Harteros Warms to Tosca

July 17th, 2016

Anja Harteros and Bryn Terfel

By ANDREW POWELL
Published: July 17, 2016

MUNICH — When Anja Harteros was singing her first Toscas three seasons ago, it was clear she had the vocal resources for the role, and the Mediterranean temperament. Even so, the portrayal didn’t quite compute.

Enter Bryn Terfel, a Scarpia to rattle the aloofest, longest-legged of prima donnas. And Jonas Kaufmann, trusted stage buddy, sweet Cavaradossi. Now the diva’s doubt, fear, passion and rage turn on the instant, her slashing knife grip extending a ferrous will.

Harteros fairly lived the part July 1 here at the National Theater, teamed as she must have wanted and apparently undeterred by Luc Bondy’s clunky 2009 stage conception. Warm chest tones and creamy highs, floated or hurled, came into thrilling dramatic focus this time around. Illica and Giacosa’s words made inexorable sense, the Attavanti canvas and Terfel’s guts sure targets.

The tenor, too, had a great night: astutely colored phrases, gleaming top notes, a clarion but unexaggerated Vittoria! For once, E lucevan le stelle emerged as spontaneous thought, always in Kaufmann’s wonderfully lucid Italian.

If the mighty Welshman sounded a smidgen less opulent of voice than in previous Munich Scarpias, his characterization was as potent as ever, and his savoring of Puccini’s lines most enjoyable.

The snag, alas, was Kirill Petrenko’s conducting. Forceful and weighty, it never felt rooted in the language it was supposedly driving. Still, a terrific night for the Munich Opera Festival, and nowhere more refined than during Io de’ sospiri as sung by the Tölzer Knabenchor’s uncredited soloist.

Photo © Wilfried Hösl

Related posts:
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Tonhalle Lights Up the Beyond
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Schultheiß Savors the Dvořák

Never Rent Your Theater To Cannibals

July 14th, 2016

By Brian Taylor Goldstein, Esq.   

Dear Law and Disorder:

We have a non-profit theater company with our own performance space. We are looking for additional ways to increase our revenue stream within the terms of the lease. Two questions: Can a non-profit collect revenue for rented space or must it take the form of a voluntary donation? Do you know off hand if there are tax implications?

Yes, you can definitely collect revenue for the rented space.  However, this is called Unrelated Business income (UBI) by the IRS, and it would constitute taxable income as it’s not related to you non-profit’s mission as a theater company—assuming, of course, that the missing statement filed with the IRS does not include running a catering hall. This might be different if you were renting the space to other non-profit organizations constituent with your own mission, such as local dance groups, community theater, theater camps, etc.

Regardless, I wouldn’t try calling the rent a “voluntary donation” to avoid the taxes.  It’s not voluntary if the lessee is required to pay it, and it’s not a donation if the lessee is receiving something of value in return for the money. Being entrepreneurial is admirable. Committing tax fraud is not.

In addition to considering the tax implications, you should also consider the liability and insurance implications as well. Regardless of who rents your space, should anyone be injured while on your property, your organization will be the one named in a lawsuit—especially if you will be renting it for any purpose that will involve children—the little darlings are pits of liability! While it’s a great idea to make any renters be responsible for any damages or claims, you need to require them to have insurance as well as obtain your own independent insurance. Making a renter contractually responsible does not mean they will actually pay.

Lastly, in additional crafting a well-drafted rental agreement (which means having terms that actually apply to your group, as opposed to borrowing a template from the strip club down the street that rents itself out for bachelor parties), you want to have specific written rules and guidelines as well as the ability to refuse to rent to any group or organization that you deem to be inappropriate—provided, of course, that such decisions are not made for discriminatory reasons. Just as people will blame your organization for any accidents or injuries that occur on your premises, people will associate you with tacit approval of any group or organization that rents your premises. So, hosting the North American Association of Cannibal’s Annual Banquet and Pot Luck may not be a wise idea.

__________________________________________________________________

For additional information and resources on this and other GG_logo_for-facebooklegal, project management, and business issues for the performing arts, visit ggartslaw.com

To ask your own question, write to lawanddisorder@musicalamerica.com

All questions on any topic related to legal, management, and business issues will be welcome. However, please post only general questions or hypotheticals. GG Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously and/or posthumously.

