On Site Opera 2017 Performances: From a Community Garden to the Hall of Saurischian Dinosaurs
Known for staging "the ultimate in intimate productions" (The New York Times), On Site Opera (OSO) will present a trio of exciting new site-specific opera productions in 2017, beginning May 11-13 with Mozart's rarely-performed early opera The Secret Gardener (La finta giardiniera) at the West Side Community Garden. The immersive production will see performers on all sides of the audience, accompanied by wind octet and double bass--a traditional ensemble for 18th-century outdoor performances.
In June, OSO partners with the Darius Milhaud Society and the International Contemporary Ensemble (ICE) to celebrate the 125th birthday of Darius Milhaud with the US premiere of Milhaud's La mère coupable (The Guilty Mother) at The Garage, an industrial-styled Hell's Kitchen space owned by fashion designer Kenneth Cole.
This fall, OSO will present the world premiere of Rhoda and the Fossil Hunt in a month-long residency (Sept-Oct) in the Hall of Saurischian Dinosaurs at the American Museum of Natural History (AMNH). The family-oriented opera takes audiences on a hunt for missing fossils around the hall, while learning about the interconnectedness of creativity and science.
Mozart's The Secret Gardener
May 11-13, 2017 at Westside Community Garden (May 14, 2017 - rain date)
123 West 89th Street, New York, NY 10025
May 19 & 20, 2017 at The Atlanta Botanical Garden
Tickets: Free with reservation; registration begins March 7, 2017 at osopera.org/secretgardener/
Darius Milhaud's La mère coupable
June 20 & 22-24, 2017 at The Garage
611 West 50th Street (Between 11th & 12th Avenues)
Tickets: $60; on sale April 4, 2017 at osopera.org/guiltymother/
John Musto's Rhoda and the Fossil Hunt
Sept. & Oct. 2017 at AMNH
Central Park West & 79th St, New York, NY 10024
Ticketing information to be announced at a later date.
For more information, visit www.osopera.org
--Andrew Ousley, Unison Media
Cal Performances Announces New Venues for Five Performances
Cal Performances announces new venues for five performances originally scheduled to take place at First Congregational Church throughout the spring; in addition to venue, the date of one performance, Tallis Scholars, has been changed from Friday, April 7 to Thursday, April 6. Berkeley's First Congregational Church sustained damage during a four-alarm fire on Friday, September 30. All updated venue and date information appears in red in the below listings.
The Cal Performances Ticket Office will send ticket holders new tickets for comparable seats in the updated venues; First Congregational Church tickets will no longer be valid for these events. For questions regarding tickets or seating, contact the Ticket Office at (510) 642-9988 or email@example.com.
--Jeanette Peach, Cal Performances
Merola Opera Announces Jake Heggie-Gene Scheer Commission
The Merola Opera Program is proud to announce its first-ever commission of a new operatic work, which will be written by composer Jake Heggie and librettist Gene Scheer. The world premiere of If I Were You will be performed by Merola Opera Program artists in San Francisco in 2019, featuring artists selected for the 2019 summer season. Heggie, who is based in San Francisco, has a long and successful history with both San Francisco Opera and the Merola Opera Program, and many of the Merola Program's graduates have starred in his operas on stages around the world.
"Throughout my career as a composer and pianist, I've had the great opportunity to collaborate with an array of dazzling singers. Time and again, I'm delighted to discover how many of them have a connection with the great Merola Opera Program," said Heggie. "What an indelible difference Merola has made as the standard bearer for young artist programs! Just consider its history and the number of careers that have begun with Merola. Over the years, I've had the privilege of composing dozens of roles and songs for Merolini, and the great pleasure of seeing them inhabit and create characters in my operas Dead Man Walking, Moby-Dick, Great Scott, It's A Wonderful Life, Three Decembers, Out of Darkness, and The End of the Affair.
"It has long been a dream of mine to write a full-length stage work especially for the Merola Opera Program to celebrate its legacy and spotlight its important place in the world of opera. I'm absolutely over the moon that the time has come with If I Were You. Gene Scheer and I look forward to creating a challenging and beautiful opera with the fabulous Merola team."
