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	<title>New York Philharmonic Archives - Cultural Attaché</title>
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		<title>BEST BETS: NOVEMBER 4th &#8211; NOVEMBER 10th</title>
		<link>https://culturalattache.co/2024/11/04/best-bets-november-4th-november-10th/</link>
					<comments>https://culturalattache.co/2024/11/04/best-bets-november-4th-november-10th/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Mon, 04 Nov 2024 14:32:08 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Stage]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[54 Below]]></category>
		<category><![CDATA[Aaron Lazar]]></category>
		<category><![CDATA[Aasif Mandvi]]></category>
		<category><![CDATA[Adam Stein]]></category>
		<category><![CDATA[Buddy Hegarty Lovett]]></category>
		<category><![CDATA[Chicago Symphony Orchestra]]></category>
		<category><![CDATA[Conor Lovett]]></category>
		<category><![CDATA[Geffen Playhouse]]></category>
		<category><![CDATA[Isaiah Collier & The Chosen Few]]></category>
		<category><![CDATA[Megalopolis]]></category>
		<category><![CDATA[Miah Persson]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Osvaldo Golijov]]></category>
		<category><![CDATA[Project ALS]]></category>
		<category><![CDATA[Rainn Wilson]]></category>
		<category><![CDATA[Riccardo Muti]]></category>
		<category><![CDATA[Rouvali Leads Julia Wolfe Strauss & Sibelius]]></category>
		<category><![CDATA[Santtu-Matias Rouvali]]></category>
		<category><![CDATA[Soka Performing Arts Center]]></category>
		<category><![CDATA[Sting]]></category>
		<category><![CDATA[The Almighty]]></category>
		<category><![CDATA[The Last Ship]]></category>
		<category><![CDATA[Waiting for Godot]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=20710</guid>

					<description><![CDATA[<p>It&#8217;s the first full week in November and we are quickly working ourselves to the end of the year. Which means we have some very interesting Best Bets coming up and this week is no exception. Here are the BEST BETS: November 4th &#8211; November 10th. THE LAST SHIP: 10th&#160;ANNIVERSARY REUNION CONCERT&#160;– 54 Below – [&#8230;]</p>
<p>The post <a href="https://culturalattache.co/2024/11/04/best-bets-november-4th-november-10th/">BEST BETS: NOVEMBER 4th &#8211; NOVEMBER 10th</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<p>It&#8217;s the first full week in November and we are quickly working ourselves to the end of the year. Which means we have some very interesting Best Bets coming up and this week is no exception. Here are the BEST BETS: November 4th &#8211; November 10th.</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/2024/11/Sting-Courtesy-54-Below-300x169.jpg" alt="" class="wp-image-20712" srcset="https://culturalattache.co/wp-content/uploads/2024/11/Sting-Courtesy-54-Below-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/11/Sting-Courtesy-54-Below-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/11/Sting-Courtesy-54-Below-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/11/Sting-Courtesy-54-Below-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/11/Sting-Courtesy-54-Below-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/11/Sting-Courtesy-54-Below-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/11/Sting-Courtesy-54-Below-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/11/Sting-Courtesy-54-Below.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Sting (Courtesy 54 Below)</figcaption></figure></div>


<p><strong><em>THE LAST SHIP: 10<sup>th</sup>&nbsp;ANNIVERSARY REUNION CONCERT</em></strong>&nbsp;– 54 Below – New York, NY – November 4<sup>th</sup></p>



<p>Rock star/composer Sting is joined by members of the original cast of his musical <em>The Last Ship</em> for two reunion concerts at 54 Below. Tickets for both events sold out long ago. But you can live stream the event at 7 PM ET/4PM PT and catch all the action.</p>



<p>Amongst the cast members joining Sting are Michael Esper, Jamie Jackson, Sally Ann Triplett and Rachel Tucker.</p>



<p>A portion of the proceeds from the concerts and the livestream will benefit Project ALS. <a href="https://culturalattache.co/2017/09/24/broadways-aaron-lazar-goes-solo-la-first-time/">Aaron Lazar</a>,&nbsp;who originated the role of Arthur Millburn, announced he was diagnosed with ALS aka Lou Gehrig’s disease earlier this year. These concerts are a celebration of him as well as the musical itself.</p>



<p>For livestream tickets and more information, please go&nbsp;<a href="https://54below.org/events/livestream-the-last-ship-10th-anniversary-reunion-concert/">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/2024/11/Rainn-Wilson-Conor-Lovett-Aasif-Mandvi-and-Adam-Stein-from-22Waiting-for-Godot22-Photo-by-Erik-Carter-Courtesy-Geffen-Playhouse-300x169.jpg" alt="" class="wp-image-20713" srcset="https://culturalattache.co/wp-content/uploads/2024/11/Rainn-Wilson-Conor-Lovett-Aasif-Mandvi-and-Adam-Stein-from-22Waiting-for-Godot22-Photo-by-Erik-Carter-Courtesy-Geffen-Playhouse-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/11/Rainn-Wilson-Conor-Lovett-Aasif-Mandvi-and-Adam-Stein-from-22Waiting-for-Godot22-Photo-by-Erik-Carter-Courtesy-Geffen-Playhouse-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/11/Rainn-Wilson-Conor-Lovett-Aasif-Mandvi-and-Adam-Stein-from-22Waiting-for-Godot22-Photo-by-Erik-Carter-Courtesy-Geffen-Playhouse-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/11/Rainn-Wilson-Conor-Lovett-Aasif-Mandvi-and-Adam-Stein-from-22Waiting-for-Godot22-Photo-by-Erik-Carter-Courtesy-Geffen-Playhouse-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/11/Rainn-Wilson-Conor-Lovett-Aasif-Mandvi-and-Adam-Stein-from-22Waiting-for-Godot22-Photo-by-Erik-Carter-Courtesy-Geffen-Playhouse-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/11/Rainn-Wilson-Conor-Lovett-Aasif-Mandvi-and-Adam-Stein-from-22Waiting-for-Godot22-Photo-by-Erik-Carter-Courtesy-Geffen-Playhouse-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/11/Rainn-Wilson-Conor-Lovett-Aasif-Mandvi-and-Adam-Stein-from-22Waiting-for-Godot22-Photo-by-Erik-Carter-Courtesy-Geffen-Playhouse-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/11/Rainn-Wilson-Conor-Lovett-Aasif-Mandvi-and-Adam-Stein-from-22Waiting-for-Godot22-Photo-by-Erik-Carter-Courtesy-Geffen-Playhouse.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Rainn Wilson, Conor Lovett, Aasif Mandvi, and Adam Stein from &#8220;Waiting for Godot.&#8221; (Photo by Erik Carter/Courtesy Geffen Playhouse)<br></figcaption></figure></div>


<p><strong><em>WAITING FOR GODOT&nbsp;</em></strong>&nbsp;&#8211; Geffen Playhouse – Westwood, CA – November 6th – December 15<sup>th</sup></p>



<p>Samuel Beckett’s classic play is once again on stage in Los Angeles. This production, produced in association with Gare St Lazare Ireland, finds Rainn Wilson and Aasif Mandvi starring as Vladimir and Estragon – two men waiting endlessly for the arrival of Godot.</p>



<p>Joining them are Conor Lovett as Pozzo and Adam Stein as Lucky. </p>



<p>The role of Boy will be performed by Lincoln Bonilla and Jack McSherry (they will alternate performances). Judy Hegarty Lovett directs.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.geffenplayhouse.org/shows/waiting-for-godot/">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/2024/11/Santtu-Matias-Rouvali-Photo-©Camila-Greenwell-300x169.jpg" alt="" class="wp-image-20714" srcset="https://culturalattache.co/wp-content/uploads/2024/11/Santtu-Matias-Rouvali-Photo-©Camila-Greenwell-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/11/Santtu-Matias-Rouvali-Photo-©Camila-Greenwell-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/11/Santtu-Matias-Rouvali-Photo-©Camila-Greenwell-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/11/Santtu-Matias-Rouvali-Photo-©Camila-Greenwell-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/11/Santtu-Matias-Rouvali-Photo-©Camila-Greenwell-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/11/Santtu-Matias-Rouvali-Photo-©Camila-Greenwell-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/11/Santtu-Matias-Rouvali-Photo-©Camila-Greenwell-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/11/Santtu-Matias-Rouvali-Photo-©Camila-Greenwell.jpg 1920w" sizes="(max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Santtu-Matias Rouvali (Photo ©Camila Greenwell)</figcaption></figure></div>


<p><strong><em>ROUVALI LEADS JULIA WOLFE, STRAUSS &amp; SIBELIUS&nbsp;</em></strong>&nbsp;&#8211; New York Philharmonic – New York, NY – November 7-November 12<sup>th</sup></p>



<p>Life’s journey has inspired many a composer. This concert focuses on three different works that explore explorations of life at various ages.</p>



<p>The program opens with Julia Wolfe’s <em>Fountain of Youth</em>. By its name you know what part of life this represents. </p>



<p>Richard Strauss’ <em>Four Last Songs</em>, a powerful work, makes it clear what stage of life Strauss explored with this work. Soprano Miah Persson will sing this incredibly moving work.</p>



<p>The concert closes with Sibelius’ celebration of his own 50<sup>th</sup>&nbsp;birthday in his&nbsp;<em>Fifth Symphony</em>.</p>



<p>Santtu-Matias Rouvali conducts these four concerts.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.nyphil.org/concerts-tickets/2425/rouvali-wolfe/">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/2024/11/22Megalopolis22-One-sheet-Art-Courtesy-Lionsgate-300x169.jpg" alt="" class="wp-image-20715" srcset="https://culturalattache.co/wp-content/uploads/2024/11/22Megalopolis22-One-sheet-Art-Courtesy-Lionsgate-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/11/22Megalopolis22-One-sheet-Art-Courtesy-Lionsgate-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/11/22Megalopolis22-One-sheet-Art-Courtesy-Lionsgate-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/11/22Megalopolis22-One-sheet-Art-Courtesy-Lionsgate-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/11/22Megalopolis22-One-sheet-Art-Courtesy-Lionsgate-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/11/22Megalopolis22-One-sheet-Art-Courtesy-Lionsgate-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/11/22Megalopolis22-One-sheet-Art-Courtesy-Lionsgate-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/11/22Megalopolis22-One-sheet-Art-Courtesy-Lionsgate.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">&#8220;Megalopolis&#8221; One-sheet Art (Courtesy Lionsgate)</figcaption></figure></div>


<p><strong><em>MUTI &amp; THE CSO&nbsp;</em></strong>– Chicago Symphony Orchestra – Chicago, IL – November 8<sup>th</sup>&nbsp;– November 9<sup>th</sup></p>



<p>Works by Chabrier, Donizetti, Falla and Verdi are on this program. But what makes these two concerts compelling is the world premiere of the <em>Megalopolis Suite </em>by <a href="https://culturalattache.co/2022/10/25/osvaldo-golijov-takes-a-walk-on-the-grief-side/">Osvaldo Golijov</a>. This is a suite of music from his wonderful score for the Francis Ford Coppola film <em>Megalopolis</em>. </p>



<p>Audiences didn’t exactly flock to see this movie, but they missed out. I personally loved the film and have played the score multiple times since seeing the film.</p>



<p>Golijov is a terrific composer and this CSO Commission will certainly showcase that to all who attend these concerts. This is a score that deserves attention and will hopefully find some love during awards season.</p>



<p>Riccardo Muti conducts.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://cso.org/performances/24-25/cso-classical/muti-and-the-cso/">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/2024/11/Isaiah-Collier-Courtesy-Soka-300x169.jpg" alt="" class="wp-image-20716" srcset="https://culturalattache.co/wp-content/uploads/2024/11/Isaiah-Collier-Courtesy-Soka-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/11/Isaiah-Collier-Courtesy-Soka-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/11/Isaiah-Collier-Courtesy-Soka-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/11/Isaiah-Collier-Courtesy-Soka-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/11/Isaiah-Collier-Courtesy-Soka-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/11/Isaiah-Collier-Courtesy-Soka-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/11/Isaiah-Collier-Courtesy-Soka-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/11/Isaiah-Collier-Courtesy-Soka.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Isaiah Collier (Photo courtesy Soka Performing Arts Center)</figcaption></figure></div>


<p><strong><em>ISAIAH COLLIER &amp; THE CHOSEN FEW</em></strong>&nbsp;– Soka Performing Arts Center – Aliso Viejo, CA – November 9th</p>



<p>Saxophonist/composer Collier is an artist who deftly joins jazz traditions with a unique blend of other styles including soul, gospel and funk. This concert will be focused on his latest release <em>The Almighty</em> – a 63-minute album that explores the role of spirituality in his life and by extension our own. It’s a terrific album that should be even more alive when performed live.</p>



<p>The chosen few joining Collier for this concert are Richard Gibbs III on piano, Jermain Paul on bass and Damien Reid on drums.</p>



<p>For tickets and more information, please go&nbsp;<a href="https://www.soka.edu/soka-performing-arts-center/calendar-events/isaiah-collier-chosen-few">here</a>.</p>



<p>This concludes our Best Bets: November 4th &#8211; November 10th. For readers in the United States, don&#8217;t forget to vote on Tuesday. </p>



<p>Enjoy your week!</p>



<p>Main Photo: Rachel Tucker and Aaron Lazar in <em>The Last Ship</em> on Broadway (Photo by Joan Marcus)</p>
<p>The post <a href="https://culturalattache.co/2024/11/04/best-bets-november-4th-november-10th/">BEST BETS: NOVEMBER 4th &#8211; NOVEMBER 10th</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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			</item>
		<item>
		<title>Mary Kouyoumdjian and Her First Opera&#8230;</title>
		<link>https://culturalattache.co/2024/01/12/mary-kouyoumdjian-and-her-first-opera/</link>
					<comments>https://culturalattache.co/2024/01/12/mary-kouyoumdjian-and-her-first-opera/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Fri, 12 Jan 2024 20:22:21 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Opera: Bravo]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[Adoration]]></category>
		<category><![CDATA[Atom Egoyan]]></category>
		<category><![CDATA[Contemporary Opera]]></category>
		<category><![CDATA[interview]]></category>
		<category><![CDATA[Kronos Quartet]]></category>
		<category><![CDATA[Mary Kouyoumdjian]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Prototype Festival]]></category>
		<category><![CDATA[Royce Vavrek]]></category>
		<category><![CDATA[World Premiere]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=19756</guid>

					<description><![CDATA[<p>"If anyone has experienced grief, we all know that this brings out the best and the worst in people around you."</p>
<p>The post <a href="https://culturalattache.co/2024/01/12/mary-kouyoumdjian-and-her-first-opera/">Mary Kouyoumdjian and Her First Opera&#8230;</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<p>&#8220;I had started writing this opera before the pandemic and before the world had shut down. And that version of the opera felt incredibly polite, so I scrapped it all to have, I wouldn&#8217;t say an impolite version of the opera, but one that maybe is a little more difficult to sit through because grief and conversations around racism are uncomfortable.&#8221; That&#8217;s how composer Mary Kouyoumdjian describes her first opera, <em><a href="https://prototypefestival.org/shows/adoration/">Adoration</a></em>, which is having its world premiere this weekend as part of the <a href="https://prototypefestival.org">Prototype Festival</a> in New York.</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/2024/01/A-scene-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-300x169.jpg" alt="" class="wp-image-19762" srcset="https://culturalattache.co/wp-content/uploads/2024/01/A-scene-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/01/A-scene-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/01/A-scene-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/01/A-scene-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/01/A-scene-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/01/A-scene-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/01/A-scene-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/01/A-scene-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">A scene from &#8220;Adoration&#8221; (Photo by Maria Baranova/Courtesy Prototype Festival)</figcaption></figure></div>


<p>The opera is based on Atom Egoyan&#8217;s 2009 film of the same name. The libretto is by Royce Vavrek. The company performing <em>Adoration</em> includes Miriam Khalil, <a href="https://culturalattache.co/2023/04/25/marc-kudisch-trade-talk/">Marc Kudisch</a>, David Adam Moore, Omar Najmi, Naomi Louisa O’Connell, Karim Sulayman, and the Silvana Quartet. The production is directed by Laine Rettmer.</p>



<p>Kouyoumdjian is a regular collaborator with Kronos Quartet. They will give the world premiere of a new work of hers at this year&#8217;s Kronos Festival in San Francisco. In May the <a href="https://nyphil.org/concerts-tickets/2324/sound-on-may">New York Philharmonic</a> will offer the world premiere of a musical documentary in which Kouyoumdhian collaborates with photojournalist Scout Tufankjian. </p>



<p> In our recent conversation Kouyoumdjian offered her perspective on the story Egoyan tells. (To see the full conversation, please go to our <a href="https://www.youtube.com/channel/UCQfUdH08rahzGKm2Hcawq-g">YouTube channel</a>.)</p>



<p>&#8220;There&#8217;s a high school boy, Simon, who appropriates a real life news story,&#8221; she says. &#8220;This is actually the Handel affair in 1986. Someone planted a bomb on his pregnant fiance&#8217;s suitcase as she was flying to Tel Aviv, and Simon appropriates the story and convinces his classmates that this is about his own parents. As we are watching it, we know that his parents died of a car accident. But this social experiment that he has really reveals a lot of racism and complexities, both in his family and in the larger community.<em>&#8220;</em></p>



<p>Which is the part that is uncomfortable and Kouyoumdjian wouldn&#8217;t have it any other way.</p>



<p>&#8220;I&#8217;m a strong, strong believer that discomfort in the arts actually prompts conversation,&#8221; Kouyoumdjian reveals. &#8220;Because when we feel discomfort, we want less of it in our world. I think it is a hard one to sit through for a constructive purpose, but I think it will be 90 challenging minutes for the audience.&#8221;</p>



<p><em>Adoration</em> is not a work audiences should expect to find some comfort in by the opera&#8217;s conclusion. That is by design according to the composer.</p>



<p>&#8220;I don&#8217;t aim to offer relief because again, I think if you leave people with relief, then the piece is less inclined to foster a community that is more inclined to do direct change. I would never say that this opera will launch direct change. My main goal is to spark empathy because once we connect with a character, or just any human being on that fundamental human level, we have more understanding. Then I think we can more readily accept the uncomfortable.&#8221;</p>



<p>Given the number of characters involved in this story, Kouyoumdjian asked herself to write different forms and expressions of grief for each one.</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/2024/01/An-image-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-300x169.jpg" alt="" class="wp-image-19763" srcset="https://culturalattache.co/wp-content/uploads/2024/01/An-image-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/01/An-image-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/01/An-image-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/01/An-image-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/01/An-image-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/01/An-image-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/01/An-image-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/01/An-image-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">An image from &#8220;Adoration&#8221; (Photo by Maria Baranova/Courtesy Prototype Festival)</figcaption></figure></div>


<p>&#8220;One of the challenges of this piece, one of the many challenges, [is] because Atom Egoyan writes incredibly complex stories where each character goes through immense psychological change &#8211; for better or worse. It&#8217;s incredibly layered. Every time I go into this story, I&#8217;m learning new things about the characters. </p>



