October / November Performances

Marguerite in Doctor Faustus Lights the Lights  Doctor Faustus in Doctor Faustus Lights the Lights  Mephistopheles in Doctor Faustus Lights the Lights

It’s been a while since posting because things have been very busy with both MusicXML work and performances. I can’t write about the MusicXML work at this point, but the performances went great.

Dr. Faustus Lights the Lights got a fine reception at City College of San Francisco. David Ahlstrom’s widow Doris Ahlstrom attended most of the performances and sent the cast a great thank you note afterwards. Many of Mr. Ahlstrom’s colleagues attended and delighted in finally seeing this opera up in a fully staged and orchestrated production.

These photos were taken at the dress rehearsal. From left to right above are Marguerite (Sarita Cannon), Doctor Faustus (John Warner), and Mephistopheles (me). Below is a scene from the Finale, which adds Man From Over the Seas (Eric Coyne), Old Woman With a Sickle (Elizabeth Finkler), Boy (Kelly Ann Lawson), Dog (Denee Deckert), and members of the ensemble behind the scrims:

Finale of Doctor Faustus Lights the Lights, CCSF, 2008JoAnn’s performances of Carmen at West Bay Opera also went very well, with the entire run selling out. When the curtain opened, there was JoAnn center stage as a beggar lady, sitting and talking to the bugs on the ground. This was another typically excellent West Bay performance, full of passion and great singing in a nice small theater where you are not so physically distanced from the happenings on stage.

Last weekend, the Stanford Symphonic Chorus and Peninsula Symphony contributed to the Bernstein 90th birthday festivities with a performance of Chichester Psalms. The program also included the premiere of Brian Holmes’s Amherst Requiem, which mixes Emily Dickinson texts sung by the soprano soloist with the Latin text sung by the adult and children’s choruses. Heidi Melton was a fabulous soloist and the Vivace Youth Chorus of San Jose did a fine job too.

The highlight of the month as an audience member was the San Francisco Symphony’s performance of Mahler’s Symphony No. 8 last Saturday. The San Francisco Symphony has established a wonderful level of excellence under Michael Tilson Thomas’s direction, but this just may have been their best performance yet. I’ve heard the 8th several times before, but never like this. The singing of the chorus under Ragnar Bohlin has moved to a whole new level, while the eight soloists were at a uniform level of excellence that I have never heard in this work before, either live or on CD. This was recorded for the final release of the SFS Mahler symphony cycle on hybrid SACD. If the magic of these performances makes it onto disc, this could be a Mahler 8 recording for the ages.

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Coming Up: Doctor Faustus Lights the Lights

CCSF poster for Doctor Faustus Lights the LightsIn two weeks, I will be singing Mephistopheles in the staged premiere of David Ahlstrom’s opera Doctor Faustus Lights the Lights, on a libretto by Gertrude Stein. This is a production of City College of San Francisco‘s Music and Theatre Arts departments. David Parr will direct and Michael Shahani will conduct.

This is a 50-minute opera in three acts that envisions Faust as Thomas Edison. Here, Faust has sold his soul to invent the electric light.

Mephistopheles, the Prince of Darkness, is not happy with this turn of events, but finds that he has limited options available in this deal gone wrong. This is a tenor devil, after all, not the traditional baritone or bass devil.

The second act includes a Very Grand Ballet of Lights. With this subject matter, this is an opera very appropriate for the San Francisco and Silicon Valley areas.

Richard Scheinin and others have written about lack of melody in contemporary opera. This opera does not fall into the all-too-common trap of having most of the vocal music written in a recitative style. Instead it is full of melodies, often quite upbeat and jaunty, so it is very possible you will leave humming at least one of the tunes.

Rounding out the program are songs from another Ahlstrom work, America, I love you on texts by e. e. cummings. Performances are Friday, October 10 and 17 at 8:00 pm; Saturday, October 11 and 18 at 8:00 pm, and Sunday, October 19 at 2:00 pm. All performances are at the Diego Rivera Theatre at Phelan and Judson at City College of San Francisco’s Ocean campus. General admission tickets are $15, or $10 for students and seniors. Call (415) 239-3100 for reservations and more information.

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Coming Up: Carmen

West Bay Opera Carmen posterJoAnn’s next performance will be in West Bay Opera’s production of Carmen, where she will sing in the chorus. Sarah Barber sings the title role. I have not heard her before, but the chorus is saying great things about her. I have heard Ben Bongers and Jason Detweiler, and am very much looking forward to their portrayals of Don José and Escamillo, respectively.

Opera in a small house like West Bay is a lot different than at the big houses. The performance is more intimate, and the passion really comes across when you aren’t so far removed from the stage. Performances are October 17, 19, 25, 26 at the Lucie Stern Theater in Palo Alto. The Friday and Saturday performances are at 8:00 pm, the Sunday performances are at 2:00 pm.

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ISMIR 2008 Wrapup

Last week’s ISMIR 2008 conference on music information retrieval was another grand success. It was great to meet several people who I had only corresponded with before on the MusicXML developer mailing list, including Geoff Chirgwin, Joachim Ganseman, and Phil Kirlin. There was plenty to catch up on with friends and colleagues, and meeting new people doing all sorts of interesting things.