For more information, call (415) 936-2324 or visit www.merola.org.
--Jean Catino Shirk, Shirk Media
92Y Announces 2017/18 Classical Concerts
92nd Street Y (92Y) and Tisch Center for the Arts Director Hanna Arie-Gaifman today announced concert programming for the 2017/18 season, which brings both the world's rising talent and most renowned artists to 92Y's intimate and acoustically rich Kaufmann Concert Hall. 92Y is proud to present unique musical initiatives and collaborations, in which artists can explore repertoire and embrace the creative connections that resonate strongly with them. As a result, audiences can engage more fully with the performers during a concert in a vibrant and intimate setting. The high level of excellence and an atmosphere in which musicians are nurtured are hallmarks of 92Y programming. In its commitment to reaching and developing new classical music audiences, 92Y has championed educational initiatives that engage a diverse group of New York City public school students, who are given the opportunity to see concerts free of charge and interact with the artists as part of a larger curriculum.
"Soundspace," expands to a five-concert series with a unifying theme exploring Schubert's piano and vocal works.
Pianist Angela Hewitt returns for the second year of her "Bach Odyssey"—a four-year survey of the complete keyboard works by J.S. Bach.
The coming season also features the New York premiere of a 92Y co-commission by Bryce Dessner, and debuts by five distinguished artists who are new to 92Y's stages.
In addition, 92Y continues to present the broad array of subscription series that have become its signature, such as "Distinguished Artists," "Masters of the Keyboard," "Chamber Ensembles" and "Art of the Guitar." These series continually reinforce 92Y's position as a presenter that collaborates closely with its performing artists to bring audiences engaging and passionately performed programs featuring a rich variety of repertoire from the past and the present.
For more information, visit www.92Y.org
--Hannah Goldshlack-Wolf, Kirshbaum Associates
California Symphony Performs All-French Program March 19
Music Director Donato Cabrera leads the California Symphony in a program of French and French-inspired music on Sunday, March 19 at 4 pm at the Lesher Center for the Arts in Walnut Creek, CA.
Violinist and California Symphony's Acting Concertmaster Jennifer Cho, a graduate of The Juilliard School and a member of the San Francisco Opera Orchestra, makes her debut as a soloist with the Orchestra in Ravel's Tzigane. The Orchestra also performs Young American Composer-in-Residence alumnus Pierre Jalbert's Les espaces infinis, written in 2001 while in residence with the California Symphony, and music from Delibes, Saint-Saëns and Bizet. Just prior to the concert, the California Symphony is offering a special French wine tasting experience with artisan cheese in the Lesher Center lobby (separate tickets required).
For more information, please visit www.californiasymphony.org
--Jean Catino Shirk, Shirk Media
Five Boroughs Music Festival Presents East of the River on 3/16
Five Boroughs Music Festival (5BMF) presents the adventurous world-music ensemble East of the River in their new program, SULTANA: Music of the Sephardic Diaspora, on Thursday, March 16 at 7:30 p.m. at Congregation Beth Elohim in Park Slope, Brooklyn, NY.
The program celebrates the ancient musical world of the Sephardic Jewish diaspora in North Africa and throughout the Ottoman Empire, taking the audience on a journey through bazaars, kitchens, dance circles, prayer houses, and public spaces. Founded by woodwind virtuosos Daphna Mor and Nina Stern, East of the River explores haunting and captivating melodies from the traditional repertoires of the Balkans, Armenia, and the Middle East, as well as from the Medieval European classical repertory. SULTANA is inspired by the experiences of Mor's own Sephardic great-grandmother, Sultana Magrisso, who emigrated with her family from Bulgaria to British Palestine in 1944, traveling through Greece, Turkey, Syria, and Lebanon.
Five Boroughs Music Festival's 2016-17 season concludes with a performance entitled OFF THE BEATEN TRACK: Chamber Works from Moravia, the Netherlands, Sweden, Poland and beyond by early music group Quicksilver on Friday, May 12 at 7:00 p.m. at King Manor Museum in Jamaica, Queens, and on Saturday, May 13 at 7:30 p.m. at Lafayette Avenue Presbyterian Church in Fort Greene, Brooklyn.
