Giacomo Puccini’s “Turandot”. Set design by Roberto Oswald
A GLOBAL PROJECT TO PRESERVE THE VOICES OF
THE OPERA SINGERS OF OUR TIMES, FOR THE TIMES TO COME
Giacomo Puccini’s “Turandot”. Set design by Roberto Oswald
Photo Máximo Parpagnoli/Teatro Colón/2019
We are lucky to be able to listen to some of the great singers of the past and present, who recorded numerous albums, just by tapping on our phones. But what about those who did not or could not leave enough recordings during their prime? The answer is as sad as it is obvious: their art is lost forever.
Surprisingly, many talented singers who regularly perform today on the most important opera stages in the world have no studio recordings of their own, meaning that once they stop singing, there will be little or no trace of their achievements. And no, phone recordings and YouTube bootlegs do not count because they only show a bleak shadow of a singer’s potential.
Studio recordings involving an orchestra are very expensive and commercially nonviable with the decreasing CD sales and the dominating that doesn’t help Classical music. Nowadays, making a professional recording is just not possible without the help of donors.
The good thing is that a donor can be anyone wishing to help the arts, giving from just a few dollars/euros to thousands or tens of thousands.
Do you remember the first time you heard an opera singer? What a discovery it sure was for so many of us back then! Would you like to help create those memories? For every project partly or fully funded by Vox Vault, we will donate up to 1000 CDs to institutions that work with children. We are building relationships with schools worldwide, which will receive free CDs to distribute among their young students, and although they may not have a CD player at home, the physical CD — a real object — will prompt them to look up and stream the music and associate it with the gift.
In this way, a simple gift can expose opera to children who may otherwise never have heard of it, and through the power of giving, thousands of children will discover this amazing art form, they will learn the names and see the faces of our singers, and maybe some of them will engage with opera, and embrace it, love it, and carry it within themselves throughout their lives, just as we do.
Are you a school administrator interested in participating in our program? Contact us at info@voxvault.org
Vox Vault is a group of professionals working in prominent places in the classical music industry. Our board is made of international agents and managers, record industry veterans, orchestra members and staff, conductors, professional singers, and librarians. We all work with Vox Vault out of our passion to help advance our beloved art form. Because we all have our jobs, we don’t get paid by Vox Vault —Vox Vault has no employees and all the funds that we collect are used to finance recordings.
Through our board’s collaborative discussions, we select and connect with singers who have been performing in major opera houses and are in need of partial or full financing for their recordings. We discuss the project with them and we help them materialize it.
We handle the whole production process from beginning to end, including the hiring of recording studios, orchestras, conductors, sound engineers, musicologists, producers, and graphic designers. We also help them get their music distributed worldwide digitally and on CD.
To have full transparency and the highest security standards with our transactions, we’ve partnered with Fractured Atlas, a renowned arts service organization in New York. Fractured Atlas is Vox Vault’s Fiscal Sponsor and the safe keeper of the funds that we receive until they get assigned and released to a specific recording project. Because we are not a record label, we do not “sign” artists, instead, the artists remain free to record future projects with whomever they choose.
—Rivista Musica, Italy
—Le Monde, France
—Opera News, USA. “Critic’s Choice” Distinction
Hundreds of children from this music school in Honduras received CDs of opera, many of them discovering the musical genre by this small gift.
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* Contributions for the charitable purposes of “Vox Vault” must be made payable to “Fractured Atlas” only, and are tax-deductible
to the extent permitted by law of the United States of America. You will receive a receipt from “Fractured Atlas”, a 501(c)3 organization, upon your donation.
The market value of the goods received by you is not tax-deductible.
All meetings with the artists are to be coordinated in advance. No travel expenses included.
It is the current business model used by companies like Spotify, Apple Music, Amazon Music, and others, offering unlimited access to music for a fixed monthly fee, but without giving any ownership of the music to the subscriber. However convenient this is, it hugely benefits a certain type of popular music, oftentimes songs written by a small group of producers, tailored to a specific audience, to be listened to “on repeat”. These songs get millions or billions of streams and they are what is fueling the current growth of the record business.
Conversely, this model gives little or no revenue to less popular music, because it pays fractions of cents per “listen”, far from even covering the costs of producing a recording.
To make things even worse, streaming services “pool” their subscribers’ money among all the artists on their platform, regardless of who the subscriber listened to at any given time.
What this means is that even if you only listened to a single opera singer during the whole month, almost all of your monthly subscription fee will go to other artists—of other music genres—who got the most streams on that month. Wonderful exceptions to this are Idagio and Primephonic, that distribute their users’ monthly fees strictly among the artists that each user listened to.