By
Stephanie Chase
Guest
Columnist
New
York, NY, USA
Being handed the reins of a beloved and long-established music festival might seem daunting, but for Pamela Pantos, the Executive Director of the Newport Music Festival since 2017, it is a feather in a cap already brimming with feathers. Her background as an internationally-successful opera singer, combined with an education in business administration and finance, makes her an ideal leader as the Festival enters its 51st year.
STEPHANIE CHASE:
How were you first introduced to music?
PAMELA PANTOS:
Interesting question, Stephanie. My mother loved to play the piano, so at home,
I heard Beethoven and Chopin, which were her favorites. I started piano lessons
when I was six and studied for ten years.
But
we had a family business, which meant that I spent a great deal of time with my
grandparents. So, at their home, I heard a lot of Greek folk music, which introduced
me to complex rhythms – though I did not realize this at the time, of course!
STEPHANIE CHASE: My
husband is now writing a book about the history of keyboard instruments which
includes a section on historic tuning temperaments, and it seems that in
addition to its rhythmic complexity, Greek folk music maintains these ancient
tuning systems.
PAMELA PANTOS: I
also took ballet lessons from the age of 4, so that introduced me to the
classics in that genre, as well. Also, I was fortunate that my elementary
school had instrument lessons after school, and I was tall, so I was assigned
the cello.
However,
my great love was singing, and I was lucky to be accepted to Youth Pro Musica
in Boston, led by a phenomenal musician named Roberta Hume.
So,
now that I look back, I was very fortunate to be able to experience music on so
many levels early in life.
STEPHANIE CHASE: When
did you realize that you wanted to pursue singing professionally?
PAMELA PANTOS: Ha!
Always! As I mentioned, I started in a children’s choir quite early and took
every opportunity offered to me. I had an unwieldy and loud instrument, so I
was often made an alto so that I would not stick out. I took voice lessons
during high school at the New England Conservatory Extension Division and in
college sang in three musical groups until I was offered the opportunity to be
a soloist.
STEPHANIE CHASE: You
must have an exceptional talent, because you also lived for a number of years
in Germany to study voice as a mezzo soprano, and you remained there as your
career blossomed.
PAMELA PANTOS:
I won a Watson Scholarship to study art song – pretty esoteric, I know. But I
was fascinated with how poetry and language were elevated by the work of the
great composers.
So,
I was very fortunate to get into the Hamburg Hochschule (for Music) and
received degrees in both Musicology and Performance. I ended up becoming an
opera major as I realized that I could never support myself as a recitalist. I
was tall, dark and thin, quite the opposite of most German women, so I had lots
of chances to sing terrific roles; the meaty mezzo stuff, like Carmen,
Preziosilla, Cenerentola.
I ended up staying there for 18 years and not only singing in Germany, but all over Europe. It was a very exciting time.
STEPHANIE CHASE: Why
did you return to the United States?
PAMELA PANTOS: I
had children, twins! And realized that I wanted to raise my children in the
states. I love Europe, but it does not have the feeling of expansiveness and
possibilities that the US does. In America, you can switch gears at school or
in your life and, with tenacity and hard work, do very well.
STEPHANIE CHASE: What
led you to pursue a postgraduate degree in business administration?
PAMELA PANTOS: That
was a combination of factors, but the most important one was that when I had my
children, I decided to stop singing. I had contracts and was on the roster of
Columbia Artists, so that was a major decision. However, as a performing singer
I had lived like an Olympic athlete – I was very isolated, and I did not go out
to the movies or malls as I was afraid of getting a cold. I did not speak on
the day of a performance. I felt that I owed it to my audience to give them my
very best.
So,
I left my career and came back to the states. I spoke five languages, but there
was not a great deal of need for those skills in Boston, where my family lived.
I wanted my children to have an extended family, so my location was
non-negotiable. Every time I looked in the paper or online, I realized that my
skills were not applicable.
STEPHANIE CHASE: This
is surprising.
PAMELA PANTOS: In
today’s world, business skills are needed for many stable jobs, so I went to a
career counselor who told me that the best thing that I could do was get an MBA.
I was a double major at Wellesley in Economics and Music, so I thought at least
I had some idea of what I was getting into. Babson gave me a full scholarship
for which I am eternally grateful, and it was next door to Newton, where I was
living, so the set up was perfect. I went to school during the day, picked my
children up from my mom’s house and spent the late afternoon and evening with
them. Then went to bed and got up at 2 am to study, then got my children up and
took them to either my mom’s or to daycare. The system worked very well.
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| Pamela Pantos - Newport Music Festival |
STEPHANIE CHASE: Clearly,
you don’t need much sleep and you have amazing discipline! In view of all your
obligations at home, how was this experience?
PAMELA PANTOS: At
school, many of the subjects required common sense and life experience, so I
did pretty well, as I was the oldest woman in my class. The first time I took a
finance class, I realized that I had found my niche. I loved how the numbers
directed you to outcomes that were often unexpected.
