Classical Singer: Why did you choose Weill Hall as one of your venues?
Steven Blier: It’s a good size for our smaller concerts, an intimate space, an elegant hall. We can do specialized material there and fill the place easily.
What are the pluses and minuses of using that venue?
Well, it would be better at this point if it were 100 or even 150 seats bigger, frankly. But I like the acoustics, the closeness of the audience, and the creature comforts of the lobby space—my audience likes the hall a good deal. The singers’ words are easy to understand, and it’s not hard to speak from the stage. The acoustic is a tiny bit dry, but not seriously so. The backstage area is good too—I have a piano in my dressing room, for example. The onstage piano tends to be in good shape.
How long have you been there?
Since 1994.
Do you get a better rate by renting the hall three times instead of one?
No.
How do you choose the songs for each recital?
Months of research, years of experience, chance encounters with material, lots of reading and listening. And I consult the experts in the fields—people who have immersed themselves in various musical endeavors. I talked with Richard Traubner about operetta, for example, and Pablo Zinger about zarzuela.
Are songs chosen by you, or is there a committee of people?
I do the lion’s share of the research, and I have final say about what goes onto the program, but Michael Barrett also contributes ideas, songs, and inspiration for the programs we do together. Many of the singers I hire bring ideas and repertoire to the table as well, especially in very specialized material. Charlotte Hellekant and Paul Groves helped me a lot with the recent Scandinavian evening.
How is NYFS funded?
The usual ways. Grants, ticket sales, and fundraising efforts from individuals.
How do you choose singers for your festival?
That’s a big and complicated question. I use people whom I know and trust, people that I have heard and been impressed by, people who have special talents for certain kinds of music. I meet and hear lots of singers all year, and I keep tabs on the people who interest me.
About how many singers do you use each year?
Well, we did thirteen concerts this year, and they each involved from two to five singers.
How long is the rehearsal period for each recital?
I aim for a two-week rehearsal period before the concert, with another period earlier on to look at repertoire and make sure I am assigning the right songs to the right artists.
Your mission statement says that you are dedicated to the reinvention of the art song recital. Is your plan to use innovative programming working in drawing in audience?
Yes. Our concerts sell very well, and they have generated a lot of enthusiasm.
Are you planning on adding any multi-media or supertitles to draw audiences?
No. I’d rather explain the song to them (if I feel I need to), and then have them listen. The idea is to get the audience concentrated on the music and words, and I don’t want them reading and avoiding contact with the stage.
