"Opera is Hot"

In a previous article, some of the hazards of playing in an opera pit were briefly mentioned.

Back in December 2004, a fire alarm scare was a real "show stopper."

Twenty minutes into Act II of Arizona Opera’s matinee performance of Giaocchino Rossini’s “La Cenerentola” (Cinderella) at the Orpheum Theatre, a fire sensor was tripped in the dressing room area.

The alarm stopped the performance and all 1,200 attendees had to evacuate. Cast, audience, chorus, orchestra and stagehands all exited the theatre as the Phoenix Fire Department arrived to investigate.

Click on the thumbnail image to see a larger view of some photos taken by AZOOMA oboist Neil Tatman.

Some musicians left their instruments, others took instruments with them.

Artistic Director Joel Revzen welcomed the audience back to their seats, saying, “This proves opera really is hot.”

As the curtain opened, tenor Bradley Williams -- in the role of The Prince -- paused and quipped to Cinderella, “Now, where was I?”

As the cast resumed the performance, lines from the opera took on new meaning, causing the audience to roar with laughter as the chorus sang, “What to do, what to do?” and the prince’s valet sang, “I knew the second act would have some changes.”

The unusual performance concluded without further interruption.

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A Clean Sweep and Our "Fine Flutist"

From AZOOMA WebMaster, Bruce Hembd:

After reading an article on blogging written by the originator of the weblog, I have decided to do some housecleaning. Jorn Barger of Robot Wisdom coined the term "weblog" about 10 years ago to describe the daily list of links that "logged" his travels across the web.

While all old articles will remain here at the blog, the longer articles are being re-posted to our main site to stand out on their own.

This space will be reserved for more topical issues -- like the Jacksonville Symphony lockout and stuff in the current news related to AZOOMA. Long articles will kept on the main site.

This does not exclude however, blogging things here on our own articles posted at the main site... heh-heh...

According to the guru Jorn Barger a true weblog is basically a log of all URLs you want to save or share. While he proports that opinions and commentary should be kept out of blogs, these days people use blogs for all sorts of purposes beyond a page with just links.

On this point, I think that he might a little behind on how far blogs have evolved since '97. Our own Arizona Opera Orchestra Principal Flutist Paula Karrer for example, uses her blog as an online journal to log her travels and cuisine choices.

Speaking of Paula, she has been featured several times in the local press. She regularly rides a bike to her gig at the Tucson Symphony.

"No road rage," she says.


In a recent Arizona Opera performance of Lucia di Lammermoor, Paula had a very extended cadenza to play in the famous "mad scene." The video below unfortunately does not capture that exact moment, but you get to see a bit of the bloody mess Lucia has made.

Paula's superb musicianship got a lot of attention from the press. However, they only mentioned her as a "fine flutist." Go figure.

A local Tucson musician sent a letter to the editor to correct this (scroll down a bit at this link to read it) noting that the "fine flutist does have a name." You might need to register to see these AZ Star pages, but it is pretty easy and painless.

She did an amazing job at every performance and is an excellent example of what the talented opera musicians can do. We all shuffled our feet for her every night. ("Shuffling" is the musician's way to applaud and express admiration during a performances without the audience hearing it and can only be heard in the pit.)

During the Katrina mess few years ago Paula -- a certified veterinarian technician -- was helping to rescue animals.

She also has a good online recipe for Indian Style Potatoes and Asian Noodles with Mustard Greens on the Tucson Community Supported Agriculture web site.

Way to go Paula!

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The X Factor

Within AZOOMA.org three words are presented as our slogan:

Expression. Experience. Excellence.

These words are the basic tenets behind AZOOMA, the Arizona Opera Orchestra Musicians Association.

They are intertwined with our spirit and our mission.

Expression

Performing in the Arizona Opera Orchestra is the result of much hard work and practice. To the audience our music may seem something quite like magic.

The music in opera moves an audience on a completely different level than in symphonic music alone. The lights go down, the audience hushes, the orchestra tunes and then the disembodied music rises from the pit and transports listeners to a different time and place.

The music we opera musicians produce transcends mere sounds being made; it becomes an integral part of a drama unfolding onstage. AZOOMA musicians, in both a concrete and abstract sense, do feel part of something larger and bigger than ourselves.

