NEWS: Lora Unger named CEO of Pasadena Symphony Association

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

Unger2014-LRJust when we thoughts things had settled down at the The Pasadena Symphony Association the wheel turns again. The association, which, operates the Pasadena Symphony and POPS, today announced that it has tapped Lora Unger (right) as its new Chief Executive Officer, effective November 1. Read the Pasadena Star-News story HERE.

Unger replaces Paul Jan Zdunek, who has been named Chief Capital Development Officer with Singpoli Capital Corp. in Pasadena. For the past several years, Singpoli has sponsored the Pasadena Symphony’s indoor classics series.

Zdunek took over the association in December 2008 in the midst of a major financial crisis that resulted in part from financial losses incurred in the recession. One of his first moves was to hire Unger and together the two have worked with others to steer the PSA back to financial and artistic health.

Among the changes were moving the Pasadena Symphony’s indoor season from the cavernous Pasadena Civic Auditorium into the more intimate Ambassador Auditorium, one of the world’s acoustic gems, in 2010. Two years later the Pops shifted into its summer home, the Los Angeles County Arboretum. The PSO also presents a holiday concert at All Saints Church, Pasadena.

Other changes were messier. Long-time PSO Music Director Jorge Mester left in acrimony and Pops leader Rachael Worby also stepped down. Eventually Zdunek and the association hired Marvin Hamlisch as the Pops’ principal conductors only to have him die suddenly in 2012. Despite the grief from Hamlisch’s death, Zdunek and the board took a gamble by hiring entertainer and historian Michael Feinstein to replace Hamlisch, a toss of the dice that has paid off well both artistically and financially.

The Pasadena Symphony’s music director, David Lockington, will lead his first concert in his new role on Nov. 1 at Ambassador Auditorium (LINK). Noted British conductor Nicholas McGegan will assume his new role as the symphony’s principal guest conductor January 17 (LINK).

In a media release, Lockington said he is “thrilled for Paul and absolutely delighted that Lora will be assuming the role of CEO of the Pasadena Symphony Association.” Lockington pointed out that he has “worked with Lora for over four years. She is visionary, smart and an astute strategist. Her style is a stimulating blend of seriousness and humor which makes for a creative working environment.”

Unger, who is a trained violist, holds a BA in Music with a Minor in Business Administration from the University of Louisville, and received her MA in Arts Administration from the Cincinnati College-Conservatory of Music and Cincinnati College of Business Administration.

Prior to coming to Pasadena she worked with the Santa Fe Chamber Music Festival, as well as the Cincinnati, Modesto, and Jacksonville Symphony Orchestras in public relations, marketing and artistic operations. She was a League of American Orchestras’ Orchestra Management Fellow with residencies at the Aspen Music Festival, New Jersey Symphony Orchestra, Los Angeles Chamber Orchestra and San Francisco Symphony. She is a member of the Association of California Symphony Orchestras and a presenter at their conferences

“Given the enormous contributions to our success that Lora has made for us, we’re delighted to elevate her to the position of CEO, following thoughtful deliberation by the Board,” said Kay Kochenderfer, president of the PSA Board of Directors, in the media release. “Over the past five years, we’ve seen a 20 percent increase in Classics Series ticket sales, an astonishing 200% increase in POPS sales, and an 85% subscription retention rate.

Read the full media release HERE.
_____________________

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

Twitter Pinterest Reddit Tumblr Email

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.
_______________________

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

Twitter Pinterest Reddit Tumblr Email

AROUND TOWN/MUSIC: Back to work

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.
______________________

Pasadena Symphony; Nicholas McGegan, conductor; Umi Garrett, pianist
Saturday at 2 p.m. and 8 p.m.
Concert preview with Nicholas McGegan one hour before each performance.
Ambassador Auditorium; 131 South St. John Ave., Pasadena
Tickets: $35-$105.
Information: www.pasadenasymphony-pops.org
__________________

As Christmas and the holiday season fade into pleasant memories, the classical music season begins to ramp up again for what will be a busy 2014.

