Dye named Virginia Opera president & CEO

Kriha Dye has been named the new president and chief executive officer of Virginia Opera. She will assume the post on Oct. 18, succeeding Russell P. Allen.

A 50-year-old graduate of Saint Cloud State University in Minnesota, the Manhattan School of Music and the Juilliard Opera Center, Dye was a prominent operatic soprano earlier in her career. She sang the role of Stella in the 1998 premiere production of André Previn’s “A Streetcar Named Desire” at the San Francisco Opera, Musetta in productions of Puccini’s “La Bohème” in San Francisco, Shanghai and elsewhere, and other roles in more than 40 productions between 1992 and 2017.

Dye joined the staff of Opera Columbus in Ohio in 2011, serving in several administrative roles before becoming the company’s general and artistic director and CEO in 2017. She is a member of the board of trustees of Opera America, and is active in the Women’s Opera Network.

She joins Virginia Opera as the company prepares to mount its 50th anniversary season while facing the artistic and financial consequences of the coronavirus pandemic. “[A]s the challenges for the performing arts we love and hold so close continue in the months ahead . . . I know we will meet and prevail in those challenges,” Dye said in a statement issued on her appointment.

Stevens at home with the baroque

Bruce Stevens, resident organist at the University of Richmond, plays the program of works by “four Bs” of the German baroque – Dieterich Buxtehude, Nicolaus Bruhns, Georg Böhm and Johann Sebastian Bach – that he had been scheduled to perform at UR in the spring, on the electronic organ in his home, encoded to replicate the sound of a baroque-style instrument:

Violinist sues Shanghai over dismissal

Yi-Wen Jiang, the former second violinist of the Shanghai Quartet, is suing the ensemble for unfair dismissal. Jiang resigned in March after other members of the quartet “objected to social-media comments he had made that were critical of the Chinese regime,” Norman Lebrecht reports on his Slipped Disc blog:

The Shanghai, former resident quartet at the University of Richmond, still performing regularly at UR’s Modlin Arts Center, is currently in residence at Montclair State University in New Jersey and maintains residencies at three Chinese musical institutions.

UPDATE 1 (Sept. 9): The Strad magazine, citing an article in northjersey.com (behind a paywall), reports that Jiang is seeking damages of $500,000. The Shanghai replies that the violinist’s resignation was voluntary and that his lawsuit is “without merit and fanciful:”

http://www.thestrad.com/news/ex-shanghai-quartet-violinist-sues-former-colleagues-for-unfair-dismissal/11190.article

UPDATE 2 (Sept. 14): Jiang says his lawsuit is a bid to resuscitate his reputation and career. “I just want my livelihood back to where I was,” he tells Melena Ryzik in an interview published in The New York Times:

http://www.nytimes.com/2020/09/13/arts/music/shanghai-quartet-lawsuit-china.html

BBC restores Proms anthems

The BBC, bowing to widespread pushback against its decision to leave the patriotic anthems “Rule, Britannia!” and “Land of Hope and Glory” unsung in this year’s Last Night of the Proms, has reversed itself. An ensemble of 18 singers will perform them in the concert on Sept. 12, The Guardian’s Mark Brown reports:

http://www.theguardian.com/media/2020/sep/02/bbc-says-words-to-rule-britannia-will-now-be-sung-at-proms

September calendar & events status

The Richmond Symphony, conducted by Valentina Peleggi, its new music director,  presents “African American Voices,” a free concert under its Big Tent outdoor concert stage for a socially distanced audience of no more than 1,000, at 3 p.m. Sept. 12 on the lawn of Maymont, 1700 Hampton St. . . . George Manahan conducts the orchestra in the season-opening Masterworks concerts, including a chamber-orchestra arrangement of Gershwin’s “Rhapsody in Blue” with pianist Aaron Diehl, the original 13-instruments ballet score of Copland’s “Appalachian Spring,” and works by Adolphus Hailstork, Joseph Turrin and Jessie Montgomery, at 7 p.m. Sept. 18, 8 p.m. Sept. 19 and 3 p.m. Sept. 20 at the Carpenter Theatre of Dominion Energy Center, Sixth and Grace streets. Tickets: $10-$82. Home viewing of online stream of Sept. 19 concert: $20. Details: (800) 514-3849 (ETIX); http://www.richmondsymphony.com

Virginia Opera continues its “Martinis Manhattans Maestros” series, with the company’s conductors, Adam Turner and Brandon Eldredge, introducing the resident singers featured in the forthcoming “Stayin’ Alive” series of virtual performances, at 5:30 p.m. Sept. 2. The first “Stayin’ Alive” performance, featuring soprano Symone Harcum, mezzo-soprano Whitney Robinson, baritone Nicholas Martorano and bass-baritone Eric McConnell, begins at 5:30 p.m. Sept. 9. The series continues each Wednesday through Oct. 7. Seating on the lawn of Norfolk’s Harrison Opera House is limited to 40 patrons, with face masks and social distancing required. All performances will be available on YouTube and Facebook. Details: (757) 347-1906; http://vaopera.org/stayin-alive/

