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Soprano Tony Arnold '90 Wins First
Prize
at International Gaudeamus Competition
by Claire Chase '01
Related Stories:
 Tony Arnold |
Soprano and contemporary music pioneer Tony Arnold '90 took Europe by storm early in March when she seized First Prize at the 2001 International Gaudeamus Interpreters Competition in Rotterdam, the Netherlands. Arnold, who was accompanied by pianist Jacob Greenberg '96, became the first vocalist in the prestigious competition's history to capture the top prize.
The Interpreters Competition, which is expressly for performers of contemporary music, is sponsored by the Gaudeamus Foundation.
During the course of the three-round competition, from February 25 to March 4, Arnold rose above more than 70 contestants -- instrumentalists, vocalists, soloists, and ensembles -- from 30 different countries. Second prize went to Venezuelan recorder player Jorge Isaac; and American pianist Sarah Bob took third prize.
"By the final round," says Arnold, "the pressure was really off, because we had already felt so honored to be chosen as finalists. There was real opportunity to communicate, and it was just plain fun in doing so."
Arnold was awarded 10,000 Dutch Guilders by a jury comprised of Ton Hartsuiker, Melvyn Poore, David Starobin, Frances-Marie Uitii, and Pauline Oliveros, former visiting professor of composition at Oberlin.
"Everyone on the jury was impressed with Tony's elegant singing," says Oliveros. "She really rose to the occasion and gave more in each round. The decision for the first prize was unanimous . . . . Everyone back in Oberlin should be proud of Tony as a shining example of musicianship."
Arnold, who throughout the past decade has charmed Oberlin audiences in performances on Guest Artist recitals, Oberlin Contemporary Music Ensemble concerts, and in collaboration with the acclaimed new music ensemble, eighth blackbird, expresses nothing but gratitude for Oberlin-affiliated colleagues and mentors who have helped her along the way.
"I cannot say enough about [accompanist] Jacob Greenberg's abilities, dedication, performance style, and amazing support as a collaborative pianist," she says. "There is simply no way that I would have made as strong an impression at this competition without him."
Associate Professor of Conducting Robert Spano '83 embarked on about half of Arnold's Gaudeamus program with her in a 1999 Oberlin recital. "Those were my first performances of the Kurtâg, Ligeti, Knussen, and Messiaen," says Arnold. "I learned so much from that experience, from the spontaneous exchange of musical ideas during the performance between Bob and myself. Those two hours did more to lift me to a higher level than any single experience of my adult musical life. Transcendental recital. Thanks, Bob."
So, with an international victory now under her belt, what's next for Tony Arnold?
"No competition will give you an instant start to your career, but it can give you a push in the right direction," she says.
"A cool thing about winning this particular competition is having gained some measure of instant credibility in my field...I'm also very hopeful that this should bring more credibility to contemporary vocal repertoire. We all know what a bad rap new music gets by singers and voice students. There's no reason for it, and this is proof. This music is just as expressive and captivating as any 19th-century repertoire; I would argue that it is even more so, because the palette of colors and styles is so much more diverse in repertoire from the 20th century. Makes me hunger for more!"
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