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	<title>Kevin Puts Archives - Cultural Attaché</title>
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	<description>The Guide to Arts and Culture events in and around Los Angeles</description>
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		<title>12 Hollywood Bowl Concerts Not To Miss This Summer</title>
		<link>https://culturalattache.co/2024/06/26/12-hollywood-bowl-concerts-not-to-miss-this-summer/</link>
					<comments>https://culturalattache.co/2024/06/26/12-hollywood-bowl-concerts-not-to-miss-this-summer/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Wed, 26 Jun 2024 20:12:17 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[Aram Khachaturian]]></category>
		<category><![CDATA[Beethoven's 9th Symphony]]></category>
		<category><![CDATA[Clayton-Hamilton Jazz Orchestra]]></category>
		<category><![CDATA[Count Basie Orchestra]]></category>
		<category><![CDATA[David Newman]]></category>
		<category><![CDATA[Denis Kozhukhin]]></category>
		<category><![CDATA[Diana Damrau]]></category>
		<category><![CDATA[Dmitri Shostakovich]]></category>
		<category><![CDATA[Edgar Meyer]]></category>
		<category><![CDATA[George Gershwin]]></category>
		<category><![CDATA[Harry Connick Jr.]]></category>
		<category><![CDATA[Head Hunters]]></category>
		<category><![CDATA[Herbie Hancock]]></category>
		<category><![CDATA[Hollywood Bowl]]></category>
		<category><![CDATA[Igor Stravinsky]]></category>
		<category><![CDATA[Isabel Leonard]]></category>
		<category><![CDATA[Jake Heggie]]></category>
		<category><![CDATA[Jean-Yves Thibaudet]]></category>
		<category><![CDATA[Jennifer Higdon]]></category>
		<category><![CDATA[Jessie Montgomery]]></category>
		<category><![CDATA[John Williams]]></category>
		<category><![CDATA[Jonas Kaufmann]]></category>
		<category><![CDATA[Joshua Bell]]></category>
		<category><![CDATA[Kevin John Edusei]]></category>
		<category><![CDATA[Kevin Puts]]></category>
		<category><![CDATA[Leila Josefowicz]]></category>
		<category><![CDATA[Lionel Bringuier]]></category>
		<category><![CDATA[Los Angeles Philharmonic]]></category>
		<category><![CDATA[Maria Schneider Orchestra]]></category>
		<category><![CDATA[Martin Chalifour]]></category>
		<category><![CDATA[Nnenna Freelon]]></category>
		<category><![CDATA[Renée Elise Goldberry]]></category>
		<category><![CDATA[Rodolfo Barráez]]></category>
		<category><![CDATA[Ryan Bancroft]]></category>
		<category><![CDATA[Sara Bareilles]]></category>
		<category><![CDATA[Sergei Prokofiev]]></category>
		<category><![CDATA[Teddy Abrams]]></category>
		<category><![CDATA[The Elements]]></category>
		<category><![CDATA[Tony Yazbeck]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=20569</guid>

					<description><![CDATA[<p>From classical music to jazz to show tunes to film scores - this season has it all</p>
<p>The post <a href="https://culturalattache.co/2024/06/26/12-hollywood-bowl-concerts-not-to-miss-this-summer/">12 Hollywood Bowl Concerts Not To Miss This Summer</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<p>Usually as the summer gets underway, I post the ten Hollywood Bowl Concerts not to miss. But this is quite a good year for concerts at Los Angeles’ beloved outdoor venue. So this year it is 12 Hollywood Bowl Concerts Not to Miss.</p>



<p>Here are the twelve concerts I think warrant a journey to the Hollywood Bowl this summer:</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img fetchpriority="high" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Harry-Connick-Jr.-Courtesy-the-artist-300x169.jpg" alt="" class="wp-image-20571" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Harry-Connick-Jr.-Courtesy-the-artist-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Harry-Connick-Jr.-Courtesy-the-artist-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Harry-Connick-Jr.-Courtesy-the-artist-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Harry-Connick-Jr.-Courtesy-the-artist-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Harry-Connick-Jr.-Courtesy-the-artist-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Harry-Connick-Jr.-Courtesy-the-artist-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Harry-Connick-Jr.-Courtesy-the-artist-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Harry-Connick-Jr.-Courtesy-the-artist.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Harry Connick, Jr. (Photo by Erik Kabik Photography/Courtesy HarryConnickJr.com)</figcaption></figure></div>


<p><strong><em>JULY FOURTH FIREWORKS SPECTACULAR WITH HARRY CONNICK, JR</em></strong>. – July 2<sup>nd</sup>&nbsp;– July 4<sup>th</sup></p>



<p>If you’ve never experienced a fireworks show at the Hollywood Bowl, you clearly don’t know what you’re missing. This year’s headliner for the annual July 4<sup>th</sup>&nbsp;concerts is Harry Connick, Jr.</p>



<p>His most recent album centered on songs of faith, but I would expect this concert to focus more on the material he’s best known for which are jazz standards and songs from the Great American Songbook.</p>



<p><a href="https://culturalattache.co/2018/06/14/conductor-thomas-wilkins-launches-hollywood-bowl-season/">Thomas Wilkins</a> leads the Los Angeles Philharmonic in these three concerts.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2884/2024-07-02/july-fourth-fireworks-spectacular-with-harry-connick-jr">here</a>.</p>



<p>For those not in the Los Angeles area, he’ll be performing at <a href="https://purchasing.sandiegosymphony.org/9246?queueittoken=e_safetynet~q_57a303ca-69b9-47f1-8c2f-fe37dd3083a5~ts_1719422727~ce_true~rt_safetynet~h_8d1ddd08c67f703eb01927fe33f747a6fb7770eff8b27139060c6534dccc463c">The Rady Shell at Jacobs Park</a> in San Diego on July 6<sup>th</sup>; Mountain Winery in Saratoga, CA on <a href="https://www.axs.com/events/535232/harry-connick-jr-tickets/staticDetails?skin=mountainwinery">July 9<sup>th</sup></a> and <a href="https://www.axs.com/events/535233/harry-connick-jr-tickets?skin=mountainwinery">10<sup>th</sup></a> and at Chateau Ste. Michelle in Woodinville, WA on <a href="https://concerts.livenation.com/an-evening-with-harry-connick-jr-woodinville-washington-07-12-2024/event/0F00606607B44535">July 12<sup>th</sup></a> and <a href="https://concerts.livenation.com/an-evening-with-harry-connick-jr-woodinville-washington-07-13-2024/event/0F00606607BD4537">13<sup>th</sup></a>. These are the only dates on his schedule right now.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/George-Gershwin-Courtesy-New-York-Public-library-Archives-300x169.jpg" alt="" class="wp-image-20572" srcset="https://culturalattache.co/wp-content/uploads/2024/06/George-Gershwin-Courtesy-New-York-Public-library-Archives-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/George-Gershwin-Courtesy-New-York-Public-library-Archives-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/George-Gershwin-Courtesy-New-York-Public-library-Archives-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/George-Gershwin-Courtesy-New-York-Public-library-Archives-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/George-Gershwin-Courtesy-New-York-Public-library-Archives-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/George-Gershwin-Courtesy-New-York-Public-library-Archives-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/George-Gershwin-Courtesy-New-York-Public-library-Archives-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/George-Gershwin-Courtesy-New-York-Public-library-Archives.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">George Gershwin (Courtesy New York Public Library Archives)</figcaption></figure></div>


<p><strong><em>ALL- GERSHWIN</em></strong>&nbsp;– July 11<sup>th</sup></p>



<p>Who could ask for anything more than pianist <a href="https://culturalattache.co/2019/10/03/pianist-jean-yves-thibaudets-44-year-journey-with-gershwin/">Jean-Yves Thibaudet</a>, opera’s <a href="https://culturalattache.co/2021/05/20/operas-isabel-leonard-directs-her-future/">Isabel Leonard</a> and Broadway star <a href="https://culturalattache.co/2019/07/10/tony-yazbecks-passion-for-gershwin/">Tony Yazbeck</a> in an evening of songs and music by George Gershwin?</p>



<p>The program opens with the <em>Cuban Overture</em> and is then followed by <em>Variations on “I Got Rhythm</em>.<em>&#8220;</em> Leonard and Yazbeck conclude the first half with selections of Gershwin’s songs.</p>



<p>The second act features Thibaudet playined&nbsp;<em>Rhapsody in Blue</em>&nbsp;and closes with&nbsp;<em>An American In Paris</em>.</p>



<p><a href="https://culturalattache.co/2019/03/28/conductor-lionel-bringuiers-musical-conversation-with-ravel-and-gershwin/">Lionel Bringuier</a> conducts the Los Angeles Philharmonic.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances?Venue=Hollywood+Bowl&amp;Season=upcoming">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Hollywood-Bowl-2022-Photo-by-Craig-L.-Byrd-300x169.jpg" alt="" class="wp-image-20577" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Hollywood-Bowl-2022-Photo-by-Craig-L.-Byrd-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Hollywood-Bowl-2022-Photo-by-Craig-L.-Byrd-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Hollywood-Bowl-2022-Photo-by-Craig-L.-Byrd-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Hollywood-Bowl-2022-Photo-by-Craig-L.-Byrd-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Hollywood-Bowl-2022-Photo-by-Craig-L.-Byrd-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Hollywood-Bowl-2022-Photo-by-Craig-L.-Byrd-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Hollywood-Bowl-2022-Photo-by-Craig-L.-Byrd-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Hollywood-Bowl-2022-Photo-by-Craig-L.-Byrd.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Hollywood Bowl 2022 (Photo by Craig L. Byrd)</figcaption></figure></div>


<p><strong><em>MAESTRO OF THE MOVIES: THE MUSIC OF JOHN WILLIAMS AND MORE</em></strong>&nbsp;– July 12<sup>th</sup>&nbsp;– July 14<sup>th</sup></p>



<p>This annual celebration of all things John Williams will be a little different. Yes, Williams curated the program utilizing his own music and many classic scores he loves from the&nbsp;<em>Golden Age</em>, but he will not be appearing this year.</p>



<p>Williams had to cancel all upcoming appearances due to a health issue “from which he is expected to make a full recovery.” Does that mean light sabers won’t be at the ready for the inevitable selections of music from <em>Star Wars</em>? Of course not. </p>



<p><a href="https://culturalattache.co/2018/07/19/just-thought-safe-go-back-bowl/">David Newman</a>, who regularly conducts the first half of these concerts each year, will be conducting the full program.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2929/2024-07-12/maestro-of-the-movies-the-music-of-john-williams-and-more">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Maria-Schneider-Photo-by-Kyra-Kverno-Courtesy-Maria-Schneider-300x169.jpg" alt="" class="wp-image-20584" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Maria-Schneider-Photo-by-Kyra-Kverno-Courtesy-Maria-Schneider-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Maria-Schneider-Photo-by-Kyra-Kverno-Courtesy-Maria-Schneider-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Maria-Schneider-Photo-by-Kyra-Kverno-Courtesy-Maria-Schneider-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Maria-Schneider-Photo-by-Kyra-Kverno-Courtesy-Maria-Schneider-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Maria-Schneider-Photo-by-Kyra-Kverno-Courtesy-Maria-Schneider-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Maria-Schneider-Photo-by-Kyra-Kverno-Courtesy-Maria-Schneider-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Maria-Schneider-Photo-by-Kyra-Kverno-Courtesy-Maria-Schneider-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Maria-Schneider-Photo-by-Kyra-Kverno-Courtesy-Maria-Schneider.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Maria Schneider (photo by Kyra Kverno/Courtesy Maria Schneider)</figcaption></figure></div>


<p><strong><em>BIG BAND NIGHT</em></strong>&nbsp;– July 17<sup>th</sup></p>



<p>If you love large ensemble jazz music, this concert is for you. The evening opens with the Clayton-Hamilton Jazz Orchestra (who have made countless appearances at the Hollywood Bowl).</p>



<p>Next up is The Count Basie Orchestra who will feature vocalist Nnenna Freelon.&nbsp;</p>



<p>The headliner is the <a href="https://culturalattache.co/2022/03/24/maria-schneider-doesnt-play-it-safe/">Maria Schneider</a> Orchestra which is celebrating its 30<sup>th</sup> anniversary. Earlier this year Maria Schneider released a 3-lp vinyl box set entitled <em>Decades</em>. You can’t stream that recording, you can only get it <a href="https://www.artistshare.com/Projects/Experience/1/532/1/Maria-Schneider-Decades">here</a>. But you can hear this incredible artist and her musicians live. This is her only US appearance until September.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2938/2024-07-17/big-band-night-maria-schneider-orchestra-count-basie-orchestra-clayton-hamilton-jazz-orchestra">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Kevin-John-Edusei-Photo-by-Marco-Bogrreve-Courtesy-Intermusica-300x169.jpg" alt="" class="wp-image-20573" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Kevin-John-Edusei-Photo-by-Marco-Bogrreve-Courtesy-Intermusica-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Kevin-John-Edusei-Photo-by-Marco-Bogrreve-Courtesy-Intermusica-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Kevin-John-Edusei-Photo-by-Marco-Bogrreve-Courtesy-Intermusica-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Kevin-John-Edusei-Photo-by-Marco-Bogrreve-Courtesy-Intermusica-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Kevin-John-Edusei-Photo-by-Marco-Bogrreve-Courtesy-Intermusica-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Kevin-John-Edusei-Photo-by-Marco-Bogrreve-Courtesy-Intermusica-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Kevin-John-Edusei-Photo-by-Marco-Bogrreve-Courtesy-Intermusica-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Kevin-John-Edusei-Photo-by-Marco-Bogrreve-Courtesy-Intermusica.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Kevin John Edusei (Photo by Marco Borggreve)</figcaption></figure></div>