This is indeed magical.

Imagine a popular movie like Star Wars without any music. George Lucas (the creator of Star Wars) maintains much of Star Wars' success relied not on advanced visual effects, but on the simple, direct emotional appeal of its plot, characters and, importantly, music. Star Wars is in fact, quite operatic in this regard.

In the opera orchestra our responsibilities to the stage are taken quite seriously. Of course it really isn't magic, it is talent and skill.

Playing opera music requires specialized and unique skills; keenly listening to other musicians and closely watching the conductor is an absolute must. If a singer does something drastically differently from the night before, a musician has to be paying close attention to make adjustments and follow the conductor.

Typically in Arizona Opera, there are two different casts for the lead roles. Different singers will turn phrases differently, so we musicians must always remain "on our toes."

An opera musician overall then, is flexible in their expression. We are large part of what makes the drama happen onstage yet need to be able to switch gears -- from loud to soft dynamics, fast to slow tempos, for instance -- at a moment's notice.

Another aspect of our "expression" tenet is this blog you are reading right now.

With this blog AZOOMA is expressing itself over a vast network. We do this to raise awareness of ourselves, and to reach out to the community in support of the Opera and our colleagues.

With this blog, we have an excellent platform for an alternative mode of expression outside of the music.

Experience

A unique feature of the Arizona Opera Orchestra is that the musicians represent the company's history.

While not the primary "product," the pit musicians have a strong and vested interest in the company and its future. Singers and conductors, managers and directors come and go, while some members of the orchestra have been around since the inception of the company in the early '70's.

On average, each musician has been playing in the Opera Orchestra for more than 10 years. The Arizona Opera Orchestra’s musicians have been playing their instruments for an average of 35 years, a total of more than 1500 years collectively.

That's a lot of experience.

Being a musician requires this experience. It requires devotion and dedication. This is something that everyone -- musicians, the Opera and the community -- can be proud of.

Excellence

The Arizona Opera Orchestra consistently receives excellent reviews from local media, including:

"The orchestra was every bit as important a player as the principals..."

"[The production uses] the company's excellent orchestra..."

"...and the [Arizona Opera] orchestra...is as smooth and beautiful as you could want."

"...the [Arizona Opera] orchestra...was smooth, nuanced and well paced."

Musicians in the opera orchestra are held accountable to high playing standards. Those failing to meet these high standards may be demoted or released from their contract for artistic reasons.

Each member of the orchestra had to pass a rigorous audition process and must maintain high-standard performance abilities through regular daily practice on their instrument.

We possess and maintain high standards of excellence.

The Three X's

AZOOMA musicians are vested in Arizona Opera and this is an integral part of the AZOOMA mission. Sharing our love of music is our promise and commitment to the Opera and to our community.

To keep this promise we maintain the highest professional standards.

We do this because our audiences deserve nothing less than the "magic" they have grown to expect.

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Continue reading "The X Factor"


State of the Arts

Until the 1960's Phoenix was mostly known for the state's "four C's" - copper, cattle, cotton, and climate.

"Culture" was almost unheard of.

Today in Arizona the scene is much different. The Valley's rapid growth spawns new art and culture venues as fast as the population expands. Recently it seems like almost every area within the Phoenix metropolitan area has built new performing venues. Both Mesa and Tempe have new performing arts centers, as examples.

In Phoenix, there is a symphony orchestra, ballet troupes, many theaters, museums and a world-class opera company with its own dedicated orchestra.

To top this off, we have a governor who is an avid supporter of the arts.

Kudos

All political leanings aside, every artist and aficionado owes Arizona Governor Janet Napolitano thanks for her strong support of the arts in Arizona. Without her support the arts scene might be vastly different than it is today.

In the "Message from the Governor" published in the Arizona Opera program book, Governor Napolitano expresses support for Arizona Opera:

"...Arizona Opera is demonstrating its commitment to presenting operas that have broad audience appeal with world-class singing actors, a first rate orchestra, visually compelling sets ... giving us an opera experience second to none."

