by guest blogger Ruthie Freeman (no relation to Paul Freeman, mentioned in the article!)
Courtesy of Chicago Sinfonietta
There were really two ways the Chicago Sinfonietta could go with Laughter. Somehow, draw on the humor of classical music itself, or, use it as a backdrop for the naturally charming Maestro Michael Morgan. Wisely, the Sinfonietta did both: its lighthearted collaboration gave an opportunity to showcase musical composers’ giddier moods and an example of showbiz professionals demonstrating their verve. Part of the Chicago Humanities Festival’s exploration of the theme laughter, the Sinfonietta’s November 2nd audience was lucky enough to experience the one night only performance.
It’s easy to wonder what role an orchestra can play in a festival devoted to levity, but the answer lies within the Sinfonietta itself.
Founder and musical director Paul Freeman began the Chicago Sinfonietta twenty three years ago in response to the dearth of opportunity for classical musicians of color. In 1987, the Chicago Symphony Orchestra was all male and all white. Talented and top-notch of course, but a bunch of white guys nonetheless. Even now, less than 3% of musicians in the top 1,000 orchestras are people of color.
Approximately half of the Sinfonietta’s staff, musicians, Board of Directors, and audience are people of color. The orchestra is also gender-balanced, believing truly in “excellence through diversity.” Whatever it is that people typically think of classical music, Paul Freeman has certainly begun to change it. An orchestra with the spark and tenacity to break down institutional barriers most definitely does not shy from pushing the boundaries of what its music is really about.
Read the rest of this entry »
Oh, there’s more…click below to read on.