<p>&#8220;One of the one of the wonderful things that he&#8217;s done is that as we explore each character, they each grieve in their own individual way, and the things that they&#8217;re grieving are incredibly different, whether it&#8217;s people or circumstance. That has allowed a lot of different ways to explore this incredibly universal area. It also has meant that over the course of the 90 minutes, people&#8217;s relationship to grief also changes quite a lot.&#8221;</p>



<p>From the first instinct to create an opera based on Egoyan&#8217;s film to the opera&#8217;s world premiere, this has been a five-year journey for Kouyoumdjian. Which means she&#8217;s spent a lot of time thinking about grief, writing music around the concept of grief and surrounding herself with the concept of grief. A daunting prospect for anyone which prompted me to ask her about how she protected herself during her work on  <em>Adoration</em>.</p>



<p>&#8220;That has changed over the years. It&#8217;s hard. I tend to work in very intense bursts, and I tend to leave things for long periods of time. It&#8217;s hard for me to do a little bit of writing every day for a project like this, because I think that the psychological intensity of all of these characters and of the larger narrative is so demanding that to just pop in here and there doesn&#8217;t seem to serve the purpose of the work. So I&#8217;ll sort of binge write for a while, and then I will either move to something else or I love not writing. It&#8217;s really important to do other human activity in order to find any kind of brain space to be creative.&#8221;</p>



<p>Of course a story centered in the Middle East is going to have even more resonance given what&#8217;s going on in the world today than it might have had when Kouyoumdjian first embarked on the opera. It&#8217;s an idea that is not lost on her.</p>



<p>&#8220;We certainly don&#8217;t offer any solutions to what&#8217;s going on right now, because I don&#8217;t know how I possibly could, especially in 90 minutes. The story isn&#8217;t specifically about what&#8217;s happening right now. It just happens to pull from a tale as old as time, in which these types of conflicts have been going on for centuries, and this kind of racism has been happening for, well, we all know. It&#8217;s really about a grieving family. And if anyone has experienced grief, we all know that this brings out the best and the worst in people around you.&#8221;</p>



<p>In the end does Kouyoumdjian consider herself a political composer or is the act of composing itself a political act?</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/2024/01/A-moment-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-300x169.jpg" alt="" class="wp-image-19764" srcset="https://culturalattache.co/wp-content/uploads/2024/01/A-moment-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2024/01/A-moment-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2024/01/A-moment-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2024/01/A-moment-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2024/01/A-moment-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2024/01/A-moment-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2024/01/A-moment-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2024/01/A-moment-from-22Adoration22-Photo-by-Maria-Baranova-Courtesy-Prototype-Festival.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">A moment from &#8220;Adoration&#8221; (Photo by Maria Baranova/Courtesy Prototype Festival)</figcaption></figure></div>


<p>&#8220;I love how you phrase the latter in just the act of creation, whether it&#8217;s in your identity or the choice to make something or the choice of where it&#8217;s presented. All of these things are inherently political, which is what I tell my music history students all the time. Don&#8217;t for a minute think that Beethoven isn&#8217;t political. Forget even the <em>Eroica</em> symphony. Just the act of what a composer is doing, of who they are, of when, how, who funded &#8211; all of these things end up being political. </p>



<p>&#8220;I used to say that I wasn&#8217;t a political composer, but I was just interested in telling true stories. But  with so much political conflict, especially things that are affecting my family, my community, so close to home, 1,000% yes! I feel incredibly lucky to live in a country in which there&#8217;s very little consequence for speaking out. And we do have, for the most part, freedom of expression, at least compared to other places in other communities. So I take that responsibility and privilege very seriously.&#8221;</p>



<p><em>To see the full interview with Mary Kouyoumdjian, please go <a href="https://youtu.be/bdSgUR8Qvmo">here</a>.</em></p>



<p>Photo: Mary Kouyoumdjian (Photo by Desmond White/Courtesy Mary Kouyoumdjian)</p>
<p>The post <a href="https://culturalattache.co/2024/01/12/mary-kouyoumdjian-and-her-first-opera/">Mary Kouyoumdjian and Her First Opera&#8230;</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>
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					<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>Composer Felipe Lara Finds His Next Plateau</title>
		<link>https://culturalattache.co/2023/03/29/composer-felipe-lara-finds-his-next-plateau/</link>
					<comments>https://culturalattache.co/2023/03/29/composer-felipe-lara-finds-his-next-plateau/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Wed, 29 Mar 2023 13:00:00 +0000</pubDate>
				<category><![CDATA[Classical: Metronome]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[Claire Chase]]></category>
		<category><![CDATA[Double Concerto]]></category>
		<category><![CDATA[Esperanza Spalding]]></category>
		<category><![CDATA[Felipe Lara]]></category>
		<category><![CDATA[Helsinki Philharmonic]]></category>
		<category><![CDATA[Los Angeles Philharmonic]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=18070</guid>

					<description><![CDATA[<p>"No one can play bass and sing like esperanza. Who can play all those flutes like Clare? The minute that they stop playing the piece it's gone."</p>
<p>The post <a href="https://culturalattache.co/2023/03/29/composer-felipe-lara-finds-his-next-plateau/">Composer Felipe Lara Finds His Next Plateau</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
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<p>Two friends of composer Felipe Lara came to visit him to see his then newborn daughter. He couldn&#8217;t join them afterwards, but flautist Claire Chase (for whom Lara has composed several pieces) and double bass player/vocalist esperanza spalding went out without him. While together they decided it would be great if Lara could compose a work for the two of them to do together.</p>



<p>The end result is Lara&#8217;s <em>Double Concerto</em> which had its world premiere with the Helsinki Philharmonic last fall. This past week Chase, spalding and conductor Susanna Mälkki reunited to perform the work with the Los Angeles Philharmonic (who co-commissioned the work with the Helsinki Philharmonic.)</p>



<p>On Wednesday, March 29th, the trio will once again come together for three performances of the <em>Double Concerto</em> with the <a href="https://nyphil.org/concerts-tickets/2223/malkki-conducts-stravinsky-lara" target="_blank" rel="noreferrer noopener">New York Philharmonic</a>.</p>



<p>Last week, just hours before the US premiere of his concerto in Los Angeles, Lara and I spoke about the work, the two women for whom he wrote it and whether, given their talent, if this is truly a quadruple concerto instead of just a <em>Double Concerto</em>. 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" target="_blank" rel="noreferrer noopener">YouTube channel</a>.</p>



<p>In a video interview for Helsinki Philharmonic, you said &#8220;the moment things become impossible is the moment things become exciting to try something.&#8221; What was that first moment where it all seemed impossible and it switched to become exciting for this particular work?<em>&nbsp;</em></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/2023/03/esperanza-spalding-Photo-©Jati-Lindsay-Courtesy-LA-Philharmonic-1-300x169.jpg" alt="" class="wp-image-18077" srcset="https://culturalattache.co/wp-content/uploads/2023/03/esperanza-spalding-Photo-©Jati-Lindsay-Courtesy-LA-Philharmonic-1-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/03/esperanza-spalding-Photo-©Jati-Lindsay-Courtesy-LA-Philharmonic-1-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/03/esperanza-spalding-Photo-©Jati-Lindsay-Courtesy-LA-Philharmonic-1-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/03/esperanza-spalding-Photo-©Jati-Lindsay-Courtesy-LA-Philharmonic-1-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/03/esperanza-spalding-Photo-©Jati-Lindsay-Courtesy-LA-Philharmonic-1-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/03/esperanza-spalding-Photo-©Jati-Lindsay-Courtesy-LA-Philharmonic-1-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/03/esperanza-spalding-Photo-©Jati-Lindsay-Courtesy-LA-Philharmonic-1-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/03/esperanza-spalding-Photo-©Jati-Lindsay-Courtesy-LA-Philharmonic-1.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">esperanza spalding (Photo ©Jati Lindsay/Courtesy LA Philharmonic)</figcaption></figure></div>


<p><strong>I got a call asking if I could write a concerto for the two of them. It just seemed such like a strange idea to me &#8211;  the contra pizzicato concert bass and the flutes &#8211; the two most fragile things in the world. But then the way they played out is not fragile at all. So I just did it. </strong></p>



<p><strong>There&#8217;s something not so intimate about the orchestra. This is this massive thing. The moment that it became barely possible to do and to even think about anything like that, it became like an interesting challenge. What does it means to improvise in the context of an orchestra? There&#8217;s nothing that could be more further from the idea of a symphony orchestra than improvisation.</strong></p>



<p><strong>I wrote a piece for these two. It&#8217;s not a piece for bass; no one can play bass and sing like esperanza. Who can play all those flutes like Clare and also sings? It is also has a singing part blended with the flute. The minute that they stop playing the piece it&#8217;s gone, which I completely accept.</strong><em>&nbsp;</em></p>



<p>Does fragility itself as a concept play a role in the piece itself since you have these two great expressions of fragility on stage, front and center?</p>



<p><strong>I knew that I wanted to do a piece for amplified soloists, so I did not really want to be walking on eggshells. Even if I would write without amplification, I&#8217;m not super keen on concerti that is like here&#8217;s the soloist and now here&#8217;s the orchestra; this back and forth / question and answer. This is one scenario </strong>[where]<strong> there&#8217;s nothing wrong with overwhelming the soloist and having it emerge from from that dust and having a more dynamic interaction between the two. So for this amplification it&#8217;s not just for balance sake. I wanted this intimate orchestra of amplified, very closed miked sounds to become their own little pocket orchestra in which they could interact with the bigger orchestra. So it&#8217;s not that fragile in the end.&nbsp;</strong></p>



<p>What was the process of working with Claire and esperanza and how did that evolve during the process of composition?</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/2023/03/Claire-Chase-Courtesy-Los-Angeles-Philharmonic-1-300x169.jpg" alt="" class="wp-image-18079" srcset="https://culturalattache.co/wp-content/uploads/2023/03/Claire-Chase-Courtesy-Los-Angeles-Philharmonic-1-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/03/Claire-Chase-Courtesy-Los-Angeles-Philharmonic-1-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/03/Claire-Chase-Courtesy-Los-Angeles-Philharmonic-1-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/03/Claire-Chase-Courtesy-Los-Angeles-Philharmonic-1-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/03/Claire-Chase-Courtesy-Los-Angeles-Philharmonic-1-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/03/Claire-Chase-Courtesy-Los-Angeles-Philharmonic-1-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/03/Claire-Chase-Courtesy-Los-Angeles-Philharmonic-1-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/03/Claire-Chase-Courtesy-Los-Angeles-Philharmonic-1.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Claire Chase (Courtesy LA Philharmonic)</figcaption></figure></div>


<p><strong>Collaboration is a huge thing for me. It doesn&#8217;t have to just happen in the beginning, it can happen in the middle. We can adjust things. Nothing is really set in stone. In fact, for this performance, I wrote a whole new little link between the fully-improvised part of the cadenza linking between that and the return of the orchestra. It&#8217;s a dangerous thing to be improvising and then try to get the orchestra of 100 people back together at the same time. So I wrote something to bring them back. </strong></p>



<p><strong>This improvisation was one of the key things of the piece. I wanted to attempt this piece that you really didn&#8217;t know what was improvised and what was written. This dance of oral music traditions and written music traditions and to make what might seem impossible with the possible. How could improvised music be the same as this very specific written kind of fixed notes and rhythms on a page. That was constantly on my mind.</strong></p>



<p>Would you like to see this recorded? And would it be best to have this recorded live at a concert given its improvisational elements or something better done in a proper studio?</p>



<p><strong>That&#8217;s a great question. Well, the answer to the answer to the first question is yes, I would absolutely like to have this recorded. It would be nice to capture as a documentation, like a well-recorded documentation with many mics and so forth. That is not on the horizon at the moment. I would like for it to be.&nbsp; It would be a picture. Like a snapshot of one version of the spirit of that piece. I&#8217;ll be perfectly happy with that.&nbsp;</strong></p>



<p>What precludes you from calling this a triple concerto? esperanza&#8217;s vocals are omnipresent throughout the piece. I know Claire has her moments, but it feels like this is a concerto for at least three instruments not just two.</p>



<p><strong>You&#8217;re right. But it would be then actually a quadruple concerto. Claire&#8217;s voice is really a big part of this. It&#8217;s not always amplified or perceived by itself, but is often modulating the sound of the flute. </strong></p>



<p><strong>Probably not that my catchiest name, the <em>Double Concerto</em>, but you know, these titles are strange things. Sometimes they come early, sometimes they come late, sometimes they have a very specific title before you even have the piece. In this case it was just late in the game. It&#8217;s still a double for two people. It&#8217;s a dual in that sense. This idea of the soloist &#8211; it&#8217;s an interesting one. When I write music for solo instruments, I try to really explore that that instrument, whatever it might be.</strong></p>



<p>In <a href="https://vimeo.com/601215618" target="_blank" rel="noreferrer noopener">a video</a> that Claire and esperanza did with the Helsinki Philharmonic, esperanza talked with this great sense of wonder about what she called &#8220;The accumulation of human devotion found in a symphony orchestra.&#8221; I thought that was a really beautiful way of expressing the humanity that is on that stage, not just the talent behind it. As somebody who writes for that accumulation of humanity and how it can express itself, how does that same accumulation, required to perform any music, inspire you as a composer so that you can trust them to express what it is you want when they&#8217;re on stage performing your music?</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/2023/03/Susanna-Malkki-Photo-©SImon-Fowler-Courtesy-Los-Angeles-Philharmonic-300x169.jpg" alt="" class="wp-image-18080" srcset="https://culturalattache.co/wp-content/uploads/2023/03/Susanna-Malkki-Photo-©SImon-Fowler-Courtesy-Los-Angeles-Philharmonic-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/03/Susanna-Malkki-Photo-©SImon-Fowler-Courtesy-Los-Angeles-Philharmonic-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/03/Susanna-Malkki-Photo-©SImon-Fowler-Courtesy-Los-Angeles-Philharmonic-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/03/Susanna-Malkki-Photo-©SImon-Fowler-Courtesy-Los-Angeles-Philharmonic-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/03/Susanna-Malkki-Photo-©SImon-Fowler-Courtesy-Los-Angeles-Philharmonic-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/03/Susanna-Malkki-Photo-©SImon-Fowler-Courtesy-Los-Angeles-Philharmonic-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/03/Susanna-Malkki-Photo-©SImon-Fowler-Courtesy-Los-Angeles-Philharmonic-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/03/Susanna-Malkki-Photo-©SImon-Fowler-Courtesy-Los-Angeles-Philharmonic.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Conductor Susanna Mälkki (Photo ©Simon Fowler/Courtesy LA Philharmonic)</figcaption></figure></div>


<p><strong>A lot of love and care comes in every note. In every day&#8217;s work. Thinking very carefully about each sound and taking risks, but trying to calculate the risks and having humans in mind. Having strategies to achieve things exactly how I want to achieve </strong>[them] <strong>without necessarily frustrating musicians and maybe freaking them out too much.&nbsp;</strong></p>



<p><strong>In the orchestra you get this enormous palette of sound and this enormous force and dynamic range.<em>&nbsp;</em>Here there&#8217;s two orchestras. It looks like an enormous orchestra, but is really two Mozart-sized orchestras put together and somewhat separated on stage. One is tuned a quarter tone away from the other. So when I want my quarter tone notes I go to one group. When I want the the the chromatic note they go to the other, but together it just works out. I&#8217;m thinking of how can I do my job and own these sounds, no matter how big a risk I take. </strong></p>



<p><strong>I&#8217;m trying to push things forward, not necessarily reinventing the wheel, but it&#8217;s a constant effort of trying to expand things and finding the next plateau. I&#8217;m not necessarily thinking historically in that sense, but I definitely think what&#8217;s the next thing I should be trying to do that I can&#8217;t do yet.<em>&nbsp;</em></strong></p>



<p><strong>I think it&#8217;s a very necessary and healthy thing to do. It might be frustrating at times. But ten, 20 years, you really feel the growth of the things that you are trying to try to do and being comfortable with the unknown. Being comfortable with being uncomfortable. It&#8217;s a good thing for a composer.</strong></p>



<p><em>To see our full interview with Felipe Lara, please go <a href="https://www.youtube.com/watch?v=E0gP2IVxuVE&amp;t=62s" target="_blank" rel="noreferrer noopener">here</a>.</em></p>



<p>Main Photo: Composer Felipe Lara (Photo by Farah Sosa/Courtesy LA Philharmonic)</p>
<p>The post <a href="https://culturalattache.co/2023/03/29/composer-felipe-lara-finds-his-next-plateau/">Composer Felipe Lara Finds His Next Plateau</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>A Little Touch of Schmilsson In My Past</title>
		<link>https://culturalattache.co/2023/03/07/a-little-touch-of-schmilsson-in-my-past/</link>
					<comments>https://culturalattache.co/2023/03/07/a-little-touch-of-schmilsson-in-my-past/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Tue, 07 Mar 2023 08:01:00 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Music]]></category>
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		<category><![CDATA[A Little Touch of Schmillson]]></category>
		<category><![CDATA[David Geffen Hall]]></category>
		<category><![CDATA[Everybody&#039;s Talkin&#039;]]></category>
		<category><![CDATA[Gordon Jenkins]]></category>
		<category><![CDATA[Harry Nilsson]]></category>
		<category><![CDATA[Los Angeles Philharmonic]]></category>
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					<description><![CDATA[<p>It wasn't just his tenor voice, but there was something bordering on ethereal about his singing. Perhaps it was his 3-1/2 octave range that first grabbed me.</p>
<p>The post <a href="https://culturalattache.co/2023/03/07/a-little-touch-of-schmilsson-in-my-past/">A Little Touch of Schmilsson In My Past</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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<p>I&#8217;ll never forget my twelfth birthday party. Not because of the gifts I received or the cake my mother made for me &#8211; which, for the record, was probably a German chocolate cake. Rather, I remember it because that was when my Aunt Ruth (who always arrived late, but called first to say she was &#8220;on her way&#8221; well after she should have left her home) showed up not just with my present. She also brought along an album called <em>A Little Touch of Schmilsson in the Night</em> by Harry Nilsson.</p>



<p>This album of standards had instantly become her favorite album at the time. Nilsson covered songs such as <em>It Had to Be You</em>, <em>As Time Goes By</em> and Aunt Ruth&#8217;s favorite track, <em>Makin&#8217; Whoopee!</em> I have no recollection why that song was so special to her. But that&#8217;s just one of many things Il&#8217;l never understand about my mother&#8217;s sister.</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/2023/03/Nathaniel-Rateliff-Photo-courtesy-Los-Angeles-Philharmonic-1-300x169.jpg" alt="" class="wp-image-17974" srcset="https://culturalattache.co/wp-content/uploads/2023/03/Nathaniel-Rateliff-Photo-courtesy-Los-Angeles-Philharmonic-1-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/03/Nathaniel-Rateliff-Photo-courtesy-Los-Angeles-Philharmonic-1-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/03/Nathaniel-Rateliff-Photo-courtesy-Los-Angeles-Philharmonic-1-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/03/Nathaniel-Rateliff-Photo-courtesy-Los-Angeles-Philharmonic-1-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2023/03/Nathaniel-Rateliff-Photo-courtesy-Los-Angeles-Philharmonic-1-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/03/Nathaniel-Rateliff-Photo-courtesy-Los-Angeles-Philharmonic-1-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/03/Nathaniel-Rateliff-Photo-courtesy-Los-Angeles-Philharmonic-1-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2023/03/Nathaniel-Rateliff-Photo-courtesy-Los-Angeles-Philharmonic-1.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption class="wp-element-caption">Nathaniel Rateliff (Courtesy Los Angeles Philharmonic)</figcaption></figure></div>


