Waites first recorded Price’s music in 1987. When she takes to the stage of CAP UCLA’s The Nimoy on January 16th, she will perform work by both women and will be offering the first-ever performances of newly discovered and edited music by Price. The concert is called Momentum: Time and Space.

Momentum indeed. Last September Waites released her fourth album, Reflections in Time which found her performing music by Bonds, Samuel Coleridge-Taylor and Jeremy Siskind.

Last week I spoke with Waites about her passion for this music, the current embrace of music – particularly Price’s, and about whether or not she considers herself a trailblazer. What follows are excerpts from our conversation that have been edited for length and clarity. To see the full interview with Waites, please go to our YouTube channel.

Q: You were one of the earliest proponents of the music of Florence Price, recording her work, I believe, in 1987. Did you imagine all that time ago that Florence Price would become one of the most performed composers in this decade? 

I really did not. You start out on a project, but you don’t really know how it’s all going to end. I did a cassette recording. A friend of mine, who did the first biography on Price, sent me a copy of the manuscript from the Library of Congress. She said, Althea, this would be a wonderful piece for you to learn. I didn’t know anything about the Price sonata or any of the other music. So I got the manuscript and started working on it. I was in Switzerland at the time and when I got back to the States, I made that a primary project. Then in 1993 I did the first commercial recording of the sonata along with some other short pieces that Price had composed.

Why do you think now is the time that Price has suddenly been embraced by major orchestras around the world and also soloists?

We’ve been talking a lot and experiencing a lot about diversity and inclusion. I’m old enough to remember growing up in the segregated South where music was being performed and it was a part of the cultural landscape. But certainly Black composers, performers were relegated to very limited kinds of opportunities. With the civil rights movement, all of the LGBTQ actions that are taking place now, there is interest in Florence Price’s music. 

In 2021, Classic FM had a list of the ten most important Black composers who changed the course of classical music history. There were only two women on the list: Florence Price and Margaret Bonds. What do you think their greatest contribution to classical music is?

They paved the way for traditional folk music that had been part of the Black experience to be included and to be recognized as a major component of that particular type [of music]. They were not away from doing European classical music or art music or the music of Mozart, Bach, Beethoven, etc. because they were classically trained. They incorporated all of that into their music. Price used the dances that came out of slavery and out of the music of the plantations in the South. Bonds did the same thing. Because of their classical experience, they also merged that particular form with everything else that they were doing. I think that that was their major contribution.

They paved the way for other women. They opened doors really for women at that time – even in my generation – to get out and play and perform and teach a lot of this music. Both Price and Bonds were teachers and fierce advocates for inclusion at a time when it was hardly popular.

You’re also a teacher. Do you think the act of performance is a lesson in teaching for anybody who gets to hear it? 

I totally agree. You can learn a lot, as I did just from listening to great artists and, of course, listening to it on the radio or television. A lot of my education, besides going to an academic institution, I went to concerts. My mother was a fierce advocate for having me experience all of that music.

We went to concerts in New Orleans, despite the fact that the large halls were not open to us. We heard the Met Opera every Saturday afternoon at 1:00. When I was old enough to read I would get the scores and follow along with whatever was going on. So teaching can happen in many ways, not just in a classroom. A lot of my education happened that way. 

You can’t find a lot of quotes by Margaret Bonds. But I did find one where she is quoted as having said, “Music has to be human and people have to like it. It has to move them spiritually and intellectually.” Do you agree with her and how does her music move you? 

I do agree. The whole idea is that people want to be moved by whatever it is that you do, whether you’re a pianist or if you play anything or if you’re a singer or whatever. If you cannot bring the emotional content to the experience that you have with your instrument, then I’ll say that you’ve fallen short of what your mission is. I think the primary mission is to move people emotionally so that when they walk out of the space, they say, wow, I heard something that really was special. I was really touched by that.

Does the music need to move you in order for you to play it?

Yes, I think so. I’m having that experience now with a couple of the things that I’m doing. There was a piece by Frederic Rzewski who was one of the primary exponents of social justice. He used a lot of those themes in his work. He wrote a piece called Down by the Riverside starting with [she sings] “I’m going to lay down my burden” and so on. Then in the middle of the piece it goes south. He takes a radical departure from the the tune that you’ve heard, which is very peaceful. All of a sudden you’re thrown into another world. That was the way he thought about it. At the end he brings all of that material back to the traditional tune. So, yeah, there must something in it, in any piece, that has to resonate with me. Otherwise, what’s the point?

Do you consider yourself a trailblazer? Somebody who has made it possible for younger generations who come up behind you to explore and make discoveries on their own of music, whether known or unknown?

I don’t want to pin any bouquets on myself. I mean, a lot of people have called me that. I say thank you. I appreciate that. What I believe is that whatever I have done in some small way, I’ll keep doing that. Whatever time I have left on the planet, I’m going to continue to support the younger generation. I don’t know if I would call myself a trailblazer. It’s nice to be thought of in that context, but, for me, it’s basically just doing the work. Doing some good work.

Quite some time ago there was a major discovery in Chicago in an apartment building that was being remodeled or a house that was being remodeled where they found a lot of Florence Price’s music, which helped further people’s awareness of Florence Price. Do you have optimism that maybe another miracle can occur and that we can find a lot more of this lost work somehow, somewhere?

