così fan tutte at Walt Disney Concert Hall.

On March 19 San Diego Opera’s board of directors voted to close the company following the completion of this, its 49th season, due to dwindling financial support. Since then plans are moving forward cautiously to (a) find a way to finance a 50th anniversary season and (b) discover a new future direction. Fundraising will be a key to both decisions. For the past year San Diego Opera’s budget was reportedly about $15 million annually and it presented four operas.

If San Diego Opera closes, it will follow in the footsteps of Opera Pacific in Orange County and New York City Opera, each of which shuttered its doors. If SD Opera continues, it will undoubtedly be as a different, probably smaller, company.

Christopher Koelsch, LA Opera’s chief executive officer, says he has no inside knowledge of the San Diego Opera struggles, but he can relate to them. “When the 2008 worldwide crisis hit,” he remembers, “we at LA Opera had to pivot to become a much different company, going from a $60 million budget to $40 million. It wasn’t easy.”

What’s important, say Koelsch and other arts organization leaders, is that companies must be in constant dialogue with their communities as organizations determine what programming can and should be presented. A key word that Koelsch uses frequently is “diversity,” a word that relates both to audiences and programming.

“The traditional subscription model of selling tickets is breaking down,” says Koelsch. “Instead of one large audience, we now have audiences breaking down into smaller niches. It’s not that we’re totally abandoning the idea of presenting grand operas in a house the size of the Dorothy Chandler Pavilion. But we’re constantly trying find ways to demystify the art form so that we can broaden our overall appeal.”

Earlier this spring, LAO presented another in its family opera programs, the world premiere of Jonah and the Whale at the Cathedral of Our Lady of the Angels diagonally across the Temple St. and Grand Ave. corner from the Music Center. Thousands of people attended the free performances; many had never seen an opera before.

A Streetcar Named Desire is another example of reaching out to different audiences. The original work was a play written in 1947 by Tennessee Williams, for whom it won the Pulitzer Prize in 1948. Three years later, Elia Kazan’s searing film adaptation won Academy Awards for Vivian Leigh (best actress), Karl Malden (best supporting actor) and Kim Hunter (best supporting actress). Marlon Brando, who played Stanley Kowalski, lost out to Humphrey Bogart (The African Queen) for the Best Actor Oscar.

Previn — who, although he has composed extensively, is better known for his work in motion pictures and as an orchestra conductor — used a libretto by Philip Littell to adapt the play into an opera; it was premiered in San Francisco in 1998. However, rather than using the elaborate original production, LAO is using Brad Dalton’s intriguing staging that puts the costumed cast at the front of the stage, with the orchestra on stage behind the action. The production has played to strong reviews at Carnegie Hall in New York City and Lyric Opera Chicago.

Koelsch cautions that creating a show with a “much smaller footprint” from a larger version may not always be feasible, but it’s one way for companies such as LAO to bring contemporary operas into the company’s increasingly large repertoire.

Of course it helps that Fleming is portraying the one of the starring roles in Streetcar. “I’ve been eager to bring Renée to Los Angeles as Blanche DuBois for more than a decade,” says LAO’s General Director Plácido Domingo, Fleming’s only rival for operatic superstar status. Ironically, Domingo is appearing onstage in Jules Massenet’s Thais, which is running in tandem with Streetcar. The opportunity to present Streetcar came together at the last minute, as least in opera company terms. It didn’t materialize until LAO had already announced its current season last year.

The L.A. Phil’s Così follows in the footsteps of Don Giovanni and The Marriage of Figaro to be presented on stage at Disney Hall during the past two years. In each case, the director and stage designer had to find innovative ways to cope with the fact that Disney Hall was built for orchestra and choral groups, not operas. That means there is no proscenium or ways to hang scenic backdrops. Overall, the two Mozart productions successfully managed that challenge.

Well-known opera director Christopher Alden will lead the Cosí fan tutte production, which has been created by architect Zaha Hadid, winner of the Pritzker Architecture Prize in 2004 (the previous productions were also designed by architects; Frank Gehry handled Don Giovanni, while Jean Nouvel did the “installations” for The Marriage of Figaro). Hussein Chalayan has designed the Cosí costumes.

As is the case with LAO, the Phil is using this unique combination of talents to reach out to new audiences, as well as to traditional opera and symphony fans.

Next season LAO continues its broadening trend in two radically different ways. For its production of Hercules vs. Vampires in the Dorothy Chandler Pavilion, the company will synchronize live music with the 1961 cult fantasy film. When actors on the screen open their mouths to speak, the audience will instead hear their lines sung by members of the Domingo-Colburn-Stein Young Artist Program, accompanied by a 26-piece orchestra.