Governor Napolitano was a high school musician, is an avid opera fan and is reported to have an Apple iPod filled with opera. She supports the arts not only in words and policy, but also in her deeds. She is a regular attendee.

Walking the walk

Governor Napolitano has been seen at many public opera events. At a recent "sister city" event featuring Italian singers at the Orpheum Theater in Phoenix, she narrated program notes for staged excerpts of Bellini's Norma. The orchestra for this event incidentally was comprised of musicians from Sicily and the Arizona Opera.

Every year Governor Napolitano hosts the Governor’s Arts Awards Dinner, which celebrates individuals, organizations, and corporations for their outstanding contributions to the arts in the state.

"We cannot allow ourselves to forget the important role that art and especially arts education plays in the lives of Arizonans,” said Governor Napolitano at the 2006 event.

National recognition

Recently, the governor received the 2007 National Award for State Arts Leadership for her ambitious and committed support for the arts. During her first year as governor, Governor Napolitano issued three politically risky line item vetoes that saved public funding for the arts in Arizona.

In politics there can be many opposing views, but for the current thriving arts scene in Arizona we all have Governor Janet Napolitano to thank.

For this she deserves much praise and recognition.

Resources:


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The Expanding Universe of AZOOMA.org

From Bruce Hembd, AZOOMA Webmaster

To better fulfill our mission of spreading the word about AZOOMA and Arizona Opera, AZOOMA now maintains a variety of web accounts and spaces in the "Web 2.0" universe.

The AZOOMA network currently includes:

  • The main site
    This is the main hub where general information about AZOOMA may be found. This includes our mission statement, contact information, our personnel, an FAQ and more.

  • A Google-based BlogSpot
    A blog (web log) of informative and topical articles and announcements. It raises current issues and heightens the main site's visibility. This is the hub of our blog.

  • A Yahoo MyBlogLog
    This account imports our current Google BlogSpot into the popular Yahoo Blogesphere. Visitors may subscribe to our blog via an RSS feed and other popular widgets. This also connects AZOOMA to a vast network of bloggers via the built-in Yahoo community.

  • Feedburner (and FeedSweep)
    Popular blogging tools that allow the AZOOMA blog to be posted and distributed to an even wider audience. See example.

  • MySpace and Facebook
    These popular social networks extend our reach to established communities and younger audiences. These networks also allow AZOOMA to broadcast news and announcements to a vast pool of "friends" and supporters.

  • A Wikipedia article
    This article establishes AZOOMA as an entity within a very popular online community encyclopedia.

  • A listing on ArizonaWebSites.net
    This is a business directory where other Arizona business are listed.

  • A Google Picasa Photo Album
    Images taken by photographer Claudia Botterweg of our musicians in rehearsals and in the pit.

Kudos and Recognition

AZOOMA.org has also been recently recognized on a prominent arts blog.

Part of the parent network Inside the Arts, Jason Heath's Arts Addict on December 11th gave kudos and a positive review, noting that while many musician organizations have web sites, AZOOMA.org is unique in its use of a main Flash site, blog, video and social networks.

"This blog provides an excellent window into the inner workings of an opera orchestra. This is information that, with rare exception, you simply won't get from an official arts organization," states Mr. Heath.

Jason Heath's blog is part of a network of sites connected with Adaptistration.com. He gives "kudos to the AZOOMA musicians" and further comments that we are "definitely onto something here with this site."


Continue reading "The Expanding Universe of AZOOMA.org"


When a Good Thing Goes Bad

Negotiations Go Sour

Currently Arizona Opera and the American Federation of Musicians Local 586 are negotiating a new contract for the Arizona Opera Orchestra musicians.

Contract negotiations can be complicated. Sometimes they can be downright brutal.

Such is the case in Jacksonville, Florida as the musicians in the Jacksonville Symphony are embroiled in an unfortunate labor dispute with their management. Recently it has escalated to dire levels.

This dispute is rather unusual as it does not involve a strike, but rather a lockout.

Within the Arizona Opera Orchestra are former members of Florida-based orchestras who strongly empathize with our colleagues in Jacksonville.

