Copious Notes

Mark O'Connor rehearses with University of Kentucky graduate student Jessica Miskelly and the UK Symphpny Orchestra on Oct. 28, 2009. Photos by Rich Copley | LexGo.com.

It’s a typical rehearsal two days before a concert.

The University of Kentucky Symphony Orchestra is on the stage in the Singletary Center for the Arts Concert Hall with conductor John Nardolillo stopping occasionally to tweak parts, but mostly letting the music flow.

Centerstage two violinists trade increasingly virtuosic, knee bending phrases, somewhat reminiscent of a  little Peach State fiddle duel Charlie Daniels once sang about.

This is where things become less typical.

O'Connor and cellist Geoffrey Hershberger rehearse O'Connor's "Double Concerto for Violin and Cello."

One of the violinists is UK graduate student Jessica Miskelly. The other is Mark O’Connor, a classical music star who has distinguished himself by successfully bridging traditional classical music and American folk. He’s currently in the midst of a short residency at UK which will culminate in a Friday night concert featuring O’Connor, several of his compositions, the UK Choirs and several students sharing his spotlight.

“I’ve been doing more residencies the last couple of years at institutions,” O’Connor said in his dressing room, a few minutes before Wednesday’s rehearsal began. “Every time I show up at performances around the country, there’s all kinds of questions about, ‘Where’s this music going?’ and what your background is. There’s always some kind of educational component to it, so I just decided to expand that.”

In addition to UK, O’Connor works with students at the School for Creative and Performing Arts and the UK String Project, a primary school program, this week.

O’Connor has done his mini-residencies at prestigious schools such as the Curtis Institute of Music in Philadelphia and the University of California, Los Angeles.

But he wanted to come to Kentucky.

In part, it was because of a growing relationship between O’Connor and the orchestra, which included another visit several years ago and a performance in February with the UK Symphony at the John F. Kennedy Center for the Performing Arts as part of the Our Lincoln production.

“John Nardolillo has put a great emphasis on performance and getting the material ready,” O’Connor said, referring the UK Symphony’s director. “It’s just fantastic to see and hear . . . It’s going to be a darned good show for the audience.”

This visit also brings O’Connor close to Appalachia, a region he is strongly identified with thanks to his own music and several celebrated albums of Appalachian music with cellist Yo-Yo Ma and bassist Edgar Meyer.

Read the rest of this entry »

Ronan Tynan has recorded a lot of classical and pop hits. He may want to consider adding the Pink Floyd song One Slip to his repertoire, because an offhanded anti-Semitic remark is costing him dearly.

Ronan Tynan. 2007 AP photo by Don Heupel.

The tenor, a mainstay at New York Yankee games who performed at the Singletary Center with the Lexington Philharmonic Oct. 10, was with a real estate agent showing an apartment building when the incident occurred. According to the New York Times, the real estate agent joked to Tynan that the prospective tennant, New York University physician Gabrielle Gold-Von Simson, was not a Boston Red Sox fan.

Tynan’s shocking reply: “I don’t care about that, as long as they are not Jewish.”

Gold-Von Simson contacted the Yankees, who in turn contacted Tynan. As soon as Tynan admitted the remark, Yankees spokesman Howard Rubenstein said Tynan was disinvited from singing at Friday night’s opening game of the American League Championship Series and will not perform again at Yankee Stadium this season. The Yankees are one of four teams remaining in the hunt for a World Series championship, this year.

Since games following the terror attacks of Sept. 11, 2001, in New York, Washington D.C. and Pennsylvania, it has been a tradition for Tynan to sing his distinctive rendition of God Bless America during the seventh-inning stretch at post-season games and other special games at Yankee Stadium.

In Saturday’s Irish Times, Tynan said he was distraught, and that his offhanded comment about some other prospective tenants was misunderstood. He told the paper the roots of the comment were in a visit by other potential residents three weeks before:

“Two Jewish ladies were coming to view it and the agent said, ‘They are very particular’. And I said, ‘I don’t know how they will deal with having a singer beside them, practicing all the time. That could be scary.’ We laughed about it.”

According to the Irish paper, his snappy reply was, “At least they’re not the Jewish ladies.”

Tynan, a Kilkenny, Ireland native, told the paper he has never been anti-Semitic and that three members of his band are Jewish. According to the Yankees spokesman, Tynan did call the doctor and apologize to her satisfaction. He also made a contribution to a charity of her choice: KiDs of NYU, an organization that supports children’s health services at the university’s Langone Medical Center.

Tynan also apologized to Major League Baseball Saturday, telling the Associated Press, in part, “Several days ago I made a joke that was insensitive. My attempt at humor was inappropriate and hurtful to the person who heard it.”

