Karen Slack (Opera ’02) Urges Viewers to #SayTheirNames

Karen Slack (Opera ’02) has long gained critical acclaim for her performances, including a recent recital for Opera Philadelphia with opera student Lindsey Reynolds (Voice ’20) and alumna Sarah Shafer (Opera ’14), but is now getting attention in the press with the release of her new film, #SayTheirNames, produced in partnership with Lyric Fest.  The film combines poetry, artwork, and music—including a moving new piece by Jasmine Barnes in which Ms. Slack recites the names of Black women killed by police—to bring to life the struggles and successes of Sojourner Truth, Ida B. Wells, Fannie Lou Hamer, and Kimberlé Crenshaw.

“This film expresses how important Black women’s place in history is,” says Ms. Slack. “We often don’t get a chance to acknowledge their sheer resilience in having survived so much in this country. [Black women] were the catalyst for so many justice movements that moved the needle of equality for all people. We often think about the men of the civil rights movement, but rarely about Ida B. Wells or Fannie Lou Hamer.”

Heroic figures like those featured in #SayTheirNames have long inspired Ms. Slack’s advocacy of artists and women, especially women of color. In her research of poetry for the film, she remembers “the enlightenment I had as a woman. We have been pushed out of history and our contributions to the literary movement have gone largely ignored. [These poets] were kept from their rightful place.” She adds that in the field of opera, where she is often the only person of color in a cast, “My presence is a statement, even though it shouldn’t be.”

This multi-disciplinary project was a first for Ms. Slack, though she sees it at the next step of ideas she has been cultivating for a long time. Prior to the pandemic, she was involved in contemporary works and premieres of new operas, but she was seeing a trend in the roles available to her. “I’ve been frustrated by roles where I’m just someone’s mom, someone’s wife. These are full-blooded women who have their own stories; they have history.” She began to imagine her own musical productions, including recital projects, that tell more complete stories. “So when Lyric Fest came to me to see what I wanted to do, I immediately said we have to do #SayTheirNames. After George Floyd was murdered, there was an awakening in the world…I want to be part of the change. No one is going to give me the platform to talk about these things, until I create the moment and take it on.”

Ms. Slack had a clear arc and artistic vision for the piece, but she is quick to give a lot of credit to Lyric Fest’s founder and artistic director, Suzanne DuPlantis, “for translating my vision beautifully on to film,” she says. Together they selected the images that accompany the singing and narrations, including photographs of lynchings and video of Sandra Bland, who was beaten by police and found dead in her prison cell following her arrest in 2015. Far from being sensationalist, Ms. Slack hopes these depictions will educate viewers. “We are leaning into the hard images,” she affirms. “The lynchings were on post cards,” she says pointedly about the historic photography. In the film, “We don’t shy away from showing Black women being beaten in modern times. There’s no other way to explain [the violence they experienced]. And as Classical artists, we don’t get the chance to talk about these topics often enough.”

Please note: The video below contains some graphic imagery.

“I hope audiences come away with understanding, admiration, and respect for Black women. I don’t think we get the credit we deserve for being here and where we are in 2021.” Indeed, although Ms. Slack knew the stories of the four subjects, the film afforded her a deeper respect “for my ancestors and everyone before me, and their resilience to carry on in spite of this violence.” She also hopes the film will spark personal explorations. “I want people to walk away with a different view of history. To be curious enough to Google the names of these women to learn more about them, and then to see the other names that are attached to them, and Google those names, too.”

Plans are already in the works to grow #SayTheirNames once performance venues reopen, adding in new commissions and highlighting the women of the Black Lives Matter and Black trans movements. “I’d like this to be a live experience along with the film, so it’s on a whole other level,” says Ms. Slack. She especially hopes to incorporate dance and movement, which she feels are an important part of relating the true Black experience, and to “explore and expand the culture.” Primarily she wants to “be unapologetic about all of it.”

In addition to the subject matter, the creation and production of a film has had an impact on Ms. Slack. “It has empowered me to tell more of these stories. And to ask for things that I’ve always wanted to ask for but didn’t have the courage. It has inspired, enlightened, and empowered me,” she says, especially of her leadership skills. Notably, she is thinking more and more about producing, a role that never seemed so attainable. “Something in me was birthed. As a singer, I’ve always been telling other people’s stories. But when you create it, when it comes from inside of you out, that’s huge. So to see my name as a singer is great, yes, but to see creator, producer?!”

