Minnesota Orchestra Names Sarah Hicks Principal Conductor of Pops and Presentations

By -

Ms. Hicks to lead Orchestra’s U.S. Bank Pops Season through August 2013

October 12, 2009 -- Sarah Hicks has been appointed the Minnesota Orchestra’s Principal Conductor of Pops and Presentations, Orchestra President and CEO Michael Henson announced today. Ms. Hicks, who will assume the new role immediately, will lead the Orchestra’s signature U.S. Bank Pops Season for a term of four years, through 2012-13. Ms. Hicks joined the Orchestra as assistant conductor in 2006, making history as the first woman to hold a titled conducting post with the Minnesota Orchestra.

“Pops concerts play an important role in the Minnesota Orchestra’s artistic offerings, and we have taken our time in identifying a new pops leader in order to find the right fit with audiences, the Orchestra—and the music itself,” says Michael Henson. “We’ve discovered that Sarah Hicks is made for this role. She sparks great connections with audiences; she has earned the respect of the musicians; she is a creative programmer; and she wants to focus her creative energies on expanding the boundaries of pops programming for new audiences.”

Says Music Director Osmo Vänskä, “We knew from the start of Sarah’s tenure with the Minnesota Orchestra that she was a conductor to watch, someone who had a great deal to offer. Today we share that conviction with the public with this important appointment. I have always said that we must take care of all the music we present and our pops performances will be in very capable hands with Sarah. She is ready to lead them in new directions.”

Ms. Hicks will oversee artistic planning for the Orchestra’s pops season and will conduct a minimum of four sets of pops concerts each year. Under the terms of the agreement, she will also “cross over” to lead programs of many types with the Minnesota Orchestra every year. She will continue to conduct and program the popular Inside the Classics concerts and will lead holiday concerts and additional performances presented by the Orchestra. In the upcoming two weeks, for example, Ms. Hicks will lead Beethoven’s Pastoral Symphony in a pair of Inside the Classics concerts, a Broadway-themed pops performance, a “sampler” program introducing audiences to the Orchestra’s varied offerings, and the Minnesota Orchestra debut of singer-songwriter Ben Folds.

“Being able to conduct concerts with such great variety, from Beethoven to Ben Folds, is my dream job,” says Ms. Hicks. “I am thrilled to embark on this new role with the Minnesota Orchestra because I believe there is tremendous artistic potential for where we might go. While the Orchestra has an established tradition of celebrating American popular music, from Broadway to Big Band—which we’ll continue to do—there are many other avenues across the spectrum of popular music for us to explore, and I look forward to that journey in upcoming seasons.”

In the 2009-10 pops season, Ms. Hicks will conduct the return of country star Kathy Mattea, “Scandinavian Christmas” performances in December, jazz guitarist John Pizzarelli in a Valentine’s Day celebration and Michael Cavanaugh singing the music of Billy Joel, among other concerts.

Ms. Hicks joins the Minnesota Orchestra artistic leadership team that includes Music Director Osmo Vänskä, Artistic Director of Sommerfest Andrew Litton, and Artistic Director of Jazz Irvin Mayfield . Trumpeter Doc Severinsen served as the Orchestra’s Principal Pops Conductor from 1993 to 2007, and now serves as Pops Conductor Laureate.

“The Minnesota Orchestra offers a great range of concerts through its season—from classical and jazz to pops and summer fare—and we are pleased to have top artistic leadership in place for all of this music to thrive for years to come for Minnesota audiences,” says Mr. Henson.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Acclaimed Fauré Quartett returns to Deutsche Grammophon with their first recording of Brahms

By -
Image
The Fauré Quartett continues to add authoritative recordings to the chamber music catalog with their new recording of two Brahms quartets, available from Deutsche Grammophon on January 12, 2010. These large, some say symphonic, works test the limits of technical and musical capabilities, and the Fauré Quartett once again proves why they are one of the most acclaimed ensembles performing today. Within a short period of time the Fauré Quartett has conquered the great concert halls of London , Paris , Berlin , Amsterdam , Brussels , Geneva , Hamburg , Frankfurt, Milan , Buenos Aires , Rio de Janeiro and elsewhere. “They attract superlatives wherever they go,” wrote The Strad following a concert at London ’s Wigmore Hall, while the Süddeutsche Zeitung praised them for a performance that “brought tremendous pleasure by highlighting interpretative details that had scarcely ever been heard before”. The Fauré Quartett strives to achieve a unique sound for Brahms (as indeed for every work)
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more