<p><strong><em>STRAVINSKY &amp; KHACHATURIAN</em></strong>&nbsp;– July 30<sup>th</sup></p>



<p>I’ve written before how Aram Khachaturian’s music isn’t performed often enough. As they did in the Walt Disney Concert Hall this season, the LA Philharmonic is breathing new life into his work in this program that features the composer’s <em>Violin Concerto</em> and the <em>Spartacus Suite No. 2</em>.  Martin Chalifour is the soloist for the concerto.</p>



<p>The concert closes with the 1919 version of Stravinsky’s <em>The Firebird Suite</em>. Kevin John Edusei conducts.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2946/2024-07-30/stravinsky-khachaturian">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Ryan-Bancroft-Photo-by-B.-Ealovega-Courtesy-Intermusica-300x169.jpg" alt="" class="wp-image-20586" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Ryan-Bancroft-Photo-by-B.-Ealovega-Courtesy-Intermusica-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Ryan-Bancroft-Photo-by-B.-Ealovega-Courtesy-Intermusica-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Ryan-Bancroft-Photo-by-B.-Ealovega-Courtesy-Intermusica-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Ryan-Bancroft-Photo-by-B.-Ealovega-Courtesy-Intermusica-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Ryan-Bancroft-Photo-by-B.-Ealovega-Courtesy-Intermusica-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Ryan-Bancroft-Photo-by-B.-Ealovega-Courtesy-Intermusica-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Ryan-Bancroft-Photo-by-B.-Ealovega-Courtesy-Intermusica-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Ryan-Bancroft-Photo-by-B.-Ealovega-Courtesy-Intermusica.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Ryan Bancroft (Photo by B. Ealovega/Courtesy Intermusica)</figcaption></figure></div>


<p><strong><em>PROKOFIEV &amp; SHOSTAKOVICH</em></strong>&nbsp;– August 6<sup>th</sup></p>



<p>One of my top five piano concerti of the entire repertoire is being performed by Denis Kozhukhin in this concert. It is Prokofiev’s&nbsp;<em>Piano Concerto No. 3 in C major, Op. 26</em>. (My favorite recording of it is by Martha Argerich.)</p>



<p>The second half of the program is Shostakovich’s&nbsp;<em>Symphony No. 10</em>. The work was completed the same year that Joseph Stalin died and is widely interpreted as the composer’s commentary on the brutality of the Soviet government during Stalin’s reign. It’s a big and powerful symphony.</p>



<p>Ryan Bancroft leads the Los Angeles Philharmonic.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2951/2024-08-06/prokofiev-shostakovich">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="300" src="https://culturalattache.co/wp-content/uploads/2024/06/Head-Hunters-AC-Courtesy-Herbie-Hancock.com_-300x300.jpg" alt="" class="wp-image-20583" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Head-Hunters-AC-Courtesy-Herbie-Hancock.com_-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Head-Hunters-AC-Courtesy-Herbie-Hancock.com_-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Head-Hunters-AC-Courtesy-Herbie-Hancock.com_-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/06/Head-Hunters-AC-Courtesy-Herbie-Hancock.com_-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Head-Hunters-AC-Courtesy-Herbie-Hancock.com_-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Head-Hunters-AC-Courtesy-Herbie-Hancock.com_-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Head-Hunters-AC-Courtesy-Herbie-Hancock.com_-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/06/Head-Hunters-AC-Courtesy-Herbie-Hancock.com_.jpg 1080w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Head Hunters Album Cover (Courtesy HerbieHancock.com)</figcaption></figure></div>


<p><strong><em>HERBIE HANCOCK HEAD HUNTERS 50<sup>th</sup></em></strong>&nbsp;– August 14<sup>th</sup></p>



<p>Where were you on October 26, 1973? Maybe you remember the release of <a href="https://culturalattache.co/2019/08/20/herbie-hancock-jazz-is-social-commentary-and-a-precursor-to-hip-hop/">Herbie Hancock</a>’s&nbsp;<em>Head Hunters</em> which is considered amongst the best jazz-fusion/jazz-funk albums of all time.</p>



<p><em>Watermelon Man</em>&nbsp;may not be a title recognize, but I guarantee you the music has burrowed its way into your soul.&nbsp;</p>



<p>This is the ONLY reunion of Hancock with the surviving members of that record:  drummer Harvey Mason; saxophonist Bennie Maupin and percussionist Bill Summers.  Playing bass is <a href="https://culturalattache.co/2019/09/24/marcus-milers-third-time-with-black-movie-soundtrack/">Marcus Miller</a> as original bassist Paul Jackson passed away in 2021.</p>



<p>The original four-track album runs less than 45 minutes. Which means there will be a whole lot more music performed by Hancock and his bandmates.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2958/2024-08-14/herbie-hancock-head-hunters-50th">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Joshua-Bell-Photo-©Richard-Ascroft-Courtesy-Primo-Artists-300x169.jpg" alt="" class="wp-image-20574" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Joshua-Bell-Photo-©Richard-Ascroft-Courtesy-Primo-Artists-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Joshua-Bell-Photo-©Richard-Ascroft-Courtesy-Primo-Artists-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Joshua-Bell-Photo-©Richard-Ascroft-Courtesy-Primo-Artists-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Joshua-Bell-Photo-©Richard-Ascroft-Courtesy-Primo-Artists-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Joshua-Bell-Photo-©Richard-Ascroft-Courtesy-Primo-Artists-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Joshua-Bell-Photo-©Richard-Ascroft-Courtesy-Primo-Artists-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Joshua-Bell-Photo-©Richard-Ascroft-Courtesy-Primo-Artists-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Joshua-Bell-Photo-©Richard-Ascroft-Courtesy-Primo-Artists.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Joshua Bell (Photo ©Richard Ascroft/Courtesy Primo Artists)</figcaption></figure></div>


<p><strong><em>THE ELEMENTS WITH JOSHUA BELL</em></strong>&nbsp;– August 15<sup>th</sup></p>



<p>Joshua Bell commissioned five composers to write individual movements based on the elements: Earth, Water, Air, Fire and Space.  Those composers are <a href="https://culturalattache.co/2022/11/22/composer-kevin-puts-discusses-his-new-opera-the-hours/">Kevin Puts</a>, Edgar Meyer, <a href="https://culturalattache.co/2023/10/24/composer-jennifer-higdon-lives-in-the-air-of-ideas/">Jennifer Higdon</a>, <a href="https://culturalattache.co/2015/10/28/composer-jake-heggie-brings-moby-dick-to-la-opera/">Jake Heggie</a> and <a href="https://culturalattache.co/2021/04/21/composer-jessie-montgomery-classical-musics-sonic-and-seismic-shift/">Jessie Montgomery</a>.</p>



<p>Bell performs the work with Rodolfo Barráez conducting the Los Angeles Philharmonic.</p>



<p>Also on the program are Aaron Copland’s&nbsp;<em>El Salón México</em>, which opens the concert and Leonard Bernstein’s&nbsp;<em>Symphonic Dances from West Side Story&nbsp;&nbsp;</em>which closes the concert.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2959/2024-08-15/the-elements-with-joshua-bell">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Sara-Bareilles-in-22Into-the-Woods22-Photo-by-Matthew-Murphy-and-Evan-Zimmerman-for-MurphyMade-300x169.jpg" alt="" class="wp-image-20585" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Sara-Bareilles-in-22Into-the-Woods22-Photo-by-Matthew-Murphy-and-Evan-Zimmerman-for-MurphyMade-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Sara-Bareilles-in-22Into-the-Woods22-Photo-by-Matthew-Murphy-and-Evan-Zimmerman-for-MurphyMade-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Sara-Bareilles-in-22Into-the-Woods22-Photo-by-Matthew-Murphy-and-Evan-Zimmerman-for-MurphyMade-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Sara-Bareilles-in-22Into-the-Woods22-Photo-by-Matthew-Murphy-and-Evan-Zimmerman-for-MurphyMade-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Sara-Bareilles-in-22Into-the-Woods22-Photo-by-Matthew-Murphy-and-Evan-Zimmerman-for-MurphyMade-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Sara-Bareilles-in-22Into-the-Woods22-Photo-by-Matthew-Murphy-and-Evan-Zimmerman-for-MurphyMade-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Sara-Bareilles-in-22Into-the-Woods22-Photo-by-Matthew-Murphy-and-Evan-Zimmerman-for-MurphyMade-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Sara-Bareilles-in-22Into-the-Woods22-Photo-by-Matthew-Murphy-and-Evan-Zimmerman-for-MurphyMade.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Sara Bareilles in &#8220;Into the Woods&#8221; (Photo by Matthew Murphy and Evan Zimmerman for MurphyMade)</figcaption></figure></div>


<p><strong><em>SARA BAREILLES WITH THE HOLLYWOOD BOWL ORCHESTRA</em></strong>&nbsp;– August 17<sup>th</sup></p>



<p>What at one point years ago might have seemed like a pop concert, is now pure heaven for musical theater lovers. Sara Bareilles is a three-time Tony Award nominee having received two nominations for Best Original Score (<em>Waitress </em>in 2016 and <em>SpongeBob SquarePants </em>in 2018) and for Best Performance by an Actress in a Leading Role in a Musical for the 2023 revival of <em>Into the Woods</em>.</p>



<p>Of course, she’ll perform music from throughout her career and this is her only concert on her schedule until late September.</p>



<p>But wait, there’s more. Tony Award winner Renée Elise Goldsberry (<em>Hamilton</em>) will open the show.</p>



<p>Thomas Wilkins conducts the Hollywood Bowl Orchestra.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/3232/2024-08-17/sara-bareilles-with-the-hollywood-bowl-orchestra">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Igor-Stravinsky-Courtesy-New-York-Public-Library-Archives-300x169.jpg" alt="" class="wp-image-20578" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Igor-Stravinsky-Courtesy-New-York-Public-Library-Archives-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Igor-Stravinsky-Courtesy-New-York-Public-Library-Archives-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Igor-Stravinsky-Courtesy-New-York-Public-Library-Archives-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Igor-Stravinsky-Courtesy-New-York-Public-Library-Archives-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Igor-Stravinsky-Courtesy-New-York-Public-Library-Archives-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Igor-Stravinsky-Courtesy-New-York-Public-Library-Archives-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Igor-Stravinsky-Courtesy-New-York-Public-Library-Archives-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Igor-Stravinsky-Courtesy-New-York-Public-Library-Archives.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Igor Stravinsky (Photo courtesy New York Public Library Archives)</figcaption></figure></div>


<p><strong><em>THE RITE OF SPRING</em></strong>&nbsp;– August 22<sup>nd</sup></p>



<p><em>The Rite of Spring</em> by Igor Stravinsky is one of classical music’s most important and enduring works. Hearing this monumental work outside is reason enough to see this concert. But fans of Stravinsky’s music are in for a full evening of his genius.</p>



<p>Teddy Abrams, Music Director of the Louisville Orchestra, conducts the Los Angeles Philharmonic in a concert that opens with Stravinsky’s arrangement of <em>The Star-Spangled Banner</em>. His <em>Circus Polka</em> follows and the first half closes with Leila Josefowicz performing his <em>Violin Concerto</em>. Then the main attraction is on tap for the second half of the program.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2964/2024-08-22/the-rite-of-spring">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Dashon-Burton-Photo-by-Hunter-Hart-Courtesy-Colbert-Artists-300x169.jpg" alt="" class="wp-image-20582" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Dashon-Burton-Photo-by-Hunter-Hart-Courtesy-Colbert-Artists-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Dashon-Burton-Photo-by-Hunter-Hart-Courtesy-Colbert-Artists-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Dashon-Burton-Photo-by-Hunter-Hart-Courtesy-Colbert-Artists-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Dashon-Burton-Photo-by-Hunter-Hart-Courtesy-Colbert-Artists-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Dashon-Burton-Photo-by-Hunter-Hart-Courtesy-Colbert-Artists-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Dashon-Burton-Photo-by-Hunter-Hart-Courtesy-Colbert-Artists-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Dashon-Burton-Photo-by-Hunter-Hart-Courtesy-Colbert-Artists-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Dashon-Burton-Photo-by-Hunter-Hart-Courtesy-Colbert-Artists.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Dashon Burton (Photo by Hunter Hart/Courtesy Colbert Artists)</figcaption></figure></div>


<p><strong><em>DUDAMEL LEADS BEETHOVEN 9<sup>th</sup></em></strong>&nbsp;– September 10<sup>th</sup></p>



<p>Not sure what else anyone needs to know beyond Gustavo Dudamel, the Los Angeles Philharmonic and Beethoven’s&nbsp;<em>Symphony No. 9</em>. But here goes:</p>



<p>The soloists for this concert are bass Dashon Burton; mezzo-soprano Samantha Hankey; tenor Anthony León; countertenor Key’mon Murrah and soprano Hera Kyesang Park. The Los Angeles Master Chorale also performs.</p>



<p>The concert opens with Leonard Bernstein’s&nbsp;<em>Chichester Psalms</em>.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2980/2024-09-10/dudamel-leads-beethoven-9">here</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2024/06/Jonas-Kaufmann-Photo-©Gregor-Hohenberg-Sony-Music-300x169.jpg" alt="" class="wp-image-20575" srcset="https://culturalattache.co/wp-content/uploads/2024/06/Jonas-Kaufmann-Photo-©Gregor-Hohenberg-Sony-Music-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/06/Jonas-Kaufmann-Photo-©Gregor-Hohenberg-Sony-Music-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/06/Jonas-Kaufmann-Photo-©Gregor-Hohenberg-Sony-Music-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/06/Jonas-Kaufmann-Photo-©Gregor-Hohenberg-Sony-Music-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/06/Jonas-Kaufmann-Photo-©Gregor-Hohenberg-Sony-Music-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/06/Jonas-Kaufmann-Photo-©Gregor-Hohenberg-Sony-Music-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/06/Jonas-Kaufmann-Photo-©Gregor-Hohenberg-Sony-Music-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/06/Jonas-Kaufmann-Photo-©Gregor-Hohenberg-Sony-Music.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Jonas Kaufmann (Photo ©Gregor Hohenberg/Sony Music)</figcaption></figure></div>