I would think so, because people are really interested in it now. I do have to bring up at this juncture some work that a friend of mine, Michael Cooper [Professor of Music at Southwestern University], is now completing the first biography on Margaret Bonds. It was through him that I got these pieces that I’m going to premiere for The Nimoy concert.

Now he is a real trailblazer because Bonds lived in Los Angeles during the last 6 or 7 years of her life after Langston Hughes passed away. Michael has been doing research on where some of this music was. And I have a feeling that it’s going to happen with Price. He is also editing a lot of the music of Florence Price and he sends me things all the time about what he is working on. I owe him a great debt of gratitude because had it not been for him, I would not have known that these pieces exist.

What do you think the most important thing we as an audience can get from opening ourselves up to music? 

I think what has to happen with audiences is let’s get rid of the fear, if you will. Or the apprehension that you may have in your mind about, well, I’m not going to like this. You don’t know until you try and until you actually have the experience. Audiences have to really, I think, do more. And I think we should do more as artists to make that case to say, here is something new. It’s not going to attack you. I feel that’s part of my mission – to get people in the space. That’s where I am. A lot of the people that I work with are trying to get people out to listen.

How does the music you’ve recorded and the music you are now playing reflect where you are in your life today and the journey you’ve taken to get here?

I’m not getting any younger. I was telling my daughter that I’m never going to be 25 again, and that’s okay. I have to do a lot of things now that reflect where I am. I’ll be 85 at the end of this month. I’m grateful to be able to still go on. My body is changing and I have to do more now to stay in good shape. So I walk and I have a lot of exercises that I do. I don’t sit at the piano for ten hours! I practice, but I do get up and take my breaks and with tea and things like that. The exercises really help because if you’re not doing anything like that, then you really can’t present your best self to an audience.

I would also argue that music is a really great way of staying alive.

Oh goodness, yes. We need it now more than ever. The whole world is in a very agitated state. There’s a lot of horrible stuff that’s going on. Music is, I think, probably one of the most important tools. You can bring people together with that. It’s not that you have to say anything, but you can speak through your music. I think that that’s what Price and Bonds attempted to do.

That’s what you are able to do by performing the music.

I feel very, very grateful now to still be able to do this at this point in my life. Anybody else would be sitting in a rocking chair watching soap operas. But not me. 

To see the full interview with Althea Waites, please go here.

The post Pianist Althea Waites Has Bonds with Black Female Composers appeared first on Cultural Attaché.

A lot has been written about our lives today in the post-George Floyd era. For tenor Lawrence Brownlee, who made his Metropolitan Opera debut as Count Almaviva in Rossini’s Il Barbiere de Siviglia in 2007, not enough attention has been given to the triumphs of the African-American population in the United States.

So he set about creating a recording and concert called Rising that celebrates those triumphs through the work of poets from the Harlem Renaissance. Amongst the poets whose works have been set to music are Arna Wendell Bontemps, Joseph Seamon Cotter, Jr., Countee Cullen, Paul Laurence Dunbar, Georgia Douglas Johnson, James Weldon Johnson, Langston Hughes and Claude McKay.

Many of the works were newly commissioned by Brownlee for Rising. These include compositions from Jasmine Barnes, Shawn E. Okpebholo, Damien Sneed, Brandon Spencer and Joel Thompson. There are also compositions previously written by Margaret Bonds, Jeremiah Evans and Robert Owen.

On Thursday, March 23rd, he will perform Rising at Carnegie Hall in New York with pianist Kevin J. Miller who also appears on the album. That will be followed by appearances at the Kennedy Center on March 26th, the Kimmel Center in Philadelphia on March 29th, Ithaca College on April 1st and Ball State University in Muncie, Indiana on April 4th. The album will be released in June.

Earlier this month I spoke with Brownlee about Rising, the Harlem Renaissance and the poets chosen for the project. What follows are excerpts from our conversation that have been edited for length and clarity. To see the full interview, please go to our YouTube channel.

Writer, poet and activist Zora Neale Hurston, who established the Harlem Renaissance movement, said, “There are years that ask questions and years that answer.” Having commissioned Cycles of My Being, a song cycle about life as an African-American living in America by Tyshawn Sorey and Terrance Hayes in 2018 and now multiple composers for Rising, how would Hurston’s perspective apply to the time between these two projects and their relationship to one another? 

I believe as an artist that I’ve matured. I feel like I have a little bit more understanding what I want to say, what I feel like my audience is and my ability to get people interested using the writings of others. James Earl Jones talked about having a terrible stuttering problem and he had a theater teacher who told him that he could use the work of others to really be meaningful in his own work.

So I take the same thing and the work of Zora Neale Hurston, Langston Hughes, Jessie Redmond Fauset, Countee Cullen, Claude McKay and so many other people of the Harlem Renaissance that inspired us. A lot of people know about Langston Hughes and W.E.B. Du Bois, but they don’t know about James Weldon Johnson and some of the other people. What Zora Neale Hurston said, I think, is true. Time does focus you a bit. It gives you more insight. It gives you more perspective.

