Archive for the “Concert Announcement” Category
On Tuesday July 29th, 2014, composer Carlos Jose Castro will be in New York for his World premiere performances of his newest works — Nocturno, for alto flute solo, Tres Bagatelas for clarinet and piano, and Concerto Serenata de la Luna for viola (version with piano). The performance will be part of a concert program titled CONCIERTico held at the Somethin’ Jazz Club on East 52nd Street in New York City and organized by the CRNGNYC.
CONCIERTico is curated by Edmundo Ramirez, a Costa Rican-American violist based in New York City. Ramirez is no newcomer to promoting Latin American music. He is the former Artistic Administrator of the Youth Orchestra of the Americas in Washington DC, as well as the founder and artistic director of Ensamble America in New York City. He continues to promote Costa Rican Classical Music including works by composers Alejandro Cardona, Vinicio Meza and Allen Torres Castillo. Most recently he premiered Castro’s work for solo viola Kerwa and revived and performed Benjamin Gutierrez’s Concerto for viola and Orchestra with the National Orchestra of Costa Rica and other orchestras in Europe. (watch Edmundo Ramirez performing the Russian Premiere of Benjamin Gutierrez’s Concerto for Viola and Orchestra ). Ramirez will also be performing the World premiere performance of the version with piano of Castro’s Concerto Serenata de la Luna.
Celebrating Costa Rican music, CONCIERTico features works by renowned Costa Rican composers Carlos Jose Castro and Benjamin Gutierrez.
Castro won the Latin Grammy award in 2008 for Best Classical Contemporary Composition with his Concierto del Sol para guitarra y orquesta and is three times winner (1992, 2002, 2004) of the Premio Nacional de Música de Costa Rica, Aquileo J. Echeverría, which is the highest award given by the Ministry of Culture. Castro’s music has been performed in the US and many countries including Mexico, Cuba, Brazil, Venezuela, Argentina, England, Spain, Poland, Germany and Portugal. His compositions range from solo guitar, chamber instrumental works, orchestral works and opera. He has also composed and produced numerous scores for dance, theatre, video, film and radio, including collaborations with Radio Nederland for a series of radio dramas and documentaries. As well as teaching at the Instituto Nacional de la Música and the Universidad de Costa Rica, he has featured in Festivals worldwide as a composer and performer including at the Seminario de Composición Musical de Costa Rica, the Festival Latinoamericano de Caracas in Venezuela, the Festival de Compositores del Caribe in Habana, Cuba, the Iberoamericana Guitar Festival in Washington D.C., and the International Guitar Festivals de Costa Rica and Morelia. Castro is also a Board member of the Asociación de compositores y autores musicales de Costa Rica.
Carlos Jose Castro’s works featured in the concert on July 29th include Ascenso, Arrullo, Como brisa de montaña, Recuerdas and Parrandera; his new work for clarinet and piano, Tres Bagatelas (being premiered during the concert); the 2nd movement of his viola Concerto Serenata de la Luna (receiving its premiere of its version with piano); and his newest work for alto flute Nocturno receiving its World premiere performance by flutist Laura Falzon
Castro’s Nocturno was written for flutist Laura Falzon. When asked whether he writes new works with particular musicians in mind as interpreters, Castro explained that, “a composer has to be aware for whom he writes and in what context. That’s essential.”