<p><strong><em>DUDAMEL AND THE STARS OF OPERA</em></strong>&nbsp;– September 12<sup>th</sup></p>



<p>I couldn’t tell you the last time tenor Jonas Kaufmann performed in Los Angeles, but I can tell you the next time he will – at this concert where he will be joined by soprano Diana Damrau.</p>



<p>The two will perform selected arias and duets.</p>



<p>The concert opens with Verdi’s <em>Overture</em> to <em>I vespri sicilliani</em> which is followed by the ever-popular <em>Intermezzo from Cavalleria rusticana</em> by Mascagni. Respighi’s <em>Pines of Rome</em> closes the concert.</p>



<p>Gustavo Dudamel leads the Los Angeles Philharmonic.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.hollywoodbowl.com/events/performances/2982/2024-09-12/dudamel-and-the-stars-of-opera">here</a>.</p>



<p>Those are the 12 Hollywood Bowl Concerts Not to Miss in my opinion. What concerts are on the top of your list? Let me know in the comments.</p>



<p>Main Photo: Hollywood Bowl 2023 (Photo by Craig L. Byrd)</p>
<p>The post <a href="https://culturalattache.co/2024/06/26/12-hollywood-bowl-concerts-not-to-miss-this-summer/">12 Hollywood Bowl Concerts Not To Miss This Summer</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>NEW IN MUSIC THIS WEEK: APRIL 21st</title>
		<link>https://culturalattache.co/2024/04/21/new-in-music-this-week-april-21st/</link>
					<comments>https://culturalattache.co/2024/04/21/new-in-music-this-week-april-21st/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Sun, 21 Apr 2024 17:25:51 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[Abel Sánchez-Aguilera]]></category>
		<category><![CDATA[Aleksander Dębicz]]></category>
		<category><![CDATA[All These Lighted Things]]></category>
		<category><![CDATA[Antwerp Symphony Orchestra]]></category>
		<category><![CDATA[Bill Frisell]]></category>
		<category><![CDATA[Britten Sinfonia]]></category>
		<category><![CDATA[Elim Chan]]></category>
		<category><![CDATA[Elizabeth Ogonek]]></category>
		<category><![CDATA[Études Opp 10 & 25]]></category>
		<category><![CDATA[Fred Hersch]]></category>
		<category><![CDATA[Frédéric Chopin]]></category>
		<category><![CDATA[Frederick Delius]]></category>
		<category><![CDATA[Greg Pierce]]></category>
		<category><![CDATA[Hassan]]></category>
		<category><![CDATA[Jamie Phillips]]></category>
		<category><![CDATA[Joyce DiDonato]]></category>
		<category><![CDATA[Kaikhosru Shapurji Sorabji]]></category>
		<category><![CDATA[Kelli O'Hara]]></category>
		<category><![CDATA[Kevin Puts]]></category>
		<category><![CDATA[Magnolia]]></category>
		<category><![CDATA[Marta Sánchez Trio]]></category>
		<category><![CDATA[Metropolitan Opera]]></category>
		<category><![CDATA[Orchestras]]></category>
		<category><![CDATA[Perpetual Void]]></category>
		<category><![CDATA[Renée Fleming]]></category>
		<category><![CDATA[Silent Listening]]></category>
		<category><![CDATA[The Hours]]></category>
		<category><![CDATA[Yannick Nézet-Séguin]]></category>
		<category><![CDATA[Yunchan Lim]]></category>
		<category><![CDATA[Zeb Soanes]]></category>
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					<description><![CDATA[<p>Five classical albums, three jazz albums and a contemporary opera are featured</p>
<p>The post <a href="https://culturalattache.co/2024/04/21/new-in-music-this-week-april-21st/">NEW IN MUSIC THIS WEEK: APRIL 21st</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<p>Due to <a href="https://culturalattache.co/2024/04/18/record-store-day-4-20-24/">Record Store Day</a>, <em>New in Music This Week: April 21<sup>st</sup></em> is a couple days later than usual. Not to take anything away from the fine new releases this week, but if you’ve ever seen the massive lines of collectors wanting to get those unique releases on RSD, you’ll know why I waited.</p>



<p><em>New In Music This Week: April 21<sup>st</sup></em>&nbsp;has some outstanding releases for you to explore.&nbsp;</p>



<p>My top pick is:</p>


<div class="wp-block-image">
<figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2024/04/Silent-Listening-AC-150x150.jpg" alt="" class="wp-image-20330" srcset="https://culturalattache.co/wp-content/uploads/2024/04/Silent-Listening-AC-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/04/Silent-Listening-AC-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/04/Silent-Listening-AC-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/04/Silent-Listening-AC-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/04/Silent-Listening-AC-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/04/Silent-Listening-AC-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/04/Silent-Listening-AC-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/04/Silent-Listening-AC.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div>


<p>JAZZ:&nbsp;<strong><em>SILENT, LISTENING – Fred Hersch&nbsp;</em></strong>&nbsp;&#8211; ECM Records</p>



<p>I’ve been listening to pianist/composer Hersch’s album for about two months now. I can’t stop listening to it. For nearly 51 minutes, I get to do exactly what Hersch implores us to do with his title:&nbsp;&nbsp;be silent and listen.</p>



<p>Of course, he’s being relatively silent and is listening as well. Listening to his deepest thoughts and expressing them through what seems a largely improvised series of recordings.</p>



<p>He opens with the Billy Strayhorn and Duke Ellington composition&nbsp;<em>Star-Crossed Lovers</em>. He follows that with six exquisite originals before performing Russ Freeman’s&nbsp;<em>The Wind</em>. The album’s last three tracks are another Hersch original and songs written by&nbsp;&nbsp;Oscar Hammerstein II and Sigmund Romberg (<em>Softly, as in a Morning Sunrise</em>) and Alec Wilder and Ben Ross Berenberg’s&nbsp;<em>Winter of My Discontent</em>.</p>



<p>There’s no discontent to be found here. This is a truly beautiful solo piano recording.</p>



<p>The rest of my selections for&nbsp;<em>New In Music This Week: April 21<sup>st</sup>&nbsp;</em>are:</p>


<div class="wp-block-image">
<figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2024/04/All-These-AC-150x150.jpg" alt="" class="wp-image-20331" srcset="https://culturalattache.co/wp-content/uploads/2024/04/All-These-AC-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/04/All-These-AC-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/04/All-These-AC-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/04/All-These-AC-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/04/All-These-AC-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/04/All-These-AC-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/04/All-These-AC-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/04/All-These-AC.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div>


<p>CLASSICAL:&nbsp;<strong><em>ALL THESE LIGHTED THINGS – Elim Chan, Antwerp Symphony Orchestra</em></strong>&nbsp;– Alpha Classics</p>



<p>The title of this album comes from a three-movement work by Elizabeth Ogonek that is sandwiched between Prokofiev’s&nbsp;<em>Romeo and Juliet Suite</em>&nbsp;and Ravel’s&nbsp;<em>Daphnis et Chloé Suite No. 2</em>.</p>



<p><em>All These Lighted Things</em>&nbsp;was commissioned by the Chicago Symphony Orchestra were Ogonek was Composer-in-Residence. It was there that she had her violin concerto&nbsp;<em>In*Silence</em>&nbsp;given its first performance under the baton of Elim Chan.</p>



<p>I really like&nbsp;<em>All These Lighted Things</em>. The nearly 15-minute work has three very different movements, but they coalesce nicely into a potent composition and recording.</p>



<p>Chan makes some interesting choices with&nbsp;<em>Romeo and Juliet</em>&nbsp;and her&nbsp;<em>Daphnis et Chloé&nbsp;</em>is equally convincing. But the highlight remains Ogonek’s work.</p>


<div class="wp-block-image">
<figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2024/04/Chopin-Etudes-AC-150x150.jpg" alt="" class="wp-image-20332" srcset="https://culturalattache.co/wp-content/uploads/2024/04/Chopin-Etudes-AC-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/04/Chopin-Etudes-AC-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/04/Chopin-Etudes-AC-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/04/Chopin-Etudes-AC-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/04/Chopin-Etudes-AC-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/04/Chopin-Etudes-AC-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/04/Chopin-Etudes-AC-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/04/Chopin-Etudes-AC.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div>


<p>CLASSICAL:&nbsp;<strong><em>CHOPIN: ÉTUDES, Opp. 10 &amp; 25 – Yunchan Lim</em></strong>&nbsp;– Decca Classics</p>



<p>South Korean pianist Lim plays these 24 works by Chopin with such dexterity that it seems impossible that he’s so young. Though it shouldn’t. In 2022 was the youngest person to win gold at the Van Cliburn International Piano Competition.</p>



<p><em>Études Op. 10</em>&nbsp;were published in 1833.<em>&nbsp;</em>&nbsp;Chopin was only a few years older than Lim so perhaps these works, amongst the most challenging in the classical repertoire, are being performed by someone so young – though much older musicians still find these works challenging. It is worth noting that some of these études were composed when Chopin was a teenager. Two years later&nbsp;<em>Études Op. 25</em>&nbsp;were composed. Each set has 12 études.</p>



<p>Lim has been widely praised for his seemingly effortless skills. This album is only going to further that reputation.</p>


<div class="wp-block-image">
<figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2024/04/Hassan-AC-150x150.jpg" alt="" class="wp-image-20333" srcset="https://culturalattache.co/wp-content/uploads/2024/04/Hassan-AC-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/04/Hassan-AC-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/04/Hassan-AC-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/04/Hassan-AC-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/04/Hassan-AC-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/04/Hassan-AC-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/04/Hassan-AC-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/04/Hassan-AC.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div>


<p>CLASSICAL:&nbsp;<strong><em>DELIUS: HASSAN – COMPLETE INCIDENTAL MUSIC – Britten Sinfonia, Britten Sinfonia Voices, Jamie Phillips, Zeb Soanes</em></strong><em>&nbsp;</em>– Chandos</p>



<p>This work was a discovery for me. Frederick Delius composed incidental music for a play by poet James Elroy Flecker. The work, whose full title is <em>The Story of Hassan of Bagdad and How He Came to Make the Golden Journey to Samarkand, </em>had its world premiere in 1923.</p>



<p>This recording, featuring narration by Soanes, has every note of music written by Delius and runs 80 minutes. In an interview published in the <span style="text-decoration: underline;">Christian Science Monitor</span><em> </em>in October 1923, Delius said, “At present my music is bound up with the drama for me that I cannot think of it apart from it.”</p>



<p>This recording would certainly have changed his mind. The narration (by Meurig Bowen) is never intrusive, but I found myself longing to get straight to the music.&nbsp;</p>


<div class="wp-block-image">
<figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2024/04/Sorabji-AC-150x150.jpg" alt="" class="wp-image-20334" srcset="https://culturalattache.co/wp-content/uploads/2024/04/Sorabji-AC-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/04/Sorabji-AC-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/04/Sorabji-AC-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/04/Sorabji-AC-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/04/Sorabji-AC-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/04/Sorabji-AC-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/04/Sorabji-AC-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/04/Sorabji-AC.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div>


<p>CLASSICAL:&nbsp;<strong><em>SORABJI: TOCCATA TERZA – Abel Sánchez-Aguilera</em></strong>&nbsp;– Brilliant Classics</p>



<p>Composer Kaikhosru Shapurji Sorabji<em> </em>is not a household name. yet his deeply challenging compositions are clearly catnip for pianist Sánchez-Aguilera whose previous album was 2020’s <em>Toccata Seconda per Pianoforte</em>by Sorabji. </p>



<p>Both works are lengthy (each over two hours) and require a level of playing that both works require. The <em>Toccata Terza</em> was composed in 1955 and was rediscovered in 2019 after it had gone missing.</p>



<p>I wasn’t familiar with Sorabji but the playing on this album and the compositions themselves mean I will be listening to more of his works. In the hands of Sánchez-Aguilera compositions that can seem dense and lengthy turn into fascinating explorations of the keyboard and all it can do.</p>


<div class="wp-block-image">
<figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2024/04/Magnolia-AC-150x150.jpg" alt="" class="wp-image-20335" srcset="https://culturalattache.co/wp-content/uploads/2024/04/Magnolia-AC-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/04/Magnolia-AC-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/04/Magnolia-AC-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/04/Magnolia-AC-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/04/Magnolia-AC-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/04/Magnolia-AC-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/04/Magnolia-AC-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/04/Magnolia-AC.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div>


<p>CONTEMPORARY CLASSICAL:&nbsp;<strong><em>MAGNOLIA – Aleksander Dębicz</em></strong>&nbsp;– Warner Classics</p>



<p>Polish composer and pianist Dębicz first came to my attention with his 2015 album&nbsp;<em>Cinematic Piano</em>. Film music and Bach have been hugely influential to Debicz and his albums leading up to&nbsp;<em>Magnolia</em>&nbsp;have reflected that.</p>



<p>This album is the first album of solely his music. He is joined on&nbsp;<em>Magnolia</em>&nbsp;by&nbsp;horn player Konrad Gołda, guitarist Łukasz Kuropaczewski, countertenor Jakub Józef Orliński, folk flutist Michał Żak and cellist Marcin Zdunik,</p>



