You may not be familiar with incredible jazz bass player/composer Linda May Han Oh. If so, be sure to check out her own recordings and her collaborations with artists such as Vijay Iyer, Tyshawn Sorey and many more.

We spoke when she was on tour supporting her album The Glass Hours which came out in 2023. In this conversation Oh talks about her relationship to the songs on the record (some of which date back to 2018), the themes that resonate throughout the album and what level of faith she has that things are getting better.

You can read the print version of my interview with Linda May Han Oh HERE. The story includes a video of her performing. Don’t miss it.

I hope you have a great holiday season and enjoy these top 12 interviews.

The post Top 12 Interviews of 2024: LINDA MAY HAN OH appeared first on Cultural Attaché.

My top pick is:

JAZZ: nublues – JOEL ROSS – Blue Note Records

I’ve been listening to vibraophonist Ross’s nublues for several weeks now. He’s spending time amongst the blues and ballads on this quietly powerful album. All but three of the tracks on this album were written by Ross.

The three covers (the first of which is the second track on the album – a ballsy choice I love) are Equinox by John Coltrane; Evidence by Thelonious Monk and the last track is another Coltrane composition: Central Park West.

Joining Ross on nublues are Jeremy Corren on piano; Jeremy Dutton on drums; Gabrielle Garo on flute; Kanoa Mendenhall on bass and Immanuel Wilkins on alto saxophone.

Standout tracks are mellowdee, bach (God the Father in Eternity) and the title track. But I love this album from start to finish. 

The other titles in New In Music This Week: February 9^th are:

CLASSICAL:  BEETHOVEN: THE COMPLETE SYMPHONIES – Gianandrea Noseda and the National Symphony Orchestra – NSO Recordings

A three-year journey to release recordings of all nine of Beethoven’s symphonies is realized with this digital release from the NSO in Washington, D.C. (There will be a box set coming out on February 23^rd which will include a Blu-Ray of the Ninth Symphony).

Joining Noseda and the NSO for the Ninth Symphony (which is the recording that completes this series) are bass-baritone Ryan McKinny; mezzo-soprano Kelley O’Connor; tenor Issachah Savage; soprano Camilla Tilling and the Washington Chorus. The recording of the 9^th Symphony is spellbinding.

Does the world need another cycle of Beethoven symphony recordings? My argument has always been that no two conductors or orchestras approach this music, no matter how often performed, the same way. 

I have appreciated all the recordings leading up to this release. Take a listen, perhaps you will, too!

JAZZ:  AZIMUTH – Azimuth – ECM Luminescence Series vinyl release only UPDATE: This release has been delayed until March 29th

This album was first released in 1977 and features pianist John Taylor, trumpeter Kenny Wheeler and vocalist Norma Winstone. All three having had substantial careers before joining forces.

Taylor worked with Cleo Laine and saxophonists Alan Skidmore and John Surman before forming Azimuth. Wheeler worked with John Dankworth (perhaps leading to Taylor’s introduction to Laine since they were married), Maynard Ferguson. Winstone, who was named top singer in the 1971 Melody Maker Jazz Poll, was married to Taylor, though they later divorced.

Whatever their work before or after, this is a fascinating album of six originals (written by John Taylor alone, but mostly with Winstone.)

JAZZ:  THREE – Pat Bianchi – 21H Records

The Hammond B3 organ is easily one of my favorite instruments to listen to. In this new release from organist Bianchi he is joined by saxophonist Troy Roberts and drummer Colin Stranahan for a recording of six jazz standards.

The album opens with Cole Porter’s Love for Sale and ends with Irving Berlin’s Cheek to Cheek. The three middle tracks stand out for me:  When Sunny Gets Blue, Wayne Shorter’s Dance Cadaverous and Eddie Harris’s Cryin Blues. They also perform Hoagy Carmichael’s Stardust.

Three is an album that feels very much today and also of another period at the same time. 

JAZZ:  TINY BIG BAND 2 – Nikos Chatzitsakos – self-released

In 2022, bassist/composer Chatzitsakos released Tiny Big Band. Sadly, I didn’t know anything about that album or him until he reached out and sent a link to the album’s sequel, Tiny Big Band 2.

I have a feeling about sequels…they are usually unnecessary. But this one worked so effectively that I went back and listened to Tiny Big Band.

This album opens with All or Nothing at All and includes music written by Donald Byrd, Antonio Carlos Jobim, Cole Porter, Rodgers and Hart and more. Plus, they make a convincing argument that The Windmills of Your Mind, written by Michel Legrand and Alan and Marilyn Bergman is a truly great song. (The first to do this, in my opinion, since Dusty Springfield.)

The members of this Tiny Big Band include Art Baden on tenor sax; Samuel Bolduc on drums; Chatzitsakos on doubles bass; Joey Curreri on trumpet; Robert Mac-Vega Dowda on trumpet; Gabriel Nekrutman on baritone saxophone; Eleni Ermina Sofou on vocals; Armando Vergara on trombone; Alexandria De Walt on vocals and Wilfie Williams on piano. 

While Tiny Big Band 2 is what’s New In Music This Week: Febraury 9^th, both albums are worth your time.

JAZZ:  LIVE IN CHICAGO – Gustavo Cortiñas – Desafío Candente Records

One look at the cover for this live album from drummer/composer Cortiñas and you’ll have a good idea what you’re in for: a fusion of Mexico and Chicago. Mexico City to be precise.

Listening to the opening track, Overature, you know that you’re in for something unique. Cortiñas is joined by saxophonist/clarinetist Artie Black; trombonist Matthew Davis; pianist Joaquin Garcia; trumpeter Drew Hansen and bassist Kitt Lyles on this two-disc album.

On the press notes for Live in Chicago, Cortiñas says, “I believe that it is a rite of passage for any jazz artist to put out a live record.” This one, filled exclusively with original compositions, is the kind of live album that makes me want to hear this music in person.

JAZZ:  COMPASSION – Vijay Iyer with Linda May Han Oh and Tyshawn Sorey – ECM Records

This incredible album came out last week. Sadly, I forgot. But I’m not going to let New In Music This Week: February 9^th make the same mistake.

Iyer composed most of the tracks on this album. As one would expect, they are terrific as always. What most impressed me about Compassion, besides the obvious need for it in all our lives and the beautiful way Iyer expresses this through his writing, is that incredible freedom he, Oh and Sorey have with each recording.

The trio previously recorded Uneasy which was released in 2021. If the previous album reflected the turmoil of our present-day lives, this album serves as a beautiful call to action. Do yourself a favor and listen to both albums.

That’s my list of What’s New In Music This Week: February 9th.

May whichever team you are rooting for be victorious this weekend.

Enjoy your weekend.

Enjoy the music.

Main Photo: Part of the album art for nublues by Joel Ross

The post New In Music This Week: February 9th appeared first on Cultural Attaché.

One of the most highly-acclaimed jazz albums of last year was The Glass Hours. 10 songs written and performed by bassist/composer Linda May Han Oh. Each song is imbued with the thinking Oh has been doing for a number of years about the world in which we live.

Some of her album’s compositions date back to 2018. It was a time when there was a different occupant at 1600 Pennsylvania Avenue, there was a different mentality in the country and it was before Oh became a mother. These are just a few of the things that were on her mind at the time and are just some of the issues that find their way into her very thoughtful compositions.

Oh is on tour with her band playing much of the music from The Glass Hours. I had the privilege of seeing her perform last night at The Townhouse in Venice, CA. The openness with which they played this music allowed for a sense of urgency that was palpable. Oh has four more shows in California before the end of the month. She will then join Vijay Iyer for four nights of shows at the Village Vanguard before continuing on her own tour on the East Coast. (You can find her itinerary here.)

Last week, before she started this tour, I spoke with Oh about the album, the ideas that inspired her album and her hopes for the future. What follows are excerpts from our conversation that have been edited for length and clarity. To watch the full interview with Oh (and dozens of other interviews with artists), please go to our YouTube channel.

The Glass Hours was released last year. That means it was probably recorded in 2022 and some of the compositions pre-date those sessions. How has your relationship to these compositions evolved since then?

Most of these pieces were composed, or at least the first incarnation of them, were composed around about 2018 or so. We first performed that music at the end of 2019 at the Jazz Gallery here in New York City. This was at a time where we were nearing the end of the Trump presidency. There was a bit of uncertainty of what was going to happen next politically and I was just questioning a lot of things, a lot of our values, a lot of the systems within which we live.

I was really thinking about what how we value time and what we choose to do with it. Initially some of the songs were formed as a result of questions that I was asking myself about what I was doing in my life and as an artist.

What were some of those questions you were asking yourself?

Just in terms of how we deal with warfare and violence between countries. Assessing my amount of privilege to that. I can work here with music in a space where many people before me have fought on my behalf for my freedoms. How we can regulate women’s bodies in one way in order to preserve life, but then not provide adequate regulations when it comes to gun control and protecting our kids in schools, and also within the health care system as well. All these things culminated in these songs. Although these conversations started in 2018, they evolved a lot throughout the years. The pandemic hit in 2020 and it was a difficult time for all of us. It shifted some of these positions for me personally. A lot of them evolved, went many different directions, and then I added some other songs. The imperative is about grit and resilience which I think we all had to think about during this time. 

Was the composing of these pieces an opportunity for you to try to come to answer answers for yourself or to pose the questions so that listeners can take in, and use, your music as a way of thinking about these things?

I would say the latter, because I think a lot of these issues are so complex that it is really hard to find a definitive answer to how to solve these problems. I use music for a lot of different things. I want to bring something beautiful into the world. I also wanted to use it to question things. I also wanted to use to use it in a way that can make an impact in some way, make a shift in someone’s consciousness when they hear it.

If I’m sort of confused or wondering about something, music is really helpful for me in order to just at least digest it. I’m not necessarily looking for answers, but this is my expression of how I’m feeling, what I’m questioning.

What you’re questioning on The Glass Hours are some of the basic ideas that we have been contemplating for decades. Do you think that we will ever get to a place where these questions don’t have to be asked? Can your music play a part in getting us to that point? 

I feel like these questions are always somewhat going to be asked. There’s just so much of history repeating. You might hear some of those themes in Antiquity and Jus Ad Bellum (two songs on The Glass Hours). I think a lot about morality and, now with a child, it’s actually how we teach morality and how certain themes and stories that we teach kids – whether it be through books or movies – sometimes they aren’t clear cut. I’m always questioning how I am to do better and how I can contribute.

What does live performance give you in terms of opening up your compositions or perhaps the way you hear and perform them? Not just the way you do, but also your colleagues who are on the stage with you?

Nothing beats live music, you know? The music that we create is always so different each night to night. We may maintain some of the same messages and some of the framework of these compositions. But ultimately, so much of what we do is improvised and special to that specific moment. I’m lucky to play with musicians who are very experienced in improvisation ready for anything to happen. 

It seems to me like a lot of the questions that you’re bringing up in your music could be solved by what you and your band mates have to do every night, which is just listen. Whether anybody gets the message behind the music or not, can’t the fundamentals of live performance of music actually serve as a foundation for solving a lot of our problems?

I work with a lot of students of varying ages and I always say that everybody should learn how to improvise, learn how to play in an ensemble because there’s so much to be said about problem solving, working together, empathy, listening, that really carries through into everyday life. Whether or not some of these students choose to pursue music as a career, you’ve got these skills that you can use anywhere.

How important do you think it is for people listening to understand the point of what you’re getting to with each individual composition or is it enough that they enjoy the music?

At the end of the day, everyone’s going to perceive this music in their own individual way. If I can invite the listener to be in the moment and embrace the here and now by listening, that’s my number one goal. Everyone’s coming from such a different place and headspace and people listen for very different reasons. I hope that people can see some of the emotion, the message behind the songs.

On January 9th, the Grammys website posted a story about alternative jazz and included The Glass Hours as an example of alternative jazz. What does that or any other label mean to you as it relates to either your music or how other music is categorized?