• The Pasadena Symphony resumes its season next Saturday at 2 p.m. and 8 p.m. at Ambassador Auditorium. Nicholas McGegan begins his tenure as the orchestra’s principal guest conductor by leading a program of Dvorak’s Symphony No. 6 and Chopin’s Piano Concerto No. 1, with 13-year-old Umi Garrett as soloist.

McGegan, who turns 64 three days after these concerts, has built an illustrious career leading ensembles that perform baroque and older music on period instruments. Since 1985, he has been artistic director of the Philharmonia Baroque Orchestra in San Francisco. However in recent years he has expanded his repertoire to include conducting music from later eras. Two years, he made his Pasadena Symphony debut leading Beethoven’s Symphony No. 3 (“Eroica”). Last season he and the orchestra played Mahler’s Symphony No. 4.

Last year, the PSO announced that McGegan would join its new music director, David Lockington, and Principal Pops Conductor Michael Feinstein, in leading the orchestra’s musical future (LINK). McGegan expects to conduct two classical concerts a year in the next two seasons (Lockington will lead the other three). They make a potent trio for PSO audiences.

Garrett will be making her PSO concert debut in Saturday’s concerts. She appeared on “The Ellen DeGeneres Show” at age 8 and last year won first prizes in several competitions, including the 13th Osaka International Music Competition in Japan. She has also won top prizes in two different competitions bearing Chopin’s name, one in Budapest and the other in Hartford, CT (it should be noted that neither are the more prestigious International Chopin Piano Competition, which since 1927 has been held approximately every five years in Warsaw, Poland).

• The Pasadena Master Chorale continues a recent tradition as it joins forces with Los Angeles Daiku and the city of Naruto, Japan, to present a performance of Beethoven’s Symphony No. 9 next Sunday at 5 p.m. at the Aratani Theatre in Little Toyko (244. S. San Pedro St. in downtown Los Angeles). Jeffrey Bernstein will lead the PMC and LA Daiku, orchestra and soloists, along with singers from Japan who will travel to Pasadena to join this performance. Performances of Beethoven’s 9th are a staple around New Year’s in Japan. Information: www.pasadenamasterchorale.org

BTW: if you are into comparisons, guest conductor Kazem Abdullah will lead the Pasadena Symphony and Pasadena Singers in performances of Beethoven’s 9th on Feb. 15 at Ambassador Auditorium. The concert will also include a performance of Morten Lauridsen’s Midwinter Songs. Information: www.pasadenasymphony-pops.org

• The Los Angeles Philharmonic returns to Walt Disney Concert Hall on Friday and Saturday evenings and next Sunday afternoon. Christoph Eschenbach, music director Washington D.C.’s National Symphony, will lead Dvorak’s Symphony No. 9 (From the New World), Beethoven’s Egmont Overture and Schoenberg’s Violin Concerto, with Christian Tetzlaf as soloist.

The following weekend (Jan. 17-19), young English conductor Robin Ticcati returns to lead the Phil in music by Ligeti, Schumann and Brahms Piano Concerto No. 1, with Emmanuel Ax as soloist. The concerts are part of what’s being termed as Ax’s “Brahms Project.” Friday is a “Casual Friday” concert to Schumann’s Symphony No. 4 will be omitted.

Information: www.laphil.com

In case you are wondering, Music Director Gustavo Dudamel returns to the LAPO podium on Feb. 21 as the Phil and Simón Bolivár Symphony Orchestra perform “TchaikovskyFest,” a 10-day long orgy of Tchaikovsky symphonies, concertos and other music. Information: www.laphil.com
_____________________

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

Twitter Pinterest Reddit Tumblr Email

(CORRECTED) AROUND TOWN/MUSIC: Opening a new chapter for the Pasadena Symphony

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.
Lockington PSO MD
In any musical organization’s life there are a number of key turning points, whether for good or bad. Often the full impact of decisions cannot be fully evaluated for several years but eventually we can look back and realize that an “aha!” moment did occur. Such a time would seem to be occurring with the Pasadena Symphony, which will open its 86th season Saturday with concerts at 2 p.m. and 8 p.m. in Ambassador Auditorium.