 Although Ms. Slack had long been excited about producing, she felt hampered by a lack of experience. But the events of 2020 underscored an urgency and opportunity to act now and learn new skills along the way. She feels grateful to the Curtis Opera Theatre “for creating the interesting, out-of-the box productions we performed.” Says Ms. Slack, who hopes to absorb as much as she can about all sides of the creative process, “Teaching that kind of thing is the future. Sometimes for musicians, if you want to eat, you must create your own work. You must. Conservatories like Curtis need to invest in that.”

As with many artists, she is optimistic that the pandemic has been a catalyst for creativity and introspection and has motivated many to do new and important work. She reminds her students that networking and creating among your peers is more important than ever. “Have hope and have faith and know that it’s a good thing that we won’t go back to business as usual [after the pandemic],” she says. Ms. Slack hopes that her own story will spark creativity, collaboration, and meaningful projects for others: “I hope that some students will read this, call their friends, and start creating!”

Celebrating Black History: Xavier Foley (Double Bass ’16) and the Entrepreneurial Spirit

Winner of a prestigious 2018 Avery Fisher Career Grant, Xavier Foley was recently recognized on WQXR’s “19 for 19” Artists to Watch list.

As concerto soloist with orchestra, he has performed with the Atlanta Symphony Orchestra, the Philadelphia Orchestra, the Nashville Symphony, the Sphinx Symphony Orchestra, and Sphinx Virtuosi. Also a composer, Mr. Foley was commissioned by Carnegie Hall, the Sphinx Organization, and the New World Symphony to create For Justice and Peace, which has been performed at venues including Carnegie Hall as part of a program designed to promote social justice.

In a recent interview for Curtis Young Alumni Voices, he discusses his compositions inspired by death metal and Irish folksongs, upcoming gigs, and the entrepreneurial spirit. “After graduating from Curtis, I started learning new skills and building my own opportunities,” he says.

Read the full interview on Medium.

Musicmaking Starts at Home with Virtual Curtis Family Concert on February 20

PHILADELPHIA, PA—February 8, 2021—The Curtis Institute of Music presents Stronger Together on Saturday, February 20 at 11 a.m. EST, part of the Curtis Family Concerts series. Led via Zoom by multi-instrumentalist and educator Andrew Lipke, families will learn about the unique features of violins, violas, and cellos, and how they can combine in a string quartet to make all kinds of remarkable music—together.

This free, online event will include Irish fiddle tunes, Indian classical music, melodies used by education pioneers Zoltán Kodály and Shinichi Suzuki, and popular favorites by the Beatles. Families are encouraged to sing along, use instruments, or improvise with everyday household items. The program will also include drawing activities.

The participatory performance will be led by Philadelphia singer-songwriter Andrew Lipke; faculty member Camden Shaw (Cello ’10, ’11) of the Dover Quartet, the Penelope P. Watkins Ensemble in Residence at Curtis; and current Curtis students Danny Yehun Jin (Violin), Maya Anjali Buchanan (Violin), and Sofia Gilchenok (Viola).

Stronger Together is a free performance and will be available to watch through Zoom. Households must register in advance at Curtis.edu/Family.

Awakening a sense of wonder, Curtis Family Concerts share music with young audiences through interactive, educational presentations. Performances take place in a friendly setting, uniting entertainment with exploration. In 2021 the popular series has been optimized for virtual interaction and at-home activities through Zoom. Curtis Family Concerts are best suited for listeners ages 12 and under.

Born in South Africa, Andrew Lipke is a Philadelphia-based multi-instrumentalist, arranger, producer, composer, performer, and educator active in many different styles of music. He moved to Philadelphia to pursue a degree in composition at the University of the Arts and is driven by a passion to find the common ground between disparate styles of music. He has performed as a vocalist with the Indianapolis Symphony Orchestra, the North Carolina Symphony, and the Colorado Music Festival Orchestra and has toured the United States with Led Zeppelin tribute band Get The Led Out.

Mr. Lipke has produced dozens of records for local and regional artists and released five solo albums. In 2010 he formed the Azrael String Quartet to perform original music for his album The Plague, which was named one of 2011’s 50 best albums by Philadelphia Weekly. Columbus Dance Theatre choreographed his 2012 work Siddiqah for their production “Rock Out,” which also included several arrangements of classic rock songs he completed for the Carpe Diem String Quartet. In 2013 he wrote a punk rock score for the EPIX film Back Issues: The Hustler Magazine Story and in 2014 he created orchestral arrangements for Amos Lee’s sold-out show with the Colorado Symphony at Red Rocks.

