I'm Yves Abel, Principal Conductor of the San Diego Opera. I’ve conducted all over the globe, and even got to work with the great Leonard Bernstein while in training. AMA!

Submitted by sandiegoopera t3_10rt2l4 in IAmA

Hi Reddit. Very excited for my first AMA!

A bit of background. I went to New York City's Mannes School of Music and have conducted at London's Royal Opera House, Milan's La Scala, New York's Metropolitan Opera, and many other orchestras across the globe. When I was first training to become a conductor in New York, I got to work and learn with many great musicians including Leonard Bernstein.

I can't wait to present "The Puccini Duo" in San Diego this Feb 11 - 19, where we'll be performing two of Puccini's great one-act operas in one night: Suor Angelica & Gianni Schicchi. Mezzo-soprano Stephanie Blythe will sing the role of the Principessa in Suor Angelica, and will also take on the title role of Gianni Schicchi, a role traditionally sung by a baritone, for an opera first. Click here to learn more.

Proof: https://imgur.com/a/Me0hKEJ

//

Thanks everyone for the fantastic questions! I do have to run but will do my best to come back to revisit when I have some time. Hope to see some of you Feb. 11-19 in San Diego for the Puccini Duo! https://www.sdopera.org/shows/suor-schicchi-2022/

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RichMusic81 t1_j6xhf9m wrote

What are your favourite operas by living composers?

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sandiegoopera OP t1_j6xiold wrote

I love some of the premieres I’ve seen at the Metropolitan. Operas by Corigliano, Glass, Dun, Picker, Puts.

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FiveDozenWhales t1_j6xnhro wrote

Favorite Glass opera? And would you have the fortitude to conduct something like Einstein? ;)

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Probono_Bonobo t1_j6y1e5k wrote

Asking the real questions. All opera is a little alien to me, but Einstein is so deliberately weird that I kinda like it and could maybe even grow to love it.

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FiveDozenWhales t1_j6y2e9z wrote

Seeing Einstein performed live was a life-changing experience. Progressed through perplexment, boredom, analysis, hypnotism, and eventually sheer ecstatic unity with the music. A very meditative and intense process.

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n0__0n t1_j6zf778 wrote

Fuuuu, jealous!

Been a fan since i stumbled over ahknatan through the old Columbia music tape clubs. Mesmerizing music

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Fit-Signal3948 t1_j6xllya wrote

Where should I start if I want to get into classical music / operas?

How can one tell a good conducter from a bad?

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sandiegoopera OP t1_j6xmkr5 wrote

I would check out the universal favorites. The pieces that make the list of most beloved works by the great composers. In opera, Puccini’s operas, Bizet’s Carmen, Mozart operas, Wagner, and Verdi are the big names.

For classical works, listen to Tchaikovsky, Rachmaninov, then to Mozart, Beethoven, Brahms, and lots of Baroque Music favorites like the Pachelbel Canon, Albinoni Adagio. Many pieces have been turned into rock versions, or used in the movies.

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insanelygreat t1_j6xstpu wrote

I saw San Diego Opera's performance of Carmen a few years ago. We had a great time! And, as a side benefit, I still have my ticket to "Carmen San Diego."

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BATCarlton t1_j6yzcqr wrote

Maestro Abel conducted that production of Carmen!

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Amphy64 t1_j6zaqws wrote

You might like to have a look at the site Operavision, see if anything appeals to you - free opera, new ones added each month and stay up for a time. I got into it by watching things on there during the pandemic, those suggested are a good place to start, but what people like can be unexpected too - I fell in love with Janacek while still pretty new to it (one up on Operavision now, In the House of the Dead, is def. not the most accessible though) and find it thrilling to see a brand-new opera even if I end up thinking it's awful.

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wijnandsj t1_j6xhg4m wrote

You're principal. How many other conductors do orchestras typically employ? And how much rehearsal time goes into a big production like this?

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sandiegoopera OP t1_j6xjfuo wrote

There’s only one Principal Conductor at the Opera in San Diego and at other organizations, though they go by different names- Chief Conductor, Music Director, etc.

We do have a Resident Conductor in San Diego. I’m in San Diego once or twice a year for an opera, and the Resident conductor usually does one opera. We also have guest conductors come.

Rehearsing opera takes time. Usually anywhere between 2-4 weeks before you start performing. In the German/Austrian system which is called a repertory system, meaning a different opera every night, they can have as little as 4 days to rehearse. But that makes for rocky performances sometimes!

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pussyannihilatior21 t1_j6yd54g wrote

Sometimes even less. Could be as little as 2 days actually.

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hydraulix16aa t1_j6xh4ft wrote

What is the most difficult piece to conduct? And do you have any funny stories to share while you were conducting?

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sandiegoopera OP t1_j6xi2ig wrote

every piece is difficult to conduct. In their own way, they all have their difficulties. Our Gianna Schicchi is a really tricky ensemble opera that needs to fit in with the orchestra like a fast moving puzzle. But Suor Angelica has its own tricky bits, with the flexibility required to paint the character‘s emotions.

funny stories? Here’s one! I was just starting the overture to Gounod’s Faust at the Paris Opera when the lights totally went out in the pit. Much to my amazement, the orchestra just kept playing the 3" overture until they got to the end without seeing their music. It was astonishing (and scary). Turns out the electricians were going on strike (during the performance!)