Described in the London-based Music & Musicians magazine as “an excellent instrumentalist”, Laura Falzon has performed widely across the US and across the globe in countries including England, Scotland, Malta, France, Italy, Greece, Finland, the Jersey Islands and even India. An ardent advocate and passionate performer of contemporary music, Falzon has collaborated with composers from around the world on new works for flute in a variety of combinations, ranging from the conventional flute solo, flute & piano, and flute & orchestra, to works with electroacoustics as well as non-western instruments like the zheng, sitar, tabla, yoruba drums and tanpura. She has commissioned and premiered many flute works including Padma Phool by the Anglo-Indian composer John Mayer (mostly known as the founder of Indo-Jazz Fusion and, in the flute world, for his flute Concerto for Sir James Galway), and works by composers including compositions by Mohammed Fairouz, Bushra El-Turk, Theodore Wiprud, Alice Shields, Jan Gilbert, Shirish Korde, Nickos Harizanos, Dai Fujikura, John Mayer, Geoff Poole, Charles Camilleri. see
To better understand the intentions behind Carlos Jose Castro’s new work, Laura Falzon interviewed the composer and published the conversation on her site (read Interview with Composer – Laura Falzon talks to Carlos Jose Castro). Castro explains that his music “is a voyage of self-discovery,” and that “every piece has to be a window for something beyond music.” For Castro, melody is a very important part of his music and, as he explained to Falzon, he believes that “musical themes are meant to be remembered and treasured” adding that nonetheless “rhythm has to be vital.” The composer tells Falzon that he finds inspiration and ideas from his varied interests and personal experience with nature, literature, arts, drama and other musics. When asked whether there are any particular influences on his music, Castro explained that he “take[s] from everywhere, from Latin popular music, rock, folklore from all over the World, minimalism, expressionism, African tribal music, romanticism, classicism, protest songs, all kinds of jazz, Bach, et al.,” He adds that he does not “believe in barriers, musically speaking, and tries in [his] musical language to integrate as many dialects as possible.” This allows him “to express better the human experience.”
In Castro’s words, “Polyphony is ever present, even in a single line [in his works]. Modality, tonality, atonality, classicism, romanticism, modernism, minimalism, impressionism, all coexist in my music.”
Castro’s other work for woodwind being performed during the evening, Tres Bagatelas, will also receive its World premiere performance by clarinetist Ana Catalina Ramirez, together with pianist Graciela Arguedas who will also perform solo piano works by Benjamin Gutierrez including his Añoranza and Preludio para la Danza de la Pena Negra.
Composer Benjamin Gutierrez, one of the co-founders of the composition school in Costa Rica and winner of many National and International prestigious music awards, studied with Darius Milhaud and Alberto Ginastera. Many of his works reflect literary and historical influences. Divergent tonalities move his music into post-romanticism. Just like Carlos Castro an important characteristic of Gutierrez’s work are the lyrical melodic lines in his music.
Clarinetist Adrian Sandi will perform composer Andres Soto’s Variaciones Patrioticas for bass clarinet and piano and Soto himself, who will be present at the concert, will perform his work Melus Purus for piano solo.
Other performers on the program include Felipe Fournier percussion & composer; Max Esquivel bassist, composer; Andres A. Marín composer, drummer; and, Dani Blau singer/songwriter.
- Photo by Scott Wall.
Opera awakens all the senses with super-human singing, spectacular visuals, dramatic character portrayals, and the thrill of an orchestra all on one stage. These interactive workshops won’t just deepen your appreciation of the art form; they will take you through the journey of creating an opera. From words to music, sets and costumes to staging, newcomers and seasoned opera-goers alike will learn the process from the ground up and experience San Francisco Opera behind the scenes.
The series includes 4 sessions:
September 8: Opera is a Story: From Text to Dialogue to Music
September 15: Performing: What’s It Like to be a Musician?
September 22: Production Elements: What Does It Look Like?
September 29: Putting it All Together: The Director’s Vision
For more information, please visit the San Francisco Opera Overture website.
Los Angeles Children’s Chorus Young Men’s Ensemble
Los Angeles Children’s Chorus (LACC) is holding auditions for middle school- and high school-aged boys with changing or changed voices for its Young Men’s Ensemble on Thursday, August 21, 2014, at Pasadena Presbyterian Church, with appointments beginning at 4:30 pm. Candidates must prepare one solo art or folk song and will also be gauged on their ability to sing as part of an ensemble. Those interested in auditioning should be proficient in the fundamentals of music theory and musicianship. The vocal audition also includes a written music theory test and a sight-singing evaluation.
