National Opera / Kennedy Center merger?

Is a merger in the works for Washington National Opera and the Kennedy Center? It would appear so.

Erica Orden at the Wall Street Journal reports:

The Washington National Opera, facing financial challenges and questions about its future, is exploring a merger with the John F. Kennedy Center for the Performing Arts, according to a person familiar with the matter.

The arrangement under consideration would mimic the Kennedy Center's relationship with the National Symphony Orchestra, the person said. The center would assume the opera's assets and liabilities, and the opera would cede to the center approval on artistic and budgetary matters. Merger discussions began around March, the person said.

Both the spokesperson for the Kennedy Center and the spokesperson for WNO said that negotiations had begun on a new rental agreement since the current agreement for WNO's rental of the Kennedy Center's space expires in 2013. In addition, their stories matched in that they both also admitted to discussing the "future" and "long term relationship" between the two organizations.

Although the financial challenges could be blamed on the current state of our nation's economy - let's not forget the staggering number of artistic institutions that have shuttered - many continue to blame General Director Placido Domingo for the company's issues. Again, Erica Orden of the Wall Street Journal:

Some have blamed the leadership of Mr. Domingo, who became general director in 2003 after several years as artistic director. Although lauded for his creative vision, he has faced criticism for what has been described as inattentive supervision. "Why can't a general director with the fame, charm and ability of Domingo roll up his sleeves and work to realize his vision, rather than distancing himself from the results?" classical-music critic Anne Midgette wrote earlier this year in the Washington Post. "The answer: because he isn't actually there, running the company."

In FY 2010, Congress appropriated some $40 million to the Kennedy Center for operations, maintenance and other upkeep costs. So, it is safe to say that the Kennedy Center could be a port in the storm for the National Opera.

It does come at a price, however. Domingo could be stripped of his artistic authority and the opera's Board of Directors could be downgraded to figurehead status. That is, of course, if the merger takes on the same shape as the merger between the National Symphony Orchestra and the Kennedy Center, which happened in 1986.

Arts organizations that have a home in our Nation's Capital and are indeed called "National" should have some funding from our National Government. Don't you think? I am in no way saying that they should be solely funded by said government, but if we can subsidize crops, oil etc., I think we could manage to specifically subsidize our "National" arts organizations.

I understand that some will say "That's what the National Endowment for the Arts is for." And that, my Friendlies, is why I said "specifically subsidize". In other words, there should be specific subsidization with funding not funneled through bureaucratic channels that are clogged with bureaucratic plaque.

"A great nation deserves great art!" Wasn't that the motto of the NEA?

If, in our great bureaucratic democracy, the way to national funding of our "National" arts organizations is to merge them with the Kennedy Center, then so be it. Unfortunately, some egos will have to take a back seat - but, that's politics ... and the arts, for that matter.

Edward M. Kennedy Institute's architect is chosen

The New York Times reports that architect Rafael Viñoly has been chosen to design the Edward M. Kennedy Institute for the United States Senate.

If the name Rafael Viñoly sounds familiar to some of you, it's because his firm was commissioned to design a 2.8-million-square-foot residential complex on the site of the former Domino Sugar Refinery and processing facilities in Brooklyn’s Williamsburg neighborhood.

Now, the Edward M. Kennedy Institute for the United States Senate - which is already on my must-go-to list - will not only act as a memorial, but will also be an educational center dedicated to the career of Teddy, who died of cancer in 2009. The institute will stand next to his brother's - the John F. Kennedy Presidential Library and Museum which is on the campus of the University of Massachusetts Boston. Included in the project will be classrooms, a replica of Mr. Kennedy’s Senate office and a recreation of the Senate chamber with interactive desktops to provide information about the senators who have served in those seats and their voting records.

Construction is expected to begin this fall.

Someone get me a drink and a cigarette

Hmmmm.... this is interesting.

From our Divine La Cieca at parterre.com:

La Cieca hears that a big axe just fell in the marketing department over at Sterling Cooper Draper Gelb. Look for a new director to be hired from outside the company.

Woops!

[Graphic appears courtesy of La Divina Cieca and her minions at parterre.com]

Blogging on the go?

I cannot ... I mean *cannot* ... believe that I can blog on-the-go, now.

I know, I know. This has been a possibility for a while - sometimes Yours Truly is a little slow on the uptake.

This will make things much more interesting, Friendlies... Don't you think?

I will say, for the record, that I am currently tippety-typing away on my trusty BBerry ... So, let's send a little prayer to the Thumb Gods that I don't make any significant errors.
Sent via BlackBerry by AT&T

A Sister Act of a different sort ... Benedictine, to be precise

Get ready for a little peace, quiet and tranquility through the Gregorian sounds of some soon-to-be-famous Benedictine Nuns as it seems they've signed a major record deal with Decca Records. CBC News reports:

The British label announced Sunday that the Benedictine nuns of the Abbaye de Notre Dame de l'Annonciation near Avignon were chosen after a worldwide search for female Gregorian chant performers...

