Archive for the “Concert Announcement” Category

Composer Meira Warshauer

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.

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 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

 AsOne_Acosta WP image

BROOKLYN, NYAOP (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 Markgrafbaritone, 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 TrioAnd 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.
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 OneKelly 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.

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Photo by Erhard Rom.

 

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
6pm-7pm
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.

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Cuatro_Corridos-May-6-2013-291

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

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BethA612Beth 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.

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Fraser River along Alaska HighwayThe World Premiere of Judith Lang Zaimont’s The River, from her Pure, Cool (Water) will be presented by The Missouri Symphony Orchestra, Kirk Trevor, Music Director and Conductor, on Saturday. July 12 – 7:30 PM at the Missouri Theater, 203 South 9th Street in Columbia, Missouri. This will be part of their Orchestral Fireworks concert.

The River was composed in 2012-2013 and is another in a long line of Zaimont pieces for various forces which celebrate the wonders of the natural world.  The 13-minute tone poem is for full orchestra and features some novel touches of coloration, such as a tuned crystal bell in G capping its quiet close. The work’s motto is drawn from the word “water”, expressed as a rising or falling small interval or a single pitch repeated in that rhythm,  and heard in the very first notes in the basses (where the current begins) supporting the opening trombone  melody.  Flowing music surrounds an up-tempo scherzo mid-section, all in a constant current periodically welling up and then subsiding in unending cycle.

The River also serves as the first of five movements comprising an entire hour-long symphony – Pure, Cool (Water) – exploring the varieties of water in its several naturally-occurring states. This symphony, the composer’s fourth, was commissioned retrospectively by The Sorel Organization as part of honoring Ms. Zaimont with its 2014 Commissioned Composer  award.

Also on the program are Debussy’s La Mer, Mendelssohn’s Violin Concerto in e minor, with soloist Erin Schreiber and Rimsky-Korsakov’s Capriccio Espagnol.

Tickets are $11.50 to $28 and may be purchased by calling 573-882-3781 or by visiting http://mosymphonysociety.org/.

Internationally known conductor, recording artist and teacher Kirk Trevor is a regular guest conductor in the world’s concert halls. Maestro Trevor became Music Director of the Missouri Symphony Orchestra in 2000. Much more about him at http://mosymphonysociety.org/kirk-trevor/.

JZPhoto213Judith Lang Zaimont is internationally recognized for her music’s distinctive style, characterized by emotion, expressive strength and dynamism. In both orchestral and choral works, her creation of inventive and widely varied colors and textures is repeatedly cited. A 2003 Aaron Copland Award winner and 2012 winner of Tempus Continuum and Third Millennium ensemble prize and an American Prize in Orchestral Composition, she has enjoyed a distinguished career as composer of over 120 works with performances by the Philadelphia Orchestra, Baltimore Symphony, Berlin and Czech Radio symphonies, Camerata Bern and the Kremlin Chamber Orchestra. Her principal publishers are Subito Music (http://www.subitomusic.com/), Galaxy/ ECS, Jeanné, Lauren Keiser Music Publishing and Vivace. She is creator and editor-in-chief of the critically acclaimed book series The Musical Woman: An International Perspective. More information about Ms. Zaimont, including sound clips of many of her compositions, is available at http://www.jzaimont.com/.

 

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DLPhoto211Dan Locklair’s Constellations - A Concerto for Organ and One Percussion Player, will be performed by organist Peggy Haas Howell and percussionist Kevin Super on Wednesday, July 9 – 7:30 PM at St. John’s Episcopal Church, Elmwood Avenue, off Rivermont Avenue in Lynchburg, Virginia. This will be part of A Star-Spangled Recital.

The composer writes, “A concerto for organ and one percussion player, Constellations was completed in November of 1980 and was composed for percussionist Joe Roma, to whom it is dedicated. The piece explores two of the most potent musical sound sources: percussion and the pipe organ. Constellations‘  four movements are named after stellar constellations – 1. Caput serpentis (The Serpent Head), 2. Cygnus (The Swan), 3. Pegasus (The Winged Horse) and 4. Cauda serpentis (The Serpent Tail).” More about the piece at http://www.locklair.com/wp/compositions/organ/constellations.

St. John’s Organist and Choirmaster Peggy Haas Howell will also play patriotic works by Dudley Buck, James Hewitt, and Charles Ives as well as “The Stars and Stripes Forever” by John Philip Sousa.

