Table of Contents

Foreword by Maestro Fabio Luisi
Preface

Chapter 1: Robert Sutherland, Chief Librarian at the Metropolitan Opera
Chapter 2: Robert Sutherland, When the Metropolitan Opera Goes on Tour
Chapter 3:Matthew Naughtin, Music Librarian of the San Francisco Ballet
Chapter 4:Ronald Whitaker, Former Orchestra Librarian of The Cleveland Orchestra
Chapter 5:Alice Chatterjee-Rieckhoff, Orchestra Librarian of the Berlin Philharmonic
Chapter 6:Benjamin Gould, Librarian of the Qatar Philharmonic Orchestra
Chapter 7:Jutta Lambrecht, Archive Director of the Department of Documentation and Archives, Westdeutscher Rundfunk (WDR) Cologne
Chapter 8:Lauré Campbell, My Forty-One Seasons with the San Francisco Opera
Chapter 9:Carrie Weick, Orchestra Librarian at the San Francisco Opera
Chapter 10:Kazue Asawa McGregor, Kenneth Bonebrake and Stephen Biagini, Librarians of the Los Angeles Philharmonic
Chapter 11:Katsu Watanabe, Akane Oki, and Yasushi Ishii, Librarians of the NHK Symphony Orchestra, Tokyo
Chapter 12:Tony Rickard, Music Library Manager at the Royal Opera House, Covent Garden
Chapter 13:Tony Rickard, Personal Music Librarian of Dame Kiri Te Kanawa
Chapter 14:Julian de Ste. Croix, Librarian of the BBC Scottish Symphony Orchestra
Chapter 15:Rachel Daliot and Tal Rockman, Librarians of the Israel Philharmonic
Chapter 16: Khor Chin-Yang, Librarian of the Malaysian Philharmonic Orchestra Librarian
Chapter 17:Damien Kennedy, Music Library and Surtitles Manager at English National Opera
Chapter 18:Sandra Pearson, Personal Music Librarian of Maestro André Previn
Chapter 19:Elena Xanthoudakis Discusses the Important Roles and Value of an Opera Librarian from the Viewpoint of a Professional Singer
Chapter 20: Bringing It All Together

Appendix I: Robert Sutherland (Chief Librarian at the Metropolitan Opera) Discusses the In-house Developed Metropolitan Opera FileMaker Database

Index
About the Author

About the Author

Dr. Patrick Lo is currently serving as Associate Professor at the Faculty of Library, Information and Media Science, University of Tsukuba in Japan (since 2012). Dr. Patrick Lo earned his Doctor of Education (Ed.D.) from University of Bristol (U.K.) in 2009. He has a Master of Arts in Design Management (M.A.) from Hong Kong Polytechnic University (2004), a Master of Library & Information Science (M.L.I.S.) from McGill University (Canada; 1994), and a Bachelor of Fine Arts (B.F.A.) from Mount Allison University, (Canada; 1992). Dr. Patrick Lo has presented about 80 research papers and project reports focusing on librarianship, humanities, and education at different local and international workgroup meetings, seminars, conferences, etc., including: Mainland China, Hong Kong, Austria, France, Germany, Italy, Japan, Korea, Turkey, United States, and Sweden, and at institutions including the Library of Congress (U.S.), Austrian National Library (Vienna), University of Vienna, National Library of France (Paris), National Institute of Informatics (Japan), Konrad-Zuse-Center for Information Technology (Berlin), etc.

Reviews

Reading these informative and often fascinating interviews conducted by Lo with librarians employed by orchestras, opera and ballet companies, and individual singers located in the US, Europe, and Asia does much to dispel the notion that performance music librarians merely inventory scores and parts, distribute and collect them before and after rehearsals and performances, and mark conductors' performance indications. A librarian in charge of performance music must be especially flexible and versatile, since last-minute changes are often necessary. These specialist librarians must also order orchestral scores and parts (so thorough knowledge of different editions is obligatory), and occasionally they compose passages linking one section to the next and even provide transpositions of arias to different keys. Librarians may function in the background, but their contributions are essential for successful performances….

Summing Up: Highly recommended. Upper-level undergraduates through professionals/practitioners.
*CHOICE*

Lo’s primary audience for this book—new music librarians and graduate students in library and information science—can discover the benefits and challenges of this career path thanks to the thoughtful conversations with the interviewees…. [Lo’s] discussions with the orchestra and opera librarians prove to be relevant and illuminating…. Through the stories told here, one can only respect and admire the work by these performance music librarians.
*Notes: Quarterly Journal of the Music Library Association*

In the amount of space allotted for reviews, it is not possible to individually quote all the fascinating interviewees covered by this book. Those who are curious about behind-the-scenes preparations, or looking for a different slant on a career, will find the range of viewpoints and experiences to be of considerable interest. It should open many eyes to the important role these individuals play in the success of the performing ensemble.
*Fontes Artis Musicae*

I thoroughly enjoyed this book! Patrick Lo’s insightful interviews offer a glimpse behind the stage door and into a little-known profession—that of the music performance librarian. Yet it is these musicians who are essential to every performance that takes place on the stage, in the pit, or at the concert hall.

The knowledge shared by these consummate professionals will be of interest to conductors, composers, and performers alike, as well as anyone who enjoys behind-the-scenes stories of life in the musical arts.

There is much here to learn and appreciate. I will be reading it again and again.
*Russ Girsberger, Librarian, U.S. Naval Music School and Honorary Member, Major Orchestra Librarians’ Association*

Conversations with the World’s Leading Orchestra and Opera Librarians is a wonderful window into a little-known and less-understood niche of the library world except for its practitioners. I highly recommend the book to lay people and professionals alike who will find themselves fascinated by the unique, challenging and rewarding life of the music performance librarian.
*Karen Schnackenberg, Principal Librarian, Dallas Symphony Orchestra*

Dr. Patrick Lo has compiled a fascinating collection of interviews with opera, ballet, and personal librarians from around the globe. Insightful, factual, and sometimes both comedic and horrifying, these interviews offer us a glimpse of the complex world of performance librarianship. This book is a valuable read for anyone interested in performing art management and also for those who are professional musicians.
*Marcia Farabee, Principal Librarian, National Symphony Orchestra (retired) Washington, DC and Three time president of MOLA, the Major Orchestra Librarians' Association*

Top symphony orchestras around the world require perfectly prepared sheet music before a program can be rehearsed.  In this field, the work of music librarians is vitally important.  I am happy that the music librarians of the Berliner Philharmoniker always provide meticulously prepared parts, that allow the musicians of the orchestra to go beyond the printed score and create our unique interpretation.  I am glad that this book will illuminate the important work of music librarians to a wider audience.
*Noah Bendix-Bagley, 1st Concertmaster of the Berlin Philharmonic*

I particularly enjoyed reading the entries from my colleagues—each one detailed a different perspective of their own library, demonstrating that the job is multi-faceted and much more institutionally global than one would think! Thank you for including many different types of ensemble librarians—it’s a great learning experience for both seasoned librarians as well as those who are aspiring and considering a career in the field!
*Lisa Dempsey Kane, Principal Orchestra Librarian, The Juilliard School*