RISING STARS In The PERFORMING ARTS

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November 2012RISINGSTARS in thePERFORMINGARTS

IntroductionWhen you hear the phrase, “rising star,” what comes to mind?The four-year-old mastering Beethoven on YouTube? Thebudding maestro? The next Pavarotti?CONTENTS2Introduction4 Rising Stars in Artist Management8 Rising Stars in Orchestra Leadership13Rising Stars in Presenting18 Rising Stars in Communications/Public Affairs22Rising Stars in Education28 Rising Stars in Radio and Recording32More on the WebEach article in this issue is also foundon our website, MusicalAmerica.com,in the Special Reports section.Those are accurate enough definitions, but they don’t qualifyas Musical America Rising Stars. Our stars toil in the trenches.They are the unsung heroes who nurture, book, present, promote, and raise moneyfor everything from large-scale opera productions to tiny “alternative classical”music festivals. Without them, public performance would be an endangeredspecies, the field moribund, artists out of work.So who are these people, and what makes them “rising” as opposed to already inthe firmament? Our criteria were that they had to be under 40 and contributingto the field in ways novel, ingenious, forward-looking or all of the above. Tofind them, we first canvassed the field. Second, we assigned writers to eachof the categories: Edna Landau to artist management; Brian Wise to orchestraleadership; Wynne Delacoma to (non-orchestra) presenting; Sarah Bryan Millerto communications/public affairs; Heidi Waleson to education; Amanda Ameer toradio and recording. Each contributed his or her own ideas, each carried out stepthree, interviewing our candidates.Some stars invented their own models, such as Matt McBane, the composer/violinist turned entrepreneur who brought together a few friends for a weekendof alternative-classical music making in Carlsbad, CA, over a decade ago andhas continued to do so ever since. In the process, the Carlsbad Music Festival hascommissioned 12 new works and been recognized by ASCAP with an award forAdventuresome Programming.Susan Schaffer, on the other hand, has figured out a way to make an old modelnew again, by connecting the music she programs on American Public Media’sPerformance Today to current events, or being unafraid to air the new and unusual.“Our phone lines light up with people who don’t necessarily listen to classicalmusic every time we play Azul by Osvaldo Golijov.” She makes a conscious effort toencourage call-ins, turning radio into a truly interactive medium.So here are our 30 under 40, inventing the new, reinventing the old, tilling the soilthat keeps the performing arts fresh and vibrant.Regards,Susan ElliottEditor, Special Reports Special Reports 2012 2012 Musical America Worldwide. All Rights Reserved www.musicalamerica.com

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RisingStarsIn. . .By Edna LandauArtistManagementJohn ZionBooking/Artist Manager,Melvin Kaplan, Inc.John ZionKristinSchusterBooking/ArtistManager, MelvinKaplan, Inc.Artist Manager,IMG ArtistsNicki WenhamArtist Manager,Ingpen & WilliamsJames EgelhoferProject Manager,First Chair PromotionRika IinoFounder andProducer,Sozo MediaEdna LandauEdna Landau has become a household name in the world of artistmanagement. After completing a 23-year tenure as managing director of IMGArtists, she has chosen to share her considerable career insight by venturinginto institutional and individual consulting and writing a widely read weeklycolumn for MusicalAmerica.com entitled Ask Edna.John Zion is the kind of person you want to be on the phone withwhen everything is going wrong around you. He is calm, thoughtful,focused, and attentive. I first met him when I was director of careerdevelopment at the Colburn School and he approached us to seeif we were interested in having the American String Quartet do amaster class while in Los Angeles for a concert. His elegant andthorough emails immediately caught my attention.John studied at Lawrence University and the Hartt Schoolof Music, where he received his undergraduate degree in violinperformance. After a year as a string teacher in the public schools,he decided to embark on a new direction. He wrote to all the EastCoast managements about a possible internship and was acceptedby Melvin Kaplan. In that first summer of 2008, John identified anumber of presenters with whom the management had neverworked before and began to develop relationships with them.Kaplan told me recently that he kept John on, even though he didn’thave the budget for it, because of the passion and dedication hebrought to his work. He had never met anyone like him with all thenatural instincts of what to do in a given situation, when, and why.In the intervening years, John has made valuablecontributions in an office where artists are shared amongcontinued on p. 5 www.musicalamerica.com Special Reports 2012 2012 all rights reserved.

