It’s a busy time for composer/pianist Marc-André Hamelin. On February 2nd his album New Piano Works was released. It was Hamelin’s first recording of his own compositions since 2010’s Études. Hyperion Records, his label, was acquired and the floodgates of his dozens of releases on Hyperion were suddenly available for streaming. It is, as Hamelin says, a veritable “treasure trove of recordings.”

This weekend he joins the Los Angeles Chamber Orchestra for performances on March 2nd at The Wallis in Beverly Hills and a March 3rd performance at Zipper Hall at the Colburn School in downtown Los Angeles. Hamelin will be performing Nadia Boulanger’s Three Pieces for Cello and Piano and César Franck’s Piano Quintet in F Minor.

I last spoke with Hamelin in 2019. His new album (one of my selections for New In Music This Week: February 2nd) was part of our conversation as were his concerts. It also served as an opportunity to see how his point-of-view may, or may not, have changed in that time.

What follows are excerpts from our conversation that have been edited for length and clarity. To watch the full interview, please go to our YouTube channel.

Q: You’re going to be playing two pieces in these concerts with the Los Angeles Chamber Orchestra. One of them is Franck’s Piano Quintet in F minor. That’s a work you recorded in 2016. How much does the personality and the musicianship of any given other four musicians make a difference in the end result of this, or any other piece of music that you’re performing? 

It does. But the fun, I think, of getting with a new group that you haven’t played with before, is to just to discover each other’s musicianship and finding common ground. Also, suggesting differences and new ways of doing things that they might not have thought of. It’s an area that’s very, very rich in surprises and possibilities. That goes for any piece in the repertoire, really.

With all five musicians in a quintet, or four in a quartet, is there any place to hide? 

Maybe small ones. But especially with a work that’s so well known as the Franck Quintet. It’s really one of the big five along with the Brahms, Schumann, Dvorak and Shostakovich. We hear it so often that people know how it goes, or at least most of them do. So, in that sense, there is little room to hide and for mistakes. In a lesser known work, belonging to the byways of the repertoire, then maybe, since the piece is not heard very often, perhaps it’s more acceptable to be faulty. It will matter a lot less, I guess. Of course, we always strive for as much perfection as possible. Or at least, fidelity to the composer’s thought.

Apropos of that statement, do you feel like works are museum pieces and should be slave to what the composer’s thoughts were? Or is there room for this music to live and breathe and have its own life in 2024 versus the life it had when it was composed?

There’s several ways of thinking about this. On one hand, being a composer myself, I don’t pretend to have all the answers. Nobody does. But being a composer allows you to feel a little closer to the works you perform and especially how they were created. Sometimes you can see the process. I have a pretty good idea of how I want my pieces to go, but there is so much you can do in the way of notation to convey that. You have to leave something to the performer’s individual views or ways of understanding musical notation.

On the other hand, there are several different types of composers. There are composers who will allow great variations of interpretation. For example, I can think of Grieg, who once said to someone this is not really the way I saw it, but don’t change anything, I love individuality. There are other composers who are thankful for any performance, even though it may fall short of their expectations. There’s lots of nuances within the individual composer’s appreciations and that’s what makes the whole world richer.

When we spoke five years ago, you mentioned that you, “Have the luxury, at this point in my career, to be playing, without exception, pieces that I really love.” How do you think your perspective on what those pieces are has shifted since then?

It’s pretty much the same, actually. I keep introducing favorites. Sometimes I come back to old ones because it’s always very healthy and also very fascinating to revisit things that you haven’t played for quite a few years. It’s always really startling. I see sometimes how much they have changed without you doing a single thing. In the meantime, you have changed yourself. Therefore, your approach has changed. When I play these pieces for myself, after not having played them for many, many years, they will be completely different. That’s only because of my personal evolution and, hopefully, my increased understanding of what the composer wants.

Do you find that there are pieces that intimidate you? 

I’m a little less inclined – quite a bit less inclined – these days to play the big virtuosic things. I’m much more interested in meaningful communication at this point rather than showing myself off on stage. That, to me, is really not very satisfying. A recital is really a one-to-one act of communication. An offering, an act of sharing with the audience. I’m always thinking every single second of the audience, rather than myself. Because what else am I doing this for? I just really adore sharing discoveries and perhaps new ways of doing things that people already don’t. 

Is there something that you think is pivotal to communicate to an audience now that perhaps reflects either who you are as a person right now or the times that we’re living in?

I really concentrate on the music. Generally a concert really should be, in the best of times, abstracted from whatever else is happening in the world. However, I will say this though. Maybe two or three days after the 2016 election I was giving an all-Mozart concert at the 92nd Street Y in New York. So many people at the end told me, thank you. We needed that. And I won’t say any more.