I don’t think too much about labels when it comes to actually making the music, but I do see how it’s necessary for writers, for people in the industry to categorize or to promote certain things; publicize what this music sounds like. It kind of is what it is. I know a lot of people have fought very hard to get this new category into the Grammys, which is amazing. I’m proud of a lot of people who are rallying for more space for improvised music that isn’t mainstream, that isn’t pop music. I’m all for giving more space and more recognition to some of these musicians.

The jazz world is famous for collaborations and I think that’s what makes it all one of the most interesting genres of music that there is. You’ve had the privilege of working with Vijay Iyer, Ethan Iverson, Billy Childs, Terri Lyne Carrington and Tyshawn Sorey. How have artists like that inspired you and informed who you are as a musician today?

If we just start with Tyshawn Corey. I mean, he is just a force of nature. As a bass player I just feel so lucky to be able to play with so many incredible drummers. Tyshawn is not only an incredible drummer, you can riff with him on Max Roach and all the masters. I can also show him some of my percussion scores, and I showed him my solo piano piece, and immediately he’s telling me all the scores to check out. I’m super inspired by some of these musicians that have dedicated their lives to this art form.

You have another collaboration with Vijay Iyer on his upcoming album, Compassion (due February 2nd), which finds you once again working with Tyshawn.

[Vijay is] just a classic example of somebody who’s extremely well-versed in many different worlds and super inspiring. Someone like Terri Lyne Carrington*. She’s just a visionary and not only one of my favorite drummers, but as a composer, producer, a band leader. I’ve seen her in many leadership contexts where she really cares.

There are a lot of people in these positions of power, positions of leadership that, may or may not, do it for their own egoistic purposes. Terri Lyne is just one of those people that really cares about the people that she is trying to work with and making things better and making things more equitable.

I interviewed Vijay in 2019 and I asked him about a quote that he gave to NPR in an interview two years prior where he said, “The reason we’re on this planet as individuals is to express and reflect the moment we’re in now.” I followed up by asking him are the moments getting easier. Knowing that you also believe you’re here to express and reflect the moment we’re in now, as a composer, a musician and mother, do you feel like we’re headed in the right direction?

I definitely feel some uncertainty and uneasiness. I’m constantly reminded of incredible people day to day. I try and make sure that I acknowledge them in my life in terms of people who who want to strive for better. It’s hard to say is it getting easier. The state of the world with things like climate change and those issues, which I feel we should be doing a lot more. There are still positive things happening in the world in terms of advancements in technology to solve certain problems. It’s important to acknowledge those things.

This particular time is a very tumultuous time. I try and keep us up to date with the news as I can, at the same time knowing that a lot of the news that we hear can be very heartbreaking. Positive news is always a really good thing and I think it is good to welcome that. Easier? I don’t know. I feel very privileged in my particular life to be doing what I’m doing. I just hope for better. I have faith that we can do better. 

To watch the full interview with Linda May Han Oh, please go here.

Terri Lyne Carrington will be performing at CAP UCLA’s Royce Hall on Saturday, January 27th. For tickets and more information, please go here.

All photos of Linda May Han Oh (©Robyn Twomey/Courtesy Fully Altered Media)

The post Linda May Han Oh Has Faith We Can Do Better appeared first on Cultural Attaché.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“I do like the possibility of just people experiencing something that they’re unfamiliar with. And then hopefully what it does is just either raises some questions or just piques their curiosity.” That’s how Grammy Award-winning violinist Johnny Gandelsman describes the optimal reaction he’d like audiences have to his new anthology, This Is America.

The project finds Gandelsman performing 24 newly-commissioned works for solo violin. Amongst the composers who have contributed to This Is America are Rhiannon Giddens, Angélica Negrón, Tomeka Reid, Terry Reily, Tyshawn Sorey and Conrad Tao. The composers represent the true melting pot that is America: straight, gay, multiple ethnicities, young, old, immigrants and more.

Gandelsman is himself an immigrant having been born in Russia. He was raised there and in Israel before moving to the United States. He is best known as the co-founder of the string quartet Brooklyn Rider and a regular collaborator with Silkroad Ensemble. Gandelsman has collaborated with such artists as David Byrne, Yo-Yo Ma, Anne Sofie von Otter and Suzanne Vega.

Our conversation took place after a horrific weekend of violence and racism in the country he now calls home. What follows are excerpts from that conversation that have been edited for length and clarity.

How much is your list of composers for This Is America a reflection of that basic idea of what this country is supposed to be and by extension, how much does their individual music represent that concept as well?

The project is there to sort of broaden the conversation about what is America and who are the voices that we hear from in the concert hall. So all of those things where definitely part of my thinking when I was working on the list. I love lists. I have a very long list of people that I would love to work with. So 24 is definitely not the end of it. It’s trying to present a broad view of what’s happening right now in this country in terms of creative output. This is just a drop in the bucket.

How does new music allow you to do that in a way that the classic repertoire of classical music does not?

If we want people to feel connected to music, to what we do on stage, we can’t just play the old stuff. It just doesn’t make any sense. I really think that hearing from people who are writing music today and putting their experience in front of other people is the way for audiences to connect to music that’s written right now. Just like people [could] connect it to when Beethoven was writing his symphonies and he was a contemporary composer. I think the practice of playing music of the past is a relatively new idea. And while it has done some good things in terms of making sure that those pieces are around and people are familiar with them, it just cannot be the only thing that our art form does.

Each composer has his or her own approach and compositional style. How did you respond to all these various pieces?

Some pieces I had a feeling that I understood right away. And some pieces what was being asked of me was was either foreign to me or challenging or just something that I’ve never tried before. And so I had to overcome this sense of fear of I can’t do that. That’s foreign. That’s no good. It’s embarrassing to admit, but my first reaction was, oh, this is just not good, you know? And it was just because I didn’t understand it. And I was totally afraid of it. What was really nice about it was that the composers were really kind and gently guided me into their process of thinking and what they were imagining.

That fear or the unknown seems like it is also a reflection of our world today.

When faced with something that was really challenging, my first reaction was fear. And that’s what we see in the world today across all all spheres of of our lives. People, when faced with unknown things, the first reaction often is rejection of those things. I say this in the notes for the album, but I really wish that people in all walks of life would have this kind of gentle guidance into the unfamiliar world where they could feel safe to experience something new and then find a way to accept people who [have] different ideas, who are different.

Once you settled into each composition in This Is America, how has your approach to them grown? In addition to the recording you are also performing some of the selections live in concert.

When I recorded these pieces they were very fresh. Since then I’ve had a chance to perform them. That experience in itself changes how I feel about it. It changes the piece. In a way I wish I could re-record the whole thing again. But that’s true of almost all albums that are made. I do think that the pieces might resonate now slightly differently. I mean the world just keeps throwing these things at us that are just constant.

Has This is America allowed you to foster a greater love for America or question whether the American experiment is destined to ultimately fail?

That’s a really hard question. I love this place. I’m Russian, Israeli, American. And all of these places have some incredibly disturbing things about them. At the same time they have great culture, great people and probably equal amount of people who believe in the things that we believe in. They just don’t have the governments that, at least currently, allow for a conversation about that really. So I don’t know. I do believe that this place the idea is great, but it’s clearly a work in progress.

It’s easy to kind of stay in your own bubble and not engage. It seems like maybe we don’t have the luxury of staying on the sidelines and letting it roll down the hill and then seeing what happens. I think people do whatever they believe they need to do in their own ways. I can’t say that I’m an activist in any way. I’m hoping that through the work of being a musician there’s something positive that I can bring to the conversation or people’s experience.

Hopefully for at least the length of your concert, regardless of ideologies, people are having a shared experience that silences those differences.

This might be my imagination, but it does feel like when we’re together in the room experiencing music – and that’s relatively new now right after COVID – people find ways to connect to, if not the music, but the idea behind it. I think that’s a kind of invisible bridge that is established for that period of time. So it does feel like we’re all in it together: the composers, the audience and myself. Which is a nice place to be.

Johnny Gandelsman will perform selections from This Is America at The Wallis in Beverly Hills on May 19th. For tickets and more information, please go here.

To pre-order the CD or a digital download of “This Is America,” please go here.

All photos courtesy of the artist and The Wallis.

The post Johnny Gandelsman Explores America appeared first on Cultural Attaché.

But that’s not all! There are operas both old and new; dance both modern and ballet; vocalists singing standards and show tunes; several jazz concert options; contemporary classical music and witty banter to start your weekend off just right. We have nearly two dozen options for you!

With so many plays available, one of them was destined to be my Top Pick this week. It’s almost as if it had been written in the stars. Topping this week’s list is the Public Theater’s radio play and bilingual version of Shakespeare’s Romeo y Julieta with Juan Castano as Romeo and Lupita Nyong’o as Julieta.

So here are the Four Days of Best Bets: March 19th – March 22nd. The list begins with my Top Pick and is followed by events in the order in which they become available.

*TOP PICK* RADIO PLAY: Romeo y Julieta – Public Theater – Now Available

William Shakespeare’s best-known play is certainly Romeo and Juliet. In this radio play version you’ll get to hone in on exactly what makes this play so riveting: the story and the words. But there’s going to be a difference: this is a bilingual version called Romeo y Julieta.

Director Saheem Ali and Ricardo Pérez González have adapted Alfredo Michel Modenessi’s Spanish-language translation for this audio only production.

Starring as the title characters are Juan Castano as Romeo and Lupita Nyong’o as Julieta. Ivonne Coll plays the Nurse, Hiram Delgado is Tybalt, Irene Sofia Lucia is Mercutio, Julio Monge is Friar Lawrence and Javier Muñoz is Paris.

The rest of the cast includes Carlo Albán, Karina Arroyave, Erick Betancourt, Michael Braugher, Carlos Carrasco, John J. Concado, Guillermo Diaz , Sarah Nina Hayon, Kevin Herrera, Modesto Lacen, Florencia Lozano,  Keren Lugo, Benjamin Luis McCracken, Tony Plana and David Zayas.

The Public is making closed-captioning available in both English and Spanish and are also providing a script to use to follow along for those who might want that. Just be prepared for a tragic story that ends with these words:

“For never was a story more of woe

Than this of Juliet and her Romeo.”

There is no charge to listen to Romeo y Julieta, but donations are encouraged.

PLAY: The Picture of Dorian Gray – now – March 31st

Oscar Wilde’s classic story of a man who sells his soul in order that his good looks don’t fade gets a contemporary spin in this new version of the story by Henry Filloux-Bennett. This updated approach has Dorian as a social media influencer who doesn’t want to see his fame fade. It’s just as much a Faustian deal here as in Wilde’s original.

Starring in this production are Fionn Whitehead (Dunkirk), Alfred Enoch (seven of the Harry Potter films), Joanna Lumley (Absolutely Fabulous), Emma McDonald (Hamlet), Russell Tovey (Angels in America) and Stephen Fry (Wilde).

Tickets are £12 which at press time was equal to just under $17. There is a warning that there is strong language and references to mental illness and suicide. The production is recommended for audiences age 16 and higher.

PLAY: Women Without Men – Mint Theater Company – Now – March 21st

This is the first of several plays that New York’s Mint Theater Company has started streaming. Set in Ireland in the 1930s, Hazel Ellis’ play depicts the unmarried teachers at an all-girls school. It is their interactions with one another that reveals petty jealousies and very different personalities.

This production was staged in 2016 and was directed by Jean Thompson. Appearing in Women Without Men are Mary Bacon, Joyce Cohen, Shannon Harrington, Kate Middleton, Aedin Moloney, Alexa Shae Niziak, Kellie Overbey, Dee Pelletier, Beatrice Tulchin, Emily Walton and Amelia White.

There is no fee to watch the play. Registration; however, is required.

PLAY: Katie Roche – Mint Theater Company – Now – March 28th

Also from Mint Theater Company is this 2013 production of Teresa Devey’s 1936 play. Katie Roche tells the story of a servant girl who has big dreams and finds herself torn between two men.

The play had its premiere with Ireland’s Abbey Theatre and made its first appearance in the United States in 1937.