ArtistManagementmanagers and booking agents. He organized a commissioningproject with the Pacifica Quartet that brought together WigmoreHall, Suntory Hall, and support from Music Accord. He alsohelped the American String Quartet conceive of an all-sextetprogram with guest artists Roberto and Andrés Díaz. ViolinistRachel Barton Pine, one of the company’s newer artists, speaksof John as a “terrific strategic thinker with a long-term careerperspective.” She also welcomes his style of personal interaction,which has elicited frequent compliments from presenters.Edward Yim, artistic administrator of the New York Philharmonic,KristinSchusterArtist Manager,IMG ArtistsOne of the first things Kristintold me about herself is thatshe likes to look at chaos andbring order to it. That makes her a real natural for the job! Her roadto artist management began as a student of cultural science atLeipzig University, where she was required to complete an internship. Her piano teacher, mother of world-renowned violinist JuliaFischer, suggested she intern with Julia’s manager, Jack Mastroianni.Fortunately, she followed that advice. Four years later, he offered hera job at IMG, which she accepted when she completed her studies13 months later! (He told me that he patiently waited for her because he knew she would be a huge star in the business.) In the yearssince, she feels she has begun to trust her judgment in regard towhat makes a singer great. She has been given the opportunity tosign and develop new talent and is thrilled by the prospect of making a real difference in artists’ lives. She also considers herself veryfortunate to work alongside Mastroianni for performers includingRenée Fleming, Angela Gheorghiu, Jean-Yves Thibaudet, Julia Fischer,and, a recent discovery, 26-year-old mezzo-soprano Tara Erraught.What makes Kristin stand out? Legendary veteran of publicrelations Mary Lou Falcone extols her great integrity, her patience indescribed John well when he said: “John presents himself withboth confidence and modesty. That’s a hard balance to strike inthe early part of one’s career but it comes with knowing whatyou are talking about.”Like all artist managers, John puts in very long hours. JetBluegets him from his Burlington, VT, office to New York in no time, buthe is never sorry to return to his home, just three blocks from work.Perhaps it’s the majesty of New England that helps him maintainthe exceptionally healthy and balanced perspective he brings toeverything he does.learning the trade, and her unfailing ability to evaluate a challengingsituation, wrap her arms around it, and work it through. RenéeFleming offers similar high praise: “Kristin is exceptionally gifted andI know we will see big things from her in music management. Shehas a rare combination of intelligence, understanding of complexcontracts, organizational skill, and attention to detail. Even moreimportant perhaps—she is a quiet but strong advocate for the artistand I really enjoy working with her.”When I asked Kristin to describe her work ethic, she responded:“I believe in doing quality work. Artists pay us to represent them. Weneed to take great care with every communication on their behalf andwe have a responsibility to maintain their image. We don’t own theartists or their careers. In the end, all we have is our integrity. It alonedefines who we are.” What a refreshing and mature new presence onthe artist management scene!BERNARD UZANDirectore: bernard@uzanartists.comVANESSA UZANManaging Directore: vanessa@uzanartists.comDANA O’CONNELLArtist Managere: dana@uzanartists.com250 West 57th St.Suite 1932New York, NY 10107212 969 1797continued on p. 6www.musicalamerica.com Special Reports 2012 2012 all rights reserved.

