Marlowsphere (Blog #146)

The saying “Eighty per cent of success in life is showing up” has long been attributed to actor, comedian, writer, director, and filmmaker Woody Allen. Whether the number is 75% or 90% or some number in between, the fact remains that if you want to have success in your life—personal or professional, whatever the endeavor—you have to show up and be present in the milieu and community you’re interested in.

This has never been more true than at the recent Association of Performing Arts Presenters (APAP) conference at the Hilton Hotel (53^rd Street/Avenue of the Americas, New York City) held January 10-14, 2020. The EXPO Hall at the APAP|NYC conference is the largest global performing arts marketplace of its kind with more than 370 booths, serving more than 3,600 attendees and 1,600 performing arts organizations.

According to Mario Garcia Durham, APAP president: “It pulsates with energy, making it an essential stop for building your business. Our dynamic ability to convene a global performing arts marketplace to drive critical business decisions for every segment of our field makes APAP|NYC an extraordinary way to start the year.”

In other words, it’s a place to be seen, to network, to make and do business.

Durham’s emphasis on “a global performing arts marketplace to drive critical business decisions” is no exaggeration. Clearly, the vast majority of exhibitors are from all over the United States. However, a modest cadre of exhibitors hail from beyond America’s borders, from such countries as: New Zealand, Mainland China, Taiwan, Poland, Ireland, Canada, and France. Moreover, several American-based exhibitors are also in the “international” presenters camp, so to speak, because they mainly represent artists from other countries.

Exhibiting at APAP is no inexpensive investment, especially for the international exhibitors. But without exception, when asked “Why do you exhibit at APAP?” the consistent refrain expressed in one way or another was “You have to show up to be credible. And you have to show up year after year.”

One international exhibitor, Heidi Fleming, CEO of the Montréal (Quebec, Canada) based FAM Group pointed out she had been exhibiting at APAP for over 25 years. When asked “Is there a return on the investment?” she mentioned that sometimes she is able to book one of her clients while walking from her hotel to the Hilton location by bumping into a presenter she had met several times at previous APAP conferences. “If I hadn’t known that person for some time because of the APAP connection and hadn’t met that person while walking to APAP my client wouldn’t have gotten that gig!”

She added: “Every year you meet someone new who can add something extra to one of our artists, bring them to another level. It’s kind of slow and steady. You just have to keep showing up.”

Shona McCullagh is the Chief Executive and Artistic Director of the New Zealand Dance Company, a full time contemporary dance company founded in 2012 located in Auckland. They had their North American debut in October 2019 in Toronto, but they have never been to the United States. Ms. McCullagh mentioned this was her second APAP. She has two main goals: “To learn. The Professional Development Sessions are enriching, inspiring, and provocative. The whole conference is very well planned and thought through. All of us in the arts work incredibly hard. The opportunity to be here nourishes our hearts and minds. And being in this space we can share experiences with others. And, of course, we’re here to market our work.”

Other exhibitors from the so-called Pacific Rim included several from Mainland China, including C-Musicals, the China Arts and Entertainment Group, the Shanghai Grand Theatre, and the Shanghai Opera House. Carol Cai is part of the Foreign Affairs General Office of the Shanghai Opera House. 2020 was the third year in a row that the Shanghai Opera House has exhibited at APAP. She observed: “Being here is a chance to get to know people. It’s also important for us to get to know what’s going on in America and the global market. We would like to present to the world our excellent performances. It’s also helpful for us to know what is trending now in this global market. This information will be very useful to us when we plan our next tour.”

Ms. Haley Yang works as part of the “C-Musicals” (Shanghai, China) Marketing and Public Relations function. She pointed out: “The C-Musicals organization presents original musicals in Mandarin, a departure from classical Chinese music presentations, such as those from the China National Peking Opera Company.” They exhibited at APAP for the first time in 2020. They decided to exhibit in order to show the United States what they’re capable of.

The Junta de Andalucia from Sevilla, Spain, also a first time exhibitor at APAP in 2020, perceived there is a market for the various flamenco dance companies in their roster, including the Anabel Veloso Flamenco Company, the Sonia Olla & Ismael Fernandez Duo, the Flamencos Por El Mundo, the Fundacion Cristina Heeren de Arte Flamenco, and the Marcat Dance Company. Their message is “Discover the Dance and Music from Spain.” They also exhibited at APAP to present their wares, so to speak, to prospective presenters and to get to know the market.