Starring are Margaret Daly, Patrick Fitzgerald, Jon Fletcher, David Friedlander, Jamie Jackson, John O’Creagh, Wrenn Schmidt, Diana Toibin. Jonathan Bank directs.

There is no fee to watch the play. Registration; however, is required.

PLAY: How to Catch Creation – Goodman Theatre – Now – March 28th

Half a century after a young woman’s girlfriend hits her with some very surprising news, four artists are coming to grips with the ramifications of that fateful day. That’s the premise of Christina Anderson’s How to Catch Creation which Chicago’s Goodman Theatre will be streaming on demand for two weeks.

This is not a reading of the play. Rather it is a capture of their 2019 production directed by Niegel Smith. The cast features Karen Aldridge, Ayanna Bria Bakari, Jasmine Bracey, Bernard Gilbert, Maya Vinice Prentiss and Keith Randolph Smith.

How to Catch Creation runs 2 hours and 15 minutes. There’s no charge to stream the production.

PLAY: Vanya and Sonia and Masha and Spike – Broadway on Demand – Now – April 18th

You might think you need to know a lot about the work of Anton Chekhov to appreciate Christopher Durang’s Vanya and Sonia and Masha and Spike. While it certainly helps, it’s absolutely not essential. While the play does take place near a cherry orchard, there is familial conflict about what to do with a cherished home and the three siblings depicted all have names taken from Chekhov’s work, this comedy has proven popular around the world.

Durang had a rather circuitous route to Broadway with this play. Vanya and Sonia and Masha and Spike had its world premiere at the McCarter Theatre in Princeton in 2012. One month after closing there it went off-Broadway to Lincoln Center’s Mitzi E. Newhouse Theatre. Two months after closing there it opened on Broadway and ultimately was named the Best Play at the Tony Awards.

One thing this play was able to do was keep its cast intact for all those moves. So the film that Lincoln Center is making available for free on Broadway on Demand features David Hyde Pierce, Billy Magnussen, Kristine Nielsen, and Sigourney Weaver.

I’ve seen this play two times and strongly recommend you allow yourself the time to relax, sit back and enjoy yourself.  In 2014 I interviewed David Hyde Pierce about the play and his direction of it when it played the Mark Taper Forum. You can read that interview here.

OPERA: Breaking the Waves – Los Angeles Opera – March 19th – April 12th

The 1996 Lars von Trier film Breaking the Waves told the dark story of a husband, who is recovering from an accident at work, who encourages his wife to have sex with other men during his recovery. It was a bold film that featured a shattering performance by Emily Watson.

Composer Missy Mazzoli and librettist Royce Vavrek created an opera based on this film. Their work had its world premiere at Opera Philadelphia in 2016.

The work won universal acclaim including these comments by Alex Ross in The New Yorker:

“The opera created a world: it had a tone, a profile. There was an uncommonly strong relationship between libretto and music: the work felt urgent, driven by conviction, essential.”

Los Angeles Opera had scheduled a live production of Breaking the Waves, but the pandemic got in the way. In its place they are making a film of the opera directed by James Darrah available for free streaming (registration is required).

The original cast returns: Kiera Duffy, John Moore, Eve Gigliotti, David Portillo, Zachary James and Marcus DeLoach.

As you might imagine with this subject matter, a word of caution. This production includes explicit language, nudity and sexual content, some of a violent nature. Recommended for mature audiences only.

CONVERSATION: Virtual Halston – Cast Party Network – March 19th – 5:00 PM EDT/2:00 PM PDT

If you’re going to have an afternoon salon filled with ribald conversation and witty repartee, it helps to have two masters participating. In this week’s edition of Virtual Halston with Julie Halston, she’s got a great guest: playwright/author/screenwriter Paul Rudnick.

His plays include I Hate Hamlet, Jeffrey, The Most Fabulous Story Ever Told and the upcoming book for the musical adaptation of The Devil Wears Prada. His screenplays include The Addams Family, The First Wives Club and In and Out.

Actor Peter Bartlett, who received a Drama Desk nomination for his performance in The Most Fabulous Story Ever Told, will also be joining.

JAZZ: A Night in New Orleans – Derek Douget – Lobero Theatre – March 19th

When winter turns to spring and Lent is approaching many people immediately think of New Orleans and its grand tradition of Mardi Gras. Even later in spring thoughts turn to the New Orleans Jazz and Heritage Festival.

Mardi Gras didn’t happen this year and JazzFest is postponed until the fall.

So what’s a fan of that glorious music supposed to do?

Lobero Theatre in Santa Barbara is riding to your rescue this weekend. Saxophonist Derek Douget and his band will bring all that wonderful music into your home beginning Friday evening with A Night in New Orleans.

Joining Douget are Victor Atkins on piano; Ashlin Parker on trumpet; Herlin Riley on drums and vocals; Jason Stewart on bass and Don Vappie on banjo/guitar and vocals.

Tickets are $15, but you’ll have to provide your own beads!

JAZZ: Cindy Blackman Santana and Guests – SFJAZZ – March 19th – 8:00 PM EDT/5:00 PM EDT

Drummer Cindy Blackman Santana is well connected. She’s recorded and toured with Joe Henderson, Pharoah Sanders, Joss Stone, Cassandra Wilson and more. She spent many years on the road as the drummer for Lenny Kravitz. She also toured with Santana and in 2010 Carlos Santana proposed to her.

But those aren’t the friends or guests that are part of this weekend’s Fridays at Five concert from SFJAZZ. She has recent Oscar-nominated composer/musician Terence Blanchard (Da 5 Bloods), guitarist Bill Frisell, the Kronos Quartet, saxophonist Joe Lovano and members of the SFJAZZ Collective joining for this concert from 2017.

There will be an encore presentation of this concert on Saturday, March 20th at 1:00 PM EDT/10:00 AM PDT. Tickets are available with a monthly digital membership ($5) or an annual membership ($60).

OPERA: Renée Fleming Live from the Met – PBS (check local listings) – March 19th from 2021

If you are a regular reader of Cultural Attaché you know that Renée Fleming is one of the most beloved sopranos in opera. Whether seen and heard in productions or recitals, she is regularly a fan favorite.

PBS is airing a recital Fleming gave from Dumbarton Oaks in Washington, D.C. last August.

The program includes works by George Frideric Handel, Erich Wolfgang Korngold, Jules Massenet, Giacomo Puccini and Richard Strauss. Robert Ainsley serves as her accompanist.

BROADWAY VOCALS: Andrew Rannells Live from Lincoln Center – PBS (check local listings) – March 19th from 2018

In December of 2017 Andrew Rannells performed in The Appel Room at Lincoln Center. The concert was filmed and first broadcast on PBS in 2018. The show returns to PBS this weekend.

Rannells is best known for his Tony Award-nominated performance in The Book of Mormon and for his appearance on the HBO series Girls. He was recently seen as Whizzer in Falsettos (his second Tony Award nomination) and in Ryan Murphy’s stage production and the subsequent film of The Boys in the Band.

This is a fun concert that shows the boy can sing more than just show tunes! Fans will want to check it out.

BALLET: The Red Shoes – Ahmanson Theatre – March 19th – March 21st $10

As part of their continuing Digital Series and their relationship with Matthew Bourne, Center Theatre Group and the Ahmanson Theatre are offering up a filmed performance of Bourne’s ballet The Red Shoes.

The ballet is inspired by the Michael Powell/Emeric Pressburger film from 1948 (which in itself was inspired by a story by Hans Christian Anderson).

Bourne uses the music of legendary film composer Bernard Herrmann (Citizen Kane, Psycho) for this ballet.

Ashley Shaw stars as a ballerina torn between her love for the composer who wrote her a ballet and the impresario who runs the ballet company and controls her career.

There will be five opportunities to stream The Red Shoes. Friday, March 19th at 8:00 PM PDT/11:00 PM EDT; Saturday March 20th at 5:00 PM PDT/8:00 EDT and 8:00 PM PDT/11:00 PM PDT and Sunday, March 21st at 1:00 PM PDT/4:00 PM EDT and 5:00 PM PDT/8:00 PM EDT.

Tickets are $10. This program will not be available for streaming outside the United States.

OPERA: Siegfried – San Francisco Opera – March 20th – March 21st

Conducted by Sir Donald Runnicles; starring Daniel Brenna, Greer Grimsley, Iréne Theorin, Ronnita Miller and David Cangelosi. This revival of Francesa Zambello’s 2011 production is from the 2017-2018 season.

This third opera in Wagner’s Der Ring des Nibelungen had its premiere in Bayreuth in 1876 where it was seen at the first-ever performance of The Ring Cycle.

The title character is front and center in the third opera in the Ring Cycle. He matures throughout the opera via the choices he makes. He encounters an enigmatic Wanderer, but doesn’t know this is Wotan in disguise. When Siegfried is able to reassemble pieces of Siegmund’s sword (Siegmund is his father) he uses it to kill Fafner who has the responsibility of protecting the gold that was stolen from the Rhinemadiens in Das Rheingold. He also comes into possession of the ring. But what will he do with it and how will that impact his pre-destined love for Brunnhilde?

Lisa Hirsch, writing for the San Francisco Classical Voice, said of the production:

“…perhaps the greatest strength of the production remains: a splendidly staged and remarkably sympathetic Siegfried that flew by. In 2011, part of its charm was the surprisingly sweet Siegfried of Jay Hunter Morris, a handsome man with a beautiful voice. With the young heroic tenor Daniel Brenna stepping into the role this year, some of the sweetness and charm is lost to a more conventionally brash portrayal of the character. Still, the opera really did come off as a scherzo, a comparatively light moment in the Ring despite the deaths of Mime and Fafner. The encounters between the Wanderer and Mime, Alberich, Erda, and Siegfried retain their tremendous emotional power and depth.”

VOCALS: Songs from the Heart – Ute Lemper – March 20th – 2:00 PM EDT/11:00 AM PDT

Whether in concert halls, recording albums or gracing the stage of a musical, Ute Lemper has easily become of our most passionate and accomplished performers.

That wide range of material she handles will be on display in Songs from the Heart on Saturday. The concert will be streaming from Europe and includes songs from the musicals Cabaret and Chicago; from The Threepenny Opera; songs made famous by Édith Piaf and Marlene Dietrich, a song Lemper composed and also a song by Joni Mitchell.

I’ve seen her in multiple concert performances and also in the Broadway revival of Chicago. She’s absolutely amazing.

Joining Lemper for this concert will be Vana Gierig on piano; Tim Ouimette on trumpet; Matt Parrish on bass and Todd Turkish on drums and percussion.

Ticket are $24.99 and allow for 48 hours of access.

JAZZ: Jeremy Pelt Quintet – Vermont Jazz Center – March 20th – 8:00 PM EDT/5:00 PM PDT

You’re probably asking yourself how often will I recommend a performance by Jeremy Pelt? As long as he keeps putting out great music like Griot – This Is Important! I will do so as long as possible.

This concert from the Vermont Jazz Center will focus exclusively on music from this new album.

Joining Pelt for this concert are Vicente Archer on bass; Victor Gould on piano; Chien Chien Lu on vibraphone and Allan Mednard on drums.

There is no charge to stream the concert; however donations are encouraged.

ONE PERSON PLAY: Anyone But Me – IAMA Theatre Company – March 21st – April 18th

Sheila Carrasco’s Anyone But Me is the first of two one-person shows by Latinx-American women that Los Angeles’ IAMA Theatre Company will start streaming this weekend. Carrasco stars in this show in which she depicts multiple women struggling to define themselves and realizing that where they are is not where they want to be.

Anyone But Me is directed by Margaux Susi.

Tickets start at $15 (based on your ability to donate to IAMA).

ONE PERSON PLAY: The Oxy Complex – IAMA Theatre Company – March 21st – April 18th

The second play, The Oxy Complex, is written and performed by Anna LaMadrid. The play is set in the not-too-distant future – specifically the 500th day of quarantine. They Oxy of the title is not Oxycontin (source of opioid addictions), but rather Oxytocin.