I gave a demo on Using MusicXML 2.0 to Create Symbolic Music Data Sets, and Phil Kirlin was kind enough to take this picture of the demo setup:

Michael Good presenting MusicXML demo at ISMIR 2008There were more people using MusicXML technology at this year’s ISMIR than ever before. Here is what I saw, with apologies for anyone I may have overlooked. Please leave a comment so I can fix any omissions:

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Coming Up: ISMIR 2008

ISMIR 2008 BannerNext week is the annual International Conference on Music Information Retrieval, known as ISMIR for short. It started out 8 years ago as a symposium in Plymouth, Massachusetts. Since then it has grown into a full-fledged conference, but the ISMIR name stuck.

This year’s conference is at Drexel University in Philadelphia from September 14 to 18. I will be doing a demonstration of “Using MusicXML 2.0 to Create Symbolic Music Data Sets” on Thursday between 11:00 am and 1:00 pm. This will be my first time presenting at ISMIR since MusicXML had its very first public presentation – in version 0.1 days – at the original symposium in 2000.

There are at least two other MusicXML-related presentations at the conference. The Sunday tutorial on “Symbolic Data for Music Applications” by Eleanor Selfridge-Field and Craig Sapp will include MusicXML, of course. On Thursday, Joachim Ganseman, Paul Scheunders, and Wim D’haes have a poster on “Using XQuery on MusicXML Databases for Musicological Analysis.” A few other papers and posters have MusicXML working behind the scenes, perhaps more so than in past years.

While most of ISMIR focuses on issues of audio music retrieval rather than symbolic / score / sheet music retrieval, recent years have had a very healthy percentage of work involving scores and sheet music. It is always fun to see everyone again and take in all the progress made in the past year. And it’s one of the best places to find other people who are seriously into both songs and schemas. I’m looking forward to it!

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MusicXML – The Next Generation

Recordare completed our September product launches yesterday. In the past two weeks we have released:

  • Dolet 4 for Sibelius, our plug-in for saving MusicXML files from Sibelius. This version works with Sibelius 5, saves MusicXML 2.0 files, and has a whole lot of new features.
  • A W3C XML Schema Definition (XSD) version of our MusicXML 2.0 format. Up until now, MusicXML has been defined using a Document Type Definition (DTD). People have been asking us for a schema for years, but we have been waiting for the software support to mature. Having an XSD will help MusicXML software become even more reliable, because catching problems will be easier for developers. It also opens the way to full-fledged use of newer XML technologies like XQuery, XML databases, XML data binding, and XML code generation tools.
  • Dolet 4.5 for Finale, the latest version of our plug for reading and writing MusicXML files to and from Finale. This version adds the ability to validate against the MusicXML 2.0 XSD as well as the MusicXML 2.0 DTD. It also imports chord symbols a lot better than before.

Two other companies have also done important MusicXML product releases and announcements:

  • Myriad Software has also released version 1.1 of their amazing PDFtoMusic Pro application. This program converts PDF files created from music notation programs into MusicXML files that programs like Finale and Sibelius. Version 1.1 adds support for writing MusicXML 2.0 files, and makes big improvements to chord symbol recognition.
  • MakeMusic has announced that the next version of Finale NotePad will read and write MusicXML files. Finale NotePad will now cost US $9.95, but the new free Finale Reader will also read MusicXML files. I think that this will take the quality of free and under $10 MusicXML software to a whole new level.

Initial response to these new products has been very gratifying. I think that they will help lay the groundwork for a whole new generation of MusicXML products and services. It will be fun to see what happens!

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Lazy XML Design

A lot of the success of the MusicXML format has come from its iterative development, driven by the increasingly sophisticated needs of our customers and their applications. MusicXML 1.0 started out by representing musical semantics with some formatting data. This was good for initial interchange purposes, but not good enough for sheet music distribution and publication. MusicXML 2.0 now has the formatting features to enable near-lossless exchange and publication of digital sheet music.

I wrote about this in my XML 2006 paper on “Lessons from the Adoption of MusicXML as an Interchange Standard,” using the terms “iterative design” and “evolutionary delivery.” So it was interesting to see Dave Kellogg, CEO of Mark Logic, advocating something very similar by calling it a “lazy” approach:

Mark Logic CEO Blog: XML: Good, Bad, … Bloated?

I think the future holds some very interesting possibilities for using XML databases like Mark Logic together with MusicXML documents. Joachim Ganseman will be giving a presentation on XQuery and MusicXML at the Ninth International Conference on Music Information Retrieval in Philadelphia later this month.

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The Demon Barber of Fremont

So reads the headline of Janos Gerberen’s rave review of Fremont Opera’s Il barbiere di Siviglia at San Francisco Classical Voice. He did not mention the chorus other than to say that we were not large, but there were only 5 of us and we were on stage for maybe 15 minutes. My friends thought we sounded and looked good.

This was the best mix of outstanding singing and really funny comedy that I have been privileged to participate in. The cast was really strong in all the different roles. Thanks to everyone who attended! The audiences were great, with the Friday audience laughing from the very first jokes during Eleazar’s orchestral serenade.

I’ve performed in Sweeney Todd too, so I tried to think of interesting potential mash-ups along the lines of the review title. But these two works are about as far removed from each other in spirit as you can get! The world could use more top-notch comic operas these days.

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