The Richmond chapter, American Guild of Organists’ Repertoire Recital Series will present organist Robert McCormick at 7:30 p.m. Oct. 2 at St. Bridget Catholic Church, 6006 Three Chopt Road. Donations requested. Face masks and distanced seating are required, as are reservations for seats. AGO patrons may reserve seats from Sept. 25 to 27 by contacting Allen Bean: abean@saintbridgetchurch.org or (804) 525-7892. Others may reserve seats from Sept. 28 to Oct. 1 via the St. Bridget web page http://www.saintbridgetchurch.org/Ministries/Music-Ministry/Concerts-and-Friends-of-Music and clicking “make a reservation” or by calling the church office at (804) 282-9511.

Cancellations and postponements of other Richmond area seasons:

Rennolds Chamber Concerts, Virginia Commonwealth University: No performances through December 2020.

Modlin Arts Center, University of Richmond: No performances currently scheduled.

Chamber Music Society of Central Virginia: No performances currently scheduled.

Alexander Paley Music Festival: Fall 2020 concerts canceled.

* * *

Cancellations and postponements of events and series elsewhere in Virginia and the Washington area: Virginia Opera, Norfolk, Richmond and Fairfax: No live performances through December 2020. . . . Virginia Symphony Orchestra, Hampton Roads: No performances through January 2021. . . . Feldman Chamber Music Society, Norfolk: 2020-21 season canceled. . . . Ferguson Arts Center, Christopher Newport University, Newport News: No performances currently scheduled. . . . Williamsburg Symphony Orchestra: No performances currently scheduled. . . . Chamber Music Society of Williamsburg: 2020-21 season canceled. . . . University of Virginia, Charlottesville: No performances currently scheduled. . . . Charlottesville Symphony: All performances canceled through December 2020. . . . Tuesday Evening Concert Series, Charlottesville: No concerts through December 2020. . . . Lynchburg Symphony Orchestra: No concerts currently scheduled. . . . Roanoke Symphony Orchestra: No concerts currently scheduled. . . . Opera Roanoke: No performances currently scheduled. . . . Moss Arts Center, Virginia Tech, Blacksburg: No live performances through November 2020. . . . Center for the Arts, George Mason University, Fairfax: No live indoor events through December 2020. . . . Kennedy Center, Washington: All performances canceled through December 2020. . . . Music Center at Strathmore, North Bethesda, MD: No live concerts through December 2020.

Baltimore bounces back

The Baltimore Symphony Orchestra, which last year looked to be on the verge of shutting down, has signed a new five-year contract with its musicians that maintains the orchestra’s year-round season and increases its complement of full-time players.

The musicians agreed to 26 percent pay cut in the first year of the contract, to account for scheduling and financial strains due to the coronavirus pandemic. In subsequent years, pay will rise gradually to base salaries of $90,100 in the 2024-25 season, about 10 percent more than players made in the last year of the previous contract.

The orchestra’s roster of musicians will increase from the current 75 to 84 in the 2024-25 season.

The Baltimore Sun’s Mary Carole McCauley reports on the pact and ecstatic reaction to its ratification:

http://www.baltimoresun.com/entertainment/music/bs-fe-20200828-actub77gozf5ratpf5l3dr7nzi-story.html

(via http://www.artsjournal.com)

Long-dominant artists’ agency shutting down

Columbia Artists Management Inc. (CAMI), which for 90 years has been the leading agency representing classical musicians in the US, is shutting down on Aug. 31.

CAMI has represented a stellar roster of instrumentalists, singers, orchestras, conductors and other artists. Its current roster includes pianists Maurizio Pollini and Denis Matsuev, violinists Anne-Sophie Mutter and Gidon Kremer, conductors Valery Gergiev and Seiji Ozawa, and many leading US and European orchestras.

Also on its conductors’ roster is George Manahan, the former Richmond Symphony music director who has been serving as the orchestra’s music advisor and will conduct its Sept. 18-20 season-opening Masterworks concerts.

CAMI was founded in 1930 by Arthur Judson, initially in partnership with William S. Paley, the founder and chief executive of the Columbia Broadcasting System (CBS). Initially, the agency was known as Columbia Concerts Corp. Judson at the time also was manager of the New York Philharmonic and Philadelphia Orchestra. During his long tenure at CAMI, Judson was reputed to all but dictate the choice of music directors of many of the major US orchestras. Several conductors who had fallen out with him blamed Judson for hampering their careers.

CAMI also operated a community concerts subsidiary, which brought prominent classical artists to smaller towns and cities around the country.

From 1970 to 2015, CAMI was run by Ronald Wilford, and maintained its dominance among management agencies for classical artists.