The Japan Foundation takes a broad approach. In addition to a headquarters office in Tokyo, and affiliated offices in Urawa, Kansai, and Kyoto, it has offices in two dozen countries in The Americas (New York, Los Angeles, Toronto, Mexico City, and Sao Paulo), Asia and Oceania, Europe, the Middle East and Africa. Founded in 1972, its mission is “. . . to promote international cultural exchange and mutual understanding between Japan and other countries.” With respect to APAP, Koji Nozaki, Program Director of the Arts and Cultural Exchange in its New York office: “We’re here at APAP to talk about various aspects. But we’re also here to network.”

Barbara Nowak, International Relations Manager for the Polish “Slask” Song and Dance Ensemble, echoed the double sentiment of most if not all the international exhibitors: “We’re here to present our performances, and, you have to show up to be credible.” The company was established 66 years ago to promote Polish Culture worldwide. The company has not only performed in Poland, but also in the whole world to show Polish culture.

Nowak added: “In our minds APAP is one of the most important places where people in the performing arts industry meet. It’s a serious conference where you can meet serious people and have serious discussions. And this is why we appreciate coming here all the way from Poland spending a lot of money. This is our 10^th year coming to APAP. Over the years the benefit to us is establishing contacts. It is not possible to do business or become one of the real members accepted by the community by exhibiting here for one year. This conference gives us an opportunity to show the group our company’s abilities. We’re also looking for reliable partners. We have to be here to verify our credibility.”

While the international exhibitors consistently voiced the need “to be at APAP to be credible” theme, Olga Romanova of Peganov Entertainment, a German theatrical company, expressed the need to expand: “The producer and founder of our company, Alexey Peganov, decided to go outside of Germany and go international and tour in the United States also. He decided to start with APAP and the International Society for the Performing Arts (ISPA) which is also a conference for theatre professionals to move things forward. ISPA [it meets right after APAP in New York City], however, has no exhibit possibilities, just a lot of meetings, so APAP was the only choice. Here we’re trying to find agents. We want to expand more. Our shows are mainly for children.” The company was founded 12 years ago. They have seven productions including “Alice in Wonderland” and “Treasure Island.” 2020 is the second year Peganov Entertainment has exhibited at APAP.

Oisin Mac Diarmada of Ceol Productions out of Coolaney, County Sligo, Ireland, has been coming to APAP for 10 years. He offered a slightly difference perspective: “We’ve been coming here for some time and the central reason is you have to be here to do business. You can’t do it long distance. But I can also tell you that things have improved over time. Just looking at the graphics at each exhibit, they have improved. Visually the booths are more interesting and professional. Also, because of technology you don’t have to bring so many materials anymore. It’s all electronic, digital. But the overall purpose is still simply meeting people, nurturing relationships, doing business. And you have to be here to do that.”

© Eugene Marlow 2020

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The Marlowsphere Blog (#138)

On May 7, 2017 award-winning classical pianist Nada will release “Vienna: Brahms & Nada” the second in a series of solo piano works by the prolific Romantic-era composer Johannes Brahms on the MEII Enterprises label.

May 7 is Brahms’ 184^th birthday.

Nada recently talked about her affinity with Brahms and how her relationship to his solo piano works evolved.

Q: What was your first encounter with Brahms’ music and when did you start playing it?

Nada: “I was still growing up in Beirut, and probably not even yet taking piano lessons when I first heard his music. The two first pieces I heard were his piano concerto No. 1 and the Double Concerto. About the piano concerto, this memory is linked closely to my godfather—who also introduced me through his collection of records to a great number of classical repertoire—who would talk forever while listening to the piece about the long genesis of this work. The Double Concerto Op. 102 was a recording belonging to my dad’s collection of LPs.  There was something very deep about Brahms, I could feel, but it seemed unreachable at the time. This music got stuck in my head. I could tell when I returned to it only a few years ago. It seemed like it had never left me.

“My first attempt to play his music was much later. I had already graduated with a First Prize from the Paris Conservatory, with music by French composer Henri Dutilleux, some Liszt, Bach and Haydn. I had been labeled as a new Clara Haskil and played Mozart, Schubert. Haydn so well it earned me First Prize.

“I formed a piano trio shortly after.  The first two works we planned to perform were: the trio by French composer Ernest Chausson and, of course, the first piano trio by Johannes Brahms, an extremely popular piece for this formation.  I felt pianistically and emotionally at ease in Brahms’ music though my understanding was very limited, I know. This happened to be, incidentally, a very grueling experience for me. I performed this program only two weeks after the tragic death of my mom in a bomb explosion in our home in Beirut.