The company’s final offering of the 2014-2015 season will be David T. Little’s Dog Days, which will be presented at Disney Hall’s The Roy and Edna Disney/CalArts Theater (REDCAT), which seats less than 300 people.

This is definitely not your grandfather’s opera company.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: Pasadena Symphony concludes season with scintillating Shostakovich 5th

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

jahjaconduct “Going out in a blaze of glory” may be a hackneyed phrase but it was applicable to yesterday afternoon’s concert at Ambassador Auditorium that concluded the Pasadena Symphony’s 86th season. Guest conduct Jahja Ling (left) and the musicians ended the program with a scintillating and superbly played performance of Shostakovich’s Symphony No. 5 in D Minor.

And yet it wasn’t the brass blazing or percussion thundering in the final measures that was the highlight for this critic. Instead, it was the expansive “Largo” movement, a symphony for strings with occasional woodwind and harp interjections that Ling and the orchestra delivered sumptuously. Shostakovich divided each of the string sections into two components (three for the violins) and Ling expertly delineated each of the sections in a way that was unusually comprehensible to those in the auditorium.

Surrounding that languid third movement, Ling — who just completed his 10th season as music director of the San Diego Symphony — drove the opening and closing movements forward with relentless urgency and caught all of the sardonic, lurching humor in the “Allegretto” second movement.

The orchestra, which always seems to relish playing music by this 20th century composer, was in top form again in yesterday’s performance. Although Ling singled out many individuals in the winds and brass sections during the bows, he asked the strings to stand en masse, which was a pity because he might well have asked the split sections to take their own bows.

Pairing Shostakovich’s fifth symphony with Tchaikovsky’s Piano Concerto No. 1 turned out to be an excess of bombast. There were, of course, dangers of over-exposure. If Tchaikovsky’s first isn’t the most-played concerto ever written, it’s No. 1A to George Gershwin’s Rhapsody in Blue, especially in Southern California where, because of outdoor and indoor concerts, we hear several performances of each most years. Nonetheless, the combination proved to be a savy marketing move. Yesterday afternoon’s audience appeared to easily be the largest this season and the evening concert was nearly sold out.

The soloist yesterday was 38-year-old Israeli-born pianist Shai Wosner, who has made quite a good reputation recently playing Schubert and Mozart, but has come very late to this famous work, which he was performing in public for just the third time. In his preconcert Q&A yesterday, Wosner admitted candidly, “I’m still unwrapping this work and trying to get my mind around it. Perhaps by the 150th time I will fully understand it.”

His inexperience showed. Wosner delivered an ultra-cautious performance that had only the minimum amount of dazzle, although his decision to focus on sensitive nuance at the expense of bravura had its compensations. In the end, however, at least this listener wished he had elected to program a Mozart concerto instead for his PSO debut.

Hemidemisemiquavers:
• In that preconcert session, Wosner — who studied at The Juilliard School with Emmanuel Ax — said that famous mentor taught him that “what you hear onstage may be different that what they [the audience] hear. The best performances are when those two views come together.”
• This was the last concert of a four-year-run to be led by guest conductors. PSO management said that ticket sales for the 2013-2014 season exceeded goals by 30%.
• Beginning Nov. 1, the 2014-2015 season will have either Music Director David Lockington or Principal Guest Conductor Nicholas McGegan on the podium. My preview is HERE.
• Joseph and Elizabeth Kahn’s program notes yesterday called the first piano concerto and violin concerto “Tchaikovsky’s two most popular works,” a questionably sweeping statement that tosses aside the 1812 Overture, the Nutcracker, and the composer’s fourth, fifth and sixth symphonies.
• The PSO takes a four-week break before reincarnating as the Pasadena Pops, which performs a five-concert summer series at the Los Angeles County Arboretum under the baton, keyboard and vocals of Principal Conductor Michael Feinstein. Info: www.pasadenasymphony-pops.org
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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ANALYSIS: Doors close and open at local orchestras

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

Like any business and top executives, orchestras and their music directors undergo cyclical lives — it’s just that when an orchestra changes its music director it’s newsworthy, at least in its hometown or region.

In Los Angeles, we’ve gotten a bit spoiled because both the Los Angeles Philharmonic and Los Angeles Chamber Orchestra have enjoyed great longevity in their musical leadership. Esa-Pekka Salonen served as the L.A. Phil’s music director from 1992 through 2009 and his successor, Gustavo Dudamel, came on board immediately after Salonen stepped down.
Kahane
Jeffrey Kahane (right) has been LACO’s music director since 1997 but recently announced that the 2016-2017 season will be his 20th and final season at LACO’s helm. Meanwhile, earlier this season, Enrique Arturo Diemecke announced that he would not return as the Long Beach Symphony’s music director.

