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Music to Our Ears the NEA’S Support for Music and Opera in America

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Music to Our Ears the NEA’S Support for Music and Opera in America VOL 5 2008 A GREAT NATION DESERVES GREAT ART Music to Our Ears The NEA’s Support for Music and Opera in America 9 The Inaugural NEA Opera 12 The 2009 NEA Jazz Masters 15 The 2009 National Medal of Honors Celebrate Four Music Awards Ceremony in New York Arts Event at the White House Greats NEA ARTS Turning up the Volume Nurturing Music and Opera Artists and Audiences Nationwide The National Endowment for the Arts (NEA) has been For projects like assisting the music Weld in America for more than 40 the New World Sym - years, and has witnessed the evolution of a dynamic phony’s orchestral musical landscape. Te number of orchestras grew from academy, which pro - just over 100 in 1965 to more than 1,800 in 2008, per - vides professional forming in excess of 36,000 concerts annually. Te cur - development to rent economic situation facing everyday Americans, emerging artists, or the however, is likewise contributing to the challenges that Boston Early Music R I E H nonproWt organizations are beginning to experience. K Festival production of I D A F Needless to say, when nonproWts are in a positive, bal - Y an opera that has B O T anced position, they are more likely to invest in new O rarely been seen in H P artistic works, demonstrate an increased commitment to Music and Opera Director Wayne S. four centuries, NEA arts and arts education, and invest in creative and com - Brown at the May 2008 announcement support is crucial. munity partnerships. And that is where the Arts Endow - of the NEA Opera Honors in New York Trough NEA invest - City. ment comes in. ment, these organiza - tions receive validation for their projects that oYen leads aZe_baZ` [bfa[_` ba e^\ Zced to increased audiences and Wnancial support. Dana Gioia Chairman Music grants, however, cover more than just classical James Ballinger Miguel Campaneria and opera. NEA support for jazz programming has been Ben Donenberg JoAnn Falletta strong from the beginning of its history, increasing from Lee Greenwood $20,000 in 1970 to $1.5 million in 1980 to $2.8 million in Joan Israelite Charlotte Kessler 2005. Jazz projects supported by the agency have included Bret Lott festivals and concerts as well as special projects such as Jerry Pinkney Stephen Porter NEA Jazz Master Billy Taylor’s Jazzmobile in New York. Barbara Ernst Prey Frank Price In addition to grantmaking, the NEA supports the Terry Teachout music Weld in other substantive ways. Over the past six Karen Wolff years, Chairman Dana Gioia has expanded national \h-b]]_[_b music programs like the NEA Jazz Masters initiative to Sen. Robert Bennett (R-UT) Sen. Sheldon Whitehouse (D-RI) include touring, broadcasts, and educational programs. Rep. Betty McCollum (D-MN) Rep. Patrick Tiberi (R-OH) In addition, NEA Opera Honors, a new lifetime achieve - ment program—the Wrst in 26 years—was created this a\Z Zced deZ]] Paulette Beete Editor year to recognize a stellar group of American musical Don Ball Managing Editor Wayne S. Brown, Alexandra Eichler, greats in that Weld. Rebecca Ritzel, Elizabeth Stark Contributors In these pages you will read about these projects and Beth Schlenoff Design initiatives and more that demonstrate the creative vision ba e^\ [bg\c: and achievement of the music and opera Welds in America. Plácido Domingo pays homage to NEA Opera Honors recipient Leontyne Price backstage at the awards ceremony at Washington, DC’s Sidney Harman Hall at the Harman Center for the Arts, October Wayne S. Brown 31, 2008. Photo by Henry Grossman Director, Music and Opera 2 NEA ARTS Music to Our Ears Te NEA’s Support for Music and Opera in America Given that founding members of the NEA’s National free performances, which included such favorites as Council on the Arts included Marian Anderson, Porgy and Bess and La Traviata, incorporated active- Leonard Bernstein, and Duke Ellington, it’s not surpris - duty military personnel into the performances as vocal - ing that the NEA has a strong tradition of support for ists and narrators. music and opera. Since 1965, the Arts Endowment has Today, the NEA’s support for music and opera invested more than $535 million, providing catalytic includes grants for an array of projects, including resi - support to orchestras, chamber ensembles, and choirs dencies, commissions, concerts, tours, recordings, and for more than 15,000 diverse music and opera projects, professional development. Trough its American Mas - festivals, music education, and professional training. terpieces category, the Arts Endowment has previously While the NEA funds numerous presentations of the supported choral music festivals held across the country standard classical, jazz, and choral repertoires, it also to celebrate American choral