LACC’s Young Men’s Ensemble is one of only a few choirs in the country to serve young male vocalists with changing voices. Led by Dr. Steven Kronauer, it offers quality vocal and choral training, providing boys with essential tools to help them sing through their vocal transition and a forum where they can learn more about the healthy development of their maturing voices at their own pace in a fun, understanding and encouraging environment.
Kronauer notes that one of the fundamental considerations for working with the choir is adjusting to the needs of each individual voice to ensure that each boy sings in a range that is healthy for him.
Established in 2009, Young Men’s Ensemble holds rehearsals weekly on Sunday evenings (5:30 – 7:15 pm) and features a specially tailored musicianship course and individualized vocal coaching sessions that adhere to LACC’s exceptionally high standards.
Among numerous highlights, YME has toured Germany, Austria, Italy and Alaska; performed with Cuba’s celebrated Sine Nomine and the esteemed University of Michigan Men’s Glee Club and Harvard Glee Club; attended a retreat at USC Thornton School of Music; and participated in a special seminar with acclaimed counter-tenor David Daniels and world famous tenor Ben Hepner.
Auditions will be held at Pasadena Presbyterian Church, located at 585 East Colorado Boulevard in Pasadena, California 91101. For more information or to make an audition appointment, please call (626) 793-4231 or visit www.lachildrenschorus.org.
FOR IMMEDIATE RELEASE
Contact: Dottie Jeffries, firstname.lastname@example.org; (917) 445-7876
“Die Winterreise” (Staged) to be presented at IMPACT NYU August 4-9:
Songs in the original order of the poems by Wilhelm Mueller
The New York Concert Opera, featuring German- American baritone Ulrich Hartung and a chamber ensemble led by Stefan Kozinski, will present the Schubert song cycle in a multimedia performance on the evenings of Monday August 4 through Saturday, August 9 at 8 PM at the Black Box Theatre, 82 Washington Square East, New York. Run time is approximately one hour and fifteen minutes. Admission is $10 general, $5 for seniors and $5 for students with student ID.
The song cycle is to be presented in three parts – Past, Present, Future – with an instrumental introduction (reflecting the last song) and interludes making each part, as well as the entire piece, an organic whole. The chamber players will join the protagonist in expressing pertinent ambience. The production will also have projected images relevant to the songs’ mood and themes making the event truly a multimedia experience.
The chamber ensemble consists of piano, viola, cello, woodwind and brass players in an arrangement by Mr. Kozinski, a New York composer/conductor. The dramatized performance is semi-staged with multimedia surrounds.
In his 1992 NYU dissertation on “Winterreise,” Mr. Hartung makes the argument that in the 19th century the popular cycle was performed with the songs in the order of the final published version of the poems. Schubert had originally found 12 of these poems in another publication; but, by the time he found all 24 together – and in a different order – in Mueller’s collection, progress on printing the first set wouldn’t allow any changes, and he was obliged to set the remaining 12 poems as he found them as a second part. Schubert died shortly after giving these songs to the publisher. Some of the obvious text errors have been corrected in most recent recordings and performances, but printed editions of the cycle perpetuate the composer’s oversights and hasty transcriptions.
It is commonly acknowledged that the poet’s order provides a more dramatic, linear sequence to the cycle, and the NY Concert Opera performances highlight that fact.
Director of IMPACT NYU is John Gilbert, NYU Associate Professor of Music and Music Education.
For tickets, contact NYU Ticket Central
online at http://events.nyu.edu/#event_id/21775/view/event
or by phone at 212 352 3101 or in person at the Box Office at 566 LaGuardia Place
(at Washington Square South).
Selections from Barbara Harbach’s Booth! – The Musical will be performed by the Gateway Festival Orchestra, Dr. James Richards conducting, on Sunday, July 27 – 7:30 PM at Washington University’s Brookings Quadrangle, One Brookings Drive (corner of Skinker and Forsyth Boulevards) in St. Louis. Missouri as part of Notes to Munch On.
Selections will be Overture, Cast in Perfect Love and Edwin’s Soliloquy.