<p>That was fifty years ago and I haven&#8217;t given the album much thought for quite some time. Until I saw that singer/songwriter Nathaniel Rateliff, who specializes in folk and Americana, was touring and playing Nilsson&#8217;s <em>A Little Touch of Schmilsson</em> <em>in the Night</em> live in a series of concerts. He&#8217;s performing on Wednesday at <a href="https://www.laphil.com/events/performances/2299/2023-03-08/nathaniel-rateliff-plays-nilsson" target="_blank" rel="noreferrer noopener">Walt Disney Concert Hall</a> and then on April 1st at <a href="https://lincolncenter.org/series/american-songbook/a-little-touch-of-rateliff-119" target="_blank" rel="noreferrer noopener">David Geffen Hall</a>. Though he&#8217;s performing with an orchestra, he&#8217;s not performing with the Los Angeles Philharmonic nor the New York Philharmonic, the two orchestras who call those venues home.</p>



<p>What prompted an artist who wasn&#8217;t born until five years after the album&#8217;s release to celebrate <em>A Little Touch of Schmilsson</em> <em>in the Night</em>? I can&#8217;t speak for Rateliff, but I know what made Harry Nilsson a compelling artist &#8211; thanks to my aunt.</p>



<p>If you know Nilsson at all it might be for the song <a href="https://www.youtube.com/watch?v=BFKDyVPkonc" target="_blank" rel="noreferrer noopener"><em>Everybody&#8217;s Talkin&#8217;</em> </a>which appeared on his 1968 album <em>Aerial Ballet</em>. It was later featured rather famously in the 1969 film <em>Midnight Cowboy</em> starring Dustin Hoffman, Jon Voight, Sylvia Miles and Brenda Vaccaro.</p>



<p>He first coined the <em>Schmilsson</em> name with his 1971 album <em>Nilsson Schmilsson</em>. He received a Grammy Award nomination for Album of the Year for the album that introduced the song <em><a href="https://www.youtube.com/watch?v=TsSuueEGQSM" target="_blank" rel="noreferrer noopener">Coconut</a></em> to the world. (Fans of <em>Reservoir Dogs</em> will know this one!)</p>



<p>Long before sequels were standard industry fare, Nilsson released <em>Son of Schmilsson</em> in the summer of 1972. It was a bold move because <em>Nilsson Schmilsson</em> was still on the charts and doing well. This album featured contributions from Peter Frampton, George Harrison and Ringo Starr. Perhaps you&#8217;ve heard <em><a href="https://www.youtube.com/watch?v=fND5WUxwi_Y" target="_blank" rel="noreferrer noopener">Spaceman</a></em> from this album.</p>



<p>Less than a year later came <em>A Little Touch of Schmilsson</em> <em>in the Night</em>. Long before Linda Ronstadt, Rod Stewart and Bob Dylan recorded albums of classic songs, Nilsson created a great album that set the standard for those and many other artists. It didn&#8217;t hurt that he called on Frank Sinatra&#8217;s great arranger Gordon Jenkins to make it sound like it was from another era and completely fresh at the same time. Who arranges Irving Berlin&#8217;s <em>Always</em> by first playing a few bars from <em>Over the Rainbow</em>? Or uses music from <em>As Time Goes By</em> as a prelude for <em>Makin&#8217; Whoopee!</em>?</p>



<p>From his opening vocals on <em>Lazy Moon</em> he had me glued to the speakers. I had never heard the song, but there was something about Nilsson&#8217;s vocals that instantly drew me in. It wasn&#8217;t just his tenor voice, but there was something bordering on the ethereal in his singing. Perhaps it was his 3-1/2 octave range that first grabbed me. Just listen to the way his voice goes just slightly up in the first verse of <em>For Me and My Gal</em>. </p>



<p>Certainly an evening of songs Nilsson wrote would be compelling. He was a great songwriter. But Rateliff is doing <em>A Little</em> <em>Touch of Schmilsson in the Night</em>. As he says on the website for this event, &#8220;The courage of Nilsson to release an album of standards&#8230;at the height of his fame is wild to contemplate. And to create something so beautiful that takes listeners on an emotional journey through love and loss is what I’m excited for audiences to experience.&#8221;</p>



<p>He also told <span style="text-decoration: underline;"><a href="https://relix.com/articles/detail/nathaniel-rateliff-on-richard-swift-harry-nilsson-and-castaway-comparisons/" target="_blank" rel="noreferrer noopener">Relix</a></span> in 2020, &#8220;The artistic side of that is what’s interesting to me. It’s about continuing to do something that’s true to yourself—even if the audience won’t necessarily be happy about it.&#8221; He went on to say he&#8217;s always wanted to perform this album.</p>



<p>Now Rateliff is doing just that. If Rateliff&#8217;s audiences prove to be happy with this choice of his, I hope they&#8217;ll go back and discover what made Harry Nilsson such a unique artist.</p>



<p>Both Nilsson and my Aunt Ruth have long since passed away. I&#8217;m not even close to being twelve years old. But as Nilsson sang in the penultimate song on <em>A Little Touch of Schmilsson</em> <em>in the Night</em>:</p>



<p class="has-text-align-center">Wandering rainbows, leave a bit of color for my heart to own<br>Stars in the sky, make my wish come true before the night has flown<br>And let the music play as long as there&#8217;s a song to sing<br>And I will stay younger than spring</p>



<p class="has-text-align-center">(from <em>This Is All I Ask</em>, written by Gordon Jenkins)</p>



<p><em>To watch Harry Nilsson perform songs from this album in a 1973 filmed performance, please go <a href="https://www.youtube.com/watch?v=TYbNaFnU4Eg&amp;t=0s" target="_blank" rel="noreferrer noopener">here</a>.</em></p>



<p>Photo: The cover of <em>A Little Touch of Schmilsson</em> <em>in the Night</em> (Courtesy Sony Music Entertainment)</p>
<p>The post <a href="https://culturalattache.co/2023/03/07/a-little-touch-of-schmilsson-in-my-past/">A Little Touch of Schmilsson In My Past</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>Anthony Roth Costanzo Defines His Place in Opera</title>
		<link>https://culturalattache.co/2021/08/05/anthony-roth-costanzo-defines-his-place-in-opera/</link>
					<comments>https://culturalattache.co/2021/08/05/anthony-roth-costanzo-defines-his-place-in-opera/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Thu, 05 Aug 2021 07:01:00 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Opera: Bravo]]></category>
		<category><![CDATA[What's Hot]]></category>
		<category><![CDATA[Akhnaten]]></category>
		<category><![CDATA[Anthony Roth Costanzo]]></category>
		<category><![CDATA[Authentic Selves]]></category>
		<category><![CDATA[Bacchae]]></category>
		<category><![CDATA[Bandwagon]]></category>
		<category><![CDATA[Bram Stoker]]></category>
		<category><![CDATA[Dracula]]></category>
		<category><![CDATA[Euripides]]></category>
		<category><![CDATA[James Darrah]]></category>
		<category><![CDATA[John Corigliano]]></category>
		<category><![CDATA[Mark Adamo]]></category>
		<category><![CDATA[Metropolitan Opera]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[opera]]></category>
		<category><![CDATA[Philip Glass]]></category>
		<category><![CDATA[Santa Fe Opera]]></category>
		<category><![CDATA[The Lord of Cries]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=14996</guid>

					<description><![CDATA[<p>"I think what Dionysus and Dracula both try and show through being the stranger and the outsider is that we are all the same basically. "</p>
<p>The post <a href="https://culturalattache.co/2021/08/05/anthony-roth-costanzo-defines-his-place-in-opera/">Anthony Roth Costanzo Defines His Place in Opera</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
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<p>In hindsight it seems inevitable that countertenor Anthony Roth Costanzo would be starring in the world premiere of <em>The Lord of Cries</em> at Santa Fe Opera this year. He met composer John Corigliano 23 years ago when he took the place of a boy soprano for whom puberty hit at the worst possible time &#8211; just prior to a performance of the composer&#8217;s work. Along with meeting the Pulitzer Prize winning composer, he also met his partner, Mark Adamo, who wrote the libretto for <em>The Lord of Cries</em>. He met <a href="https://culturalattache.co/2021/01/21/james-darrah-director-designer-disruptor/" target="_blank" rel="noreferrer noopener">James Darrah</a>, the director of this production, twelve years ago when Darrah was an assistant on a production in which Costanzo appeared.</p>



<p>Corigliano and Adamo, who have been together personally for 26 years, wrote <em>The Lord of Cries</em> specifically for Costanzo. When I spoke to Corigliano recently he said, &#8220;When you see a countertenor in a modern role it&#8217;s very interesting. I think it&#8217;s important for someone like Anthony, who is a star, to be in a big real piece and a modern piece.&#8221;</p>



<p>&#8220;It was really exciting,&#8221; Costanzo told me via a Zoom call last week. &#8220;I&#8217;ve always had the utmost respect for his music. John, and he&#8217;ll say this, likes to work with abstraction. He doesn&#8217;t like to work with 1990s New York. He likes smoke and ghosts and things like that. This sat in a world of abstraction that worked for his music. But it also had concrete dramatic themes that I felt would really speak to an audience.&#8221;</p>



<p>In short, <em>The Lord of Cries</em> uses characters from Bram Stoker&#8217;s <em>Dracula</em> to tell the story Euripides wrote in <em>Bacchae</em>. If that sounds confusing, it initially was for Costanzo as well.</p>



<p>&#8220;At first I thought I don&#8217;t sort understand the combination of these two disparate works. Within five minutes of talking to them about it, immediately it became clear that it was actually kind of a brilliant way of seeing the underpinnings of the story of Dracula that we all know in this Greek tragedy.&#8221; (To see how Corigliano and Adamo describe their opera, please go <a href="https://culturalattache.co/2021/08/02/john-corigliano-and-mark-adamos-12-year-journey-with-the-lord-of-cries/" target="_blank" rel="noreferrer noopener">here</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="Anthony Roth Costanzo: NPR Music Tiny Desk Concert" width="696" height="392" src="https://www.youtube.com/embed/ZLqXimltxsg?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>Costanzo, who became one of the best known opera singers in the world through his performance in <i>Akhnaten</i> by Philip Glass, regularly worked with the creators to help them fully realize the role, just as opera singers have done for centuries.</p>



<p>&#8220;I did go in at different points and try things out and sing things through and let John hear it. I think that gave him something for his inner ear as he was composing to hear it be realized. If you think about the history of opera, a lot of these roles were written with a specific singer in mind. Then other singers went and did it. But that specificity you hear in your mind helps the music take on a shape that I think makes it very singable and very accessible in the best sense.&#8221;</p>



<p>The themes Costanzo felt were relevant today tackle both repression and one&#8217;s place in society.</p>



<p>&#8220;This is an opera about repressed desire and what that does. But even more topical in some ways is this idea of place that&#8217;s really in the Euripides as well as the Stoker. One line in the opera they say a lot is &#8216;Deny him not his place.&#8217; And I think what the repressed Victorian London is kind of saying is &#8216;He has no place here. You have no place here. There&#8217;s no place for an outsider.&#8217; </p>



<p>&#8220;There are a lot of different things happening in our world and reckonings about identity, whether that be sexual identity or gender identity or racial identity. There is this problematic sense of whether somebody has a place or doesn&#8217;t have a place. And I think what Dionysus and Dracula both try and show through being the stranger and the outsider is that we are all the same basically. We come from distinct backgrounds, but we share this communal psychology and I think that&#8217;s a powerful message for now.&#8221;</p>



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://culturalattache.co/wp-content/uploads/2021/08/Anthony-Roth-Costanzo-in-22The-Lord-of-Cries22-Photo-by-Curtis-Brown-Courtesy-Santa-Fe-Opera-2-1024x576.jpg" alt="" class="wp-image-15000" srcset="https://culturalattache.co/wp-content/uploads/2021/08/Anthony-Roth-Costanzo-in-22The-Lord-of-Cries22-Photo-by-Curtis-Brown-Courtesy-Santa-Fe-Opera-2-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/08/Anthony-Roth-Costanzo-in-22The-Lord-of-Cries22-Photo-by-Curtis-Brown-Courtesy-Santa-Fe-Opera-2-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/08/Anthony-Roth-Costanzo-in-22The-Lord-of-Cries22-Photo-by-Curtis-Brown-Courtesy-Santa-Fe-Opera-2-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/08/Anthony-Roth-Costanzo-in-22The-Lord-of-Cries22-Photo-by-Curtis-Brown-Courtesy-Santa-Fe-Opera-2-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/08/Anthony-Roth-Costanzo-in-22The-Lord-of-Cries22-Photo-by-Curtis-Brown-Courtesy-Santa-Fe-Opera-2-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/08/Anthony-Roth-Costanzo-in-22The-Lord-of-Cries22-Photo-by-Curtis-Brown-Courtesy-Santa-Fe-Opera-2-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/08/Anthony-Roth-Costanzo-in-22The-Lord-of-Cries22-Photo-by-Curtis-Brown-Courtesy-Santa-Fe-Opera-2-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/08/Anthony-Roth-Costanzo-in-22The-Lord-of-Cries22-Photo-by-Curtis-Brown-Courtesy-Santa-Fe-Opera-2.jpg 1920w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>



<p>As Costanzo was coming of age and becoming aware of his own sexuality, he was very supported by his parents. As he told me, he didn&#8217;t have to struggle as much as others with being gay. He did, however, have his own hurdles to climb within the world of opera.</p>



<p>&#8220;I had a fairly easy time of it all because my parents are both psychologists and they were very accepting. That said, within the field of opera sometimes I felt that I should fit into a mold, a pre-determined mold. It took a while for me to feel like I could fully actualize my own concept of self in something like <em>Akhnaten</em> which has a gender fluidity and queerness, but also a real sort of powerful beauty and mystery in it. It took me a while to understand I could forge my own path. Now I think that&#8217;s a really crucial for art and for our platform as we move forward.&#8221;</p>



<p>His increasing fame came along with greater opportunities and greater responsibilities.</p>



<p>&#8220;I&#8217;m going to be the artist-in-residence with the New York Philharmonic next season and the pillar of the programming I have curated is called <em>Authentic Selves</em>. My work over the pandemic creating and producing <em>Bandwagon</em> was both a joy and an education. It was an initiative which first brought a pickup truck to all different neighborhoods. As an extension of that we created partnerships with different institutions. Rather than say we are the New York Phil and we will tell you what we want to do and if you want to participate great. Instead we would go to the National Black Theatre, El Puente Arts, Casita Maria, Flushing Town Hall and say &#8216;We&#8217;ll pay you, we&#8217;ll pay the artists, we&#8217;ll give you the stage. What do you want to do?&#8217; How can we hand over control in small ways until these seismic changes of representation happen within the field. I think we have to be thinking both micro and macro at all times and working very hard and tirelessly to implement those changes.&#8221;</p>



<p>Of course, the classical music world and opera in particular move at pretty slow paces. With the clock ticking ever more loudly about representation in front offices and on-stage, Costanzo feels there&#8217;s no time to waste.</p>



<p>&#8220;I agree that life is short and opera is long as they say. But I think it is crucial that we be thinking about this all the time. There&#8217;s no time to waste. And I think that in the past year we have seen some progress which is encouraging. But I think we are in danger of losing the momentum as we return from COVID and crave the comfort of things going back to the way they were. It&#8217;s very important; however, as Masha Gessen said in <span style="text-decoration: underline;">The New Yorker</span>, not to rebuild what we have lost. We have a chance here to rebuild and we better increase the momentum as opposed to letting it wane in our search for quote unquote comfort.&#8221;</p>



<p>For tickets to <em>The Lord of Cries</em> please go <a href="https://www.santafeopera.org/whats-on/the-lord-of-cries-2/#artists" target="_blank" rel="noreferrer noopener">here</a>. There are performances on August 5th, 11th and 17th.</p>



<p>This is the fourth in a series of interviews with artists performing at Santa Fe Opera this season. </p>



<p>All Photos: Anthony Roth Costanzo in <em>The Lord of Cries</em> (Photo by Curtis Brown/Courtesy Santa Fe Opera)</p>
<p>The post <a href="https://culturalattache.co/2021/08/05/anthony-roth-costanzo-defines-his-place-in-opera/">Anthony Roth Costanzo Defines His Place in Opera</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>Carnegie Hall&#8217;s &#8220;Voices of Hope&#8221; &#8211; My Top Picks</title>
		<link>https://culturalattache.co/2021/04/15/carnegie-halls-voices-of-hope-my-top-picks/</link>
					<comments>https://culturalattache.co/2021/04/15/carnegie-halls-voices-of-hope-my-top-picks/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Thu, 15 Apr 2021 14:32:00 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Stage]]></category>
		<category><![CDATA[Streaming]]></category>
		<category><![CDATA[A Mother&#039;s Rite]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[Alfredo Casella]]></category>
		<category><![CDATA[American Voices]]></category>
		<category><![CDATA[Andris Nelsons]]></category>
		<category><![CDATA[Anthony McGill]]></category>
		<category><![CDATA[Black Iris Project]]></category>
		<category><![CDATA[Boston Symphony Orchestra]]></category>
		<category><![CDATA[Caraid O&#039;Brien]]></category>
		<category><![CDATA[Carnegie Hall]]></category>
		<category><![CDATA[Carter Brey]]></category>
		<category><![CDATA[Courtney Celeste Spears]]></category>
		<category><![CDATA[Davoné Tines]]></category>
		<category><![CDATA[Dmitri Shostakovich]]></category>
		<category><![CDATA[Dmitri Shostakovich: A Man of Many Faces]]></category>
		<category><![CDATA[Dutch National Opera]]></category>
		<category><![CDATA[Emanuele Arciuli]]></category>
		<category><![CDATA[Eva-Maria Westbroek]]></category>
		<category><![CDATA[Gianandrea Noseda]]></category>
		<category><![CDATA[Grief]]></category>
		<category><![CDATA[in the absence of things]]></category>
		<category><![CDATA[Inon Barnatan]]></category>
		<category><![CDATA[James Reese Europe and the Harlem Hellfighters - The Absence of Ruin]]></category>
		<category><![CDATA[Jason Moran]]></category>
		<category><![CDATA[Jennifer Koh]]></category>
		<category><![CDATA[Jeremy McQueen]]></category>
		<category><![CDATA[John Hurt]]></category>
		<category><![CDATA[Kronos Quartet]]></category>
		<category><![CDATA[Lady Macbeth of Mtsensk]]></category>
		<category><![CDATA[Mariss Jansons]]></category>
		<category><![CDATA[Mary Kouyoumdjian]]></category>
		<category><![CDATA[Metamorphosis]]></category>
		<category><![CDATA[Movement Art Is]]></category>
		<category><![CDATA[National Symphony Orchestra]]></category>
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		<category><![CDATA[Olivier Messiaen]]></category>
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		<category><![CDATA[Philip Glass]]></category>
		<category><![CDATA[Quartet for the End of Time]]></category>
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		<category><![CDATA[Sholem Asch]]></category>
		<category><![CDATA[Somi]]></category>
		<category><![CDATA[Songs of Eternity]]></category>
		<category><![CDATA[Terry Riley]]></category>
		<category><![CDATA[The Dead Man]]></category>
		<category><![CDATA[Third Coast Percussion]]></category>
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		<category><![CDATA[Voices of Hope]]></category>
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		<guid isPermaLink="false">https://culturalattache.co/?p=13939</guid>

