The Well-Tempered Ear
Classical music: Acclaimed local soprano Sarah Brailey explains why performing artists and presenters need help during the COVID-19 pandemic
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By Jacob Stockinger
Sarah Brailey (below) is worried.
And with good reason.
Chances are good that you have seen the local soprano or heard her sing.
She is the artistic director of the Handel Aria Competition, which she herself won in 2015. (In the YouTube video at the bottom, you can hear Brailey sing the aria “Will the Sun Forget to Streak” from Handel’s oratorio “Solomon,” with the Trinity Baroque Orchestra under conductor Julian Wachner, in the St. Paul Chapel in New York City.)
Brailey is a co-founder of and participant in the monthly free Just Bach concerts here. In addition, while pursuing graduate studies at the UW-Madison, she is a concert artist with a budding international career. For more about her, including a rave review from The New York Times and sample videos, go to: https://sarahbrailey.com
But right now the Wisconsin native is especially concerned about the lasting impact that the Coronavirus pandemic will have on her own career as well as on the careers of others like her and on the well-being of arts presenters.
Brailey (below, in photo by Miranda Loud) sent The Ear the following essay:
By Sarah Brailey
This is a scary time for everyone, but particularly for anyone who works as an independent contractor.
I am a freelance classical soprano based in Madison. I maintain a very active performing career, traveling all over the globe, and I am also a doctoral student at the UW-Madison Mead Witter School of Music.
When COVID-19 hit the United States, presenting organizations on the east and west coasts started canceling concerts to comply with social distancing recommendations.
I initially thought I was lucky to be living in the middle of the country where our lesser population density might save us. Plus, I am a Teaching Assistant at the UW right now, so I will still be getting my stipend — although teaching virtual voice lessons will be its own special challenge!
But many of my colleagues are not so lucky and are facing bankruptcy. If the government doesn’t include independent contractors in its relief packages, a lot of people are going to be insolvent.
And I myself am not immune. As the seriousness of the situation became clear, all my concerts in the next two months soon disappeared one by one.
While not being able to perform is emotionally devastating, these cancellations are also financially devastating.
There exists a clause in every standard performance contract called “force majeure” (superior force), which is idiomatically referred to as, “an act of God.” This clause excuses a party from not honoring its contractual obligations that becomes impossible or impracticable, due to an event or effect that the parties could not have anticipated or controlled.
This can come in handy for a presenter if there is, say, a blizzard that necessitates the cancellation of a concert. (This happened to me a few seasons ago with the Boston Symphony.) If the presenter will not make any money on ticket sales, they are not then further injured by having to pay the musicians for the canceled concert. (Below, Brailey sings Samuel Barber’s “Knoxville: Summer of 1915” with the Colorado Symphony.)
The ramifications of this pandemic are unprecedented. Every freelance musician I know is suddenly out of work. The current conventions put all of the upfront financial burden on the artists. We are paid in one lump sum at the end of a project. We do not get a fee for the countless hours of preparation.
We often book travel and lodging on our own dime, and are not reimbursed until the end of the gig. We pay for our own health insurance, and we cannot file for unemployment because our work is paid via IRS Form 1099 and not W2s. The abrupt work stoppage caused by this pandemic means insolvency – or even bankruptcy — for many artists. (Below, Brailey sings Handel’s “Messiah” at the famed Trinity Church on Wall Street in New York City.)
Many institutions — and, unfortunately, many of the bigger players like The Metropolitan Opera — are invoking force majeure without much regard for how their artists are struggling.
My colleague, tenor Zach Finkelstein, is covering this in great detail on his blog The Middle Class Artist, as is Alex Ross, the prize-winning music critic for The New Yorker. Read his piece on force majeure here.
However, there are also thankfully some good stories to tell. The Bach Society of Minnesota reimbursed all my travel expenses and is paying 75 percent of my fee, as is the Lyra Baroque Orchestra.
I am helping Zach keep track of the organizations that are helping their artists in this time of need. (Read about them here. Madison Opera is on the list.)
The arts are not just cultural enrichment; they are an essential part of our economy. In 2017, the industry contributed $877.8 billion, or 4.5 percent, to U.S. Gross Domestic Product (GDP) and employed over 5 million workers. We cannot afford to let this industry disappear. I fear that many individual artists and arts organizations will not recover from this. (Below, Brailey sings Johann Sebastian Bach’s “Magnificat” at the Bucknell Bach Festival.)
While we wait out this storm, I implore you to donate to a Madison arts organization. Here is a short list of recommendations along with some national relief funds for artists.
Local Arts Organizations
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Classical music: Critics for The New York Times name their favorite works by and performers of Richard Strauss. Plus, catch the Madison Area Youth Chamber Orchestra and the Madison Early Music Festival on radio this Sunday.
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HERE ARE TWO ALERTS FOR SUNDAY:
At 10 a.m, on WORT FM 89.9: The Madison Area Youth Chamber Orchestra (MAYCO) under the direction of Mikko Utevsky will be featured in an hour-long broadcast this coming Sunday (January 4).
The “Summer Voices” concert was recorded live last August 22 at Music Hall on the UW-Madison campus. Included are interviews with MAYCO founder and conductor Mikko Utevsky and guest soprano Caitlin Ruby Miller (below).
