Classical Music News of the Week, May 6, 2017

On Site Opera Presents the U.S. Premiere of Darius Milhaud's The Guilty Mother

Known for staging "the ultimate in intimate productions" (The New York Times), On Site Opera (OSO) presents the U.S. premiere and new site-specific production of Darius Milhaud's La mère coupable (The Guilty Mother), June 20 & 20-24, 2017, at The Garage, NYC.

For the premiere, OSO partners with the Darius Milhaud Society and the award-winning International Contemporary Ensemble (ICE). The site-specific production celebrates the 125th birthday of Milhaud and is dedicated to Katharine Warne, composer and founder of the Darius Milhaud Society. La mère coupable also marks the completion of OSO's three-year Figaro Project, in which the company is staging lesser-known operatic adaptations of French playwright Beaumarchais' (1732-1799) famed trilogy of Figaro plays.

Audiences will enter The Garage, and walk into the quickly-declining world of the Almaviva family. The raw and cavernous space will echo the isolation and broken qualities of the characters as we now find them. Audiences will observe the narrative from two different locations with the venue, and will always be surrounded by the characters as they continually inhabit the space.
Darius Milhaud's La mère coupable (The Guilty Mother)

June 20 & 22-24, 2017 at The Garage
611 West 50th Street (Between 11th & 12th Avenues), NYC.

Tickets: $60; on sale April 4, 2017 at

--Andrew Ousley, Unison Media

Vivid, Brilliant Performances from Olson, Halls, and the Dallas Symphony
Matthew Halls recently led the Dallas Symphony Orchestra in a fresh and vibrant "nature" program of Vivaldi and Beethoven. Now, he's ready for more.

May 5, 6:
Calgary Philharmonic Orchestra
Saint-Saens: Piano Concerto No. 2
Ravel: Pavane for a Dead Princess
Franck: Symphony in D Minor

May 20:
Cincinnati Symphony May Festival
Delius: Night on the River
Vaughan Williams: Serenade to Music and Three Shakespeare Songs
Mnedelssohn: A Midsummer Night's Dream

May 25, 26:
Calgary Philharmonic Orchestra
Bach: St. Mark Passion

May 27:
Rameau: Suite from Pygmalion
Bach: Brandenburg Concerto No. 5
Rebel: Les Élémens
Bach: Orchestral Suite No. 4

June 29 - July 15:
Oregon Bach Festival

For more information, visit

--Schwalbe and Partners

American Bach Soloists Season Finale: Handel's La Resurrezione
Music Director Jeffrey Thomas conducts five leading Handelian vocalists in Handel's early Italian oratorio La Rsurrrezione.

Friday May 5 2017 8:00 pm
St. Stephen's Church, 3 Bayview Avenue, Belvedere, CA

Saturday May 6 2017 8:00 pm
First Presbyterian Church, 2407 Dana Street, Berkeley, CA

Sunday May 7 2017 4:00 pm
St. Mark's Lutheran Church, 1111 O'Farrell Street, San Francisco, CA

Monday May 8 2017 7:00 pm
Davis Community Church, 412 C Street, Davis, CA

For more information, visit

--American Bach Soloists

New Century Announces 2017-2018 Season
New Century Chamber Orchestra announces its 2017-2018 (Sept. - May) season including four subscription weeks in venues across the San Francisco Bay Area. British violinist Daniel Hope launches his first season with New Century as Artistic Partner with the World Premiere of Alan Fletcher's Violin Concerto, co-commissioned with the Zürich Chamber Orchestra, and an all-Mozart birthday celebration that features two debut appearances by pianists Menahem Pressler and Sebastian Knauer. Leading the remaining season performances is Indianapolis concertmaster Zachary DePue, who joins forces with pianist Simone Dinnerstein.

Subscriptions to the New Century Chamber Orchestra are on sale now. Three and four concert subscriptions range from $78 to $220 and can be purchased by calling (415) 357-1111, ext. 305, or visiting

Single tickets range in price from $29 to $61 and will go on sale August 1, 2017 through City Box Office: and (415) 392-4400. Discounted $10 single tickets are available for students with a valid ID.