<p><em>Magnolia</em>&nbsp;feels like a soundtrack to a film. But perhaps that was the point, to encourage us to create that movie in our own hearts and minds.&nbsp;&nbsp;To sit with this beautiful music and let our imaginations run free.</p>



<p>If so, this is beautiful music to do just that.</p>


<div class="wp-block-image">
<figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2024/04/Frisell-Orchestras-AC-150x150.jpg" alt="" class="wp-image-20336" srcset="https://culturalattache.co/wp-content/uploads/2024/04/Frisell-Orchestras-AC-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/04/Frisell-Orchestras-AC-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/04/Frisell-Orchestras-AC-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/04/Frisell-Orchestras-AC-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/04/Frisell-Orchestras-AC-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/04/Frisell-Orchestras-AC-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/04/Frisell-Orchestras-AC-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/04/Frisell-Orchestras-AC.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /><figcaption class="wp-element-caption">Screenshot</figcaption></figure></div>


<p>JAZZ:&nbsp;<strong><em>ORCHESTRAS – Bill Frisell</em></strong>&nbsp;– Blue Note Records</p>



<p>Guitarist/composer Frisell has long accomplished so much with his choiceful consideration of musical partners. For this album his finest choice proves to by arranger Michael Gibbs who has partnered with Frisell to create concerts with two different ensembles that achieve huge success.</p>



<p>The first is with the Brussells Philharmonic led by Alexander Hanson. Frisell is joined by bassist Thomas Morgan and drummer Rudy Royston for a performance that includes four songs written by Frisell, two by Gibbs and Billy Strayhorn’s&nbsp;<em>Lush Life</em>.</p>



<p>The second album and concert is with the much smaller Umbria Jazz Orchestra. Two songs, Ron Carter’s <em>Doom</em> and Frisell’s <em>Electricity</em> are performed with both ensembles. It’s fascinating to hear the differences and the similarities in both performances.</p>



<p>Either way, this is a richly satisfying album that is a must-have for Frisell fans. Blue Note has also released a 3LP set that includes material note included from the concerts.</p>


<div class="wp-block-image">
<figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2024/04/Perpetual-Void-AC-150x150.jpg" alt="" class="wp-image-20337" srcset="https://culturalattache.co/wp-content/uploads/2024/04/Perpetual-Void-AC-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/04/Perpetual-Void-AC-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/04/Perpetual-Void-AC-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/04/Perpetual-Void-AC-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/04/Perpetual-Void-AC-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/04/Perpetual-Void-AC-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/04/Perpetual-Void-AC-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/04/Perpetual-Void-AC.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div>


<p>JAZZ:&nbsp;<strong><em>PERPETUAL VOID – Marta Sánchez Trio</em></strong>&nbsp;– Intakt Records</p>



<p>Drummer Savannah Harris and bassist Chris Tordini join pianist/composer Sánchez for a massively impressive album. The album tells you with the first track what to expect.&nbsp;<em>I Don’t Wanna Live the Wrong Life and Then Die</em>.&nbsp;</p>



<p>Okay. We’re not taking things easy here. And they don’t, but the music is utterly compelling. Other titles include&nbsp;<em>Prelude to Grief</em>,&nbsp;<em>The End of that Period</em>&nbsp;and&nbsp;<em>This Is The Last One About You</em>&nbsp;might make you think this is all darkness.&nbsp;</p>



<p>Sánchez is smarter than that and her musicians go along with the story here. This is Sánchez’s first trio album (having worked a lot in the quintet format). I hope there are more trio albums in her future. I wouldn’t mind be trapped in this perpetual void waiting for another trio album, but I hope I don’t have to.</p>


<div class="wp-block-image">
<figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2024/04/The-Hours-AC-150x150.jpg" alt="Three jazz albums, five classical albums and a new opera are featured" class="wp-image-20338" srcset="https://culturalattache.co/wp-content/uploads/2024/04/The-Hours-AC-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2024/04/The-Hours-AC-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/04/The-Hours-AC-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/04/The-Hours-AC-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/04/The-Hours-AC-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/04/The-Hours-AC-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/04/The-Hours-AC-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2024/04/The-Hours-AC.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div>


<p>OPERA:&nbsp;<strong><em>THE HOURS – KEVIN PUTS/GREG PIERCE – Renée Felming, Kelli O’Hara, Joyce DiDonato, The Metropolitan Opera Orchestra and Chorus, Yannick Nézet-Séguin&nbsp;</em></strong>&nbsp;&#8211; Erato</p>



<p>I’ve written a few times about this wonderful opera based on Michael Cunningham’s novel. Now you can hear exactly what’s so special about it in this recording made live during a performance at the Metropolitan Opera.</p>



<p>DiDonato, Fleming and O’Hara a terrific in this story of three women in different times within the 20<sup>th</sup> century. The whole cast is in fine form in this powerful opera. Fans of Virginia Woolf, the novel or the feature film will find this story being told in a unique and powerful way.</p>



<p>That’s all for&nbsp;<em>New In Music This Week: April 21<sup>st</sup></em>.</p>



<p>I hope you enjoy the music!</p>
<p>The post <a href="https://culturalattache.co/2024/04/21/new-in-music-this-week-april-21st/">NEW IN MUSIC THIS WEEK: APRIL 21st</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>Composer Jennifer Higdon Lives in the Air of Ideas</title>
		<link>https://culturalattache.co/2023/10/24/composer-jennifer-higdon-lives-in-the-air-of-ideas/</link>
					<comments>https://culturalattache.co/2023/10/24/composer-jennifer-higdon-lives-in-the-air-of-ideas/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Tue, 24 Oct 2023 15:00:00 +0000</pubDate>
				<category><![CDATA[Classical: Metronome]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[Antonio Vivaldi]]></category>
		<category><![CDATA[Blue Cathedral]]></category>
		<category><![CDATA[Cold Mountain]]></category>
		<category><![CDATA[contemporary classical music]]></category>
		<category><![CDATA[Edgar Meyer]]></category>
		<category><![CDATA[Gustav Holst]]></category>
		<category><![CDATA[Jake Heggie]]></category>
		<category><![CDATA[Jennifer Higdon]]></category>
		<category><![CDATA[Jessie Montgomery]]></category>
		<category><![CDATA[Joshua Bell]]></category>
		<category><![CDATA[Kevin Puts]]></category>
		<category><![CDATA[Los Angeles Philharmonic]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Pulitzer Prize]]></category>
		<category><![CDATA[Santa Fe Opera]]></category>
		<category><![CDATA[The Elements]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=19368</guid>

					<description><![CDATA[<p>"I was thinking about the breathing thing. This is a much calmer sort of experience. It's also a challenge for me because normally I write a lot of fast notes. "</p>
<p>The post <a href="https://culturalattache.co/2023/10/24/composer-jennifer-higdon-lives-in-the-air-of-ideas/">Composer Jennifer Higdon Lives in the Air of Ideas</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
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<p>Vivaldi has <em>The Four Seasons</em>. Gustav Holst has <em>The Planets</em>. Not to be outdone, violinist <a href="https://culturalattache.co/2019/10/29/the-continuing-journey-of-violinist-joshua-bell/">Joshua Bell</a> commissioned <em>The Elements</em> which brought together five composers to write movements inspired by <em>Earth</em>, <em>Water, Fire</em>, <em>Air</em> and <em>Space</em> for violin and orchestra. Those composers were <a href="https://culturalattache.co/2022/11/22/composer-kevin-puts-discusses-his-new-opera-the-hours/">Kevin Puts</a>, Edgar Meyer, <a href="https://culturalattache.co/2015/03/04/jake-heggies-opera-dead-man-walking-comes-to-santa-monica/">Jake Heggie</a>, Jennifer Higdon and <a href="https://culturalattache.co/2021/04/21/composer-jessie-montgomery-classical-musics-sonic-and-seismic-shift/">Jessie Montgomery</a> (in order to match the movement they composed).</p>



<p><em>The Elements </em>had its world premiere on September 1st with the NDR Elbphilharmonie Orchestra with Alan Gilbert conducting. The US premiere took place in late September and early October with the New York Philharmonic. More performances are being scheduled and on October 25th Bell will perform three movements with the <a href="https://www.aso.org/events/detail/joshua-bell-masters-the-elements">Atlanta Symphony Orchestra</a>.</p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Joshua Bell &amp; Alan Gilbert: &quot;The Elements&quot; | Opening Night 2023 | NDR Elbphilharmonie Orchester" width="696" height="392" src="https://www.youtube.com/embed/-jR511QrB6w?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
</div></figure>



<p>Higdon is one of the most acclaimed composers of her generation. She received the Pulitzer Prize for Music in 2010 for her violin concerto. She is the recipient of three Grammy Awards and her opera, <em>Cold Mountain</em>, had its world premiere in 2016 at Santa Fe Opera.</p>



<p>Higdon didn&#8217;t get to choose her movement. She took <em>Air</em> as her movement and thought quickly and decisively about the role her movement would play in Bell&#8217;s commission.</p>



<p>In this conversation she talks about her approach to <em>Air</em>, thinking about Joshua Bell as the soloist and the role of air in her daily life. What follows are excerpts from our conversation that have been edited for length and clarity. To see the full interview, please go to our <a href="https://www.youtube.com/channel/UCQfUdH08rahzGKm2Hcawq-g">YouTube channel</a>.</p>



<p>Q:  Joshua Bell had the idea of the elements and then adding space as a fifth component. But was it a lottery? How did you each composer get the element that you ended up writing?<em>&nbsp;</em></p>



<p><strong>When Joshua called me he said, &#8220;Well, the elements have all been picked, so the only thing left is air.&#8221; And I said, okay, I&#8217;ll do air. At that point there were only four composers &#8211; we didn&#8217;t have space as part of it. At some point he decided he wanted space to be a part of the equation and they asked Jessie Montgomery. So I think the guys all picked the elements they wanted. Then they called me.</strong></p>



<p>If it had all been open and you could have chosen any one of the five, which one do you think you would have chosen?&nbsp;</p>



<p><strong>Well, I think I could have come up with stuff for all of them. There was something interesting about air, though, because I&#8217;m a former flute player, so there was something striking about it and I might have picked that.&nbsp;</strong></p>



<p><strong>I would say that if I were writing one of the other movements, it would be very different than what I wrote. Because to me the different elements feel like musically they would need to have different character just in the materials, the way it&#8217;s handled, the speed and the tempo. There are a lot of ways to go, but I think every composer approaches this according to their inner gyroscope.<em>&nbsp;</em></strong></p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2023/10/Jaap-van-Zweden-Jessie-Montgomery-Joshua-Bell-Jake-Heggie-Jennifer-Higdon-Kevin-Puts-and-Edgar-Meyer-Courtesy-Unison-Media-NY-Philharmonic-300x169.jpg" alt="" class="wp-image-19376" srcset="https://culturalattache.co/wp-content/uploads/2023/10/Jaap-van-Zweden-Jessie-Montgomery-Joshua-Bell-Jake-Heggie-Jennifer-Higdon-Kevin-Puts-and-Edgar-Meyer-Courtesy-Unison-Media-NY-Philharmonic-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/10/Jaap-van-Zweden-Jessie-Montgomery-Joshua-Bell-Jake-Heggie-Jennifer-Higdon-Kevin-Puts-and-Edgar-Meyer-Courtesy-Unison-Media-NY-Philharmonic-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/10/Jaap-van-Zweden-Jessie-Montgomery-Joshua-Bell-Jake-Heggie-Jennifer-Higdon-Kevin-Puts-and-Edgar-Meyer-Courtesy-Unison-Media-NY-Philharmonic-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/10/Jaap-van-Zweden-Jessie-Montgomery-Joshua-Bell-Jake-Heggie-Jennifer-Higdon-Kevin-Puts-and-Edgar-Meyer-Courtesy-Unison-Media-NY-Philharmonic-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/10/Jaap-van-Zweden-Jessie-Montgomery-Joshua-Bell-Jake-Heggie-Jennifer-Higdon-Kevin-Puts-and-Edgar-Meyer-Courtesy-Unison-Media-NY-Philharmonic-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/10/Jaap-van-Zweden-Jessie-Montgomery-Joshua-Bell-Jake-Heggie-Jennifer-Higdon-Kevin-Puts-and-Edgar-Meyer-Courtesy-Unison-Media-NY-Philharmonic-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/10/Jaap-van-Zweden-Jessie-Montgomery-Joshua-Bell-Jake-Heggie-Jennifer-Higdon-Kevin-Puts-and-Edgar-Meyer-Courtesy-Unison-Media-NY-Philharmonic-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/10/Jaap-van-Zweden-Jessie-Montgomery-Joshua-Bell-Jake-Heggie-Jennifer-Higdon-Kevin-Puts-and-Edgar-Meyer-Courtesy-Unison-Media-NY-Philharmonic.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Jaap van Zweden, Jessie Montgomery, Joshua Bell, Jake Heggie, Jennifer Higdon, Kevin Puts and Edgar Meyer (Photo by Chris Lee/Courtesy New York Philharmonic)</figcaption></figure></div>


<p>You weren&#8217;t dealing with air as wind. You were dealing with it as what we take in, what we breathe, what we need, what the planet needs.<em>&nbsp;</em>How did you go from conceiving the work as being about that component of air to what you actually put on paper?</p>



<p><strong>I thought strategically,<em>&nbsp;</em>because I&#8217;ve written a lot for violin. My colleagues, I figured, would be excited to write some really virtuosic stuff for Joshua, which he plays fantastic. I thought to myself, what would the audience need to hold them through a long concerto? I love Joshua&#8217;s playing. His tone is beautiful in the lyrical lines he plays in all of the concertos and the solo stuff he does. </strong></p>