What is oxytocin? It is defined by Medical News Today as:

“…a neurotransmitter and a hormone that is produced in the hypothalamus. From there, it is transported to and secreted by the pituitary gland, at the base of the brain.

“It plays a role in the female reproductive functions, from sexual activity to childbirth and breast feeding.”

So what is LaMadrid exploring in her show? All the things a woman might miss while being quarantined for so long. There is a reason, after all, that Oxytocin is called the “love hormone.”

Michelle Bossy directs. Tickets begin at $15 (based on your ability to donate).

CONTEMPORARY CLASSICAL MUSIC: Bang on a Can Marathon Live Online – March 21st – 3:00 PM EDT/12:00 PM PDT

For their spring live online marathon, Bang on a Can is showcasing performances from New York and Berlin.

Here’s the line-up:

3:00 PM EDT/12:00 PM PDT

Daniel Bernard Roumain Why Did They Kill Sandra Bland? performed by Arlen Hlusko; Arnold Dreyblatt; Mazz Swift and Rohan Chander △ or THE TRAGEDY OF HIKKOMORI LOVELESS from FINAL//FANTASY performed by Vicky Chow

4:00 PM EDT/1:00 PM PDT

Kristina Wolfe Listening to the Wind performed by Molly Barth; Miya Masaoka; Aeryn Santillan disconnect. performed by Ken Thomson and Adam Cuthbert

5:00 PM EDT/2:00 PM PDT

Ken Thomson Birds and Ambulances performed by Robert Black; Tomeka Reid Lamenting G.F., A.A., B.T., T.M. performed by Vicky Chow; Steve Reich Vermont Counterpoint performed by Claire Chase; Christina Wheeler and Molly Joyce Purity performed by David Cossin

6:00 PM EDT/3:00 PM PDT

Tyshawn Sorey; Jeffrey Brooks Santuario performed by Mark Stewart; Moor Mother and Bill Frisell

BROADWAY VOCALS: Jackie Hoffman – March 21st – 3:00 PM EDT/12:00 PM PDT

I’ve had the pleasure of seeing Jackie Hoffman in the original companies of Hairspray and Xanadu on Broadway. She’s always a joy to watch. Sadly I didn’t get a chance to see her in The Addams Family, On the Town or Charlie and the Chocolate Factory.

But you’ll get to see what makes Hoffman such a delightful and witty performer on Sunday.

She is Seth Rudetsky’s guest as part of his Concert Series. I can only imagine what stories she’ll have to tell and what songs she’ll choose to sing. We can all find out either in the live broadcast or in the encore showing (also on Sunday) at 8:00 PM EDT/5:00 PM PDT.

Tickets are $25.

DANCE: Uncharted Territory: Dancers in Isolation – Eryc Taylor Dance – Premieres March 21st – 6:00 PM EDT/3:00 PM PDT

Eryc Taylor has conceived a new work born out of the crisis that has hit us all in the last year. This work, Uncharted Territory: Dancers in Isolation, was created via Zoom, and focuses on New York City dancers.

The company features Nicole Baker, Chris Bell, Taylor Ennen, AJ Guevara, Eryc Taylor and Alex Tenreiro Theis. Each dancer choreographed their own work. The film is revealed in five separate segments which explore themes of death, mental instability, paranoia, sexual frustration and stillness.

The music was composed by Daniel Tobias.

There is no charge to watch the premiere, though donations are encouraged. Uncharted Territory will remain available online through March 28th.

PLAY: Yours Unfaithfully – Mint Theater Company – March 22nd – May 16th

Though written in 1933, Miles Malleson’s Yours Unfaithfully remained unperformed until Mint Theatre Company produced the show in late 2016.

It seems strange that a story about a married couple exploring an open relationship came from 1933. The all-too-virtuous husband (Max von Essen) is a writer seemingly unable to get inspired. His wife (Elisabeth Gray) runs a progressive school. She suggests opening up their relationship.

Alexis Soloski, in her review for the New York Times, said:

“Under the polished direction of Jonathan Bank, and in the hands of a fine team of designers, its arguments remain provocative, while its structure feels familiar, its tone decorous. Maybe that only makes it more unusual. It’s a bit like a sex farce with real sorrow instead of slammed doors, and something like a drawing room comedy with moral conundrums peeking out beneath the cushions. It is often very funny; it is also very nearly a tragedy.

There is no fee to watch the play. Registration; however, is required.

BROADWAY AND JAZZ VOCALS: Jim Caruso’s Pajama Cast Party – March 22nd – 8:00 PM EDT/5:00 PM PDT

Jim Caruso celebrates 50 episodes of Pajama Cast Party with this Monday’s edition. Which makes the absence of his usual venue for his weekly in-person Cast Party, Birdland, all that more palpable.

But this is a party and the show will celebrate turning 50. Joining this week are singer/songwriter Ben Clark, Broadway/pop singer Joshua Colley (Les Misérables), singer/artist Jared Wayne Gladly, Broadway’s Jason Kravits (Relatively Speaking), Brazilian singer/songwriter Denise Reis and Braodway’s Dee Roscioli (Fiddler on the Roof).

That’s this weekend’s Four Days of Best Bets: March 19th – March 21st. But a few reminders before we go:

Los Angeles Philharmonic releases a new Sound/Stage episode entitled A Pan-American Musical Feast with special guest Chef José Andrés. The episode features performances of works by Tania León; Paul Desenne and Aaron Copland. For details on this episode and the whole series please go here.

The 92nd Street Y is still streaming last weekend’s performance by violinist Gil Shaham with The Knights. You can read details about their entire series here. Check out my recent interview with Shaham here.

The Metropolitan Opera concludes their Viewer’s Choice week with a 2006-2007 season production of Rossini’s Il Barbiere di Siviglia on Friday; a production of Tchaikovsky’s Eugene Onegin from the same season (and strongly recommended) and a production of Handel’s Agrippina from the 2019-2020 season on Sunday (also recommended). You can see details and clips from all three productions here.

On Monday the Met begins a weeklong celebration of Myths and Legends with a production of Gluck’s Orfeo ed Euridice from the 2008-2009 season. We’ll have full details on Monday with our preview of the the week’s full line-up.

I trust you’ll find something amongst the Four Days of Best Bets: March 19th – March 22nd to keep you entertained! Have a great weekend.

Photo: Artwork of the balcony scene from Romeo y Julieta by Erick Davila (Courtesy The Public Theater)

Correction: The name of Eryc Taylor Dance program is Uncharted Territory and not Unchartered Territory as we originally listed. Cultural Attaché has corrected the post above and regrets the error.

The post Four Days of Best Bets: March 19th – March 22nd appeared first on Cultural Attaché.

My top pick is the world premiere of Death 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.

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

Here are my Best Bets: February 19th – February 21st:

DANCE: Evidence – Ronald K. Brown – The Joyce Theatre – Now – March 4th

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 For You, which served as a tribute to Stephanie Reinhart, the late co-creator of the American Dance Festival; Grace, a solo that put Brown on the map when it was performed by Alvin Ailey American Dance Theatre; March, a duet set to a speech by Dr. Martin Luther King Jr.; Mercy set to music by Meshell Ndegeocello; Palo y Machete, from One Shot, which was inspired by photographer Charles “Teenie” Harris and She is Here.

Tickets are $25 per household and allow for on-demand streaming through March 4th.

CLASSICAL MUSIC: Soundwalk – Multiple Locations – Now Available

Pulitzer Prize-winning composer Ellen Reid has created a musical landscape to accompany walks through many public parks and spaces in some of America’s cities. Her goal, as stated on the website, is to “inspire us and make us feel connected to something larger than ourselves. It is meant to serve as artistic nourishment – a place to recharge, reconnect, and re-energize.”

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

For Los Angeles, presented in association with CAP UCLA, 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 New York Philharmonic, musicians from the orchestra perform the music to accompany walks through Central Park. The Soundwalk Ensemble, members of the Young People’s Chorus of New York City and Poole and the Gang also perform.

There is no charge to download the app and the Soundwalk experience will remain active into 2023. Additional locations roll out beginning in April.

JAZZ: Kenny Barron – SFJAZZ – February 19th – 8:00 PM EST/5:00 PM PST

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.

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

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.

DANCE: Matthew Bourne’s Romeo and Juliet – Ahmanson Theatre – February 19th – February 21st

Ivo Váňa-Psota was the first choreographer of a ballet of Shakespeare’s Romeo and Juliet. It was set to the music by Sergei Prokofiev. The work had its world premiere in 1938.

In 2019 Matthew Bourne presented to the world his new Romeo and Juliet ballet, also set to Prokofiev’s music as interpreted by composer Terry Davies.

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

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.

*TOP PICK* OPERA: Death – LA Opera – February 19th – May 4th

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

Dunbar is considered America’s first great Black poet. Sorey uses his poem of the same name from Dunbar’s 1903 collection Lyrics of Love and Laughter.

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

Sorey is obviously exploding with his inventive mix of jazz, classical and experimental music styles. With Save the Boys and Death, 2021 is clearly turning out to already be a remarkable year for the 40-year-old who was awarded a MacArthur “Genius Grant” in 2017.

There is no charge to watch Death, but you do need to register with LA Opera.

CLASSICAL MUSIC: Michelle Cann plays Florence Price – Philadelphia Orchestra – February 19th – February 25th

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

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.

Pianist Michelle Cann, who has made Price’s Concerto in One Movement 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.

Also on the program are Rossini’s Overture to La scala di seta and Schubert’s Symphony No. 4 (“Tragic”).

Tickets are $17.

DANCE: New Bach – Dance Theatre of Harlem – February 20th – February 27th

The second half of Dance Theatre of Harlem’s Winter 2021 Virtual Ballet Series takes place on Saturday with New Bach which will be posted on their YouTube channel on Saturday.

Robert Garland created New Bach which had its world premiere in 2001 just after the 9/11 tragedy. Anna Kisselgoff, in her New York Times review, said of the work upon its premiere (with specific names from that performance): “Mr. Garland has used the Balanchine model in the best sense in New Bach,’ and alludes to the jazzy syncopation of the Bach-Balanchine masterpiece Concerto Barocco. Bach’s Violin Concerto in A minor, (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 — Donald Williams, wittily assertive in a noble style, and Tanya Wideman-Davis, eye-riveting in her robust but refined classical silhouette.”

There is no charge to watch New Bach.

OPERA: Puccini’s La Rondine – San Francisco Opera – February 20th – February 21st

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

Puccini’s La Rondine 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.

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?

This production marked Gheorghiu’s debut with San Francisco Opera. Joshua Kosman, writing in the San Francisco Chronicle, said, “Gheorghiu’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 “Chi il bel sogno di Doretta,” her breath control and flawless intonation seemed to make time stand still.”

JAZZ: Jason Marsalis and the K Love Experience – Snug Harbor (on Stage it) – February 21st – 8:00 PM EST/5:00 PM PST

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’s performance from New Orleans’ Snug Harbor will give you a great opportunity to hear the youngest of the Marsalis brothers.

This concert will feature music with Afro-Cuban, funk, samba, reggae coursing through its veins. This won’t just be music to sit and listen to, you’ll want to get up and dance.

Tickets are $15.

CLASSICAL MUSIC: Daniil Trifonov Recital – Shriver Hall – February 21st – 5:30 PM EST/2:30 PM PST

Are you tired of me constantly having a recital by pianist Daniil Trifonov on my best bets? I hope not, because there’s a reason his performances regularly appear on my list, he’s that good.

This performance, filmed at New York’s 92nd Street Y, finds Trifonov performing Szymanowski’s Sonata No. 3, Op. 36 and Debussy’s Pour le piano.

He concludes with Brahms’ Sonata No. 3 in F minor, Op. 5.

Tickets are $15 and allow for on-demand streaming through February 28th.