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Vincenzo_Chillone t1_j6xoe5g wrote

That's France for you. Somebody's always striking at the most inconvenient time. 😄

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ccguy t1_j6xmqgl wrote

Hello. Have you seen the movie Tár? The Cate Blanchett character claims to be a protege of Bernstein, to the point of referring to him as "Lenny" throughout. Assuming her character and actual age are the same, she would've been 21 when Bernstein died. At that elite level, does that seem plausible to have been his protege at that age?

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sandiegoopera OP t1_j6xoh5f wrote

It could be. Some people mature early. But the road is long in conducting. The skills needed are many and are a life’s process. Marin Alsop is largely believed to be the person behind Tar. She was a student with me at Tanglewood with Bernstein. But I believe she was 30 when she first met Lenny.

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ccguy t1_j6xp3kc wrote

Thank you for your reply. Given the movie’s other elements, it could be in a universe where Bernstein didn’t pass away in 1990. Interesting film.

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ponkyball t1_j70ws00 wrote

Eh I disagree about the Marin Alsop/Tar connection. Alsop slammed the character portrayal in Tar and the character in Tar's upbringing isn't quite the same as Alsop's, who struggled to get into conducting for quite some time, although she was an accomplished violinist. Alsop is probably the most well known female conductor at this time, but other than being female and a lesbian, there's not a lot in common with the Tar character. There are a couple of rather well-known male conductors I'd equate to being more like Cate Blanchett's character than Alsop, gender aside.

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LinkBetweenGames t1_j72p8kc wrote

There is also a theory that Lydia was lying about being a personal protégé of Bernstein and just met him a couple of times.

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Morton--Fizzback t1_j6xiian wrote

I really love to sing, but now that I'm in my middle age, I don't feel like there's a lot of great opportunities to sing in choirs etc with a super busy schedule. Any recommendations for keeping this part of my life alive and kicking? Maybe even online resources. Hoping to get my kids out to see an opera sometime in the next year with you guys!

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sandiegoopera OP t1_j6xjxm7 wrote

Singing in a choir is one of the best gifts you can give your kids and yourself. Not only is the music enriching, but there’s a social aspect as well, like a team sport. I would recommend a voice teacher once a week If you are pressed for time.

Definitely bring your kids to the opera. I do with mine as young as 6. They won’t understand everything, but they’ll love the battle scenes! And the spectacle!

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FiveDozenWhales t1_j6xoj3v wrote

If you're interested in a more folk approach, look for a group in your area. I'm in New England and there's several good sacred harp and shape note groups which take a more casual drop-in approach; members are encouraged but definitely not required to attend meetings regularly, and the emphasis is more on the joy of singing in a group, rather than rehearsal for a performance.

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Morton--Fizzback t1_j6xz0g5 wrote

That sounds very cool. I'll have to see if such a thing exists out here. Thanks

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cosifantuttelebelle t1_j6xn2m2 wrote

What do you think of conductors who go “scoreless”? I am biased by Birgit Nilsson’s opinions in her memoir that conductors who do this are showing off for no reason but vanity, but curious if there might be other reasons conductors do this

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sandiegoopera OP t1_j6xpk1l wrote

You are right that many (especially younger conductors) tend to conduct scoreless for reasons that are not entirely authentic. But there are others who literally have a photographic memory and it helps them to be even more immersed in the music. I personally only conduct from memory when I can live up to my own standards and be prepared to write out the pie e by hand knowing what everyone plays. In opera, it’s not recommended as anything can go wrong on stage and throw everything off!

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dJe781 t1_j6yma54 wrote

Please forgive my ignorance. What is a score? (I can speculate but it's not ideal)

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cosifantuttelebelle t1_j6ymq8g wrote

Hey no worries! Basically a written copy of the music they are playing. Going “scoreless” is a conductor going to the podium without any sheet music. The term “score”, in an opera context for example, is end-to-end, all of the instrumental + vocal parts written out in musical notation.

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ponkyball t1_j70xa9w wrote

There's a really great biography about Toscanini I read that goes into detail about his phenomenal memory. He did use scores but as his eyesight failed later in life he was more dependent on his memory. The link below describes certain situations regarding his memory:

https://labs.la.utexas.edu/gilden/files/2016/04/Marek.pdf

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cosifantuttelebelle t1_j71tf5p wrote

Oh cool! Yes, in Nilsson’s biography she explains Toscanini doing this for this reason and then claims it set off a trend for people to do it who didn’t really need to. Thanks for sharing the Toscanini book, I love classical music biographies!

