Archive for February 16th, 2012

The Fight for Arts Education

Thursday, February 16th, 2012

by James Conlon

Public school districts throughout the country are struggling to meet mandated requirements with shrinking budgets. In such times, school boards are forced to make wrenching choices. The Los Angeles School Board met on February 14 to consider the elimination of a number of programs, including all elementary school arts instruction. The public outcry against these cuts was loud and clear—and effective. The Board decided to reconsider the cuts and to explore alternatives. The outcome of all this remains far from certain, but it is clear that the Board was influenced, at least for the moment, by the many letters, emails and comments it received. It is encouraging to know that if those of us who value the arts raise our voices, they can be heard.

Below was my own contribution to the discussion. To be continued, I’m sure.

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TO: Dr John Deasy, Superintendent, and Members of the LAUSD Board of Education

I write to you today having learned of the proposed funding cuts and possible elimination of the art and music program in LAUSD Elementary Schools.

As Music Director of Los Angeles Opera since 2006, and as one who, for the last forty years has been privileged to enjoy an international conducting career, I am deeply concerned. I myself am a product of the New York City Public School System, and I can personally attest to the importance that arts education plays in children’s lives.

The arts are for everyone, not a selected few. They historically have been, and must remain, an integral part of public education. A society without music and art is a society without a soul. A society that does not educate its young people endangers that soul. Art is not a frill, but an essential part of every child’s (and adult’s) intellectual, emotional and spiritual development. It is indispensable for the character development of a generation upon whom we count to constitute an informed and responsible citizenry for the future of our country.

Public arts education has suffered massive cutbacks over the past thirty years. That trend must be reversed, not made worse by further cuts. The relatively small fiscal benefit that these cuts would represent is far outweighed by the human toll of a generation of Los Angeles’ children being deprived of the joy and enrichment that the arts provide.

I understand that difficult choices must be made in these complex times. I also recognize and appreciate that you, as the leaders of the LAUSD, have no desire to make these, or any other, painful cuts.

However, the Los Angeles community looks to the District’s leadership to do what is best for its children, not only to manage, in all good faith, shrinking resources in difficult fiscal times. The creativity, compassion and wisdom required at this moment are the essence of what the arts represent in our—or any civilized –society. Standing up for artistic expression and its enduring value is, in fact, the best evidence of a society’s best intentions.

With very best wishes,

James Conlon

Which Matters More: What You Sing or Where You Sing It?

Thursday, February 16th, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

Congratulations to soprano, Amy Oraftik, whose question below won Second Prize in The Ask Edna First Anniversary contest. Amy wins a free review of her press kit or website.

Dear Edna:

I am an opera singer who recently graduated from school. In my first year out, I had a variety of opportunities. I sang at a well-respected young artist program, sang in the chorus of a B level opera house and have been singing lead roles at very small/low budget opera companies. At every turn, I’ve had to decline one opportunity in order to pursue another. For example, to sing chorus I had to turn down outreach work with the young artist program and to do a lead role at a small house, I had to turn down a chorus opportunity that would have paid more. I know that what matters most is talent, but I’m just not sure what the best choices are to build a resume and a career. It’s exciting and fulfilling to have roles but the venues are anything but impressive; whereas the young artist programs and chorus positions I get are with opera companies that are impressive and pay more, even though I don’t get to be a featured singer. My question is this: When casting directors and agents consider engaging an artist, do they care more about what the artist has performed or where they performed it? —Amy Oraftik

Dear Amy:

It is actually a bit hard to answer your question in a vacuum without knowing more about your overall career aspirations and financial realities. If your dream is to be a “featured singer” and you have reason to think that you will achieve that some day, based on feedback from your teachers and other professionals who know your work, it probably makes sense for you to go on singing lead roles, even in smaller houses, in order to build your repertoire and gain experience in those roles. Working in a young artist program can also prove beneficial, as many such programs are watched by agents and casting directors, provided that they are at a certain level. If your financial situation is such that you need to do chorus work from time to time to make ends meet, perhaps you can fit that in whenever possible.

To answer the question in your last sentence, agents and casting directors are definitely influenced by where you have sung. If your experience has only been in small companies and there is no evidence that you are advancing to new levels or attracting the attention of their colleagues, they are unlikely to make offers to you. This could well prove frustrating to you after a while and have a significant impact on your income. If you truly enjoy chorus work and feel that you could be very satisfied with the potential income, as well as the opportunity to sing in high quality productions that you find inspiring, this might be an equally good option for you. You might even find yourself singing alongside individuals who, at some point, enjoyed active careers as soloists. These are difficult economic times and everyone needs to find stability in their lives, especially if they have a family to support.

Soprano Laura Claycomb has a very interesting and informative blog on which she offers career advice in the “Young Artist Corner”. A recent column, written by bass, Martin L. Poock, shared the rewards of being a professional chorister. It sounds to me like Mr. Poock found himself in a situation exactly like yours at one point. He writes very honestly about his past quandaries and how he resolved them. While his decisions will not necessarily dictate your own, I think you will find it beneficial to read what he has written. All the very best of luck to you!

To ask a question, please write Ask Edna.

© Edna Landau 2012