CONTEMPORARY CLASSICAL MUSIC: Bang on a Can Marathon #5 – February 21st – 1:00 PM EST/10:00 AM PST

Fans of contemporary classical music will not want to miss this Sunday’s Bang on a Can Marathon. All you have to do is look at the line-up:

Hour 1: Jakhongir Shukur’s Potter’s Wheel performed by Robert Black; Jennifer Walshe performing her Happiness Starts Right Now; Maria Huld Markan Sigfusdottir’s Pending, performed by Chi-chi Nwanoku and a new work by Amir Elsaffar performed by Ken Thomson

Hour 2: A new work by Gregory Spears performed by David Byrd-Marrow; a new work by Kristina Wolfe performed by Molly Barth; Gabriel Kahane’s Hollywood & Vine performed by Arlen Hlusko and a new work written and performed by Bora Yoon with video by R. Luke Dubois

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

HOUR 4: Eve Beglarian’s A Solemn Shyness performed by Lara Downes; a new work written and performed by Ingrid Laubrock; Molly Herron’s Canon No. 4 performed by Maya Stone and a new work by Alvin Lucier performed by Mark Stewart.

There is no charge to watch the marathon, but donations are encouraged.

OPERA: Sole e Amore – Lyric Opera of Chicago – Begins February 21st – 7:00 PM EST/4:00 PM PST

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

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

Enrique Mazzola, who will become the Lyric’s music director in the 2021-2022 season, curated the program and will also play piano for much of the recital.

The program is free and will be available on the Lyric Opera of Chicago’s YouTube channel.

PLAYS/MUSICALS: TruSpeak…Hear Our Voices – February 21st – 5:00 PM EST/2:00 PM PST

Theater Resources Unlimited (TRU) has assembled a very impressive line-up for their gala event, TruSpeak…Hear Our Voices on Sunday.

Maggie Baird, Brendan Bradley, Brenda Braxton (Smokey Joe’s Cafe), Jim Brochu (The Big Voice: God or Merman?), Nick Cearley (one half of The Skivvies), Robert Cuccioli (Irish Rep’s A Touch of the Poet), Andrew Lynn Green, Ann Harada (Avenue Q), Dickie Hearts (Grace and Frankie), Cady Huffman (Tony Award-winner The Producers), Crystal Kellogg (School of Rock), Will Mader, Lauren Molina (the other half of The Skivvies), Jill Paice (An American in Paris), Tonya Pinkins (Caroline, or Change), Jana Robbins (Gypsy), Dominique Sharpton, Haley Swindal, Regina Taylor (I’ll Fly Away), Crystal Tigney and Tatiana Wechsler are all participated.

The gala will feature monologues, plays and an online musical.

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

Tickets are $55 with VIP tickets also available (this is a fundraiser after all) that will include virtual meet-and-greet opportunities.

BROADWAY/CABARET: Santino Fontana with Seth Rudetsky – February 21st: 8:00 PM EST/5:00 PM PST

One of my favorite movies of all time is Tootsie. When the musical was announced Santino Fontana was cast in the role of Michael Dorsey/Dorothy Michaels. (If you don’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’s Tony Award-winning performance, but sadly the show closed before I had a chance to do so.

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

If you are unable to watch the live performance on Sunday, there is an encore showing of the concert on Monday, February 22nd at 3:00 PM EST/12:00 PM PST.

That is my list of my Best Bets: February 19th – February 21st. But before I go, I have a few reminders:

The Metropolitan Opera’s weeklong look at the work of Franco Zeffirelli concludes with the first-ever streaming of his 1989-1990 season production of Mozart’s Don Giovanni on Friday; the first-ever streaming of his 1996-1997 season production of Bizet’s Carmen on Saturday and concludes with the 2009-2010 revival of his 1987 staging of Puccini’s Turandot on Sunday.

Irish Repertory Theatre’s @Home Winter Festival continues this weekend. There are five different productions available for viewing. You can find out details here.

Los Angeles Philharmonic’s Icons on Inspiration with Julie Andrews, Common, Katy Perry, Yuja Wang and more is still available for free streaming (though donations are encouraged)

There you have it. The complete list of Best Bets: February 19th – 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’m sending you my best.

Main Photo: Tyshawn Sorey in a still from Death (Courtesy LA Opera)

The post Best Bets: February 19th – February 21st appeared first on Cultural Attaché.

Our top pick this week is Heartbeat Opera’s Breathing Free, a powerful 45-minute film that is having its West Coast debut courtesy of The Broad Stage. Opera, spirituals, movement and imagery combine to explore the challenges Black men have of simply breathing without fear. I saw the film last year and can tell you this is easily one of the strongest works you’ll see all year.

If you are a fan of The Supremes and want to catch quite possibly Mary Wilson’s last performance (she passed away earlier this week), you will want to catch A Catalina Soulful Valentine fundraiser on Friday night.

It’s not all dance and topical issues this week, in fact, our first listing might find you mixing your own cocktails. Get your ice out of the freezer, get your cocktail shaker on standby and dig in!

Here are my Best Bets: February 12th – February 15th (we’re including Monday since it’s also a holiday weekend):

PLAY: Dixie’s Happy Hour – Segerstrom Center for the Arts – Now – February 21st

Dixie Longate hosting a happy hour? That will certainly have heavy emphasis on the happy. And probably on the adult side, too. Dixie, though a Southern girl at heart, has a quick wit and is never shy about sharing her thoughts.

With everything that has gone on the world since Dixie was last selling Tupperware locally, I can only imagine what she’ll have to say.

And what drinks she’ll make. I don’t believe Dixie has been in the Alabama slammer, but I bet she knows how to make a fierce one! Actually, she does have a pre-show margarita recipe to share.

There are performances every night through February 21st at 7:00 PM PST. Tickets are $35.

BALLET: Digital Program 02 – San Francisco Ballet – Now – March 3rd $29 for 72 hour access

The world premiere of Colorforms, a new work by Myles Thatcher, is featured in San Francisco Ballet’s Digital Program 02. The work, set to Variations for Vibes, Pianos and Strings by Steve Reich, seeks to illuminate the parallels between the creation and consumption of art. The film, directed by Ezra Hurwitz, was shot in multiple San Francisco locations including the War Memorial Opera House where the San Francisco Ballet regularly performs.

Opening the program is Dwight Rhoden‘s Let’s Begin at the End which features music by Johann Sebastian Bach, Philip Glass and Michael Nyman. The work was created for SF Ballet’s 2018 Unbound and had its debut on April 26th of that year.

Closing out the program is Sandpaper Ballet by Mark Morris with music by Leroy Anderson. The work was created in 1999 for San Francisco Ballet. Composer Anderson is probably best-known for having written the popular holiday song, Sleigh Ride. Sandpaper Ballet was composed in 1954.

Tickets are $29 and allow for 72 hours of streaming.

BALLET: Raymonda Act III – Royal Opera House – Now – March 14th

Marius Petipa’s ballet, Raymonda, had its world premiere in St. Petersburg in 1898 and is set to the music of Alexander Glazunov. In 1948 the Kirov Ballet revived the ballet with new choreography by Konstantin Sergeyev. This latter choreography is the one most commonly used in performances of the ballet.

Ballet star Rudolf Nureyev dance the ballet with the Kirov. He would later stage a full-length version for the Royal Ballet in 1964. Five years later he tweaked the very popular third act. It is that version that will be seen in this film which comes from a 2003 tribute to Nureyev. (The event took place ten years after his death.)

The two acts leading up to the segment being presented depicts the story of two lovers, Raymonda and Jean de Brienne who plan to get married. Unfortunately Abderman shows up at her birthday party and makes his intentions clear. Jean de Brienne does not arrive for one more day. He does arrive just in time (in Act 2) to break up Abderman’s kidnapping attempt of Raymonda. A duel ensues between the two men and Abderman is killed.

So what’s left in Act III? A big celebration. The full ballet isn’t performed as often as is this third act.

Pavel Sorokin conducts with Natalia Osipova as Raymonda and Vadim Muntagirov as Jean de Brienne.

Tickets to stream this performance are £3 which at press time equals approximately $4.15

THEATRE TALK: Virtual Halston – Cast Party Network on YouTube – February 12th – 5:00 PM EST/2:00 PM PST

Fans of the original cast of The Producers will certainly recognize Julie Halston’s guests for this week’s Virtual Halston: Cady Huffman (who originated the role of Ulla and won both the Drama Desk Award and the Tony Award as Best Featured Actress in a Musical) and Brad Oscar (who originated the role of Franz Liebkind). Oscar would later assume the role of Max Bialystock (the role Nathan Lane created) as the show continued its successful run on Broadway.

The two will be reunited on this Friday’s virtual happy hour with Halston. It’s a holiday weekend, your work is being mostly done by remote, why not mix a drink early and join in the fun?

PLAY: Yorick, La Historia de Hamlet – REDCAT – February 12th – February 14th

Hamlet’s soliloquies form the basis for this one-man show created by and starring Chilean actor Francisco Reyes. Yorick, the late court jester in Shakespeare’s play, is the narrator of Yorick, La Historia de Hamlet. Co-creator Simón Reyes wrote the script.

Joining Reyes in the performance are puppets that he manipulates. The puppets were created by Ismael Reyes.

The film is also uniquely lit by only candlelight. Music was composed by Miguel Miranda with songs by Rocío Reyes.

The work is performed in Spanish with English subtitles. There are only three showings of this highly-acclaimed film by Reyes. Friday, February 12th at 8:00 PM EST/5:00 PM PST; Saturday and Sunday at 6:00 PM EST/3:00 PM PST. Tickets range from $8 for students up to $15 for general admission.

JAZZ: SF Jazz Collective – SFJAZZ – February 12th – 8:00 PM EST/5:00 PM PST

This weekend’s Fridays at Five concert celebrates the work of two very influential and different artists: Sly and the Family Stone and Miles Davis. As befitting such groundbreaking artists, this concert runs nearly two hours.

The San Francisco Jazz Collective, an octet, performs music from Stand! and Davis’ In a Silent Way. Both albums were released in 1969.

This concert, from November 2019, celebrates the 50th anniversary of both works. Stand! featured the songs I Want to Take You Higher and Everyday People. Davis was more austere with his recording – it only had two tracks, but ran 38 minutes.

The members of the SF Jazz Collective are bassist Matt Brewer; trumpeter Etienne Charles; drummer Obed Calvaire; vocalist Martin Luther McCoy; guitarist Adam Rogers; tenor saxophonist David Sánchez; pianist Edward Simon and vibraphonist Warren Wolf.

There is also a cameo appearance by Family Stone drummer Greg Errico. 

Tickets are $5 (which includes a one-month digital membership) or $60 (which includes an annual digital membership). This concert will stream just once.

JAZZ/CABARET: A Catalina Soulful Valentine – February 12th – 9:00 PM EST/6:00 PM PST

Los Angeles nightclub, Catalina Jazz Club, has been severely impacted by the pandemic. They are doing everything they can to keep the doors open and amongst them is Friday night’s A Catalina Soulful Valentine.

For weeks they have been touting the appearance of Mary Wilson of The Supremes as one of their performers. Of course, she passed away earlier this week. But, her set was filmed in advance and will be seen in its entirety to both support Catalina Jazz Club and to honor her.

Sally Struthers and singer/musician Mr. Chris Norton serve as hosts. The list of performers includes Lucie Arnaz, Carole J. Bufford, Linda Purl, James Snyder, Nita Whitaker and more.

The show will air on Catalina’s Facebook page and Chris Isaacson Presents’ YouTube channel. There is no charge to watch the concert, but donations are definitely encouraged.

JAZZ: Douglas J. Cuomo’s Seven Limbs featuring Nels Cline and Aizuri Quartet – CAP UCLA – February 12th – 10:00 PM EST/7:00 PM PST

Composer Douglas J. Cuomo’s Seven Limbs was meant to have its world premiere last year. We all know what happened to preclude that. This digital performance of the work had its world premiere earlier this week from The Moss Arts Center at Virginia Tech.

UCLA’s Center for the Art of Performance is making the film available on Friday with on demand opportunities beginning on Sunday for one week.

What is Seven Limbs? It is a 75-minute work for electric guitar and string quartet. Cuomo composed this specifically for the artists who perform it: Wilco guitarist Nels Cline and the Aizuri Quartet.