<p><strong>Maybe I should go and emphasize that and just make a quiet spot so the audience can breathe. I was thinking about the breathing thing. This is a much calmer sort of experience. It&#8217;s also a challenge for me because normally I write a lot of fast notes.<em>&nbsp;</em></strong></p>



<p>For somebody who writes a lot of notes, how much does stillness, how much does silence, play a role in your concept of air?&nbsp;</p>



<p><strong>Actually quite a bit &#8211; especially in this. I used many more wind and brass voicings and less strings, partly to set off Joshua&#8217;s violin voice, but also just because they use air. I do put pauses in there. I make everything move slowly. </strong></p>



<p><strong>I was thinking a lot about the seasons.<em>&nbsp;</em>One of the things that strikes me is when seasonal changes come, the first thing we usually notice is the air when we step outside. The spring smells very different than the fall and winter. The bite of winter feels very different than the summer humidity that we often get on the East Coast. Part of it was just thinking about the distinctiveness of the air.</strong></p>



<p><strong>But I also thought about the fact that the word air is often used as a musical term meaning song, <em>aria</em>. The word aria came out of air,<em>&nbsp;</em>so that made for me a different kind of challenge than most people have. They have trouble filling things up. My goal is backing off and calming down. So I thought this would be a good way to do this.&nbsp;</strong></p>



<p>How does a work like <em>The Elements</em> come together given that five different composers are writing individual movements for it?</p>



<p><strong>That&#8217;s the one thing about this concerto that&#8217;s fascinating. Every sound world is different because it&#8217;s a different composer. So you&#8217;re getting real variety in what you&#8217;re hearing. It makes the musical experience different than if you were listening to just a 40-minute concerto from one composer. The language is changing, the pacing, the rhythm, the interchange between the orchestra and the soloist. Actually it&#8217;s very, very effective.&nbsp;</strong></p>



<p>Is cohesion an outdated idea for contemporary works?</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-HIgdon-at-the-Grammys-Courtesy-Jennifer-Higdon-300x169.jpg" alt="" class="wp-image-19377" srcset="https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-HIgdon-at-the-Grammys-Courtesy-Jennifer-Higdon-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-HIgdon-at-the-Grammys-Courtesy-Jennifer-Higdon-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-HIgdon-at-the-Grammys-Courtesy-Jennifer-Higdon-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-HIgdon-at-the-Grammys-Courtesy-Jennifer-Higdon-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-HIgdon-at-the-Grammys-Courtesy-Jennifer-Higdon-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-HIgdon-at-the-Grammys-Courtesy-Jennifer-Higdon-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-HIgdon-at-the-Grammys-Courtesy-Jennifer-Higdon-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-HIgdon-at-the-Grammys-Courtesy-Jennifer-Higdon.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Jennifer Higdon at the Grammy Awards (Courtesy JenniferHigdon.com)</figcaption></figure></div>


<p><strong>I think artists can&#8217;t really say anything is outdated. I think everything&#8217;s on the board. I like the idea of variety. We can have both. We could have cohesion within our own little movements. </strong></p>



<p><strong>One thing that gives Joshua a chance to do, if he does another piece with another orchestra and he wants to do one of these movements, he can do that. He can just pull it because the things work as self-contained units. They could also combine like maybe two or three of them if he needs a medium size work.</strong> </p>



<p>[<em>As is the case with Bell&#8217;s October 25th concert with the Atlanta Symphony Orchestra where he will perform the Bruch Violin Concerto and three movements from &#8220;The Elements.&#8221;]</em></p>



<p>In an interview that you gave to <a href="https://www.wsj.com/articles/SB113096332918386569">Annelena Lobb</a> for the <span style="text-decoration: underline;">Wall Street Journal</span> in 2005, she asked what you did to relax. After answering that you walked and went to the movies a lot, she said, &#8220;So it&#8217;s not music all the time?&#8221; And your response was, &#8220;I think that would be hard. The brain needs to breathe.&#8221; It seems as though, even 18 years ago, you were considering breath and air as part of your need to be healthy.<em>&nbsp;</em></p>



<p><strong>My answer is still I take breaks. I compose about 6 hours a day, I have to take breaks.<em>&nbsp;</em>Our brain really does need to break because sometimes it has to solve the musical problems you&#8217;re wrestling with. If I go too long without walking, I get cranky in the same way that I get cranky if I go too long without composing. I&#8217;m really bad about taking the breaks, but I&#8217;ve learned through the years to make sure I do it because it actually helps the music.</strong></p>



<p>What is the conversation that you would like to see amongst contemporary composers that maybe is a different conversation than the one that happens when contemporary works are sandwiched with the works by composers from anywhere from 100 or more years ago?<em>&nbsp;</em></p>



<p><strong>I&#8217;m not sure how to answer that because I&#8217;m always on with older works.<em>&nbsp;</em>One of the things I have noticed when I attend concerts </strong>[is] <strong>the concerts that seem to be drawing more people are the ones that have some contemporary music on it. I&#8217;m not sure what shifted during the pandemic, but something did, and I can tell from quite a few of the concerts I have been to have been sold out. A lot of times I see orchestras just doing the same pieces over and over again, the audiences are shrinking.</strong></p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-Higdon-Photo-by-Andrew-Bogard-Courtesy-JenniferHigdon.com_-300x169.jpg" alt="" class="wp-image-19378" srcset="https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-Higdon-Photo-by-Andrew-Bogard-Courtesy-JenniferHigdon.com_-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-Higdon-Photo-by-Andrew-Bogard-Courtesy-JenniferHigdon.com_-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-Higdon-Photo-by-Andrew-Bogard-Courtesy-JenniferHigdon.com_-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-Higdon-Photo-by-Andrew-Bogard-Courtesy-JenniferHigdon.com_-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-Higdon-Photo-by-Andrew-Bogard-Courtesy-JenniferHigdon.com_-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-Higdon-Photo-by-Andrew-Bogard-Courtesy-JenniferHigdon.com_-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-Higdon-Photo-by-Andrew-Bogard-Courtesy-JenniferHigdon.com_-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/10/Jennifer-Higdon-Photo-by-Andrew-Bogard-Courtesy-JenniferHigdon.com_.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Jennifer Higdon (Photo by Andrew Bogard/Courtesy JenniferHigdon.com)</figcaption></figure></div>


<p><strong>One of the things I encounter a lot is the number of people who come up to me and say, &#8220;Oh my God, I&#8217;m so glad to see a woman on the program.&#8221; I didn&#8217;t realize how much it meant to other people. I just am writing the music.<em>&nbsp;</em>But other people take it as my voice is heard from the orchestral stage. I think that&#8217;s more important than a lot of people may realize because it makes it more relevant in the community.&nbsp;</strong></p>



<p><strong>I always think of using music now to pull people in to hear an event or something that&#8217;s unusual and then program something else on that you really like. I fear that the audience is going to drop off too much. I think LA</strong> [Philharmonic] <strong>is doing an amazing job balancing that. It may be the orchestra that&#8217;s doing it probably better than anyone else.</strong></p>



<p>You works get performed a lot around the world. You&#8217;re right up there with Phillip Glass and John Adams. Let&#8217;s say you&#8217;re in rarified air.</p>



<p><strong>I&#8217;m lucky. I have like 250 performances a year, so I get pieces that are just repeated much more than Mozart or Beethoven ever heard in their lifetime. That&#8217;s actually an incredible, miraculous thing when I think about it.</strong></p>



<p><strong>I think that more people will get more performances if artistic administrators were looking around, were aware of more composers coming up. It&#8217;s ironic. I&#8217;m talking to you in L.A. The L.A. Phil is literally the last major orchestra in the United States who has not done my music. I think I&#8217;ve worked probably with 700 or 800 orchestras around the world. But the L.A. Phil is literally the only one that I&#8217;ve not had a performance with and I get asked about that now all the time. It&#8217;s unusual because</strong> [1999&#8217;s] <strong><em>Blue Cathedral</em>, we&#8217;ve had 800 orchestras do that piece and even that hasn&#8217;t been in L.A. I&#8217;m sure it&#8217;ll get corrected in the next couple of years.<em>&nbsp;</em></strong></p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Jennifer Higdon - blue cathedral - Stéphane Denève | Made in America" width="696" height="392" src="https://www.youtube.com/embed/Gr2Tps5cgc4?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
</div></figure>



<p>Edith Wharton is quoted as having said, &#8220;The air of ideas is the only air worth breathing.&#8221; How does the air of ideas inspire you as you move forward throughout your career?</p>



<p><strong>It seems to me like anyone who is creative just lives in the era of ideas. Although I do know a lot of composers who struggle. If you&#8217;re able to actually write every day that tends to make the air produce more ideas. But I think you have to always be thinking. A lot of times people only get to work some small amount of time on a job. I think it&#8217;s hard to kind of air out the laundry and and get fresh ideas in what you&#8217;re doing. So it&#8217;s interesting. I know that&#8217;s a really good question. Isn&#8217;t that applicable to anyone doing anything creative, though?</strong></p>



<p>Without that air and without those ideas, we&#8217;re stuck.</p>



<p><strong>We&#8217;d be dead. It would not be an interesting world. Even the kids would come up with some cool idea of how to skateboard in a different way or something that&#8217;s also living in the air of ideas. That&#8217;s literally having your ideas fly through the air. But let&#8217;s look at the Wright brothers. Those are radical ideas. Same for astronauts and NASA. But I also realize that someone is cleaning a floor somewhere and they&#8217;re going, you know, there&#8217;s probably a better way to do this. The idea of raising kids, it takes constant creativity, always thinking. So I guess that quote is factual and is applicable to every human being that crosses this planet.</strong></p>



<p><em>To see the full interview with Jennifer Higdon, please go <a href="https://youtu.be/u64EtOgg44o">here</a>.</em></p>



<p>To learn more about <em>The Elements</em>, please go <a href="https://www.theelementsjoshuabell.com">here</a>.</p>



<p>Main Photo: Jennifer Higdon (Courtesy JenniferHigdon.com)</p>
<p>The post <a href="https://culturalattache.co/2023/10/24/composer-jennifer-higdon-lives-in-the-air-of-ideas/">Composer Jennifer Higdon Lives in the Air of Ideas</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>Opera Interview Highlights from 2022</title>
		<link>https://culturalattache.co/2022/12/30/opera-interview-highlights-from-2022/</link>
					<comments>https://culturalattache.co/2022/12/30/opera-interview-highlights-from-2022/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Fri, 30 Dec 2022 08:01:00 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Opera: Bravo]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[Christian Reif]]></category>
		<category><![CDATA[Du Yun]]></category>
		<category><![CDATA[Elīna Garanča]]></category>
		<category><![CDATA[Étienne Dupuis]]></category>
		<category><![CDATA[Kevin Puts]]></category>
		<category><![CDATA[opera]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=17601</guid>

					<description><![CDATA[<p>Dupuis, Garanča,  Gordon, Puts, Reif and Du Yun</p>
<p>The post <a href="https://culturalattache.co/2022/12/30/opera-interview-highlights-from-2022/">Opera Interview Highlights from 2022</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<p>We may be living in a golden age for opera. It certainly seems so in the discussions we had with composers and artists. Here are are opera interview highlights from 2022.</p>



<p>Composer <a href="https://culturalattache.co/2022/01/27/composer-ricky-ian-gordon-writes-his-italian-opera/" target="_blank" rel="noreferrer noopener">Ricky Ian Gordon</a> had two operas produced this year: <em>Intimate Apparel</em> at Lincoln Center and <em>The Garden of the Finzi-Continis</em> by New York City Opera. We focused on the latter when we spoke with him early this year. Because of some strong language, you&#8217;ll have to watch this one on our <a href="https://www.youtube.com/watch?v=tsKo6Tk162w&amp;t=19s" target="_blank" rel="noreferrer noopener">YouTube channel</a> as it is age restricted.</p>



<p>Mezzo-soprano <a href="https://culturalattache.co/2022/03/11/mezzo-soprano-elina-garanca-believes-in-the-magic-of-opera/" target="_blank" rel="noreferrer noopener">Elīna Garanča</a> talked about her career and more with us in March. It has proven to be one of our most popular interviews.</p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Elīna Garanča: The Cultural Attaché Interview   SD 480p" width="696" height="392" src="https://www.youtube.com/embed/DV0pcDeAzuo?start=6&#038;feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>We spoke with baritone <a href="https://culturalattache.co/2022/03/23/baritone-etienne-dupuis-strives-for-perfection/" target="_blank" rel="noreferrer noopener">Etienne Dupuis</a> while he was performing the five-act French language original version of <em>Don Carlos</em> at the Metropolitan Opera.</p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Etienne Dupuis: The Cultural Attaché Interview   SD 480p" width="696" height="392" src="https://www.youtube.com/embed/QlfIvxfJBwU?start=2&#038;feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>Pulitzer Prize-winning composer <a href="https://culturalattache.co/2022/04/12/composer-du-yun-explores-21st-century-manhood/" target="_blank" rel="noreferrer noopener">Du Yun</a> talked to us in advance of the world premiere of <em>In Our Daughter&#8217;s Eyes</em> in Los Angeles.</p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Du Yun: The Cultural Attaché Interview   SD 480p" width="696" height="392" src="https://www.youtube.com/embed/SAe22stNWr8?start=6&#038;feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>The most eagerly-anticipated new opera this year was <em>The Hours</em> by composer <a href="https://culturalattache.co/2022/11/22/composer-kevin-puts-discusses-his-new-opera-the-hours/" target="_blank" rel="noreferrer noopener">Kevin Puts</a> and librettist Greg Pierce. We talked to Puts in advance of a concert performance of the work before it was fully staged at the Metropolitan Opera. </p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Kevin Puts: The Cultural Attaché Interview   HD 720p" width="696" height="392" src="https://www.youtube.com/embed/0FH1vbtHfOU?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>Last week we published our interview with conductor/pianist <a href="https://culturalattache.co/2022/12/20/christian-reif-reworks-john-adamss-el-nino/" target="_blank" rel="noreferrer noopener">Christian Reif</a> about <em>El Niño: Nativity Reconsidered</em>. Reif, in collaboration with <a href="https://culturalattache.co/2022/11/02/soprano-julia-bullock-wants-to-rock-your-soul/" target="_blank" rel="noreferrer noopener">Julia Bullock</a> (his partner), truncated the John Adams opera <em>El Niño</em> into a one-hour work. We also discussed Bullock&#8217;s first album, <em>Walking in the Dark</em>, which finds Reif conducting and accompanying her and his very new role as a father.</p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Christian Reif: The Cultural Attaché Interview   HD 720p" width="696" height="392" src="https://www.youtube.com/embed/12evzHIJMMU?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>Those are just a few of our opera interview highlights from 2022. Please go to our <a href="https://www.youtube.com/@attache4culture/featured" target="_blank" rel="noreferrer noopener">YouTube channel</a> to see all of our interviews and to subscribe. </p>