Still, the comment has cost Tynan his treasured Yankees gig for this season. The Yankees say he may be invited back in future seasons.

Other impacts to Tynan’s career remain to be seen.

Cellist Joshua Roman rehearses with the Lexington Philharmonic Orchestra and Maestro Scott Terrell on Tuesday, Oct. 13, 2009. Photos by Rich Copley | LexGo.com.

Click the play button to hear a podcast of our interview with Joshua Roman:

Copious Notes podcasts are available on iTunes.

The Lexington Philharmonic Orchestra may have bigger named soloists its schedule this season, but that may only be temporary.

At 25, cellist Joshua Roman already has some big credits on his resume, including being the only soloist during the YouTube Symphony Orchestra presentation, becoming the Seattle Symphony’s principal cellist at age 22, and being named artist of the month by Musical America magazine in August.

We caught up with Roman back stage after a rehearsal to talk about things like being called a “classical rock star” for our story in today’s Weekender and the podcast, above.

Scott and guest soloist Evelyn Glennie head for the pre-concert chat in the President's Room in the Singletary Center for the Arts.

Photographer Matt Goins shot a lot more pictures of Scott Terrell preparing for his first masterclassics concert as the Lexington Philharmonic Orchestra’s music director than we could get in Saturday’s paper. But here at le blog, where we have unlimited space (the webmaster may beg to differ), Matt is letting us share a few more photos from last week’s exhilirating season opener.

A phew more Phil photos also pheels like a phun way to celebrate Copious Notes’ 1,500th post. (I just toasted the occasion with a Carmilla at Coffea. Woo-hoo.)

Terrell leads the pre-show chat.

Terrell and Glennie take some questions.

Terrell straightens his tie.

Terrell goes over the score in his dressing room before taking the stage.

On the podium, in command of the orchestra.

More coverage:

• Loren Tice’s concert review.
• Coverage of opening night.
• Evelyn Glennie travels light.
• Terrell ready to go.

Quest Community Church's new state-of-the-art 2,400-seat auditorium was built with private funds. Could Lexington arts supporters do something similar?

What do you think of Lexington’s inventory of theaters and other venues for live performances?

Currently, leaving aside our behemoth of Rupp Arena, our major arts and entertainment venues are the Singletary Center for the Arts, which seats about 1,500, and the Lexington Opera House, which accomodates just under 1,000. Then, in the seats-a-few-hundred category, you have the black box theater in the Downtown Arts Center, the Lyric Theatre, which is currently being rennovated, and the Kentucky Theatre. There are also venues such as Studio Players’ Carriage House Theatre and the Lexington Children’s Theatre that are almost exclusively used by the groups that occupy them, and University spaces such as the University of Kentucky’s Guignol Theatre and Transylvania University’s Haggin Auditorium that are primarily used by the institutions.

Am I leaving any Big Kahunas out?

So, is that a good inventory. What do we lack?

Some lament we never got the major performing arts center that was supposed to happen where the courthouses now stand at Main and Limestone. Others say Lexington isn’t ready for a venue of that caliber. Others look at smaller spaces such as the Woodford Theatre’s venue in Falling Springs Arts and Recreation Center and wonder why Lexington couldn’t have something like that for groups that may see the Opera House as too big for their needs.

Still others say creativity trumps venues, and point to places such as Charleston, S.C., that have built vibrant performing arts scenes without an ideal inventory of venues. Here, we have examples such as Balagula Theatre at Natasha’s Bistro and Bar and the chamber music festivals that bookend the summer taking place in  an old tobacco barn at Shaker Village and Fasig-Tipton’s horse sales pavilion showing a creative use of non-traditional spaces in town.

Here’s another fly I’ll throw in the ointment: I just attended a concert last week in a new, state of the art 2,400-seat Lexington venue that would have been the envy of many area arts groups: Quest Community Church’s new sanctuary. If there is a desire for a new theater or theaters in town, do you need to have public funds to build it, or can the arts community come together to make something happen like, oh, Quest or a little baseball park near Broadway and New Circle that was built with private funds.

That’s sort of a distillation of conversations and thoughts I’ve had over the last several years about Lexington’s theater space.

So, what do you think? Hit the comment button and let’s talk.

University of Kentucky Symphony Orchestra director John Nardolillo, shown conducting a rehearsal in March. Photos by Rich Copley | LexGo.

More than a decade ago, Everett McCorvey started building the University of Kentucky’s opera program into a nationally recognized boutique for training young voices and presenting exciting programs. The middle of this decade, John Nardolillo took over the UK Symphony Orchestra and a similar ascension quickly began.

