Friday, December 30, 2011
Thursday, December 29, 2011
Tuesday, December 27, 2011
I drop the name Sarah Willis as though everyone will know who she is. For those who don't know Ms. Willis, she made history in September 2001 by becoming the first female brass player ever to win a position in the Berlin Philharmonic. Since then, she has become heavily involved in Zukunft@BerlinPhil, the Berlin Phil's Education Project. Sarah also does some of the intermission interviews for the Orchestra's Digital Concert Hall, while still finding time to play horn quartets with her colleagues in the orchestra.
The latest recorded venture of the Berlin Philharmonic Horn Quartet is called Four Corners! This could well be the Berlin Phil's heavy touring schedule in microcosm. Following Sarah's activities through her highly engaging internet photo albums makes my head spin. It seems the orchestra is ever with bags packed, going somewhere within the bounds of the mythical "four corners of the world". In fact, the album Four Corners! is a musical travelogue.
I was surprised, and delighted, to hear music of America in tracks one and two. With a bang, we find ourselves in the midst of a Western movie with the song Do Not Forsake Me, Oh My Darling, from High Noon. The playing and the arrangements are outstanding throughout. By the way, that's Sarah Willis on the low 4th horn part, every bit as virtuosic as the high playing of Stefan Dohr and her other two collaborators, Fergus McWilliam and Klaus Wallendorf. The bottom line throughout Four Corners! is fun, complete with various vocalizations and sound effects. I won't give them away, but will only say that they made me smile, groan at the occasional musical joke, and almost jump out of my seat with a musical surprise more vivid than Papa Haydn's "surprise" could ever be.
Four Corners! is published by the horn maker Gebr. Alexander, Mainz. The horn section of the Berlin Philharmonic has traditionally played instruments made by Alexander, and such is the case with this recording. Four Corners! is available as an MP3 download from iTunes or Amazon.com. If you can track down the CD, perhaps from Pope Instrument Repair or Amazon in Germany, the liner notes provide numerous photos and more of the tongue-in-cheek cheer of the disc. Highly recommended!
James Baker, KPAC
Friday, December 23, 2011
Thursday, December 22, 2011
NPR breaks the London Philharmonic playing the Angry Birds theme!
Performance Today has Christmas Around the Country:
Frank Oteri impersonates some famous composers.
It's Rob Kapilow's birthday:
For all those music theory geeks:
Wednesday, December 21, 2011
Tuesday, December 20, 2011
Monday, December 19, 2011
Sunday, December 18, 2011
Friday, December 16, 2011
This is the Cypress Quartet in the finale of Beethoven's last string quartet:
Tonight, KLRN will air a special with the San Antonio Symphony about the Beethoven Festival:
Thursday, December 15, 2011
Wednesday, December 14, 2011
Tuesday, December 13, 2011
Friday, December 9, 2011
This was a great period for the composer, through massive amounts of talent and hard work Liszt was becoming a creature of his own invention and the freshness and audacity of his new approach to piano music shows in his Années de pèlerinage: Suisse.
host, Randy Anderson
Tuesday, December 6, 2011
Earlier this fall, TPR’s Nathan Cone traveled to New York to experience the hall for himself, and took along his trusty hand-held microphone recorder. As you read on below, click the hyperlinked text for audio from his tour, and more links.
Despite having visited New York on a number of occasions, I had never been to a Carnegie Hall performance before attending the Orchestre Révolutionnaire et Romantique on November 16. Conductor Sir John Eliot Gardiner led the ensemble in an all-Beethoven program with the Egmont Overture offering a taste of grand things to come—the Seventh and Fifth symphonies of Beethoven followed.
Gardiner’s handling of the Seventh was terrific; the final Allegro movement almost had me leaping out of my seat! Never have I heard such energy in a live performance. Furthermore, individual parts in the ensemble were easily discernable to the ear. It gave me a deeper appreciation for Beethoven’s mastery. Gardiner also breathed new life into the Fifth Symphony, emphasizing its rhythmic propulsion. If you missed it, you can listen to the whole concert at this link, and read a full review online from the New York Times.
Following the concert, I spoke to many audience members who remarked on the sound of the hall. The Orchestre Révolutionnaire et Romantique easily filled the 2,804 seat auditorium with their performance.
Later that night, I visited for a short time with Fred Child (at left, APM) and Jeff Spurgeon (WQXR), co-hosts of the broadcast. Their broadcast booth is a tiny room up a winding staircase on the opposite side of the recital hall. Their monitor? A 13-inch closed-circuit television feed. But the sound mix is great!
