Negocios Now

NegociosNow 28 Mayo 2013 www.negociosnow.com Chicago Symphony Orchestra, Hispanics find a common language Deborah Rutter, President of CSO, works hard to bring Hispanic music lovers into the fold By Tom Bassing and Clemente Nicado T he world-renowned Chicago Symphony Orchestra is continuing a lively dialogue with Chicago's burgeoning Hispanic population through the universal language of classical music. In January, rising star Carlos Miguel Prieto, who is the music director of the Orquesta Sinfónica de México and other orchestras, led the Festival Orchestra, comprising musicians from the Civic Orchestra of Chicago and the Youth Orchestra of the Americas as well as Chicago-area high school players, in a free concert that featured works by Nikolai Rimsky-Korsakov based on Spanish folk melodies, and a Huapango by Mexican composer José Pablo Moncayo. In late June, Prieto will lead the Chicago Symphony Orchestra in a concert devoted to works by Tchaikovsky on the Morton Arboretum's Concert Lawn. It is all part of the orchestra's longstanding outreach program, which dates back decades and has flourished under the leadership of Chicago Symphony Orchestra Association President Deborah F Rutter, . who has held that position since 2003. She was largely responsible for bringing in Prieto, whom she describes as "a wonderful musician, a genuine, complete musician." The orchestra "hired him because he's a great artist, and that is what gives him respect from the players," she says. "And there is the fact that he knows exactly the subtleties of how to speak to an audience. As a result, he has helped us understand perhaps a little bit more how we do the best job in welcoming our Latino audiences to our concert hall." The orchestra's Hispanic outreach Courtesy Riccardo Muti, who in 2010 became the Chicago Symphony Orchestra's 10th music director, is one of the world's pre-eminent conductors. soared several years ago when then Mexican Consul General Manuel Rodríguez Arriaga met with Rutter Courtesy Deborah F. Rutter, President of Chicago Symphony Orquestra. and other orchestra officials prior to the 2010 centennial of the Mexican Revolution and the bicentennial of the outset of Mexico's War of Independence to plan for the dual celebrations. In Arriaga, Rutter says, "we really found a fantastic partner. It was through that introduction that we … made additional connections." The Chicago Symphony Orchestra's season that year debuted with a free performance attended by Arriaga and other dignitaries at the Benito Juárez Community Academy in the largely Hispanic neighborhood of Pilsen. Prieto stood in as guest conductor, who began the program by leading the orchestra in a spirited rendition of the Mexican National Anthem, followed by that of the United States. The program also included works by Mexican composers Blas Galindo Dimas and José Pablo Moncayo. It was the beginning of the orchestra's month-long celebration of "Mexico 2010." "When we went to Benito Juarez Academy in September 2010," Rutter says, "the musicians and Prieto made a big impact on the audience, and the audience made an impact on the orchestra as well. It was a very moving experience." Rutter plans to build on that experience and others like it. "I think that introducing repertoire to an orchestra and conductors is very important and, candidly, challenging," she says. "We are delighted to be including the Chavez Piano Concerto (by the Mexican composer Carlos Antonio de Padua Chávez y Ramírez) this season. Having advocates for particular repertoire is very important. I think we could be doing a better job of that and finding the right places within the complexities of our season. And Prieto, of course, is a really fine individual to be making those recommendations." Yet, Rutter, a graduate of Stanford University who earned her MBA at the University of Southern California and has served in executive positions with the Seattle Symphony and, before that, the Los Angeles Chamber Orchestra, says it wasn't just the inclusion of the Mexican pieces that thrilled the audience that day in 2010. "Beethoven speaks to you whether you live in Mexico or Costa Rica or you live in Berlin or Chicago. So I believe that ultimately live con- cert music works for everybody. That said, you need to welcome people in, and they need to have an invitation. We need to ensure that we have offered the warmest and welcoming invitation to them. Clearly, performing music of the heritage of that country or the heritage of the audience helps along those lines." Rutter, who is credited with helping strengthen the Chicago Symphony Orchestra's finances — thanks in large part to her efforts revenues are at a record high and the orchestra's endowment is up $70 million — also has been influential in myriad artistic ways, from her continued promotion of orchestral outreach to her remarkable ability to attract stars such as Music Director Riccardo Muti, who came aboard in 2010, and internationally feted cellist Yo-Yo Ma as the orchestra's first Judson and Joyce Green Creative Consultant. Still, despite her ample successes, Rutter isn't tempted to rest on her laurels. "I believe that we have a very diverse audience compared with orchestra audiences around the world," she says, "but compared to what we could have in Chicago we have a long ways to go."

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