In case anyone’s interested, here’s the excerpt from “La Nilsson - My Life in Opera” in which she discusses it — 10/10 recommend this book, shes very funny and as you can see, doesn’t hold back!:

“It is a kind of status symbol for conductors to conduct without a score. It is said that Toscanini started this fad, but the reason he conducted without score is that his vision was so poor he had to conduct from memory. A concert conducted without a score is admirable but after all, the musicians have their notes right in front of them. In the worst case the conductor can always, as someone put it, follow the orchestra. But when the conductor of an opera has the soloists, chorus (and, in Karajan’s case, telephone and lighting) to control, it is totally irresponsible to conduct from memory. Just being aware that the conductor has no score before him makes the singers nervous and insecure. Singers have a lot to memorize and a Wagner opera is generally four to five hours long. I have lived through several totally unnecessary catastrophes with these “scoreless” exhibitionists. It is extremely difficult artistically to be subjected to this. Just such an incident happened in a Tristan performance with Karajan. After singing in act 1 continually for seventy-eight minutes, and with the intermission not providing sufficient rest, I found myself completely disoriented in act 2. Indeed, I drew a blank and lost any sense of where I was in the music. Karajan noticed my situation immediately, but as he was conducting from memory he was of no help to me. He turned to the first violins and pretended to be very busy with them. The half-asleep prompter was not to be brought around and it seemed to me an eternity until I was back on track, at which point Karajan resumed his normal stance and his usual transcendental air. When the renowned conductor Knappertsbusch was asked why he did not conduct from memory, he answered, “Because I can read music.””

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ponkyball t1_j7277iw wrote

Hahaha that description of the Tristan performance is amazing and amusing! I need to check out that bio, thanks! :)

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TOPwentyneilots t1_j6xmv6u wrote

Favorite modern day song?

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sandiegoopera OP t1_j6xosq7 wrote

I confess I don’t listen to much modern day songs. Learning an opera takes months and symphonies about the same, and they are endlessly more fascinating to me. Doesn’t mean there isn’t good pop music being written.

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trent6295 t1_j6xm6hu wrote

If you could only hear one instrument for the rest of your life, what would it be?

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cellokitty t1_j6xnjch wrote

Conductors are on Reddit now too?? Where are we going to complain about The Establishment now 😁 Just kidding! How do you find the differences between European and American opera houses, and how do you think we could have more opera performances outside large opera houses?

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sandiegoopera OP t1_j6xq71x wrote

Yup, we’re here too now!

European houses are generally funded by their governments, so there are many more performances, much more wide ranging repertoire being performed (as they don’t worry whether a title is popular or not and will sell tickets). In America, there are fewer companies and fewer performances because of cost. Private funding is limited. The trend in the last few decades has been to present opera in many different venues. Warehouses, parking lots, small black box theaters, etc. there’s no end to people’s creativity when they are bit by the opera bug!

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cosifantuttelebelle t1_j6xmfe7 wrote

Who are contemporary colleagues that inspire you? Who are some of your inspirations from the past?

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sandiegoopera OP t1_j6xnz3e wrote

I’m a big fan of Carlos Kleiber. Great conductors are many, Karajan, Toscanini, Bernstein, etc. still alive today are Mehta, Ozawa, Muti, Barenboim, but they are all in their 80’s now…

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PrimeGGWP t1_j70xeqg wrote

Muti I know personally since my father in law was in the wiener philamoniker orchestra and they are good friends, great guy. My favorite is Gustavo Doudamel though, because he knows how to bring fun in the concert hall.

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Zmirzlina t1_j6xeviz wrote

"Stephanie Blythe will sing the role of the Principessa in Suor Angelica, and will also take on the title role of Gianni Schicchi, a role traditionally sung by a baritone, for an opera first."

Love Stephanie but wut? How does this work? Is she singing it as a mezzo or as an actual baritone at pitch? What does it add or detract to the piece? Wish I could see this out of curiosity.

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Royal_Ad6640 t1_j6xff5z wrote

Good question! She is singing the part as a baritone, not up the octave. Amazingly, for years now, she has been crafting that part of her voice and developing resonance down in those lower ranges. Opera is theater, so anyone can play anyone if they have the voice for it!

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audible_narrator t1_j6xqm0n wrote

This is the smart move. So many female singers get that surprise wakeup call when the big M shows up and basically gives a big middle finger to your vocal cords. And they don't plan for it. I've heard some folks sing far too past their sell by date with huge wobbles you can drive a truck through.

Blythe has sung Handel for ages, which really opens that lower register.

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a_ham_sandvich t1_j6z4s0o wrote

The big M being the discovery you're now a mezzo and no longer a soprano, right? :P

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audible_narrator t1_j6z7nm0 wrote

ding ding ding. And those of us who were mezzo are now ready to sing Figaro or Germont. ;)

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Pardcore_horn t1_j6xj8me wrote

Good morning, I have always wondered what conductors do if someone who is to perform a solo has a some sort of issue with their instrument before the solo. Is there a backup soloist or a signal for someone else to take over? Are there spare instruments in case something goes wrong with an instrument during a performance?

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sandiegoopera OP t1_j6xkrjd wrote

Good question. At the big opera houses, there are always "cover singers" who are ready to take over if someone feels ill. It’s happened to me that we have had to fly someone in who knows the opera role, but not the staging. So you sometimes have the situation in which the singer is singing from the side of the stage and someone in the production acts the part on stage.

in symphony concerts, if a violin soloist breaks a string, it’s common for the concertmaster to hand over his violin to the performer.

