Seattle Gay News
Issue 47, Volume 44, November 18, 2016
New SMC/SWC Artistic Director Paul Caldwell introduces himself to Seattle
Artistic Director Paul Caldwell conducts SWC Unveiled concert – photo by Conrado Tapado
by Miryam Gordon SGN A&E Writer SEATTLE MEN’S CHORUS SILVER AND SOUL BENAROYA HALL December 4-22 RIALTO THEATER (TACOMA) December 10 EVERETT CIVIC AUDITORIUM December 17 You’ve probably heard by now, if you pay attention to the Seattle Men’s Chorus and Seattle Women’s Chorus, that iconic SMC/SWC Artistic Director Dennis Coleman retired last summer and that the Choruses are now being led by new Artistic Director Paul Caldwell. If you were lucky enough to have attended the recent concert by the Women, you already know that the Choruses are clearly in great hands and ready to sing out, loudly and proudly, into the future. SGN had an opportunity to interview Paul on the eve of the Seattle Men’s Chorus’ annual Christmastime holiday extravaganza. We sat down with him and Executive Direc-
tor Steven Smith for a chat. Silver and Soul is described as having, “All the ingredients … for Seattle’s biggest holiday extravaganza: Start with 250 joyful voices singing favorites like “Sleigh Ride” and “O Come, All Ye Faithful.” Add a tender David Bowie tribute, mix in a clever karaoke sing-along, heat things up with gospel harmonies, and top it off with a disco Santa finale.” We wanted to peek inside Paul’s head to find out how he thinks about programming for the Choruses and how one comes to an organization that has been around for more than 30 years and begins choosing material, while recognizing what’s already been done. Paul started off by addressing the huge change the Choruses faced in Dennis’ retirement. “Separation anxiety is a real thing. Relationships change and there is emotional charge with that. There’s also emotional charge with uprooting your life and moving across the continent. [Paul and his fiancé moved from Chicago to Seattle this summer.] “I think the thing that has made it an easier transition for me and the Choruses is that I knew that and have
tried to be emotionally available to them and I’m not trying to move on from Dennis. I honor Dennis and he’s a very beautiful person. But I’m here and let’s have a beautiful relationship, too! “I don’t think as much about the legacy and the past as much as everyone else does. What I care about is meeting a bunch of people that have come to make music with me or hear the music we make. And sharing with them as quickly as I can and as openly as I can: This is who I really am. This is what I care about, excites me, makes me cry, or incredibly happy.” When Paul spoke about the programmatic trajectory, he said he hadn’t thought about the “how” until asked that question. Then we ended up with a great “food” analogy – maybe because we were in a coffee shop! “I think people assume that there is a recipe (to programming), like Better Homes and Gardens,” Paul said. “Maybe for some people there is a recipe. For me, I’m more like I go in the (musical) kitchen and play with ingredients and I don’t know what this spice is going to do with this vegetable.”
“The programming issue is more of an opportunity to disclose to people who I am in a relationship that is by nature very vulnerable to me,” Paul said. “I believe that music and art are at their best when they are placed in the service of humanity and peace. I never said that from the stage, but I think the audience might have said. ‘Oh, yeah. He does think that.’ “I think that choral music – my art form… someone else could say metalwork… is a tool, a window through which we can crawl to learn about things that matter more than music: people and their experiences, hopes, dreams, heartbreaks, injustices. The ways people have triumphed over those injustices. Choral music is just the way we learn about people and their experiences in an intimate way. “No one showed up to the Seattle Women’s Chorus concert expecting they’d leave that concert thinking about an indigenous people with a dead language [a reference to one of the beautiful songs Paul chose], but it’s an interesting topic. I assume our audiences are not unwilling to think see CALDWELL page 28