The July 9 event is free and open to the public, but an offering will be taken. For more information, call 434-528-1138 or visit http://www.stjohnslynchburg.org/.

MSR Classics has issued Tapestries – The Choral Music of Dan Locklair (MS 1463), a 2-CD set featuring 15 of the composers’ finest choral works in performances by the Bel Canto Company, conducted by David Pegg and The Choral Arts Society, led by Robert Russell. Much more about the release at http://www.msrcd.com/catalog/cd/MS1463. Other recordings of his works are available on Naxos, Ondine, Koch, Albany, Loft, Priory (UK) and other labels. His primary publishers are Ricordi and Subito. Dan Locklair is Composer-in-Residence and Professor of Music at Wake Forest University in Winston-Salem, North Carolina.

More information about him, including a bio, list of works and discography at http://www.locklair.com.

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LDPhoto1012BLawrence Dillon’s String Quartet No. 4: The Infinite Sphere will be presented by the Cassatt Quartet in four Maine locations this week – Wednesday, July 9 at the New Era Gallery, Vinalhaven Island as part of the Seal Bay Festival, Thursday, July 10 at Waterfall Arts in Belfast, again as part of the Seal Bay Festival, Friday, July 11 at the Atlantic Music Festival at Lorimer Chapel, Colby College in Waterville and Saturday, July 12 at The Barn Gallery in Ogunquit, also as part of the Seal Bay Festival.

Taking 17th-century philosopher and mathematician Blaise Pascal’s reference to an “infinite sphere, whose center is everywhere and whose circumference is nowhere” as a starting point, String Quartet No. 4: The Infinite Sphere taps the potentials of Classical circular forms and techniques – in particular rondo form and canonical rounds – to explore the expressive tension between the coherence of the sphere and the chaos of infinity. The piece was commissioned by the Daedalus Quartet and the Thomas S. Kenan Institute for the Arts and is part of the composer’s Invisible Cities String Quartet Cycle. More about it at http://www.lawrencedillon.com/the-infinite-sphere.php.

Also on the programs are works by Daniel S. Godfrey and Bruce Adolphe.

More about the July 9, 10 and 12 events at 207-863-2230 or http://www.sealbayfestival.org/.  More about the July 11 performance at http://www.colby.edu/.

Visit the Cassatt Quartet at http://www.cassattquartet.com/.

Naxos has issued Lawrence Dillon Violin Music (Catalogue No: 8.559644), featuring seven chamber works performed by violinist Danielle Belen, 2008 Grand Prize Winner of the Sphinx Competition. His other recent, critically-acclaimed CD release, Insects and Paper Airplanes, is on the Bridge label. His music is published by American Composers Alliance – http://composers.com/ and his website is at http://www.lawrencedillon.com/.

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Oboist Claire Brazeau Appointed to Los Angeles Chamber Orchestra

Oboist Claire Brazeau Appointed to Los Angeles Chamber Orchestra


Music Director Jeffrey Kahane has named Claire Brazeau to second oboe of Los Angeles Chamber Orchestra (LACO). The 2014-15 season will mark her first full LACO season with LACO, one of the nation’s leading orchestras renowned for its wide-ranging repertoire and adventurous commissioning initiatives, which begins its 46th season in September 2014.

“All of us at LACO are absolutely delighted to welcome Claire to the orchestra,” says Kahane. “She is a superb musician, has a wonderful command of her instrument, and is a strong presence in the woodwind section.”

Among numerous credits, Brazeau, an oboist and English horn player, participated in the Lucerne Festival Academy in Switzerland, an intensive three-week long orchestral and chamber music festival devoted to the performance of contemporary music led by Pierre Boulez and Ensemble Intercontemporain. In the 2012-13 season, she served as principal oboe in Victor Ullmann’s opera Der Kaiser Von Atlantis in New York City with new music chamber group Le Train Bleu, in collaboration with Opera Moderne. During the 2011-12 season, Brazeau served as a Visiting Artist at the American Academy in Rome. During her residency in Rome, her engagements included a self-curated concert sponsored by the US Embassy and Roma Tre University, a solo concert for the Pontifical Academy of Science’s Stem Cell Research Conference at the historic Villa Aurora and the collaboration and premiere of Rome Prize-winning composer Sean Friar’s Etudes for English Horn and Piano. Brazeau has performed with the Santa Barbara Chamber Orchestra; Santa Barbara, Pasadena and Los Angeles Jewish symphonies; Long Beach Opera; Los Angeles Bach Festival; American Youth Orchestra; and was the principal oboe of the Young Musicians Federation Debut Symphony in 2010-11. She has been a guest artist with orchestras and ensembles including the American Symphony Orchestra, Da Capo Chamber Players, Berkshire Bach Society and Commonwealth Opera Company. Brazeau graduated from Bard College and Conservatory in New York where she earned BAs in East-Asian Studies and Piano Performance and a BM in Oboe Performance. She received an Artist Diploma from The Colburn School in May 2014.

