The Opera Orchestra of New York Appoints Alberto Veronesi as Music Director Beginning with the 2011-12 Season

By -

Eve Queler to Become Conductor Laureate

Norman Raben, Chairman and Eve Queler, Music Director of The Opera Orchestra of New York today announced that Italian conductor Alberto Veronesi has been appointed Music Director effective in the 2011-12 season. Mr. Veronesi will succeed The Opera Orchestra of New York founder Eve Queler, who will become Conductor Laureate once Mr. Veronesi’s initial 5-year tenure begins. During the Opera Orchestra’s 2010-11 40th-anniversary season, Mr. Veronesi will serve as Music Director Designate and conduct an opera-in-concert performance. He will also work with the Board of Directors, Ms. Queler and the administrative staff to program and cast future seasons. The complete 2010-11 season, which will include two opera-in-concert performances, a recital and additional events, will be announced at a later date.

Born in Milan , Alberto Veronesi is Music Director of the Puccini Festival at Torre del Lago, Artistic Director of the Filarmonica del Teatro Comunale di Bologna , and Music Director of the Orchestra Sinfonica Siciliana, positions which he will continue to hold during his tenure as Music Director of the Opera Orchestra.

The Opera Orchestra of New York was established in 1971 by Eve Queler to present rare and unusual repertory in a concert setting, emphasizing the operatic voice over visual production. Performances feature internationally acclaimed established artists as well as exceptional young singers in an effort to develop an appreciation of opera among diverse audiences while cultivating a new generation of supporters.

“We are pleased to welcome Alberto Veronesi to The Opera Orchestra of New York family,” said Mr. Raben. “During our 2009-10 ‘bridge’ season we have been working to regain our financial footing and develop a strategic plan to aggressively and optimistically continue the Opera Orchestra’s longstanding tradition of exceptional opera-in-concert performances. Mr. Veronesi’s background and experience in development, his artistic ability and vision, and his musical knowledge of the lesser known works of the operatic repertoire make him the ideal music director for the company.”

"I am honored to accept the position of Music Director and begin this next chapter in my life with The Opera Orchestra of New York,” said Mr. Veronesi. “I look forward to continuing Eve Queler’s extraordinary efforts in repertory renewal, presenting unique operas performed by world-class and young singers. Ms. Queler has built an outstanding company and I will do my best to follow in her footsteps.”

“I am proud of the accomplishments of The Opera Orchestra of New York over the past 40 years and I was thrilled to find a conductor who shares my philosophy and will carry on the legacy of The Opera Orchestra of New York,” commented Eve Queler. “I offer him my support and best wishes as he embarks upon this new phase in our organization.”

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 ...
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

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more