Damn The Recession, Full Speed Ahead
As we settle back into our normal routine post-tour, I've been catching up on some of what we missed while we were overseas. (That Top Chef finale on my DVR isn't gonna watch itself, after all.) And last Friday's Wall Street Journal carried a review of one of Minnesota's other classical music organizations that is well worth a read. What makes the story newsworthy is that it's about an organization bucking the tried-and-true strategy of arts groups getting hyper-conservative in their programming the moment things turn ugly financially. Apparently, the leaders over at Minnesota Opera see a different way...
"[Minnesota Opera] has launched a $5.5 million initiative intended to infuse the operatic repertoire with new works. Spanning seven seasons, the project, called Minnesota OperaWorks, involves three commissions, three revivals of neglected works, and the co-production of a new opera... Minnesota Opera deserves enormous credit for continuing to devote resources to the future of the art form, especially now."
Now, there's a bit of hyperbole involved here, because MN Opera had undoubtedly planned this project before the global crisis really took hold. But at the same time, this is exactly the sort of project that orchestras and opera companies tend to take an axe to when times get tough (we almost lost our own hugely successful Composers' Institute to a round of budget cuts several years back,) and the Opera folks obviously have no intention of backing off their ambitious plans. For an art form that tends to be even more hidebound and artistically conservative than the orchestral world, this dedication to bringing new works to the fore could represent a major step forward, and will likely have resonance at companies around North America.
Now, wouldn't it be nice to see a few orchestras step up and announce a major commissioning project to keep a few composers off the welfare rolls in these troubled times?
"[Minnesota Opera] has launched a $5.5 million initiative intended to infuse the operatic repertoire with new works. Spanning seven seasons, the project, called Minnesota OperaWorks, involves three commissions, three revivals of neglected works, and the co-production of a new opera... Minnesota Opera deserves enormous credit for continuing to devote resources to the future of the art form, especially now."
Now, there's a bit of hyperbole involved here, because MN Opera had undoubtedly planned this project before the global crisis really took hold. But at the same time, this is exactly the sort of project that orchestras and opera companies tend to take an axe to when times get tough (we almost lost our own hugely successful Composers' Institute to a round of budget cuts several years back,) and the Opera folks obviously have no intention of backing off their ambitious plans. For an art form that tends to be even more hidebound and artistically conservative than the orchestral world, this dedication to bringing new works to the fore could represent a major step forward, and will likely have resonance at companies around North America.
Now, wouldn't it be nice to see a few orchestras step up and announce a major commissioning project to keep a few composers off the welfare rolls in these troubled times?
Labels: all music is local, new music, orchestras not named minnesota
posted by Sam at
5:49 PM
3 Comments:
The LA Phil has announced the Salonen Commissions Fund:
http://www.laphil.com/support/salonenfund.cfm
and
http://www.classicalsource.com/db_control/db_news.php?id=1077
There's been no word yet on the mix between established composers who are often programmed (Salonen, Saariaho, Part, Adams, Lieberson,...) and others who may be ekeing out a living.
I should probably have added "other than the LA Phil" to that last paragraph. Under Salonen, they have done more to promote new music and make it a fixture on concert programs than any other major orchestra in America. And as great as Salonen's work there has been, I think the rest of us would do well to find ways to make new music work in our own cities...
I am not that versed in new music but I get the feeling that the LA Phil gives us only a glimpse of what is going on in that world. I gave it a try for a little while but just didn't "get" what they all saw/heard in these works and composers. The downside of not feeling confident in the hands of the MD and programmers is a lot of work to switch out of concerts, find others to switch into, etc.
Current indications are that Dudamel isn't going to change things much. John Adams has been announced as a creative consultant and Salonen will be back to conduct periodically after a year's absence.
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