In the liner notes you say you wanted to create something that speaks “not just to our struggles but to our triumphs.” Has the attention, which is long overdue to the struggles, particularly post-George Floyd, meant that the triumphs have taken a backseat in both the national consciousness and in the conversation we’re having?

I think so. A lot of people focus on our struggles and they focus on the pain. These things are ubiquitous. They’re everywhere. They’re constant. People know about the suffering.

I specifically talked to these composers and said I want you all to choose your own text. We presented them with the texts. But I told them that I want them to focus, if they want to, on the joys, the passions, the triumphs. We love love. We love moving ahead in society. We love the positivity.

That’s what I wanted to show. I want to talk about the triumph, the joy, the relationships. That was really important in Rising.

Of the 29 selections that are on Rising, some of the compositions clearly predate the project. What was the process of selecting the other poems to be set to music and the composers who would write that music?

The thing I think Rising shows is that the wealth of the different voices and the different approaches in composition and their different influences. You could see some people were greatly influenced by jazz, some by gospel, some by a wide array of things, some by classical, some by Stravinsky. There’s a wealth of different styles and different voices that I hope people appreciate in this project.

There was one decision in the liner notes that I thought was particularly intriguing. You do not put any information as to who wrote which poems in the liner notes. After listening to it the first time, some of them I knew, but I spent the next 40 minutes looking them up to see who had written these poems. I assume you are trying to inspire people to be participants in this project?

Absolutely. I wanted people to go into search because if you put in Google “writers of the Harlem Renaissance,” there are not three. There are tons of them. People didn’t know who Arna Bontemps was. People didn’t know who some of these writers who have made such amazing contributions to to the canon of writing. I want people to go in that rabbit hole and to search. I’m thankful that I can be a part of the exploration. I hope people will take a really deep dive.

Amongst all the writers whose poetry is included in this album, it is no surprise that Langston Hughes is the predominant voice. What makes his poetry so appealing for a composer since countless composers have previously set his words to music? 

I think it’s accessible. I think there are some people who have a real gift. They are prolific in the writing. They can write on a number of different subjects. Langston Hughes is someone who’s been able to show that and demonstrated that – even with the six composers that we worked with on the album. Many of them focused on Langston Hughes. Not because it was easy, but because it inspired them.

Many of these composers that wrote for Rising, but also the ones before predating the project – and there are so many others that wrote with the words of Langston Hughes – did so because it was meaningful to them. They felt that they could say something with their own artistic voice using his work.

What are you able to say with your own artistic voice when you get to sing lines like “A lady named Day fainted away in the dark,” from Night Song which I think is spectacular. Or “In silence every tone I seek is heard” from Hughes’s Silence? 

[Composer] Robert Owens. I fell in love with his writing. Some of his songs are about 30 seconds, but they’re impactful. It gives me an opportunity to explore, to be expressive. Performing this recital that is all in English – as someone who does a lot of recitals that are different languages – and even in the different languages, I like to explore expressivity and to really be meaningful. But the weight of the word, how it falls on a language that is your own, it’s different.

“The lady named Day fainted away in the dark.” The setup for that has to be right so people feel the gravity of the situation. Using every tool that you can from a descriptive standpoint, but also a musical and artistic standpoint. I try to focus on the text and to couple it with what I’m given from the poet and the composer and my voice all come together, hopefully to create a special moment.

Langston Hughes knew there was a musicality to his his writing, didn’t he? 

Well, I think they all did. You have these people who being in the hot spotlight of New York. Could you imagine? The great jazzers, they were all there. Some of the great songstresses they were all there. New York was a hotbed. The great Sidney Poitier moved from Nassau, Bahamas, to be in New York City. He was a dishwasher before he became the great actor that he was. It was because he saw a movie with a cowboy on it and he wanted to be an actor. He came where? To New York.

The great Charlie Parker was in New York. The great Miles Davis was in New York. All these wonderful writers of the Harlem Renaissance. I’m sure that there was some cross-pollination and inspiration amongst themselves that maybe was even inspired by music they couldn’t get out of their head that Miles Davis played or the great Dizzy Gillespie played. It inspired their own creativity.

Do you think it’s possible to have another era like that?

Oh, I hope. I think it’s important for people of this time, like myself and others, to record. I think it’s something that we have to say. We want to contribute to the whole history of life and how it progresses even beyond 2000s into the 3000s. We can’t even think of that because I won’t be here in however many years from now. But I think people of this time have something to say about all the outside factors that affect who we are as people and artists. I think that will be important for people in the future. So much of what I’ve learned from these writers, from these musicians of the past, makes me the artist that I am today.

Langston Hughes was asked about the purpose of art and his response was “Perhaps the mission of an artist is to interpret beauty to people, the beauty within themselves.” How does Rising allow you to interpret the beauty within yourself and by extension, share that with your audience?

I like to think of myself as a vessel. But in being a vessel, I think people look at you and will make assertations about you. People will maybe size you up and try to imagine what it is that drives you. Being an expressive artist is sometimes about challenging my own self. What more can I do? What are the special moments that I can create? For me there is never a quantifiable perfect recital. I don’t think you can quantify what perfection is. But I think it is important as an artist to try and create special moments. The way that I can do that is with thought and intelligence.