On the other side of the coin, the Pasadena Symphony has now settled its musical leadership team. Michael Feinstein returns this summer for his second season as the Pasadena Pops’ principal conductor, and Music Director David Lockington and Principal Guest Conductor Nicholas McGegan will divide duties for the PSO’s upcoming season as they begin their tenures with the orchestra.

In some ways, Long Beach’s situation parallels the Pasadena Symphony when it severed relationships with its long-time music director, Jorge Mester, in 2010. The LBSO management situation appears more stable than the turmoil that had enveloped the PSO four years ago, so it may not take the length of time that it took the PSO to get its new Lockington-McGegan-Feinstein music leadership team on board but it will undoubtedly take some time to find the right replacement for Diemecke, who has led the LBSO for 10 years.

LACO has more than three years to find Kahane’s replacement but they may need every month . For one thing, Kahane brought unique combination of skills to the position. Among his predecessors, only Sir Neville Marriner and Christof Perick could have been classified as “pure” conductors. Gerard Schwarz was well known for his trumpet skills as for his conducting prowess and Iona Brown did most of her conducting from the first violin chair. Kahane came to LACO with a modest, albeit growing, reputation as a conductor but he was — and is — a high-profile pianist, something he hopes to continue in his post-LACO life.

Moreover, LACO has several musical streams beyond its orchestral series, including its “Baroque Conversations” and “Westside Connections” series. Concertmaster Margaret Batjer has curated the latter series; what influence or changes will a new music director want to make in either or both of these series will be part of the questions involved in naming Kahane’s successor.

In contrast to LACO and Long Beach, the Pasadena Symphony is looking forward eagerly to its new era. Some music directors come to new positions with great overarching themes, but Lockington’s first season as Pasadena Symphony music director has a series of themes interwoven throughout the five programs, each of which will be presented in two concerts at Ambassador Auditorium.

Lockington-small4Web“I suppose if I had to pick one adjective for the season,” said Lockington (right) recently, “it would be ‘colorful.’ “ The PSO’s 2014-2015 season includes a wide range of music, from Baroque to contemporary, with a healthy selection of American music sprinkled throughout the five programs.

Lockington and McGegan will alternate in leading the five programs. The opening concerts on Nov. 1 will feature an all-American program that says Lockington, “focuses on popular, virtuosic styles” using music by Leonard Bernstein and George Gershwin.

The program opens with Ceremonial Fantasy Fanfare, which Lockington wrote in 2009 for the Grand Rapids Symphony (where he remains music director) in conjunction with a project he championed entitled “ArtPrize.” “The piece features church bells,” says Lockington, “and when we performed it in Grand Rapids the city’s churches rang their bells to coincide with the music.” Unfortunately, Ambassador is too far from Pasadena’s churches to achieve the same effect.

The Nov. 1 concerts will also feature pianist Terrence Wilson as soloist in Gershwin’s Concerto in F. Lockington has never conducted the young African-American pianist but he likes what he has heard. “He plays with great panache,” says Lockington, “with a clear, precise king of brilliance.”

Perhaps the most interesting program is the Feb. 14 concerts, which will be the second that Lockington will conduct. It features Dylana Jenson (who is also his wife and mother of their four children) as soloist in Shostakovich’s Violin Concerto No. 1.

Lockington’s decision to feature his wife as soloist on Valentine’s Day may seem to smack of nepotism but nothing could be further from the truth. A Los Angeles native, Jenson was a child prodigy who studied under Nathan Milstein (among others), shared silver medal in the 1978 Tchaikovsky International Competition, and made Carnegie Hall debut two years later with Eugene Ormandy and the Philadelphia Orchestra. The Shostakovich first violin concerto is a work that Lockington and Jenson recorded in 2008 (along with the Barber Violin Concerto) with the London Symphony Orchestra to great acclaim several years ago.

The program will open with Enter Light, a work by Joel Scheckman, a California native who is a member of the Grand Rapids Symphony clarinet section. “It’s about an eight-minute piece that works beautifully as a lead-in to the violin concerto,” says Lockington. The concert concludes with Beethoven’s Symphony No. 7.

Seminal works anchor McGegan’s two concerts: Brahms’ Symphony No. 2 and Beethoven’s Symphony No. 6 (Pastoral). The cheeky January 17 concerts open with Peter Maxwell Davies’ An Orkney Wedding, With Sunrise, and also feature Poulenc’s Concerto for Two Pianos with Esther Keel and her mother, Mihyang Keel, as soloists.

So as LACO and the Long Beach Symphony move forward into uncertain futures, the Pasadena Symphony and Pops appear to be on the threshold of new chapters of stability. Just remember: in a few years (or, if the stars align, decades), the cycles will undoubtedly turn over again.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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