But what is it? Best to let the composer describe it for you:

“This piece is inspired by an ancient Buddhist purification ceremony called The Seven Limbs. It’s part of a meditation practice I do every day. The practice has lots of words; the piece has none. The feel of this ceremony is what I kept going to as I composed, and then at some point I realized I was setting text without using words. For me Seven Limbs is a dream-like piece; I can look inward to a new terrain and find out what’s there. Stillness, turmoil, suppleness, euphoria, high drama. I wrote it for Nels Cline and the Aizuri Quartet because, for composers, to write for great players is another kind of dream. Together, we offer you our dream, in the hope it makes some connection with you.”

CAP UCLA is making this performance free to view.

OPERA: Save the Boys – Opera Philadelphia – February 12th

Last week our top pick was musician/composer Tyshawn Sorey’s two-night gig at the Village Vanguard. He returns to our Best Bets this weekend with the debut of his twenty-minute song cycle Save the Boys.

Sorey uses Frances Ellen Watkins Harper’s 1887 poem of the same name as the inspiration for this work.

Harper was an Black women’s rights activist and abolitionist.

Performing Save the Boys is the vocalist for whom it was written: countertenor John Holiday. If his name sounds familiar, perhaps you saw him on the most recently concluded season of The Voice. In 2019 I interviewed Holiday. You can read that interview here.

Holiday is accompanied on the piano by Opera Philadelphia’s Grant Loehnig.

Tickets are $10 which allows for a seven-day rental.

OPERA: Cosí fan tutte – San Francisco Opera – February 13th – February 14th

Conducted by Nicola Luisotti; starring Ellie Dehn, Susannah Biller, Marco Vinco, Francesco Demuro and Philippe Sly. This revival of the 2004 John Cox production is from the 2012-2013 season.

Mozart’s Cosí fan tutte had its world premiere in Vienna in 1790. Lorenzo Da Ponte, who wrote the libertti for The Marriage of Figaro and Don Giovanni, wrote the libretto.

Ferrando and Guglielmo are vacationing with their fiancées, Dorabella and Fiordiligi. They are sisters. Don Alfonso challenges the men to a bet revolving around the women and their ability to be faithful. Using disguise, deception and a wicked sense of humor, Mozart’s opera ends happily ever after for one and all.

Joshua Kosman, writing for the San Francisco Chronicle, raved about Sly’s performance as Guglielmo , “In the ensemble cast of six, the standout performance was the precocious and phenomenally assured company debut of Adler Fellow Philippe Sly as Guglielmo. Adler Fellows don’t often get cast at this level, but then again, Adler Fellows this gifted and accomplished are rare indeed.

“Sly’s singing was at once robust and lyrical, with a beautiful range of tonal colors and the ability to combine virility and tenderness in a single phrase.”

CLASSICAL MUSIC: Anna Clyne’s Stride – Detroit Symphony Orchestra – February 13th – 7:30 PM EST/4:30 PM PST

It must be daunting for a composer to have a world premiere or relatively new work precede one of the stalwart compositions in classical music. Such is the status of British composer Anna Clyne who’s Stride will be performed by members of the Detroit Symphony Orchestra prior to their performance of Bach’s Brandenburg Concerto No. 6 in B-flat Major, BWV 1051.

But it is Clyne’s composition that is most interesting about this concert. The Australian Chamber Orchestra commissioned Clyde to write a piece as part of their celebration of the 250th anniversary of Beethoven’s Birth. The Covid-19 pandemic forced the cancellation of many of their performances last year, but they were able to return on November 14th with the world premiere of Stride.

The work weaves themes from Beethoven’s Pathetique Sonata throughout and also includes nods to other composers, most notably Bernard Herrmann (best known for his film scores for director Alfred Hitchcock).

Tickets are $12 to stream the concert.

DANCE: John Henry – Dance Theatre of Harlem on Stage Access – Debuts February 13th – 8:00 PM EST/5:00 PM PST

Dance Theatre of Harlem gave the world premiere performance of Arthur Mitchell’s John Henry on June 28, 1988. Before getting into her review, Anna Kisselgoff of the New York Times reported, “…its premiere at the company’s opening at the City Center Tuesday night roused cheering fans out of their seats during the curtain calls. Mr. Mitchell, the troupe’s founder and artistic director, stayed in the spirit of things by throwing himself into a choreographed clog dance to acknowledge the applause.”

With music by Milton Rosenstock, Dance Theatre of Harlem will make available, via Stage Access, a performance filmed in Denmark at Danmarks Radio. The performance will remain available through February 19th.

Stage Access offers up a 7-day free trial with two subscription options: an annual plan of $69.99 or a monthly plan of $7.99

TOP PICK: OPERA/MOVEMENT: Breathing Free – The Broad Stage – February 13th – 10:00 PM EST/7:00 PM PST

Earlier this week I published an interview with Michael Blakk Powell, a formerly incarcerated man who was a member of the Kuji Mens Chorus at Marion Correctional Institute in Ohio. Through his participation in that chorus, he found himself learning German to perform music from Beethoven’s Fidelio.

One of the two pieces in which that performance can be seen and heard is in Heartbeat Opera’s powerful Breathing Free. This 45-minute film combines movement and opera to explore the challenges Black men in particular face in simply being allowed to breathe freely.

Joining the Beethoven heard in Breathing Free are works by Black composers and lyricists Harry T. Burleigh, Florence Price, Langston Hughes, Anthony Davis and Thulani Davis. The project also uses Negro spirituals.

The cast includes bass-baritone Derrell Acon, tenor Curtis Bannister, soprano Kelly Griffin and dancers Randy Castillo, Tamrin Goldberg, Brian HallowDreamz Henry. Breathing Free was directed by Ethan Heard. Music Direction was by Jacob Ashworth and Daniel Schlosberg (who also did the arrangements of the music from Fidelio).

Tickets prices range from $10 – $75 based on what you can afford to pay. I strongly urge you to consider carving out time on Saturday night to see Breathing Free.

CABARET: Laura Osnes – Seth Rudetsky Concert Series – February 14th – 8:00 PM EST/5:00 PM PST

You have to be a pretty versatile performer to believably portray Cinderella in one musical and Bonnie Parker in another. Add to that the ability to be Nellie Forbush in South Pacific and Sandy in Grease. Broadway star Laura Osnes has done them all.

She received Tony Award nominations for her performances in Rodgers + Hammerstein’s Cinderella and also for Frank Wildhorn’s musical about the outlaws Bonnie and Clyde.

Osnes is Seth Rudetsky’s concert guest this week. In addition to Sunday’s live performance there is an encore presentation February 15th at 3:00 PM EST/12:00 PM PST. Tickets are $25 for either showing.

THEATRE: Justin Hicks’ Use Your Head for More – Baryshikov Arts Center – February 15th – March 1st

Looking at composer/creator/performer Justin Hicks’ website, he describes himself as “a multidisciplinary artist, and performer who uses music and sound to investigate themes of presence, identity, and value.” For this digital world premiere, Hicks has created a performance based on a transcript of a conversation he had with his mother. Use Your Head For More is offered up as a series of audiovisual portraits.

His work runs 30 minutes and was filmed at Hicks’ home in Bronx, New York. Two vocalists, Jasmine Enlow and Jade Hicks, collaborated with Hicks on Use Your Head for More.

There is no charge to watch Use Your Heard for More.

For those interesting in digging further into the project, there will be a live-streamed conversation between Hicks and Meshell Ndegeocello on February 24th at 8:00 PM EST/5:00 PM PST. You must register to watch the conversation. Registration for that opens up on February 15th.

CABARET/OPERA/JAZZ: Jim Caruso’s Pajama Cast Party – February 15th – 8:00 PM EST/5:00 PM PST

It’s sad that we don’t often have Monday listings, because Pajama Cast Party would be on the list every week. Which means you need to check out Jim Caruso and his fabulous guests. This week they include opera star Zachary James, jazz singer/songwriter Lauren Kinhan, actress/singer Avery Sommers and comedian Gianmarco Soresi. They will share stories, songs, jokes and more during the show.

Cast Party is a weekly ritual for New Yorkers and it takes place at Birdland. This is a modified version, but no less entertaining – just less physically tangible. It’s also the 45th episode Caruso has done…so far. No doubt he’d love to be back at Birdland as much as the rest of us would!

That’s the complete list of my Best Bets: February 12th – February 15th. But you know I’ve got a few reminders for you as well!

Pianist Richard Goode performs works of Bach and Claude Debussy on Saturday in a performance from New York’s 92nd Street Y.

The Metropolitan Opera concludes their second week of Black History Month with performances of Akhnaten by Philip Glass on Friday (strongly recommended); Berlioz’s Les Troyens on Saturday and Wagner’s Die Walküre on Sunday. Plus here’s an early preview of Week 49 at the Met. They will be celebrating Franco Zeffirelli and launch the week with the 2007-2008 season production of Puccini’s La Bohème.

This week’s episode of In Concert at the Hollywood Bowl is called Música sin Fronteras (Music without Borders) and concludes the Los Angeles Philharmonic’s series on PBS. (Check your local listings).

The films.dance festival continues with this week’s Pássaro Distante. They debut a new film, and one of my favorites, Match on Monday, February 15th.

That ends all my Best Bets: February 12th – February 15th. There’s culture to enjoy with the family; culture to enjoy with that special someone and certainly great options for those going solo this year. Whatever you choose, be safe and have a wonderful weekend.

Main Photo: An image from Breathing Free (Courtesy The Broad Stage)

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Clearly not all the fireworks are going to be taking place in Tampa. In fact, I’d be willing to wager that these are some of the best offerings on any given weekend in recent memory. Though I will admit there aren’t a lot of new offerings on Sunday, but many of these listings are for more than just one day.

Our top pick this weekend is drummer/multi-instrumentalist/composer Tyshawn Sorey at the Village Vanguard on Friday and Saturday.

So let’s get to it. Here are the Best Bets: February 5th – February 7th.

PLAYS/READINGS: Christa McAuliffe’s Eyes Were Blue – Center Theatre Group – Now – April 4th

If you’ve seen the film One Night in Miami, you are familiar with the work of playwright Kemp Powers. He adapted his play for the Regina King-directed film now available on Amazon. (Earlier this week the film received two Golden Globe nominations for Best Supporting Actor – Leslie Odom, Jr. and Best Director for King). Kemp is also the co-director and co-writer of Pixar’s newest film, Soul.

Christa McAuliffe’s Eyes Were Blue tells the story of twin brothers who find life treats them very differently. One brother has to battle with racism because of his dark skin and the other can pass as white. The play takes place in two different settings: New York City in the 1980s when they were just boys and a Minnesota courthouse in 2006, by which time their lives have taken very different paths.

This “produced reading” (meaning there are sets and costumes) stars Giovanni Adams, Jovan Adepo (Fences), Amaia Arana, Lorena Martinez (South Coast Rep’s Vanya and Sonia and Masha and Spike, Connor Paolo (Business Doing Pleasure), Adam J. Smith (Taken 3), Cory Michael Smith (1985), Larry Bates (Big Little Lies) and Justin Lawrence Barnes (InterVallum). It was directed by Jennifer Chang.

Center Theatre Group subscribers and donors can access Christa McAuliffe’s Eyes Were Blue for free. There is a $10 streaming fee for all others.

MUSIC/DANCE FESTIVAL: Whistleblower – Philip Glass’ Days and Nights Festival – Now Available

In a lead-up to their tenth annual Days and Nights Festival in Big Sur, they are holding a digital celebration beginning this week. Composer Philip Glass created the festival and many of his works will be available through at least May. Ten projects have been announced so far and the festival launches with a film of the 2017 performance of Whistleblower.

Inspired by Edward Snowden’s leak of classified information, Whistleblower has music by Glass with concept and text by performance poet Jerry Quickley. Glass appears in this film. Also performing are Miranda Cuckson, Matt Haimovitz, David Harding, Tara Hugo, Lavina Meijer, Alex Weil and Alex Weston.

Also debuting this weekend are The Pattern of the Surface from Molissa Fenley Dance Company in a performance also from 2017 and Heart Strings, a musical depiction of the Dalai Lama’s escape from Tibet created by Tenzin Choegyal and Glass.