LOS ANGELES CHAMBER ORCHESTRA (LACO), proclaimed “America’s finest chamber orchestra” by Public Radio International, has established itself among the world’s top musical ensembles. Since 1997, LACO has performed under the baton of acclaimed conductor and pianist Jeffrey Kahane, hailed by critics as “visionary” and “a conductor of uncommon intellect, insight and musical integrity” with “undeniable charisma.” Under Kahane’s leadership, the Orchestra maintains its status as a preeminent interpreter of historical masterworks and a champion of contemporary composers. During its 46-year history, the Orchestra has made 31 recordings, toured Europe, South America and Japan, performed across North America and garnered eight ASCAP Awards for Adventurous Programming. Headquartered in downtown Los Angeles, LACO presents its Orchestral Series at Glendale’s Alex Theatre and UCLA’s Royce Hall; Baroque Conversations at downtown Los Angeles’ Zipper Concert Hall; Westside Connections chamber music series, designed to illustrate the relationship between music and other artistic disciplines, at the Moss Theater in Santa Monica; and an annual Discover concert, which features an in-depth examination that sheds new light on a single piece of music, at Pasadena’s Ambassador Auditorium. LACO also presents a Concert Gala, an annual Silent Film screening and several fundraising salons each year. Additionally, LACO outreach programs Meet the Music, Community Partners, Campus to Concert Hall and the LACO/USC Thornton Strings Mentorship Program reach thousands of young people annually, nurturing future musicians and composers as well as inspiring a love of classical music.

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Los Angeles Chamber Orchestra (LACO), considered one of the nation’s premier chamber orchestras as well as a leader in presenting wide-ranging repertoire and adventurous commissions, announces its 2014-15 music season, which Music Director Jeffrey Kahane’s 18th and LACO’s 46th. Kahane has programmed a mix of seminal masterpieces and enthralling premieres designed to showcase LACO’s exceptional artistry and a dynamic roster of guest artists both celebrated and rising, with the maestro conducting four of seven orchestral concerts from the podium or keyboard on Saturdays at the Alex Theatre in Glendale and on Sundays at UCLA’s Royce Hall. Kahane also continues to lead the popular “Discover” concert at Ambassador Auditorium and appears as both conductor and harpsichordist on the “Baroque Conversations” series at Zipper Hall in downtown Los Angeles, both of which offer audiences an in-depth look at the music as well as an opportunity to get to know LACO artists on a more personal level. LACO’s “Westside Connections” continues at the 344-seat, state-of-the-art Moss Theater at New Roads School in Santa Monica, providing an intimate setting for the fascinating and often surprising programs, which link music to disparate aspects of our culture.

Among numerous season highlights across these four diverse series are two world premieres that bookend the season, which opens with a world premiere by Australian composer Cameron Patrick paired with Beethoven’s Symphony No. 5 on September 20 and 21, 2014, and concludes on May 16 and 17, 2015, with a world premiere by composer Ted Hearne, who assumes in the position of Assistant Professor of Composition at USC in the fall. Hearne’s new work is presented in conjunction with the Orchestra’s unique and highly successful “Sound Investment” commissioning program, initiated during Kahane’s tenure 14 years ago to engage LACO audiences in developing new works.

Additionally, the Orchestra presents the West Coast premiere of Philadelphia-based composer Joseph Hallman’s Imagined Landscapes on April 18 and 19, 2015, and the Los Angeles premiere of the Viola Concerto by Pulitzer Prize-winning composer Aaron Jay Kernis, written for and performed by acclaimed violist Paul Neubauer, on November 15 and 16, 2014, a program which also features Kahane performing and conducting from the keyboard Beethoven’s Piano Concerto No. 3.

