Classical Singer: What gave you the idea to start MidAmerica?
Peter Tiboris: After completing my Ed. D. in choral music education at the University of Illinois, my only objective in life was to be a college professor. I took positions at Plymouth State College and the University of Southwestern Louisiana. The idea, in 1984, to come to New York was a personal one. I wanted to have a wider range of conducting experiences and to leave teaching at that time and pursue a conducting career. I brought the Louisiana choruses to perform on my debut on January 7th, 1984, with the American Symphony Orchestra at Lincoln Center. The concert was a very big success, favorably reviewed by the New York Times. The Louisiana choruses loved being there. It occurred to me that there might be other choirs from throughout the US who might want to come to New York to perform under such conditions. And that was the start of MidAmerica.
Besides being the founder, what’s your day-to-day function at MidAmerica?
Day-to-day my work is in selecting guest conductors, working closely with the Executive Director and Program Development team, working closely with Carnegie Hall, selecting soloists, and planning for future events. From time to time, I will conduct as well, especially as it relates to concerts which are of particular interest to me.
How many people are on your staff?
Twenty-two full time, and ten or so consultants who are engaged on a part-time basis.
What do you look for in a voice when you hire soloists?
Simple question: beautiful singing. Bel Canto. I can coach a singer on how to sing a particular phrase. But by the time they are engaged to perform on our series, I cannot coach them on “how to sing.” Bel Canto. Bel Canto. Bel Canto.
When and where do you hold auditions for soloists?
Solo auditions are always held in November of each year for the following spring and fall season. We hold them in Manhattan and usually at CAMI Hall.
Do you hire soloists through management only, or can singers submit tapes or résumés to you directly?
I hear 10-minute auditions over a nine-day period, probably somewhere in the neighborhood of 150 artists. Most are under management. Occasionally, I will hear singers who are not. They must submit a tape prior to being given a slot to appear. Soloists must provide their own accompanists.
About how many soloists do you hire a year?
It depends on the size of the season, but it is usually 40-50.
If a choir wishes to perform with MidAmerica, how long before the concert would they need to contact you?
Usually a minimum of 12 months.
Have you ever worked with a choir in less time?
Not frequently.
I’m assuming that the conductor goes to visit the choruses periodically. How often and how close to the concerts?
When this is done, and it is not always done, an on-the-road rehearsal visit occurs one month before their arrival in New York.
What happens if a choir comes unprepared?
Choirs are warned long in advance that it is their responsibility to have the music “concert ready.” We have had over the past 20 years some 1900 ensembles, very few of which were unprepared. When that has happened, they were removed from the New York chorus.
Who buys the music? Is that included in the fee they pay to you?
The choirs are responsible for purchasing music.
Who chooses the music they will sing?
I do, in conjunction with the conductor for that particular concert.
What type of repertoire do you usually choose?
We choose serious and important classical music, with some contemporary as well.
Does the choir have any say in how many choruses will join with them in the concert?
The decision is mine in conjunction with the guest conductor. It depends on the repertoire being performed: i.e., works by Beethoven and Berlioz and Dvorak can easily stand up to 250 voices, but Bach and Mozart much less—say 75-150 depending on the work.
What orchestra do you use? How big is it?
Usually, the New England Ensemble. The maximum size of the orchestra is 85, but we call on the players depending on the work which is being selected for performance.
How long is the rehearsal period in New York? How long at the choir’s location?
While in New York, choirs rehearse for two 3-hour periods with piano and the conductor, then there is the dress rehearsal in the hall, and finally the concert. This takes place over a four-night residency.
Do choirs ever wish to stay in New York longer? How would that work with the fee structure?
Sometimes choirs choose to stay longer, and they do this on their own. We are happy to extend their room stay at the Grand Hyatt.
Does the chorus have any say about choice of conductor?
The choir can choose from an array of conductors and repertoire, which is published one year in advance of the series. The selection of conductors and repertoire is mine, however.
Do choirs generally choose this as a once-in-a-lifetime opportunity?
More than 1700 ensembles have performed under our auspices. Of these, approximately 20% have appeared with us more than once.
Do you have any special arrangements with particular airlines?
No, although we mostly use Continental.
Do you have special arrangements with a hotel?
Yes, the Grand Hyatt on 42nd and Lexington 26. The only meal that is included is a dinner after the concert.
Is MidAmerica in competition with any other group?
There are one or two other organizations who engage Carnegie Hall, but we are the largest of our kind in New York. Since 1984, we have performed some 300 concerts in Carnegie Hall and some 700 worldwide.
What’s the funniest or strangest thing that’s ever happened?
In 1988 I was conducting Verdi’s Requiem in New York (one of our earliest concerts), and I learned that there was a 12-foot-high bass drum that could be used in the Dies Irae. We had it brought in from New Jersey, where it was stored, and found that it took up a third of the stage and could barely get into the house. Needless to say, we couldn’t use it. But the “sound” was enormous.
With all these people and logistics what is the most common problem that occurs?
No particular problem, only that we provide every visiting group a “life-changing” music opportunity, and we have to do this on a day-to-day basis. These are important concerts and very well attended, and our responsibility is very high.
What if choir wants to provide their own housing or transportation?
By contract with Tzell Travel and Tours, all ensembles must take the package and stay at the Grand Hyatt, where the rehearsals occur.
What are cancellation fees and deadlines for canceling?
The first $500 per person plus any air-fare deposits, is non-refundable. Upon final payment, all monies are non-refundable.
What if choir wants to bring their own soloists?
Soloists are only selected by me and through New York management by audition.
What’s on your wish list for MidAmerica?
Continued recovery for New York and more memorable concerts.