With Philadelphia non-profit LiveConnections, Mr. Lipke has collaborated with several members of the Philadelphia Orchestra and other prominent local and regional musicians to create collaborative, cross-genre presentations for young people, highlighting the transformative and boundary-crossing nature of music.  In 2015 he collaborated with the Chamber Orchestra of Philadelphia to create and curate the “Intersect” concert series. Among other projects, Mr. Lipke is currently working on a cross-platform album/orchestral work based on Herman Hesse’s Siddhartha.

Camden Shaw is the cellist of the Dover Quartet, the Penelope P. Watkins Ensemble in Residence at the Curtis Institute of Music. He has appeared with the ensemble in performances all over the world to great acclaim. Mr. Shaw has collaborated in chamber music with such renowned artists as Daniel Hope, Nadja Salerno-Sonnenberg, and the late Leon Fleischer, and maintains an active career as a soloist. Highlights from recent seasons include a performance of Beethoven’s Triple Concerto, Op. 56 with the Artosphere Festival Orchestra, where Shaw also holds the principal chair; and the release of his solo album by Unipheye Music, which was met with critical praise.

Mr. Shaw graduated from the Curtis Institute of Music in 2010, where he studied with Peter Wiley. Other major teachers include Norman Fischer, David Finckel, and Steven Isserlis. He performs on an instrument made in 2010 by Frank Ravatin.

Mr. Shaw joined the faculty of the Curtis Institute of Music in 2020. He also teaches at Northwestern University’s Bienen School of Music.

The Curtis Institute of Music educates and trains exceptionally gifted young musicians to engage a local and global community through the highest level of artistry. For nearly a century Curtis has provided each member of its small student body with an unparalleled education alongside musical peers, distinguished by a “learn by doing” philosophy and personalized attention from a faculty that includes a high proportion of actively performing musicians. To ensure that admissions are based solely on artistic promise, Curtis makes an investment in each admitted student so that no tuition is charged for their studies. In a typical year, Curtis students hone their craft through more than 200 orchestra, opera, and solo and chamber music offerings in Philadelphia and around the world.

 


 

CURTIS FAMILY CONCERTS: Stronger Together

Saturday, February 20 at 11 a.m. EST

Online via Zoom

 

Andrew Lipke, voice and guitar
Danny Yehun Jin, violin
Maya Anjali Buchanan, violin
Sofia Gilchenok, viola
Camden Shaw, cello (’10, ’11)

 

Registration: Free; register in advance at Curtis.edu/Family.

Curtis received funding from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts.

 

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Celebrating Black History: The Legacy of Ursula Guy Curd (Piano ’26)

This article is sourced from the Rock Resource Center Blog, posted by Claire Thai, student archives assistant.

Ursula Guy Curd (1890–1988) was an African American pianist admitted to the first class at the Curtis Institute of Music in 1924 and graduating in 1926. Her musical ability was described as “unforgettable” with “clear tone and marvelous touch” by the 1942 Pittsburgh Courier—but to limit her memory to that of just an excellent pianist would sell her accomplishments short. She was a founding member of the Omega Omega chapter of Alpha Kappa Alpha, a sorority dedicated to the advancement of education and culture of African American women. From the early 1900s to today, Alpha Kappa Alpha has been at the forefront of social action for African Americans, from creating the first congressional lobby to advocate for better working and living conditions to establishing the American Council of Human Rightsi. In addition to her performance career and her social contributions, she was a teacher in the Philadelphia Public School System, a prolific piano teacher to students in Philadelphia, wife to Dr. Kirksey Curd, and mother to Ursula A. Curd (more affectionately known as “little Ursie”).

Ursula came from a musical family; growing up, her father was a minister and regularly sang for the congregation while her mother was an above average pianist. She began her musical studies at Washburn College in Topeka, Kansas, and while her main career was teaching in the Philadelphia Public School System, she continued to study music at the Philadelphia Musical Academy and eventually the Curtis Institute of Music. One of her teachers at Curtis, Clara Dunn, had nothing but praise for Ursula: “I found in her a most excellent pupil, playing with good musical understanding, fluent technique, and a fine sense of rhythm, all of which indicated a good musical endowment.”

Curtis alum Ursula Guy Curd (Piano, ’26) and her daughter, also a pianist, Ursula A. Curd.

