I absorbed hours and hours of debate about music in classes that spanned topics from the newspaper industry to music theory. There's way too much to cover in a short blog, so I'll skip to my favorite bits.
Arrived in NYC before 10:00 a.m. Still summer here. 70 degrees, people in shorts, clouds of midges in Central Park. It's all green and leafy and feels like July.
I met my fellow Fellows tonight. What a range of personalities, ages, and experiences! There's an Italian polyglot classical guitarist from Hawaii, a Spanish media editor from Texas, an ex-CIA man from Oneida who dove headfirst into opera midlife at Glimmerglass.
The Rochester Oratorio Society (ROS for short) sings A Sea Symphony with the RPO this Thursday and Saturday nights. I’m thrilled to be part of it! As a member of ROS since 1991, I’ve sung under Roger Wilhelm, Mark Elder, Robert Bernhardt, Peter Bay, Uriel Segal, David Effron, and Christopher Seaman.
Last year, the ROS hired a new conductor. I wrote a profile piece that never saw the light of day. Long story. The short of it is, this seems the right place to share with you my first impressions of the new guy.
A week from this Sunday, I’ll be off to New York City for the NEA’s 4th annual Arts Journalism Institute in Classical Music and Opera. It’s an 11-day workshop in classical music and opera at Columbia University.
I read about the conference at artsjournal.com, and it got me thinking, whatever happened to regional music critics? Terry Teachout’s recent “Wall Street Journal” article on the fall of the credentialed critic and the rise of the dilettante blogger summarizes fears that regional newspapers have given up on covering the arts.
Voices is the name of Rochester’s newish professional chamber ensemble directed by William Weinert. He also directs choral activities at the Eastman School of Music, so I had high expectations Sunday afternoon when I walked into the Third Presbyterian Chapel on Meigs Street. It’s an acoustically live space bathed in colored light.
The group performed three pieces by French Baroque composer Marc-Antoine Charpentier. He lived in the days when respectable men wore wigs, stockings, and high-heeled shoes.