<p>Photo: Elīna Garanča (©Sarah Katharina/Courtesy GM Art &amp; Music)</p>
<p>The post <a href="https://culturalattache.co/2022/12/30/opera-interview-highlights-from-2022/">Opera Interview Highlights from 2022</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>Best of 2022</title>
		<link>https://culturalattache.co/2022/12/22/best-of-2022/</link>
					<comments>https://culturalattache.co/2022/12/22/best-of-2022/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Thu, 22 Dec 2022 18:21:15 +0000</pubDate>
				<category><![CDATA[Classical: Metronome]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Jazz in 5/4 Time]]></category>
		<category><![CDATA[Musicals: 5-6-7-8]]></category>
		<category><![CDATA[Opera: Bravo]]></category>
		<category><![CDATA[The Play's The Thing]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[A Strange Loop]]></category>
		<category><![CDATA[American Utopia]]></category>
		<category><![CDATA[Ariadne auf Naxos]]></category>
		<category><![CDATA[Arthur Miller]]></category>
		<category><![CDATA[Bells on Sand]]></category>
		<category><![CDATA[Bill Charlap]]></category>
		<category><![CDATA[Billy Strayhorn]]></category>
		<category><![CDATA[Cécile McLorin Salvant]]></category>
		<category><![CDATA[David Byrne]]></category>
		<category><![CDATA[Death of a Salesman]]></category>
		<category><![CDATA[Dee Dee Bridgewater]]></category>
		<category><![CDATA[Duke Ellington]]></category>
		<category><![CDATA[Eleri Ward]]></category>
		<category><![CDATA[Falling Out of Time]]></category>
		<category><![CDATA[Gerald Clayton]]></category>
		<category><![CDATA[Greg Pierce]]></category>
		<category><![CDATA[Gustavo Dudamel]]></category>
		<category><![CDATA[Holland Taylor]]></category>
		<category><![CDATA[Intimate Apparel]]></category>
		<category><![CDATA[Into the Woods]]></category>
		<category><![CDATA[J&#039;Nai Bridges]]></category>
		<category><![CDATA[Jakub Józef Orliński]]></category>
		<category><![CDATA[Joe's Pub]]></category>
		<category><![CDATA[Kevin Puts]]></category>
		<category><![CDATA[Kim David Smith]]></category>
		<category><![CDATA[Lena Hall]]></category>
		<category><![CDATA[Lise Davidsen]]></category>
		<category><![CDATA[Little Shop of Horrors]]></category>
		<category><![CDATA[Los Angeles Philharmonic]]></category>
		<category><![CDATA[Matthew López]]></category>
		<category><![CDATA[Metropolitan Opera]]></category>
		<category><![CDATA[Michael Tilson Thomas]]></category>
		<category><![CDATA[Mostly Marlene]]></category>
		<category><![CDATA[Neruda Songs]]></category>
		<category><![CDATA[Osvaldo Golijov]]></category>
		<category><![CDATA[Pasadena Playhouse]]></category>
		<category><![CDATA[Ricky Ian Gordon]]></category>
		<category><![CDATA[Sharon D. Clarke]]></category>
		<category><![CDATA[Steven Spielberg]]></category>
		<category><![CDATA[Terence Blanchard]]></category>
		<category><![CDATA[The Hours]]></category>
		<category><![CDATA[The Inheritance]]></category>
		<category><![CDATA[Tristan Project]]></category>
		<category><![CDATA[Wendell Pierce]]></category>
		<category><![CDATA[West Side Story]]></category>
		<category><![CDATA[Wynton Marsalis]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=17577</guid>

					<description><![CDATA[<p>Our favorite performances including Cabaret, Classical, Musicals, Operas and Plays</p>
<p>The post <a href="https://culturalattache.co/2022/12/22/best-of-2022/">Best of 2022</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<p>The end of the year calls for that annual ritual of the Best of 2022. We&#8217;ve had incredible opportunities to see numerous productions of musicals, operas and plays. We&#8217;ve also attended multiple cabaret, classical and jazz concerts. Here are the shows that still linger as we close out the year and have made it on our list of the Best of 2022.</p>



<p><strong><em>CABARET</em></strong></p>



<p>Two shows stood out for us this year. The first was Kim David Smith&#8217;s <em>Mostly Marlene</em> which we saw at Joe&#8217;s Pub in New York City. His gender-bending tribute to Marlene Dietrich was massively entertaining. This performance has apparently been recorded and will be released next year. Check it out. He&#8217;s got a great voice.</p>



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<iframe loading="lazy" title="Kim David Smith: In Your Eyes/Slow, live from Joe&#039;s Pub" width="696" height="392" src="https://www.youtube.com/embed/dd9mDApnqvw?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>The other show was <a href="https://culturalattache.co/2022/03/03/a-little-sondheim-music-with-eleri-ward/" target="_blank" rel="noreferrer noopener">Eleri Ward</a>&#8216;s concert &#8211; also at Joe&#8217;s Pub. Her lo-fi renditions of <a href="https://culturalattache.co/2021/11/29/my-friend-steve-sondheim/" target="_blank" rel="noreferrer noopener">Stephen Sondheim</a>&#8216;s songs seemed like just the tonic we needed during the pandemic when she first started posting videos filmed in her apartment. Ward ultimately received a recording contract and has her second album coming out next year on Ghostlight Records. She also opened for Josh Groban on his tour this year. </p>



<p><strong><em>CLASSICAL MUSIC</em></strong></p>



<p>This was a year in which Duke Ellington was acknowledged as being more than a jazz musician and composer. With that acknowledgment came long overdue recognition of Billy Strayhorn. The Los Angeles Philharmonic performed two different Ellington concerts in January called <em>Symphonic Ellington</em> and <em>Sacred Ellington</em> in January (with <a href="https://culturalattache.co/2022/02/16/pianist-gerald-clayton-is-in-a-intimate-mood/" target="_blank" rel="noreferrer noopener">Gerald Clayton</a> &#8211; whose <em>Bells on Sand</em> was one of the year&#8217;s best jazz albums &#8211;  appearing as a soloist for the first and a member of the ensemble for the latter). In December the perennial holiday classic <em>The Nutcracker</em> was performed. But rather than playing just Tchaikovsky&#8217;s music, the LA Phil also performed the Strayhorn/Ellington arrangements of music from the second half of the ballet.</p>



<p><a href="https://culturalattache.co/2022/05/31/jnai-bridges-enters-peter-lorraine-hunt-liebersons-world/" target="_blank" rel="noreferrer noopener">J&#8217;Nai Bridges</a> singing <em>Neruda Songs</em> by composer Peter Lieberson was also a highlight at the LA Phil. So, too, was seeing Maestro Michael Tilson Thomas performing Prokofiev&#8217;s 5th Symphony and also his own <em>Meditations on Rilke</em> was a great way to have begun 2022.</p>



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<iframe loading="lazy" title="J&#039;Nai Bridges performs Lieberson | Sound/Stage" width="696" height="392" src="https://www.youtube.com/embed/DpG7XpeJ2OE?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>Composer <a href="https://culturalattache.co/2022/10/25/osvaldo-golijov-takes-a-walk-on-the-grief-side/" target="_blank" rel="noreferrer noopener">Osvaldo Golijov</a>&#8216;s <em>Falling Out of Time</em> had a COVID-delayed LA debut when this staggeringly powerful work was performed at the Wallis in Beverly Hills.</p>



<p><strong><em>JAZZ</em></strong></p>



<p>Easily topping our list this year are Cécile McLorin Salvant&#8217;s concerts at Blue Note in New York City. We saw two shows and had we had the time and the ability we would have seen them all. Salvant performed music by Handel, original songs, a song from <em>Gypsy</em> and more. It was a truly memorable show. Her most recent album, <em>Ghost Song</em>, is one of the year&#8217;s best.</p>



<p>A close second were the two shows we saw Dee Dee Bridgewater and Bill Charlap perform. We first saw this remarkable pair at Catalina Jazz Club in Hollywood. We caught a second show at the Oasis Music Festival in Palm Springs. </p>



<p><a href="https://culturalattache.co/2022/08/02/this-is-the-golden-age-of-terence-blanchard/" target="_blank" rel="noreferrer noopener">Terence Blanchard</a> at the Ford Theatre and Wynton Marsalis performing <em>All Rise</em> at the Hollywood Bowl also easily make our list.</p>



<p><strong><em>MUSICALS</em></strong></p>



<p>You might quibble with us about one of these, but here goes:</p>



<p>Our favorite musical of the year was the Tony Award-winning musical <em>A Strange Loop</em> at the Lyceum Theatre in New York City. Bold, adventurous, thought-provoking and moving, this is everything a musical should be &#8211; at least to us. The show is still running but only until January 15th. We strongly recommend seeing it. For tickets and more information, please go <a href="https://strangeloopmusical.com" target="_blank" rel="noreferrer noopener">here</a>.</p>



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<iframe loading="lazy" title="The 75th Annual Tony Awards  A Strange Loop Performance on CBS" width="696" height="392" src="https://www.youtube.com/embed/barhZIdDa_Q?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>The revival of <em>Little Shop of Horrors</em> was absolutely delightful. Two hours of entertainment that makes you forget about everything else going on in the world. When we saw the show Lena Hall was playing &#8220;Audrey&#8221; and Rob McClure was &#8220;Seymour.&#8221; Hall is still in the show and her new <em>Seymour</em> is Tony Award-winner Matt Doyle. The show has an open-ended run. For tickets and more information, please go <a href="https://www.littleshopnyc.com" target="_blank" rel="noreferrer noopener">here</a>.</p>



<p><em>Into the Woods</em>, which began its life at New York City Center&#8217;s <em>Encores</em> series, was pure pleasure from the first note to the last. If you are or will be in New York, you can still catch it at the St. James Theatre until January 8th. A <a href="https://intothewoodsbway.com" target="_blank" rel="noreferrer noopener">US tour</a> begins in February. For tickets and more information, please go <a href="https://intothewoodsbway.com/#top" target="_blank" rel="noreferrer noopener">here</a>.</p>



<p>David Byrne&#8217;s <em>American Utopia</em> doesn&#8217;t quite qualify as a musical per se, but it was another utterly enjoyable show. We also saw Steven Spielberg&#8217;s <em>West Side Story</em> at the Hollywood Bowl with live orchestral accompaniment by the Los Angeles Philharmonic conducted by Gustavo Dudamel. That performance made Spielberg&#8217;s under-seen film even more powerful than when we first saw it in theaters.</p>



<p><strong><em>OPERA</em></strong></p>



<p>For the first time we finally saw a production at the Metropolitan Opera. <em>Ariadne auf Naxos&nbsp;</em>is not necessarily our favorite opera, but soprano Lise Davidsen&#8217;s powerfully strong voice could probably be heard in the lobby of the Met even with the doors closed. It was a staggering performance we will not soon forget.</p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Ariadne auf Naxos: “Es gibt ein Reich”" width="696" height="392" src="https://www.youtube.com/embed/Cn5oY1bupRI?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>Countertenor Jakub Józef Orliński gave an incredible recital at Broad Stage in Santa Monica. It was our first time seeing him and we can&#8217;t wait for the opportunity to see Orliński in an opera production. We also have to give him special mention for his patience. Someone&#8217;s cell phone alarm went off and either the owner was oblivious to the noise or didn&#8217;t care. Orliński stopped the show, sat downstage and said he&#8217;d wait it out. </p>



<p>Getting the opportunity to revisit the Los Angeles Philharmonic&#8217;s <em>Tristan Project</em> late this year was a treat. We had experienced it when it first happened and its return was more than welcome (and perhaps a bit overdue). This collaboration with Bill Viola, Peter Sellars and the LA Phil remains breathtaking.</p>



<p><a href="https://culturalattache.co/2022/11/22/composer-kevin-puts-discusses-his-new-opera-the-hours/" target="_blank" rel="noreferrer noopener">Kevin Puts</a> and Greg Pierce turned Michael Cunningham&#8217;s novel <em>The Hours</em> into a mesmerizing and emotional new opera. Written for Renée Fleming, Joyce DiDonato and Kelli O&#8217;Hara, this is an opera we experienced through the Met Live in HD simulcast. </p>