New Piano Works is your first album of material you’ve composed to be released since Études in 2010. Why this work and why now?

It’s really more for practical reasons than anything. I’ve been very fortunate in having been published by Edition Peters who are one of the major publishers. They originally solicited me, and the first thing they published with it was this volume of 12 études which I recorded along the same time. Since then I published a number of piano pieces which hadn’t been recorded. So it’s basically a collection of almost everything that I’ve written for piano since then.

It’s sort of a dull reason, but, I’ve really come to realize very quickly that even if you publish a score and make the music available, the music is going to be a lot more appreciated and more pianists are going to go to it if they can hear it first. That’s why I recorded these things. 

The album opens with Variations on a Theme of Paganini, a piece most concertgoers or classical music fans have heard for years. How do you approach something that is as familiar as that for a transcription versus something that an audience may not know as well?

It was really a fun thing to do and I instinctively chose the theme simply because it’s one of those things which is easy to elaborate on. I mean, the structure is very simple. It’s very easy to remember and you can riff on it in just a gazillion different ways. A piece like that, for me, is an expression of freedom in a sense. I couldn’t resist having fun and quoting different composers. I’m sure you heard, variation seven I think it is, there’s a passage and one of the variations in the Beethoven Sonata, opus 109, it’s in E major. I transposed it to A minor and for 16 bars, it’s already a Paganini variation. I didn’t have to change anything. That was a lot of fun. When I came across this little bit I thought, I can’t not use this. This is too good. And it happens to be quite funny.

Do you, as a composer, have any conversations with you as a pianist in terms of what is truly possible to play versus what you want to express in the notes themselves?

At the beginning when I started to write, I just wrote whatever I wanted. Whatever I heard, without really too much concession to pianistic comfort. I was wondering why nobody was playing my things. Even I had trouble and I wrote them. So over the years, as I gained experience, I was able to make things sound the way I wanted without them being so difficult. But I’ll always carry that reputation of my things being almost unplayable. But I can assure you that there’s a lot that I wrote which is perfectly approachable. 

Are there other ways in which you feel you have evolved as a composer? 

I think that my harmonic system, such as it is, because I’ve never tried to explain it, really hasn’t changed that much. I think if anything has changed, I think I’ve gotten to think more about expressing pure music than thinking in pianistic terms. 

Your Hyperion Recordings now available for streaming. Do you feel this new way of distributing music, however challenging it might be economically for a performing artists like yourself, balances out with this newfound exposure that people can suddenly have to countless recordings of yours?

I think exposure is really the priority here. We should be thankful for that. A lot of people, over the last few years, have complained to me, we can’t find you on Spotify. We can find your early recordings on other labels. Hyperion resisted for the longest time and purely for financial reasons. But now that they’ve been bought by a large corporation, the justification is there. I think people are just so pleased as punch that Hyperion is finally being heard. The catalog is a golden treasure trove of discoveries and wonderful performances.

What do you think the role is of a transcription in allowing listeners new ways of hearing works that they’re familiar with, or new ways of hearing music that they’re not familiar with, for that matter?

In many cases, it’s about expanding the repertoire. A lot of solo instrumentalists are envious of something like the Franck Violin Sonata and they want to play it. So there are arrangements for cello, for flute and other solo instruments as well. I’ve always been fascinated by composer’s views of other composers; appreciations of other composers. I think really a transcription is just another way of expressing that. It’s paying tribute, let’s say. You think of what Busoni did with the Bach Chaconne from the D minor Partita. He really built a wonderful cathedral of sound. There are some people who don’t like the transcription, but I personally view it as a tremendous act of reverence for a composer.

Amongst my favorite transcriptions are Liszt’s transcriptions of Wagner. I think those are really interesting because we’re so used to his big, huge orchestral arrangements. To have it pared down to one instrument, I find it endlessly fascinating and a different way of hearing Wagner. 

The only ones that I’ve played are the Liebestod (from Tristan und Isolde) and also the Tannhauser Overture. But that particular one, I don’t like pianistically. It’s in E major and it feels, under the fingers, like completely the wrong key. 

It’s interesting you say that because I spent a little bit of time over the years with Stephen Sondheim. He and I were talking once about The Ballad of Sweeney Todd. He said it’s published in F minor, but it sounds so much better in F-sharp minor. I went to my piano at home and played it. He was right. It’s shocking how even a half-step difference can have such profound effects on a piece of music.