The next morning, our tour guide, Elliot Kaback, a college librarian, singer, and longtime supporter of Carnegie Hall, enthusiastically shared the history of Carnegie Hall with our group. He recounted how he used to come hear concerts at Carnegie Hall as a young man, and how there used to be storefronts along the lower level at one time, alongside the entrances to the hall.
The main hall that everyone knows simply as “Carnegie Hall” is just one of three recital halls at the 120-year-old venue. Weill Recital Hall is a 268 seat auditorium that often features debut performances by musicians just finishing their schooling at Julliard or other music schools. Zankel Hall was actually the first hall to open to the public in 1891, but was converted into a movie theater in the 1950s. In the late 1990s, that operation was shuttered, and now the 599-seat hall offers cutting edge performances. According to Kaback, the hall always sells out its bookings, because New Yorkers love new ideas. But Zankel is also wired as an online classroom, and students from around the globe can experience lectures and performances live from Zankel.
Carnegie Hall is unique in its construction. It’s one of the last large buildings built in New York to use masonry construction, and there is very little wood in the hall itself. The structure is all iron and steel, because Andrew Carnegie was a steel tycoon, and “this was all his stuff,” as Kaback noted. Carnegie was also futuristic; in the 1880s, he had the foresight to place his hall in between 56th and 57th streets in Manhattan. Although you might have seen animals wandering the streets in the early days of the hall, less than a decade after it was built, Carnegie Hall was in literally in the center of New York, an area we now know as Midtown. The two towers on top of the hall used to be rented out to artists, musicians, and teachers; now they are being renovated into rehearsal and administrative space.
The Main Hall was designed by a man named William Tuthill, an architect and cellist whose assignment by Carnegie was to study the great concert halls of Europe. What Tuthill did was to basically take the European halls he saw, and – in an eminently American move – super-size it. Carnegie Hall’s Main Hall holds 2,804 patrons, and though its height can seem intimidating, it still feels intimate inside.
Incidentally, although we can thank Andrew Carnegie for footing the bill for Carnegie Hall, it was actually a family of German immigrants, the Damrosch family, who initiated the idea of a permanent concert hall. Walter Damrosch conducted the first performance at the hall on May 5, 1891.
One auspicious debut performance at Carnegie Hall came in 1943, when Leonard Bernstein stepped in to conduct the New York Philharmonic after Bruno Walter came down with the flu. Bernstein, who had been up partying the night before, was asked by the musicians to simply keep time and let them do the work, but they – and the audience – soon realized they were in the presence of greatness.
Carnegie Hall has played host to a variety of performers over the years, including the Beatles, Dave Brubeck, Benny Goodman, and countless classical premieres. I could really feel the history in the hall while visiting. It is our pleasure to share the Carnegie Hall Live series in this special 120th anniversary season with you on KPAC 88.3 FM and KTXI 90.1 FM. Live broadcasts are an important part of radio history in the making, and we hope you’ll join us!
Future Carnegie Hall Live concerts on KPAC 88.3 FM:
Saturday, December 10, 2011, 7pm: Karita Mattila, soprano
Wednesday, February 15, 2012, 7pm: Leif Ove Andsnes, piano
Saturday, February 25, 2012, 7pm: Berlin Philharmonic, piano
Saturday, March 3, 2012, 7pm: Vienna Philharmonic Orchestra
Thursday, March 15, 2012, TBA: L’Arpeggiata
Sunday, March 25, 2012, 1pm: Les Violins du Roy
Friday, April 27, 2012, TBA: Pavel Haas Quartet
Wednesday, May 23, 2012: Cleveland Orchestra
Tuesday, May 29, 2012: Lang Lang, piano
Monday, December 5, 2011
Some of Pope’s music has a churning, buoyant urban restlessness that indicates things are happening on screen. But over time, that sound becomes a little tiresome. I preferred Pope’s quieter, more melodic cues that feature either woodwind soloists playing longer lines, or the aforementioned piano theme by Desplat. One of my favorite tracks is “Arthur’s Notebook.” Arthur, in this case, refers to playwright Arthur Miller, Monroe’s new husband in 1956. He had to leave for work while the two were on honeymoon in England, and Marilyn was left alone.