Booth! – The Musical is an examination of the life of 19th-Century maverick actor Edwin Booth, told from the perspective of his daughter, Edwina. Undoubtedly, the infamous assassination of Abraham Lincoln by his brother, John Wilkes, plays a major part in shaping and influencing Edwina’s exploration of the life of her father. Engulfed in this reflection, the show is a musical voyage into the sometimes disturbing relationships that defined Edwin as son, husband, father, brother and actor.
The program features Jane Jennings, soprano and Keith Boyer, tenor and also includes selections from South Pacific, Man of La Mancha, My Fair Lady, Gypsy and Oklahoma, among others.
The June 27 concert is free and open to the public, with lawn seating. For more information, call 314-569-0371 or visit http://gatewayfestivalorchestra.org/.
MSR Classics has released Ms. Harbach’s critically acclaimed Music for Strings (MS1258) with the London Philharmonic, Orchestral Music, Volume 1 (MS1252) with the Slovak Radio Symphony Orchestra and Orchestral Music, Volume 2 (MS1519), again with the London Philharmonic. The latter CD, conducted by David Angus, is the ninth in a series that showcases World Premiere Recordings of Barbara Harbach’s compositions. For more about these and her other MSR CDs, visit http://www.msrcd.com/. Her website is at http://www.barbaraharbach.com/.
Composer Meira Warshauer
Meira Warshauer’s Look to the Light will be performed by the Sharim v’Sharot choral ensemble, Elayne Robinson Grossman, Musical Director and Conductor, on Monday, July 21 – 5:30 PM at the 25th North American Jewish Choral Festival, held at the Hudson Valley Resort & Spa in Kerhonkson, N.Y. The event is sponsored by Zamir Choral Foundation of New York City.
Look to the Light was written in 1998 for SATB and piano and is based on a text by Rabbi Dan Grossman. The piece was commissioned and premiered by the Dent Middle School Select Chorus of Columbia, S.C. Read the composer’s notes about it at http://www.meirawarshauer.com/NEW/pages/Program_notes/Look_Light_notes.html.
Visit Shatim v’Sharot at http://sharimvsharot.com/. More about the North American Jewish Choral Festival at http://www.zamirchoralfoundation.org/programs/najcf.htm.
Warshauer’s Bati L’Gani (I Came Into My Garden) will be performed by flutist Lyon Leifer and pianist Brian Lee on Wednesday, July 23 – 7:00 PM at Indian Boundary Park, 2500 W. Lunt Ave. in Chicago Illinois, as part of Night Out: Leifer-Lee Duo at Indian Boundary.
Bati L’Gani was composed in 2003 for Paula Robison and is based on a passage from the Biblical Song of Songs. Read Ms. Warshauer’s notes about it at http://www.meirawarshauer.com/NEW/pages/Program_notes/Bati_LGani_notes.html.
The Leifer-Lee Duo will also perform works by Copland, Poulenc, Bruce Stark, Alex Freeman and Astor Piazzolla. More about this concert at http://www.chicagoparkdistrict.com/events/Night-Out-Leifer-and-Lee-Duo-at-Indian-Boundary/. Visit Lyon Leifer at http://lyonleifer.com/Home.html.
Meira Warshauer has devoted much of her creative output to Jewish themes and their universal message and her work also reflects a love and concern for the earth. The Navona label has released a CD (NV5842) featuring her Symphony No.1: Living Breathing Earth and Tekeeyah (a call), concerto for shofar, trombone and orchestra with soloist Haim Avitsur. More about the CD at http://www.meirawarshauer.com/NEW/pages/breathing_earth.html. The most recent Tekeeyah consortium performances were with the Dayton Philharmonic Orchestra, Neal Gittleman, conductor. Albany Records had previously released her acclaimed Streams in the Desert disk of Torah-based choral/orchestral works. Warshauer’s music is published by Hildegard, Lauren Keiser Music, World Music Press and Kol Meira Publications. Her website is at http://www.meirawarshauer.com.