					<description><![CDATA[<p>Carnegie Hall's Online Festival<br />
<br />
Many Show Available through May 31st<br />
<br />
FINAL WEEK</p>
<p>The post <a href="https://culturalattache.co/2021/04/15/carnegie-halls-voices-of-hope-my-top-picks/">Carnegie Hall&#8217;s &#8220;Voices of Hope&#8221; &#8211; My Top Picks</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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<p>For the final two weeks of April, Carnegie Hall is offering up an online digital festival that will feature more than 100 events. <em><a href="https://www.carnegiehall.org/Events/Highlights/Voices-of-Hope" target="_blank" rel="noreferrer noopener">Voices of Hope</a></em> begins on April 16th and concludes on April 30th. It&#8217;s a festival that celebrates that power of music to help overcome turbulent and tumultuous times.</p>



<p>There are a lot of exciting events as part of <em>Voices of Hope</em>. I strongly encourage you to check out Carnegie Hall&#8217;s website to pick what most interests you. There is a mix of films, documentaries, more performances than could be included here and multiple opportunities to learn.</p>



<p>One of the wonderful things about this festival is that you have until May 31st to catch all of the programming presented by Carnegie Hall. You&#8217;ll be able to find their events on their <a href="https://www.facebook.com/carnegiehall/" target="_blank" rel="noreferrer noopener">Facebook</a> page and also their <a href="https://www.youtube.com/user/carnegiehall" target="_blank" rel="noreferrer noopener">YouTube</a> channel.</p>



<p>It is worth noting that several of my picks here are <em>not</em> presented by Carnegie Hall, but by other venues. Those events have more limited viewing opportunities.</p>



<p>In an effort to navigate the entire list, I&#8217;ve selected my top picks to be found within the festival and have, with one exception, chosen only performances.</p>



<p>Here are my selections of the best of <em>Voices of Hope</em>.</p>



<p><strong>CABARET:</strong></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/2021/04/Ute-Lemper-Photo-by-Steffen-Thalemann-Courtesy-Carnegie-Hall-169x300.jpg" alt="" class="wp-image-13970" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Ute-Lemper-Photo-by-Steffen-Thalemann-Courtesy-Carnegie-Hall-169x300.jpg 169w, https://culturalattache.co/wp-content/uploads/2021/04/Ute-Lemper-Photo-by-Steffen-Thalemann-Courtesy-Carnegie-Hall-576x1024.jpg 576w, https://culturalattache.co/wp-content/uploads/2021/04/Ute-Lemper-Photo-by-Steffen-Thalemann-Courtesy-Carnegie-Hall-768x1365.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Ute-Lemper-Photo-by-Steffen-Thalemann-Courtesy-Carnegie-Hall-864x1536.jpg 864w, https://culturalattache.co/wp-content/uploads/2021/04/Ute-Lemper-Photo-by-Steffen-Thalemann-Courtesy-Carnegie-Hall-696x1237.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Ute-Lemper-Photo-by-Steffen-Thalemann-Courtesy-Carnegie-Hall-1068x1899.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Ute-Lemper-Photo-by-Steffen-Thalemann-Courtesy-Carnegie-Hall-236x420.jpg 236w, https://culturalattache.co/wp-content/uploads/2021/04/Ute-Lemper-Photo-by-Steffen-Thalemann-Courtesy-Carnegie-Hall.jpg 1080w" sizes="auto, (max-width: 169px) 100vw, 169px" /><figcaption>Ute Lemper (Photo by Steffen Thalemann/Courtesy Carnegie Hall)</figcaption></figure></div>



<p><a href="https://www.carnegiehall.org/calendar/2021/04/18/ute-lemper-0800pm" target="_blank" rel="noreferrer noopener">Ute Lemper &#8211; <em>Songs of Eternity</em></a> &#8211; Beginning April 18th at 8:00 PM EDT/5:00 PM PDT</p>



<p>Songs and poetry by composers held in concentration camps or trapped in ghettos are featured in this performance by <a href="https://culturalattache.co/2015/12/16/ute-lemper-celebrates-30-years-in-theatre-with-last-tango-in-berlin/" target="_blank" rel="noreferrer noopener">Ute Lemper</a>. The material will be performed in German and Yiddish as reflects the theme.</p>



<p>Lemper has long been a passionate advocate for this music and that passion comes through brilliantly in her deeply emotional performance of these songs.</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</p>



<p><a href="https://www.carnegiehall.org/calendar/2021/04/25/ute-lemper-0800pm" target="_blank" rel="noreferrer noopener">Ute Lemper &#8211; <em>Rendezvous with Marlene</em></a> &#8211; April 25th &#8211; 8:00 PM EDT/5:00 PM PDT</p>



<p>Lemper practically bookends the <em>Voices of Hope </em>festival with the inclusion of her enormously well-received <a href="https://culturalattache.co/2020/11/10/rendezvous-with-marlene/" target="_blank" rel="noreferrer noopener">tribute to Marlene Dietrich</a> which was inspired by her time spent with the legend while Lemper was appearing in the musical <em>Cabaret</em> in Paris.</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</p>



<p><strong>CLASSICAL MUSIC:</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/2021/04/Dmitri-Shostakovich-Photo-from-the-Deutche-Fotothek-300x169.jpg" alt="" class="wp-image-13969" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Dmitri-Shostakovich-Photo-from-the-Deutche-Fotothek-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Dmitri-Shostakovich-Photo-from-the-Deutche-Fotothek-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Dmitri-Shostakovich-Photo-from-the-Deutche-Fotothek-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Dmitri-Shostakovich-Photo-from-the-Deutche-Fotothek-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Dmitri-Shostakovich-Photo-from-the-Deutche-Fotothek-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Dmitri-Shostakovich-Photo-from-the-Deutche-Fotothek-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Dmitri-Shostakovich-Photo-from-the-Deutche-Fotothek-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Dmitri-Shostakovich-Photo-from-the-Deutche-Fotothek.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Dmitri Shostakovich (From the Deutsche Fotothek)</figcaption></figure></div>



<p><em><a href="https://www.carnegiehall.org/calendar/2021/04/16/dmitri-shostakovich-a-man-of-many-faces-0300pm" target="_blank" rel="noreferrer noopener">Dmitri Shostakovich: A Man of Many Faces</a></em> &#8211; April 16th &#8211; 3:00 PM EDT/12:00 PM PDT</p>



<p>This documentary by Reiner Moritz will look at one of classical music&#8217;s most fascinating composers. He faced incredible scrutiny from the Russian government during this career. In spite of intense pressure from the Communist government he was able to create some of the most incredible music of the 20th century.</p>



<p>The late actor John Hurt serves as narrator and the film includes multiple interviews including archival footage of the composer himself.</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/2021/04/Emanuele-Arciuli-Photo-by-Vico-Chamla-300x169.jpg" alt="" class="wp-image-13968" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Emanuele-Arciuli-Photo-by-Vico-Chamla-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Emanuele-Arciuli-Photo-by-Vico-Chamla-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Emanuele-Arciuli-Photo-by-Vico-Chamla-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Emanuele-Arciuli-Photo-by-Vico-Chamla-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Emanuele-Arciuli-Photo-by-Vico-Chamla-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Emanuele-Arciuli-Photo-by-Vico-Chamla-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Emanuele-Arciuli-Photo-by-Vico-Chamla-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Emanuele-Arciuli-Photo-by-Vico-Chamla.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Emanuele Arciuli (Photo by Vico Chamla)</figcaption></figure></div>



<p><a href="https://italianacademy.columbia.edu/event/american-voices-selected-piano-works-by-black-and-native-american-composers" target="_blank" rel="noreferrer noopener">Emanuele Arciuli: <em>American Voices</em></a> &#8211; April 16th &#8211; 7:00 PM EDT/4:00 PM PDT</p>



<p>It would be a shame to think that a list of American classical composers begins with just the popular Aaron Copland, George Gershwin, Samuel Barber and continues onto Leonard Bernstein and John Adams without recognition of so many others.</p>



<p>The history of this music is far deeper than most of us know. </p>



<p>And it includes more Black and Native American composers than any of us realize. Well, any of us except Italian pianist Emanuele Arciuli&nbsp;who will perform a recital of this music in this concert.</p>



<p>Amongst the composers being represented here are Dawn Avery, Louis Ballard, Michael Begay, Margaret Bonds, Conor Chee, Arthur Cunningham, Brent Michael Davids and Talib Rasul Hakim. I&#8217;ll be honest, I&#8217;m not familiar with all four of these composers. That&#8217;s precisely why I intend to watch this recital.</p>



<p>I am, however, familiar with Arciuli. His recordings, particularly <em>Round Midnight</em> from 2011, are beautifully performed.</p>



<p>You need to register in advance for this recital. There is no indication that there will be opportunities to stream this after this initial showing.</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/2021/04/Andris-Nelsons-Photo-by-Marco-Borggreve-Courtesy-AndrisNelsons.com_-300x169.jpg" alt="" class="wp-image-13967" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Andris-Nelsons-Photo-by-Marco-Borggreve-Courtesy-AndrisNelsons.com_-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Andris-Nelsons-Photo-by-Marco-Borggreve-Courtesy-AndrisNelsons.com_-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Andris-Nelsons-Photo-by-Marco-Borggreve-Courtesy-AndrisNelsons.com_-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Andris-Nelsons-Photo-by-Marco-Borggreve-Courtesy-AndrisNelsons.com_-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Andris-Nelsons-Photo-by-Marco-Borggreve-Courtesy-AndrisNelsons.com_-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Andris-Nelsons-Photo-by-Marco-Borggreve-Courtesy-AndrisNelsons.com_-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Andris-Nelsons-Photo-by-Marco-Borggreve-Courtesy-AndrisNelsons.com_-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Andris-Nelsons-Photo-by-Marco-Borggreve-Courtesy-AndrisNelsons.com_.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Andris Nelsons (Photo by Marco Borggreve/Courtesy AndrisNelsons.com)</figcaption></figure></div>



<p><a href="https://www.carnegiehall.org/calendar/2021/04/16/boston-symphony-orchestra-0800pm" target="_blank" rel="noreferrer noopener">Boston Symphony Orchestra &#8211; <em>Shostakovich Symphony No. 4</em></a> &#8211; April 16th &#8211; 8:00 PM EDT/5:00 PM PDT</p>



<p>Andris Nelsons leads the BSO in this performance of one of Shostakovich&#8217;s most important works. From the opening moments this symphony grabs hold of you and doesn&#8217;t easily let go.</p>



<p>The pressure I mentioned above was so intense that the composer hid this symphony from the world until 1961. </p>



<p>Shostakovich completed the work in 1936 &#8211; twenty five years before anyone heard this incredible symphony. And it is incredible. </p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</p>



<p><em><a href="https://www.metmuseum.org/events/programs/met-live-arts/FY21-Quartet-for-the-End-of-Time" target="_blank" rel="noreferrer noopener">Quartet for the End of Time</a></em> &#8211; April 20th &#8211; 7:00 PM EDT/4:00 PM PDT</p>



<p>Written in 1940 by composer Olivier Messiaen while interned at a camp by the Nazis in World War II, this chamber music work was written for cello, clarinet, piano and violin. <em>Quartet for the End of Time</em> will be performed by Carter Brey, Anthony McGill (both of the New York Philharmonic), Inon Barnatan and Alan Gilbert (former Music Director of the NY Phil).</p>



<p>There are eight movements in Messiaen&#8217;s composition which the composer indicated was inspired by a passage in the <em>Book of Revelation</em>. </p>



<p>This performance took place at The Metropolitan Museum of Art&#8217;s Temple of Dendur in 2016.</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/2021/04/Kronos-Quartet-Courtesy-Carnegie-Hall-300x169.jpg" alt="" class="wp-image-13966" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Kronos-Quartet-Courtesy-Carnegie-Hall-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Kronos-Quartet-Courtesy-Carnegie-Hall-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Kronos-Quartet-Courtesy-Carnegie-Hall-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Kronos-Quartet-Courtesy-Carnegie-Hall-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Kronos-Quartet-Courtesy-Carnegie-Hall-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Kronos-Quartet-Courtesy-Carnegie-Hall-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Kronos-Quartet-Courtesy-Carnegie-Hall-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Kronos-Quartet-Courtesy-Carnegie-Hall.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Kronos Quartet (Photo © Erik Kabik/Courtesy Carnegie Hall)</figcaption></figure></div>



<p><em><a href="https://www.carnegiehall.org/calendar/2021/04/24/kronos-quartet-0800pm" target="_blank" rel="noreferrer noopener">Kronos Quartet</a></em> &#8211; April 24th &#8211; 8:00 PM EDT/5:00 PM PDT</p>



<p>Two-time Grammy Award winning ensemble (and 11-time nominees) Kronos Quartet perform a concert which finds Armenian Genocide, Terry Riley and Martin Luther King, Jr. sharing space.</p>



<p>Mary Kouyoumdjian’s&nbsp;<em>Silent Cranes</em> is an expression for the voiceless who perished in the Armenian Genocide of 1915. </p>



<p>Selections of compositions by Terry Riley are included as are excerpts from <em>Peace Be Till</em>.</p>



<p>Zachary James Watkins composed this work and was inspired by a piece of history surround King&#8217;s <em>I Have a Dream Speech</em>. David Harrington, founder and violinist of Kronos Quartet, found out that the August 1963 speech where King gave the world those rousing words, wasn&#8217;t planned to include that section. In fact, that wasn&#8217;t written &#8211; it was improvised after gospel singer Mahalia Jackson shouted out to him, &#8220;Tell &#8217;em about the dream, Martin&#8221; during his speech. The rest, as they say, is history. </p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</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/2021/04/Giandrea-Noseda-Photo-by-Stefano-Pasqualetti-Courtesy-National-Symphony-Orchestra-300x169.jpg" alt="" class="wp-image-13971" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Giandrea-Noseda-Photo-by-Stefano-Pasqualetti-Courtesy-National-Symphony-Orchestra-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Giandrea-Noseda-Photo-by-Stefano-Pasqualetti-Courtesy-National-Symphony-Orchestra-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Giandrea-Noseda-Photo-by-Stefano-Pasqualetti-Courtesy-National-Symphony-Orchestra-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Giandrea-Noseda-Photo-by-Stefano-Pasqualetti-Courtesy-National-Symphony-Orchestra-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Giandrea-Noseda-Photo-by-Stefano-Pasqualetti-Courtesy-National-Symphony-Orchestra-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Giandrea-Noseda-Photo-by-Stefano-Pasqualetti-Courtesy-National-Symphony-Orchestra-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Giandrea-Noseda-Photo-by-Stefano-Pasqualetti-Courtesy-National-Symphony-Orchestra-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Giandrea-Noseda-Photo-by-Stefano-Pasqualetti-Courtesy-National-Symphony-Orchestra.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Gianandrea Noseda (Photo by Stefano Pasqualetti/Courtesy National Symphony Orchestra)</figcaption></figure></div>



<p><a href="https://www.carnegiehall.org/calendar/2021/04/26/national-symphony-orchestra-0800pm" target="_blank" rel="noreferrer noopener">National Symphony Orchestra &#8211; <em>Casella Symphony No. 2</em></a> &#8211; Begins April 26th &#8211; 8:00 PM EDT/5:00 PM PDT</p>



<p>Alfredo Casella is not a household name. This symphony was composed in the first decade of the 20th century, making this a pre-World War I work. It&#8217;s big, it&#8217;s aggressive, it&#8217;s rich and runs 50 minutes. It should make for great viewing in addition to great listening.</p>



<p>Gianandrea Noseda leads the performance.</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</p>



<p><strong>DANCE:</strong></p>



<p><a href="https://www.carnegiehall.org/calendar/2021/04/20/third-coast-percussion---movement-art-is-0800pm" target="_blank" rel="noreferrer noopener"><em>Third Coast Percussion / Movement Art Is</em> <em>&#8211; Metamorphosis</em></a> &#8211; April 20th &#8211; 8:00 PM EDT/5:00 PM PDT</p>



<p>Chicago-based ensemble Third Coast Percussion is a Grammy Award-winning ensemble that celebrates new music, diversity and inclusion.</p>



<p>Jon Boogz and Lil Buck lead Movement Art Is, a dance company that wants to express themes of social change while achieving a high level of artistry with their movement.</p>



<p>The two groups team up for <em>Metamorphosis</em> in which they explore the life experiences of young Black men in America today. It will be expressed through the combination of a couple different styles of street dancing.</p>



<p>The performance features music by Jlin and Tyondai Braxton and also Philip Glass&#8217; <em>Aguas da Amazonia</em> in an arrangement by Third Coast Percussion (which can be found on their <em>Paddle to the Sea</em> album from 2018).</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</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/2021/04/Courtney-Celeste-Spears-in-22A-Mothers-Rite22-Photo-by-Matthew-Murphy-Courtesy-Black-Iris-Project-300x169.jpg" alt="" class="wp-image-13965" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Courtney-Celeste-Spears-in-22A-Mothers-Rite22-Photo-by-Matthew-Murphy-Courtesy-Black-Iris-Project-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Courtney-Celeste-Spears-in-22A-Mothers-Rite22-Photo-by-Matthew-Murphy-Courtesy-Black-Iris-Project-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Courtney-Celeste-Spears-in-22A-Mothers-Rite22-Photo-by-Matthew-Murphy-Courtesy-Black-Iris-Project-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Courtney-Celeste-Spears-in-22A-Mothers-Rite22-Photo-by-Matthew-Murphy-Courtesy-Black-Iris-Project-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Courtney-Celeste-Spears-in-22A-Mothers-Rite22-Photo-by-Matthew-Murphy-Courtesy-Black-Iris-Project-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Courtney-Celeste-Spears-in-22A-Mothers-Rite22-Photo-by-Matthew-Murphy-Courtesy-Black-Iris-Project-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Courtney-Celeste-Spears-in-22A-Mothers-Rite22-Photo-by-Matthew-Murphy-Courtesy-Black-Iris-Project-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Courtney-Celeste-Spears-in-22A-Mothers-Rite22-Photo-by-Matthew-Murphy-Courtesy-Black-Iris-Project.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Courtney Celeste Spears in &#8220;A Mother&#8217;s Rite&#8221; (Photo by Matthew Murphy/Courtesy Black Iris Project)</figcaption></figure></div>