“Again, sporadically and with great intervals in between, I touched up on two solo pieces. I was already living in the U.S. by then and married. My husband himself was a trained musician and pianist. He instigated an old interest I had in Brahms’ second piano concerto. This piece, for which I had already acquired the music, always seemed to be the whole world, despite the fact that I did not know it well at all. But what I gathered was that everything was in those notes, everything you can ever imagine and say in music. This was my impression. So I set to learn it in a few weeks. I still don’t know how I did it, but I was able to play through it for a very small audience with my husband then at the second piano playing the orchestral reduction. Then it disappeared from my repertoire as quickly as I had learned it.

The same fate befell the Fantasies Op. 116 which I learned only for the purpose for a recording as a good complementary piece to the seldom recorded Paul Dukas piano sonata. Absolutely unintentional was the fact that this CD, my first, was to be released on Brahms centennial death anniversary in 1997. This album is now reissued on the MEII Enterprises label.

Q: You seem to point to the fact that you do not know the composer well, yet you released a CD in May 2016 (“Nada in Hamburg with Johannes Brahms”) of his lesser known pieces described by most reviewers as “with a special affinity with the composer’s music.” You’re about to release a second album of Brahms works for solo piano (“Vienna: Brahms and Nada” MEII Enterprises May 7, 2017) and more may be on the way. What has prompted you to go on with this journey now?

Nada: “You see things have radically changed. It seems like I know him intimately and my understanding of his music and his personality goes without question.”

Q: How did this happen? Why this sudden knowledge? It sounds like you walked side-by-side with Brahms for a long time, yet he was not really part of your life. Am I correct?

Nada: “Absolutely!!! It is like my entire life I respected a musical figure, unquestionably one of our greatest composers, not daring or even being capable of entering his world. And, on one memorable night, while listening to his ‘Ein Deutsches Requiem,’ this very unique prayer to eternal life and life after death, as no other piece or requiem has ever come close; did I even know it then? But that night, the light came through.

“I lived the experience as magic. The sounds of ‘Ein Deutsches Requiem’ suddenly, and yes, suddenly became the most magnificent music, the most beautiful and moving music I had ever heard until now.
I was riveted to the sounds and tears fell down my cheeks. I felt absolutely blessed and lucky to be able to see him and feel the deep joy and beauty of it all.

“And since then, my world evolved into including Johannes Brahms into my everyday life. I learned and listened to virtually all of his music in the space of two to three years. I devoured everything I could learn, his chamber music, and his lieders. I set to exploring the German language so I could understand and appreciate the beautiful poetry and words of his lieders. And it is an ongoing quest for more. I have the orchestral scores of his symphonies which I can’t wait to study in detail, while I am still short of having learned, but a few pieces left of his solo piano repertoire.”

Q: Do you now feel differently about your understanding of his music/personality?

Nada: “Completely. Now, it is like he is walking next to me in my life, he is sitting by me while learning the music. His music seems limpidly clear in its musical thoughts. The conception, structures, usage of themes, musical ideas, harmonies are all so incredible throughout, it’s like treasure after treasure being discovered, all of this in one of the most beautifully expressive and emotionally direct music ever composed. I could sit down and go through the pieces I know best know, and show you all those little miracles at every corner of each work, all the genius creativity, and of course, the result is this immensely deep and beautiful music, a universe of infinity. Now, my journey will have no end and can go forever!”

About Nada

Pianist Nada, a U.S. citizen of Lebanese/Hungarian descent, with an award-winning Paris Conservatory education, enjoys a career as a soloist, radio broadcaster, and educator. She was a first prize winner at the Paris Conservatory who then came to North America for advanced studies at the Banff Center for the Arts in Canada and at Indiana University in the U.S. with the late pianist Gyorgy Sebok.

Her last recital tour took her to Tokyo and Nagoya, Japan. In Paris and New York City, she has premiered works by great Lebanese composers Bechara El Khoury and Elias Rahbani and recorded pieces by classical/jazz composer Eugene Marlow. Nada has notably performed piano concertos of Bach, Mozart, Beethoven, Brahms, Chopin, Grieg, Rachmaninoff, and Ravel with orchestras in the U.S. and served as Artist-in-Residence in colleges and universities.

Nada organizes, hosts, and performs in her own concert series “The Classical Hour” in Louisville, KY, where she has nurtured a large following of listeners over many years. “The Classical Hour” is a once-a-month live broadcast and a weekly pre-recorded program every Sunday at 4 p.m. local time which can be heard worldwide over the Internet. It is available as a free download at

Nada has recorded four solo piano albums all of which are now on the MEII Enterprises label. They can be found at www.cdbaby.com/artist/nada4.

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