BY LAURA KAMINSKY, KIMBERLY REED, AND MARK CAMPBELL, AT BAM FISHER, SEPTEMBER 4-7, 2014
With mezzo-soprano Sasha Cooke and Baritone Kelly Markgraf sharing the role of the transgender protagonist, and featuring the Fry Street quartet
BROOKLYN, NY—AOP (American Opera Projects) announces the world premiere of As One, with music and concept by AOP’s newly-named composer in residence Laura Kaminsky, and with an original libretto by Mark Campbell and Kimberly Reed. With compassion, candor, and humor, As One chronicles the experiences of a transgender person as she emerges into harmony with herself and the world around her. Performances take place at BAM Fisher (321 Ashland Place, Brooklyn, NY 11217) from September 4 and 6 at 7:30 pm, and September 7 at 3 pm. Tickets are $25 and will go on sale in mid-July at BAM.org/AsOne.
A monodrama for two voices sharing one central role, AOP commissioned the one-act chamber opera specifically for internationally-acclaimed singers (and real-life husband and wife) Kelly Markgraf, baritone, and Sasha Cooke, mezzo-soprano, who share the role of the protagonist. The production is directed by Ken Cazan, with music direction by Steven Osgood, and features the Utah-based Fry Street Quartet. The production design by David Jacques includes film by transgender filmmaker Kimberly Reed, director of the award-winning documentary, Prodigal Sons. Costume design is by Sara Jean Tosetti.The performance is the culmination of AOP’s participation in the BAM Professional Development Program, a professional training program led by BAM and the DeVos Institute of Arts Management at the Kennedy Center.
Free panel discussions with the artists will take place after the September 4 (“Creating As One,” moderator TBA) and September 7 performances (“Gender Identity in As One,” moderated by Jean Malpas, Director, Gender and Family Project at the Ackerman Institute for the Family).
A second production of As One will take place at the Caine School of the Arts at Utah State University in April, 2015.
ABOUT AS ONE:
For many years composer Laura Kaminsky has concerned herself with political and social issues in her music. Her compositions have included works about the natural world and environment (Rising Tide; Terra Terribilis), political and social issues (Vukovar Trio; And Trouble Came: An African AIDS Diary), and works which have been inspired by visual art concepts and artists (Cadmium Yellow, The Full Range of Blue). As a married lesbian, Kaminsky was intrigued by a 2008 article in the New York Times about the legal implications of a marriage in which one of the parties transitioned from male to female, which transformed the couple from hetero- to homo- sexual. For Kaminsky, the story also raised questions about self-identity, including what one is willing to give up in order to simply be oneself. It prompted her first ideas for a musical theater work on the topic. In 2011 Kaminsky saw Kimberly Reed’s documentary film, Prodigal Sons, the story of Reed, a transgender woman, and her return home to Montana for her high school reunion. The composer was moved by the story and was taken with Reed’s artistic sensibility; she wrote to Reed, asking for a meeting. Ms. Reed was intrigued by the concept and agreed to collaborate.
While Ms. Kaminksy and Ms. Reed had a concept and visuals, they had not come up with a story. That’s when they turned to librettist Mark Campbell (who is most known for writing the libretto for the 2012 Pulitzer Prize-winning opera, Silent Night). In their first meeting, Mr. Campbell asked Ms. Reed to relate her own experiences and, moved by her humor, bravery and compassion, began envisioning a story about the journey of a transgender person from youth to adulthood. The resultant libretto, written by both Ms. Reed and Mr. Campbell, is told in three parts and is organized into songs that were inspired by Ms. Reed’s story, the stories of other transgender people, and the themes they felt were necessary to explore.
As One was developed through public workshops at AOP under its First Chance program. AOP has developed and/or produced over 20 world premiere operas, many of which started within First Chance, including most recently a sold-out co-production of Lera Auerbach’s The Blind (Lincoln Center Festival 2013), Tarik O’Regan’s Heart of Darkness (Royal Opera House, London), and Gregory Spears’ Paul’s Case (UrbanArias, PROTOTYPE, Pittsburgh Opera).