I tell the students all time to make sure that you don’t ruin the payoff. Some of that is leading them to the water so they drink. But the time that they drink is by design. We can’t give them the payoff. That will be far more effective if it’s in the right place. So how do I do that? I do that with musicality, with intention, making sure the high point of whatever specific song is at a certain place.

That takes a lot of thinking. It’s not me just getting on stage singing the right notes and rhythms in the right times. It’s so much more than that. Someone told me the last thing you do is sing and all of the work comes beforehand. Getting that in line and having thought that out and gone through that, having performed it already, I feel now that I have a really good grip on what I want to say and being a more expressive artist.

To watch the full interview with Lawrence Brownlee, please go here.

Main Photo: Lawrence Brownlee (Photo by Zakiyah Caldwell Burroughs/Courtesy Warner Classics)

The post The Rising of Lawrence Brownlee appeared first on Cultural Attaché.

We have links in the title for most of the events we have listed here. That will make it easy for you to find your way directly to these exciting performances.

So let’s get to it. Here are your Best Bets at Home: September 11th – September 13th:

This Is a Man’s World – Latino Theater Company – Now – September 17th

In Los Angeles-based Latino Theater Company’s ongoing series of streaming archived performances, this week they have added Sal Lopez’s one-person show This Is a Man’s World.

The play opened in 2015 and takes a look at masculinity. Lopez combines monologue and music to relay the important events in his life. These include the Watts Riots, falling in love and the birth of his son.

This Is a Man’s World was directed by Jose Luis Valenzuela

Table of Silence Project 9/11 – Buglisi Dance Theatre and Lincoln Center – September 11th – 7:55 AM EDT/4:55 AM PDT

For the tenth anniversary of the 9/11 tragedy in 2011, Jacqulyn Buglisi, Artistic Director of Buglisi Dance Theatre, created Table of Silence Project 9/11. The work found over 150 dancers gradually making their way to Lincoln Center’s Josie Robertson Plaza. The plaintive call of a conch shell brings them together as music from a flute, bass drums, a trumpet, bells and the sounds of a chorus fill the space.

Three of her collaborators – Composer/Music Director Daniel Bernard Roumain, spoken-word poet Marc Bamuthi Joseph, and Buglisi Dance Theatre Co-Founder/Principal Dancer Terese Capucilli – have re-worked Table of Silence Project 9/11 for 2020.

There will be a new Prologue which will feature dancers from Buglisi Dance Theatre, Ailey II, Alison Cook Beatty Dance, Ballet Hispánico’s BHdos, The Juilliard School, Limón Dance Company, Martha Graham Dance Company. In addition to other dancers from the NYC community, violinist Daniel Bernard Roumain and poet Joseph will be joining this year’s performance.

The entire event will be streamed live with the following program:

A Prologue, performed live from Lincoln Center; welcome remarks from industry leaders; an excerpt from Buglisi’s Requiem, (choreographed in 2001 as an immediate response to the events of 9/11); the World Premiere of Études, a new three-minute film featuring more than 100 dancers from around the world who have been inspired by the Table of Silence Project 9/11 to create and submit small scale works recorded during the month of August and, finally, the full presentation of the 2019 Table of Silence Project 9/11.

If you cannot watch the event live, it will be available on-demand after its premiere.

Amanda Green AF in Q – Birdland – September 11th – 7:00 PM EDT/4:00 PM PDT

If you don’t know Amanda Green by name, you might be familiar with some of her work. She wrote the lyrics for the musical High Fidelity; lyrics with Lin-Manuel Miranda for Bring It On: The Musical; music with Trey Anastasio and lyrics for Hands on a Hardbody; additional material for the 2019 revival of Cole Porter’s Kiss Me Kate and additional lyrics for the 2015 revival of On the Twentieth Century.

Green has a distinct connection to the last musical. Her father, the late Adolph Green, co-wrote the music and lyrics for On the Twentieth Century with his long-time writing partner Betty Comden. In the interest of being fair to both parents, her mother was the late Phyllis Newman, a Tony Award winner for her performance in the musical Subways Are For Sleeping.

In one of the Radio Free Birdland! concerts filmed at the venue without an audience, Green performs along with her guests singer Natalie Douglas, singer/songwriter Curtis Moore and drummer Sean McDaniel. The music director is James Sampliner.

She’s working on a couple new musicals – including one with Jason Robert Brown and Billy Crystal. Perhaps there will be previews of the new material.

Tickets are $23.50.

The Royal Ballet’s Romeo and Juliet – Great Performances PBS – September 11th (Check local listings)

In 1965 legendary choreographer Kenneth MacMillan debuted his new ballet, Romeo and Juliet, with the Royal Ballet. It’s Shakespeare’s classic tale danced to the music of composer Sergei Prokofiev. It received phenomenal reviews and the company, which featured Rudolf Nureyev and Margot Fonteyn, gave 43 curtain calls during the 40-minute standing ovation at the ballet’s completion.

For this film airing on Great Performances, the ballet leaves the stage and takes place in and around multiple locations and sets in Budapest, Hungary.