<p><em><a href="https://www.carnegiehall.org/calendar/2021/04/26/jeremy-mcqueens-black-iris-project-0700pm" target="_blank" rel="noreferrer noopener">Jeremy McQueen&#8217;s Black Iris Project &#8211; A Mother&#8217;s Rite</a></em> &#8211; April 26th &#8211; 7:00 PM EDT/4:00 PM PDT</p>



<p>Combine Stravinsky&#8217;s <em>The Rite of Spring</em> with a dance depicting one mother&#8217;s life after her son was killed by the police. That&#8217;s what choreographer Jeremy McQueen has done in creating <em>A Mother&#8217;s Rite</em>.</p>



<p>Courtney Celeste Spears&nbsp;of Alvin Ailey American Dance Theater performs this solo work. McQueen received a 2020 New York Local Emmy Award nomination for this film.</p>



<p><em>A Mother&#8217;s Rite </em>perfectly represents his goal of creating work with social impact at its core.</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</p>



<p><strong>JAZZ:</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/2021/04/Somi-Photo-by-Robert-Adam-Meyer-Courtesy-Carnegie-Hall-300x169.jpg" alt="" class="wp-image-13964" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Somi-Photo-by-Robert-Adam-Meyer-Courtesy-Carnegie-Hall-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Somi-Photo-by-Robert-Adam-Meyer-Courtesy-Carnegie-Hall-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Somi-Photo-by-Robert-Adam-Meyer-Courtesy-Carnegie-Hall-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Somi-Photo-by-Robert-Adam-Meyer-Courtesy-Carnegie-Hall-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Somi-Photo-by-Robert-Adam-Meyer-Courtesy-Carnegie-Hall-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Somi-Photo-by-Robert-Adam-Meyer-Courtesy-Carnegie-Hall-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Somi-Photo-by-Robert-Adam-Meyer-Courtesy-Carnegie-Hall-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Somi-Photo-by-Robert-Adam-Meyer-Courtesy-Carnegie-Hall.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Somi (Photo by Robert Adam Meyer/Courtesy Carnegie Hall)</figcaption></figure></div>



<p><em><a href="https://www.carnegiehall.org/calendar/2021/04/21/somi-in-the-absence-of-things-0800pm" target="_blank" rel="noreferrer noopener">Somi: in the absence of things</a></em> &#8211; April 21st &#8211; 8:00 PM EDT/5:00 PM PDT</p>



<p>In 2020, Somi, a jazz vocalist from East Africa, released a live album called <em>Holy Room: Live at Alte Oper with Frankfurt Radio Big Band</em>. Music from that dynamic album serves as the soundtrack for this experimental short film in which she explores the price artists have paid during the pandemic. </p>



<p>The film also addresses the need to increase Black storytelling in cultural institutions. </p>



<p>Immediately following the screening of the film, Somi will appear in selections from a recently filmed concert she gave in Senegal.</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</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/2021/04/Jason-Moran-Courtesy-Carnegie-Hall-300x169.jpg" alt="" class="wp-image-13963" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Jason-Moran-Courtesy-Carnegie-Hall-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Jason-Moran-Courtesy-Carnegie-Hall-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Jason-Moran-Courtesy-Carnegie-Hall-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Jason-Moran-Courtesy-Carnegie-Hall-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Jason-Moran-Courtesy-Carnegie-Hall-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Jason-Moran-Courtesy-Carnegie-Hall-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Jason-Moran-Courtesy-Carnegie-Hall-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Jason-Moran-Courtesy-Carnegie-Hall.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Jason Moran (Courtesy Carnegie Hall)</figcaption></figure></div>



<p><em><a href="https://www.carnegiehall.org/calendar/2021/04/22/jason-moran-0800pm" target="_blank" rel="noreferrer noopener">Jason Moran: James Reese Europe and the Harlem Hellfighters &#8211; The Absence of Ruin</a></em> &#8211; April 22nd &#8211; 8:00 PM EDT/5:00 PM PDT</p>



<p>1918 started with an auspicious event. New York&#8217;s 93rd Division’s 369th Infantry Regiment landed in France. Amongst the members of this regiment, nicknamed <em>The Harlem Hellfighters</em>, was James Reese Europe. He and his military ensemble of musicians introduced the French to a particular style of jazz written and performed by Black musicians. </p>



<p>He returned one year later to America and was hailed for his accomplishments. He went out on a tour with this celebrated music, but one of his band members, feeling he&#8217;d been cheated by Europe, stabbed him and he succumbed to his injuries.</p>



<p>As only pianist/composer/historian/artist <a href="https://culturalattache.co/2020/01/30/jason-moran-has-a-reason-to-believe/" target="_blank" rel="noreferrer noopener">Jason Moran</a> can, he will celebrate James Reese Europe in this show which is one of the main highlights of this entire festival. Since Moran is not only insanely talented, but one of jazz music&#8217;s best thinkers, this will be a terrific show.</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</p>



<p><strong>OPERA:</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/2021/04/Lady-Macbeth-of-Mtsek-Photo-by-A.T.-Schaefer-Courtesy-Operavision-300x169.jpg" alt="" class="wp-image-13972" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Lady-Macbeth-of-Mtsek-Photo-by-A.T.-Schaefer-Courtesy-Operavision-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Lady-Macbeth-of-Mtsek-Photo-by-A.T.-Schaefer-Courtesy-Operavision-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Lady-Macbeth-of-Mtsek-Photo-by-A.T.-Schaefer-Courtesy-Operavision-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Lady-Macbeth-of-Mtsek-Photo-by-A.T.-Schaefer-Courtesy-Operavision-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Lady-Macbeth-of-Mtsek-Photo-by-A.T.-Schaefer-Courtesy-Operavision-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Lady-Macbeth-of-Mtsek-Photo-by-A.T.-Schaefer-Courtesy-Operavision-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Lady-Macbeth-of-Mtsek-Photo-by-A.T.-Schaefer-Courtesy-Operavision-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Lady-Macbeth-of-Mtsek-Photo-by-A.T.-Schaefer-Courtesy-Operavision.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>A scene from Dutch National Opera&#8217;s &#8220;Lady Macbeth of Mtsensk&#8221; (Photo by A.T. Schaefer/Courtesy Operavision)</figcaption></figure></div>



<p><a href="https://www.carnegiehall.org/calendar/2021/04/19/shostakovich-lady-macbeth-of-mtsensk-0800pm" target="_blank" rel="noreferrer noopener">Dutch National Opera &#8211; <em>Lady Macbeth of Mtsensk</em></a> &#8211; April 19th &#8211; 8:00 PM EDT/5:00 PM PDT</p>



<p>Conducted by Mariss Jansons; starring Eva-Marie Westbroek, Katerina Ismailova, Christopher Ventris, Ludovit Ludha and Anatoly Kotcherga. This 2006 production (for the composer&#8217;s centennial) was directed by Martin Kušej.</p>



<p>The Soviet government&#8217;s response to this opera is what lead Shostakovich to keep his fourth symphony in hiding for so long. </p>



<p>If you&#8217;ve watched the documentary listed above and also the performance of that symphony, this is a third piece in that puzzle.</p>



<p>Based on the novel of the same name, this opera is filled with infidelities, tangled affairs and murders. In other words, everything opera fans hold near and dear to their hearts.</p>



<p>Katerina makes a vow of fidelity to her husband Zinovi she knows she can&#8217;t possibly keep. Once he&#8217;s away on business the problems start. One lover after another is discovered and each ends up mysteriously dead. Who survives and who is coupled is only revealed at the end when more tragedy will come into play.</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</p>



<p><strong>OTHER:</strong></p>



<p><em>This is a section where programming that doesn&#8217;t neatly fit into just one genre can be highlighted.</em></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/2021/04/Jennifer-Koh-Photo-by-Juergen-Frank-Courtesy-Opus-3-Artists-300x169.jpg" alt="" class="wp-image-13962" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Jennifer-Koh-Photo-by-Juergen-Frank-Courtesy-Opus-3-Artists-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Jennifer-Koh-Photo-by-Juergen-Frank-Courtesy-Opus-3-Artists-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Jennifer-Koh-Photo-by-Juergen-Frank-Courtesy-Opus-3-Artists-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Jennifer-Koh-Photo-by-Juergen-Frank-Courtesy-Opus-3-Artists-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Jennifer-Koh-Photo-by-Juergen-Frank-Courtesy-Opus-3-Artists-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Jennifer-Koh-Photo-by-Juergen-Frank-Courtesy-Opus-3-Artists-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Jennifer-Koh-Photo-by-Juergen-Frank-Courtesy-Opus-3-Artists-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Jennifer-Koh-Photo-by-Juergen-Frank-Courtesy-Opus-3-Artists.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Jennifer Koh (Photo by Juergen Frank/Courtesy Opus 3 Artists)</figcaption></figure></div>



<p><em><a href="https://www.carnegiehall.org/calendar/2021/04/23/davne-tinesbr-jennifer-koh-0700pm">Davóne Tines / Jennifer Koh</a></em> &#8211; April 23rd &#8211; 7:00 PM EDT/4:00 PM PDT</p>



<p>Bass-baritone Davóne Tines and violinist Jennifer Koh team up for this film having its premiere during the festival. Their work dissects Asian American oppression and its long history in America. They also look at the close ties between the Asian American and Black communities.</p>



<p>In collaboration with arranger Ken Ueno, they are seen performing one of the most powerful songs about racist acts against Blacks, <em>Strange Fruit</em>. Accompanying their performance (which should be shattering given how talented they each are) will be images of violence against the Asian American community.</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</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/2021/04/Samora-Pinderhughes-Courtesy-Carnegie-Hall-300x169.jpg" alt="" class="wp-image-13960" srcset="https://culturalattache.co/wp-content/uploads/2021/04/Samora-Pinderhughes-Courtesy-Carnegie-Hall-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/04/Samora-Pinderhughes-Courtesy-Carnegie-Hall-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/04/Samora-Pinderhughes-Courtesy-Carnegie-Hall-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/04/Samora-Pinderhughes-Courtesy-Carnegie-Hall-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/04/Samora-Pinderhughes-Courtesy-Carnegie-Hall-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/04/Samora-Pinderhughes-Courtesy-Carnegie-Hall-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/04/Samora-Pinderhughes-Courtesy-Carnegie-Hall-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/04/Samora-Pinderhughes-Courtesy-Carnegie-Hall.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Samora Pinderhughes (Courtesy Carnegie Hall)</figcaption></figure></div>



<p><em><a href="https://www.carnegiehall.org/calendar/2021/04/27/samora-pinderhughes-0800pm" target="_blank" rel="noreferrer noopener">Samora Pinderhughes &#8211; Grief</a></em> &#8211; April 27th &#8211; 8:00 PM EDT/5:00 PM PDT</p>



<p>Samora Pinderhughes was described on PBS NewsHour as an artist and composer who &#8220;wants to make music that makes listeners live differently.” You will certainly by influenced by this project, <em>Grief</em>.</p>



<p>Systemic racism in all its forms is in the crosshairs for this work that was commissioned by Chamber Music America and New Music USA. Not only do his songs call out what many of us have witnessed, but also help create a possible way forward for, if nothing else, resistance. </p>



<p>Grief&nbsp;was filmed for the&nbsp;<em>Voices of Hope</em>&nbsp;festival and its imagery was inspired by one of my favorite photographers, <a href="https://www.moma.org/artists/1422#works" target="_blank" rel="noreferrer noopener">Roy DeCarava</a>. The film is directed by Christian Padron.</p>



<p>Joining Pinderhughes in this film are: Boom Bishop on electric bass; Marcus Gilmore on drums; Jehbreal Jackson on vocals; Clovis Nicolas on double bass; Niya Norwood on vocals; Elena Pinderhughes on flute; Lucas Pino on tenor saxophone; Immanuel Wilkins on alto saxophone, Brad Allen Williams on guitar and the Argus Quartet / Metropolis Ensemble also participate.</p>



<p>This performance will be available on Carnegie Hall&#8217;s Facebook page and YouTube channel.</p>



<p><strong>RADIO PLAY:</strong></p>



<p><em><a href="https://us02web.zoom.us/webinar/register/WN_n0avTma7TeaZAXta_3rVEw" target="_blank" rel="noreferrer noopener">The Dead Man</a> </em>&#8211; April 25th &#8211; 7:00 PM EDT/4:00 PM PDT</p>



<p>This World War I play by Sholem Asch is being heard in its first English-language translation. Caraid O&#8217;Brien took the original Yiddish text by Asch to create this radio play. <em>The Dead Man</em> tells the story of citizens in Poland trying to put their lives back together after the war. It is set in the rubble of a synagogue that has been destroyed. All the lingering effects of war have left their mark on the people in the community, but their persistent hope in a better future guides them through.</p>



<p>If you&#8217;ve seen Paula Vogel&#8217;s <em>Indecent</em>, it told the story of the Broadway performances of Asch&#8217;s play <em>God of Vengeance.</em></p>



<p>This is a Zoom event and advance registration is required. It appears there will be only this one live performance of <em>The Dead Man</em>.</p>



<p>Those are my top picks. Again, I urge you to explore for yourself the complete line-up of Carnegie Hall&#8217;s <em>Voices of Hope</em> festival. </p>



<p>Happy exploring and let me know what you think of these picks and what you like most about the festival and its offerings.</p>



<p>Photo: Davóne Tines (Courtesy his Facebook page)</p>



<p></p>
<p>The post <a href="https://culturalattache.co/2021/04/15/carnegie-halls-voices-of-hope-my-top-picks/">Carnegie Hall&#8217;s &#8220;Voices of Hope&#8221; &#8211; My Top Picks</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>Best Bets: February 19th &#8211; February 21st</title>
		<link>https://culturalattache.co/2021/02/19/best-bets-february-19th-february-21st/</link>
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		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Fri, 19 Feb 2021 18:00:18 +0000</pubDate>
				<category><![CDATA[Classical: Metronome]]></category>
		<category><![CDATA[Come to the Cabaret]]></category>
		<category><![CDATA[Dance: At the Barre]]></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[Streaming]]></category>
		<category><![CDATA[The Play's The Thing]]></category>
		<category><![CDATA[Ahmanson Theatre]]></category>
		<category><![CDATA[Amanda Lynn Bottoms]]></category>
		<category><![CDATA[Angela Gheorghiu]]></category>
		<category><![CDATA[Anna Christy]]></category>
		<category><![CDATA[Anthony Roth Costanzo]]></category>
		<category><![CDATA[Bang on a Can Marathon]]></category>
		<category><![CDATA[CAP UCLA]]></category>
		<category><![CDATA[Carmen]]></category>
		<category><![CDATA[Center Theatre Group]]></category>
		<category><![CDATA[Common]]></category>
		<category><![CDATA[Dance Theatre of Harlem]]></category>
		<category><![CDATA[Daniil Trifonov]]></category>
		<category><![CDATA[Death]]></category>
		<category><![CDATA[Don Giovanni]]></category>
		<category><![CDATA[Eddie Henderson]]></category>
		<category><![CDATA[Ellen Reid]]></category>
		<category><![CDATA[Enrique Mazzola]]></category>
		<category><![CDATA[Evidence]]></category>
		<category><![CDATA[Florence Price]]></category>
		<category><![CDATA[Franco Zeffirelli]]></category>
		<category><![CDATA[Franz Schubert]]></category>
		<category><![CDATA[Fridays at Five]]></category>
		<category><![CDATA[Gabriel Kahane]]></category>
		<category><![CDATA[Georges Bizet]]></category>
		<category><![CDATA[Gerard Powers]]></category>
		<category><![CDATA[Giacomo Puccini]]></category>
		<category><![CDATA[Gioachino Rossini]]></category>
		<category><![CDATA[Howard Watkins]]></category>
		<category><![CDATA[Icons on Inspiration]]></category>
		<category><![CDATA[Ion Marin]]></category>
		<category><![CDATA[Irish Repertory Theatre]]></category>
		<category><![CDATA[Jason Marsalis]]></category>
		<category><![CDATA[Julie Andrews]]></category>
		<category><![CDATA[Katy Perry]]></category>
		<category><![CDATA[Kenny Barron]]></category>
		<category><![CDATA[LA Opera]]></category>
		<category><![CDATA[La Rondine]]></category>
		<category><![CDATA[Lara Downes]]></category>
		<category><![CDATA[Los Angeles Philharmonic]]></category>
		<category><![CDATA[Lyric Opera of Chicago]]></category>
		<category><![CDATA[Matthew Bourne]]></category>
		<category><![CDATA[Metropolitan Opera]]></category>
		<category><![CDATA[Michelle Cann]]></category>
		<category><![CDATA[Misha Didyk]]></category>
		<category><![CDATA[Nadia Hallgren]]></category>
		<category><![CDATA[New Bach]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Nicolas Joël]]></category>
		<category><![CDATA[Paul Laurence Dunbar]]></category>
		<category><![CDATA[Philadelphia Orchestra]]></category>
		<category><![CDATA[Regina Carter]]></category>
		<category><![CDATA[Romeo and Juliet]]></category>
		<category><![CDATA[Ronald K. Brown]]></category>
		<category><![CDATA[Santino Fontana]]></category>
		<category><![CDATA[Seth Rudetsky]]></category>
		<category><![CDATA[SF Jazz]]></category>
		<category><![CDATA[Shriver Hall Concert Series]]></category>
		<category><![CDATA[Snug Harbor]]></category>
		<category><![CDATA[Sole e Amore]]></category>
		<category><![CDATA[Soundwalk]]></category>
		<category><![CDATA[Teri Lynne Carrington]]></category>
		<category><![CDATA[The Joyce Theatre]]></category>
		<category><![CDATA[The Kronos Quartet]]></category>
		<category><![CDATA[Theater Resources Unlimited (TRU)]]></category>
		<category><![CDATA[Tonya Pinkins]]></category>
		<category><![CDATA[TruSpeak...Hear Our Voices]]></category>
		<category><![CDATA[Turandot]]></category>
		<category><![CDATA[Tyshawn Sorey]]></category>
		<category><![CDATA[William Shakespeare]]></category>
		<category><![CDATA[Wolfgang Amadeus Mozart]]></category>
		<category><![CDATA[Yannick Nézet-Séguin]]></category>
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					<description><![CDATA[<p>Fourteen options to enjoy culture at home this weekend lead by a new work by Tyshawn Sorey</p>
<p>The post <a href="https://culturalattache.co/2021/02/19/best-bets-february-19th-february-21st/">Best Bets: February 19th &#8211; February 21st</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
]]></description>
										<content:encoded><![CDATA[
<p>My February Fourteen. Let&#8217;s consider my Best Bets: February 19th &#8211; February 21st &#8211; and the 14 options on this week&#8217;s list &#8211; a second valentine of sorts. </p>



