Catching Up

•August 28, 2009 • Leave a Comment

So much has been happening for Heretic Opera since I last posted here! This blog began as a way to give an inside look at a start-up performing arts company (something I thought might be helpful for other arts entrepreneurs), but my time flies so fast that a lot of significant experiences and events go undocumented. We recently had our Launch Party, which was very fun – thank you to Kim, Alex, and Kirsten for all of your hard work! (Party pics can be found on our Facebook page.)

Even more importantly, we’ve hired our first Composer-in-Remote-Residence, Kenneth Froelich. Kenneth initially approached us about his vision for an original opera focusing on the 1940’s secession movement, the State of Jefferson (which we’ll be producing in 2013). When he applied for the Valentine project as well, I was surprised by how well he fit our very ambitious list of desired composer attributes. We’re very excited to welcome him to Heretic Opera, and we can’t wait to produce his work on Valentine in 2011! You can check him out at http://www.kennethfroelich.com, and he’ll be an occasional contributor to this blog as well.

Further Adventures in Starting a Business

•July 13, 2009 • 1 Comment

I took last week off to take an intensive course in Basic Mediation Skills – very soon I will be certified as a mediator in the State of Oregon. It’s a good skill set to have at your disposal when working with artists, or with anyone who makes a career out of making themselves vulnerable to collaborators and strangers.

Now that I’m back, I am busy with a lot of odd little projects that have been piling up on my desk. This weekend was partly spent buying records for the DJ to play at our launch party and, at his request, tagging each record with playing suggestions. It was kind of wonderful to have the time to explore new (to me) music – from The Soviet Army Chorus & Band’s recording of Murderers Stalk the Earth, to the lovely voice of Diahann Caroll, to the clean tight jazz of Amad Jamal, to William Russo’s brilliant mash-up Three Pieces for Blues Band and Orchestra. It’s a funny thing, but after listening to Brubeck, Coltrane, Coleman, and other jazz greats, that Liszt, Bartok, Spanish Baroque guitar music, Bach, and Purcell all begin to sound a bit jazzy as well. This really is just one big world of music, and the mix can be tweaked any way you want.

I’ve come to have a similar perspective regarding my process with Heretic Opera. Most people don’t think about the work that goes into creating a new opera company – creating a business plan that facilitates the mission statement, learning how to use new social technologies, securing funding and setting a budget is all stuff that happens behind the scenes. But since all of this is just as important to the process of presenting an opera as having singers onstage on opening night, where do you draw the line between the creative process and office drudgery? Too often we tend to box things into very small categories: despite the success of Street Scene and Porgy & Bess real operas don’t use the jazz idiom, accounting can’t be considered creative unless it involves stealing from your employers, classical music and the structures it has created (symphonies, operas, etc.) are inherently elitist and only a small percentage of the population would be interested in them anyway. I don’t consider these prejudices to be true or helpful. In my experience, people seem excited about highly crafted work created with the casual listener in mind, and happy to engage with it in whatever way they can. I know I am often more content spending the majority of my days hunched over the keyboard and planning new projects than I was as a singer, when I sometimes felt almost incidental to the creative process (a teacher of mine once called that feeling “standing onstage and spitting out pitches”).

In the end, I think that any work can be a creative contribution as long as the effort is directed towards a meaningful goal. I also believe that opera and other classical art forms are still be accessible and interesting to a wide range of people. I’m truly grateful for the opportunity to build a company that pursues these ideals in a concrete, pragmatic fashion. New projects, professional development classes, research for the DJ, and all.

Troubles with Technology

•July 3, 2009 • Leave a Comment

Well, it’s been a bit of a difficult 24 hours here at Heretic Opera. The computer keeps on crashing and freezing – upwards of 10 times now, I believe – and so my tasks for today and yesterday have been shelved in favor of simply trying to get my “other brain” up and running again. It’s funny how, even in a traditional performing arts company, a huge percentage of the work is done with a computer. We are completely dependent on these fragile pieces of plastic, silicon, and copper. I’d bemoan the loss of my autonomy from Microsoft and Google, but the truth is I turned in my Luddite badge the minute I realized that how emerging media could change the way people interact with the arts, and help to make some of the things I love relevant again. So, march on, inevitable progress of technology!