The soundtrack also includes a few period hits of the time, including Nat King Cole and Dean Martin, and features Michelle Williams vocals on “When Love Goes Wrong, Nothin’ Goes Right,” “That Old Black Magic,” and “I Found A Dream,” by Richard Addinsell (known for his ‘Warsaw Concerto.’). Although no one can match Monroe’s unique voice, Williams holds her own. I suspect the effect works even better on screen!
Friday, December 2, 2011
On the Piano this Sunday Claude Debussy's Preludes, not quite with the original artist, but with a great pianist who studied these light and elusive works with the composer himself.
Hear Debussy, one step removed on the Piano this Sunday afternoon at 5 on KPAC and KTXI.
host, Randy Anderson
Thursday, December 1, 2011
Wednesday, November 30, 2011
by Valerie Cowan
Thursday evening’s (12/1/11) Holiday Concert at San Fernando Cathedral in the San Fernando Cathedral (115 Main Plaza) is sure to be a crowd-pleaser. With the ambiance of the downtown area and Riverwalk during the Christmas season, the chilly weather, and the beautiful acoustics of the San Fernando Cathedral filled with familiar holiday tunes, who could ask for more?
Presented by the San Fernando Cathedral Historical Centre Foundation, the evening’s lineup includes performances by the University of Texas at Austin Butler School of Music Chamber Singers and Concert Chorale alongside members of the orchestra at the University of Texas. The concert will take place at 7:00 p.m. and a reception will follow at 8:15.
The holiday concert has been a tradition at San Fernando Cathedral for six years. The Executive Director of the Historical Centre Foundation, Amy Nieto, said it is well-liked by audiences of all ages.
“It’s just a wonderful way to kick of the holiday season,” Nieto said.
The vocalists will perform a variety of songs including familiar holiday tunes, both secular and sacred.
Nieto said the concert serves as a fund raiser for various ministries of the cathedral, which includes a clinic and assistance to the needy.
Tickets are $35 each and include an invitation to the reception, and complimentary valet parking. Tickets may be purchased at the event or ahead of time over the phone at 210-576-1365 or via email (email@example.com).
Tuesday, November 29, 2011
ROY HARRIS SYMPHONY NO. 3
Serge Koussevitzky, cond.
Boston Symphony Orchestra
RCA Victor (1940)
"DEEP IN THE HEART OF TEXAS"
(June Hershey & Don Swander)
Monday, November 28, 2011
Russell died in a hospital on Sunday, November 27th following a series of strokes, his son Alex Verney-Elliott said Monday. "My father died peacefully," Verney-Elliott said. "He died with a smile on his face."
The opening of his Mahler film:
And the full version of his movie on Tchaikovsky:
Here is an interview with Russell about Lisztomania coming out on DVD back in 2009:
Sunday, November 27, 2011
The Grawemeyer Awards are five annual prizes given in the fields of music, political science, psychology, education and religion. They were founded by H. Charles Grawemeyer to help make the world a better place.
Salonen wrote these notes about the concerto:
I wrote my Violin Concerto between June 2008 and March 2009. Nine months, the length of human gestation, a beautiful coincidence.
I decided to cover as wide a range of expression as I could imagine over the four movements of the Concerto: from the virtuosic and flashy to the aggressive and brutal, from the meditative and static to the nostalgic and autumnal. Leila Josefowicz turned out to be a fantastic partner in this process. She knows no limits, she knows no fear, and she was constantly encouraging me to go to places I was not sure I would dare to go. As a result of that process, this Concerto is as much a portrait of her as it is my more private narrative, a kind of summary of my experiences as a musician and a human being at the watershed age of 50.
The violin starts alone, as if the music had been going on for some time already. Very light bell-like sounds comment on the virtuosic line here and there. Suddenly we zoom in to maximum magnification: the open strings of the violin continue their resonance, but amplified; the light playfulness has been replaced by an extreme close-up of the strings, now played by the cellos and basses; the sound is dark and resonant.
Zoom out again, and back in after a while. The third close-up leads into a recitative. Solo violin is playing an embellished melodic line that leads into some impossibly fast music. I zoom out once again at the very end, this time straight up in the air. The violin follows.
Finally all movement stops on the note D, which leads to…
All is quiet, static. I imagined a room, silent: all you can hear is the heartbeat of the person next to you in bed, sound asleep. You cannot sleep, but there is no angst, just some gentle, diffuse thoughts on your mind. Finally the first rays of the sun can be seen through the curtains, here represented by the flutes.