<p><em>Intimate Apparel</em> by composer <a href="https://culturalattache.co/2022/01/27/composer-ricky-ian-gordon-writes-his-italian-opera/" target="_blank" rel="noreferrer noopener">Ricky Ian</a> Gordon and librettist Lynn Nottage was absolutely first-rate at Lincoln Center. Nottage did a wonderful job adapted her own play for this opera. Gordon wrote a stunning score. The end result is an opera that is equally as powerful as the play.</p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="No One Does it For Us | Intimate Apparel | Great Performances on PBS" width="696" height="392" src="https://www.youtube.com/embed/fa1d1lofP7M?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p><strong><em>PLAYS</em></strong></p>



<p>We&#8217;ve always loved Arthur Miller&#8217;s <em>Death of a Salesman</em>. But until the new Broadway revival, we never had such a visceral and emotional response to Willy Loman&#8217;s story. That&#8217;s largely attributable to the impeccable performances of the entire cast including Wendell Pierce, Sharon D. Clarke, McKinley Belcher III, Khris Davis and André De Shields. By now you know this is a Black Loman family. That gave Miller&#8217;s piece an added resonance that no doubt contributed to the tears streaming down our faces. The use of music was brilliant. The show is still running at the Hudson Theatre in New York through January 15th. For tickets and more information, please go <a href="https://salesmanonbroadway.com" target="_blank" rel="noreferrer noopener">here</a>.</p>


<div class="wp-block-image">
<figure class="aligncenter size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://culturalattache.co/wp-content/uploads/2022/12/Wendell-Pierce-and-Sharon-D.-Clarke-in-22Death-of-a-Salesman22-Photo-by-Joan-Marcus-1-1024x576.jpg" alt="" class="wp-image-17580" srcset="https://culturalattache.co/wp-content/uploads/2022/12/Wendell-Pierce-and-Sharon-D.-Clarke-in-22Death-of-a-Salesman22-Photo-by-Joan-Marcus-1-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2022/12/Wendell-Pierce-and-Sharon-D.-Clarke-in-22Death-of-a-Salesman22-Photo-by-Joan-Marcus-1-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2022/12/Wendell-Pierce-and-Sharon-D.-Clarke-in-22Death-of-a-Salesman22-Photo-by-Joan-Marcus-1-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2022/12/Wendell-Pierce-and-Sharon-D.-Clarke-in-22Death-of-a-Salesman22-Photo-by-Joan-Marcus-1-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2022/12/Wendell-Pierce-and-Sharon-D.-Clarke-in-22Death-of-a-Salesman22-Photo-by-Joan-Marcus-1-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2022/12/Wendell-Pierce-and-Sharon-D.-Clarke-in-22Death-of-a-Salesman22-Photo-by-Joan-Marcus-1-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2022/12/Wendell-Pierce-and-Sharon-D.-Clarke-in-22Death-of-a-Salesman22-Photo-by-Joan-Marcus-1-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2022/12/Wendell-Pierce-and-Sharon-D.-Clarke-in-22Death-of-a-Salesman22-Photo-by-Joan-Marcus-1.jpg 1920w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">Wendell Pierce and Sharon D. Clarke in &#8220;Death of a Salesman&#8221; (Photo by Joan Marcus)</figcaption></figure></div>


<p>Perhaps nothing moved us as much as the last 15 minutes of the first half of Matthew López&#8217;s <em>The Inheritance</em> at the Geffen Playhouse. There wasn&#8217;t a dry eye in the house. If the second part of this mammoth work doesn&#8217;t end up resonating as strongly as the first, it was still a powerful day in the theater (It&#8217;s nearly 7 hours long). </p>



<p>Watching Holland Taylor as the late Ann Richards (former Texas governor) at the Pasadena Playhouse was an opportunity to watch a master class in acting. </p>



<p>That&#8217;s our complete list of the Best of 2022! What will inspire and move us in 2023? Come back to find out and to meet the artists, creators, performers and more who make it happen.</p>



<p>Happy Holidays and Happy New Year!</p>



<p>Photo: Cécile McLorin Salvant at Blue Note New York (Photo by Craig L. Byrd)</p>
<p>The post <a href="https://culturalattache.co/2022/12/22/best-of-2022/">Best of 2022</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>UPDATED: Composer Kevin Puts Discusses &#8220;The Hours&#8221;</title>
		<link>https://culturalattache.co/2022/11/22/composer-kevin-puts-discusses-his-new-opera-the-hours/</link>
					<comments>https://culturalattache.co/2022/11/22/composer-kevin-puts-discusses-his-new-opera-the-hours/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Tue, 22 Nov 2022 18:45:00 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Opera: Bravo]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[David Hare]]></category>
		<category><![CDATA[Greg Pierce]]></category>
		<category><![CDATA[interview]]></category>
		<category><![CDATA[Joyce DiDonato]]></category>
		<category><![CDATA[Julianne Moore]]></category>
		<category><![CDATA[Kelli O'Hara]]></category>
		<category><![CDATA[Kevin Puts]]></category>
		<category><![CDATA[Meryl Streep]]></category>
		<category><![CDATA[Metropolitan Opera]]></category>
		<category><![CDATA[Michael Cunningham]]></category>
		<category><![CDATA[Mrs. Dalloway]]></category>
		<category><![CDATA[Nicole Kidman]]></category>
		<category><![CDATA[opera]]></category>
		<category><![CDATA[Philadelphia Orchestra]]></category>
		<category><![CDATA[Renée Fleming]]></category>
		<category><![CDATA[The Hours]]></category>
		<category><![CDATA[Virginia Woolf]]></category>
		<category><![CDATA[World Premiere]]></category>
		<category><![CDATA[Yannick Nézet-Séguin]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=16025</guid>

					<description><![CDATA[<p>"The emotional situations; I live for these these things as a composer. I live for the moments when I can let these situations wash over me and let music come out. This is why I do it."</p>
<p>The post <a href="https://culturalattache.co/2022/11/22/composer-kevin-puts-discusses-his-new-opera-the-hours/">UPDATED: Composer Kevin Puts Discusses &#8220;The Hours&#8221;</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<p>On November 22nd the Metropolitan Opera will give the world premiere production of <a href="https://www.metopera.org/season/2022-23-season/the-hours/" target="_blank" rel="noreferrer noopener"><em>The</em> <em>Hours</em></a> by composer Kevin Puts and librettist Greg Pierce. The production runs through December 15th. The December 10th performance will be screened around the world as part of <a href="https://www.metopera.org/season/in-cinemas/2022-23-season/the-hours/" target="_blank" rel="noreferrer noopener">Met Opera&#8217;s <em>Live in HD</em></a> series.</p>



<p>This interview originally ran in March when the Philadelphia Orchestra was giving a concert performance of <em>The Hours</em>. We have updated this story with more details about the Met Opera production, clips from the production and additional comments from composer Puts. We have also posted the complete interview up on our <a href="https://www.youtube.com/channel/UCQfUdH08rahzGKm2Hcawq-g" target="_blank" rel="noreferrer noopener">YouTube channel</a>.</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2022/11/Kelli-OHara-Renee-Fleming-and-Joyce-DiDonato-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-300x169.jpg" alt="" class="wp-image-17417" srcset="https://culturalattache.co/wp-content/uploads/2022/11/Kelli-OHara-Renee-Fleming-and-Joyce-DiDonato-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2022/11/Kelli-OHara-Renee-Fleming-and-Joyce-DiDonato-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2022/11/Kelli-OHara-Renee-Fleming-and-Joyce-DiDonato-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2022/11/Kelli-OHara-Renee-Fleming-and-Joyce-DiDonato-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2022/11/Kelli-OHara-Renee-Fleming-and-Joyce-DiDonato-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2022/11/Kelli-OHara-Renee-Fleming-and-Joyce-DiDonato-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2022/11/Kelli-OHara-Renee-Fleming-and-Joyce-DiDonato-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2022/11/Kelli-OHara-Renee-Fleming-and-Joyce-DiDonato-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Kelli O&#8217;Hara, Renée Fleming and Joyce DiDonato in &#8220;The Hours&#8221; (Photo by Evan Zimmerman/Courtesy Met Opera)</figcaption></figure></div>


<p>The Met Opera production stars Joyce DiDonato as Virginia Woolf, Renée Fleming as Clarissa Vaughan and Kelli O&#8217;Hara as Laura Brown. These were the characters played by Nicole Kidman, Meryl Streep and Julianne Moore in the 2002 film. Both the movie and the opera are based on Michael Cunningham&#8217;s 1999 Pulitzer Prize-winning novel.</p>



<p>If you read the book or saw the film you&#8217;ll remember <em>The Hours</em> is about three women from different time periods who all have a connection to Virginia Woolf&#8217;s novel <em>Mrs. Dalloway</em>.</p>



<p>Also appearing in the opera are Kathleen Kim, Denyce Graves, <a href="https://culturalattache.co/2019/06/20/experiencing-love-happiness-with-john-holiday/" target="_blank" rel="noreferrer noopener">John Holiday</a>, Sean Panikkar and more. Yannick Nézet-Séguin will conduct all but the last Met Opera performance on December 15th. Kensho Watanabe will conduct that performance. The production is by Phelim McDermott (<i>Akhnate</i><em>n</em>).</p>



<p>&#8220;The idea came to me from Renée Fleming,&#8221; says composer Puts. &#8220;She was thinking about it and she thought how interesting to have an opera that takes place in three different time periods all at the same time. It was on her mind because she had just had lunch with Julianne Moore..&#8221; That&#8217;s how <em>The Hours</em> began its life as an opera written by Puts.</p>



<p>Earlier this year I spoke via Zoom with Puts who won the Pulitzer Prize for his first opera, <em>Silent Night</em>. What follows are excerpts from that conversation that have been edited for length and clarity.</p>



<p>Virginia Woolf once asked, &#8220;Why are women so much more interesting to men than men are to women?&#8221; Your opera of <em>The Hours</em> is based on a novel written by a man who was inspired by Woolf and is being created and directed by three men. What would you say to Woolf if given the opportunity to address her question?</p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="169" height="300" src="https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-Photo-by-David-White-169x300.jpg" alt="" class="wp-image-16031" srcset="https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-Photo-by-David-White-169x300.jpg 169w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-Photo-by-David-White-576x1024.jpg 576w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-Photo-by-David-White-768x1365.jpg 768w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-Photo-by-David-White-864x1536.jpg 864w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-Photo-by-David-White-696x1237.jpg 696w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-Photo-by-David-White-1068x1899.jpg 1068w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-Photo-by-David-White-236x420.jpg 236w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-Photo-by-David-White.jpg 1080w" sizes="auto, (max-width: 169px) 100vw, 169px" /><figcaption class="wp-element-caption">Composer Kevin Puts (Photo by David White)</figcaption></figure></div>


<p><strong>I can&#8217;t answer why, but I would say for me women are more interesting as characters. I don&#8217;t know why. I love operas like Billy Budd, but these characters are fascinating and I like writing for the female voice very much. </strong></p>



<p><strong>Just before speaking with you I had the television on and I was flipping channels around and the movie <em>Aliens</em> was on. It&#8217;s the same thing,</strong> [director] <strong>James Cameron is fascinated with female heroines in his story. I don&#8217;t know exactly why.</strong></p>



<p><strong>My first opera was basically almost all men and now I&#8217;m starting to get my musical mind around having melodies that are essentially around middle &#8220;c&#8221; on the piano. That is a different kind of thing because then the harmony has to be in a different place, et cetera. I don&#8217;t like to get too technical, but it&#8217;s very natural for me to write for women&#8217;s voices. But that is a very Virginia Woolf thing to say and probably true as well.</strong></p>



<p>You mentioned that, like the novel, your opera takes place in three different time periods. Musically how are those time periods reflected and is that necessary for an audience to stay on course with the story you are telling?</p>



<p><strong>The piece has a very kind of otherworldly and kind of mystical feel to it. But definitely we want the audience to know what&#8217;s going on.</strong></p>



<p><strong>I didn&#8217;t have a real premeditated idea that there would be three different types of music, which would be extremely different and would signify the different characters. But I think it just happened naturally.</strong></p>



<p><strong>Virginia Woolf feels trapped in Richmond and she wants the wildness of the city. So there&#8217; s a musical language and certain elements of that language which describe that for me. Then there&#8217;s her sort of manic desire for London. So there&#8217;s that kind of dichotomy in her music.</strong></p>



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<iframe loading="lazy" title="The Hours: “She may pick up her pen”" width="696" height="392" src="https://www.youtube.com/embed/1NOawl9-TQg?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
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<p><strong>Laura Brown, the middle period character, was living outside of Los Angeles after World War II. WIth her husband and her three-year-old son, she feels trapped in sort of an alien domestic world that is not natural for her. So there&#8217;s a way of describing the world that she can&#8217;t fit into, which has its own language.</strong></p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="The Hours: “How is it possible?”" width="696" height="392" src="https://www.youtube.com/embed/YaZzsS-THRo?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
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<p><strong>Clarissa, Renée Fleming&#8217;s character, has a kind of musical language that is characterized by Clarissa&#8217;s eternal optimism and radiance. She thinks everything will be fine if we just have the perfect party and we get the flowers exactly right. </strong></p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="The Hours: “Here on this corner”" width="696" height="392" src="https://www.youtube.com/embed/tRu4KaOAFxk?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
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<p><strong>I really do think of them as musical environments. They&#8217;re not leitmotifs, but they&#8217;re languages that I think are associated with the different characters and their situations.</strong></p>



<p>This opera has been in the works for quite some time with Fleming, O&#8217;Hara and DiDonato attached. Did that allow you to write specifically for their voices?</p>