Tickets to watch each performance are $5. You can buy each for $20. The Festival is also offering discounts or comps for those who don’t have the ability to pay. You can submit a request for that here.

PLAYS: All the Devils are Here: How Shakespeare Invented the Villain – Shakespeare Theatre Company – Now – February 7th

Patrick Page may be best known for his menacing portrayals of some of the theatre’s great villains. He was Tony-nominated for his performance as Hades in Hadestown. He also appeared opposite Denzel Washington in a Broadway production of Julius Caesar, The Green Goblin in the ill-fated musical, Spiderman: Turn Off the Dark and as Scar in The Lion King.

In this 80-minute film, the first-ever online production produced by Washington, D.C.’s Shakespeare Theatre Company, Page examines the many villains William Shakespeare created in his plays and how they progressed from simple stock characters in the playwright’s early works to fully-realized villains that set a new standard for the depiction of those characters we most love to hate.

Page has played his share of Shakespeare’s characters with STC including Claudius in Hamlet, the title character in Macbeth, Iago in Othello and Prospero in The Tempest.

Page wrote the script for All the Devils are Here. I’ve seen Page in multiple shows and can assure you that this is a perfect pairing of actor and material. And his voice…if you haven’t heard it (no doubt you have, even if you aren’t aware), you’re in for a real treat with his take on Shakespeare’s bad guys.

Tickets are $25

CLASSICAL MUSIC: Jupiter String Quartet – Kranner Center for the Performing Arts – February 5th – 1:00 PM EST/10:00 AM PST

Violinists Nelson Lee and Meg Freivogel, violist Liz Freivogel and cellist Daniel McDonough make up the classical music ensemble known as Jupiter String Quartet. It’s a family affair. Liz is Meg’s older sister and Daniel is Meg’s husband. This family, however, makes beautiful music together.

On Friday, February 5th they are releasing a new album with Jasper String Quartet that features works by Felix Mendelssohn, the world premiere recording of a work by Dan Visconti and Last Round by Osvaldo Golijov on Marquis Classics.

That same day they launch the first of four digital concerts in collaboration with the Kranner Center for the Performing Arts under the title Reflection and Renewal.

Each performance becomes available at 1:00 PM EST/10:00 AM PST and is free to stream.

This week’s first concert features Beethoven’s String Quartet No. 11 in F Minor, Op. 95, “Serioso” and Kati Agócs’ Imprimatur (her second string quartet). Imprimatur was commissioned by The Aspen Music Festival and School, Harvard Musical Association, and the Krannert Center for the Performing Arts/University of Illinois at Urbana-Champaign.

The link takes you to the full line-up which will include works by William Bolcom, Haydn, Mendelssohn and Schubert.

OPERA: Il trittico – Royal Opera House – Debuts February 5th – 2:00 PM EST/11:00 AM PST

This weekend the Royal Opera House begins streaming (through March 7th) their 2011 production of Giacomo Puccini’s Il trittico.

Il trittico is a trilogy of one-act operas. The three operas are Il tabarro, Suor Angelica and Gianni Schicchi. The latter is the best-known of the three as it is the most commonly performed.

Jealousy and murder are on tap in Il tabarro involving the love triangle of Michele (Lucio Gallo), his wife Giorgetta (Eva-Maria Westbroek) and her lover Luigi.

Suor Angelica is the dramatic story of a nun (Ermonela Jaho) dealing with loss.

Gianni Schicchi (Gallo) depicts what happens when someone dies and the will goes missing. And you think your relatives were difficult?

Richard Jones directed this 2016 production (a revival of his 2011 production) and Antonio Pappano conducted.

Tickets are £3 which equates to roughly $4.10 (as of press time).

PLAYS/CONVERSATION: TCG Books’ First Friday with Michael R. Jackson – February 5th – 7:30 PM EST/4:30 PM PST

This year’s Pulitzer Prize for Drama went to playwright Michael R. Jackson for his musical A Strange Loop. TCG Books, a publisher who releases plays and musicals in book form, is hosting a conversation with Jackson on the occasion of their publishing A Strange Loop.

The leader character in A Strange Loop, Usher, offers perhaps the most succinct description of the show. “It’s about a black, queer man writing a musical about a black, queer man who’s writing a musical about a black queer man who’s writing a musical about a black queer man, etc.”

Jackson told the New York Times in a 2019 interview about his experience seeing Brian Dennehy in a production of Death of a Salesman. As a black, gay, young man he felt innate sadness and that Arthur Miller’s play revealed that in “America you’re worth more dead than alive.” But he also asked himself the question that would lead to A Strange Loop.

“What if I can make an old white man empathize with what it might be like to be a young, black, gay man and suffer — and not because he’s being killed by the police or destroyed in some way like that, but it’s actually an emotional journey from the inside?”

This conversation will take place on TCG’s Facebook Page. Those interested in buying the book can purchase it here.

JAZZ: Christian McBride’s New Jawn – SFJAZZ – February 5th – 8:00 PM EST/5:00 PM PST

When jazz bassist Christian appeared at SFJAZZ in 2016 for this concert, he was certainly working out the material that ended up on his 2018 album Christian McBride’s New Jawn. The line-up on the album and this concert are the same: trumpeter Josh Evans, saxophonist Marcus Strickland, and drummer Nasheet Waits.

By the time the album was released, McBride and his ensemble coalesced their work into a Grammy-nominated work that garnered this praise from Hilary Brown in Downbeat Magazine, “The word ‘jawn’— a fresh new phenomenon—is familiar argot to Christian McBride, a Philadelphia native. And when it comes to trailblazing new, cool jazz concepts in eponymous trios or big bands, the venerable bassist always delivers. Enter his latest jawn—a pianoless quartet, born of a New York scene that sates East Coast soul-seekers and purists alike. Christian McBride’s New Jawn faithfully salutes its forebears—Gerry Mulligan, Ornette Coleman and the like—but leave it to this next-gen assimilation of bandleaders to take musical liberties.”

Hearing these four amazing musicians work on this material live well before putting it to vinyl is going to be a great way to launch your weekend.

Tickets are $5 which allows for one month of Fridays at Five performances or $60 for a complete year of them.

TOP PICK: JAZZ: Tyshawn Sorey – Village Vanguard – February 5th and 6th – 8:00 PM EST/5:00 PM PST

February is a busy month of drummer/composer Tyshawn Sorey. Next week Opera Philadelphia will unveil the world premiere of his Save the Boys, a composition written for and performed by countertenor John Holiday. But before that happens, he’s taking to the stage at the Village Vanguard in New York.

Sorey was recently profiled in the New York Times Magazine where writer Adam Schatz wrote, “Sorey who turned 40 over the summer, would be worth writing about for his drumming alone. The power, precision and inventiveness of his playing often draw comparisons with masters like Max Roach, Elvin Jones and Tony Williams. But Sorey refuses to play conventionally virtuosic drum solos — he prefers to play delicately and sparely, if at all — and he avoids being photographed with his sticks in the athletic poses that have defined the image of most jazz drummers. He is also a brilliant trombonist and pianist, and in the last few years he has become as arresting a figure in contemporary classical and experimental new music as he is in jazz..”

Joining Sorey for these two performances are saxophonist Joe Lovano (who just released a new album, Garden of Expression, on ECM Records last week) and guitarist Bill Frisell.

Tickets are $10 for each performance.

OPERA: Lohengrin – San Francisco Opera – February 6th – February 7th

Conducted by Nicola Luisotti; starring Brandon Jovanovich, Camilla Nylund, Petra Lang and Gerd Grochowski. This Daniel Slater production is from the 2012-2013 season.

Richard Wagner’s Lohengrin had its world premiere in 1850 in Weimar. It is one of his few romantic operas.

The setting is Antwerp in the 10th century. Elsa is accused by Friedrich von Telramund of killing her brother in an effort to prevent Telramund from assuming the dukedom. The dispute is to be resolved by combat. In an answer to her prays a mysterious knight named Lohengrin appears. He agrees to help Elsa as long as she never asks who he is or where is from. When Lohengrin defeats Telramund in battle, but spares his life, revenge is foremost on Telramund’s mind.

Director Slater updated Wagner’s opera to take place in the mid-20th century in an unnamed Eastern European country.

Joshua Kosman, writing in the SF Chronicle, said of Jovanovich, “In his debut as the mysterious, nameless knight who shows up to defend Elsa of Brabant against the baseless charge of fratricide, Jovanovich combined sweet-toned lyricism and ardent heroism in just the proportions required by this tricky role. His singing was thrillingly pure and tireless, his stage presence simultaneously tender and aloof.”

OPERA RECITAL: Anna Netrebko – Met Stars Live in Concert – February 6th – 1:00 PM EST/10:00 AM PST

Soprano Anna Netrebko is arguably one of the biggest opera stars in the world. She will be performing a recital from Vienna’s Spanish Riding School with pianist Pavel Nebolsin on Saturday as part of the Metropolitan Opera’s Stars Live in Concert Series.

The program is slated to include four works by Sergei Rachmaninoff; two by Nikolai Rimsky-Korsakov; three by Richard Strauss; five by Pyotr Ilyich Tchaikovsky an one each by Frank Bridge, Gustave Charpentier, Claude Debussy, Antonín Dvořák, Gabriel Fauré, Ruggero Leoncavallo and Jacques Offenbach.

During the recital Mezzo-soprano Elena Maximova will join Netrebko for two duets.

Tickets are $20 and the performance will remain on demand for 14 days.

PLAYS: While Yet I Live – Play-Per-View – February 6th – February 10th

Tony Award-winner Billy Porter’s semi-autobiographical play, While Yet I Live, had its world premiere in the fall of 2014. The cast was Lillias White (The Life, Fela!), Emmy Award winner S. Epatha Merkerson(Come Back, Little Sheba), Elain Graham (Smash), Sheria Irving (Romeo & Juliet, Ethel Sings), Kevyn Morrow (Moulin Rouge! The Musical), Sharon Washington (The Scottsboro Boys) and Larry Powell (The Gaze…No Homo).

They are all reuniting with director Sheryl Kaller (Next Fall, Mothers and Sons) to do a reunion reading of the play. The live reading takes place on February 6th at 7:00 PM EST/4:00 PM PST. It will be available afterwards on demand through February 10th at 11:30 PM EST/8:30 PM PST.

At the time of the production, Porter said, “This play is a love letter to my mother, my sister, and the women who raised me. Reflecting on my own life experience as a gay, black, Christian man, and survivor of abuse, I wanted to write a play that was about family, faith and the healing power of forgiveness, three things very necessary to move forward and make change in your life. Change is possible, but it takes patience.”

Tickets for the live performance range from $5 – $50 based on your ability to pay. To watch the show afterwards, the price is $15. All proceeds will benefit the Actors Fund Covid-19 Emergency Relief Fund​.

DANCE: Passage – Dance Theatre of Harlem YouTube Channel – February 6th – 8:00 PM EST/5:00 PM PST

Dance Theatre of Harlem launches a one-month Winter Series of virtual events and performances with Passage which begins streaming on the company’s YouTube Channel on Saturday, February 6th.

Choreographer Claudia Schreier created Passage for a commission from the Virginia Arts Festival and the State of Virginia’s 2019 Commemoration. Their event recognized the 400th anniversary of the arrival of slaves from Africa to Virginia.

Schreier told the Center for the Performing Arts at Penn State that Passage, “addresses themes of struggle and aspiration and reflects, in abstract, the fortitude of the human spirit and an enduring will to prevail. There are several images throughout the ballet that suggest descent or ascent, as well as the presence of water. The movement is borne out of this ebb and flow, much of which is drawn from Jessie’s sweeping score.”

The Jessie is composer Jessie Montgomery. If her name sounds familiar, the Los Angeles Philharmonic has recently included her works in their In Concert at the Hollywood Bowl series. Her music will also be performed by the orchestra in their Icons on Inspiration concert on Saturday (see immediately below for details).