Keys are a very important. They have personalities. They really do. Gerald Moore, the famous pianist, expresses that very, very eloquently. He guards against sometimes indulging transposition – a singer’s transposing. Because you can stray too far from the original mood of the song.

Liszt is quoted as having said, “My piano is to me what a ship is to the sailor. It is the intimate, personal depository of everything that’s stirred wildly in my brain during the most impassioned days of my youth. It was there that all my wishes, all my dreams, all my joys and all my sorrows lay.” What is your piano to you?

An extension of my thought. An instrument of communication and sharing and joy.

To watch the full interview with Marc-André Hamelin, please go here.

All photos of Marc-André Hamelin (Photo by Sim Cannety Clarke/Courtesy Colbert Artists Management)

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Which explains Lauritzen’s participation in this Sunday’s Music Box 2023 which is presented by Chamber Music LA at Zipper Hall at The Colburn School in downtown Los Angeles. The concert will showcase four different chamber music ensembles (Jacaranda Music, Los Angeles Chamber Orchestra, Colburn School’s Chamber Ensemble-In-Residence Quartet Integra and Salastina) performing string quartets written by Felix Mendelssohn, Wolfgang Amadeus Mozart, Arnold Schoenberg, Franz Schubert and a composer yet to be identified.

That last composer whose identity is being kept under wraps is where Lauritzen comes in. He has selected a piece of music and removed all details leaving it up to the musicians (Salastina’s Meredith Crawford, Kevin Kumar, Yoshida Masada and Maia Jasper White) and the audience to try to figure out who the composer is. This part of the program is called Sounds Mysterious.

Earlier this week I spoke with Lauritzen about his puzzle, Music Box 2023 and the start of the arts, not just in Los Angeles, but around the world. 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.

What excites you most about Music Box 2023 and and how do you think that excitement will translate to audiences who will be there?

The thing that really excites me about this particular program is that it’s about the string quartet, which is to chamber music, what the symphony is to orchestral music. It’s the pinnacle of what chamber music is. Every composer who tried to write seriously for chamber music wrote a string quartet. Generally you find in their string quartets some of their most serious, thoughtful, probing, artistic music within that structure. So to explore different styles of the string quartet, I think, is the thing that I’m most looking forward to.

Let’s take the Mozart, which opens the program. If all of four ensembles that are playing play that same Mozart, would a casual listener be able to discern a difference between how each one of them played that piece of music?

I love this question because it speaks to an element of virtuosity that is, I think, not talked about all that often. So what is virtuosity? We think about virtuosity as someone gets up in front of an audience and does something on a violin or a cello or whatever that seems humanly impossible. That’s one element of virtuosity. Another element of virtuosity is an interpretive element. This would be a cool thing for chamber music to do sometime is everybody plays the same piece. Then you can find out. I think even the casual listener would notice a difference and it might be something that you see, even if maybe they couldn’t put words on it.

What’s the criteria you use in selecting that that mystery piece of music?

I’ve done a couple of different options in the past [with Salastina] where I’m interested in both an unknown piece of music by a famous composer and a really awesome piece by an unknown composer. Those are the two extremes of the spectrum. I’m looking for music that structurally hangs together. I’m looking for music that we can hear it and we can identify things about this music that might give us a clue to what it is. I’m not really super trying to trip people up. I’m not trying to find a piece that makes you think it’s by someone and then it’s actually something else. 

What do you feel the state of classical music is in Los Angeles right now?

I think it’s a vibrant scene. We’ve got our really wonderful large companies doing amazing things. And, of course, the Los Angeles Philharmonic is – just ask the New York Times – the most important orchestra in the United States. That’s not just because of Gustavo, although Gustavo is awesome. From the largest company in the city, all the way down to the smallest chamber music organization, we’ve got some of the best musicians on planet Earth here in Los Angeles.

We have to because of the dominant industry that runs this town – the film industry. The music that’s written for film and television demands greatness from the musicians and they deliver every single time. I’m in awe of the incredible artistry of the amazing musicians of this town. It comes down to the musicians. If the music making wasn’t great, then the organizations wouldn’t work out. 

But, you know organizations of all sizes, whether it’s in Los Angeles or across the country and across the world, are having a hard time getting audiences to come back. Even one of the one of the ensembles that’s playing as part of Music Box, Jacaranda Music, is not going to be in existence at the end of this upcoming season. The million dollar question is what will it take to get audiences back? What will it take for people to embrace the collective experience of hearing music together?