Commissioned by American Opera Projects, As One is supported in part by funding from OPERA America’s Opera Discovery Grants for Female Composers Program, supported by the Virginia B. Toulmin Foundation, the New York State Council on the Arts with the support of Governor Andrew Cuomo, the New York State Legislature and the National Endowment for the Arts (NEA) Art Works, Bronx Council on the Arts, Purchase College Development Fund, Tanner Fund, Jeremy T. Smith Fund, Dr. Coco Lazaroff, Lynn Loacker, Judith O. Rubin, and many generous individuals. Special thanks to Purchase College Conservatory of Music and Utah State University. As One is presented by AOP as part of the BAM/DeVos Institute of Arts Management at the Kennedy Center Professional Development Program (PDP).
- Creators Kimberly Reed, Laura Kaminsky, and Mark Campbell (with Mila Henry in bg) at early AOP workshop of As One.
ABOUT THE ARTISTS:
Laura Kaminsky, recently appointed Composer-in-Residence at American Opera Projects, has received commissions, fellowships, and awards from the National Endowment for the Arts, Koussevitzky Music Foundation, Opera America, and the Copland Fund, among others. She has received six ASCAP-Chamber Music America Awards for Adventuresome Programming and is the recipient of the Polish Ministry of Culture and National Heritage 2010 Chopin Award. She is on the faculty at the Conservatory of Music at Purchase College/SUNY. Her music is recorded on the Albany, Mode, MSR, Innova and CRI labels.
Mark Campbell is one of the most in-demand librettists working in opera today. His last opera, Silent Night, which he wrote with composer Kevin Puts, received the 2012 Pulitzer Prize in music. He has written nine operatic works, including Later the Same Evening, Volpone, Bastianello/Lucrezia and Rappahannock County. He is currently working on operas based on the novels The Manchurian Candidate (Minnesota Opera, 2015; composer: Kevin Puts), The Shining (Minnesota Opera, 2016, composer: Paul Moravec), The Trial of Elizabeth Cree (Opera Philadelphia, 2017; composer: Kevin Puts) and the play Dinner at Eight (Minnesota Opera 2017, composer: William Bolcom).
Kimberly Reed’s work has been featured on the Oprah Winfrey Show, CNN, NPR, and in Details Magazine. Her work has made her one of Filmmaker Magazine’s “25 New Faces of Independent Film.” Kimberly Reed directed and produced Prodigal Sons, a “whiplash doc that heralds an exciting talent.” Prodigal Sons landed on many Best of the Year lists and garnered 14 Audience and Jury awards, including the International Film Critics’ FIPRESCI Prize. Ms. Reed was recognized in OUT Magazine’s “Out 100,” and as Towleroad’s “Best LGBT Character of the Film Year” in 2010.
Grammy Award-winning mezzo-soprano Sasha Cooke has been called “the luminous standout” (New York Times) and “equal parts poise, radiance and elegant directness” (Opera News). Ms. Cooke’s past season included performances with the New York Philharmonic, San Francisco Symphony, and Deutsches Symphonie-Orchester, among others. Additional highlights included a production of Anna Bolena at the Opéra National de Bordeaux; recitals at Wigmore Hall, Emory University, and Lincoln Center’s Alice Tully Hall. Her recordings are available on Bridge, Naxos, and Music@Menlo Live labels, as well as her solo album on Yarlung Records.
In addition to As One, Kelly Markgraf’s 2014-15 calendar features his debut in the role of Don Pizarro in Fidelio with Madison Opera, and the role of Heathcliff in a concert and subsequent recording of Carlisle Floyd’s Wuthering Heights with Florentine Opera. He returns to Florentine later in the season as Belcore in L’elisir d’amore, and makes his debut with the Saint Paul Chamber Orchestra. Last season brought a debut with Austin Lyric Opera, performances of Beethoven’s 9th Symphony with the Green Bay Symphony, and Bach’s St. Mathew Passion with the Oratorio Society of NY at Carnegie Hall.