Friday night, those two success stories came together as the voice department’s newest teacher stepped in front of the University of Kentucky Symphony Orchestra for its season opener in the Singletary Center for the Arts Concert Hall.

Soprano Cynthia Lawrence, shown at a rehearsal on Tuesday.

Soprano Cynthia Lawrence took the stage to open the second half of Friday’s concert in a billowy black gown which sparkled like this was Live from Lincoln Center or something. And when she opened her mouth for a performance of Richard Strauss’ Four Last Songs, it sounded that way.

Though Lawrence, who now holds UK’s endowed chair in music (voice), was making her big debut as a faculty member, Four Last Songs is not a diva show-off piece in the sense of rafter-rattling high notes, ornamental trills and the like. It doesn’t even give the soprano a big finish, as the orchestra closes the piece as if the sun has set on the voice.

But if you are looking for interpretive skills, Strauss gives the singer a chance to put those on full display, and Lawrence did. She encourages listeners to read the work’s poetic text, but the poetry was in her voice Friday night. Through masterful phrasing and control, she gave the audience a very clear idea where this piece was going. And yes, she did have moments of spectacle and sublime beauty that left you marveling that this woman was not an imported guest soloist. She is UK faculty.

What’s more, she aggressively went after the job after spending a few weeks here working with singers at UK last fall. That an artist of Lawrence’s caliber — a celebrated soprano at the Metropolitan Opera and many, many other stages — vigorously pursued a post here says as much about the growth of the School of Music as the Met audition wins and concerts at Carnegie Hall.

What was really striking was how the orchestra responded to Lawrence. Her performance followed good though unremarkable performances of W.A. Mozart’s Marriage of Figaro overture and Symphony No. 39 in the first half.

When Lawrence started singing though, the orchestra followed her lead, including several passionate solos from violinist Jessica Tzou, flutist Aaron Sexton and others.

And the passion continued into the concert closer, Strauss’ Death and Transfiguration. With all hands on deck, the orchestra unleased a powerful performance that convinced you that its Dec. 3 performance of Gustav Mahler’s Symphony No. 1 “Titan” should not be missed.

Then again, the way things have been going, you could say that about the whole season.

Prior to the concert, Narolillo and UK President Lee Todd announced a gift from the family of Jan Karon, a master violinist and violin maker who died last year, which will add $400,000 to the orchestra’s endowment established by Keeneland and Maker’s Mark. Karon was a native of Poland who survived Nazi concentration camps in World War II and played in orchestras in Warsaw, Krakow and Houston, where he was concertmaster. After retirement, he settled in Lexington. The gift from his daughter Dr. Magdalene Karon and her husband Dr. John Stewart, will underwrite the concertmaster’s position, which has been renamed the Jan Karon Concertmaster. Tzou is the first to hold that chair.

Lauren Tenney (left, front), Meredith Dunlevy (back, left), Megan Jacobs (right, front) and Ashley Wilcock (back, right) dance while cellist Peter Kucirko plays a sonata by J.S. Bach in a rehearsal of a new piece which will be performed as part of the company's season-opening concert, Sept. 18. Photo by Rich Copley | LexGo.com.

The Lexington Philharmonic and Lexington Ballet are teaming up to sell tickets to their season premieres for one price.

Scott Terrell. Photo by David Stephenson | LexGo.com.

Both the Ballet’s Sept. 17 and 18 Fabric of Dance performance and the Phil’s Sept. 25 MasterClassics concert are big debuts: the ballet unveiling its new professional performing company and the Phil’s new music director Scott Terrell opening his inaugural season with guest Evelyn Glennie, the most famous percussion soloist in the world.

The organizations are selling a combined ticket for $60. Individual tickets are $20-$35 for the ballet and $40-$100 for the Philharmonic. Call (859) 233-4226.

Alltech announced the lineup for its 16-day Fortnight Festival Sept. 25-Oct. 10. Like last year, the event will kick off with a country concert at Applebee’s Park and feature performances around the state, many of which are associated with series by other venues and organizations.

Unlike last year, the event is confined to just over two weeks. Sept. 25 is significant as it will mark exactly one year until the 2010 Alltech FEI World Equestrian Games.

The lineup is:

• 

  Ricky Skaggs performs in Ashland Oct. 8 and Owensboro Oct. 10.

