“I don’t bridge or tunnel,” I once heard a Manhattanite say. As a non-native New Yorker, it was my first experience with the insular attitudes of some who live on the island situated between the Hudson and East Rivers. There is so much going on within those 34 square miles, that many forget there is life beyond them.
New York City’s prominent place in American history—the nation’s financial and cultural center—have understandably made it America’s most well known city. But while it certainly remains a critical cultural hotbed, it is not the only American city where the arts are not only alive and well, but are literally thriving.
Move over, Manhattan. The Midwest is taking the spotlight.
Just prior to Utah Opera’s premiere of Ricky Ian Gordon’s The Grapes of Wrath, I had occasion to sit down with the composer to discuss his new work. The opera had already premiered with Minnesota Opera, and Gordon literally gushed about the absolutely amazing experience it had been. It wasn’t just the tremendously professional production of his work that had him raving. In addition, he was completely overwhelmed by the community enthusiasm and excitement that he said was absolutely palpable in Minneapolis—not just for his new opera, but for the arts in general.
Gordon is not alone in his admiration for and view of the North Star State. Olivia Giovetti goes in depth this month to determine just what it is about Minnesota that has the arts thriving (p. 40). As you will read, new works—like Gordon’s—seem to be playing a big part in enthusing the state’s opera audience. In addition, new companies are providing “fertile ground” for singers to hone both roles and skills.
A little further east, but still firmly planted in the Midwest, lies another classical music mecca: Chicago. And while the Windy City has been giving New York a cultural run for its money a little longer than Minneapolis, its music scene has changed in the recent economically challenging years. Read how an influx of “singing start-ups” is translating directly to more opportunities for singers (p. 48). And discover how Chicago Opera Theatre will continue to find its niche in new works under its new director, Andreas Mitisek (p. 88).
Classical Singer will be bringing a few more opportunities to Chicago this month as the Classical Singer Convention returns to the Westin O’Hare Hotel. Read about all of the offerings in the special convention section of this issue (pp. 59-87), including the all-new Young Artist Series. We look forward to convening once again with singers, teachers, pianists, exhibitors, and more.
The spirit of the Midwest’s cultural scene—alive in new works and fresh opportunities—offers the perfect inspiration for both this May issue and this month’s convention. I hope you enjoy reading it as much as I have enjoyed preparing it.
