Dead Composers, Living Audiences: The Situation of Classical Musi ...

Preface

I am a product of the conservatory tradition as it existed in the ’60s and early ’70s. A person with such a background should not undertake a study of critical theory unless s/he is fully ready to take on the conflicts and contradictions that must inevitably arise out of such an effort. Unfortunately, this is impossible. As an anonymous wit once wrote, “The final exam often comes first, only then, the lesson.” As a young singer whose only desire was to perform opera, I took a “brief?” detour into the world of higher education in order to save up enough money to continue my career. Unfortunately, this is also impossible. Again—the exam before the lesson. But I found something in this profession of great value. Nearly forty years later, I have long since stopped saving for my singing career. I have spent a great deal of time in the company of wonderful friends and colleagues who are performers, thinkers, historians, poets, theorists, and artists of all kinds—all of whom are also teachers. In this company, I have learned much. Above all, I have learned humility and gratitude.