Sarah Rothenberg (l) and Mary Lou Aleskie at Da Camera of Houston

Da Camera of Houston puts chamber music in context by combining performances with literature and art. More than an abstract experience, concerts explore clear concepts about a period in time or a specific artistic movement. Artistic Director Sarah Rothenberg explains, “What I start with and what we promote is the content of the program more than who is going to be playing. The idea is not so much about who can play Mozart the best, but about why you should listen to Mozart.”

Instead of only hiring musicians who perform the same program each evening as they go from one city to the next, Da Camera (“of the room” or “chamber” in Italian) brings poets, authors, actors and musicians together to rehearse and cultivate thematic programs that give music a point of reference in time and place. The programs created by Ms. Rothenberg may present jazz with a Jackson Pollock painting or the music of Chopin with the poetry of Baudelaire.

“This community is a huge resource in terms of what we’re able to create artistically,” says Ms. Rothenberg. “For instance, exhibits at the Menil Collection have inspired many programs.” Da Camera also brings local artists together with visiting musicians and creates new performance opportunities for them. Ms. Aleskie says, “We enrich their musical life and their purpose for living in Houston.”

Da Camera’s unique response to dwindling classical musical audiences has worked. “The average age of our audience is 47, which is pretty astounding. In most cities it’s in the 60s and sometimes the 70s,” Ms. Aleskie says. “Our audiences also ethnically represent our city, which is pretty rare in the classical music concert hall. And, in terms of sheer numbers, our audience essentially has pretty much doubled since the ’95/’96 season. In fact, two-thirds of those who experience Da Camera for the first time have it for free and have it in their neighborhood.”

Performances are presented in concert halls, museums, community centers, churches and at workplaces. Ms. Rothenberg explains, “More and more we’re performing in places where people work so they have an opportunity to become involved with music in a way that they wouldn’t have had otherwise. We put a lot of effort into finding artists who are interested in our approach and who have a real talent for communicating with people.”

Da Camera’s model has spread beyond Houston, and a growing number of audiences across the nation and around the world now are enjoying the organization’s fresh approach. “Fifteen years ago few concerts were organized thematically, but we’re seeing more of that now,” remarks Ms. Aleskie. “That people are copying the Da Camera model is very flattering.” Ms. Rothenberg adds, “The national press coverage is a testament to the influence that these programs are having. Chamber music traditionally has had a veneer of elitism attached to it, and I feel like we’ve been able to break through that and let this great music become a part of people’s every day lives.”

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