<p>My top pick is the world premiere of <em>Death </em>by Tyshawn Sorey. Los Angeles Opera is giving the work its debut through their digital shorts program. The work will begin streaming on Friday, February 19th at 11:00 AM.</p>



<p>Those interested in modern dance, ballet, jazz, classical music, plays and musicals will also have plenty to watch his weekend.</p>



<p>Here are my Best Bets: February 19th &#8211; February 21st:</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/2021/02/Annique-Roberts-Joyce-Edwards-and-Company-in-22Mercy22-Photo-by-Julietta-Cervantes-Courtesy-Ron-K.-Brown-Evidence-300x169.jpg" alt="" class="wp-image-13152" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Annique-Roberts-Joyce-Edwards-and-Company-in-22Mercy22-Photo-by-Julietta-Cervantes-Courtesy-Ron-K.-Brown-Evidence-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Annique-Roberts-Joyce-Edwards-and-Company-in-22Mercy22-Photo-by-Julietta-Cervantes-Courtesy-Ron-K.-Brown-Evidence-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Annique-Roberts-Joyce-Edwards-and-Company-in-22Mercy22-Photo-by-Julietta-Cervantes-Courtesy-Ron-K.-Brown-Evidence-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Annique-Roberts-Joyce-Edwards-and-Company-in-22Mercy22-Photo-by-Julietta-Cervantes-Courtesy-Ron-K.-Brown-Evidence-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Annique-Roberts-Joyce-Edwards-and-Company-in-22Mercy22-Photo-by-Julietta-Cervantes-Courtesy-Ron-K.-Brown-Evidence-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Annique-Roberts-Joyce-Edwards-and-Company-in-22Mercy22-Photo-by-Julietta-Cervantes-Courtesy-Ron-K.-Brown-Evidence-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Annique-Roberts-Joyce-Edwards-and-Company-in-22Mercy22-Photo-by-Julietta-Cervantes-Courtesy-Ron-K.-Brown-Evidence-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Annique-Roberts-Joyce-Edwards-and-Company-in-22Mercy22-Photo-by-Julietta-Cervantes-Courtesy-Ron-K.-Brown-Evidence.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Annique Roberts, Joyce Edwards and Company in &#8220;Mercy&#8221; (Photo by Julieta Cervantes/Courtesy Ronald K. Brown and Evidence)</figcaption></figure></div>



<p><strong>DANCE: </strong><a href="https://www.joyce.org/ronald-k-brown-evidence" target="_blank" rel="noreferrer noopener"><em>Evidence</em> &#8211; Ronald K. Brown</a> &#8211; The Joyce Theatre &#8211; Now &#8211; March 4th</p>



<p>In 1985 Ronald K. Brown formed a new company called Evidence. On the occasion of its 35 anniversary, the Joyce Theatre is streaming a program of six works for solo dancers and couples. Included in the program are <em>For You</em>, which served as a tribute to Stephanie Reinhart, the late co-creator of the American Dance Festival; <em>Grace</em>, a solo that put Brown on the map when it was performed by Alvin Ailey American Dance Theatre; <em>March</em>, a duet set to a speech by Dr. Martin Luther King Jr.; <em>Mercy</em> set to music by Meshell Ndegeocello; <em>Palo y Machete</em>, from <em>One Shot</em>, which was inspired by photographer Charles &#8220;Teenie&#8221; Harris and <em>She is Here.</em></p>



<p>Tickets are $25 per household and allow for on-demand streaming through March 4th.</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/2021/02/Ellen-Reid-22Soundwalk22-Photo-by-Erin-Baiano-Courtesy-CAP-UCLA-300x169.jpg" alt="" class="wp-image-13167" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Ellen-Reid-22Soundwalk22-Photo-by-Erin-Baiano-Courtesy-CAP-UCLA-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Ellen-Reid-22Soundwalk22-Photo-by-Erin-Baiano-Courtesy-CAP-UCLA-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Ellen-Reid-22Soundwalk22-Photo-by-Erin-Baiano-Courtesy-CAP-UCLA-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Ellen-Reid-22Soundwalk22-Photo-by-Erin-Baiano-Courtesy-CAP-UCLA-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Ellen-Reid-22Soundwalk22-Photo-by-Erin-Baiano-Courtesy-CAP-UCLA-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Ellen-Reid-22Soundwalk22-Photo-by-Erin-Baiano-Courtesy-CAP-UCLA-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Ellen-Reid-22Soundwalk22-Photo-by-Erin-Baiano-Courtesy-CAP-UCLA-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Ellen-Reid-22Soundwalk22-Photo-by-Erin-Baiano-Courtesy-CAP-UCLA.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>“Ellen Reid Soundwalk” (Photo by Erin Baiano/Courtesy CAP UCLA)</figcaption></figure></div>



<p><strong>CLASSICAL MUSIC: </strong><em><a href="https://www.ellenreidsoundwalk.com" target="_blank" rel="noreferrer noopener">Soundwalk</a></em> &#8211; Multiple Locations &#8211; Now Available</p>



<p>Pulitzer Prize-winning composer <a href="https://culturalattache.co/2018/05/09/composer-ellen-reids-new-work-cautionary-tale/" target="_blank" rel="noreferrer noopener">Ellen Reid</a> has created a musical landscape to accompany walks through many public parks and spaces in some of America&#8217;s cities. Her goal, as stated on the website, is to &#8220;inspire us and make us feel connected to something larger than ourselves. It is meant to serve as artistic nourishment &#8211; a place to recharge, reconnect, and re-energize.”</p>



<p>You download an app, put on your headphones and talk a walk through designated areas and listen to the music she&#8217;s created. Right now it is only available in Los Angeles and New York, but additional cities will be added throughout the year.</p>



<p>For Los Angeles, presented in association with <a href="https://cap.ucla.edu/calendar/details/soundwalk" target="_blank" rel="noreferrer noopener">CAP UCLA</a>, The Kronos Quartet performs the music to accompany walks through Griffith Park as does the Soundwalk Ensemble. For New York, presented in association with the <a href="https://www.ellenreidsoundwalk.com/new-york-philharmonic" target="_blank" rel="noreferrer noopener">New York Philharmonic</a>, musicians from the orchestra perform the music to accompany walks through Central Park. The Soundwalk Ensemble, members of the Young People&#8217;s Chorus of New York City and Poole and the Gang also perform. </p>



<p>There is no charge to download the app and the <em>Soundwalk</em> experience will remain active into 2023. Additional locations roll out beginning in April.</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/2021/02/Kenny-Barron-at-SFJAZZ-Courtesy-SFJAZZ-300x169.jpg" alt="" class="wp-image-13165" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Kenny-Barron-at-SFJAZZ-Courtesy-SFJAZZ-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Kenny-Barron-at-SFJAZZ-Courtesy-SFJAZZ-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Kenny-Barron-at-SFJAZZ-Courtesy-SFJAZZ-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Kenny-Barron-at-SFJAZZ-Courtesy-SFJAZZ-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Kenny-Barron-at-SFJAZZ-Courtesy-SFJAZZ-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Kenny-Barron-at-SFJAZZ-Courtesy-SFJAZZ-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Kenny-Barron-at-SFJAZZ-Courtesy-SFJAZZ-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Kenny-Barron-at-SFJAZZ-Courtesy-SFJAZZ.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Kenny Barron performing at SFJAZZ (Photo courtesy SFJAZZ)</figcaption></figure></div>



<p><strong>JAZZ: </strong><em><a href="https://www.sfjazz.org/watch/#info-open" target="_blank" rel="noreferrer noopener">Kenny Barron</a></em> &#8211; SFJAZZ &#8211; February 19th &#8211; 8:00 PM EST/5:00 PM PST</p>



<p>In this fall of 2018 concert, legendary jazz pianist Kenny Barron is joined by violinist Regina Carter, trumpeter Eddie Henderson and drummer Terri Lyne Carrington. Any one of them would be compelling, having them perform with Barron will offer great music.</p>



<p>Barron is an 11-time Grammy Award nominee (how is it possible he&#8217;s never won one?) whose career began as a member of Dizzy Gillespie&#8217;s quartet. His recording career began in 1967 and his most recent release was 2020&#8217;s <em>Without Deception</em> with bassist Dave Holland.</p>



<p>Tickets are $5 (which allows for a one-month digital subscription) or $60 (which allows for a 12-month digital subscription). There is only the one showing on Friday.</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/2021/02/Cordelia-Braithwate-and-Paris-Fitzpatrick-in-Matthew-Bournes-22Romeo-and-Juliet22-Photo-by-Johan-Persson-Courtesy-Center-Theatre-Group-300x169.jpg" alt="" class="wp-image-13153" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Cordelia-Braithwate-and-Paris-Fitzpatrick-in-Matthew-Bournes-22Romeo-and-Juliet22-Photo-by-Johan-Persson-Courtesy-Center-Theatre-Group-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Cordelia-Braithwate-and-Paris-Fitzpatrick-in-Matthew-Bournes-22Romeo-and-Juliet22-Photo-by-Johan-Persson-Courtesy-Center-Theatre-Group-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Cordelia-Braithwate-and-Paris-Fitzpatrick-in-Matthew-Bournes-22Romeo-and-Juliet22-Photo-by-Johan-Persson-Courtesy-Center-Theatre-Group-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Cordelia-Braithwate-and-Paris-Fitzpatrick-in-Matthew-Bournes-22Romeo-and-Juliet22-Photo-by-Johan-Persson-Courtesy-Center-Theatre-Group-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Cordelia-Braithwate-and-Paris-Fitzpatrick-in-Matthew-Bournes-22Romeo-and-Juliet22-Photo-by-Johan-Persson-Courtesy-Center-Theatre-Group-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Cordelia-Braithwate-and-Paris-Fitzpatrick-in-Matthew-Bournes-22Romeo-and-Juliet22-Photo-by-Johan-Persson-Courtesy-Center-Theatre-Group-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Cordelia-Braithwate-and-Paris-Fitzpatrick-in-Matthew-Bournes-22Romeo-and-Juliet22-Photo-by-Johan-Persson-Courtesy-Center-Theatre-Group-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Cordelia-Braithwate-and-Paris-Fitzpatrick-in-Matthew-Bournes-22Romeo-and-Juliet22-Photo-by-Johan-Persson-Courtesy-Center-Theatre-Group.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Cordelia Braithwaite and Paris Fitzpatrick in Matthew Bourne’s “Romeo and Juliet” (Photo byJohan Persson/Courtesy Center Theatre Group)</figcaption></figure></div>



<p><strong>DANCE: </strong><em><a href="https://www.centertheatregroup.org/digitalstage/premium-events/matthew-bourne-romeo-and-juliet/" target="_blank" rel="noreferrer noopener">Matthew Bourne&#8217;s Romeo and Juliet</a></em> &#8211; Ahmanson Theatre &#8211; February 19th &#8211; February 21st</p>



<p>Ivo Váňa-Psota was the first choreographer of a ballet of Shakespeare&#8217;s <em>Romeo and Juliet</em>. It was set to the music by Sergei Prokofiev. The work had its world premiere in 1938.</p>



<p>In 2019 Matthew Bourne presented to the world his new <em>Romeo and Juliet</em> ballet, also set to Prokofiev&#8217;s music as interpreted by composer Terry Davies.</p>



<figure class="wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="Matthew Bourne&#039;s Romeo and Juliet - Official Trailer" width="696" height="392" src="https://www.youtube.com/embed/2NesVA-4d-g?feature=oembed&#038;enablejsapi=1" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>Center Theatre Group in Los Angeles is making the ballet available for rent this weekend only. Unlike other Bourne productions, <em>Romeo and Juliet</em> has never been performed in Los Angeles. Cordelia Braithwaite dances the role of Juliet and Paris Fitzpatrick dances the role of Romeo.</p>



<p>There are seven available performances this weekend. On Friday at 5:00 PM PST and 8:00 PM PST; Saturday at 2:00 PM PST, 5:00 PM PST and 8:00 PM PST and Sunday at 1:00 PM PST and 6:30 PM PST. Tickets are $10.</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/2021/02/Tyshawn-Sorey-in-a-still-from-22Death22-Courtesy-LA-Opera-300x169.jpg" alt="" class="wp-image-13154" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Tyshawn-Sorey-in-a-still-from-22Death22-Courtesy-LA-Opera-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Tyshawn-Sorey-in-a-still-from-22Death22-Courtesy-LA-Opera-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Tyshawn-Sorey-in-a-still-from-22Death22-Courtesy-LA-Opera-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Tyshawn-Sorey-in-a-still-from-22Death22-Courtesy-LA-Opera-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Tyshawn-Sorey-in-a-still-from-22Death22-Courtesy-LA-Opera-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Tyshawn-Sorey-in-a-still-from-22Death22-Courtesy-LA-Opera-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Tyshawn-Sorey-in-a-still-from-22Death22-Courtesy-LA-Opera-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Tyshawn-Sorey-in-a-still-from-22Death22-Courtesy-LA-Opera.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Tyshawn Sorey in a still from &#8220;Death&#8221; (Courtesy LA Opera)</figcaption></figure></div>



<p><span style="text-decoration: underline;">*</span><strong><span style="text-decoration: underline;">TOP PICK*</span> OPERA:</strong> <em><a href="https://www.laopera.org/performances/upcoming-digital-performances/death-digital-short/" target="_blank" rel="noreferrer noopener">Death</a></em> &#8211; LA Opera &#8211; February 19th &#8211; May 4th</p>



<p>This is our third week in a row with Tyshawn Sorey on our list of best bets. This week his work <em>Death</em> will have its world premiere from LA Opera. Sorey sets the poetry of Paul Laurence Dunbar to music for solo voice and piano. </p>



<p>Dunbar is considered America&#8217;s first great Black poet. Sorey uses his poem of the same name from Dunbar&#8217;s 1903 collection <em>Lyrics of Love and Laughter</em>.</p>



<p>Performing <em>Death </em>are mezzo-soprano Amanda Lynn Bottoms and pianist Howard Watkins. Nadia Hallgren (<em>Becoming</em>) directed the film. </p>



<p>Sorey is obviously exploding with his inventive mix of jazz, classical and experimental music styles. With <em><a href="https://www.operaphila.org/whats-on/2020-2021/save-the-boys/" target="_blank" rel="noreferrer noopener">Save the Boys</a></em> and <em>Death</em>, 2021 is clearly turning out to already be a remarkable year for the 40-year-old who was awarded a MacArthur &#8220;Genius Grant&#8221; in 2017.</p>



<p>There is no charge to watch <em>Death</em>, but you do need to register with LA Opera.</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/2021/02/Michelle-Cann-and-the-Philadelphia-Orchestra-Photo-by-Jeff-Fusco-Courtesy-Philadelphia-Orchestra-300x200.jpg" alt="" class="wp-image-13155" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Michelle-Cann-and-the-Philadelphia-Orchestra-Photo-by-Jeff-Fusco-Courtesy-Philadelphia-Orchestra-300x200.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Michelle-Cann-and-the-Philadelphia-Orchestra-Photo-by-Jeff-Fusco-Courtesy-Philadelphia-Orchestra-1024x683.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Michelle-Cann-and-the-Philadelphia-Orchestra-Photo-by-Jeff-Fusco-Courtesy-Philadelphia-Orchestra-768x512.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Michelle-Cann-and-the-Philadelphia-Orchestra-Photo-by-Jeff-Fusco-Courtesy-Philadelphia-Orchestra-1536x1024.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Michelle-Cann-and-the-Philadelphia-Orchestra-Photo-by-Jeff-Fusco-Courtesy-Philadelphia-Orchestra-696x464.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Michelle-Cann-and-the-Philadelphia-Orchestra-Photo-by-Jeff-Fusco-Courtesy-Philadelphia-Orchestra-1068x712.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Michelle-Cann-and-the-Philadelphia-Orchestra-Photo-by-Jeff-Fusco-Courtesy-Philadelphia-Orchestra-630x420.jpg 630w, https://culturalattache.co/wp-content/uploads/2021/02/Michelle-Cann-and-the-Philadelphia-Orchestra-Photo-by-Jeff-Fusco-Courtesy-Philadelphia-Orchestra.jpg 1620w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Michelle Cann and the Philadelphia Orchestra (Photo by Jeff Fusco/Courtesy Philadelphia Orchestra)</figcaption></figure></div>



<p><strong>CLASSICAL MUSIC: </strong><em><a href="https://www.philorch.org/performances/our-season/events-and-tickets/digital-stage-2021-on-demand/michelle-cann-plays-florence-price/" target="_blank" rel="noreferrer noopener">Michelle Cann plays Florence Price</a></em> &#8211; Philadelphia Orchestra &#8211; February 19th &#8211; February 25th</p>



<p>June 15, 1933 was a pivotal day in the life of composer Florence Price. The Chicago Symphony Orchestra performed her <em>Symphony in E Minor</em>. This marked the first time the work of a Black woman had her composition performed by a major orchestra in America. </p>



<p>The other important date happened well after Price had passed away. In 2009 a couple, while renovating a house they purchased in Illinois, came across manuscripts, books and other writings by Price. More than half of the works she composed were found. The rediscovery of Price had begun.</p>



<p>Pianist Michelle Cann, who has made Price&#8217;s <em>Concerto in One Movement</em> a regular part of her repertoire, joins The Philadelphia Orchestra and music director Yannick Nézet-Séguin, for a performance of the work in a film available through February 25th. They are using the original orchestration of the concerto. The website indicates this may be the first time since the 1930s that this orchestration has been performed.</p>



<p>Also on the program are Rossini&#8217;s Overture to&nbsp;<em>La scala di seta</em> and Schubert&#8217;s <em>Symphony No. 4 (“Tragic”)</em>.</p>



<p>Tickets are $17.</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/2021/02/Kip-Sturm-and-Tai-Jimenez-in-22New-Bach22-Photo-by-Joseph-Rodman-Courtesy-DTH_-300x169.jpg" alt="" class="wp-image-13156" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Kip-Sturm-and-Tai-Jimenez-in-22New-Bach22-Photo-by-Joseph-Rodman-Courtesy-DTH_-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Kip-Sturm-and-Tai-Jimenez-in-22New-Bach22-Photo-by-Joseph-Rodman-Courtesy-DTH_-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Kip-Sturm-and-Tai-Jimenez-in-22New-Bach22-Photo-by-Joseph-Rodman-Courtesy-DTH_-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Kip-Sturm-and-Tai-Jimenez-in-22New-Bach22-Photo-by-Joseph-Rodman-Courtesy-DTH_-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Kip-Sturm-and-Tai-Jimenez-in-22New-Bach22-Photo-by-Joseph-Rodman-Courtesy-DTH_-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Kip-Sturm-and-Tai-Jimenez-in-22New-Bach22-Photo-by-Joseph-Rodman-Courtesy-DTH_-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Kip-Sturm-and-Tai-Jimenez-in-22New-Bach22-Photo-by-Joseph-Rodman-Courtesy-DTH_-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Kip-Sturm-and-Tai-Jimenez-in-22New-Bach22-Photo-by-Joseph-Rodman-Courtesy-DTH_.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Kip Sturm and Tai Jimenez in &#8220;New Bach&#8221; (Photo by Joseph Rodman/Courtesy Dance Theatre of Harlem)</figcaption></figure></div>