STEPHANIE CHASE: Musicians
and economics are not usually a good mix, but I for one love the magic of some
proportions and numbers, such as the golden section and the related Fibonacci
additive series.
Following
this program, you were hired to work at W.R. Grace.
PAMELA PANTOS: I
took a job a W.R. Grace as part of a new initiative a “Finance Leadership
Program.” It was a remarkable opportunity as I got to experience many different
sides of the finance spectrum. There were several amazing projects that I was elected
to lead.
I
stayed there for 2 ½ years, but in the end, it was difficult for me as a woman
to work in a construction company. One of my bosses judged commitment by how
late one was willing to stay, rather than one’s accomplishments, and I was a
mother of two small children.
STEPHANIE CHASE: My
husband refers to these strivers as “world beaters” – often they don’t seem to
have commitments other than work and their expensive toys.
PAMELA PANTOS: But
I was lucky to be able to apply the financial theories that I had studied
through my MBA program.
STEPHANIE CHASE: You’ve
had such an interesting and diverse career path, and in 2008, you left the
corporate world to become the Executive Director of Opera North, so please tell
me about that.
PAMELA PANTOS: At
that time, Opera North was a small opera company that needed to become a
business, so I applied all of my learnings from corporate finance and my MBA
and righted that ship in terms of its business functions. I was there for six
years, and we grew both in terms of revenues and in the quality of the artistic
product.
STEPHANIE CHASE: Speaking
for myself, this is the antithesis of most musicians’ career plans, and yet we
would benefit immensely from understanding marketing and branding, and being
able to adjust to changing trends.
Aside from the tax status, what are some of the principal differences between the corporate and non-profit worlds?
PAMELA PANTOS: I
think that my double major of music and economics in college – and I was almost
a math major – encourages a right-left brain functionality that is an advantage
when running a non-profit. Non-profits are first and foremost businesses and
need to keep that in mind. A company that is under-resourced cannot achieve its
potential in terms of its programming and social good. If all of the energy of
the staff is spent trying to keep the lights on; then we cannot possibly
accomplish our mission.
Alternatively,
I would say that most artists would benefit from a year of business courses.
Nothing too elaborate or in-depth, but mainly to understand the mechanisms that
direct the companies which hire them and to understand how they can best
demonstrate their capabilities – and talents – in a low-cost but highly
effective manner.
In
the corporate world, there are stakeholders and shareholders who must be kept
happy with financial rewards. In the nonprofit world, the success of our
short-term goals fulfills a long-term vision, which is to better our
communities and society.
STEPHANIE CHASE: In 2014, you became Vice President of the Arts
Consulting Group. What is this organization and its goals?
PAMELA PANTOS: Like
its name states, ACG is an arts consulting company. As the Vice President of
Executive Search, I was part of the company’s revenue expansion. We completed a
large number of highly successful executive placements in the two years that I
was at the firm. Every consultant is involved in all areas of nonprofit
consulting, so my understanding of the nonprofit world as a macrocosm truly
expanded.
STEPHANIE CHASE: Then
in 2017, you were hired as Executive Director of the Newport Music Festival (NMF)
as it approached its fiftieth year. What did you view as its strengths and
weaknesses, and what has been your strategy to strengthen and improve the
Festival, financially and artistically?
PAMELA PANTOS: As
you know, Stephanie, the company has had a terrific trajectory over its
history. In preparation for the golden anniversary, the Board and I worked very
closely to set goals for that important year, but also for the next era of the
company.
We
focused on creating the best customer experience possible. So, that meant
implementing reserved seating, at-home printing of tickets and free programs.
The
Board wanted to thank the community for its support for the past 50 years, so
we began the 50th anniversary season with a free Fourth of July concert and
implemented free concerts on the lawn of the art museum. Those events have
become new traditions. NMF also began its first Education and Outreach program
to offer musical opportunities to children, youth and adults in the Newport
community. We are working with several social service nonprofits to bring
musical experience to those who otherwise would not have the opportunities to
hear and make music themselves.
I
believe that the artists are the
Festival. So, they have begun addressing the audience [from the concert stage] and
sharing their own life and musical experiences, which has been a huge success.
STEPHANIE CHASE: Although
speaking to the audience requires a fairly intimate concert venue, I find that
it works extremely well in the Festival’s settings, and it does help to draw in
the audience and enhance their experience.
PAMELA PANTOS: Yes,
and we also want to be part of the tapestry of this wonderful community, so for
the past two years, we have brought concerts to Newport during the fall, winter
and spring. The concerts all sell out, which speaks to the desire of Newport
residents for year-round arts opportunities to enrich their lives.
STEPHANIE CHASE: It’s
always interesting to see the summer resorts off-season, without the crowds.
Newport’s year-round residents must be so pleased to have these added concerts.
Let’s
talk about your concert venues. The Festival uses some of Newport’s famed
“cottages” – such as The Breakers – for a number of its concerts. Are these
venues a part of the draw for the audiences? As a musician, I love “going to
work” in a mansion, but what are some of the issues that the Festival faces in
using what are essentially museums versus a concert hall?