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frozenbobo t1_j71k0dh wrote

Here are some examples:

String break

Oboe soloist breaks his reed (check the video description for details)

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Pardcore_horn t1_j72tz5f wrote

I'd never seen that happen before. That's really cool. It would definitely take a lot of practice to be able to just pick up where you should be in the piece after a gap like that... Just goes to show the true talent of the musicians who do that

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RoddBanger t1_j6xkc9b wrote

When you started learning music, what instrument did you learn and do you feel when you conduct that you find yourself listening for that group of instruments more after training with it?

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sandiegoopera OP t1_j6xl6uz wrote

I started by singing in a choir, then piano, then some violin. In general, conductors are trained to listen to all instruments for blend, balance, quality of tone. One has to know what you want to hear and with experience you learn how to ask for what you are looking for.

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son_of_Khaos t1_j6xkvgg wrote

What piece of media most accurately depicted the world of classical music? Is it really as bad as Tar made it out to be?

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sandiegoopera OP t1_j6xlsw4 wrote

Classical music is no different than anything else in the world of humans. I haven’t seen the movie Tar, but I will as from what I understand it asks a lot of questions.

Movies tend to portray classical music in a way which is not very authentic, for commercial reasons. So I can’t really recommend any media as such. Best thing you can do is go to a live performance. Like our Puccini double bill here in San Diego!

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ponkyball t1_j70xlz6 wrote

Mozart in the Jungle is great fun and a bit (just a bit) like the conservatory life and gig life I experienced in NYC as well as the well-known music festivals I attended during the summertime.

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PeanutSalsa t1_j6xm8zl wrote

Are some instruments more vital in general to use when conducting music? Is there some kind of ranking of which ones are given the most attention or are they all rather considered equal?

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sandiegoopera OP t1_j6xn12x wrote

The most important instruments in an orchestra are the stringed instruments. Violins, cellos, etc. They usually get the most to do and the nicest lines of music. But every instrument is important to the mix of colors and sounds

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cosifantuttelebelle t1_j6xm9xs wrote

Do you have any stories of something that went “wrong” on stage or in the pit that the audience didn’t even notice? Or any funny stories of mishaps in performances?

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sandiegoopera OP t1_j6xnlh8 wrote

There have been instances of performers falling into the orchestra pit. It can be very dangerous to the musicians…

Sometimes, singers get off or skip a bar. What ensues is kind of cacophonous and pretty scary if you’re the conductor. Many people will notice though it usually doesn’t last long! I already told my story at the Paris opera of the electricians going on strike in the big ending of my overture to Faust. In the darkness, the orchestra just played on by memory. It was quite amazing!

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willflameboy t1_j6xoc3p wrote

If you could make an opera from any modern film, what would you choose?

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TheMusicArchivist t1_j6xok5c wrote

I'm a professional orchestral musician, but I love conducting. I see stories of people just 'switching' because someone says to them they should try it. Do you think you could see anyone in your orchestra becoming a conductor just based on personality traits and musical talent? Or can you only become a conductor via a specialist training scheme/

Another question - I love playing Puccini, but the tempo changes seem ridiculous at times. How do you know when to rall and accel when it's not written in the score?

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sandiegoopera OP t1_j6xrcqo wrote

Anybody can become a conductor if they have had the discipline of playing an instrument and knowledge of styles and repertoire.
But then the physical aspect of how to sculpt music with your arms and hands is a gift not everyone can have, and then the mind, psychological/intrapersonal attributes, and frankly communication skills are not for everyone.

As for Puccini, I never think anything he ever wrote is not "organic". Knowledge of Italian and the voice is paramount as phrasing and rubato are all tied intimately to how one shapes the tempi, phrasing, rubato.

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Amphy64 t1_j6zctvb wrote

That's very interesting, is comfort with the language a factor in selecting conductors, do they learn multiple languages like singers often do?

Eighteenth French complaints about opera can tend to focus on the idea of whether the language fits the medium and wanting the words to be understood, and the culture puts a lot of value on clarity and accurate enunciation when speaking so I've tended to see that as an aspect often emphasised in French opera.

(And the Puccini double bill sounds amazing btw, not as common to get to see those two of his!)

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hldsnfrgr t1_j6xqnpl wrote

Do conductors play instruments in their spare time? If yes, what instruments do you play?

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sandiegoopera OP t1_j6xscyo wrote

I always wanted to sing, but then after my voice changed, it was not to be. Either you have it or you don’t…so I shifted to piano. I love playing the piano. During Covid when we were completely unemployed, I drowned my sorrows into beautiful music by Mozart, Schubert, Schumann and Chopin.

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[deleted] t1_j6xuj9p wrote

[removed]

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sandiegoopera OP t1_j6xv59g wrote

Even orchestras without conductor (like the Orpheus Orchestra in New York) have a leader who decides on tempo, phrasing, etc. the only difference being that the musicians have rehearsed and have to be hypersensitive to what is going on around them without a conductor. Not recommended for opera as a pit orchestra doesn’t hear as well being below the stage and then singers can be erratic at times, required a steady hand to pull it all back together!

