The Masked-Life of a Maestro in Times of Covid-19
Part Two of a digital conversation with Keri-Lynn Wilson presented by The American Friends of the Paris Opera and Ballet
Access to the full video of the webinar at the bottom of the post.
For a year now, governments—and often doctors—have redesigned how people can live to combat and survive the Covid-19 pandemic. In some regions, entire sectors have sometimes been shut down: travels, restaurants, hotels, and sport arenas, but also bookstores, museums, theaters, concert halls, and opera houses. Culture and art often don’t fall into the lines of the iconic contemporary word: ‘essential.’
Remarkably though, the Paris Opera was opened for a few weeks in the Fall of 2020. Hopes were then high in France that Covid-19 was being contained, yet it came back with a revenge. While rehearsing Carmen for her debut at the Bastille Opera, Maestro Keri-Lynn Wilson experienced it first-hand. Within a minute, rehearsals were halted, and the opera shut down by the French Government. The same happened for movie theaters, museums, bars, and restaurants.
Wilson’s dream of conducting in Paris was postponed. So, she went back to New York and resumed what she had been doing since March 2020: sharing music online and studying new scores. She created a ‘Becoming the Conductor Series,’ on Instagram, launched a YouTube Channel, built her own playlist on Spotify, and shared many videos and recordings on her website.
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