Tickets for the East of the River concert--priced at $25 for general admission, $15 for Congregation Beth Elohim members, seniors and students--are available by visiting www.5bmf.org. Tickets for all other 5BMF concerts are also available by visiting www.5bmf.org.
--Katlyn Morahan, Morahan Arts and Media
Rufus Wainwright Performs March 30 at Berkeley Symphony's annual Benefit Gala
Rufus Wainwright will give an intimate solo performance at Berkeley Symphony's 13th annual Benefit Gala on Thursday, March 30 at the Craneway Pavilion in Richmond.
Berkeley Symphony's largest annual fundraiser, co-chaired by D.J. and Audrey Grubb, also features a cocktail reception, dinner and desserts, live and silent auctions, and music by the Carla Kaufman Trio.
Tickets for the entire event, which begins at 6:30 pm, including the reception, dinner, silent and live auctions, and the performances by Rufus Wainwright and the Carla Kaufman Trio, begin at $375. Dinner will be served at 8 pm, followed by the Rufus Wainwright solo performance. Tickets are available by phone at (510) 841-2800, ext. 1 or at www.berkeleysymphony.org/gala.
--Jean Catino Shirk, Shirk Media
New Century Present Chanticleer, March 16-19
New Century Chamber Orchestra continues its 25th Anniversary Season celebrations with the return of Chanticleer, "the world's reigning men's chorus" (The New Yorker).
Following a highly successful, first-time collaboration in 2014, New Century and Chanticleer will present "Americans in Paris" in four San Francisco Bay Area locations March 16-19 with a program of works that includes a suite from Gershwin's An American in Paris, selections from Stravinsky's Apollon Musagète and a variety of works by French composers including Ravel, Saint-Saëns, Fauré and Satie.
Thursday, March 16, 2017, 8:00 p.m., First Presbyterian Church, Berkeley, CA
Friday, March 17, 2017, 8:00 p.m., Oshman Family Jewish Community Center, Palo Alto, CA
Saturday, March 18, 2017, 8:00 p.m., Herbst Theatre, San Francisco, CA
Sunday, March 19, 2017, 5 p.m., Osher Marin Jewish Community Center, Marin, CA
Single tickets range in price from $29 to $61 and can be purchased through City Box Office: www.cityboxoffice.com and (415) 392-4400. Discounted $15 single tickets are available for patrons under 35.
Open Rehearsal tickets are $15 general admission and can be purchased through City Box Office: www.cityboxoffice.com and (415) 392-4400.
For further information on New Century, please visit www.ncco.org
PBO: Subscribe by March 1st and Get 2 Free Concerts
The country's best period instrument musicians and vocalists and one of the world's most visionary conductors are back for another Passionate, Brilliant, Original season with Philharmonia Baroque Orchestra.
And there's no better time to subscribe to Philharmonia Baroque Orchestra & Chorale's 2017/18 season than now. Sign up for the full 2017/18 season before March 1st and you can
enjoy the last two concerts of the 2016/17 season for free.
For more information on scheduling and tickets, visit https://philharmonia.org/subscribe/
--Dianne Provenzano, PBO
American Opera Projects: As One, Free Libretto Reading, Vera & Legendary
As One at Pittsburgh Opera
February 18, 21, 24 & 26, 2017
2425 Liberty Ave.
Pittsburgh, PA 15222
AOP First Chance: We've Got Our Eye on You
Sunday, February 29 | 4:00 PM
South Oxford Space - Studio G
138 South Oxford Place, Brooklyn, NY 11217
AOP First Chance: Vera
Sunday, March 12 | 2:30 PM
Thursday, March 16 | 7:30 PM
Manhattan School of Music - Greenfield Hall
120 Claremont Avenue (between 122nd and La Salle St.)
New York, NY 10027
AOP First Chance: Vera and Legenary
Sunday, March 19 | 8:00 PM
South Oxford Space
138 South Oxford Place, Brooklyn, NY 11217
For complete information, visit http://www.aopopera.org/events.html
--Matt Gray, American Opera Projects
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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