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EthanWS6 t1_j6xdlgc wrote

What made you want to get into opera?

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Royal_Ad6640 t1_j6xe1z2 wrote

My mom would sing to me as a kid, and then my parents kept playing opera and classical music. I fell in love!

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lipiti t1_j6xiqlt wrote

Do you shred it at karaoke? Have any favorite pop songs or artists? Any popular artists who you think would make great opera singers?

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sandiegoopera OP t1_j6xk81h wrote

I love karaoke! My Japanese and Korean friends always take me to places for late night fun. We usually listen to the Beatles, or other "oldies" like that which I appreciate. They captured an era and you can really hear it in the music.

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audible_narrator t1_j6xrkql wrote

I've always said Tom Jones could have sung opera. Listen to him do "Motherless Child".It's great.

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Turan_dot_com t1_j6xdyb4 wrote

You're having a dinner party. What 4 guests are you inviting (real or fictional, living or dead)? More importantly, what's on the menu and musical playlist?

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Royal_Ad6640 t1_j6xestl wrote

Well. It’s funny how the movies portrays classical music lovers as warped insane people…think Hannibal Lecter! He had different ideas for a dinner menu!i

i would do anything to have Mozart, Beethoven, Rossini (he was a great cook) and Puccini (among others) at my table. Pasta alla Rossini would start, then a nice Wiener Schnizel! Lots of vino for Puccini.

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courtney2222 t1_j6xeby2 wrote

For someone who is new to Opera, can you recommend some operas to start with?

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redditsonodddays t1_j6y9kcd wrote

(Not the IAMA dude) It really depends on your preferences in music and drama in general. Operas do cover a wide gamut of styles.

I would personally recommend

  • Wozzeck or Lulu, by Berg (dark, psychotic, gritty) - there are great versions in English on Spotify

> Wozzeck is about a melancholic/mentally ill soldier who suspects his wife is cheating

> Lulu tells the story of a young girl’s downfall from upper class living to murder and prostitution

  • Susannah, by Floyd (southern/folk, melodramatic)

> Susannah sets the apocryphal biblical story “Susannah and the Wise Elders” into pre-civil war Kentucky. A small town community wrongly accuses a sweetly innocent orphan teen of harlotry. A traveling preacher attempts to grapple with her sin, and finds his own downfall.

  • Carmen, by Bizet (boisterous, European)

> A comedic tragedy, Carmen tells the story of a soldier who is seduced into abandoning family and duty for a traveling woman.

  • Don Giovanni, by Mozart (clever, lush and fantastic)

> An adaptation of Don Juan, a beautiful and strong man engages in criminal mischief until the supernatural world intervenes.

  • Highlights of Wagner’s Ring,

> Der Ring des Ninelungen comprises four gigantic operas telling an epic story of gods villains and heroes. Drawing on various Germanic legends, the story begins when a dwarf steals enchanted gold from immature mermaids who were duty bound to protect it. From it he forges an all powerful ring, which becomes the envy and desire of the mortal and immortal planes.

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vissidamore t1_j6zyo10 wrote

LOL I’ve never seen someone recommend Wozzeck as a first opera for someone to see. That’s wild. Everyone usually says La Boheme or Magic Flute. You’re coming in hot with the deep cuts!

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redditsonodddays t1_j71y28m wrote

Lol I guess so, I just think it’s easy to grasp the story and could be engaging for a newbie who like everyone else is already aware of the romantic opera tropes and was never moved to listen to them. Wozzeck is very cerebral and reminds me of some of the thriller shows that have been popular in television.

The score is also a marvel. A beautifully orchestrated diatonic piece can be unnoticed in our world of music production, but there’s no avoiding the great amount of work that goes into a constantly churning and unsettled orchestra like Berg’s.

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vissidamore t1_j721gvb wrote

Don’t get me wrong, I love me some Wozzeck and I think for the right person it would be a really interesting introduction to the art form. Heck I wish it was performed more, but smaller theaters don’t usually put it on where I’m located. They stick to the standard crowd pleasing rep to make sure they can sell enough tickets. But there’s only so many times one can see Carmen or Merry Widow, good lord.

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Royal_Ad6640 t1_j6xf2a5 wrote

I would listen to Carmen, Tosca, Madama Butterfly, La Boheme and La Traviata to begin. Those are the staples of the opera world. Pieces that will never get old and whose stories are timeless. Check it out!

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daltydoo t1_j6zedn8 wrote

I’ll add Barbier of Seville and Marriage of Figaro to that list. I watched the movie versions with DFD and Prey back to back and it was a good time.

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Skyhouse5 t1_j6ziup0 wrote

New to opera I tell people to do Carmen and Don Giovanni. You already know about all the music in Carmen and so can ease into to dynamic play of orchestra and singer and story. Don Giovanni is just fun AF with dramatic and sublime melodies and a fun fun story.

Those two are your beachhead.

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Amphy64 t1_j6zftcf wrote

The site Operavision has a changing selection of free opera, if you'd like to have a look and just see if anything sounds interesting (that's how I got into watching it, during the pandemic). Puccini's Tosca, La Bohème, Bizet's Carmen are 'safe' classics but sometimes people (like me) end up loving the weird stuff, so it can be hard to say.