__________________________________________________________________

 

THE OFFICIAL DISCLAIMER:

THIS IS NOT LEGAL ADVICE!

The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!

 

 

Good Things Happen when You Speak to Presenters

July 5th, 2016

As pianist Anthony de Mare’s fabulous project, LIAISONS: Re-Imagining Sondheim from the Piano, took shape, he and producer Rachel Colbert found that having Anthony speaking passionately about the project with presenters yielded great results. Here, Mr. de Mare discusses with Eugenia Zukerman and Emily Ondracek-Peterson (founders of Noted Endeavors) how artists speaking with presenters can result in securing a concert.

Noted EndeavorsANTHONY DE MARE is one of the world’s foremost champions of contemporary music. Praised by The New York Times for his “muscularly virtuosic, remarkably uninhibited performance [and] impressive talents”, his versatility has inspired the creation of over 60 new works by some of today’s most distinguished artists, especially in the speaking-singing pianist genre, which he pioneered over 25 years ago with the premiere of Frederic Rzewski’s groundbreaking ‘De Profundis’.

He has performed Liaisons programs across the U.S., Canada and Cuba including Virginia Tech Center for the Arts, The Ravinia Festival, the Gilmore Keyboard Festival, the Virginia Arts Festival, the Clarice Smith Performing Arts Center, Schubert Club in Minneapolis, Mondavi Center at UC Davis, Rockport Music Festival, the Cliburn Series in Fort Worth, and Music at Meyer in San Francisco.

For more about Anthony, go to:
anthonydemare.com

For more about Noted Endeavors (including videos), go to:
notedendeavors.com

Bruce Levingston: Talk Openly About Budgets and Finances

June 28th, 2016

When discussing budgets and finances in a project, be honest, open, and timely. Be respectful of others’ budgets. In this segment with Noted Endeavors‘ Eugenia Zukerman and Emily Ondracek-Peterson, pianist Bruce Levingston talks about paying musicians and fitting within a budget.

Noted EndeavorsBruce Levingston is a concert pianist and one of the country’s leading figures in contemporary classical music. He is known for his “extraordinary gifts as a colorist and a performer who can hold attention rapt with the softest playing” (MusicWeb International). Many of the world’s most important composers have written works for him, and his Carnegie Hall and Lincoln Center world premiere performances have won notable critical acclaim. The New York Times has praised his “mastery of color and nuance” and called him one of “today’s most adventurous musicians”; the New Yorker has called him “a force for new music” and “a poetic pianist with a gift for inventive — and glamorous — programming.”

For more about Bruce, go to:
brucelevingston.com

For more Noted Endeavors videos, go to:
notedendeavors.com

 

Joan Tower: Make Music on Your Own Terms

June 21st, 2016

Joan Tower refused to be defined by competition and institutional committees; instead, she started her own ensemble, the Da Capo Chamber Players. In this segment with Noted Endeavors‘ Eugenia Zukerman and Emily Ondracek-Peterson, Ms. Tower talks about composers (and performers) making music on their own terms rather than waiting for validation from others.

Noted EndeavorsJoan Tower is widely regarded as one of the most important American composers living today. During a career spanning more than fifty years, she has made lasting contributions to musical life in the United States as composer, performer, conductor, and educator. Her works have been commissioned by major ensembles, soloists, and orchestras, including the Emerson, Tokyo, and Muir quartets; soloists Evelyn Glennie, Carol Wincenc, David Shifrin, and John Browning; and the orchestras of Chicago, New York, St. Louis, Pittsburgh, and Washington DC among others. Tower was the first composer chosen for a Ford Made in America consortium commission of sixty-five orchestras.

Leonard Slatkin and the Nashville Symphony recorded Made in America in 2008 (along with Tambor and Concerto for Orchestra). The album collected three Grammy awards: Best Contemporary Classical Composition, Best Classical Album, and Best Orchestral Performance. Nashville’s latest all-Tower recording includes Stroke, which received a 2016 Grammy nomination for Best Contemporary Classical Composition. In 1990 she became the first woman to win the prestigious Grawemeyer Award for Silver Ladders, a piece she wrote for the St. Louis Symphony where she was Composer-in-Residence from 1985-88. Other residencies with orchestras include a 10-year residency with the Orchestra of St. Luke’s (1997-2007) and the Pittsburgh Symphony (2010-2011). She was the Albany Symphony’s Mentor Composer partner in the 2013-14 season. Tower was cofounder and pianist for the Naumburg Award winning Da Capo Chamber Players from 1970-1985.