The pulse is no longer a heartbeat. This music is bizarre and urban, heavily leaning towards popular culture with traces of (synthetic) folk music. The violin is pushed to its very limits physically. Something very Californian in all this. Hooray for freedom of expression. And thank you, guys!
This is not a specific farewell to anything in particular. It is more related to the very basic process of nature, of something coming to an end and something new being born out of the old. Of course this music has a strong element of nostalgia, and some of the short outbursts of the full orchestra are almost violent, but I tried to illuminate the harmony from within. Not with big gestures, but with light.
When I had written the very last chord of the piece I felt confused: why does the last chord – and only that – sound completely different from all other harmony of the piece? As if it belonged to a different composition.
Now I believe I have the answer. That chord is a beginning of something new.
Alex Ross wrote this in the New Yorker:
...Salonen offered a big new work of his own: the Violin Concerto, written for the fearless young virtuoso Leila Josefowicz. When Salonen announced that he was giving up the Los Angeles job, he said that he wanted to devote more time to composing, and the strength of his latest pieces suggests that he has not made a foolish choice. (His other conducting gig, at the Philharmonia Orchestra, in London, takes less of his time.) Salonen the composer is more openly expressive than Salonen the conductor...
Anthony Tommasini wrote this in the NY Times about Salonen's Violin Concerto:
In a program note about his new Violin concerto, a 30-minute work for in four movements, he writes that it is in some ways a "summary of my experiances as a musician and a human being at the watershed age of 50." If that sounds like a big agenda for one piece, the concerto comes across as a rhapsodic, inspired and restless work, too immediate to weigh down listeners with philosophical musings.
Josefowicz has a rich history with Salonen, here she is playing part of a solo violin work, Lachen verlernt, Salonen wrote for her:
You can see a list of previous Grawemeyer Composition winners here.
Friday, November 25, 2011
On the Piano this Sunday a look at Liszt in those important years in Paris where as a young man he strived to complete himself and by doing so provided himself with projects for decades to come.
Find out about the Literary Liszt this Sunday afternoon at 5 on KPAC and KTXI.
host, Randy Anderson
Thursday, November 24, 2011
Beethoven had asked friends and associates to rummage through their great libraries for works of the choral past,especially the music of Palestrina. He had an opportunity and a great occasion in the elevation of his friend, pupil and patron Archduke Rudolph to archbishop of Olmutz.The work took much longer than Beethoven ever intended and like many compositions of this period grew to gigantic proportions, negotiations with multiple publishers were ongoing over the four years of composition. Beethoven was pressed for cash and seriously in debt,but did not allow this to alter his rigorous and time consuming compositional method.Finally,so anxious were friends and patrons to hear this new work that they sent him an open letter in the winter of 1823-24, literally begging him for a public performance of the new sacred work.By spring of 1824 it was completed bearing the inscription " From the heart- may it return to the heart."
Please tune in to this season's final broadcast of Saturday Afternoon at the Opera as we head into the Met opera season on Dec 3 with this special holiday feature of Beethoven's Missa Solemnis with Leonard Bernstein conducting and the heaven storming soprano of Edda Moser.That's this Saturday at noon on KPAC and KTXI and Happy Holidays.
Wednesday, November 23, 2011
It was early 2011 when John Clare first asked me about contact information for the Mexican born composer Daniel Catan. John wanted to approach Daniel about writing a short piece for San Antonio based Soli Chamber Ensemble. Fast forward a few months, to April, and I saw the opportunity to introduce John to Daniel, face to face. Daniel had been in Austin on a special project at UT, doing some teaching while working on a commission from the UT Opera Theatre. At this same time, the University of Houston Opera was mounting a performance of Daniel's adaptation of the film Il Postino. Postino had premiered in Los Angeles in September of 2010 to rave reviews.
Monday, November 21, 2011
and previously covered Michael Jackson:
Now see CHARLES YANG - “classical violinist with the charisma of a rock star” - playing in a unique, one-time performance, at KIDS' CLUB – New Braunfels, Tuesday, November 22, from 3:30 – 4:30.
The Kids' Club is located at 169 South Hickory in New Braunfels. Thanks to our friends at Mid Texas Symphony for making this performance possible!
But when it came to playing previous concertos, and learning new pieces of music, he had such no problem leaving doctors stunned.
Discussed at the Society for Neuroscience conference for the first time this past weekend, scientists say this case study suggests memory is more complex and autonomous than previously thought and that music could be the key to helping people with memory problems learn new skills in life.