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RatInChargeOfPR t1_j6xq9ri wrote

Will the mezzo doing Schicci be performing it "pants" (portraying a male character), or will the gender of the character be changed? Both seem like good and really cool choices to me!

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sandiegoopera OP t1_j6xs1ng wrote

Stephanie Blythe will perform it as a man. She has the low notes!

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bewareofmolter t1_j6ycs80 wrote

Did people really refer to Bernstein as Maestro in casual company?

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redditsonodddays t1_j6xff5r wrote

Which opera labs for nascent composers do you recommend?

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Royal_Ad6640 t1_j6xfxsr wrote

There are composition programs in many universities all over the country and all over the world. If the university near you has a music division, chances are that they will have a composition class. Or you can take lessons with an individual established composer who has experience in opera.

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redditsonodddays t1_j6y452n wrote

Nascent may have been the wrong word. I have my masters in composition. An opera lab is an organization that workshops newly written works

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admiraljohn t1_j6xmvze wrote

This is an odd request but I REALLY hope you can help...

I've been chasing a piece of music that I played in Junior High for years. I've posted it here, emailed it my local PBS station and ran it through online music identifiers with no luck.

This is me akwardly plunking out the intro... I'm not sure if it's in the right key but it's played by the violas and violins while the cellos and basses play an repeating one-note pulse.

Is there any chance at all that you know what piece of music this is?

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Vincenzo_Chillone t1_j6xq5p8 wrote

Sounds like Phantom of the Opera to me.

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admiraljohn t1_j6xqnmf wrote

It's not... it's also been suggested that it's a piece of Britton's "The Young Person's Guide To The Orchestra" and it's not that either. :(

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findingthescore t1_j6z2n02 wrote

A lot of junior high orchestras play pieces specifically written for that level of education. It may be more obscure because of that. The school might still have the sheet music on file though!

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admiraljohn t1_j6z773o wrote

I tried that as well but this was in 1985. The conductor had long since retired.

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professor_doom t1_j6xosv6 wrote

Have you seen Tár with Cate Blanchett? If so, how did it strike you?

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infinitevalence t1_j6xuszz wrote

Which pronunciation do you use for your first name, and do you say the S?

EE-V(s)

I-ve(s)

IY-V(s)

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sandiegoopera OP t1_j6xvc4r wrote

Like Adam and Eve. Yves is pronounced without an s at the end. Typical French to have silent letters at the end of words and names!

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infinitevalence t1_j6xxwzo wrote

Every time I get that question "like Adam and Eve" I always respond "no: Eve but French masculine"

Challenges of living is the bible belt with a French first name.

I also answer to very long pauses...

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Vincenzo_Chillone t1_j6xwttx wrote

Who is the most important person, who works with / for you? And why is their work important for what you do?

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sandiegoopera OP t1_j6xxcyy wrote

There are two music staff people most important in a production. Dialogue begins with the Resident Conductor months in advance to decide how many strings we’ll have in the pit, what backstage instruments are needed for effects, how many singers in the chorus. Once I arrive, the rehearsals are all done with a pianist who represents the orchestra. And once (after 2/3 weeks) the music and staging are synchronized, only then do we add the last piece, the orchestra.

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briefcasefullofbacon t1_j6xyqkv wrote

What is the largest conducting baton you would be willing to use? Like you show up to a concert there isn't ANY things to use but this 2X4. Would the show still go on?

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dclaw t1_j6xzbuh wrote

Hello from San Diego! I would very much appreciate a local performance of Wagner's Der Ring des Nibelungen in whole. I know that's quite an undertaking. What do you think the chances are of such a performance happening here?

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biotensegrity t1_j6yhzz3 wrote

Does your voice mail greeting consist of you singing, "Nobody's hooooome, nobody's hoooooome." to the tune of Beethoven's 5th Symphony in C Minor?

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cjoy555 t1_j6ykdxh wrote

Who makes the best tacos in San Diego?

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angrybastards t1_j6zk0pd wrote

Is it true that Leonard Bernstein's friends call him the maestro in social situations?

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njpu t1_j70iabv wrote

Do your friends call you the Maestro?

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curious_newb_22015 t1_j6xgjp5 wrote

What do you think about emerging musical/medical instruments such as Gamma MOON: multisensory gamma stimulation through audio, visual, haptic and tactile feedback? Robots playing music?

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sandiegoopera OP t1_j6xh1ix wrote

Never heard of that…sorry…we use violins and oboes in our operas. But sounds amazing. Could that be the future? Thing is, classical music has survived for centuries. I don’t think it’s ready to be replaced by robots yet…

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Bob_Sconce t1_j6xpzxl wrote

I enjoy music by later composers (Copeland, Holst, Grieg) more than by the traditional Beethoven, Mozart, etc... , but generally do not enjoy opera (sorry -- too much singing in foreign languages) Do you have any recommendations for other composers I should be listening to?

