To be announced: Orchestra to return to MCB for 2010-2013Thanks to Knight Foundation!
Posted 30 November 2009 - 07:17 AM
Grant money helps to improve the arts
Posted 30 November 2009 - 07:26 AM
The statement makes it clear that this is a reward for past achievement ("integral quality in culture" / "world-class") as well as an encouragement for the future.
The largest grant -- $900,000 -- will provide Miami City Ballet with orchestral accompaniment during its 2010-13 seasons. Last year, the ballet canceled its orchestral agreement at midseason because of a funding shortage.
``Returning the orchestra to the pit will help the ballet maintain its national reputation and create 45 jobs for musicians,'' the Knight Foundation said in a statement.
Dennis Scholl, the foundation's Miami program director, says the selection committee's decision to fund the ballet was unanimous.
``We gave our biggest grant to the ballet for one reason: We have a number of things of integral quality in culture and, let's face it, our ballet is certainly world-class,'' Scholl said. ``The idea of them not having an orchestra in the pit is pretty tough. We sat down and talked about it and said, `What is the singular most important thing we could do this year?' There was no debate about it. Everyone thought this was one of the most critical things we could do for this community.''
It makes the Cranko R&J more possible. (Can you imagine a project like that having to use canned music.) That, and the possible 25th Anniversary visit to Europe, which EV hinted at during a couple of his pre-performance talks.
Posted 30 November 2009 - 07:42 AM
Thanks for the good news, iwatchthecorps, you're obviously watching something else too!
Posted 30 November 2009 - 08:00 AM
I've heard 2 orchestras -- separated by a period of canned music. The first was Florida Classical Orchestra, which performed Symphony in Three Movements in 2003, I believe. The most recent was Opus One, conducted by Juan Francisco de La Manna. My impression was that both could handle the required scores quite well. de la Manna is especially good as to tempo, and there didn't seem to be much that his musicians couldn't play. Jewels is a test of different styles, and they did very well, I think, in 2007.
assuming they can play that piece.
My rather uneducated standards were formed by listening over the years to NYCB's orchestra, which could often be quite variable in results, depending on conductor or God knows what. I learned to value the strengths of live music and overlook some of the technical bobbles. Canned music, no matter how good the original orchestra and the sound system, has a way of fading into the background, providing a beat and a feeling, obviously, but mushing up the details. Live music provides an aural vibrancy that corresponds to the vibrancy of ballet movement at its best.
I hope de la Manna and Opus One come back.
Cristian, you know more the music scene in Miami more intimately than the rest of us: what do you think?
Posted 30 November 2009 - 08:43 AM
But as to mushing the details, I think it depends on the recording. Some of them, as I claim on the Program I thread, are very tough competition for a pit orchestra, like Stravinsky's last recording of Symphony in Three Movements, although I'll grant you, performances at Mr. B's NYCB could be pretty high sometimes, especially with Irving.
I remember enjoying some of de la Manna's performances, too. Whoever shows up will probably reflect credit on Francisco Renno, listed as "Music Advisor to the Artistic Director" in the Program I program book. His own piano playing is very good in my experience, but we haven't heard much of it for a while.
Posted 30 November 2009 - 08:49 AM
I wrote unclearly. It's not usually the recording that mushes the details -- unless a company is forced to use something cheap by a poor orchestra. It's the sound emerging from imperfect and imperfectly placed speakers and then interacting with the auditorium. I can't recall ever having heard this done successfully for orchestral music.
as to mushing the details, I think it depends on the recording.
Re Renno: I agree entirely. He's a marvelous asset. When he's playing, often on stage, the dancers have a sensitive instrument to respond to. Everything comes to life. .
Posted 30 November 2009 - 09:34 AM
Posted 30 November 2009 - 10:39 AM
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