Dancing the role of Juliet is Francesca Hayward, William Bracewell dances Romeo and Matthew Ball dances the role of Tybalt. BalletBoyz Michael Nunn and Wiliam Trevitt directed the film.

As with all PBS airings, best to check your local listings for exact dates and times.

SHE – Latino Theater Company – September 11th – September 20th

Latino Theater Company also continues new readings of plays and this week it is SHE written by Marlow Wyatt. This is a sneak peak at a production that has been rescheduled for next year.

In the play the title character is a 13-year-old. She’s growing up in a small town where poverty is all-too-present. SHE uses her imagination to escape the trappings of her world by creating poetry. When she gets the chance to go to Vanguard Academy, a prestigious school, she comes face-to-face with the harsh realities of the real world. Her dreams have a price. But support comes from the most unlikely of places.

This reading is directed by IMANI.

Joyce DiDonato in Bochum, Germany – Metropolitan Opera – September 12th – 1:30 PM EDT/10:30 AM PDT

If you are a regular reader of Cultural Attaché (particularly the weekly listings of Metropolitan Opera nightly streams), you’ll immediately recognize the name of mezzo-soprano Joyce DiDonato. She has appeared in their streamed productions of Rossini’s Il Barbiere di Siviglia, Le Comte Ory, La Donna del Lago and La Cenerentola; Donizetti’s Maria Stuarda; Massenet’s Cendrillon and Handel’s Agrippina.

This Saturday she joins the Met Opera Stars Live in Concert series with a recital of her own from Bochum, Germany. Joining DiDonato for the performance will be pianist Carrie-Ann Matheson and chamber ensemble Il Pomo D’Oro.

Her program is scheduled to include works by Claudio Monteverdi, Hector Berlioz, Gustav Mahler, George Frideric Handel, Antonio Cesti, Wolfgang Amadeus Mozart, Alberto Evaristo Ginastera, Louiguy and Rodgers and Hammerstein. There will also be the world premiere of a new work by Kenyatta Hughes with text by Langston Hughes.

Tickets are $20.

Moonlight Sonata Gala – Pasadena Symphony & Pops – September 12th – 9:00 PM EDT/6:00 PM PDT

Like many a gala in 2020, the Pasadena Symphony and Pops have gone on-line. Their Moonlight Sonata Gala will be free to watch, but you’ll have to register to do so. The registration does require you add credit card details. Your card will only be charged if you choose to bid on and win items in their auction.

The event will feature performances by Michael Feinstein, singer Catherine Russell, Broadway’s Cheyenne Jackson and others. Patti Austin will appear as will Pops conductor Larry Blank. Music Director David Lockington serves as host. After the event is over there is an after-party with Michael Cavanaugh who appeared on Broadway in the musical Movin’ Out.

Love in Action: A Telethon To Support the LGBTQ Community – KTLA TV – September 12th – 10:00 PM EDT/7:00 PM PDT

So what makes a telethon something to consider at Cultural Attaché? Well, any telethon that has a line-up like this one is bound to appeal to fans of culture:

Tony Award winners Cynthia Erivo, Cyndi Lauper, Leslie Odom Jr., Billy Porter and Lily Tomlin

Tony Award nominee Andrew Rannells

Drama Desk Award-winner Jesse Tyler Ferguson and Drama Desk nominee Anthony Rapp

Singers Melissa Etheridge, k.d. lang, Sia and the vocal ensemble Tonality

Actors Alexandra Billings, Wilson Cruz, Armie Hammer, Alec Mapa, Peter Paige, Pauley Perrette and Brian Michael Smith

Comedians Margaret Cho, Ilana Glazer, Jay Leno and Bruce Vilanch

Drag icons RuPaul, Miss Coco Peru and Shangela.

And a certain Oscar winner named Cher is also joining the fun.

Jane Lynch is hosting the two-hour event along with KTLA News anchor Cher Calvin. You know what they say, Cher and Cher alike.

For the Love of Lyric Concert – Lyric Opera of Chicago – September 13th – 7:00 PM EDT/4:00 PM PDT

Established in 1954, the Lyric Opera of Chicago has been a prominent part of the performing arts in Chicago. Like many an institution struggling to navigate the pandemic, they have chosen to go on-line with their gala this year. For the Love of Lyric Concert is this year’s program.

Soprano Renée Fleming, who has served as Creative Consultant to the Lyric Opera since 2010, will headline the event.

Joining her will be Ryan Opera Center alumna mezzo-soprano J’Nai Bridges, Heather Headley (Tony Award-winner for Aida); bass Soloman Howard and soprano Ailyn Pérez. Doug Peck is the music director.

The program is set to include music from opera, Broadway, popular songs and “some surprising sources.” I’m not quite sure what that means. I guess that is why it will be a surprise.

The event will stream for free on the Lyric Opera of Chicago’s Facebook page a day after it virtually runs for sponsors.

Miscast20 – MCC YouTube Page – September 13th – 8:00 PM EDT/5:00 PM PDT

New York’s MCC Theater (Manhattan Class Company) annually holds an event that is one of the most popular and most-anticipated events every year. It is called Miscast. The concept is rather simple: actors perform songs from musicals that are performed by characters they would never get cast to play.