Hailed as “a triumph of ensemble playing” (New York Times), Fry Street Quartet has perfected a “blend of technical precision and scorching spontaneity” (The Strad). The ensemble began its international career in 2002 as cultural ambassadors to the Balkan States, sponsored by Carnegie Hall and the U.S. Department of State. They previously collaborated with composer Laura Kaminsky in a multi-disciplinary performance with physicist Dr. Robert Davies, called The Crossroads Project. The Fry Street Quartet holds the Endowed String Quartet Residency at the Caine College of the Arts at Utah State University in Logan, Utah.
Ken Cazan is Resident Stage Director for the Thornton School of Music at the University of Southern California. He has directed more than 100 productions for more than 40 opera companies, including the Santa Fe Opera, Atlanta Opera, Seattle Opera, Opera Theater of St. Louis, Opera Omaha, Austin Lyric Opera, Chicago Opera Theater, Opera Hamilton, Portland Opera, Fort Worth Opera, Lyric Opera of Kansas City, and Syracuse Opera, among others. Mr. Cazan holds a B.F.A. in acting, directing, and dance from Syracuse University.
Steven Osgood, conductor. Notable engagements include: Xenakis’ Oresteia (world premiere, Miller Theater); Tan Dun’s Marco Polo (De Nederlands Opera), La traviata (Edmonton Opera), Tosca (Chautauqua Opera), Conrad Susa’s Transformations (Juilliard Opera). As Artistic Director of AOP from 2001 to 2008, he conducted the world premieres of Paula Kimper’s Patience and Sarah (1998 Lincoln Center Festival), and Janice Hamer’s Lost Childhood (Tel Aviv, 2007). He also created and is artistic director for the company’s nationally recognized Composers & the Voice Workshop Series, soon entering its eighth season.
The BAM Professional Development Program (BAM PDP) is a 9-month program that utilizes the strengths of both institutions to provide professional development training and deeply discounted theater and rehearsal studio rental to an annual selection of qualifying non-profit arts organizations. Through the program, supported by Brooklyn Community Foundation and The New York Community Trust, BAM and the DeVos Institute of Arts Management at the Kennedy Center, strive to help arts organizations expand their skill base, increase their institutional capacity, and build necessary foundations for their long-term success. The program culminates with each participating company presenting a self-funded production in the BAM Fisher’s Fishman Theater Space.
In this informal panel discussion, renowned artists and personalities from the world of opera will share their insights and experiences about the San Francisco Opera’s upcoming production of Susannah. Panelists will include Susannah‘s composer Carlisle Floyd and SFO General Director David Gockley.
Susannah takes place in the backwoods of Tennessee when a beautiful young woman is accused of indecent behavior after she is discovered bathing naked in a stream. Will the charismatic traveling preacher who sets his sights on her soul be her salvation, or her downfall?
August 28th, 2014
Concert Hall, San Francisco Conservatory of Music
50 Oak Street, San Francisco
(between Franklin St. and Van Ness Ave.)
Insight panels are free for Opera members, Opera subscribers and students with student ID. Insights are $5 for the general public. Tickets can be purchased at the door 30 minutes prior to discussions.
- Photo by Erhard Rom.
Posted by s21concerts in Concert Announcement, tags: Aleck Karis, ayano kataoka, border issues, chamber music, classical music, concert, contemporary music, Cuatro Corridos, Downtown Los Angeles, human rights, human trafficking, LAFLA, legal aid foundation, new music, Pablo Gomez, Pasadena, Santa Monica, Susan Narucki, UCSD, US Mexico border
On Friday, August 8, 2014, the Legal Aid Foundation of Los Angeles (LAFLA) will present Cuatro Corridos, a chamber opera addressing one of the most critical human rights issues of our time: human trafficking. Based on true events, the one-hour production tells the stories of women trapped in a cycle of prostitution and slavery in and around the San Diego/Tijuana border region and represents an unprecedented collaboration between internationally acclaimed Mexican and US-based creative artists.