How does music affect you? Are there memories you have with musical performances or performing? What music are you looking forward to over the holidays?
Friday, November 18, 2011
Franz Liszt lost touch with his homeland in his youth, but when he heard of the disastrous floods of 1838 he made sure to help as best as he could and in doing so he reestablished a connection to Hungary that would last the rest of his life.
To explore this transformation from Lion of the Parisian salons to Hungarian Hero tune in to the Piano this Sunday afternoon at 5 on KPAC and KTXI.
host, Randy Anderson
Thursday, November 17, 2011
In all the combinations that followed (between 1867 and 1884) in whatever language, what remained and the reason for the operas growing fame, long or short, was that the passion and power of the essential human drama shone through. Hypocrisy, jealousy, reaction and revolutions of thought; the inevitable wars of generations, court intrigue, threats of murder and blackmail - the human condition and music of breathtaking scale and inspiration.It is the longest and most ambitious music that Verdi would ever write.
Join us this Saturday Afternoon at the Opera presentation of a new and very special interpretation of Don Carlo, live from the Met with Franco Corelli and Leone Rysanek this Saturday at noon on KPAC and KTXI.
Tuesday, November 15, 2011
Monday, November 14, 2011
Just a few years ago, Hilary Hahn recorded Schoenberg's Violin Concerto, that really did become an iTunes hit. She made this video:
She also did a whole series on Schoenberg: http://www.youtube.com/user/hilaryhahnvideos
Friday, November 11, 2011
In his Heiligenstadt Testament, Beethoven agonized about his self-exile from humanity and the misunderstandings of those who perceive him as stubborn, haughty or misanthropic. The searing nature of this confession is so personal and discouraging that some experts thought of it as a first draft of a suicide note to those that would have found him. As reduced as Beethoven was by his illness he did find a way out that was more positive for humanity, music.
Could Beethoven compose with such weighty matters depressing him? The answer is yes, his dear art and its alchemy turned base anger and frustration into art. Hear Beethoven's unique piano sonata in d minor "the Tempest" this Sunday afternoon at 5 on the Piano. Along with a sterling performance, we will give a listen to several musicians and their approach to this masterwork.
host, Randy Anderson
Thursday, November 10, 2011
Clare was also on hand this summer at the world premiere this summer in Arlington:
The German poet Johann Wolfgang von Goethe had recently finished his law studies and was committed to visit a relative in the small town of Wetzlar. Previous to his travels he fell in with a circle of like minded young men of great promise, but no particular direction, among them a K.W. Jerusalem, destined to be for a while,secretary to a nobleman. Arriving in the town Goethe was invited to a ball at which he met and fell desperately in love with Charlotte Buff, only to discover that she was already promised to another. This commenced a long and desperate agony of youthful introspection, brooding,communions with nature, a deluge of letters and thoughts of suicide. Goethe at intervals fled the city fearful that he would do harm to himself if he were too long near the young Charlotte.
From what would for endless generations of young lovers be no more a rite of passage in their sentimental education for the poet became emblematic of the travails, confusions and 'sorrows' of an entire generation of romantics. While considering these thoughts Goethe is informed that his one time dinner companion Jerusalem, like himself, had suffered just such a loss of love. But, Jerusalem found no outlet for his despair and committed suicide. Combining his own romantic failure, Jerusalem's fatal end and the psychological/ romantic trials of his own life, Goethe fashioned one of the greatest romantic novels ever written. In doing so (as he wrote) "saved" his own life, exorcised his obsession, discovered his vocation and won a world wide reputation with the publication of The Sorrows of Young Werther.
In 1886 Jules Massenet went to Bayreuth to see a performance of Parsifal and there was a stopover in the town of Wetzler. Massenet's publisher was accompanying on the return to Paris and on the stopover purchased and presented him with a copy of the novel by Goethe. The result was one of his most passionate, lyrical and popular creations for the theatre. Please tune in to this Saturday Afternoon at the Opera presentation of Massenet's Werther, featuring Jose Carreras and Frederica von Stade as the doomed lovers,this Saturday at noon on KPAC and KTXI.
Wednesday, November 9, 2011
Though the opportunities and challenges of 2011 could not have been imagined in 1939 at the time of AMC’s founding, nor even in 1974 when Meet The Composer first appeared on the scene, the core principles of both great organizations still ring clear and true. AMC was founded on a belief that access to information and active promotion could unlock the inherent power and promise of American music. A similar conviction guided MTC: that by giving creators of new work the opportunity to engage with their communities—and compensating them in a fair way—the landscape of new music could be changed forever.