Take for example this video of Hamilton‘s Jonathan Groff performing Reno Sweeney’s title song from the Cole Porter musical Anything Goes:

I have no idea what songs are going to be performed and by whom during Sunday’s event. But, I can tell you who will be performing:

Tony Award winners Norbert Leo Butz (Dirty Rotten Scoundrels), Heather Headley (Aida) and Leslie Odom Jr. (Hamilton)

Tony Award nominees Robert Fairchild (An American In Paris), Joshua Henry (Carousel), Rob McClure (Mrs. Doubtfire), Lauren Ridloff (Children of a Lesser God), Phillipa Soo (Hamilton) and Adrienne Warren (Tina)

Also joining are Beanie Feldstein (Hello, Dolly!), Ingrid Michaelson (Natasha, Pierre and The Great Comet of 1812), Isaac Powell (Once on This Island) and Nicolette Robinson (Waitress).

There will also be a reunion of the original company of Hairspray including Laura Bell Bundy, Kerry Butler, Tony Award winner Harvey Fierstein, Jean Gambatese, Jackie Hoffman, Kamilah Marshall, Matthew Morrison, Tony Award nominee Corey Reynolds, Judine Somerville, Shayna Steele and Tony Award winner Marissa Jaret Winokur.

Presenters include Jocelyn Bioh, Raúl Esparza, Judith Light, Julianna Margulies, Piper Perabo and Thomas Sadoski.

If you enjoy Broadway musicals, this is truly a must-see event.

Jeremy Jordan with Seth Rudetsky – September 13th – 8:00 PM EDT/5:00 PM PDT

On June 14th, Jeremy Jordan was one of Seth Rudetsky’s first guests in his online concert series. He’s back with a new show as Rudetsky’s guest on Sunday.

In addition to his well-known roles in Broadway’s Bonnie & Clyde and Newsies, Jordan has also appeared in West Side Story, Rock of Ages and Waitress. He was a series regular on Smash and appeared with Anna Kendrick in the film adaptation of The Last Five Years.

Tickets for the show are $25. If you can’t see the show live on Sunday, there is an encore presentation on Monday, September 14th at 3:00 PM EDT/12:00 PM PDT.

Kritzerland 10th Anniversary Show – September 13th – 8:00 PM EDT/5:00 PM PDT

Fans of rare recordings of Broadway musicals and new recordings of lost musicals are well acquainted with Kritzerland Records. They have released recordings of the musicals Anya, Ilya Darling, The Grass Harp and restored recordings of the 1971 production of Follies, House of Flowers and more.

They will be celebrating the 10th anniversary of their live shows with an on-line concert. The show promises to include rarities, well-known material and a few songs that have never been heard before.

The cast includes Daniel Thomas Bellusci, Jason Graae (Wicked tour), Peyton Kirkner, Beth Malone (the 2018 revival of Angels in America), Pamela Myers (original cast of Company), Kerry O’Malley (Billy Elliot: The Musical), Hartley Powers, Sami Straitman, Adrienne Stiefel and Robert Yacko (Mark Taper Forum production of Parade).

They also have one very special guest: Petula Clark. In addition to having hit songs with Downtown and I Know a Place, she has appeared on stage in The Sound of Music, Sunset Boulevard and on Broadway in Blood Brothers.

This concert is free, but donations that will go to The Actors Fund are encouraged. Donations can be made here.

Those are my selections of your Best Bets at Home: September 11th – September 13th. I also have some reminders for you:

Los Angeles area residents can catch this week’s In Concert at the Hollywood Bowl on PBS SoCal on Friday, September 11th at 8:00 PM. This week’s theme is Musicals and the Movies and includes performances by Kristin Chenoweth, Audra McDonald and Brian Stokes Mitchell.

Here are reminders from this week’s Jazz Stream:

Red Baraat are featured in this week’s Fridays at Five from SFJazz on September 11th.

John Scofield Trio will perform from New York’s Blue Note on September 11th.

Bill Charlap Trio performs September 11th and 12th from the Village Vanguard in New York.

Pasquale Grasso Quartet performs September 13th from Smalls.

Here are reminders of this weekend’s schedule at the Metropolitan Opera:

Georges Bizet’s Les Pêcheurs de Perles on Friday; Hector Berlioz’s Les Troyens on Saturday and Jules Massenet’s Werther on Sunday.

Will that suffice? Do you have enough options to keep you entertained this weekend? I hope so and I hope you have enjoyed Best Bets at Home: September 11th – September 13th.

Montage of Miscast performers courtesy of MCC Theater

The post Best Bets at Home: September 11th – September 13th appeared first on Cultural Attaché.

Amongst this weekend’s options are a pithy hostess talking to Broadway stars; the reading of a play with a star-studded cast; the world premiere of a new work from one of classical music’s fastest-rising composers; two opera performances and so much more.

So let’s get started. Here are your Culture Best Bets at Home: August 21st – August 23rd:

The Black Clown – Harlem Week – August 21st – 4:00 PM EDT/1:00 PM PDT

Every summer the city of New York celebrates everything Harlem. This year’s Harlem Week is taking place mostly online. A real highlight of this year’s festival is the audio streaming of excerpts from The Black Clown.

