Festival undergoing a changing of the guard

Did you know the Spoleto Festival's chamber music series had a composer in residence?

He's Jonathan Berger, a teacher of composition at Stanford University and close colleague of the members of the St. Lawrence String Quartet, the resident ensemble at Stanford and Spoleto.

At a performance in the renovated Dock Street Theatre last weekend, Berger appeared on stage to explain a new string quartet he had written for the St. Lawrence.

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After describing the inspiration (a post-modern novel, his Jewish heritage) and the style (discordant, built of small bits of thematic material, ever-shifting), Berger explained that a composer's most satisfying moment is when his work, the product of intense devotion and labor, takes on a life of its own thanks to the talents of fine musicians.

The music ceases to "belong" to the composer and, instead, belongs to the listener. Each of the players has added his unique contribution, helping to make a piece of music that was merely an idea described on paper into a living (albeit fleeting) work of art.

In a way, the Spoleto Festival itself works this way, General Manager Nigel Redden said.

The festival is a collection of strong artistic personalities who run the show, thrill audiences with their skill and risk-taking and determine what is presented and how. They are the "composers" of the festival.

But, ultimately, "the festival belongs to no one," Redden said. "It's a community of ideas."

That's probably a good thing, because the festival is in the midst of a changing of the guard. The pantheon of artistic collaborators that has reigned for more than a decade is undergoing some big changes.

Charles Wadsworth, who was director for chamber music from 1977 until last year, stepped aside for Geoff Nuttall, a violinist in the St. Lawrence Quartet and long-time Spoleto Festival player.

Redden, using diplomatic language, said, "I expected Geoff to do very well and he's exceeded my expectations." Then Redden began to gush.

"I suppose what I did not expect was how thoroughly engaging he's made programs." Nuttall, who was hand-picked by Wadsworth, is "a total, complete and utter validation of that choice," Redden finished.

Wadsworth spent the festival complimenting his own foresight.

"I'm exultant," he said. Nuttall has a strong sense of himself and deep knowledge of the repertoire, Wadsworth said. "He has established his identity immediately. Some of the performances (this year) rank among the best I've heard or given."

The 81-year-old impresario added that the entire festival has thrilled him.

"There is so much intelligence floating around here it makes me sick," he said.

Joseph Flummerfelt, the festival's artistic director for choral activities, remains in charge but has lately delegated responsibilities to the up-and-coming Westminster Choir conductor Joe Miller.

Flummerfelt, one of Spoleto's founding fathers, retired from his post at Rider University's Westminster College of the Arts, where, for 38 years, he conducted the Westminster Choir, whose members provide one of the musical cornerstones of the festival.

Miller just completed his fourth year there. He has worked with the choir during the Spoleto Festival since 2005.

This season, he and the singers have been working especially hard. Besides the regular concerts, choir members have played key roles in the ballad opera "Flora" and the challenging monodrama "Proserpina."

Miller said the young singers are lucky to have the chance to work with Flummerfelt for several years after his retirement from Rider. It's a learning experience for Miller too.

"I learn every time," he said. "Right now, I'm enjoying being in the moment and having him share his life and style of music-making. I consider him a great friend and mentor."

Though their tastes can diverge, the two choral directors' approach is the same, Miller said. The traditional repertoire is central, new music needs to be cultivated, and singers must learn to connect their singing to an emotional core.

"He reminds me of the way I was taught," Miller said.

The festival's big announcement this year was the resignation of Emmanuel Villaume, music director for opera and orchestra.

Villaume, known in Charleston for his energetic interpretations and his effective work with young symphony players, recently was named artistic director of the National Slovenian Philharmonic in Ljubljana. He is also chief conductor of the National Slovak Orchestra in Bratislava.

He is leaving his Spoleto post of music director for opera and orchestra to pursue other commitments.

"I will miss the place," he said of Charleston. "It's breaking my heart to go. I'm doing it for the sake of the institution. And, you know, it's better to leave too early than too late."

Leading two national orchestras that are the pride of their countries will enable him to better balance his interests in symphonic and opera music, he said.

Villaume expects to make a clean break from the Spoleto Festival, but said he will remain available to help, if asked. Redden said it is possible the maestro will return as a guest conductor.

Villaume made his debut at the festival 20 years ago, conducting Mozart's "La Nozze di Figaro," with Renee Fleming singing the part of the Countess. He became director of opera and orchestra in 2001, five years after the death of predecessor Spiros Argiris, who Villaume called a role model.

"Ten years ago, the first objective was to raise the level of the orchestra as high as we could, and I would say mission accomplished," Villaume said. "The second objective was to raise the level of productions, and to an extent we succeeded in that too."

Last year, budget constraints limited the festival to one major opera production, "Louise," conducted by Villaume. This season the festival offered the ballad opera "Flora," conducted by composer-arranger Neely Bruce, and "Proserpina," the one-hour modern work by German composer Wolfgang Rihm, which was conducted by John Kennedy.

This left Villaume with no opera to lead.

"There is no shame in not having money," he said. "But if the festival wants to keep its prestige, cachet, reputation, it needs a big opera."

In Villaume's absence, the festival will rely on Nuttall, Flummerfelt, Miller and Kennedy for its artistic decisions, Redden said.

"John probably will play a big role," he said.

Guest conductors will rotate in for the larger concerts. Redden already has received a number of e-mails suggesting a replacement for Villaume.

"It's fascinating to think of the possibilities," Redden said.

Becoming the new director of opera and orchestra at the Spoleto Festival is a tall order. Candidates must demonstrate their knowledge of the operatic and symphonic repertoires, and must be good at working collaboratively with stage directors, the board of directors and the public.

The search process is sure to be grueling.

"To some extent, Emmanuel has enlarged the role," Redden said.

And his large French shoes will be hard to fill. But someone surely will manage it.

Reach Adam Parker at 937-5902 or aparker@postandcourier.com.