Her main teacher at the Curtis Institute, George F Boyle, had similar commendations: “When Ursula Curd came to study with me at the Curtis Institute of Music, she disclosed decided talent pianistically, coupled with high musical and artistic ideals. She has since then, consistently matured and developed so that she is now an interesting and accomplished pianist.” She seemed close with her teacher as shown by this letter sent by George Boyle after one of her concerts.

She enjoyed a successful career as a concert pianist performing solo works, concerti, and chamber music for large audiences across the northeastern United States. Some of the more unusual groups she performed with were the Philadelphia Piano Ensemble and Philadelphia Piano Quartet. Sponsored by Ursula’s sorority, Alpha Kappa Alpha, the Philadelphia Piano Ensemble gave regular concerts of a wide range of works like Lizst’s Hungarian Rhapsody No. 2 for four pianos, Rimsky Korsakov’s Dance of the Buffoons for 16 pianists, and even Malaguena by Lecuona for 14 pianists.

Her ambition was not limited to her own musical performances but included her desire to facilitate concerts for the enjoyment of the public. As shown by the letter below, on behalf of Alpha Kappa Alpha, she took on the huge task of organizing a concert by Paul Robeson (African American bass-baritone, stage and film actor) at the Philadelphia Metropolitan Opera House without sufficient financial backing. She pulled it off with great success, perhaps most succinctly described by the letter: “But, that’s Ursula!!!”.

In a scrapbook filled with newspaper clippings, concert programs, and personal notes, her inclusion of a particular quote stands out. On a clipping of “Words to Live By” by Dorothy van Doren is a quote by St. Thomas of Assisi: “I would finish hoeing my garden” —in reference to when St. Thomas was asked what he would do if he were to suddenly die at sunset that day. Considering Ursula Guy Curd’s substantial accomplishments, this quote epitomizes her dedication to her life’s work and unwavering knowledge that she was bettering the community at large.

To view the scrapbooks and more digital collections, please visit Curtis Institute of Music Open Archives and Recitals (CIMOAR).

 

Harpist Claire Thai, from Tucson, Ariz., is a student of Elizabeth Hainen and entered Curtis in 2018. In her free time, she enjoys working with computers and playing with her three Shih Tzus.

i. Alpha Kappa Alpha Sorority, Inc. – Service to All Mankind Since 1908 Alpha Kappa Alpha Sorority, Inc. – Service to All Mankind Since 1908. (2021). Retrieved 2 February 2021, from https://aka1908.com/about/history

Curtis Mourns the Passing of John Weaver

Curtis mourns the death of acclaimed organist, teacher, and colleague John Weaver, who passed away on February 1 at age 83. Dr. Weaver (Organ ’59) was a member of the Curtis faculty for more than three decades, from 1971 to 2003.

As a small child in eastern Pennsylvania, John loved to listen to his pastor father play the organ and piano. As a teenager, he studied organ with George Markey (Organ ’49), who encouraged him to apply to Curtis to study with Mr. Markey’s former teacher, Alexander McCurdy (Organ ’31).

After graduating from Curtis in 1959, Dr. Weaver was appointed Director of Music at Holy Trinity Lutheran Church in New York City, where he founded his famous Bach Cantata series with his wife, Marianne, a flautist.

After Mr. McCurdy retired in 1972, Dr. Weaver returned to Curtis to lead the organ department. In addition to several other teaching posts in his career, Dr. Weaver was chair of the organ department at the Juilliard School from 1986 to 2004. He also served as Director of Music at Madison Avenue Presbyterian Church for 35 years.

Dr. Weaver was an active concert organist for many decades, playing throughout the United States, Canada, Europe, and Brazil, drawing on his large repertoire of memorized works from all areas of organ literature. He was named International Performer of the Year by the New York City Chapter of the American Guild of Organists in 2005, served as president of the Presbyterian Association of Musicians, and held honorary doctorates from Curtis and Westminster College.

Alan Morrison, who was a student of Dr. Weaver and succeeded him as chair of Curtis’s organ department, said: “This is a great loss to all of us. John did it all and was monumental in so many ways: he was a leader in our field, a highly respected musician, a model of work ethic and professionalism, and an admired and well-liked colleague. John demanded the best from his students, and in return, gained their respect. He kept the great tradition of grand organ playing alive in his students, which yielded countless highly respected organ virtuosos, who have been at the forefront of the concert and church music platforms. Through his many students, his spirit will live on, for which we are all very grateful.”

The Curtis community extends heartfelt sympathy to the family, friends, and students of Dr. Weaver.


Read On: John Weaver was featured in a “Meet the Faculty” profile in the Spring 2003 issue of Overtones