You’re right, it’s the million dollar question. It’s so sad. I’ve been a Jacaranda fan for as long as I’ve lived here in Los Angeles. I was just reading yesterday about the Philadelphia Orchestra musicians. They’ve authorized the strike for various reasons. Part of the reason that management has said we can’t raise your pay is that audience levels are at 64%. Before the pandemic they were at 75%. So something has to change to bring those audience levels back. You hit on a key component of it: community.

What did we miss the most when we were all at home isolating from one another? We missed that collective experience. The joy of getting in the same space together and experiencing music There’s great resources online and yes, we can watch anything that we want to watch and listen to anything that we want to listen to. But there’s that electric experience that you’re sharing this space with your friends and neighbors and people that you don’t know that you might get to know afterwards.

The other component for me is storytelling. Classical music is complicated. Classical music is complex. Classical music has a high entry point and I don’t believe that it should. Who I am in the world of classical music is someone who says you may think that it’s a difficult entry point, but here’s how it’s easy. Here’s how this thing that Beethoven did that we think is this grand and glorious thing – yes, it is this grand and glorious thing – but it also relates to what we experience everyday in our world. It’s a combination of reminding folks how incredibly joyful a concert experience is, and then, once they get there, giving them the context and relevance and the kind of emotional experience of what a classical music concert can be. 

Since Schoenberg’s music is the penultimate work on this program and the first work is Mozart, I found this quote from him particularly appropriate. He said, “The way in which I write for string quartet, none can deny that I have learned this directly from Mozart.” We have a through line in this concert that is going to confirm Schoenberg’s quote. Looking forward, what do you think the through line will be? Schoenberg died in 1951, so he’s been gone for quite a while. What do you think the through line as a sequel to this would be, 25, 50 years in the future if we continued forward? 

Classical music should always be looking forward. Classical music should always be creating something new while looking back to the past and not dishonoring the past. What do we love about the great composers in history? We love Beethoven because Beethoven changed everything. We love Mahler because Mahler said everyone’s done everything with symphonies except this thing. And then Mahler blew everything up and created symphonies that no one had created before. So classical music is at its best when it’s looking forward. When it’s looking to what hasn’t been done yet, while still recognizing that there is this rich tradition and history. That as a composer or a musician you’re part of this thing that’s bigger than yourself.

To watch the full interview with Brian Lauritzen, please go here.

Main Photo: Brian Lauritzen (Courtesy Brian Lauritzen)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Here are edited excerpts from that conversation.

What was your familiarity with the Korngold opera?

Honestly I wasn’t familiar with it. Like most people I’m familiar with Die tote Stadt and it begins and ends with that. When I got a copy and looked through it, I liked it. It’s a wonderful, intimate piece with five characters who all have clearly established wants and needs and are generally likable. The music seems really wonderful as well. It’s unique.

The opera only had its first performance in the United States earlier this year. What’s special about the opera? Why do you think it hasn’t been performed more?

I can address the second first. It’s an awareness problem. I know that Numi Opera is committed to presenting these forgotten works by Jewish composers who had been silenced during the Nazi regime. This is primarily why it is not performed very frequently. The popularity propelled by repeat performances is something Korngold and Alexandre von Zemlinsky (a prolific Austrian composer best known for Die Seejungfrau – The Mermaid) were denied.

Korngold’s musical voice is really really sublime. It’s a very interesting harmonic language which is obviously influenced by Wagner’s tonalities. But it is very much his own voice. It is a comedy. Most people familiar with Korngold are familiar with his work for film and Die tote Stadt – which is decidedly not a comedy. This is light-hearted. You wouldn’t expect his style to jive with comedy, but the comedy is very light but it still very much his language.

Alex Ross, writing in The New Yorker, called Der Ring des Polykrates “overflowing with effortlessly effective writing…Mozart’s youthful pieces lack comparable individuality.” What is so appealing about the vocal writing in this one-act opera?

The vocal writing is very modern in that it is a through-composed piece. There aren’t a whole lot of numbers like there are in Mozart pieces. It’s a writing that sort of captures the way people speak in a more musical way. 

Numi Opera is a new company. What inspired your choice to join them for these two performances?

I mean, I have to pay my bills, too. There is a component of that. People offer me work I generally take it. But I think the mission is an important one. I think there are a lot of composers beyond Korngold and Zemlinsky who have written wonderful music that hasn’t been performed. It is interesting to me academically and if there is an audience we can cultivate, that’s wonderful.

Korngold said, “What differentiates artists from historians, whether in music, painting or any art form – that they create something beyond the more or less photographic image of their era, something that stands above and beyond time and environment.” What did Korngold create with this opera and what do you hope to create before your career is over?