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sandiegoopera OP t1_j6xrvnt wrote

Try Tchaikovsky and Rachmaninoff. The former’s symphony’s 5&6 are stunning. The latter’s piano concertos 2&3 are amazing. Then listen to Stravinsky Firebird, Debussy Prelude to an Afternoon of a Faun (a scandal in Paris when premiered).

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Dawsoia t1_j6xsgha wrote

Have you visited Simon Rattle’s old haunt, Birmingham Symphony Hall? Fantastic acoustics.

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sandiegoopera OP t1_j6xspd5 wrote

That’s what I heard. I conducted that orchestra years ago in a recording with Susan Graham of French songs from the 20’s. That hall is wonderful. We should all be so lucky!

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IAmAModBot t1_j6xttf7 wrote

For more AMAs on this topic, subscribe to r/IAmA_Music, and check out our other topic-specific AMA subreddits here.

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bassclefharry t1_j6xymbg wrote

Hi, college cellist here! I've had the chance to perform some Puccini operas before including Gianni Schicchi; best of luck in your upcoming performances! Bit of an open-ended question, but I'm curious what you think of recent cultural/pedagogical developments in the classical world in light of recent events like the firing of Bill Preucil, James Levine, etc. are? As an aside, I'm also curious what you think of the recent movie Tár if you've seen it! Thank you for your time.

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skagenman t1_j6xzll6 wrote

What’s the music climate like in SD?

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waitingForMars t1_j6y00q8 wrote

Weclome! Since you mentioned Bernstein, I'll ask a nagging question I have regarding him. Whenever I think of Bernstein, I think of music performed at a frenetic pace. Recordings on which he was the conductor always seem to be the shortest-version options for any given piece. Do you know why this was? What was behind his choice of very rapid tempi? Thank you!

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JorgePasada t1_j6y3e7j wrote

Did you per chance ever meet or work with Herbert von Karajan?

Going by the recordings I own, he's one of my favorite conductors but I've heard he was... sometimes difficult to work with.

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DrColdReality t1_j6zu628 wrote

Not many people know it, but the maestro actually had a second career outside of music, he was a noted luggage designer.

I mean, surely you've heard of.......Karajan luggage?

I'll just see myself out now.

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dr_henry_jones t1_j6ya2j7 wrote

Do you perform at Symphony Hall down town? Might be a dumb question but I live in Normal Heights, pass that building downtown all the time and wondered about the name.

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sandiegoopera OP t1_j6yb2ya wrote

We perform at the Civic Theatre!

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OnlineShoppingWhore t1_j6ycfv1 wrote

What is your favourite instrument, composer, and piece of classical music?

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DonMrla t1_j6ykxsf wrote

Only when performing at “The Place to Be”

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Rolly_Polly_ t1_j6yfzjy wrote

I am a soprano from Europe and currently I have been told that getting auditions with an opera theatre if one doesn't have an agent are almost non existent.

As a representative of an opera company, does that seem accurate at least in your theatre?

I am 35 years old, have finished my masters and currently trying to decide on the best direction to proceed. Would it be the better option to focus more on contacting agencies rather than theatres? Normally I would look at YAPs, but age is a very restrictive factor here.

I would love to hear your input on this. Thank you so much!

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vissidamore t1_j721wy4 wrote

Check out competitions for your age group.

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Rolly_Polly_ t1_j73ix2k wrote

Have been doing them pretty regularly for the last two years. So far, not a lot of results despite getting to the finals. It is financially extremely taxing, and I can't keep up the expense of travelling and living without any financial return.

Have you had any positive experiences with competitions? Other singers I have been talking to, also have had almost non existent results from competitions.

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vissidamore t1_j74cxhe wrote

That’s unfortunate, because then what is the point of these competitions? Sorry you haven’t had a good experience. I don’t have anything to report, just always knew that was a traditional way of getting seen and making contacts. Good luck and I hope you catch a break.

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Rolly_Polly_ t1_j75n8et wrote

Thank you so much! Fingers crossed.

Honestly, at the moment I have a hard time advising people to go for competitions unless they are really young. There are some young singers who are getting some contacts from the competitions. The big competitions are good if one can get to the finals. I am unfortunately too old for those ones. Starting pretty late cuts off a lot of opportunities.

I did manage to get the opportunity to participate in Gianni Schicchi through a competition once, but it still involved covering my travel and living in a different country for almost a month. Financially it is very straining.

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hongabonga t1_j6yhtij wrote

So great to have an AMA with you! Let's play some piano concertos together? @piano_mario on ig :)

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maxfreedom6996 t1_j6yiavz wrote

We hear "worked with the great Leonard Bernstein" from many imposters who may have just conducted in a masterclass with him. What do you specifically mean by that phrase? In what capacity did you "work" with him?😂

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varro-reatinus t1_j6zbs2m wrote

Come on, mate. The guy doing the AMA was at Tanglewood for two summers in 87 and 88; he studied with Bernstein and Ozawa there.

Google exists.

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prohotpead t1_j6yj59p wrote

I really enjoyed the premiere of El ultimo sueno del frida y diego last year. Does the san diego opera have plans to make more original pieces and am I going to get a second opportunity to see el ultimo sueno here at the civic center again? I would love to share the experience with some people who couldn't join me last November!