For more about Ms. Tower, go to:
musicsalesclassical.com/composer/short-bio/joan-tower

For more Noted Endeavors videos, go to:
notedendeavors.com

A Surprise Choice: Emmanuel Krivine as head of the Orchestre National de France.

June 18th, 2016

by:  Frank Cadenhead

On Wednesday, during a morning interview on France Musique, Emmanuel Krivine was blunt. “I’m trying to go to the end by being a little less of an ass than at the beginning” His selection as the new music director of the Orchestre National de France, starting with the coming season, was much delayed and many see it as controversial. His statement is certainly a reference to his reputation as a difficult taskmaster. At 69, he also bucks the trend toward young music directors by Paris orchestras. Mikko Franck, 37, is the new head of the Orchestre Philharmonique de Radio France and Daniel Harding, 40, is the incoming director of the Orchestre de Paris. Philippe Jordan, 41, is music director of perhaps the most talented orchestra of the four majors, the one at the Opera National de Paris.

Krivine replaces Daniele Gatti, who is going on to lead the Concertgebouw in Amsterdam and is among top-ranked conductors, with regular appearances in Vienna, Berlin, Salzburg and Bayreuth. But Krivine’s career has not at that level and his leadership of the Barcelona Symphony and the Catalonia National Orchestra will come to end with this season. Since September, 2015, he has been the principal guest conductor of the Scottish Chamber Orchestra and he has recently ended a nine year stint as music director of the Luxembourg Philharmonic. He continues his direction of La Chamber Philharmonique, a chamber orchestra he founded in 2004. Like Krivine himself often does, It focuses on the original instrument performance style but mostly for the Romantic repertory.

It was the end of his term as music director of the Orchestre Philharmonique de Radio France (1976-1983) that I first heard about him. I remember the orchestra being more than a little unhappy with Krivine who had an difficult reputation with the musicians and who even avoided engagements with the orchestra during his last years at the helm. He also lead the Orchestra National de Lyon from 1987 through 2000 and, some say, brought them greater unity and international recognition but with much of the same grumbling by orchestra members and relief at his departure.

Monday’s announcement, by the CEO of Radio France, Matthieu Gallet, and the Director of Music and Cultural Creation at Radio France, Michel Orier, presumably was made after consultations with musicians of both radio orchestras; the Philharmonque’s office is a few doors down the hall from the Orchestre National, and there should be musicians there who remember his rule. We hear nothing about the ONF interim artistic director, Steve Roger, who was appointed for a one year term in July of 2015. One can assume that M. Orier or perhaps Gallet himself are taking on the role of artistic director (to save money?). The same is apparently true for the Orchestre Philharmonique with the angry departure of Eric Montalbetti, after 18 year of service, in late 2014. One does note that both Mikko Franck and now Maestro Krivine are found to be discussing an overall artistic concept and ideas for guest conductors, etc. in the press and interviews. One could assume that both orchestras have made the post of artistic director redundant.

The threats of combining the two radio orchestras and the subsequent strikes and controversy of more than a year ago are now in the past. Krivine seems assured that the budget threats are behind the orchestra and Radio France will not shrink its musician numbers. Much has been made of the fact that Krivine will be the first French conductor of the National since Jean Martinon (1968-1973). Not known for his French repertory, Krivine will not be, in his words, a “jingoistic missionary” but comments that “French music, it must be delt with, it’s very interesting.” He admits his repertory in this area is “limited.” “Therefore, I will invite whoever does the best work that I do not know, the type that would be absolutely appropriate for that composition.”

Regarding his previous experiences with the Orchestre National, he was equally candid: He recalls a 2004 engagement: “It was messy. It is true that it was not at all messy with Kurt Masur and with some other conductors. I’m just saying that I, that time, I felt I had too much to take care of with discipline.” His more recent experiences, in September of last year, were more positive. He found the discipline “was by listening, and that’s very healthy.” We will certainly know more about his alleged mellowing in the coming months and years.