<p><strong>DANCE: </strong><em><a href="https://www.dancetheatreofharlem.org/virtualballetseries/" target="_blank" rel="noreferrer noopener">New Bach</a></em> &#8211; Dance Theatre of Harlem &#8211; February 20th &#8211; February 27th</p>



<p>The second half of Dance Theatre of Harlem&#8217;s Winter 2021 Virtual Ballet Series takes place on Saturday with <em>New Bach</em> which will be posted on their<a href="https://www.facebook.com/dancetheatreofharlem/" target="_blank" rel="noreferrer noopener"> </a><a href="https://www.youtube.com/dancetheatreofharlem?sub_confirmation=1" target="_blank" rel="noreferrer noopener">YouTube channel</a> on Saturday.</p>



<p>Robert Garland created <em>New Bach</em> which had its world premiere in 2001 just after the 9/11 tragedy. <a href="https://www.nytimes.com/2001/09/27/arts/dance-review-1-night-4-firsts-from-harlem-dance-theater.html" target="_blank" rel="noreferrer noopener">Anna Kisselgoff</a>, in her <span style="text-decoration: underline;">New York Times</span> review, said of the work upon its premiere (with specific names from that performance): &#8220;Mr. Garland has used the Balanchine model in the best sense in <em>New Bach</em>,&#8217; and alludes to the jazzy syncopation of the Bach-Balanchine masterpiece <em>Concerto Barocco</em>. Bach&#8217;s <em>Violin Concerto in A minor</em>, (conducted here by Joseph E. Fields with Deborah Wong as the violin soloist), has impelled him into formal patterns studded with occasional pelvis swivels, limp arms descending from rotating shoulders and wiggles in plié. Nothing is overdone, however, as four couples are in frequent interplay with the leads &#8212; Donald Williams, wittily assertive in a noble style, and Tanya Wideman-Davis, eye-riveting in her robust but refined classical silhouette.&#8221;</p>



<p>There is no charge to watch <em>New Bach</em>.</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/2021/02/Angela-Gheorghiu-in-22La-Rondine22-Photo-by-Terrence-Mc-Carthy-Courtesy-SFO-300x169.jpg" alt="" class="wp-image-13157" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Angela-Gheorghiu-in-22La-Rondine22-Photo-by-Terrence-Mc-Carthy-Courtesy-SFO-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Angela-Gheorghiu-in-22La-Rondine22-Photo-by-Terrence-Mc-Carthy-Courtesy-SFO-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Angela-Gheorghiu-in-22La-Rondine22-Photo-by-Terrence-Mc-Carthy-Courtesy-SFO-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Angela-Gheorghiu-in-22La-Rondine22-Photo-by-Terrence-Mc-Carthy-Courtesy-SFO-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Angela-Gheorghiu-in-22La-Rondine22-Photo-by-Terrence-Mc-Carthy-Courtesy-SFO-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Angela-Gheorghiu-in-22La-Rondine22-Photo-by-Terrence-Mc-Carthy-Courtesy-SFO-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Angela-Gheorghiu-in-22La-Rondine22-Photo-by-Terrence-Mc-Carthy-Courtesy-SFO-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Angela-Gheorghiu-in-22La-Rondine22-Photo-by-Terrence-Mc-Carthy-Courtesy-SFO.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Angela Gheorghiu in &#8220;La Rondine&#8221; (Photo by Terrence McCarthy/Courtesy San Francisco Opera)</figcaption></figure></div>



<p><strong>OPERA: </strong><a href="https://sfopera.com/opera-is-on/streaming/" target="_blank" rel="noreferrer noopener">Puccini&#8217;s <em>La Rondine</em> </a>&#8211; San Francisco Opera &#8211; February 20th &#8211; February 21st</p>



<p>Conducted by Ion Marin; starring Angela Gheorghiu, Gerard Powers, Anna Christy and Misha Didyk. This Nicolas Joël production is from the 2007-2008 season.</p>



<p>Puccini’s&nbsp;<em>La Rondine</em>&nbsp;had its world premiere in Monaco in 1917. The libretto, based on a libretto by Alfred Maria Willner and Heinz Reichert, was written by Giuseppe Adami.</p>



<p>Multiple people collide in this opera about love. Magda is Rombaldo’s kept mistress. While entertaining friends, including the poet Prunier, she realizes how much she misses being in love. Prunier is in love with Lisette, who is Magda’s maid. A young man enters their group, Ruggero, who falls in love with Magda. Could he possibly provide the true love she so desperately desires? Who will end with whom and will they all live happily ever after?<br></p>



<figure class="wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="&quot;La Rondine&quot; Moving Moment, featuring Angela Gheorghiu" width="696" height="392" src="https://www.youtube.com/embed/M3kywbg7ljc?feature=oembed&#038;enablejsapi=1" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>This production marked Gheorghiu&#8217;s debut with San Francisco Opera. <a href="https://www.sfgate.com/performance/article/Review-Gheorghiu-s-debut-worth-the-wait-in-3301208.php" target="_blank" rel="noreferrer noopener">Joshua Kosman</a>, writing in the <span style="text-decoration: underline;">San Francisco Chronicle</span>, said, &#8220;Gheorghiu&#8217;s company debut is long overdue, but her performance in the signature role of Magda was worth the wait. Her tone was strong but tender, with an irresistible blend of earthiness and purity, and when she lofted the high notes of &#8220;Chi il bel sogno di Doretta,&#8221; her breath control and flawless intonation seemed to make time stand still.&#8221;</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/2021/02/Jason-Marsalis-Coutesy-MM-Music-Agency-300x169.jpg" alt="" class="wp-image-13158" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Jason-Marsalis-Coutesy-MM-Music-Agency-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Jason-Marsalis-Coutesy-MM-Music-Agency-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Jason-Marsalis-Coutesy-MM-Music-Agency-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Jason-Marsalis-Coutesy-MM-Music-Agency-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Jason-Marsalis-Coutesy-MM-Music-Agency-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Jason-Marsalis-Coutesy-MM-Music-Agency-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Jason-Marsalis-Coutesy-MM-Music-Agency-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Jason-Marsalis-Coutesy-MM-Music-Agency.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Jason Marsalis (Courtesy MM Music Agency)</figcaption></figure></div>



<p><strong>JAZZ:</strong><em> </em><a href="https://www.stageit.com/jason_marsalis_and_the_k_love_experience/snug_harbor_jazz_revival/94637" target="_blank" rel="noreferrer noopener"><em>Jason Marsalis</em> <em>and the K Love Experience</em></a> &#8211; Snug Harbor (on Stage it) &#8211; February 21st &#8211; 8:00 PM EST/5:00 PM PST</p>



<p>You know Wynton Marsalis, Branford Marsalis, the late Ellis Marsalis and perhaps even Delfeayo Marsalis. But do you also know drummer/vibraphonist Jason Marsalis? If not, Sunday&#8217;s performance from New Orleans&#8217; Snug Harbor will give you a great opportunity to hear the youngest of the Marsalis brothers.</p>



<p>This concert will feature music with Afro-Cuban, funk, samba, reggae coursing through its veins. This won&#8217;t just be music to sit and listen to, you&#8217;ll want to get up and dance.</p>



<p>Tickets are $15.</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/2021/02/Daniil-Trifonov-©Dario-Acosta-300x169.jpg" alt="" class="wp-image-13159" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Daniil-Trifonov-©Dario-Acosta-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Daniil-Trifonov-©Dario-Acosta-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Daniil-Trifonov-©Dario-Acosta-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Daniil-Trifonov-©Dario-Acosta-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Daniil-Trifonov-©Dario-Acosta-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Daniil-Trifonov-©Dario-Acosta-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Daniil-Trifonov-©Dario-Acosta-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Daniil-Trifonov-©Dario-Acosta.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Daniil Trifonov (©Dario Acosta)</figcaption></figure></div>



<p><strong>CLASSICAL MUSIC:</strong><em> <a href="https://www.shriverconcerts.org/concert/trifonov" target="_blank" rel="noreferrer noopener">Daniil Trifonov Recital</a></em> &#8211; Shriver Hall &#8211; February 21st &#8211; 5:30 PM EST/2:30 PM PST</p>



<p>Are you tired of me constantly having a recital by pianist Daniil Trifonov on my best bets? I hope not, because there&#8217;s a reason his performances regularly appear on my list, he&#8217;s that good.</p>



<p>This performance, filmed at New York&#8217;s 92nd Street Y, finds Trifonov performing Szymanowski’s <em>Sonata No. 3, Op. 36</em> and Debussy’s <em>Pour le piano</em>. </p>



<p>He concludes with Brahms’ <em>Sonata No. 3 in F minor, Op. 5</em>.</p>



<p>Tickets are $15 and allow for on-demand streaming through February 28th.</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/2021/02/Gabriel-Kahane-Photo-by-Josh-Goleman-300x169.jpg" alt="" class="wp-image-13162" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Gabriel-Kahane-Photo-by-Josh-Goleman-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Gabriel-Kahane-Photo-by-Josh-Goleman-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Gabriel-Kahane-Photo-by-Josh-Goleman-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Gabriel-Kahane-Photo-by-Josh-Goleman-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Gabriel-Kahane-Photo-by-Josh-Goleman-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Gabriel-Kahane-Photo-by-Josh-Goleman-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Gabriel-Kahane-Photo-by-Josh-Goleman-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Gabriel-Kahane-Photo-by-Josh-Goleman.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Gabriel Kahane (Photo by Josh Goleman)</figcaption></figure></div>



<p><strong>CONTEMPORARY CLASSICAL MUSIC</strong>: <em><a href="https://live.bangonacan.org/february2021marathon/" target="_blank" rel="noreferrer noopener">Bang on a Can Marathon #5</a></em> &#8211; February 21st &#8211; 1:00 PM EST/10:00 AM PST</p>



<p>Fans of contemporary classical music will not want to miss this Sunday&#8217;s Bang on a Can Marathon. All you have to do is look at the line-up:</p>



<p><strong>Hour 1: </strong>Jakhongir Shukur&#8217;s<em> Potter&#8217;s Wheel</em> performed by Robert Black; Jennifer Walshe performing her <em>Happiness Starts Right Now</em>; Maria Huld Markan Sigfusdottir&#8217;s <em>Pending, </em>performed by Chi-chi Nwanoku and a new work by Amir Elsaffar performed by Ken Thomson</p>



<p><strong>Hour 2: </strong>A new work by Gregory Spears performed by David Byrd-Marrow; a new work by Kristina Wolfe performed by Molly Barth; Gabriel Kahane&#8217;s <em>Hollywood &amp; Vine</em> performed by Arlen Hlusko and a new work written and performed by Bora Yoon with video by R. Luke Dubois</p>



<p><strong>Hour 3: </strong>Matthew Shipp performs his <em>Spaceman&#8217;s Blues</em>; Joel Thompson&#8217;s <em>Supplication and Compensation</em> performed by Anthony Roth Costanzo; Rohan Chander&#8217;s <em>△ or The Tragedy of Hikkomori Loveless</em> from <em>FINAL//FANTASY</em> performed by Vicky Chow and a new work written and performed by David Cossin. </p>



<p><strong>HOUR 4: </strong>Eve Beglarian&#8217;s <em>A Solemn Shyness</em> performed by <a href="https://culturalattache.co/2018/03/22/lenny-pianist-lara-downes/" target="_blank" rel="noreferrer noopener">Lara Downes</a>; a new work written and performed by Ingrid Laubrock;<em> </em>Molly Herron&#8217;s <em>Canon No. 4</em> performed by Maya Stone and a new work by Alvin Lucier performed by Mark Stewart.</p>



<p>There is no charge to watch the marathon, but donations are encouraged.</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/2021/02/Enrique-Mazzolla-and-Lunga-Eric-Hallam-in-22Sole-e-Amore22-Photo-©Kyle-Flubacker-Courtesy-Lyric-Opera-of-Chicago_-300x169.jpg" alt="" class="wp-image-13160" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Enrique-Mazzolla-and-Lunga-Eric-Hallam-in-22Sole-e-Amore22-Photo-©Kyle-Flubacker-Courtesy-Lyric-Opera-of-Chicago_-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Enrique-Mazzolla-and-Lunga-Eric-Hallam-in-22Sole-e-Amore22-Photo-©Kyle-Flubacker-Courtesy-Lyric-Opera-of-Chicago_-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Enrique-Mazzolla-and-Lunga-Eric-Hallam-in-22Sole-e-Amore22-Photo-©Kyle-Flubacker-Courtesy-Lyric-Opera-of-Chicago_-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Enrique-Mazzolla-and-Lunga-Eric-Hallam-in-22Sole-e-Amore22-Photo-©Kyle-Flubacker-Courtesy-Lyric-Opera-of-Chicago_-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Enrique-Mazzolla-and-Lunga-Eric-Hallam-in-22Sole-e-Amore22-Photo-©Kyle-Flubacker-Courtesy-Lyric-Opera-of-Chicago_-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Enrique-Mazzolla-and-Lunga-Eric-Hallam-in-22Sole-e-Amore22-Photo-©Kyle-Flubacker-Courtesy-Lyric-Opera-of-Chicago_-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Enrique-Mazzolla-and-Lunga-Eric-Hallam-in-22Sole-e-Amore22-Photo-©Kyle-Flubacker-Courtesy-Lyric-Opera-of-Chicago_-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Enrique-Mazzolla-and-Lunga-Eric-Hallam-in-22Sole-e-Amore22-Photo-©Kyle-Flubacker-Courtesy-Lyric-Opera-of-Chicago_.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Enrique Mazzola and Lunga Eric Hallam in &#8220;Sole e Amore&#8221; (Photo by Kyle Flubacker/Courtesy Lyric Opera of Chicago)</figcaption></figure></div>



<p><strong>OPERA: </strong><a href="https://www.youtube.com/watch?v=2mk--s_GmXg" target="_blank" rel="noreferrer noopener"><em>Sole e Amore</em> </a>&#8211; Lyric Opera of Chicago &#8211; Begins February 21st &#8211; 7:00 PM EST/4:00 PM PST</p>



<p>Fans of Italian opera will want to check out <em>Sole e Amore</em> which will feature arias by Bellini, Donizetti, Mascagni, Puccini, Rossini and Verdi. Members of the Ryan Opera Center Ensemble will be performing.</p>



<p>They include baritones&nbsp;Leroy Davis&nbsp;and&nbsp;Ricardo José Rivera; bass&nbsp;Anthony Reed; bass-baritone&nbsp;David Weigel; mezzo-sopranos&nbsp;Katherine Beck,&nbsp;Katherine DeYoung, and&nbsp;Kathleen Felty; sopranos&nbsp;Maria Novella Malfatti&nbsp;and&nbsp;Denis Vélez; tenors&nbsp;Martin Luther Clark&nbsp;and&nbsp;Lunga Eric Hallam and pianist&nbsp;Chris Reynolds.</p>



<p>Enrique Mazzola, who will become the Lyric&#8217;s music director in the 2021-2022 season, curated the program and will also play piano for much of the recital.</p>



<p>The program is free and will be available on the Lyric Opera of Chicago&#8217;s YouTube channel.</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/2021/02/TruSpeak...Hear-Our-Voices-300x169.jpg" alt="" class="wp-image-13161" srcset="https://culturalattache.co/wp-content/uploads/2021/02/TruSpeak...Hear-Our-Voices-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/TruSpeak...Hear-Our-Voices-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/TruSpeak...Hear-Our-Voices-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/TruSpeak...Hear-Our-Voices-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/TruSpeak...Hear-Our-Voices-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/TruSpeak...Hear-Our-Voices-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/TruSpeak...Hear-Our-Voices-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/TruSpeak...Hear-Our-Voices.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /></figure></div>



<p><strong>PLAYS/MUSICALS: </strong><em><a href="https://truonline.org/events/tru-speak-hear-our-voices/" target="_blank" rel="noreferrer noopener">TruSpeak&#8230;Hear Our Voices</a></em> &#8211; February 21st &#8211; 5:00 PM EST/2:00 PM PST</p>



<p>Theater Resources Unlimited (TRU) has assembled a very impressive line-up for their gala event, <em>TruSpeak&#8230;Hear Our Voices</em> on Sunday.</p>



<p>Maggie Baird, Brendan Bradley, Brenda Braxton (<em>Smokey Joe&#8217;s Cafe</em>), Jim Brochu (<em>The Big Voice: God or Merman?</em>), Nick Cearley (one half of The Skivvies), Robert Cuccioli (Irish Rep&#8217;s <em>A Touch of the Poet</em>), Andrew Lynn Green, Ann Harada (<em>Avenue Q</em>), Dickie Hearts (<em>Grace and Frankie</em>), Cady Huffman (Tony Award-winner <em>The Producers</em>), Crystal Kellogg (<em>School of Rock</em>), Will Mader, Lauren Molina (the other half of The Skivvies), Jill Paice (<em>An American in Paris</em>), <a href="https://culturalattache.co/2017/10/03/tonya-pinkins-time-alone-stage/" target="_blank" rel="noreferrer noopener">Tonya Pinkins</a> (<em>Caroline, or Change</em>), Jana Robbins (<em>Gypsy</em>), Dominique Sharpton, Haley Swindal, Regina Taylor (<em>I&#8217;ll Fly Away</em>), Crystal Tigney and Tatiana Wechsler are all participated. </p>



<p>The gala will feature monologues, plays and an online musical. </p>



<p>TRU is a non-profit that helps in the development of new theatre companies and new works.</p>



<p>Tickets are $55 with VIP tickets also available (this is a fundraiser after all) that will include virtual meet-and-greet opportunities.</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/2021/02/Santino-Fontana-Courtesy-Seth-Concert-Series-300x169.jpg" alt="" class="wp-image-13163" srcset="https://culturalattache.co/wp-content/uploads/2021/02/Santino-Fontana-Courtesy-Seth-Concert-Series-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/02/Santino-Fontana-Courtesy-Seth-Concert-Series-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/02/Santino-Fontana-Courtesy-Seth-Concert-Series-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/02/Santino-Fontana-Courtesy-Seth-Concert-Series-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/02/Santino-Fontana-Courtesy-Seth-Concert-Series-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/02/Santino-Fontana-Courtesy-Seth-Concert-Series-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/02/Santino-Fontana-Courtesy-Seth-Concert-Series-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/02/Santino-Fontana-Courtesy-Seth-Concert-Series.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Santin Fontana (Courtesy Seth Concert Series)</figcaption></figure></div>



<p><strong>BROADWAY/CABARET:</strong> <em><a href="https://events.broadwayworld.com/event/watch-santino-fontana-seth-rudetsky-in-concert-february-21-2021/" target="_blank" rel="noreferrer noopener">Santino Fontana with Seth Rudetsky</a></em> &#8211; February 21st: 8:00 PM EST/5:00 PM PST</p>