LACO showcases Steven Isserlis, “one of the world’s leading cellists” (The Guardian), performing Haydn’s Cello Concerto No. 2 under the baton of “superb,” and much sought-after Scottish conductor Douglas Boyd on October 18 and 19, 2014, with Boyd, who makes his LACO debut, also conducting Mozart’s “Haffner” Serenade and At First Light I by George Benjamin.

Dallas Symphony Assistant Conductor and “masterful” violinist Karina Canellakis, also making her LACO debut, does double duty conducting Finnish composer Pēteris Vasks’s powerfully meditative Lonely Angel, John Adams’ early masterpiece Shaker Loops and Schubert’s lighthearted Symphony No. 5, and performing Vivaldi’s vivid Violin Concerto, “La tempesta di mare” (“Storm”) on January 24 and 25, 2015.

Another multi-talented artist and LACO favorite, violinist Joseph Swensen, a renowned conductor who has twice led LACO from the podium and has recently refocused on his career as a violinist, joins the Orchestra as soloist to perform Prokofiev’s athletic Violin Concerto No. 2, on March 14 and 15, 2015. Led by Kahane, the concert also spotlights LACO Principal Flute David Shostac, on the occasion of his 40th anniversary with the Orchestra, in its first performance of Mozart’s beautiful Flute Concerto No. 1, and features LACO Composer-in-Residence Andrew Norman’s Gran Turismo for eight solo violins, which the composer describes as a “creative joyride” named after “an addictive car racing video game.”

Both making their LACO debuts, “exhilarating” New York Philharmonic Assistant Conductor Joshua Weilerstein leads cellist Narek Hakhnazaryan, winner of the prestigious International Tchaikovsky Competition, in Saint-Saëns’ Cello Concerto No. 1 on April 18 and 19, 2015. In addition, the rising conductor helms Mozart’s Symphony No. 41, “Jupiter.”

To conclude the season, Jonathan Biss, “one of the most thoughtful and technically accomplished pianists of the younger generation” (BBC Music Magazine), performs Mozart’s Piano Concerto No. 21, led by Kahane, who also conducts the Hearne world premiere and Mendelssohn’s Symphony No. 4, “Italian.”

LACO’s popular annual “Discover” concert at Pasadena’s Ambassador Auditorium features an in-depth examination by Kahane that sheds light on the creation and significance of Mozart’s magnificent Requiem in D minor, a crowning musical statement left unfinished at the time of the composer’s untimely death.

Oregon Bach Festival Music Director/harpsichordist Matthew Halls, Jeffrey Kahane and Principal Cello Andrew Shulman are among the artists featured in the “Baroque Conversations” series at downtown LA’s Zipper Hall. This enlightening five-concert series, which provides insight into the genesis of orchestral repertoire from early Baroque schools through the pre-classical period, opens with a program that celebrates LACO artistic founder/former cellist James Arkatov. LACO repeats the concert at the Valley Performing Arts Center, in its first appearance at the Northridge Center.

Continuing to step outside the proverbial music “box,” LACO’s innovative “Westside Connections” series at Santa Monica’s Moss Theater at New Roads School, features a thought-provoking exploration this season of connections between music and architecture with such featured guests as Los Angeles Times architecture critic Christopher Hawthorne. The inter-disciplinary, three-concert, chamber music series, designed to illustrate the myriad ways music is woven into society and our lives, is curated by Concertmaster Margaret Batjer, who selects chamber works to complement the presentations of the special guests.

Experimental classical music ensemble wild Up begins a three-year residency as LACO Education-Artists-in-Residence, participating in the Orchestra’s “Meet the Music” performances for 2,600 LAUSD Elementary school students annually. These performances reach younger students on a fundamental level through four live programs at downtown LA’s Zipper Hall, funded by LACO, often including student transportation, with venue costs generously waived by The Colburn School.

The Orchestra also hosts several musical fundraisers, including LACO’s annual “Concert Gala” and five “LACO à la carte” salons pairing delectable international cuisine and exclusive musical performances by LACO artists in spectacular international residences.

For a free season flyer, further information about the Los Angeles Chamber Orchestra’s 2014-15 season or to order tickets, please call 213 622 7001, or visit www.laco.org.

Los Angeles Chamber Orchestra

Los Angeles Chamber Orchestra

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