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mysterycave t1_j6ymi2o wrote

I’m on the lower end of the income bracket. Any chance of being blessed with 2 tickets for The Puccini Duo on closing night? That is the beginning of my birthday week, and I have been wanting to attend for years.

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Too_Too_Solid_Flesh t1_j7qqmjw wrote

Not the OP, but they have rush tickets for as low as $25 each for the balcony and loge areas (rising to $75 each for the orchestra stall seats). They can't guarantee you a seat, but if you show up a two hours before the start time of the performance you may get one. I've done a few of these rush performances and I've never failed of getting a ticket. Also, if you're a student or a member of the military, you can get special discounts. This page has more information.

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SillySundae t1_j6ys0m8 wrote

Why do orchestras insist on not choosing anyone during the final round of auditions in an already dying age of orchestra?

Why do orchestras continue to show nepotism by allowing well known players to automatically advance to the final round?

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randomsynchronicity t1_j6zkqmv wrote

Sometimes it’s better to continue with temporary players than to commit long-term to someone who won’t work out. This could be because no one at the audition played at a level befitting the rest of the orchestra, or more likely, their personal style or sound isn’t compatible with the rest of an ensemble. At a major orchestra, the winner of an audition may be with the ensemble for 20-30 years or more, so it’s a big decision.

That’s not what nepotism is. Often, there are contractual or policy reasons that a current member of the orchestra is automatically advanced to the final round. An argument for this can be made that a current member has already won a position in the orchestra and does not need to prove themselves through the preliminary rounds.

Outside candidates who are known to be very good players and already have successful careers will often be pre-advanced to semis or final rounds because it’s how you get them to show up in the first place. You want to have best possible pool of candidates for any given position, but there’s significant reputational risk for someone with an established career to have even a slightly bad day and not make it through the prelims, so most would pass if not pre-advanced.

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ecbremner t1_j6yt7qe wrote

With the legacy of the James Levine situation and more and more musicians stepping up to abusive conductors and companies, do you think the role of conductor will change from the lofty "maestro" figurehead role to a more collaborative artist role?

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ceelodan t1_j6yu7iz wrote

Am I still in time to ask you what’s your best memory of Bernstein? I absolute adore him

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VolarRecords t1_j6yv8is wrote

Hi Yves, do you know my buddy John Stubbs by chance?

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ChannelSERFER t1_j6z6w61 wrote

Hi why does opera not pay its artists more?

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spyagent01 t1_j6z7x3w wrote

Do you like your job? Would you change it if you could?

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Helpmelosemoney t1_j6z8ofh wrote

Probably a hard question for you, because I imagine there will be some bias, but how big of a difference do you think having a conductor makes on the quality of a performance? Would a symphony without a conductor sound horrible?

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juneauboe t1_j6zagr6 wrote

Conducting student here

What was it like getting your start in conducting, and what were some of your first conducting jobs like?

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mini_thins t1_j6zdtor wrote

What are your favorite chords?

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knoam t1_j6zfeeq wrote

Are you afraid of dying ironically by electrocution?

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theGreyCatt t1_j6zi2wt wrote

I just made it into my first audition-only adult choir as a 45 year old (Soprano I). Do you have any recommendations for performing?

How does opera singing differ from traditional choral or musical singing in technique? It sounds very different.

Also, the soprano behind me has a piercing tone that sounds a bit flat some of the time. We sound terrible together on the high notes. Should I just sing more quietly when we sing the notes so we don’t clash?

Thanks for doing an AMA, I think the is the only time I’ve commented in one!

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kit630 t1_j6zj8b4 wrote

As a conductor, what car of the train is your favorite? I always liked cabooses, mainly because caboose is a fun word to say. 😎

And silly train jokes aside, what has been your favorite opera performance to conduct thus far? (As an example, whether it's due to the piece/score, interesting location, fun memory, someone you got to interact with, special moment etc. )

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Ok-Feedback5604 t1_j6znjbm wrote

Why turandot is flop these days?(I mean what's the reason behind that?) In short, why classical stories are flop these days?

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Down_To_My_Last_Fuck t1_j700npf wrote

How easy is it for you to pick out the sour note, if there is one during a practice?

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PrimeTenor t1_j70a619 wrote

If you are looking for a composer for a new opera for your company, what do you look for in a person and their music?

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Mr_Nets t1_j70cud1 wrote

What's the role of the first violin from a conductive perspective? How does the conductor and first violin interplay during a performance?

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Sacred-Squash t1_j70j746 wrote

How do you manage so many things and people and feelings? Singing is a very personal instrument. How do you feel working with singers who devote themselves to their craft has effected you personally?

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saltboo t1_j71og62 wrote

Do you have synesthesia? I ask because the way you describe musical sounds in some of your replies sounds like you may, but you could just be very artsy with your language choice as well haha.

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log_ic t1_j71wzdy wrote

What’s the weirdest thing you’ve ever used for a baton, that’s not a baton? Officially or unofficially.

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thythr t1_j72br3w wrote

How often do you use operabase?

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