The story, in short:

The Jacksonville Symphony Association (JSA) and the Union (which represents the musicians) have been meeting since the beginning of September to negotiate terms of a new contract. The JSA is asking the musicians to accept reductions in pension benefits for full-time musicians and to cut the salaries of part-time musicians.

In October the Union voted to authorize a strike against management. Though no strike was or ever has been called, the JSA appear to view this authorization as a viable threat.

The JSA has locked the musicians out and are trying to call it something else. “We are not locking the doors. We have suspended operations and pay,” says Jacksonville Symphony Association executive director Alan Hopper.

Concerts have been cancelled and the local ballet is performing their Nutcracker shows to a pre-recorded CD instead of with a live orchestra. Most recently the city government has gotten involved.

Yet, the lockdown continues and the concert hall remains silent. The JSA in an attempt to bust the Union has threatened to cancel health care benefits by December 15th.

Things are not looking so good in Jacksonville.

What happened?

Isn’t arts management supposed to support musicians?

Aren’t musicians supposed to love what they do?

Without question musicians are indeed passionate about music. However, musicians are also practical. To pay necessary bills like utilities and mortgages, support families, and buy food and gas, artists need to make a living wage relative to national standards and the local economy - just like anyone else. They need to be secure in the knowledge that when they retire their pensions will be enough for them to live on.

Many professional orchestras - like the Jacksonville Symphony and the Arizona Opera Orchestra - have a “master” contract known as a Collective Bargaining Agreement.

When the term reaches expiration musicians, management and the union meet in good faith once again to fine tune their commitment and to establish a new, revised agreement.

Ideally this happens before the old contract expires.

In Jacksonville, this seems to be where the problems began. There are many points and counterpoints and the truth of the matter is difficult to ascertain from the outside.

The JSA claims growing deficits and declining returns. The musicians counter these claims saying that the JSA is exaggerating their deficits and has not been doing enough to fund raise to meet the growing population of the community-at-large.

They also claim that cutting salaries and benefits will significantly lower the artistic standards the Jacksonville community deserves and has grown to expect.

Strike Authorization

In October the Union approved a strike authorization and the JSA is using this as a major point of contention. In the collective bargaining process, strike authorizations are a procedural tool that until used are not a threat.

In Jacksonville, in spite of the great conflict, a strike has actually never been called. The musicians have been extraordinarly patient and have offered to play in spite of the current conflict.

Nevertheless the JSA has suspended operations and has locked out the musicians.

Disparity and Disconnect

The Jacksonville Board chairman discounts the current conflict with comments like ”there's something about a 37-week year and 20 hours a week that doesn't seem too onerous.”

Public statements like this appear naive at best.

Musicians are held liable to very high performance standards that require many extra hours outside of the job. Most classical musicians hold bachelors, masters and even doctorate degrees and devote countless extra hours in preparation for performances.

Support

AZOOMA wishes to express its full support and deepest sympathies to the musicians of the Jacksonville Symphony during this difficult time. Our thoughts are with you.

We sincerely hope that trust and respect will be restored once again through more bona fide dialogue - between the board, management, and musicians.

Please take time to contribute to the Jacksonville Musicians and support their cause.

Resources:


Continue reading "When a Good Thing Goes Bad"


Pieces of a Puzzle: “Gigging” as a Music Freelancer - Part I

Fitting pieces together into a "Frankenstein" career

A section member of the Arizona Opera Orchestra earns anywhere from roughly one to six thousand dollars per opera season. Not every opera production requires a full orchestra and this accounts for the wide variance in income. The tuba and bass trombone, for example, are instruments that are only needed for operas past 1850. Because the tuba is a relative newcomer to the orchestra family, Mozart never wrote tuba parts. It had not been invented until long after his time had come and gone.

This income is one piece of a puzzle that makes up a complete income. For some musicians it is a small piece; for most others it is a larger piece upon which a freelance career is based.

The wages for the Arizona Opera Orchestra fall below the national average. Other opera orchestras pay musicians much higher wages compared to their respective cities’ cost of living indexes for a comparable 3-hour service. We receive no health insurance, no pension, no unemployment, and no instrument insurance.


(The Cleveland and Michigan Opera services also include a 10% pension contribution. For this chart, the national average for the cost of living index is 100; figures are based on a percentage of the national average.)

