There are many reasons. The singers, the recording studio, and our producer, Blanton Alspaugh, are all available, which is great. After a second run of performances it will also be fresh in the singer's minds and ears, which is always helpful. Also, the orchestral musicians in the Nashville Opera Orchestra and their conductor, Dean Williamson, are also available. Finally, if we want to release this album in the fall, we need enough time to edit, mix, and master, and also to create the album liner and digital booklet. All of this takes time, more than most people realize.
Great question! As you might expect, making an opera album with two hours of music is not only complicated, but quiet expensive. Even when cutting costs as much as possible, basic expenses like the musicians' salaries, as well as editing, mixing, and mastering time a lot of time, and therefore, a lot of money. The expenses are really over twice what we are asking for in the campaign. We are negotiating with a few wonderful patrons to cover the remaining half. The key is that this campaign must be successful, or we won't be able to release the recording. It may be recorded, but we won't have enough to cover additional expenses like manufacturing, liner design, and so on.
Three people asked this question. Sadly, there are almost no grants for making recordings. There's one that we know of, the Copland Recording Fund, but as far as we know, that's it. We will be applying for that, but obvious reasons (the title, the theme—it's a fairly conservative organization), we're not hopeful that we'll receive a grant to cover any of the costs.
Even if we did receive a recording grant, it would only cover a fraction of the costs. Recording grants never cover the entire budget.
Actually, no. David won't even be at the recording session (not enough money, if if we reach our goal), and Robert, the composer, isn't making a salary. If we reach our stretch goal, he'll pay himself a nominal fee, but all of money is going toward the salaries for all of the players, singers, and recording folks (producer, engineer, assistant engineer), and other related costs.
Since Nashville Opera premiered the work, and since if it wasn't for Nashville Opera and John Hoomes (their Artistic Director and CEO) Three Way wouldn't have been premiered at all, we felt like it was the right thing to do to let the Nashville Opera orchestra make the premiere recording. The singers are all the same, BTW, it's just the band that's different.
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