The program — Shostakovich’s Festive Overture, Stravinsky’s The Rite of Spring, and Leonard Bernstein’s Serenade, with Anne Akkiko Meyers as soloist — will mark the inaugural concerts of David Lockington (right) as the orchestra’s fifth music director. (INFO)

More importantly, they also appear to signal the end of more than six chaotic years in which the orchestra amalgamated with the Pasadena Pops Orchestra, weathered a nearly disastrous financial storm, remade its board and executive staff, successfully renegotiated a contract with its musicians through 2015, changed performance locales for both the Pasadena Symphony and the Pops (three times for the Pops), and completely overhauled the organization’s musical leadership team not once but several times.

Not all of these steps occurred seamlessly nor were they universally applauded. Good people lost jobs or volunteer positions. Two conductors beloved by audiences — Jorge Mester and Rachael Worby — departed; another, Marvin Hamlisch, died unexpectedly.

Nonetheless, the saga appears to have come to an end. In a decade where several orchestras around the world have folded or undergone significant labor strife, that statement may sound simple but it’s significant.

Michael Feinstein recently concluded a triumphant first season as principal conductor of the Pasadena Pops and his contract was quickly extended. Saturday’s concerts open a new era for the Pasadena Symphony, as well.

Owing to the fact that orchestra seasons are planned several years in advance, this will be the only concert that Lockington will conduct this season. In addition, Nicholas McGegan — like Lockington, a native of England — begins his tenure as the PSO’s principal guest conductor when he leads the season’s second concert on Jan. 11. (INFO) That more than two-month gap between concerts is one of several issues confronting the Pasadena Symphony Association at it marches forward.

Less than a decade ago, the PSO offered eight classical programs a season (my original post said nine concerts). Can the orchestra continue to rebuild to that former level or beyond and thus increase its relevance to the Pasadena arts community and beyond?

Lockington, McGegan and Feinstein all have busy careers; Lockington and McGegan have long-standing tenures with other ensembles. Both promise to conduct the PSO multiple times in succeeding seasons but can they become part of our community rather than simply “fly in, conduct, fly out” maestros?

Can the PSO find ways to reach out to an audience that more closely mirrors the increasingly broad age and ethnic makeup of Pasadena and the surrounding communities? One way may be a venture that will be launched with Saturday’s concerts: the Pasadena Symphony Lounge, which will be set on Ambassador’s outdoor plaza and feature a “small-plate” menu, hosted by Claud & Co; a full bar; and light music. That sort of ambience might appeal to a younger audience.

Finally, can the Pasadena Symphony Association find a way to solve the riddle that permeates the entire classical-music community: how can organizations offer high-quality programs at reasonable prices for patrons while paying fair compensation to musicians and staff members? That requires rigorous, visionary management, dedication and skill from musicians, and communities that care enough about classical music to donate the funds that will make up the difference between expenses and revenues from ticket sales. Keeping that balance continues to be a high-wire act

So more than a successful opening program is at stake Saturday. Stay tuned to learn whether this is, indeed, becomes an “aha!” moment.
_______________________

(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

Twitter Pinterest Reddit Tumblr Email

NEWS: Pasadena Symphony names new music director, principal guest conductor

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

Don’t be surprised if the Pasadena Symphony adopts “The British are Coming” as the theme for an upcoming season. In biting England-like weather conditions today in the rotunda of the Pasadena City Hall, the PSO named British-born David Lockington as the orchestra’s next music director and also announced that another Brit, Nicholas McGegan, would serve in the newly created post of principal guest conductor.

Both contracts are for three years. The 56-year-old Lockington (right) was already scheduled to conduct the opening concert of the orchestra’s 86th season Nov. 2 at Ambassador Auditorium, a program that will conclude with Stravinsky’s The Rite of Spring), and McGegan was slated for his third consecutive appearance with the ensemble on January 11, 2014 (LINK)

The remaining concert this season and the other three concerts next season will be led by previously announced guest conductors. Beginning in the 2014-2015 season, Lockington will conduct three concerts annually and McGegan will lead two.

