New World Classics enters its 15th year of activity in 2006.  15 years?! – well that was fast!  Still, that’s just a speck of dust in time compared to the great histories of the artists represented - all seasoned performers, long recognized for their contributions to the world’s stages.

New World Classics was the first classical music artist management agency to create a combination Artist Roster with a compact disc sampler.  Director Kerby Lovallo has 25 years experience in the field, and has created tours for:

• the Mozarteum Orchestra of Salzburg,

• the BBC Scottish Symphony Orchestra,

• the National Symphony Orchestra of Ireland,

• the Iceland Symphony Orchestra (look for a return soon),

• the Prague Symphony,

• the Orchestra of the Vienna Academy,

• the Odessa Philharmonic Orchestra,

• the Gewandhaus Bach Orchestra,

• Keith Brion and his New Sousa Band,

• the Milton Keynes City Orchestra

• Cloudgate .- Taipei Contemporary Dance Theater, and many others.

Kerby Lovallo, Director of New World Classics has served on the Southern Arts Federation conference committee, and on the Board and various committees of NAPAMA (National Association of Performing Arts Manager & Agents), and as a board member of the Goldman Band of the Nathan Hale Ancient Fifes & Drums of Coventry, CT.

Mr. Lovallo was a scholarship student at the Mannes College of Music, and studied Russian Language at the Pushkin Institute in Moscow, studied Arts Management at the University at Buffalo, New York University, and received a BA in Russian Language from the University at Buffalo.

Professional Influences

George Szell’s work with the Cleveland Orchestra is a high point in American symphonic life.  Szell’s statement that he loved music more than his own convenience are words to live by – tough words to live by, given financial and professional pressures - but I try...

The Quartetto Italiano, for the first 15 years or so of their existence, played all their music from memory.  Maybe that was excessive, maybe unnecessary, but their complete recordings of Beethoven and of Mozart, are still available, some 40 or years later.  Surely the fact that the quartet lived with their music before they made it public has much to do with that.  Contrast that with current practice.

Dennis Letzler worked for Angel Records, for the Hurok Agency and other offices before he came to the Kazuko Hillyer agency.  I assisted him there and learned a lot from him about professional standards, working methods in the industry, and about music.  He made sense of a sometimes chaotic office (Mrs. Hillyer was talented, energetic but bored with the business) and he was very funny in the process.  A great mentor!