ArtistManagementNickiWenhamArtist Manager,Ingpen & WilliamsIt is thanks to Atholl Swainston-Harrison, chief executiveof the International Artist Managers’ Association (IAMA), thatI learned about Nicki Wenham, an artist manager at Ingpen &Williams in London. She caught his attention not only as a diligent and gifted young artist manager but as the founder of YoungPeople in the Arts—an organization that grew out of her beliefthat the younger generation of artist managers needed increasedopportunities to network and learn about the industry in real-lifesituations, away from their desks. YPIA offers its members opportunities to listen to and meet leaders of the music and theater worldsand to attend performances and social events in interesting andsometimes untraditional venues. YPIA’s extreme success has attractedattention worldwide.Nicki Wenham’s early years were filled with music. Shestudied piano with her mother and subsequently took up thecello. While studying music at university in Birmingham, sheJamesEgelhoferProject Manager,First Chair PromotionIn mid-2012, James took leaveof a managerial position aftereight years with IMG Artists to focus on strategic projects for artistshe admires that he feels cannot be realistically pursued within thestructure of a large commercial management.Now working as a freelance project manager in association withAmanda Ameer, founder of First Chair Promotion, James has assumedrealized she didn’t want to pursue a performing career and sobegan to apply for interships. She landed one at the Orchestra ofthe Age of Enlightenment, where contact with artist managerssolidified her career objective. After working for three years atSullivan Sweetland Management as an assistant manager, shemet David Sigall, a director of Ingpen & Williams who offeredher a job in 2008, working with him for all of his artists. Shespeaks with reverence about her mentor and says that his mostsignificant message to her has been about the importanceof building relationships and trust—something that doesn’thappen overnight. Nicki asked David to recommend her for thehighly competitive Clore Emerging Leaders Course in March of2012, a week-long program that she found invaluable. With hisencouragement, she has begun to sign artists on her own, mostrecently cellist Oliver Coates, artist-in-residence at SouthbankCenter in London. She can hardly contain her excitement abouthelping him to develop his career.Ingpen & Williams pianist Joanna MacGregor praises Nicki’sintelligence, energy, and receptivity to new ideas. Without herpersuasive powers, she never would have agreed to play a programof Bach, Shostakovich, and George Crumb at London’s 100 Club,a venue better known for pop, rock, and jazz. Prescience andpersistence—these are qualities that bode very well for a youngartist manager.managerial responsibilities for violist Nadia Sirota, singer/pianist/composer Gabriel Kahane, flutist Claire Chase, and composer DavidLang. He has also developed a special projects association withartists such as Hilary Hahn, Jonathan Biss, Johannes Moser, and ChrisThile, who have come to respect and greatly value his ability to think“out of the box” and lend structure and financial feasibility to thedevelopment of some of their special artistic goals. Nadia Sirota toldme: “My performing life is kind of a patchwork quilt of collaborationsand solo projects; it involves strange venues and radically differentcontexts. James is a great match for me because he is comfortablewith a whole array of presenters, styles, and genres. He’s very smartand understands why I feel that reaching all of these audiences isimportant.” Presenters also respect James’s judgment and insight.continued on p. 7 www.musicalamerica.com Special Reports 2012 2012 all rights reserved.

ArtistManagementJeremy Geffen, director of artistic planning at Carnegie Hall, said: “Hepossesses enormous integrity and is a great facilitator with ideas.”James played a variety of musical instruments as a youngsterand started writing music and producing musicals while at BrownUniversity. Feeling strongly that he wanted to be close to artistsand involved in the music industry, he applied for an entry-leveljob at IMG Artists. His intelligence, enthusiasm, and openness toany type of job responsibility were evident from the start. Whileat first handling mostly logistics for Hilary Hahn, he developed acloser relationship with her through his appreciation of Josh Ritter,Rika IinoFounder and Producer,Sozo MediaRiko Iino seems to have madeall the right decisions for a successful career as a managerand producer, equipping herself early on with a full arrayof business and marketing skills to complement her extensiveknowledge of music. As she puts it, “I am an and/and person.”Rika gained valuable industry experience while majoringin music at Columbia University. She garnered her first exposureto fashion and producing fashion events through the school’sLunar Gala. A summer job with the NHK took her back to hernative Japan where, as assistant to the executive producerfor the “Super Concert”(Natalie Cole, Kiri Te Kanawa, André Previn,and the NHK Symphony), she was smitten by the excitementof live production. While still at Columbia, Rika began to workpart-time for the Orpheus Chamber Orchestra, learning the ropesof arts administration, marketing, and finance. Her first fulltime job was with Carl Fischer, where the experience of workingwith living composers created the foundation for all of hercurrent endeavors.Fulfilling her desire to work independently with composerswho perform their own music, Rika founded Sozo Media in 2001.a singer songwriter with whom she sought to tour. He went on tomanage her for nearly five years while at IMG. He also helped herproduce her “Encores” project, a collection of 27 new short piecescommissioned from contemporary composers.It is very hard to put James’s work in a concise category. Yet onething seems very clear. As we witness the barriers between classicalmusic and other musical genres fade away and artists increasinglywanting to curate their own careers, James would seem to be a naturalgo-to person as artistic partner for general or project management.His future looks bright indeed.Sozo (Japanese for imagine and create) identifies and developsartists and projects that challenge convention and cross artisticand cultural boundaries. Her earliest client was avant-garde stringquartet ETHEL, which then led her to composer/performer DanielBernard Roumain (DBR). She refers to her clients as “businesspartners,” and it is clear that her broad range of skills and uncannyintuition for emerging artistic trends allows for a partnership thatis quite different from the traditional manager/artist relationship.Composer/cellist/trombonist Dana Leong told me: “Rika is anextremely thoughtful, supportive, and essential business partnerwhose early training in classical music allows her to proposecreative strategies that are true to my art, while adding valuableexperience in promotion and event presentation.” In the case ofDBR, Rika collaborates closely with his manager at Opus 3 Artists,Nicole Borelli-Hearn, to bring to fruition the artistic projects thatare most meaningful to his career. Ms. Borelli-Hearn praised Rikaas a “wonderful partner for managers” and described her as elegant,unruffled, very savvy, and always pragmatic.After having realized at a recent ISPA Conference in Seoulhow beneficial it is for young independent managers and artsproducers to share their ideas and dreams, Rika recently foundedThe Cabin Society, a support network for young arts entrepreneurs.It appears that the road to success for future creative thinkers in thearts will be less lonely and more navigable thanks to Rika and hervisionary contemporaries.www.musicalamerica.com Special Reports 2012 2012 all rights reserved.