composers. Te program supports the creation and performance of new work by now focuses on introducing more Americans to the American composers. For example, New York’s Glens chamber repertoire in its various incarnations. Falls Symphony Orchestra received NEA sup - A port for a project in which the small-budget R T S E H orchestra commissioned a new work by com - C R O Y poser Joan Tower that was then performed by N O H P 60 similarly sized orchestras in all 50 states. M Y S S L Te success of the resulting work, Made in L A F S America, led to a new public-private partner - N E L G F ship program, Ford Made in America, which O Y S E is supporting a commissioned work, Joseph T R U O C Schwantner’s Chasing Light . , which will be , N O S performed by small and regional orchestras in A M L E all 50 states from 200 8–10. A H C I M Te Arts Endowment also helps to bring Y B O T music and opera performances to new audi - O H ences. For example, in the early 1990s, the P The Glens Falls Symphony Orchestra performing Joan Tower’s Arts Endowment collaborated with Chamber Music Made in America. America on the Rural Residencies Program, which gave young professional chamber musicians the opportunity Te projects proWled on the following pages oUer a to engage with local communities through intimate con - quick primer on the far-reaching scope of the NEA’s certs, open rehearsals, and other activities that fostered a support for music and opera—from premiering opera sense of connection. Great American Voices, a recent works about historic U.S. Wgures to expanding the reach initiative in collaboration with OPERA America and of choral performances through recordings to preparing with support from Te Boeing Company, enabled 24 young artists for musical leadership positions to intro - opera companies to bring live performances of selec - ducing contemporary audiences to masterworks from tions from opera and musical theater masterpieces to 41 the Baroque era to bringing high-quality performances military installations across the country. Many of the of jazz and blues to underserved audiences. 3 NEA ARTS Setting Themselves Apart New World Symphony Mentors a New Generation of Leaders Twenty-six-year-old Katherine Bormann has been play - phony also facilitates private lessons, master classes, and ing violin since age four, but she never dreamed she dress rehearsals via Internet2, an innovative Web-based would one day take lessons with composer John Adams, program. Internet2 allows students an unprecedented conductor Emmanuelle Haim, and violinist Christian opportunity to study and work with internationally TetzlaU. At Miami Beach’s New World Symphony known artists, such as cellist Yo-Yo Ma, soprano Renée (NWS), the country’s premier full-time orchestral acad - Fleming, and Xautist Paula Robison, via real-time video emy, these once-in-a-lifetime experiences happen all the conferencing. As Borman recalled, “We played the U.S. time. Under Musical Director Michael Tilson Tomas, premiere of a piece by Augusta Read Tomas, 0e Soul NWS develops the skills of young musicians to prepare is Light. Te piece was so new, and we had questions them for positions with the country’s top orchestras, about pitches and articulations. For somebody like her, including the Chicago Symphony and the Kennedy being very busy, we wouldn’t have been able to meet with her without Internet2.” NWS coaches students in more than just musicianship. Te pro - gram also helps the fellows to develop their skills as leaders by having almost all of the musicians Y N O H sit principal chair throughout the P M Y S fellowship season, taking responsi - D L R O bility for leading their peers W W E N through concerts and rehearsals. F O Y S Te NWS fellowship program also E T R U includes a mentor program with O C O T local junior high schools. Fellows O H P tutor the junior high schoolers During a New World Symphony performance, composer John Adams makes an appearance via Internet2 to discuss the piece. one-on-one, helping the youngsters grow as musicians and individuals, while the musician-instructors beneWt Center Opera House Orchestra. Dean of Musicians from the invaluable teaching experience. Michael Linville characterizes the NEA’s support for the Linville explained that “musicians today need to have program as crucial. “In terms of the support we’ve a wider range of skills than they did 20 or 30 years ago.” received since the beginning of the institute, it validates Tis new skill set includes entertaining donors, interact - what we do educationally and artistically.” ing with the media, and presenting themselves on cam - Te approximately 1,000 post-baccalaureate musi - era as well as live. Added Linville, “[Musicians] have to cians hoping to get one of 30 coveted three-year NWS be ambassadors for the arts, and ensure that the art fellowships undergo a rigorous application process, form can continue.
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