The benefit event will take place at 7:30 p.m. at The Colburn School’s Zipper Hall in downtown Los Angeles. Ticket price for the benefit is $100 and includes general admission to the performance and to the post performance reception. $75 of the ticket price is a tax-deductible contribution to LAFLA and will help support its services to victims of human trafficking who are forced to work in the sex trade, sweatshops, fields and even private homes under exploitative and abusive conditions and for meager or non-existent wages.
Celebrating its 85th anniversary as Los Angeles’ frontline law firm for poor and low-income people and communities, LAFLA’s services include a range of specialized legal services to aid and empower human trafficking victims to escape exploitation and pursue their legal rights. LAFLA’s Executive Director Silvia R. Argueta says of the event, “We feel that Cuatro Corridos is a beautiful, engaging, and innovative way for LAFLA to draw attention to this critical issue and rally support to help fight against this form of modern-day slavery and a humanitarian crisis that affects those most vulnerable among us.”
Led by Grammy Award winning soprano Susan Narucki and noted Mexican author Jorge Volpi, Cuatro Corridos features original music by composers Hilda Paredes, Arlene Sierra, Lei Liang and Hebert Vázquez. Three distinguished performers of new music, percussionist Ayano Kataoka, pianist Aleck Karis, and guitarist Pablo Gomez, accompany Narucki in sharing the compelling stories of four women whose lives are scarred by human trafficking.
Cuatro Corridos had its first performance at the Conrad Prebys Music Center at the University of California, San Diego in May, 2013, with subsequent performances in Tijuana, Dallas, and Albuquerque. The innovative project seeks to heighten public awareness about human trafficking by offering public forums in conjunction with performances. Cuatro Corridos has been the recipient of support from the MAP Fund for the Performing Arts/Doris Duke Charitable Foundation, UC MEXUS, and most recently, by the National Endowment for the Arts.
Tickets are available through Eventbrite.com
Beth Anderson’s Greta Garbo’s Waltz for solo piano will be presented with original choreography by Nicole Bugge on Sunday, July 13 – 1:00 PM at Jan Hus Presbyterian Church, 51 East 74th St, in New York, NY. This will be part of The Composer’s Voice Concert Series, in collaboration with Vox Novus and Jan Hus Church.
Greta Garbo’s Waltz is a new work, created specifically for this event and performed by the composer.
This Mad Circle Concert includes works from a unique set of composers, which also includes Gary Edwards, Gerardo Gerulewicz, Petri Kuljuntausta, David Morneau, Larry Matthew Gaab, David Jason Snow, and Gay Pearson. The performance also features the work of choreographers Nicole Bugge, Callie Hatchet, Betty Skeen, Maxx Passion, Natalie Kolbo, Jennifer Roit, Carson Reiners, and Nicole Spinelli.
This concert will be curated and directed by Erin Bomboy and Callie Hatchett.
The July 13 event is free and open to the public. For more information, call 917-575-2617 or visit http://janhus.org/.
July 13 will also bring a performance of Ms. Anderson’s Kilkenney Cats by soprano Françoise Vanhecke at Spitalkirche in Baden-Baden, Germany as part of her song recital. Music by John Cage, Satie, Klaus Berger, Irma Bilbao and others will also be featured. Kilkenney Cats is part of the composers’ Cat Songs cycle.
MSR Classics has issued The Praying Mantis and the Bluebird – Flute Music of Beth Anderson (MS1434) – http://www.msrcd.com/catalog/cd/MS1434 – World Premiere recordings of 11 works. Other recent releases are recordings by Nancy Boston of September Swale as part of American Women: Modern Voices in Piano Music and Aleksandra Maslovaric’s recordings of Belgian Tango and Tales #1 & #3 for violin and piano on Feminae in Musica. For more information about Ms. Anderson, including a bio, other videos, list of works, discography and much more, please visit http://www.beand.com.