In order to make an acceptable living - to pay necessary bills like utilities and mortgages, support families, and buy food and gas - AZOOMA musicians supplement their opera income through a variety of means.

Gigs

Many of the Opera Orchestra’s musicians teach and play music in under many different circumstances and with many different roles. This includes teaching in public and private schools, colleges and universities and in private music lessons. Many musicians also freelance by performing with other ensembles.

The Arizona Opera Orchestra’s members play regularly with the Phoenix Symphony, Tucson Symphony and Flagstaff Symphony in addition to virtually every regional orchestra in the state.

Musicians typically call music jobs by a popular slang term - “gigs.” Contrary to some popular belief, this is not a derogatory term in any way. Musicians generally take their gigs quite seriously.

This use of slang for music jobs incidentally, is common throughout the world for musicians. In Mexico City for example musicians call a music job “un hueso.” This translates as “a bone” (as in “give a dog a bone” one supposes).

While many Arizona Opera Orchestra members teach and play gigs, others hold miscellaneous full-time and part-time jobs outside of music. Some do a little bit of both – a combination of gigs and part-time jobs.

Example freelance gigs might include:

  • Playing with the local professional symphony as an extra or substitute musician when needed


  • Performing with other community or regional ensembles like the Mesa Symphony Orchestra, Flagstaff Symphony or the Catalina Chamber Orchestra


  • Forming a small ensemble with colleagues – like a string quartet, brass quintet or woodwind quintet – to perform church services, weddings, graduations and self-promoted concert recitals


  • Working for (or as) a music contractor in Broadway shows, or as part of a backup group for a popular headline artist


  • Substitute or part-time teaching general music, band or orchestra

  • Studio recording work – music for movies, commercials and/or headline recording artists

> continue to PART II


Continue reading "Pieces of a Puzzle: “Gigging” as a Music Freelancer - Part I"


Pieces of a Puzzle: “Gigging” as a Music Freelancer, Part II

Fitting pieces together into a "Frankenstein" career

Pros and Cons

As Jason Heath states in his excellent and highly-recommended Double Bass Blog, “a freelancer must stitch all of these gigs together into a Frankenstein career.” A freelance career is a like a patchwork quilt.

Being a freelancer impacts every aspect of their working life, from the workplace and skills development to their financial situation and lifestyle There are pros and cons:

What are the advantages of being a freelancer?

  • You can take on projects that inspire you while being able to continue doing your own creative work.


  • The very nature of freelancing means that your workload is often varied and rarely routine.

What are the drawbacks of being a freelancer?

  • The nature of freelance work can be erratic and can vary from month-to-month, leaving you feeling insecure about finances.


    For example, the month of December is typically an active month due to the holidays, but January is typically slow. During the months leading to the Arizona summers the work gets busy but during the hot summer, freelance work is virtually non-existent.


  • Filing taxes is very complicated. Many freelance are musicians declare themselves as self-employed and get a wide variety of W2’s and 1099 tax forms.


  • There are hidden expenses. Driving from location-to-location can add up to a substantial gas expenses and wear-and-tear on your car.


  • Holidays sometimes have to take a back seat, as you either cannot afford them, or don’thave enough time to celebrate them because of heavy workloads and/or gigs during those holidays.


  • Your earnings are erratic and you can spend too much time away from home. Work can become an obsession. You think that if you aren't working, you should be, or that you can’t afford not to.


  • You must be very careful about planning for the future. Since freelancers are self-employed, health insurance and retirement planning are up to each musician.

According to one source, freelance musicians may represent as much as 80% of the American Federation of Musicians total membership. With a few reliable gigs to count on as a "home base," freelancing can be very rewarding career for a professional musician.

For the musicians of the AZOOMA, the Arizona Opera is indeed such a "home base."

back to PART I

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Promises and Commitments: The Tie That Binds Us Together - Part I

A Collective Bargaining Agreement makes everything possible.

With the arrival of General Director David Speers in 1998, Arizona Opera set in motion a plan to nurture and expand the artistic excellence of the company. This included innovative sets, costumes and lighting, the engagement of the talented young artists and an "in-house" orchestra with an expanded rehearsal schedule.