PAMELA PANTOS: The
Festival “creates” a concert hall each year for the period of time when we are
in the Mansions. This means bringing in the staging, lights, seats and
everything else that is needed. The Preservation Society and NMF have been
partners for decades. The Society loves the music, the life and the audiences
we bring to their properties.
The
artists are very understanding as they are used to having a green room and
ample rehearsal time on stage. The properties are living museums, so we need to
be mindful of their rules. However, I think that as you know, the experience
for all parties outweighs any adjustments that need to be made.
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| Newport Music Festival |
STEPHANIE CHASE: The
“backstage” at The Breakers, which is the billiard room, is especially fun, as
is warming up in the historic basement kitchen of The Elms. And I think it’s a
great experience for the audiences to experience these grand houses with a bit
more depth than a visitor’s tour.
In
addition to planning programs, artists, budget, fundraising and probably dozens
of additional challenges, you are creating a young artist program at the
Festival. How is this structured and what are your goals?
PAMELA PANTOS: The
Festival is a complicated organism with many moving parts, and you have
mentioned several of them. The Young Professional Artist Program is designed to
give talented musicians the opportunity to perform with world-class artists and
begin their professional careers. We have so many unbelievably gifted young
musicians graduating from Master’s Degree programs with nowhere to hone their
craft. This initiative will allow these artists to work side-by-side with seasoned
professionals, like yourself, and simultaneously be mentored. The Festival has
a long history of featuring artists in their North American debuts, so this is
an opportunity for our audiences to hear and see the professionals of the
future.
I
am so grateful to the Festival artists, like yourself, who are willing to guide
these young professionals and give them a chance to shine.
STEPHANIE CHASE: It’s my pleasure to work with them and offer
whatever experience and advice I can, and I think it’s a great opportunity for
them as well.
In one of our conversations last summer, you mentioned, rather nonchalantly, that the CIA once contacted you to persuade you to join their forces! How did this come about, and did you ever consider it?
PAMELA PANTOS: I
was contacted because the Agency believed that the transient international life
of an international opera singer was a great cover. I was flattered to be
considered, but had to gratefully decline.
STEPHANIE CHASE: I think you would have made a very effective
spy! I imagine that their approach to you must have been pretty indirect, out
of necessity.
PAMELA PANTOS: Actually,
they just picked up the phone and called me!
STEPHANIE CHASE: That
must have been a surprise – but they probably already knew a lot about you.
In
view of your background and experience, what advice would you give young,
aspiring musicians?
PAMELA PANTOS: Well,
as you know, in this business we work closely together in intense periods of
rehearsal and performance. At the Festival, I hire musicians who are the best
in the industry, but who are also thoughtful, caring and interesting people.
So, I would say go the extra mile to be the best that you can be, but make sure
to stop and look around. We live in a face-paced world, so if you do not take
the time to enjoy where you are in any given moment, you may have missed a beautiful
moment.
STEPHANIE CHASE: That’s
one of the best elements of playing a concert – we have to be in the moment and
in cooperation with our colleagues, who also inspire us. I have to add that the
musicians of the Festival are, as you say, accomplished players who are also
extremely collegial, generous and often very humorous individuals.
You
are one of the most active people I know, but what do you do for relaxation?
PAMELA PANTOS: For me, running the Newport Music Festival is
a joy. Yes, it is a great deal of hard work, but I am surrounded by an
incredible supportive Board who let me do my job, a terrific staff who are
consummate professionals and world-class musicians who want to be in Newport to
bring glorious chamber music to our wonderful audiences. For me, this is a dream
job and it doesn’t feel like work – at least most of the time.
My
children are two people who I am fortunate enough to share my life with. They
teach me about what it means to do good in this world every day. So, my
relaxation right now is sitting at an NMF concert and hearing our great artists
play. That is reward and relaxation enough.
STEPHANIE CHASE: I
am so grateful for my opportunities at the Festival and look forward to my
third year this summer. The 2019 Festival runs from July 4 through the 28th,
and its website is at newportmusic.org, where visitors can read details about
the concerts, music and artists, and also buy tickets. And it’s
not all classical music – there are some lighter events featuring music from
Broadway and other popular songbooks.
Thank
you, Pamela, for so generously sharing your story with Stay Thirsty.
Links:
Stephanie Chase
Stephanie Chase is internationally recognized as “one of the violin greats of our era” (Newhouse Newspapers) through solo appearances with over 170 orchestras that include the New York and Hong Kong Philharmonics and the Chicago, San Francisco, Atlanta and London Symphony Orchestras. Her interpretations are acclaimed for their “elegance, dexterity, rhythmic vitality and great imagination” (Boston Globe), “stunning power” (Louisville Courier-Journal), “matchless technique” (BBC Music Magazine), and “virtuosity galore” (Gramophone), and she is a top medalist of the prestigious International Tchaikovsky Competition in Moscow. In the Summer of 2018 she was featured at music festivals in Newport, RI, Mt. Desert, ME, and Martha's Vineyard, MA, and made her debut in Vietnam, where she performed in Hi Chi Minh City and Hanoi.
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