Wow. That is an interesting question. I’m not sure what I can say about myself. I don’t know what I would want to leave behind. I don’t know if I even want to think about it. I suppose what I’d want to leave behind is an exuberance and enthusiasm for the work I do that inspires other people to have the same enthusiasm for music and for hearing something the makes you feel something.

As for Korngold, what did he leave behind with this piece? I think he left behind something very different from the rest of his output, but just as important and unique in that it’s fun. It’s fun to share and fun to watch.

Photo of Alex Boyer in “Carmen” at San Jose Opera (Photo by Bob Shomler/Courtesy of Vox International Artists)

This post has been updated with a new photo provided by Boyer’s management)

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Der Ring des Polykrates is a one-act comedic opera that tells the story of a young man, Wilhelm Arndt, who seemingly has everything: he has money and a happy marriage. When a long-absent friend, Peter Vogel, returns into his life Arndt finds himself challenged by Vogel to find something he can – and should – sacrifice so that his good fortune continues.

Tenor Scott Ramsay sings the role of Arndt. Soprano Shana Blake Hill sings the role of Laura (Arndt’s wife.) Roberto Perlas Gomez, a baritone, sings the role of Vogel. Also in the cast are Alex Boyer and Emily Rosenberg. Francesco Milioto conducts.

Directing Der Ring des Polykrates is Numi Opera founder Gail Gordon. To learn more about Numi Opera go here to read our interview with her when Numi Opera launched it first season in May. (This is their second production.)

Korngold’s work in both film and classical music is wildly entertaining and deserving of far greater attention that it receives today. That Numi Opera has selected this lesser-known work represents a step forward for opera in Los Angeles.

For tickets go here.

Photo of Erich Korngold by Cosmo-Sileo Associates (New York, N.Y.)/Courtesy of the New York Public Library Archives

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Under the leadership of Artistic Director Adrian Spence, Camerata Pacifica continues its Why Beethoven? program this year, which also happens to be the 250th anniversary of the composer’s birth. During this season they will explore the composer’s chamber work and these first concerts are no exception.

The program opens with Lera Auerbach’s 24 Preludes for Violin and Piano. Auerbach was born in Russia in 1973. These preludes were composed in 1999. Camerata Pacifica has performed her work before and they gave the first performances of two works they commissioned: Dreammusik for cello and chamber orchestra which had its first performance in 2014 and 24 Preludes for Viola and Piano which had its debut during the 2017-2018 season.

The second half of the program finds the Beethoven Piano Trio in B-flat Major, Op. 97, “Archduke” being performed. Beethoven completed this work in 1811 and it had its first public performance in 1814 with the composer on the piano. He would play the piece one more time and that apparently marked the end of his public performances as his hearing loss was becoming worse.

This work has four movements:

1. Allegro moderato
2. Scherzo (Allegro)
3. Andante cantabile ma però con moto. Poco piu adagio, D major
4. Allegro moderato – Presto

This piece runs approximately 43 minutes. The musicians for these performances are: Paul Huang on violin; Ani Aznavoorian on cello and Gilles Vonsattel on piano.

On Thursday there is a performance of this program at Zipper Hall at The Colburn School.

On Friday there is a performance of this program at Hahn Hall at the Music Academy of the West in Santa Barbara.

Check back for our interview with Adrian Spence later this week.

Photo of Lera Auerbach by N. Feller courtesy of her website.

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The concert schedule has a performance in San Marino on May 14th at Rothenberg Hall at the Huntington Library; another on May 16th at Zipper Hall at the Colburn School and a final performance May 17th at Hahn Hall in Santa Barbara.

The program for Beethoven & Brahms begins with performances of three of Beethoven’s 179 folk song arrangements.  They are The Kiss, Dear Maid, Thy Lip Has Left; The Return to Ulster and The Pulse of an Irishman. Andrew Garland will be the vocalist for these songs as well as Four Serious Songs by Brahms that will close the program. Tamara Sanikidze will be on the piano.

In between finds The Calder Quartet performing Beethoven’s String Quartet in B-flat Major, Op. 130 . There are two versions of this string quartet. The version being performed at these concerts finds the final movement being the final piece of music he ever wrote. He was encouraged to replace the original final movement  with the work being performed at these concerts.

During next season, and as a continuation of the Why Beethoven? project, The Calder Quartet will return to play the same string quartet, but with the original Grosse Fuge as the work’s final movement

The Calder Quartet features Benjamin Jacobson and Andrew Bulbrook on violin, Jonathan Moerschel on viola and Eric Byers on cello. The Quartet has played all over the world.

Tickets for all performances are $58.

Main photo by Autumn de Wilde

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