Another Collaborative Piano definition

In previous postings, I've talked about what collaborative piano is and what it is not. A recent Google query brought me to another definition on the Collaborative Piano & Accompaniment Program page of the Australia String Academy website. From Charmian Gadd, honorary artistic director of the academy:

"One of the most rewarding careers a pianist can have is that of the collaborative artist, whether performing as chamber musician, repetiteur or coach/accompanist. There are fine lines separating these definitions, but nowadays the term ‘collaborative’ distinguishes the pianist who, like Geoffrey Parsons, prefers to make music in company."

“A fine collaborative pianist needs to be an excellent pianist first, of course, but a collaborative pianist requires specialist skills that solo training doesn’t often provide: sensitive listening and ensemble skills, a wide knowledge of the duo repertoire, good communication skills, and an ability to work well with a wide variety of ages and temperaments."

I like this line--"prefers to make music in company", which is really what is at the heart of the collaborative piano enterprise.

Keith Klassen's performance of Di miei bollenti spiriti on YouTube

It has recently come to my attention that Canadian tenor Keith Klassen can now be seen on YouTube singing "Di miei bollenti spiriti" from Verdi's La Traviata. Not sure of the company or location (if anyone has any info, please comment) nor is the role of Alfredo mentioned in his list of roles at present, but this is a fine performance in what will hopefully become one of his signature roles.

Opera's New Media Buzz

Two articles from print and blogosphere in the last few days highlight opera's stretching of new tendrils into new and fascinating territories. Jan Breslauer wrote in the L.A. Times about the L.A. Opera's ventures into musical theatre and increasing radio coverage, the Met's expanding repertory and directorial pool, and San Antonio Opera's foray into zarzuela. In the Wolf Trap Opera blog, Kim Witman writes about the new media workshops at the 2007 Opera America conference in Miami.

Ms. Witman's caveat about the use and misuse of new media should be read by all organizations looking to expand their demographics and offerings:

If our hip cyber-efforts don’t bear any real relationship to the product, we won’t keep a single new recruit past the first performance. Even if we get the attention of a new patron, and s/he buys a ticket, if the experience doesn’t live up to the promise of the über-sexy marketing, we’ve won the battle but lost the war. This by no means makes any of the many kinds of satisfying opera experiences inferior. Just incongruous with some of the hype that's beginning to be generated. Sell opera for what it is, and neither apologize for nor mislead folks about what it isn't.

In other words, don't dumb the product down just because you're using technology to get the attention of a new audience. Young people are smart--they'll respond to opera's sex, violence, powerful stories, and great singing just as audiences have in previous generations. The recording industry's ongoing woes would seem to suggest that music in general is going through a rough patch. With too much attention paid to the media, money, and marketing end and not enough going towards really good music, there are bound to be a lot of alienated young listeners out there. Sell the genuine product and audiences will respond. With any luck, they'll come in droves, which they seem to be doing in many opera markets across North America.

But jumping on the "look at us, we're embracing technology" bandwagon without enough real artistic integrity to back it up can result in just as much loss of market share that popular genres have suffered recently.

This Isn't Silence: Brian Current's first CD launch

Toronto composer and RCM faculty member Brian Current will be launching his first disc entitled This Isn't Silence: Works for Symphony Orchestra on Tuesday May 8 at the Lula Lounge. This Isn't Silence features works played by the Winnipeg Symphony Orchestra, CBC Radio Orchestra, New Music Concerts Ensemble, and Esprit Orchestra.

The launch at Lula Lounge is part of the Esprit Orchestra's New Wave Composers Festival and will include two concerts curated by Brian Current and Scott Good. The evening begins with a reception at 6pm.

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Last year I played in a workshop performance of Brian Current's Airline Icarus at the Glenn Gould Studio presented by Soundstreams Canada. I am pleased to report that Airline Icarus went on to be featured at the New York City Opera's Vox 2007.

Photo by Dan Bergeron

Mstislav Rostropovich RIP

The New York Times has reported that legendary cellist and conductor Mstislav Rostropovich passed away today in Moscow.

Update:

A remembrance by On An Overgrown Path's Pliable:

Mstislav Rostropovich will be remembered as a genius with the cello and baton, as a champion of human rights, as a consummate ambassador for music, and above all for his love for humanity. He truly reached out and was burnt by the music, let us celebrate that today.

Scott Spiegelberg talks about his favorite Slava recordings.

Valerie Kampmeier reminisces on playing lessons for a student of Galina Vishnevskaya, Slava's wife:

Another time she opened up to us both about the challenges of her life in the USSR with Slava after Rostropovich was disgraced for having publicly defended Solzhenitsyn. They eventually were obliged to go into exile in the West, which she credited with having saved his life. She had been the prima donna at the Bolshoi Opera, and her career was also in ruins at that point. Her autobiography, Galina, which recounts the whole story, including how she survived the Siege of Leningrad, is totally compelling. I felt so much admiration for them both, and gratitude for living in a democracy.

Normal Lebrecht weighs in on the lack of coverage in the US media
Another reminiscence in DownWithTyranny
Quotes by and about Rostropovich from Associated Press

More:

The Guardian's obituary, with tributes from Steven Isserlis, James MacMillan, and Martin Kettle
Washington Post
Associated Press
The Telegraph
CBC

Slava and Richter play the opening of Beethoven's Fourth Sonata for Cello and Piano:

Tapestry's new site design

Take a look at the sleek new design of Tapestry New Opera Works' website. The successful company, now in its 27th year, made news a few months ago for not only retiring its debt but posting a surplus of $125,000 for the previous fiscal year. The earlier version of their site had a lot of information but was a bit difficult to navigate, with a lot of prime content accessible only via search engine. The new look not only features their new rotated-letter logo, but a much more compact style with all the content available on the cleverly crafted sidebar. It's also noticeably quicker than the previous incarnation of the site.

My next project with the company is playing for the workshop of Sanctuary Song, a multimedia opera for young people by Marjorie Chan and Abigail Richardson that shows in early June. After having played the original 2003 liblab version of the work, I am glad to see that the project is finally underway to create a full-length version of the extremely moving scenario. More later...

Back in Toronto

Saying farewell (for now) to the Yukon, Wendy and I travelled back home to Toronto yesterday armed with gifts for the girls. While waiting in Vancouver International Airport, who should I meet in a gift shop but my teacher, colleague, and friend Rena Sharon, en route to Winnipeg to give a lecture to a group of educators. After offering congratulations on the recent Walrus article about her travels to Rwanda, we boarded our plane (now also equipped with a sheaf of VISI flyers) and after a slightly bumpy flight to Toronto, arrived back home.

Today: 4 hours of auditions to hear for singers applying for RCM Community School scholarships, then a full afternoon and evening of teaching. Tomorrow I actually get to make music instead of just teaching it...