<p><strong>It was very much written for the three of them because we hadn&#8217;t started writing yet. So I knew who we were writing for. I knew Renee&#8217;s voice very well having done a couple of projects with her. And I knew Kelli O&#8217;Hara&#8217;s voice from musical theater. I was talking to her a lot and finding out that she actually has an incredible range and she can sing the lyric soprano roles. And, of course, I knew Joyce DiDonato&#8217;s voice. The piece will continue to be written for the three of them over the next several months.</strong></p>



<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="The Hours: Final Trio" width="696" height="392" src="https://www.youtube.com/embed/vpg8gAdpHlc?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p><strong>I really think that&#8217;s crucial for an opera to make sure that the principles really feel like they can deliver with their parts. It&#8217;s funny how minute the changes can be and sometimes that makes a big difference to them. It&#8217;s easy for me and actually really satisfying for me to develop these roles within the parts of their voice that work given the situation.</strong></p>



<p>How did Greg Pierce become the writer you wanted to adapt Cunningham&#8217;s novel and create the libretto?</p>



<p><strong>Greg had only done one opera, <em>Fellow Travelers</em>, which is a really successful opera with Gregory Spears. I read the libretto and I really liked it. I also liked the fact that he hadn&#8217;t done a lot of operas. He had done work in other areas: screenplays, et cetera. He showed me some poems that he wrote. I knew there would be a poetic element to the language. It&#8217;s what inspires me. I think that there has to be some poetry in the libretto. His enthusiasm for <em>The Hours</em> was clear. He had been thinking about it for years as a possibility as an opera. In our first conversation I felt like we were already writing it. It just felt natural once I met him.</strong></p>



<p>In the spring of 2021 you had a workshop of the music with Cincinnati Opera. What did you and Greg learn from that session and how did it inform the subsequent work you&#8217;ve done on <em>The Hours</em>?</p>



<p><strong>My score was marked in red. I just went to work immediately. Once you figure out what you need to do you just want to forget the past like it never happened.</strong></p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2022/11/Kyle-Ketelsen-and-Renee-Fleming-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1-300x169.jpg" alt="" class="wp-image-17419" srcset="https://culturalattache.co/wp-content/uploads/2022/11/Kyle-Ketelsen-and-Renee-Fleming-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2022/11/Kyle-Ketelsen-and-Renee-Fleming-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2022/11/Kyle-Ketelsen-and-Renee-Fleming-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2022/11/Kyle-Ketelsen-and-Renee-Fleming-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2022/11/Kyle-Ketelsen-and-Renee-Fleming-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2022/11/Kyle-Ketelsen-and-Renee-Fleming-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2022/11/Kyle-Ketelsen-and-Renee-Fleming-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2022/11/Kyle-Ketelsen-and-Renee-Fleming-in-22The-Hours22-Photo-by-Evan-Zimmerman-Courtesy-Met-Opera-1.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Kyle Ketelsen and Renée Fleming in &#8220;The Hours&#8221; (Photo by Evan Zimmerman/Courtesy Met Opera)</figcaption></figure></div>


<p><strong>I think that one of the really crucial scenes in the opera</strong> <strong>was entirely re-written. It&#8217;s a complicated scene actually. A couple of scenes between Clarissa and Richard. I need to work really hard at dialogue. I feel like it should all feel like part of a seamless musical flow and there should be real singing in the dialogue. It should flow naturally like a conversation that kind of ebbs and flows. So those scenes, in some ways, require the most work.</strong></p>



<p>How did that work in the middle of the pandemic?</p>



<p><strong>That was a heroic thing that they did. We were all in a massive ballroom and there were twelve singers &#8211; all of the masked in little separate booths with microphones. The pianist and the conductor were in the middle of the room and none of us could approach each other. But we got through the entire opera and we learned a ton from it. </strong></p>



<p>Given that <em>Mrs. Dalloway</em> is so revered, as is the language of Virginia Woolf and that <em>The Hours</em> is revered both as a book and a movie for the language that Cunningham and screenwriter David Hare used, what challenges do you face in continuing with a successful telling of this story?</p>



<p><strong>I think it always is the case when you&#8217;re working with a property that&#8217;s really known. It&#8217;s inevitable.<em>&nbsp;</em>They&#8217;re going to be reactions like &#8220;well, it&#8217;s not like this. And I love the book and it&#8217;s too bad that it&#8217;s not this way and that way.&#8221; It was certainly true of <em>The Manchurian Candidate</em>, my second opera. It was the same kind of challenge.</strong></p>



<p><strong>But I felt like when I began composing that I was doing things on my own terms. It just feels different &#8211; just the nature of the piece. I feel like it&#8217;s its own thing and it&#8217;s not going to feel like the book. It&#8217;s not going to feel like the film. The music has its own personality, I hope. But yeah, that&#8217;s definitely a challenge. I hope that people will listen to it on its own terms.</strong></p>



<p>The nice thing is the book and the film will still exist independent of the opera. </p>



<p><strong>As soon as Renée mentioned the book I started thinking about the possibilities that can happen on an opera stage that cannot happen in a film. You can&#8217;t split the screen in three ways. These stories can begin to intermingle and overlap and they can sing duets that transcend time. That was what was really exciting about it for me because with the language of music and harmony it&#8217;s possible to do that. So that&#8217;s why I wanted to do it.</strong></p>



<p><strong>I think about that all the time. What&#8217;s the point? But I think with this I really thought there was a point.</strong></p>


<div class="wp-block-image">
<figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="200" src="https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-300x200.jpg" alt="" class="wp-image-16032" srcset="https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-300x200.jpg 300w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-1024x683.jpg 1024w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-768x512.jpg 768w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-1536x1024.jpg 1536w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-2048x1365.jpg 2048w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-696x464.jpg 696w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-1068x712.jpg 1068w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-1920x1280.jpg 1920w, https://culturalattache.co/wp-content/uploads/2022/03/Kevin-Puts-credit-David-White-06-630x420.jpg 630w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Composer Kevin Puts (Photo by David White)</figcaption></figure></div>


<p>Michael Cunningham said in an interview when the novel was released<em> </em>that he felt that he entered into some kind of maturity with <em>The Hours </em>and that it was something only he could have written. I&#8217;m wondering if you could compare your own thoughts about your perspective of having written this opera at this point in your life and whether you&#8217;ve reached a certain kind of maturity and if only you could have written this.</p>



<p><strong>I don&#8217;t feel that I&#8217;m the only composer who could have written this. But I do think that the way I like to approach opera is well suited to this story. The emotional situations; I live for these these things as a composer. I live for the moments when I can let these situations wash over me and let music come out. This is why I do it. </strong></p>



<p><strong>I think as far as maturity, I feel like now I understand how to not only how to write for voice and how to set the English language and the way I want to that really extracts all the musicality that&#8217;s possible out of it. i really love to set English as a language. But also I feel like I&#8217;ve kind of tempered my, what is often described in <em>Silent Night</em>, as a kind of a poly-stylistic approach. I&#8217;ve tempered that in a way that feels like it&#8217;s more cohesive and more kind of all me, even though there are references to different stylistic things that occur in the piece. So yeah, I feel like it was a good time for me to write this opera.</strong></p>



<p><em>To see the full conversation with Kevin Puts, please go <a href="https://youtu.be/0FH1vbtHfOU" target="_blank" rel="noreferrer noopener">here</a>.</em></p>



<p>Main Photo: Composer Kevin Puts (Photo by David White)</p>
<p>The post <a href="https://culturalattache.co/2022/11/22/composer-kevin-puts-discusses-his-new-opera-the-hours/">UPDATED: Composer Kevin Puts Discusses &#8220;The Hours&#8221;</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>Liaisons: 36 Composers Adapt Stephen Sondheim’s Most Famous Works</title>
		<link>https://culturalattache.co/2015/10/07/liaisons-36-composers-adapt-stephen-sondheims-most-famous-works/</link>
					<comments>https://culturalattache.co/2015/10/07/liaisons-36-composers-adapt-stephen-sondheims-most-famous-works/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Wed, 07 Oct 2015 19:59:00 +0000</pubDate>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Anthony de Mare]]></category>
		<category><![CDATA[David Rakowski]]></category>
		<category><![CDATA[ECM Records]]></category>
		<category><![CDATA[Ethan Iverson]]></category>
		<category><![CDATA[Kevin Puts]]></category>
		<category><![CDATA[Liaisons: Reimagining Stephen Sondheim From the Piano]]></category>
		<category><![CDATA[Milton Babbit]]></category>
		<category><![CDATA[Rachel Colbert]]></category>
		<category><![CDATA[Stephen Sondheim]]></category>
		<category><![CDATA[Steve Reich]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=16166</guid>

					<description><![CDATA[<p>"I wanted people who felt like they had a connection to Sondheim’s work or who were influenced by and felt strongly about it. Some know the canon of his work much better than others."</p>
<p>The post <a href="https://culturalattache.co/2015/10/07/liaisons-36-composers-adapt-stephen-sondheims-most-famous-works/">Liaisons: 36 Composers Adapt Stephen Sondheim’s Most Famous Works</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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<p>In the opening song of the second act of&nbsp;<em>Sunday in the Park With George</em>, present-day George sings about the challenges of getting commissions (among other things). Nobody can relate to the hardships of brokerage better than Anthony de Mare, who has spent four years compiling various&nbsp;piano transcriptions of composer Stephen Sondheim’s work by a wide range of his contemporaries. The results of that work,&nbsp;<em><a href="https://www.facebook.com/TheLiaisonsProject" target="_blank" rel="noreferrer noopener">Liaisons Re-Imagining Sondheim From the Piano</a>,&nbsp;</em>were recently released in a 3-CD package by ECM Records.&nbsp;Here de Mare talks about process, the people who did (and didn’t) participate on the record, and why he embarked on this project in the first place.</p>



<p><strong>How did you come up with this concept?<br></strong>This started with a dream of mine in the mid-1980s. I was basing this on Franz Liszt, who in his time was making opera transcriptions. People like Earl Wild made all those wonderful piano arrangements of Gershwin; Art Tatum was doing Cole Porter and Gershwin<strong>—</strong>there are&nbsp;composers who have embedded themselves into the musical culture and make an impact over generations. This is one of the reasons I felt it was time to do this for Sondheim.</p>



<p><strong>How did you find composers for this project?<br></strong>I wanted people who felt like they had a connection to Sondheim’s work or who were influenced by and felt strongly about it. Some know the canon of his work much better than others. When I worked with producer Rachel Colbert, we cast the net to other genres. It was going to start with 15 to 20 pieces, and it went up to 36. With Sondheim’s support and his ideas, it just kept expanding. It’s a project that has dictated its own path. Whether it was financial or artistic, each shift always proved a positive direction. It was a real lesson in trusting the process of creating art.</p>



<p><strong>How were songs selected for inclusion?<br></strong>I had a wish list, and I had run that by Steve early on. He said most of the pieces would make good piano pieces. I gave [the composers] free choice. A couple composers were going to combine two of the songs.&nbsp;<em>Finishing the Hat</em>&nbsp;(from&nbsp;<em>Sunday in the Park with&nbsp;</em>George) was a big request. Steve Reich snatched it up very quickly. I was trying to get Reich to do&nbsp;<em>Someone in a Tree</em>&nbsp;(from&nbsp;<em>Pacific Overtures</em>) because Sondheim said Reich inspired his writing for&nbsp;<em>Pacific Overtures.&nbsp;</em>One song I love that I did not put on my list, because I didn’t think it would make for a piano piece because it’s so lyric, was&nbsp;<em>The Ladies Who Lunch</em>&nbsp;(from&nbsp;<em>Company</em>.) When talking to David Rakowski he looked at me and said, “Has anyone chosen&nbsp;<em>Ladies</em>?” He made this really incredible version. He gets the bitterness and sadness and pathos of the character.</p>



<p><strong>Were there composers you wanted who said no?<br></strong>Milton Babbit, Sondheim’s teacher, he was known for his complex music. He was going to revert back to the cabaret style he did as a young man, but he died before he could. Kevin Puts was invited first and had to turn it down because he was busy. Later he said he’d love to do it, but he won the Pulitzer and had to drop out again. John Corigliano turned it down. Pop composers like Billy Joel, Elton John, and Sting were too busy. We ended up with Duncan Sheik, and we were very happy.</p>



<p><strong>Did any of the transcriptions surprise you?<br></strong><a href="https://culturalattache.co/2022/02/15/jazz-musician-ethan-iverson-new-ways-of-combining-old-things/" target="_blank" rel="noreferrer noopener">Ethan Iverson</a>’s setting of&nbsp;<em>Send in the Clowns</em>&nbsp;(from&nbsp;<em>A Little Night Music)&nbsp;</em>is very unusual. At first I didn’t quite get what he was after, but he did describe it—there was this pick up band that was trying to do this piece but were interrupted by a pianist playing&nbsp;<em>Send in the Clowns</em>. He was attributing it to jazz clubs where you hear beyond the wall while trying to practice. I thought it was a very unusual setting. Some people hated it. It’s one of those iconic songs and they want to hear it they way it was written.</p>



<p><strong>What do you see as the future for projects like&nbsp;<em>Liaisons</em>&nbsp;with other Broadway composers?<br></strong>Theater and music have always been completely intertwined. In the future, we will see the composers—maybe Lin Manuel Miranda’s work 40 years from now will warrant a chamber version of pieces from his shows. The greatest songwriting composers of the day, they will always do that. I think the idea will live on. I’m just glad we have this body of work from Sondheim to put out in the world.</p>



<p><em>Originally published at LAMag.com on October 7, 2015.</em></p>



<p>Photo of Anthony de Mare by Paolo Soriani</p>
<p>The post <a href="https://culturalattache.co/2015/10/07/liaisons-36-composers-adapt-stephen-sondheims-most-famous-works/">Liaisons: 36 Composers Adapt Stephen Sondheim’s Most Famous Works</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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