In 2000 Arizona Opera took a step further and appointed Maestro Cal Stewart Kellogg as its first Principal Conductor. The largest and most professional group of musicians in the organization's history was established.

By establishing a dedicated orchestra and principal conductor for the opera, Arizona Opera made a strong artistic commitment to the cultural life of Phoenix and Tucson. The community responded with record subscription sales, increased single ticket sales, sold out productions and enthusiastic critical acclaim.

Collective Bargaining

On this road to higher artistic levels, an important document was born - a Collective Bargaining Agreement (CBA). This is a document common to union-based organizations, including: symphony, opera and Broadway musicians, screen writers guilds, transit workers, stage hands and teachers, among many others. It is a tried-and-true method that assures a fair and acceptable work environment for both employers and employees.

The CBA begins with a process known as "collective bargaining." This is when organized workers represented by a union collectively meet with employers to discuss and agree to work conditions. This process allows both parties to go over the details of wages, hours of work, vacation time, working conditions and hiring/firing procedures, among others.

Collective bargaining is a good way to negotiate issues through dialogue rather than through conflict. Most importantly, it has one very valuable by-product; a successful history of bona fide dealings leads to a generation of trust. It contributes towards mutual understanding by reinforcing a continuing relationship. This process over time can generate an attitude of attacking problems together rather than at each other.

For AZOOMA, collective bargaining and our CBA is the "glue" that holds everything together.

In reality it is a labor contract between the opera and the musicians' union (which represents the musicians), but metaphorically and spiritually it is much more.

It is our mutual promise and commitment to each other and to the community.


Continue reading "Promises and Commitments: The Tie That Binds Us Together - Part I"


Promises and Commitments: The Tie That Binds Us Together - Part II

A Collective Bargaining Agreement makes everything possible.

Contracts

The current CBA between Arizona Opera and American Federation of Musicians Local 586 has a built-in term limit. When that term expires, the opera and the union have the opportunity to meet in good faith once again to fine tune their commitment and to establish a new, revised CBA. Term limits are standard fare; they bring everyone together for more face-to-face discussion.

The process of collective bargaining is very detailed and is sometimes complicated. The ultimate goal is this "master" agreement -- the CBA -- which then "trickles down" to individual contracts for each musician.

With individual musician contracts, many things happen. Musicians are secure in their employment, Arizona Opera is secure in having an experienced cast of talented musicians to count on for rehearsals and performances, and the community-at-large is secure in knowing that the high quality music they expect from the Opera will continue.

The "show will go on," so to speak.

"Per Service"

In the world of classical music, musicians are often paid a set fee for each rehearsal or performance they attend, rather than being paid by the hour or with a regular salary with benefits. The Arizona Opera Orchestra is a "per-service orchestra." That is, we are paid a fee for each service (rehearsal or performance) we play.

In the 2006-2007 season, a section member of the orchestra who played every service in the entire season earned $6,332.80. More than 25% of the musicians were not required for all of the Arizona Opera’s productions, so they made significantly less.

In order to make a living, the Arizona Opera Orchestra’s musicians supplement their income through a variety of means. Many of the Opera Orchestra’s musicians teach music in addition to performing. For example, the members of our orchestra teach upwards of 250 private music students each week.

Others hold miscellaneous full-time and part-time jobs, or "freelance" with other music ensembles to collectively make a living.


Continue reading "Promises and Commitments: The Tie That Binds Us Together - Part II"


Promises and Commitments: The Tie That Binds Us Together - Part III

A Collective Bargaining Agreement makes everything possible.

Part-time Work/Full-time Commitment

While an AZOOMA musician is technically a part-time employee, their commitment to the art and craft of music is full-time. Performing music is very similar to competitive sports. The long hours of practice, the physical and mental preparation, the nutrition discipline, rest and skill development, all come together on the day of the performance.

For each performance and rehearsal, a significant amount of time is involved outside of services preparing. Musicians must spend hours of daily practice to be in good shape to play. Much like a professional athlete, classical music requires intense daily physical and mental training. This may require anywhere from ninety minutes to several hours for physical conditioning and for learning repertoire - each and every day.