A statement from the agency said its demise was hastened by “a prolonged pandemic environment,” during which live classical-music events have all but ceased.

Perlman at 75: the last old-school virtuoso?

The New York Times’ Corinna da Fonseca-Wollheim profiles Itzhak Perlman as the violinist turns 75. In addition to being one of the few performers in classical music whose artistry and personality resonates with a wider public, Perlman, stricken by polio when he was 4, has been a driving force in making concert halls and other public spaces accessible to people with disabilities.

Fonseca-Wollheim examines Perlman’s role in performance and music education, but wonders whether his persona as a traditional classical virtuoso has diminishing impact in contemporary art and society:

Rue Britannia

Updated

The BBC is dropping sung versions of “Rule, Britannia!” and “Land of Hope and Glory,” the flag-waving anthems that have been among the most memorable parts of the Last Night of the Proms, one of the world’s most popular musical events.

The network has announced that this year’s Last Night will feature “Rule, Britannia!” played instrumentally as part of Henry Wood’s “Fantasia on British Sea Songs,” along with arrangements of Hubert Parry’s “Jerusalem” and Edward Elgar’s “Pomp and Circumstance” March No. 1, the latter without “Land of Hope and Glory” sung in its trio section, and “You’ll Never Walk Alone” from the Rodgers & Hammerstein musical “Carousel.”

Social activists and others have denounced “Rule, Britannia!” and “Land of Hope and Glory” because of what BBC Music Magazine critic Richard Morrison calls “crudely jingoistic texts.”

“The lyrics [of ‘Rule, Britannia!’] are just so offensive, talking about the ‘haughty tyrants’ – people that we are invading on their land and calling them haughty tyrants – and Britons shall never be slaves, which implies that it’s OK for others to be slaves but not us,” Chi-chi Nwanoku, founder of the majority black orchestra Chineke! told The Guardian’s Caroline Davies:

http://www.theguardian.com/music/2020/aug/23/bbc-considers-dropping-rule-britannia-from-last-night-of-the-proms

The dangers of crowded events during the coronavirus pandemic already was likely to alter the format of the Proms finale, to be staged on Sept. 12. The concert normally is played to a packed house at London’s Royal Albert Hall, which has a capacity of more than 5,200, and to even larger outdoor crowds throughout Britain.

Davies notes in her article that a more subdued Last Night was staged following the 9/11 attacks in 2001, possibly setting a precedent for this year’s event.

* * *

“Rule, Britannia!” by James Thomson, set to music by Thomas Arne in his 1740 masque “Alfred,” is presented in Proms concerts with a soloist singing the verses and the audience joining in the refrain. Here’s the text:

When Britain first, at Heaven’s command
Arose from out the azure main;
This was the charter of the land,
And guardian angels sang this strain:
“Rule, Britannia! rule the waves:
“Britons never will be slaves.”

The nations, not so blest as thee,
Must, in their turns, to tyrants fall;
While thou shalt flourish great and free,
The dread and envy of them all.
“Rule, Britannia! rule the waves:
“Britons never will be slaves.”

Still more majestic shalt thou rise,
More dreadful, from each foreign stroke;
As the loud blast that tears the skies,
Serves but to root thy native oak.
“Rule, Britannia! rule the waves:
“Britons never will be slaves.”

Thee haughty tyrants ne’er shall tame:
All their attempts to bend thee down,
Will but arouse thy generous flame;
But work their woe, and thy renown.
“Rule, Britannia! rule the waves:
“Britons never will be slaves.”

To thee belongs the rural reign;
Thy cities shall with commerce shine:
All thine shall be the subject main,
And every shore it circles thine.
“Rule, Britannia! rule the waves:
“Britons never will be slaves.”

The Muses, still with freedom found,
Shall to thy happy coast repair;
Blest Isle! With matchless beauty crown’d,
And manly hearts to guard the fair.
“Rule, Britannia! rule the waves:
“Britons never will be slaves.”

* * *

The lyrics of the chorus of “Land of Hope and Glory,” written in 1901 by A.C. Benson, typically performed at the Proms as an audience sing-along during Elgar’s “Pomp and Circumstance” March No. 1:

Land of Hope and Glory, Mother of the Free,
How shall we extol thee, who are born of thee?
Wider still and wider shall thy bounds be set;
God, who made thee mighty, make thee mightier yet,
God, who made thee mighty, make thee mightier yet.

* * *

Norman Lebrecht’s Slipped Disc blog runs the BBC statement:

Timid BBC retreats from Rule Britannia

* * *

British Prime Minister Boris Johnson weighs in: “I think it’s time we stopped our cringing embarrassment about our history, about our traditions, and about our culture . . . . ”

http://www.theguardian.com/music/2020/aug/25/boris-johnson-scolds-bbc-over-suggestion-proms-would-drop-rule-britannia