 

 

 

 

 

 

Don’t Toss A Banana To A Monkey If You Don’t Want The Monkey To Eat It

June 15th, 2016

By Brian Taylor Goldstein, Esq.   

Dear Law and Disorder:

So, it seems we have ourselves a bit of questionable “inspiration” on our hands. The inventive work of one of our roster artists uses overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design, and a live music ensemble, to create shows. And, this technique has been popping up in other artists’ shows after the copy-cat artists have either attended one of our group’s shows or participated in one of their workshops. One person in particular attended a workshop and has now created her own show where she admits that she learned her techniques at one of our workshops. How do we prevent this kind of theft of intellectual property? Do they have any recourse to put a stop to (at a minimum) what seems to be straight-up plagiarism?

So if I understand this correctly, the group is holding workshops where they teach others their techniques, but want to make sure that those techniques are never used. They have two options: (1) make everyone who attends one of their workshops sign a contract that they will immediately forget everything they are taught; or (2) if they don’t want people copying their techniques, stop teaching workshops on how to copy their techniques! That’s like tossing a banana into a cage full of monkeys and expecting them not to eat it!

While copyright infringement is illegal, plagiarism is not. Plagiarism is an academic concept most of us are taught in school and is all about citing sources and giving credit. Plagiarism is not about copying; its about giving attribution to your sources. While similar, copyright infringement means that someone has copied an artist’s specific words, images, pictures, music, or other creative material without permission to do so. (Merely giving credit or attribution is insufficient.) The important concept here is that it’s the “material” being copied, and not the ideas or concepts behind the material.

Copyright infringement requires direct copying of actual scripts, images, pictures, music, etc. Copyright does not protect or prohibit the copying of ideas or concepts. Merely being inspired by another’s work or employing similar techniques and styles is not direct copying. In fact, the copyright laws are designed to discourage copying, but encourage imitation. So, for example, if I see a dance group performing to the music of Phillip Glass while dressed as pigeons, I can create the exact same routine for my own company—provided I do not copy the specific choreography or costumes of the other group. I would have to design my own pigeon costume (and, of course, get my own dramatic license from Mr. Glass’s publisher.) Similarly, if I see a show using overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design, and a live music ensemble, I can use the except same concepts and techniques to create my own shows—especially if I was taught how to do so by the original company. I just cannot copy the specific images, sounds, designs, or scripts of the original company. In short, your group cannot be the only one on in the world the uses overhead projectors, multiple screens, puppets, actors, live feed cameras, multi-channel sound design, and a live music ensemble. Your group can be the best. It can be the first. It can be the originator. But it cannot be the “only.”

I would certainly recommend that the group register copyrights for both its scripts and videos of its productions as that would make them easier to protect in the event of an instance of direct copying. That and stop encouraging imitating by teaching others how to imitate!

_________________________________________________________________

For additional information and resources on this and other GG_logo_for-facebooklegal, project management, and business issues for the performing arts, visit ggartslaw.com

To ask your own question, write to lawanddisorder@musicalamerica.com

All questions on any topic related to legal, management, and business issues will be welcome. However, please post only general questions or hypotheticals. GG Arts Law reserves the right to alter, edit or, amend questions to focus on specific issues or to avoid names, circumstances, or any information that could be used to identify or embarrass a specific individual or organization. All questions will be posted anonymously and/or posthumously.

__________________________________________________________________

THE OFFICIAL DISCLAIMER:

THIS IS NOT LEGAL ADVICE!

The purpose of this blog is to provide general advice and guidance, not legal advice. Please consult with an attorney familiar with your specific circumstances, facts, challenges, medications, psychiatric disorders, past-lives, karmic debt, and anything else that may impact your situation before drawing any conclusions, deciding upon a course of action, sending a nasty email, filing a lawsuit, or doing anything rash!

 

 

 

Kronos Quartet: 50 for the Future

June 13th, 2016

To celebrate its 125-year anniversary, Carnegie Hall is commissioning 125 new works. The Kronos Quartet is an important piece of the project, providing 50 of the commissions as part of the quartet’s 50 for the Future project. 50 pieces (25 by women composers) written by composers throughout the world will be premiered by Kronos and the music provided for free through its website.