<p>One of my favorite movies of all time is <em>Tootsie</em>. When the musical was announced Santino Fontana was cast in the role of Michael Dorsey/Dorothy Michaels. (If you don&#8217;t know the movie, please do yourself a favor and watch it.) I purchased a ticket to see the show only to find out Fontana was out after the birth of his daughter. I held onto my ticket in hopes that I could see Fontana&#8217;s Tony Award-winning performance, but sadly the show closed before I had a chance to do so.</p>



<p>Luckily we can all see how talented he is when he joins Seth Rudetsky for this weekend&#8217;s concert. He&#8217;ll share music and stories from his career that has included being Prince Topher in <em>Rodgers + Hammerstein&#8217;s Cinderella</em> and Tony in <em>Billy Elliot</em>. Filmgoers will recognize him as the voice of Prince Hans in <em>Frozen</em>.</p>



<p>If you are unable to watch the live performance on Sunday, there is an <a href="https://events.broadwayworld.com/event/santino-fontana-seth-rudetsky-2-22-3-pm-et/" target="_blank" rel="noreferrer noopener">encore showing of the concert </a>on Monday, February 22nd at 3:00 PM EST/12:00 PM PST.</p>



<p>That is my list of my Best Bets: February 19th &#8211; February 21st. But before I go, I have a few reminders:</p>



<p>The Metropolitan Opera&#8217;s weeklong look at <a href="https://culturalattache.co/2021/02/15/franco-zeffirelli-week-49-at-the-met/" target="_blank" rel="noreferrer noopener">the work of Franco Zeffirelli</a> concludes with the first-ever streaming of his 1989-1990 season production of Mozart&#8217;s <em>Don Giovanni</em> on Friday; the first-ever streaming of his 1996-1997 season production of Bizet&#8217;s <em>Carmen</em> on Saturday and concludes with the 2009-2010 revival of his 1987 staging of Puccini&#8217;s <em>Turandot </em>on Sunday.</p>



<p>Irish Repertory Theatre&#8217;s @Home Winter Festival continues this weekend. There are five different productions available for viewing. You can find out details <a href="https://culturalattache.co/2021/01/27/irish-reps-theatre-home-winter-festival/" target="_blank" rel="noreferrer noopener">here</a>. </p>



<p>Los Angeles Philharmonic&#8217;s <em><a href="https://www.laphil.com/support/icons-on-inspiration" target="_blank" rel="noreferrer noopener">Icons on Inspiration</a> </em>with Julie Andrews, Common, Katy Perry, Yuja Wang and more is still available for free streaming (though donations are encouraged)</p>



<p>There you have it. The complete list of Best Bets: February 19th &#8211; February 21st. I hope you enjoy the culture, you enjoy the weekend and for those of you struggling with the aftermath of the winter storms this week, I&#8217;m sending you my best.</p>



<p>Main Photo: Tyshawn Sorey in a still from <em>Death</em> (Courtesy LA Opera)<br><br></p>
<p>The post <a href="https://culturalattache.co/2021/02/19/best-bets-february-19th-february-21st/">Best Bets: February 19th &#8211; February 21st</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>Flavio Chamis Helps Reimagine Leonard Bernstein</title>
		<link>https://culturalattache.co/2021/01/27/flavio-chamis-helps-reimagine-leonard-bernstein/</link>
					<comments>https://culturalattache.co/2021/01/27/flavio-chamis-helps-reimagine-leonard-bernstein/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Wed, 27 Jan 2021 08:01:00 +0000</pubDate>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Jazz in 5/4 Time]]></category>
		<category><![CDATA[Bernstein Reimagined]]></category>
		<category><![CDATA[Bernstein's Mass]]></category>
		<category><![CDATA[Boston Symphony Orchestra]]></category>
		<category><![CDATA[Chichester Psalms]]></category>
		<category><![CDATA[Divertimento for Orchestra]]></category>
		<category><![CDATA[Flavio Chamis]]></category>
		<category><![CDATA[Israel Philharmonic Orchestra]]></category>
		<category><![CDATA[Jay Ashby]]></category>
		<category><![CDATA[Leonard Bernstein]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[On the Waterfront]]></category>
		<category><![CDATA[Smithsonian Jazz Masterworks Orchestra]]></category>
		<category><![CDATA[Trouble in Tahiti]]></category>
		<category><![CDATA[West Side Story]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=12840</guid>

					<description><![CDATA[<p>"I think Leonard Bernstein would be the first to agree that you would always find new things in old things. That was the essence of Leonard Bernstein."</p>
<p>The post <a href="https://culturalattache.co/2021/01/27/flavio-chamis-helps-reimagine-leonard-bernstein/">Flavio Chamis Helps Reimagine Leonard Bernstein</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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<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/2021/01/Leonard-Bernstein-Photo-by-Marion-S.-Trikosk-1971-Courtesy-Library-of-Congress-1-169x300.jpg" alt="" class="wp-image-12846" srcset="https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-Photo-by-Marion-S.-Trikosk-1971-Courtesy-Library-of-Congress-1-169x300.jpg 169w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-Photo-by-Marion-S.-Trikosk-1971-Courtesy-Library-of-Congress-1-576x1024.jpg 576w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-Photo-by-Marion-S.-Trikosk-1971-Courtesy-Library-of-Congress-1-768x1365.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-Photo-by-Marion-S.-Trikosk-1971-Courtesy-Library-of-Congress-1-864x1536.jpg 864w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-Photo-by-Marion-S.-Trikosk-1971-Courtesy-Library-of-Congress-1-696x1237.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-Photo-by-Marion-S.-Trikosk-1971-Courtesy-Library-of-Congress-1-1068x1899.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-Photo-by-Marion-S.-Trikosk-1971-Courtesy-Library-of-Congress-1-236x420.jpg 236w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-Photo-by-Marion-S.-Trikosk-1971-Courtesy-Library-of-Congress-1.jpg 1080w" sizes="auto, (max-width: 169px) 100vw, 169px" /><figcaption>Leonard Bernstein (Photo by Marion S.Trikosk 1971/Courtesy Library of Congress)</figcaption></figure></div>



<p>We probably all feel we know just about everything there is to know about composer/conductor Leonard Bernstein. As the years go by since his death over thirty years ago, just as we get comfortable with the idea that we do, it seems there&#8217;s suddenly more to learn about the man and his music. Just ask Flavio Chamis.</p>



<p>Brazilian-born Chamis, a composer and conductor himself, spent several years working with Bernstein in the mid 1980s. He also served as a guide to some of Bernstein&#8217;s less familiar music for the Smithsonian Jazz Masterworks Orchestra&#8217;s new recording, <em><a href="https://prod3.agileticketing.net/WebSales/Pages/CatalogProductInfo.aspx?catinfo=3386~78f0c928-a599-4914-9d7c-5082dddf9ec0&amp;epguid=37653799-d086-4dd5-89f2-a465cc7a3264&amp;" target="_blank" rel="noreferrer noopener">Bernstein Reimagined</a></em>, which is being released on Friday. Big band arrangements have been made of some of the composer&#8217;s infrequently performed material.</p>



<p>Amongst the compositions being re-worked are excerpts from <em>Mass</em>, <em>Trouble in Tahiti</em> (his 1952 opera), <em>Divertimento for Orchestra</em> (written for the Boston Symphony Orchestra&#8217;s centennial),his 1965 choral composition <em>Chichester Psalms</em> and his score for the classic film <em>On the Waterfront</em>. The best-known work on the record comes from his musical <em>On the Town</em>.</p>



<p>I spoke by phone with Chamis earlier this month about his time with Bernstein, how the composer might view the concept of this recording and what it was like to experience Carnival in Rio with the maestro. These excerpts from our conversation have been edited for length and clarity.</p>



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://culturalattache.co/wp-content/uploads/2021/01/Flavio-Chamis-Courtesy-his-Facebook-page-1024x576.jpg" alt="" class="wp-image-12848" srcset="https://culturalattache.co/wp-content/uploads/2021/01/Flavio-Chamis-Courtesy-his-Facebook-page-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/01/Flavio-Chamis-Courtesy-his-Facebook-page-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/01/Flavio-Chamis-Courtesy-his-Facebook-page-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/01/Flavio-Chamis-Courtesy-his-Facebook-page-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/01/Flavio-Chamis-Courtesy-his-Facebook-page-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/01/Flavio-Chamis-Courtesy-his-Facebook-page-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/01/Flavio-Chamis-Courtesy-his-Facebook-page-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/01/Flavio-Chamis-Courtesy-his-Facebook-page.jpg 1920w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption>Flavio Chamis (Courtesy his Facebook page)</figcaption></figure>



<p>There&#8217;s a vitality to Leonard Bernstein&#8217;s music and always has been. <em>Bernstein Reimagined </em>arranger Jay Ashby said, &#8220;Seven arrangers have really made it fresh. It&#8217;s really exciting how it brings new life to these compositions.&#8221; Did Bernstein&#8217;s music need freshening up?</p>



<p><strong>I think Leonard Bernstein would be the first to agree that you would always find new things in old things. I was an assistant conductor of his and one of my most memorable memories was in Vienna. He was going to rehearse Schumann&#8217;s Third Symphony, a piece he had recorded multiple times and conducted on concerts and tours. He knew the piece. He cracked the score open and started looking at it and was discovering new things. He would be the first to agree with your question with a capital Y. Yes. That was the essence of Leonard Bernstein.</strong></p>



<p>If he were to compare traditional recordings of <em>Chichester Psalms</em> with this new recording, would he recognize it?</p>



<p><strong>Not only would he recognize it, I think honestly he would listen to this recording and say, &#8220;Wow, did I write this?&#8221; The structure of the piece is there, the melody is there. This is something that goes a step further. Listen to the original and compare to this recording. It&#8217;s all there. It&#8217;s a completely different take on the same thing.</strong></p>



<figure class="wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
<iframe loading="lazy" title="&quot;Times Square Ballet&quot; with the Smithsonian Jazz Masterworks Orchestra" width="696" height="392" src="https://www.youtube.com/embed/TTbi8G43B_U?feature=oembed&#038;enablejsapi=1" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
</div></figure>



<p>You started working with Bernstein just after his opera version of <em>West Side Story</em> was released. Given what we experienced from that recording, a slower version of the musical than ever heard before, what does it tell us about his approach to re-interpretation? </p>



<p><strong>The first days I ever met him he was listening to that recording. In general he recorded many pieces, not only his &#8211; many pieces of the classical repertoire, for second and sometimes third times. In general the interpretations were slower. There were more layers of depth in them. He never really recorded <em>West Side Story</em> before. It&#8217;s the only one he did. He had real opera singers, not musical singers. That is really what he wanted to frame there. I don&#8217;t know if it is how he felt or imagined the music in the first place. </strong></p>



<p><strong>If you listen to his <em>Rite of Spring</em> with the New York Philharmonic it is like a wild horse. Many years later with the Israel Philharmonic Orchestra it&#8217;s a completely different thing. It&#8217;s exactly how different an interpretation can be. It&#8217;s fascinating to see. You are talking a little bit like what jazz is. He was never a jazz musician, but jazz was in his personality. He would never do the same thing. I think it was Mahler who said, &#8220;If you find some real good reason to change something in my music, do it.&#8221;</strong></p>



<p>Between your time with him and helping Smithsonian Jazz Masterworks Orchestra hone in on the right compositions for <em>Bernstein Reimagined</em>, do you think there&#8217;s unheard material, trunk songs or any other compositions that might someday come to light?</p>



<p><strong>There are unfinished works. In the last years of his life he was planning on doing an opera using several languages. it never came to fruition. He wrote little excerpts of that. There are no full pieces he actually wrote. There are a few hidden songs he wrote for people.</strong> <strong>I was in Brazil with him for Carnival in 1985. He wrote a one-page song for a friend of ours who was having a birthday there. Maybe sometime in the future some little snippets would come out. It&#8217;s like when you find a new Mozart piece hidden in some vault that was discovered.</strong></p>



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-with-Flavio-Chamis-in-Brazil-Photo-Courtesy-Flavio-Chamis-1024x576.jpg" alt="" class="wp-image-12843" srcset="https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-with-Flavio-Chamis-in-Brazil-Photo-Courtesy-Flavio-Chamis-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-with-Flavio-Chamis-in-Brazil-Photo-Courtesy-Flavio-Chamis-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-with-Flavio-Chamis-in-Brazil-Photo-Courtesy-Flavio-Chamis-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-with-Flavio-Chamis-in-Brazil-Photo-Courtesy-Flavio-Chamis-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-with-Flavio-Chamis-in-Brazil-Photo-Courtesy-Flavio-Chamis-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-with-Flavio-Chamis-in-Brazil-Photo-Courtesy-Flavio-Chamis-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-with-Flavio-Chamis-in-Brazil-Photo-Courtesy-Flavio-Chamis-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2021/01/Leonard-Bernstein-with-Flavio-Chamis-in-Brazil-Photo-Courtesy-Flavio-Chamis.jpg 1920w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption>Leonard Bernstein and Flavio Chamis in Rio de Janeiro for Carnival in 1985 (Photo courtesy Flavio Chamis)</figcaption></figure>



<p>Bernstein in Rio for Carnival. That must have been something.</p>



<p><strong>He told me one of his dreams was to spend a Carnival in Rio. It was at the time of <em>West Side Story</em> in 1984. In January he called me and said, &#8220;I rented a house. I&#8217;m going are you going?&#8221;</strong> <strong>I wouldn&#8217;t miss the opportunity to be in Rio with him. I just gathered all the money I had in my bank account and we were there in February. I was with my girlfriend. We saw everything. We heard that music &#8211; real samba sometimes played by 400 percussion players. Completely as a private experience. We stayed a week. It was an incredible experience.</strong></p>



<p>Bernstein is quoted as saying, &#8220;A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.&#8221; What is the essential meaning of<em> Bernstein Reimagined</em> and where do you personally find the tension he discusses?</p>



<p><strong>It is one of the million answers to what he writes. One more view of the music we&#8217;re talking about. There&#8217;s no answer. This is one more possibility of his music. I think it&#8217;s great that this CD will be out and everybody will listen and have his own take and get his own ideas about it and go forward with that. </strong></p>



<p><strong>It&#8217;s another ambiguous answer for what he wrote. It&#8217;s a cycle closing again and again; whether it&#8217;s Bill Evans or the Smithsonian Jazz Masterworks Orchestra or a symphony orchestra or an opera orchestra playing. It doesn&#8217;t matter. Every single one of these is valid, is legit and has a reason to exist. That&#8217;s really what makes us use our brains and feelings. There is a connection. That&#8217;s making us having this conversation. Ultimately it is why music? What is there in music that is so fascinating? And he tried to answer that.</strong></p>



<p>Main Photo: Artwork from the cover of <em>Bernstein Reimagined </em>(Courtesy MCG Jazz)</p>
<p>The post <a href="https://culturalattache.co/2021/01/27/flavio-chamis-helps-reimagine-leonard-bernstein/">Flavio Chamis Helps Reimagine Leonard Bernstein</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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		<title>New York Philharmonic Members with Anthony McGill</title>
		<link>https://culturalattache.co/2020/11/10/new-york-philharmonic-members-with-anthony-mcgill/</link>
					<comments>https://culturalattache.co/2020/11/10/new-york-philharmonic-members-with-anthony-mcgill/#respond</comments>
		
		<dc:creator><![CDATA[Craig Byrd]]></dc:creator>
		<pubDate>Tue, 10 Nov 2020 08:10:15 +0000</pubDate>
				<category><![CDATA[Classical: Metronome]]></category>
		<category><![CDATA[Featured]]></category>
		<category><![CDATA[Streaming]]></category>
		<category><![CDATA[92nd Street Y]]></category>
		<category><![CDATA[Anthony McGill]]></category>
		<category><![CDATA[Cynthia Phelps]]></category>
		<category><![CDATA[Felix Mendelssohn]]></category>
		<category><![CDATA[Na Sun]]></category>
		<category><![CDATA[Nathan Vickery]]></category>
		<category><![CDATA[New York Philharmonic]]></category>
		<category><![CDATA[Samuel Coleridge-Taylor]]></category>
		<category><![CDATA[Yulia Ziskel]]></category>
		<guid isPermaLink="false">https://culturalattache.co/?p=11689</guid>

					<description><![CDATA[<p>92nd Street Y Website<br />
<br />
November 12th<br />
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7:30 PM EST/4:30 PST</p>
<p>The post <a href="https://culturalattache.co/2020/11/10/new-york-philharmonic-members-with-anthony-mcgill/">New York Philharmonic Members with Anthony McGill</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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<p>Clarinettist Anthony McGill will join four members of the New York Philharmonic for a concert featuring performances of two significant chamber music compositions of the late 19th century in a <a href="https://www.92y.org/event/ny-philharmonic-and-mcgill" target="_blank" rel="noreferrer noopener">concert from New York&#8217;s 92 Street Y</a>. The performance will stream from their website on Thursday, November 12th at 7:30 PM EST/4:30 PM PST.</p>



<p>The members of the New York Philharmonic performing in this concert are Yulia Ziskel and Na Sun on violin; Cynthia Phelps on viola and Nathan Vickery on cello.</p>



<p>On the program is Felix Mendelssohn&#8217;s <em>String Quartet in D Major Op. 44, No. 1.</em></p>



<p>Mendelssohn composed this work in 1838. It has four movements:</p>



<p>Molto allegro vivace</p>



<p>Menuetto: Un poco Allegretto</p>



<p>Andante espressivo ma can moto</p>



<p>Presto con brio</p>



<p><a href="https://www.brentanoquartet.com/notes/mendelssohn-opus-44-1/" target="_blank" rel="noreferrer noopener">Misha Amory</a>, writing on the Brentano Quartet website, said of this work: &#8220;The D major quartet, opus 44 #1, is decidedly filled with light and joy. Although it was actually the last of the three opus 44 quartets to be composed, it seems that Mendelssohn was particularly proud of it, which may be the reason it was published as the first of the set. D major is a brilliant key for stringed instruments, and the composer plays to that quality.&#8221;</p>



<p>McGill will join for a performance of Samuel Coleridge-Taylor&#8217;s <em>Clarinet Quintet in F-sharp Minor, Op. 10.</em></p>



<p>Coleridge-Taylor took it upon himself to compose a clarinet quintet that would be void of any influence of Johannes Brahms. The elder composer&#8217;s quintet is considered one of the finest of all his compositions. Though it was widely believed he had done so, it did not propel his career the way he had hoped.</p>



<p>This approximately 30-minute work has four movements:</p>



<p>Allegro energetico</p>



<p>Larghetto affettuoso</p>



<p>Scherzo: Allegro leggiero</p>



<p>Allegro agitato &#8211; un poco più moderato</p>



<p>Tickets for <em>Members of the New York Philharmonic &amp; Anthony McGill</em> are $15.</p>



<p>Photo:  Anthony McGill (Courtesy his website)</p>
<p>The post <a href="https://culturalattache.co/2020/11/10/new-york-philharmonic-members-with-anthony-mcgill/">New York Philharmonic Members with Anthony McGill</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p>
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