..."We never sought this, it came looking for us," the Rev. Mother Abbess told Agence-France Presse.

"At first we were worried it would affect our cloistered life, so we asked St. Joseph in prayer. Our prayers were answered and we thought that this album would be a good thing if it touches people's lives and helps them find peace."

Tom Lewis, head of Decca's talent division, said his department had to pick through entries from more than 70 convents in Europe, South Africa and the U.S.

"When you hear the sound of nuns chanting, it's like an immediate escape from the challenges, stresses, pace and noise of modern living," noted Lewis back in March when Decca, an arm of Universal Music, posted the search notice.

"This is a sound of something ancient, unchanging and timeless."

Twenty-six out of the 28 nuns will sing on the record, Voices – Chant from Avignon, due out in November. A recording studio will be set up in a building on the abbey grounds...

For more, visit cbc.ca.

Debbie's gotta gun

Uhm.... hmmmm....

It looks like someone has an affinity for guns, perhaps. Can someone page Dr. Freud?

From La Fanciulla del West in San Francisco, to this:

Deborah Voigt, a leading dramatic soprano known for portraying Strauss and Wagner heroines, will be packing heat next summer in the title role of Irving Berlin’s Annie Get Your Gun at the Glimmerglass Opera Festival.

The performance will be a major departure for Ms. Voigt, a celebrated singer with an ardent fan base, but it will be within a longstanding tradition of opera stars stepping onto the Broadway stage. They include Ezio Pinza, Shirley Verrett, Giorgio Tozzi and most recently, Paulo Szot, who did double duty last season in South Pacific and Shostakovitch’s Nose at the Metropolitan Opera. - New York Times

Jane Eaglen's key to high notes: clench it!

So ... that's her secret? It's all about clenching your butt?

Joshua Kosman, Music Critic for The San Francisco Chronicle reported last week on soprano Jane Eaglen teaching her tricks of the trade during a Masterclass for the Merola Opera Program. The article says in part:

Advice for young opera singers is plentiful if you know where to look. But you have to go to soprano Jane Eaglen for the true secret of a secure high note: a firmly clenched bum.

"Squeeze your bottom," she told mezzo-soprano Robin Flynn on the stage of Herbst Theatre last Thursday night. "That's the key to high notes. I have a big bottom, and big high notes."

Where high notes are concerned, I've heard it all and I'm sure you have, too.

I've heard: "Pretend you're on the toilet". I've heard: "Pretend you're passing gas". I've also heard from a colleague, soprano Kathleen Halm, that an Italian singer once told her to "Push outta dee Tempex!" By the way- yes, you're correct ... Tempex = Tampax. He even went so far as to write in huge letters "TEMPEXX" on her music. Kate and I still laugh about "TEMPEXX" to this day.

Now, I can add "clench my keester" to the list of possible go-to items if I'm having trouble with my high notes. Perfection.

In addition to highlighting a few other pearls of wisdom, the article puts to rest any rumors that Eaglen plans to retire:

Eaglen, who turned 50 this year, still performs regularly - in May she created the role of Helen in the world premiere of composer Daron Hagen's opera Amelia at the Seattle Opera - but she's cut back her engagements in favor of more teaching and coaching.

"I'm absolutely still singing and have no intention of retiring any time soon," she said in a phone interview the next morning. "But I didn't want to be traveling 11 months out of the year. So I'm trying to do more concert work, and teaching seemed to fit in with that schedule."...

...Eaglen's focus is on her students, but she never forgets to keep the audience involved in the process. She studs her coaching with wry asides, including the occasional witticisms about her ample girth; when a student gets on the right track, she starts nodding and pointing vigorously like a successful player in charades.

And singing with your tush is always a helpful technique - or at least it was for Flynn, who used it to nail a high G-flat in a Massenet aria that had eluded her on several tries. The success was not only audible, it was also visible; Flynn's eyes bugged out and her body looked as if it had received a mild electric shock.

"Yes!" cried Eaglen, adding dryly, "I have a feeling that's a new sensation for you."

For the complete article, check out the San Francisco Chronicle. And, for God's sakes, CLENCH IT!

[Photo: Merola Opera Program singer Sidney Outlaw receives instruction from soprano Jane Eaglen. By John Storey - special to The Chronicle.]

Broadway's finest In Performance at the White House

Last night, some of Broadway's finest were at the White House for a White House Music Series Event saluting Broadway. Audra McDonald, Nathan Lane, Elaine Stritch (Who had forgotten the lyrics to "I'm Still Here". Stritchy!) and Jerry Mitchell were just a few of the names that helped entertain the President, his family, and other invited guests.

The show was taped and will be broadcast in October on PBS as part of the In Performance at the White House series.

While we may have to wait until October to see the show - we can get a preview, as well as a lesson in how Broadway helped to shape America, by watching President Obama's introduction to the evening. I encourage you to take a few minutes and watch.