Additional time and expense is also spent on maintaining instruments, making reeds, studying scores and recordings, and with continued study in lessons.

Each member of the orchestra had to pass a rigorous audition process and must maintain high-standard performance abilities through regular daily practice on their instrument. Musicians failing to meet the rigorous standards of performing at a high level may be demoted or released from their contract for artistic reasons.

Stress is an integral part of the music performing experience. For some, stress is not a problem, but for others it generates fear, tension and even illness. Stress can have a negative impact on the quality of the performance, often creating feelings of anxiety, doubt and despair in the musician.

Many musicians take extra time to deal with performance stress through exercise - such as running, yoga, and martial arts - or with physical therapy.

Our Commitment to Excellence

Sharing our love of music is our promise and commitment to Arizona and a Collective Bargaining Agreement makes all that possible. With it we promise entertaining, live music performed at the highest artistic level for our community.

This is part of the AZOOMA mission and our audiences deserve nothing less.

Resources:


Continue reading "Promises and Commitments: The Tie That Binds Us Together - Part III"


Flashback to Glynn Ross

A modern day impresario who significantly changed Arizona Opera.

The New York Times once called him "the most affable megalomaniac in opera." In Seattle, he was known as "the P. T. Barnum of opera."

Glynn Ross was a modern-day impresario whose unconventional methods gained him a reputation as a flamboyant promoter of opera.

For example, he once advertised Puccini's La Boheme as a show about sex and drugs. He promoted a production of Richard Strauss' Salome with the phrase "Get Ahead With Salome" - a cheeky reference to a decapitated head in the final scene. In the advertising for this production, he used print graphics borrowed from "The Rocky Horror Picture Show."

In Arizona, he had the main street in Flagstaff temporaily renamed "Valhalla Avenue" to promote an Arizona Opera production of Richard Wagner's Ring of the Nibelungen. He also gave a DC comic book of the Ring to ticket buyers to prepare both young and old for the story.

Prior to his tenure at Arizona Opera, his 1975 Seattle productions of the complete Wagner "Ring" cycle were the first in America outside of the Metropolitan Opera. (Even the Met had not done the "Ring" since the 1930's.) These productions consequently established the Seattle Opera as a major opera company. Always on the cutting edge, he also engaged the first fully staged production of The Who’s rock opera Tommy in Seattle.

As General Director of Arizona Opera, he successfully revived the company from financial trouble - a reported $750,000 debt. He took chances; expanding the opera's offerings and even presented complete "Ring" cycles in Flagstaff. During the summers of 1996 and 1998 each cycle was presented over a week's time - just as Wagner had intended.

Presenting the "Ring" is a huge undertaking, even for an established company like the Metropolitan Opera. Among the challenges are contracting specialized Wagnerian singers, staging, securing an expanded orchestra and getting adequate rehearsal time.

For a mid-sized company like the Arizona Opera the "Ring" was a huge leap and a big risk. In the end, it put Arizona Opera on the international map with positive reviews and world-wide attention.

However, the risk of such a large-scale production was not without consequences; the 1998 "Ring" left a reported one million-dollar debt that some sources claim still haunts the company to this day. Other sources contradict this claim and firmly maintain the view that Glynn Ross always operated "in the black."

A $400,000 Flinn Foundation grant has been reported to have covered the costs for this Ring production.

Aside from this, most opera aficionados recognize that opera in America (outside of the Met) has Glynn Ross to thank for its very existence. His showmanship and unorthodox methods, while risky, captured the general public's attention and expanded the heartland's interest in the art form.

In addition to his duties as an opera manager and promoter, Glynn Ross was also a co-founder of Opera America, a nonprofit group that still assists opera companies to this day.



A post note:

The retirement of Glynn Ross in 1998 was followed by a the arrival of General Director David Speers. Within his first year, artistic excellence was emphasized and achieved through increased rehearsal time, a contracted, "in-house" orchestra, innovative sets, costumes and lighting, and the engagement of the talented young artists.

The community responded with record subscription sales, increased single ticket sales, sold out productions and enthusiastic critical acclaim - a noteworthy endorsement.

References:


Continue reading "Flashback to Glynn Ross"