  Sept. 25 - Jason Aldean and Miranda Lambert, Applebee’s Park, Lexington

• Sept. 26 - Bettye LaVette, Singletary Center for the Arts, Lexington
• Sept. 26-27 - Beguiled Again by Actors Guild of Lexington, Downtown Arts Center, Lexington
• Sept. 28 - Fairplay Collective, Downtown Arts Center, Lexington
• Sept. 29 - Singer/Songwriter Night, Downtown Arts Center, Lexington
• Sept. 30 - Marc Smith Poetry Slam, Downtown Arts Center, Lexington
• Oct. 1 - Makem & Spain Brothers, Lexington Opera House, Lexington
• Oct. 2 - Mary Chapin Carpenter, Equus Run Vineyard, Midway
• Oct. 3 - 38 Special & Kansas, Murray State University Regional Special Events Center, Murray
• Oct. 6 - The Decemberists, Singletary Center for the Arts, Lexington
• Oct. 6-7 - Battle of the Bluegrass, Tin Roof, Lexington
• Oct. 8 - Ricky Skaggs & Kentucky Thunder, Paramount Arts Center, Ashland
• Oct. 9 - John Sebastian of The Lovin’ Spoonful, Grand Theatre, Frankfort
• Oct. 10 - String Band Day, Appalshop, Whitesburg
• Oct. 10 - Ricky Skaggs & Kentucky Thunder, RiverPark Center, Owensboro
• Oct. 10 - Ronan Tynan with the Lexington Philharmonic Orchestra, Singletary Center for the Arts, Lexington

Visit the Alltech website for tickets to each event.

Scott Terrell, photographed in Lexington hours before being introduced as the Lexington Philharmonic's new music director. Photo by David Stephenson | LexGo.

Click the play button to hear Scott Terrell talk about his vision for the Lexington Philharmonic:

Copious Notes podcasts are available on iTunes.

When Scott Terrell was introduced as the new music director of the Lexington Philharmonic Orchestra on April 17, he faced one of his immediate challenges: a sea of orange seats.

There could have been several reasons why the 1,500-seat Singletary Center for the Arts Concert Hall looked about half full on that Friday night. In spring, Lexingtonians’ fancies tend toward Keeneland and other outdoor activities. The Beethoven and Fauré choral program, with the Lexington Singers, had its interesting pieces, but it wasn’t a marquee lineup. Add to that: Not until midweek was the concert promoted as the event where the orchestra’s new music director would be announced.

All that considered, the light turnout was not surprising. The Philharmonic’s crowds have been visibly thinning for a while.

So clearly, part of Terrell’s job will be to reinvigorate the audience of an organization that was a tough ticket to get a decade ago and might have recently suffered from some director-search fatigue.

Evidence suggests that Terrell might be the man for this job.

As I talked to some of his associates in Charleston, S.C., where Terrell is the resident conductor, one of the first kudos they threw him was for initiating programs that attracted new audiences.

Read the rest of this entry »

Scott Terrell addresses some comments to the orchestra after being introduced as the new music director of the Lexington Philharmonic. Photo by Mark Cornelison | LexGo.

Click the play button to hear Scott Terrell chat about being named the new music director of the Philharmonic (Apology in advance: The recording sounds like we’re in the middle of a freeway because we couldn’t resist the beautiful weather, but didn’t realize how loud the traffic was):

This is the first of three Podcasts from our chat with Terrell. Next week, he discusses programming the 2009-10 season and beyond.

Copious Notes podcasts are available on iTunes.

When Scott Terrell auditioned for music director of the Lexington Philharmonic in October, Keeneland was in session.

“I lost,” he said with a smile. “I contributed to the local economy.”

Scott Terrell. Photo by David Stephenson | LexGo.

Terrell’s going to be contributing a lot more, because regardless of how the 38-year-old conductor does at the track this weekend, he’s the big winner in the Philharmonic’s conductor search.

After a two-year, 10-candidate audition process, the orchestra announced at its season-closing concert Friday night that Terrell will succeed George Zack, who is retiring after 37 years as the philharmonic’s music director.

“He’s who the orchestra wanted,” said Margie Karp, a violinist who was also a member of the search committee that waded through applications from 278 conductors.

“He is smart and talented. He’s going to be very demanding, but for the right reasons, because the music demands it. It’s really exciting for the orchestra.”

The new director is also excited.

“The potential of the orchestra is pretty infinite, in terms of where it could actually go, both musically, artistically and within the community,” Terrell said Friday morning. “Also, I was thoroughly impressed with the work the search committee did. That spoke volumes to me to have board members and community people engaged on the level to which they were engaged.”

Likewise, the more the board looked at Terrell, the more its members liked him.

“As I did some of the vetting and called his references, I became more and more excited about the possibility of him coming here,” said lawyer Greg Jenkins, co-chairman of the search committee. “In a few years, I think we will look back and say we were really lucky to get him.”

Terrell is finishing his fourth season as the resident conductor of the Charleston Symphony Orchestra in South Carolina.

“I’m thrilled for him, not for us,” said Jan Newcomb, executive director of the Charleston Symphony. Read the rest of this entry »