Davóne Tines, who originated the role of adult Charles in Terence Blanchard‘s opera Fire Shut Up In My Bones, created this work with Michael Schachter and Zack Winokur. It is based on Langston Hughes’ poem of the same name.

The Black Clown had its world premiere at the 2019 Mostly Mozart Festival. The poem, and this adaptation of it, depicts how one man handles oppression in America. It’s a work that utilizes multiple forms including jazz, opera vaudeville, gospel and spirituals.

The cast of The Black Clown includes Davóne Tines, Sumayya Ali, Darius Barnes, Dawn Bless, Jonathan Christopher, LaVon Fisher-Wilson, Lindsey Hailes, Evan Tyrone Martin, Jhardon DiShon Martin, Brandon Michael Nase, Amber Pickens, Jamar Williams and Hailee Kaleem Wright.

In an interview with Ryan Ebright of the New York Times, Tines said, “With The Black Clown, Hughes was tapping into and providing a blueprint for how social justice has happened in the past, how it needed to happen in his time, and how it needs to happen today.”

Virtual Halston – Cast Party Network YouTube Page – August 21st – 5:00 PM EDT/2:00 PM PDT

If you think of actress Julie Halston (and you should), you probably think of her as both playwright Charles Busch’s muse and one of his most frequent actors. What you may not know is that she’s also one of the pithiest people hosting a theatre-centric online talk show. It’s called Virtual Halston.

Halston’s show is part of Jim Caruso’s Cast Party Network and it involves the same level of of fun. Halston talks directly to the audience, with Caruso and also with special guests.

This week’s guest are actors Mercedes Ruehl and Michael Urie who played mother and son in the 2017 revival of Harvey Fierstein’s Torch Song Trilogy (which for this production was renamed Torch Song). The show transferred to Broadway in 2018 for a sadly much shorter run than this amazing production deserved.

Each week’s Virtual Halston is archived. So feel free to peruse the previous episodes with guests Andrew Rannells (The Book of Mormon); Colman Domingo (The Scottsboro Boys); Jessica Vosk (Fiddler on the Roof), Mary Testa (Oklahoma); Marilu Henner and so many more.

One word of warning: if you watch one episode you’ll find yourself hours later having watched several. Oh…and bring a cocktail. This is truly a happy hour.

Broadway for Racial Justice Amplified Concert – August 21st – 8:00 PM EDT/5:00 PM PDT

As Black Lives Matters protests became more prevalent across the country, it was inevitable that Broadway would get involved. It was also inevitable that racism in theatre was going to get addressed as well.

One new organization launching on September 1st is the Broadway for Racial Justice Emergency Assistance Fund. To raise money for the organization they are putting on an online concert with both Broadway veterans and new performers who are starting to make a name for themselves.

Tony Award winner Patina Miller (Pippin) and Brandon Michael Nase (Cats) serve as hosts. Scheduled to perform are Hailey Kilgore (Once on This Island), Solea Pfeiffer (Hamilton), Shoshana Bean (Wicked), Tony Award-winner Jessie Mueller (Beautiful: The Carole King Musical) and Skylar Astin (Spring Awakening and television’s Zoey’s Extraordinary Playlist – which if you haven’t watched, you should).

Joining will be Kalen Allen, Brittany Campbell (Hamilton), Kayla Davion (Tina), Deon’te Goodman (Hamilton), singer/songwriter Sapphire Hart, Morgan James (Motown: The Musical), Andre Malcolm, Arianne Meneses, Joey Rosario, and the band Empty Royalty

Broadway for Racial Justice Amplified streams at 8 PM ET on YouTube. There is no charge to watch the concert, but donations are encouraged.

Andrew Owens Living Room Recital – LA Opera – August 21st – 7:00 PM EDT/4:00 PM PDT

Tenor Andrew Owens has performed numerous roles in opera all over the world. Amongst the operas in which he’s appeared are Lucia di Lammermoor, Il barbiere di Siviglia, L’incoronazione di Poppea, Fidelio, I due Foscari and Die Zauberflöte.

There was a time when every tenor wanted to have a career like Mario Lanza’s. He was a tenor who rose to fame both as a singer and as an actor. He was, at the time of his death in 1959, considered the world’s most famous tenor.

Owens will celebrate Lanza in this Living Room Recital on LA Opera’s website (and their Facebook page). Joining him for the recital will be pianist Chris Reynolds and flautist Jessica Warren.

LA Opera archives these recitals, so if you can’t watch Andrew Owens as it happens, or want to see other recitals, they are available for viewing.

Judgment Day – Barrington Stage Company – August 22nd – 7:30 PM EDT/4:30 PM PDT

Berkshire County’s Barrington Stage Company has sent multiple productions from their stage to Broadway. Most famously they held the world premiere of the musical The 25th Annual Putnam County Spelling Bee. A 2013 revival of On the Town also made its way to Manhattan.

This weekend they will have a reading of Rob Ulin’s comedy Judgment Day. Ulin is the co-executive producer of Ramy and has written one episode of the show. He’s also produced and written for The Kids Are Alright, Young Sheldon and The Carmichael Show.

Judgment Day depicts the story of a sleazy lawyer who, after a near-death experience with an angel who threatens to condemn him to hell for all eternity, attempts to redeem himself and his soul.