RisingStarsIn. . .OrchestraLeadershipBy Brian WiseMachael CostaExecutive Director,Philharmonia BaroqueOrchestraRichard DareChief Executive Officerand Managing Director,Brooklyn PhilharmonicLisa DixonExecutive Director, PortlandSymphony OrchestraMieko Di SanoExecutive Director,Symphony OrchestraAugustaMark C.HansonCEO/ExecutiveDirector, HoustonSymphonyBrian WiseBrian Wise is an editor at WQXR Radio where he covers classical music forWQXR.org, produces a music-industry podcast, and oversees an online videoperformance series. He also writes about classical music for Listen magazine,The Strad, and BBC Music.MichaelCostaExecutive Director,PhilharmoniaBaroque OrchestraMichael Costa joined thePhilharmonia BaroqueOrchestra in 2010 on theheels of completing the League of American Orchestra’s Essentialsof Orchestra Management Seminar. His first job under thenExecutive Director Peter Pastreich was acting director of finance.He was quickly (as in, within two months) promoted to director offinance and administration, then to general manager, and finally,in December 2011, to executive director, succeeding the retiringPastreich, his mentor.As the PBO’s chief administrative officer, Costa also oversees thePhilharmonia Chorale, the Philharmonia Baroque Orchestra PeriodInstrument Trust, and the group’s record label, Philharmonia BaroqueProductions, which has issued four recordings (including one Grammynominee) since its launch last year.PBP is but one component of Costa’s game plan to raise theorchestra’s public profile.“Our name is both a blessing and a curse,” he says, adding thatthe PBO actually performs repertoire through the early Romantics.“The ‘Baroque’ part can be really off-putting to some folks; they tendto think immediately ‘old and dusty,’ as in, ‘are they wearing wigs? ‘arethey wearing costumes?’”To broaden the orchestra’s appeal, Costa has plans to launch aseries of online videos that are designed to dispel the musty connocontinued on p. 9 www.musicalamerica.com Special Reports 2012 2012 all rights reserved.

OrchestraLeadershiptations of early music. “What we really emphasize is getting shorterchunks out there—three- to five-minute segments and movementsof works—to give people a sense of what it’s like to be there as part ofa concert and hopefully entice them to come and hear us.”Born in Providence, RI, Costa holds a BA in Classics from BrownUniversity; a BA in Music from Rhode Island College, where hestudied voice and piano; and an MS in Education from NorthwesternRichardDareChief Executive Officerand Managing Director,Brooklyn Philharmonic“I’m very new to the orchestraworld and I don’t know anything about it,” Richard Dareremembers telling the Brooklyn Philharmonic musicians and boardwhen he first arrived as CEO last year. “What I do bring is a lot ofentrepreneurial and management experience.”Dare spent the better part of the last decade travelingbetween the U.S. and Asia as the head of Pacific Rim Partners, aprivate investment firm that builds and controls U.S. brands inAsia. As an in

CONTENTS 2 Introduction 4 Rising Stars in Artist Management 8 Rising Stars in Orchestra Leadership 13 Rising Stars in Presenting 18 Rising Stars in Communications/Public Affairs 22 Adventuresome Programming. Rising Stars in Education 28 Rising Stars in Radio and Recording 32

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