Noted EndeavorsIn this video, Kronos founder and 1st violinist David Harrington, along with Kronos Managing Director Janet Cowperthwaite, talk to Noted Endeavors founders Eugenia Zukerman and Emily Ondracek-Peterson about the Fifty for the Future project, detailing the process from inception to realization.

David Harrington founded the Kronos Quartet in 1973. The quartet has since gone on to become one of history’s most important new music ensembles, having commissioned over 850 works.

For more about the Kronos Quartet, go to:
kronosquartet.org

Fifty for the Future:
kronosquartet.org/fifty-for-the-future

More Noted Endeavors videos:
notedendeavors.com

 

Meccore: Polish Precision

June 11th, 2016

Meccore Quartet

By ANDREW POWELL
Published: June 11, 2016

SEESHAUPT — The men from Lódź, Zagań, Poznań and Warszawa who make up the Meccore Quartet bring phenomenal energy to their work. So goes their reputation, and so it was last Thursday (June 9) here in the Alte Post’s Festsaal on the south shore of Lake Starnberg.

Energy, and virtuosic refinement. The Meccore has a way of sustaining vitality all through a piece while tempering the robustness of its sound, texturally, to achieve precise degrees of expression. Sculpting, in a sense.

On this occasion the group played standing, with thoughtful cellist Karol Marianowski on a high dais and honey-toned violist Michał Bryła stage left. Wojciech Koprowski and Jarosław Nadrzycki, well matched, alternated on first and second violin.

Not everything worked. Haydn’s C-Major String Quartet, Opus 50/2 (1787), fairly blasted across the Festsaal thanks to bright venue acoustics. That was too bad. Then again, the technically flawless reading lacked repose and Classical grace.

For Beethoven’s Opus 18/4, in C Minor (1801), the musicians adopted brisk tempos and made steely use of contrasts, to gripping effect in this resilient score. The Scherzo and Minuet, marked Andante scherzoso quasi allegretto and Allegretto, respectively, passed without a trace of humor or elegance yet commanded attention on purely abstract terms.

After the break, with Nadrzycki now in the first chair, the D-Major String Quartet of Tchaikovsky (1871) unfolded in deep colors, if less introspectively than usual, its singable second movement garden-fresh and exquisitely pointed.

The nine-year-old Meccore has two U.S. tours under its belt (2013 and 2015), an emergent reputation in Germany, and a recording contract with legacy Polish label Muza, today a Warner imprint. On CD: Szymanowski’s quartets coupled with the Debussy. Upcoming: a teach-and-share engagement at McGill.

Photo © Arkadiusz Berbecki

Related posts:
Arcanto: One Piece at a Time
Horn Trios in Church
MKO Powers Up
Safety First at Bayreuth
Mahler 10 from Nézet-Séguin

St John Passion Streams

May 27th, 2016

BR Chor’s St John Passion filmed in Nuremberg in June 2015

By ANDREW POWELL
Published: May 27, 2016

NUREMBERG — Tired of paying for digitized concert-hall privileges? Here is a sumptuously sung, gloriously gratis (for the moment*) St John Passion from this city’s Lutheran Lorenzkirche, filmed in June 2015 as part of a drawn-out Bavarian Broadcasting project to mark “500 Years of the Reformation”:

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Maximilian Schmitt is the Evangelist. Tareq Nazmi sings Jesus. Christina Landshamer, Anke Vondung, Tilman Lichdi and Krešimir Stražanac make up the SATB quartet for the arias. The BR Chor and Concerto Köln are conducted by Peter Dijkstra.

The corresponding Munich performances of Bach’s favorite work, from three months earlier, have merged their way onto an excellent BR Klassik CD set, but with Julian Prégardien as the Evangelist and Ulrike Malotta singing the alto arias.

[*As of May 17, 2017, this remained the case, although in early 2017 the video was issued as a BR Klassik DVD set that went on to win the Preis der deutschen Schallplattenkritik.]

Still image from video © Bayerischer Rundfunk

Related posts:
BR Chor’s St Matthew Passion
BR’s Full-Bodied Vin Herbé
Manon, Let’s Go
Concert Hall Design Chosen
BR Chor’s Humorless Rossini