The reading features an all-star cast: Jason Alexander plays Sammy Campo, the lawyer. Patti LuPone plays the Angel. Santino Fontana plays a priest struggling with his faith. Michael McKean plays the monsignor who oversees Fontana’s character.

Loretta Devine (Dreamgirls), Josh Johnston, Bianca Laverne Jones, Julian Emile Lerner, Justina Machado (One Day at a Time), Carol Mansell, Michael Mastro and Elizabeth Stanley (Jagged Little Pill) are also part of the cast. Matthew Penn directs.

You can watch the performance live on Saturday or you can watch it through August 25th. There is a donation of $35 required to view Judgment Day. Once you have made the donation you will receive a link to the reading.

The Fairy Queen – Glyndebourne – August 23rd – August 30th

Henry Purcell’s The Fairy Queen had its world premiere in London in 1692. Rather curiously it has an anonymous libretto which was inspired by William Shakespeare’s A Midsummer’s Night Dream.

Historians consider The Fairy Queen to have followed in the 16th century tradition of “masques.” A masque was a piece of entertainment meant to serve as both an allegory and to cater to the ego of their patrons. Music, dancing, acting, singing, costumes and stage design were of heightened importance.

This 2009 production at Glyndebourne features a new edition of the score by Bruce Wood and Andrew Pinnock and was directed by Jonathan Kent.

Starring are Lucy Crowe, Carolyn Sampson and Ed Lyon. William Christie leads the Orchestra of the Age of Enlightenment.

Kate Kellaway, writing for The Guardian, said of this production:

“The first thing to say about Jonathan Kent’s magnificently inventive, entertaining and saucy production is that it is, emphatically, not for purists or for nervous baroque enthusiasts. Anyone hoping for a Fairy Queen of gilded fountains and peaceful forests should steer clear. But for everyone else, this production is a gas, and although more London Palladium than East Sussex pastoral, it is hard to imagine a more brilliantly creative approach to the work.”

Spiva & Hollywood’s Golden Age – Los Angeles Chamber Orchestra – August 22nd – 8:00 PM EDT/5:00 PM PDT

LA Chamber Orchestra continues their Summerfest series of safely performed chamber music concerts from the stage of Zipper Hall at the Colburn School. There are two things that make this concert the most interesting one so far from LACO.

The first is the instrumentation. For this concert there are two bassoons (Kenneth Munday and Damian Montano) and two celli (Armen Kasjikian and Giovanna Moraga Clayton).

Most exciting is the concert will serve as the world premiere of Derrick Spiva Jr.‘s Hum. Spiva, who was recently named Artistic Advisor to LACO, is one of our most interesting young composers. He is a prolific composer with commissions from multiple orchestra and performance ensembles.

In addition to Hum, the programs scheduled to include Franz Christoph Neubauer’s Cello Duet No. 1 in B-flat Major, Op. 10, I. Allegro; Michel Corrette’s Le Phénix; Johann Sebastian’s Bach’s Komm, süsser Tod, BWV 478; Wolfgang Amadeus Mozart’s Three Canons; George Gershwin’s Summertime from Porgy and Bess; David Raksin’s Theme from Laura; Charles Gounod’s Marche funèbre d’une marionnette and the Paul Williams and Kenneth Ascher song The Rainbow Connection.

The concert is scheduled to run 40 minutes. It will be archived on LACO’s website for later viewing.

Rachel Bay Jones and Seth Rudetsky – August 23rd – 8:00 PM EDT/5:00 PM PDT

Rachel Bay Jones may not be the best-known Broadway star, but for anyone who saw her originate the role of Heidi Hansen in Dear Evan Hansen, you know exactly why she received a Tony Award for her performance.

She is Seth Rudetsky’s guest this week in his series of conversations and performance with Broadway luminaries.

Amongst her other Broadway shows are Pippin, Hair, Women on the Verge of a Nervous Breakdown. Off-Broadway she appeared in First Daughter Suite at the Public Theatre and, of course, the sold-out pre-Broadway run of Dear Evan Hansen.

As with all Seth Rudetsky concerts, there will be an encore streaming on Monday, August 24th at 3:00 PM EDT/12:00 PM PDT. Tickets for either time are $25.

That’s this week’s Best Bets: August 21st – August 23rd. You know I have some reminders for you, too:

For those in the Los Angeles area, PBS SoCal will air In Concert at the Hollywood Bowl on Friday, August 21st at 8:00 PM PDT. This first episode is Hecho en Mexico.

Fridays at Five from SFJazz features a concert by Grammy Award-winning singer Dianne Reeves.

The operas available from the Metropolitan Opera this weekend are Verdi’s Simon Boccanegra on Friday, Rossini’s Il Barbiere di Siviglia on Saturday and Humperdinck’s Hansel and Gretel on Sunday.

Legendary drummer Andrew Cyrille performs from the stage at the Village Vanguard on Friday and Saturday.

That’s it for Best Bets: August 21st – August 23rd. Enjoy your weekend.

Photo: Jotham Annan in The Fairy Queen (©Glyndebourne Productions Ltd/Photo by Richard Hubert Smith)

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