Music News
Little Clark’s Big-Bang Career
Bay Area music lovers have fondly watched cellist Clark Pang’s career for years. Now that he is a mature, accomplished 11-year-old, he is hitting the big time. Between his Carnegie Hall debut last year and an engagement with the Oakland East Bay Symphony as soloist in the Elgar Concerto next near, Clark will perform music by Bach in Herbst Theatre’s Classical Christmas Special on Dec. 23.
Clark Pang
The Herbst program also features former Mayor Willie Brown as narrator in a new ballet setting of O. Henry’s Gift of the Magi with singers Kristin Clayton and Bojan Knezevic. Choreography is by Arturo Fernandez and features dancer Maurya Kerr.
As for Clark, his multifaceted career has included an appearance on the Martha Stewart Show, his solo debut with the Diablo Regional Youth Orchestra (at 9), and a premiere of his own cadenza to Haydn’s C-Major Cello Concerto with the Fremont Symphony last year.
He will tour Ukraine, performing the Elgar concerto, and also give recitals with his sister, pianist Chloe Pang, 15.
Chloe and Clark Pang
Photo by David Balsom
Attention, Extras!
Actually, they used to be called extras, but now the exalted name for nonsinging stage “participants” is supernumeraries. (Never use a five-letter word when there is a 15-letter one.)
Anyway, the San Francisco Opera is looking for supers for next year’s premiere of Stewart Wallace’s The Bonesetter’s Daughter, set to Amy Tan’s text. It is an autobiographical story about the Chinese-American author, so supers of Asian heritage are particularly sought. A public casting call is scheduled for Dec. 5, from 5 p.m. to 7 p.m., at the Zellerbach Rehearsal Hall in San Francisco.
Supers volunteer their time and act as extras, fully made-up and in costume, on the stage in nonspeaking roles. A work permit is required for children under age 18. Rehearsals will begin in August 2008.
Amy Tan and Stewart Wallace
A New Vocal Terms Dictionary
Who among us, at one time or another, didn’t have a problem distinguishing Aria di sorbetto from an Aria di bravura?! No longer need we face such conundrums. Bob Kosovsky and Vadim Ladygin, of Opera-L, have started to “wikify” the subject, and the work in progress is now at your service. Also note a stab at opera terminology — albeit with caveats galore: The terms are not all purely opera terms, but no matter. Add one more Web site, about singing, and you’ll be challeged not to find everything you need on the subject.
Keeping Track of Adler Fellows
Jeremy Galyon —
I am about to finish my Adler Fellowship and I have been utilized well in my residency here. The Merola Program cast me in The Rake’s Progress as Nick Shadow, and then I was selected as an Adler. I debuted as Tom in Un ballo in maschera, and sang nine roles after that.
My experience included voice lessons if I wanted them, amazing coaches, and multiple performing opportunities. I had multiple voice lessons with Eric Halfvarson, and was on stage with Sigmundsen in Rosenkavalier, and other established artists and wonderful colleagues who I could to watch and learn from.
I would say the best lessons came from seeing what it actually takes to be on the mainstage of a house, the strains and the successes throughout the run of a show, the really “on” days, and the low energy days. I have felt invested in the work from Day 1 and was challenged to succeed with the casting opportunities.
Jeremy Galyon, left, Notary in Der Rosenkavalier
I give this place the ultimate acknowledgment. It puts you within the visible spectrum of the other big houses. I know that the heads of Seattle, Chicago Lyric, Houston, Metropolitan Opera, Washington National Opera, and others have been here, heard auditions, and seen the shows.
I am going to Houston Grand Opera in January for its production of The Magic Flute as Armored Man and Priest, and returning in March for Billy Budd as Ratcliffe. I then travel to Opera Theater of St. Louis for Tales of Hoffmann as Luther and Crespel. Both of these jobs I have received directly from working with the conductors of these companies.
I am leaving the evening of the Adler Feature concert, on Dec. 10, to to sing the Bach Christmas Cantata in Mexico City. I return to San Francisco for Handel’s Messiah with the American Bach Soloists at Herbst Theatre and at the Mondavi Center.
Jeremy Galyon, right, as Nick Shadow, with Jason Karn
Janos Gereben (janosg@gmail.com) is a regular contributor to San Francisco Classical Voice.
©2007 By Janos Gereben, all rights reserved.