Lockington is in his 14th season as music director of the Grand Rapids Symphony in Michigan. Since 2007 has served in a similar capacity with the Modesto Symphony in central California (Paul Jan Zdunek, CEO of the Pasadena Symphony Association, came to that position from the Modesto Symphony). Lockington is also principal conductor of Spain’s Orquestra Sinfonica del Principado de Asturias. He said today he would continue in those positions but expects to spend several weeks in Pasadena beyond those when he conducts.

An accomplished cellist before turning to conducting, he and PSO Principal Cellist Andrew Shulman played cello together in the National Youth Orchestra of Britain more than 30 years ago and Lockington once served as assistant principal cellist with the Denver Symphony). Lockington has also been music director of the Long Island Philharmonic, New Mexico Symphony, Cheyenne Symphony and the Ohio Chamber Orchestra.

McGegan, 61, is international renowned as a baroque music specialist but in recent years has been broadening his conducting repertoire. Two years ago he led the PSO in a performance of Beethoven’s Symphony No. 3 (Eroica) and earlier this year was on the podium for the PSO’s performance of Mahler’s Symphony No. 4.

For 27 years, McGegan has been music director of the San Francisco-based Philharmonia Baroque Orchestra and Philharmonia Chorale. He’s also a familiar face on the Los Angeles Philharmonic podium and will lead the LAPO this August in Hollywood Bowl.

At the media conference, today Lockington called his appointment something of a homecoming. “My wife [concert violinist Dylana Jenson) has relatives in the Valley,” he explained, “so we’ve been coming here for years and we’ve always hoped that we’d establish a professional reason to keep returning.”

At the same time, Lockington said he was excited about the orchestra’s musicians and about reaching deep into the fabric of lives in Pasadena and the surrounding regions. “Those of who love live symphonic music have a responsibility to be forceful advocates for the arts,” he declared. “I’m particularly interested in connecting with young people and making a difference in their lives.” Lockington and his family (he and Jensen have four children) will continue to live in Grand Rapids but he expects to spend several weeks in Pasadena beyond those when he conducts.

While the PSO has been led by a series of guest coductors during the past three seasons (most of whom have acquitted themselves admirably), the orchestra’s boar and musicians were determining the scope of future leadership. “We were looking for someone with leadership, musicianship and inspiration qualities,” said Board President Diane Rankin (a former member of the PSO’s flute section).

Drew Dembowski, the PSO’s principal bass who was one of four musicians on the committee that recommended Lockington, said, “David was the clear choice of the musicians. I cannot ever remember being as excited as I am about this announcement today.”

Lockington has made five recordings with the Grand Rapids Symphony (one was nominated for a Grammy in 2007) and he and Jensen collaborated on a recording of the Shostakovich First and Barber Violin Concertos with the London Symphony Orchestra in 2010.

McGegan (*left) has more than 100 recordings to his credit and has garnered both a Gramophone Award and a Grammy nomination. Like Lockington, McGegan was educated at Canbridge (McGegan also studied at Oxford, the English equivalent of attending both USC and UCLA). McGegan received an OBE from Queen Elizabeth II in 2010.

At today’s media conference, Zdunek noted that the two appointments bring to a conclusion a turbulent period that began with the worldwide financial meltdown in 2008. During the past four years, the orchestra has:
• severed its relationship in May 2010 with music director Jorge Mester after a 25-year tenure;
• named James DePreist as artistic director after Mester’s departure; DePreist died last month month at age 76;
• had former Pasadena Pops music director Rachael Worby leave after a 10-year-run;
• appointed legendary composer Marvin Hamlisch as Worby’s successor, only to have him die unexpectedly last August;
• named Michael Feinstein as Hamlisch’s successor beginning this June;
• changed outdoor venues three times (ending at the Los Angeles County Arboretum);
• moved into its new indoor home, Ambassador Auditorium;
• named Peter Boyer as the orchestra’s first composer-in-residence (the orchestra’s final concert this season on April 27 will conclude with the world premiere of Boyer’s Symphony No. 1 (LINK);
• remade its staff and board of directors; and
• retired a $1.2 million debt.

Read Janette Williams’ story in the Pasadena Star-News HERE.

Read the complete PSO media release HERE.

_______________________

(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

Twitter Pinterest Reddit Tumblr Email