On Friday, February 5th, Schreier and Montgomery will have a conversation on Dance Theatre of Harlem’s YouTube channel and Facebook page at 8:00 PM EST/5:00 PM PST.

CLASSICAL MUSIC: Icons on Inspiration – Los Angeles Philharmonic – February 6th – 9:00 PM EST/6:00 PM PST

The Los Angeles Philharmonic has certainly figured out how to go big with their events during the pandemic. Icons on Inspiration, their gala on Saturday night is no exception. They have a starry line-up of artists and music lined-up.

Lead by Music Director Gustavo Dudamel, their special guests are long-time Board member and Oscar-winner Julie Andrews, Oscar-winner Common, 13-time Grammy nominee Katy Perry, Oscar-winner Natalie Portman, soprano Liv Redpath, Colombian singer/songwriter and 2-time Grammy Award winner Carlos Vives and classical pianist and 4-time Grammy Award-nominee Yuja Wang.

The program will include Jessie Montgomery’s Starburst; Duke Ellington’s Martin Luther King from The Three Black Kings (arranged by Terence Blanchard); Tchaikovsky’s Scherzo: Pizzicato ostinato; Stravinsky’s Berceuse from The Firebird; Arturo Márquez’s Danzon No. 2; Romero’s Fuga can Pajarillo and Mahler’s Das himmlische Leben (arranged by Erwin Stein).

This event is a fundraiser, but you don’t have to make a donation to watch it (though donations are strongly encouraged).

CLASSICAL MUSIC: Schoenberg & Bach – Bard College’s The Orchestra Now – February 7th – 2:00 PM EST/11:00 AM PST

Works by Bach, Lutoslawski, Carreño and Schoenberg are featured in Bard College’s TŌN (The Orchestra Now) first concert of their 2021 season. Leon Botstein leads the orchestra through performances of Bach’s Brandenburg Concerto No. 3; Lutoslawski’s Funeral Music; Carreño’s Serenade for Strings and closes with Schoenberg’s Verklärte Nacht (Transfigured Night).

There is no fee to watch the concert (scheduled to run approximately 1 hour and 45 minutes); however reservations are required. Donations, of course, are accepted with a suggested donation of $15-$35.

Those are my official Best Bets: February 5th – February 7th, but you know I’ll always offer a few reminders of shows that might be ending, or only have one upcoming airdate. Here they are:

MUSICALS: This is your last weekend to catch You I Like the loving tribute to Jerry Herman from the Pasadena Playhouse. Fans of musical theatre – do not miss it! For more information about this show, check out my interview with creator Andy Einhorn here.

CLASSICAL MUSIC/POP MUSIC: For the second week in a row, there are back-to-back episodes of In Concert at the Hollywood Bowl on PBS stations nationwide. The two episodes are Fireworks and Gustavo and Friends. Check your local listings

OPERA: The first week of Black History Month at the Metropolitan Opera concludes this weekend with performances of Mozart’s Le Nozze di Figaro from the 1985-1986 season on Friday; Strauss’ Ariadne auf Naxos from the 1987-1988 season on Saturday and the 1978-1979 production of Puccini’s Tosca on Sunday.

That should keep you busy this weekend. Whatever you choose to watch from amongst my Best Bets: February 5th – February 7th, I hope you enjoy yourselves!

Photo: Tyshawn Sorey (Courtesy TyshawnSorey.com)

The post Best Bets: February 5th – February 7th appeared first on Cultural Attaché.

The list begins with performances that have specific dates and start times. After those listings are performances you can discover at your leisure with their end dates included.

Here are my Classical Best Bets for the Holidays:

Bang on a Can Marathon 2020 – December 22nd – January 1st

For classical music fans who like very contemporary composition, you won’t want to miss this marathon streaming of all 90+ performances that were part of the four Bang on a Can Marathons this year.

Bang on a Can’s marathon presented 31 world premieres during their online festivals held in May, June, August and October of this year. If you didn’t catch the marathons as they happened, you ordinarily wouldn’t get a second chance to view them. Now you can.

You can also catch all of the other performances which include pianist/composer Vijay Iyer; works by John Adams, Philip Glass, Ted Hearne, Missy Mazzoli and Steve Reich; pianists Jeremy Denk and Conrad Tao; composer/musician Tyshawn Sorey and dozens more. The complete list is on the event’s website.

There is no charge to view these performances. However, Bang on a Can is encouraging donations.

New York String Orchestra – Carnegie Hall – December 24th – 7:30 PM EST/4:30 PM PST

A fifty-year traditions continues with this popular Christmas eve concert that finds the young musicians of the New York String Orchestra performing with established soloists. This year they are joined by pianist Emanuel Ax.

Jaime Loredo conducts. Not much is known about the program, but half-a-century of this tradition means they must be on to something. There’s no charge to watch this concert.

Peter and the Wolf – Teatro alla Scala – December 25th – 5:00 AM EST/2:00 AM PST

You’ll have to be up late or get up early if you want to experience this Christmas Day concert from Milan’s legendary Teatro alla Scala, but it will be worth it. And for those restless kids eager to see what Santa brought them, they’ll enjoy this, too.

Eun Sun Kim leads the La Scala Orchestra in a performance of Sergei Prokofiev’s Peter and the Wolf. Mozart’s Concerto in A Major K. 622 for clarinet and orchestra will also be played with Fabrizio Meloni on bass clarinet.

Illustrations are part of the presentation of Peter and the Wolf.

The concert will stream on Teatro alla Scala’s website and also on their Facebook and YouTube channels.

Salute to Vienna and Budapest New Year’s Concert – December 27th – January 3rd

In a newly-filmed concert in Europe, operettas and waltzes are on the program. This Salute to Vienna and Budapest has been annual tradition for 25 years.

The concert has three premiere performances on December 27th: 5:30 PM EST/2:30 PM PST; 8:00 PM EST/5:00 PM PST and 10:00 PM EST/7:00 PM PST.

Tickets are $20 and that allows for re-streaming the concert to your heart’s content through January 3rd.

United in Song: Celebrating the Resilience of America – PBS Great Performances – December 31st 

In this concert airing on PBS soprano Jamie Barton, violinist Joshua Bell, opera singers Renée Fleming and Denyce Graves, Josh Groban, Juanes, R&B legend Patti LaBelle, cellist Yo-Yo Ma, Broadway star Brian Stokes Mitchell, 6-time Tony Award winner Audra McDonald and pianist Jean-Yves Thibaudet perform. The theme is celebrating Americans and their strength that has been required of us all throughout 2020. 

The concert was filmed at Mount Vernon and the Kennedy Center and opens with LaBelle singing Lady Marmalade. She also closes the concert and everything in between is a total delight.

As with all PBS programming, check your local listings for exact broadcast times. 

The Carnival of the Animals & Eine kleine Nachtmusik – Teatro alla Scala – January 1st – 5:00 AM EST/2:00 AM PST

Once again, the early riser or night owl will be able to watch this concert from Milan’s Teatro alla Scala.

As with their Christmas Day concert, Eun Sun Kim leads the La Scala orchestra. On the program are Camille Saint-Saëns’ The Carnival of the Animals and Mozart’s Eine kleine Nachtmusik.

The concert will stream on Teatro alla Scala’s website and also on their Facebook and YouTube channels.

Live with Carnegie Hall at Home – Carnegie Hall – Available now

If you haven’t taken a look at Carnegie Hall’s Live with series, luckily it’s still available for streaming. Amongst their guests during the year have been The Kronos Quartet, a celebration of violinist Isaac Stern; pianist Daniil Trifonov; pianist Emanuel Ax; cellist Alisa Weilerstein; violinist Joshua Bell and more.

Each program runs approximately one hour. There are also sessions with opera singers, Broadway stars, folk singers, conductors, world music singers and cabaret stars.

While you’re there you might want to check out their 2020 Opening Night Gala which combines new interviews and performances with archival footage from the venerable hall’s long history.

Los Angeles Philharmonic Watch & Listen – LA Phil – Available now

In addition to their Sound/Stage performances (click on the link built into Sound/Stage to read details on that series), the Los Angeles Philharmonic has a lot more to discover on their website.

Amongst the highlights are pianist Yuja Wang performing the first movement of John Adams’ Must the Devil Have All the Good Tunes? from a November 2019 concert; Thomas Ades’ Darkness Visible performed by LA Phil pianist Joanna Pearce Martin; timpanist Joseph Pereria performing Magnificent Obsession, a piece he wrote inspired by Buzz Aldrin’s experience on the moon; violinist Gabriela Peña-Kim performing Eugène Ysaÿe’s Obsession and more.

There’s plenty to entertain you and there’s no charge to watch the videos. If you haven’t watched Sound/Stage, I strongly encourage you to do so.

Handel’s Messiah – Oratorio Society of New York – Now – January 10th

Every year since 1874 the Oratorio Society of New York has performed the Christmas portion of Handel’s Messiah for the holidays. In spite of the pandemic, they are presenting a virtual version to keep that tradition alive.

Kent Tritle conducts chorus, orchestra, and soloists Susanna Phillips, Heather Petrie, Joshua Blue, and Sidney Outlaw in a safely-performed and filmed concert.

Oratorio Society of New York received a Grammy nomination earlier this year for Best Choral Performance for their recording Sanctuary Road.

There is no charge to watch this performance.

Beethoven’s The Creatures of Prometheus – The Philharmonia Orchestra of London – Available Now

In February of this year, the Los Angeles Philharmonic had one of their most exciting concerts when Esa-Pekka Salonen, Simon McBurney and Gerard McBurney collaborated on The Weimar Republic: Salonen Conducts The Seven Deadly Sins.

Salonen and Gerard McBurney have once again collaborated on a concert. The Philharmonia Orchestra of London is performing Beethoven’s The Creatures of Prometheus.

Most concertgoers are familiar with the work’s overture; far fewer are familiar with the complete score Beethoven composed for this ballet that had its world premiere in Vienna in 1801.

McBurney has written a new script for this concert. There will be animation by Hillary Leben whose work has been seen in performance with the Boston Symphony Orchestra, the Chicago Symphony Orchestra, Silk Road Ensemble and more.

When you add that the narration will be performed by Stephen Fry, what else do you need?

The link takes you directly to The Philharmonia Orchestra of London’s YouTube page where this performance can be seen for free.

Throughline: San Francisco Symphony From Hall to Home – San Francisco Symphony – Now available

This ambitious and exciting concert features performances of works by John Adams, Ludwig van Beethoven, Kev Choice, Ellen Reid and presents the world premiere of Throughline by Nico Muhly.

Joining Music Director Esa-Pekka Salonen for this program are soprano Julia Bullock; composer/guitarist Bryce Dessner; Muhly on piano and conducting; bassist Esperanza Spalding and more.

Reid’s Fear/Release opens the nearly one-hour program. That is followed by Adams’ Shaking and Trembling from Shaker Loops; Movements by Choice; Beethoven’s Allegro con brio from String Quartet No. 11 in F minor, Opus 95 and the concert concludes with Throughline.

There is no charge to watch this concert.

Jeremy Denk Recital – 92nd Street Y – Now available

If you didn’t get a chance to see pianist Jeremy Denk‘s recital from Caramoor in October, he’s performed the same program from New York’s 92nd Street Y earlier this month and it is still available for streaming.

The program is scheduled to include: Mozart’s Piano Sonata in C Minor, K 457; Thomas “Blind Tom” Wiggins’s The Battle of Manassas; Joplin/Chauvin’s Heliotrope Bouquet; Tania León’s Ritual; Frederic Rzewski’s Winnsboro Cotton Mill Blues and Beethoven’s Piano Sonata No 32 in C Minor, Op. 111.

You’ll get two classical period compositions, ragtime, the work of a young Black man during The Civil War and the work of two contemporary composers. How’s that for diverse?

Tickets are $15.

Those are my dozen recommendations for Classical Music Best Bets for the Holidays. I also have recommendations for Dance, Jazz and Musicals/Cabaret if you want even more choices.

Enjoy the music and the season.

Photo: Yosemite Trees (Photo by Craig L. Byrd)

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