1-Hosting Classical Connections for The Milwaukee Symphony
2-Composer John Adams in Atlanta
3-Reunion with my first Decca Records exclusive soprano -Renée Fleming
4-Recording Sentimento Latino in Fort Worth with Juan Diego Florez
5-The fourth incarnation of my working relationship with Robert Spano-Atlanta Symphony
6-Chanteuse Ute Lemper in Brooklyn-another Decca artist with whom I work in my new ‘life’
7-Sir Roger Norrington-long time colleague and client
8-Full circle as I now host radio programs for WGUC, Cincinnati
including the nationally-syndicated ‘Hallelujah Handel’
Evans Mirageas Consulting
There's a joke in my family that I was the only sibling who had never worked for himself. Greek-American immigrant lore is filled with stories of self-starters and independent businessman. My father was one of them. I suppose it was now, finally, my turn.
In December 2000, the Brooklyn Philharmonic was in a financial crisis. They had entered into an expensive season without an approved budget. Midway through they had to either entirely re-program the remaining concerts or face bankruptcy. Their Music Director, Robert Spano, (whom I had known as one of our Assistant Conductors at The Boston Symphony) asked the newly-appointed interim Executive Director, Catherine Cahill to find someone who could help them preserve their artistic goals for a lot less money. Robert added that he felt there was really only one person for that task: Evans Mirageas.
I was contracted and in a matter of weeks we finalized the revised season on time and under budget. Brooklyn quickly moved to craft an ongoing agreement with me as Artistic Advisor.
In early April, 2001 Steve Ovitsky, then the Executive Director of the Milwaukee Symphony called. I had known Steve since our Chicago days. He asked if I would be interested in assisting the Milwaukee Symphony and its Music Director Andreas Delfs expand its reach in terms of international artists and repertoire.
About the same time, I renewed my acquaintance with conductor Semyon Bychkov, whom I had known since 1980. He soon suggested that we work together. He wanted someone who could be his personal eyes and ears in looking for new artists and repertoire. Not long after, Robert Spano suggested a similar arrangement.
Within the first six months of 2001, a new business had been created. It was as if my consulting career had been waiting for me to attain the right age and range of experience.
By that point, I’d sold recordings, produced and hosted recordings and radio broadcasts, programmed for a major symphony orchestra and supervised the artistic activities of an international recording company.
It became clear that there was a growing need in the symphony world for an independent artistic planner, someone who could assist orchestras in programming and long range strategic thinking. While many orchestras have artistic administration as an ‘in-house’ activity, there seemed to be room for someone who combined my wide range of skills to work as an advisor to orchestras that wanted someone with my experience but at a cost they could afford. Happily, this has proven to be the case with several orchestras thus far including The WDR Symphony of Cologne, The Brooklyn Philharmonic, The Milwaukee Symphony, The Handel and Haydn Society of Boston, The Fort Worth Symphony, The Pasadena Pops, The Louisiana Philharmonic, The Pacific Symphony, The Chicago Sinfonietta and at present, the Memphis Symphony, The Atlanta Symphony and l’Orchestre symphonique de Montréal All these organizations have enlisted my services either on an ongoing or project basis in the past ten years and the business continues to grow.
I have found an equal need for my skills in the ranks of today’s top conductors who engage my services as an advisor on new repertoire, upcoming artists, casting, long range strategic planning and all the ins and outs of their careers that go beyond the role of a traditional manger. It has been a pleasure to work thus far with Semyon Bychkov, Sir Roger Norrington, Robert Spano, Andreas Delfs, Dmitry Sitkovetsky, David Hill and others.
The work with orchestras and conductors has also had offshoots in special projects and a resumption of my role as a recording producer. While at Decca I vowed to leave the producing to my capable staff, but since 2000 I have produced nearly twenty discs, some of them for my old company Decca including a Juan Diego Florez recital. The special projects have ranged from serving as independent casting director for the opera Grendel, written by composer Eliot Goldenthal and librettist/director Julie Taymor, co-produced by The Lincoln Center Festival and The Los Angeles Opera to the supervision of a commissioning project of new ‘cello concertos by Nina Kotova.
1-Hosting Classical Connections with Andreas Delfs Milwaukee
2-Composer John Adams in Atlanta
3-Reunion with Renée Fleming in Dayton after a gala concert
4-Recording with Juan Diego Florez and Miguel Harth-Bedoya in Forth Worth
5-Robert Spano in Atlanta
6-Chanteuse Ute Lemper in Brooklyn
7-With Sir Roger Norrington in Boston
8-The radio host returns-recording 'Hallelujah Handel' in Cincinnati