The program includes: the Overture to “The Magic Flute” by Austrian composer Wolfgang Amadeus Mozart; the cantata “Knoxville Summer of 1915” by American composer Samuel Barber; and the Symphony No. 9 in E-Flat Major by Russian composer Dmitri Shostakovich. The hosts of Musica Antiqua yielded the final hour of their early music show so that WORT can provide these young musicians with the station’s largest classical music audience.
Then at 1 p.m. on Wisconsin Public Radio (88.7 FM in the Madison area and online at wpr.org): Wisconsin Public Radio (WPR) will broadcast a concert of 16th-century Renaissance music from Italy inspired by “I Trionfi” by Francesco Petrarch (1304-1374). The concert was designed and conducted by Grant Herreid, and was performed at the Madison Early Music Festival’s concluding All-Festival Concert (bel0w) in July 2014 at Luther Memorial Church in Madison. This recording is part of WPR’s new program, “Wisconsin Classical.”
Listen to station 88.7 FM at 1 p.m.or stream it online at http://www.wpr.org/
By Jacob Stockinger
One of the public’s favorite Late Romantic composers is Richard Strauss, seen below in old age in a photo by H. Hoffmann and Ullstein Bilderdienst.
Writing about Strauss is timely, if belatedly so, because 2014 was the 150th anniversary year of his birth.
But better late than never.
Strauss composed in every genre, from orchestra and opera to chamber music, and the last part of his career was controversial because of his involvement with Hitler and Nazi Germany during World War II.
What is your favorite work by Richard Strauss?
Your favorite performances and performers?
Your favorite recordings?
Various critics for The New York Times recently offered their own year-end takes on those questions.
Here is a link:
And here is my favorite Strauss music — the Suite from the opera “Der Rosenkavalier” in a YouTube video — although it is also hard to beat “Four Last Songs” for soprano and orchestra:
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Classical music: The Madison Area Youth Chamber Music Orchestra (MAYCO) performs music of Haydn and Mendelssohn plus a world premiere of a work by Madison composer Olivia Zeuske this Friday night at the First Unitarian Society.
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By Jacob Stockinger
Few young musicians, or older ones for that matter, lead a busier schedule than the young University of Wisconsin-Madison violist and conductor Mikko Rankin Utevsky (below).
Recently returned from a stay in Europe, Utevsky will show his latest ambitious achievement in a program this Friday night.
That is when the Madison Area Youth Chamber Orchestra (MAYCO, seen below in a performance last year in Mills Hall at the UW-Madison), which was founded by Utevsky while he was still a student at Madison East High School, opens its fourth season on Friday night at 7:30 p.m.
The concert will take place in the crisply designed Atrium auditorium of the First Unitarian Society of Madison (below, in a photo by Zane Williams), 900 University Bay Drive, on Madison near west side. Tickets are $7, with donations requested from students.
The gifted pianist Thomas Kasdorf (below), a graduate of the University of Wisconsin-Madison School of Music, where he studied with Christopher Taylor and where he will return as a graduate student this fall, joins the orchestra for the Piano Concerto No. 11 in D Major by Franz Joseph Haydn. (You can hear the legendary Russian pianist Sviatoslav Richter play the concerto in a YouTube video at the bottom)
You may recall that this spring Kasdorf answered a Q&A for this blog when he performed the Piano Concerto in A Minor by Edvard Grieg with the Middleton Community Orchestra.
Here is a link to Kasdorf’s interview:
And here is a link to The Ear’s positive review of his performance of the Grieg concerto (below):
Also on the program are the “Reformation” Symphony by Felix Mendelssohn and the world premiere of the chamber symphony “Experiment No. 1” by Olivia Zeuske (below). Zeuske just graduated from the UW-Madison with a double major in English and music composition, which she studied with professor and composer Steven Dembski.
MAYCO’S NEXT CONCERT
MAYCO’s next concert this summer will be at 7:30 p.m. on Friday, August 22, 2014. Called “Summer Magic,” it features soprano Caitlin Ruby Miller. The program includes the Overture to “The Magic Flute” by Wolfgang Amadeus Mozart; “Knoxville: Summer of 1915” by Samuel Barber: and the Symphony No. 9 in E-flat Major, Op. 70, by Dmitri Shostakovich. The concert will be held in UW Music Hall, 925 Bascom Mall, at the base of Bascom Hill.
For more information about MAYCO, including background, concerts, programs, photos and how to support and join MAYCO, visit:
http://madisonareayouthchamberorchestra.org/
Tags: Arts, Barber, Bascom Hill, Chamber music, chamber orchestra, Christopher Taylor, Classical music, concerto, Dmitri Shostakovich, Edvard Grieg, Fanny Mendelssohn, Felix Mendelssohn, First Unitarian Society of Madison, Franz Josef Haydn, Haydn, Jacob Stockinger, Knoxville: Summer of 1915, Madison, Madison Area Youth Chamber Orchestra, Madison East High School, Mendelssohn, Middleton Community Orchestra, Mozart, Music, Olivia Zeuske, Olivia Zueske, Orchestra, Piano, Piano concerto, Richter, Samuel Barber, Shostakovich, soprano, Sviatoslav Richter, symphony, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, vocal music, voice, Wolfgang Amadeus Mozart, world premiere, YouTube, Zane Williams
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