And it is a new day. We have the fortune to be living in a time of explosive creativity and lightning-quick change. The kaleidoscopic range of music-making all around us defies labels and categories, both in terms of the way it sounds and the way it reaches listeners. As the spectrum of that kaleidoscope broadens, it reveals more and more ways to get people involved and excited by what we do. Let’s be clear: that public connection is the pathway to our bright collective future.
New Music USA is designed to build upon the combined and interconnected strengths of AMC and MTC. Its mission to increase opportunities for composers, performers, and audiences will be realized through two basic kinds of activity: Support and Promotion. By providing financial and other support it will enable composers and other musical artists to create the new work that is the beating heart of our musical culture. And through its strong and evolving new media dimensions it will seek relentlessly to bring more attention and engagement from a broad audience of potential listeners. We trust that the synergy between these two dimensions will evolve in powerful new ways over the coming months and years.
An institution is only as strong as the people who join together to carry out its mission. New Music USA is fortunate to be governed by a committed Board, activated by a supremely talented staff, and advised by two councils of stellar professionals from the artistic and media worlds respectively. Beyond those institutional borders, though, we see New Music USA as a trust held on behalf of the entire community, the thousands and thousands of us who create, perform, produce, support and listen to new American music. If we can tap into the collective power of that community, the possibilities can be endless.
Tuesday, November 8, 2011
Dear Friends of the San Antonio Opera,
Effective, November 15, 2011, I will be stepping down as General/Artistic Director of San Antonio Opera. My life has been rich these past 16 years. Helping to build San Antonio Opera from an idea into a major regional opera in the country has been the most gratifying experience in my life. There comes a time when the parent has done all it can do and must let go to follow other passions, as with so many other founders of organizations. After producing 61 operas, my fondest memories have been working with not only the exceptional talent that has performed in San Antonio, but the people who continue to make it all happen. Your opera staff is small, but powerful. They work hard, do many different tasks and receive very little pay and recognition. These professionals are the heroes of the organization.
It has been my great fortune to learn and work with some of our city’s most iconic leaders such as Lila Cockrell, Phil Hardberger, Edith McAllister, Nelson Wolff, Bruce Bugg and Jeanie Wyatt. I support them as they have supported me. My admiration goes out to all patrons and members of past boards that have supported and continue to support the opera through the years. This has always been your opera company and my work helping the company succeed is but a reflection of the generosity you have shown during these 16 years. Please continue this support as I join your ranks as an enthusiastic patron of the opera.
Things have certainly come full circle these past years, evidenced by watching adults that were introduced to opera through the company’s education programs, now returning to San Antonio as accomplished opera singers, as well as opera supporters and season tickets holders. All of my goals and wishes for the company have come to fruition, including finding a permanent home for the opera. Knowing that this will happen in 2014 at The Tobin Center fills my heart with pride. Most importantly, the goal of making San Antonio a regional spotlight for opera, again, after a 50 year tradition set by the San Antonio Symphony, has also been accomplished. My concentration has always been on finding the best voices to sing for our dedicated patrons. Many of these operatic talents are tomorrow’s superstars, such as the mega talent we have been fortunate in presenting in our city, such as Placido Domingo, Andre Bocelli and Jose Carreras. Concerts such as these have garnered national acclaim for San Antonio.
My emotions and respect run very deeply for the incredible musicians that accompany each opera, some of whom have played in the opera orchestra for 15 years. The opera is extremely fortunate to have such loyal talent in the pit. It has been my great honor of working with some of our city’s fine vocalists through the years, especially the opera’s very talented and hard working chorus. These passionate singers give so much and do it entirely for the love of the art. There have been friendships made with agents, artist managers and fellow opera associates through the years. My greatest hopes are they remain strong and productive, as new leaders of the opera continue to enhance the reputation of producing with high standards of excellence.
The decision to leave the San Antonio Opera was a difficult one to make, but the desire to pursue other passions and avenues in my life is a powerful calling. At 26, my ambition chose a door to enter which has led me to a treasure of filled with music and friends. Now at 43, there is an excitement hoping that the next door in my life will be as wonderful as the last. I may be leaving San Antonio Opera, however it will always and forever be close to my heart.
Mark A. Richter