Each month, Chorus America has been profiling one of our members in our new Meet A Member series. For December, to mark the season of giving, we changed things up a little bit and interviewed one of Chorus America's long-time donors: Greg Funfgeld, artistic director of the Bach Choir of Bethlehem.
Lorenzo Martinez wasn’t expecting to become the executive director of the Houston Chamber Choir, but his new job is, in a sense, a homecoming. “I feel extremely fortunate to have landed here and work with incredible people,” says Martinez.
As the director of choral activities at Westminster Choir College, Joe Miller helps shape the next generation of choral conductors and leaders. Here he reflects on his own training as a conductor and on the future of the choral field. Click on the questions below to view his answers.
In the chorus-crazy land of Minnesota, there’s a charismatic new face in town putting a unique stamp on the area’s choral scene.
Steven Zopfi's "Ten Questions" project asks choral conductors today about their career development and the future of the choral field. Here Grant Gershon, Craig Hella Johnson, and Ragnar Bohlin respond. Click on the questions below to view their answers.
Singing for the Pope is a once-in-a-lifetime experience – though sometimes, it happens twice.
“I can’t say it was my first time singing for a pope,” admits Salvatore Diana. “I had the good fortune of Singing for Pope Benedict when he visited eight years ago.” In fact, Diana sang in services for Pope Francis on back-to-back days during his visit to New York, making for a hectic and thrilling 36 hours or so.
From chorus manager to member of a board of managers, Gretchen Upholt has a lot of choral and nonprofit experience. It all comes into play in her work with the New York Choral Society.
This summer marks one year since Jane Chu began her tenure as chairman of the National Endowment for the Arts. In advance of her keynote conversation at Chorus America’s Boston Conference, she spoke with president and CEO Catherine Dehoney about her career and the important role the arts play in our lives and communities.
In her memoirs, Alma Mahler narrates the meticulous schedule by which her husband Gustav balanced his daily priorities in order to preserve his energy and maximize the value of every minute. In the summertime, when he composed at their lake house, he took a mandatory afternoon swim, followed by a three-hour walk, rain or shine. In the wintertime, when he conducted in Vienna, the opera house called ahead at lunchtime to ensure that his apartment door was open so he would not have to wait. His soup, hot, was expected to be already placed on the table.
“Our philosophy is no one should be denied the joy of music because of money. There’s no membership dues, there’s no fee for music. That carries over to the audience. All of our concerts are free to the public.”