--Brenden Guy

The Sheen Center Presents the World Premiere of Kallor's Some Not Too Distant Tomorrow
The NoHo/East Village based Sheen Center for Thought and Culture presents its concluding concert of its Spring Concert Series curated by Marc Kaplan of SubCulture, exploring the gamut of chamber music from classical to the contemporary eras. On June 5, Gregg Kallor rounds out the season with the world premiere performance of his piano quintet, performed by the composer and the acclaimed Attacca Quartet.

For complete information, visit

For more information about the Spring season please visit:

--Ely Moskowitz, Unison Media

Sung Jin Hong, Composer-Conductor, One World Symphony Concertus
Sung Jin Hong presents the world premiere of DEFIANT (2017), a symphonic poem with four interconnected movements:

I. "The River" (Hangang)*
II. "Dream Deferred" (inspired by the Langston Hughes poem)
III. "New World" from Charlie Chaplin's The Great Dictator*
IV. "Michelle Obama: Shaken me to my core" (with live audience chanting Dr. Martin Luther King's words)*

*Selections featured on 7-minute video that follows. The length of the complete DEFIANT score is 26 minutes:

For more information, visit:

--Adrienne Metzinger, One World Symphony

Young People's Chorus of NYC Presents School Choruses Program Annual Concert
Bringing together over 1,000 young choristers from 16 schools, the Young People's Chorus of New York City (YPC) presents its annual, year-end concert for the citywide YPC School Choruses Program, staging this year's performance at Harlem's legendary Apollo Theater on Monday, May 15, at 10:45 a.m.

The program is directed year-round by YPC Associate Artistic Director Elizabeth Núñez, and the upcoming concert showcases the musical growth of its participants—New York City public school students—over the course of the school year, during which YPC-trained music educators teach them how to read and write music, sing with healthy vocal technique, and perform as a group. The concert program, The Tales We Tell, celebrates the diversity of New York City with songs from the Americas, Africa, and Europe interspersed with acting, dancing, and poetry by artists from The Classical Theatre of Harlem. YPC Assistant Conductors and Conducting Fellows lead the musical performances.

Tickets priced at $10 are available tomorrow (Wednesday, May 3) at 12:00 p.m., via the Apollo Theater Box Office, Web site (, or Ticketmaster (

--Schuman Associates

Robert Trevino Makes Unplanned, Triumphant Debut at NDR Hannover
In a last-minute substitution somewhat reminiscent of an earlier landmark in his young conducting career, Robert Trevino last week flew in to replace an ailing colleague at the NDR Radio Philharmonic Hannover. The highly-sought-after young American conductor made a great impression conducting the orchestra in Shostakovich's Cello Concerto No 2 and Bruckner's Third Symphony.

Robert Trevino, shortly to take up the reins as the new Music Director of the Basque National Orchestra, started his career, with his mentor David Zinman, as an Aspen Conducting Fellow where he won the James Conlon Prize for Excellence in Conducting.

--James Inverne Music Consultancy

The Wallis Announces 2017-18 Season
The Wallis Annenberg Center for the Performing Arts (The Wallis, Beverly Hills, CA) announced today the 2017/18 season, which features 250 performances delivering groundbreaking produced and presented works in dance, music and theater from locally, nationally and internationally renowned artists and companies. The 2017/18 season, beginning October 8, 2017, marks the second year of programming under the leadership of Artistic Director Paul Crewes, Managing Director Rachel Fine and Board Chairman David C. Bohnett, and the fifth for the institution.

"The range and accessibility of our programming—that showcases local, national, and international artists bringing wonderful stories and remarkable performances to our stages—strive to attract and reflect the diversity that encompasses us in Los Angeles," said The Wallis's Artistic Director Paul Crewes. "The Wallis is a home for artists and audiences alike who want to explore, celebrate and embrace creativity, and I am extremely proud of the works that we are producing and presenting in the new 2017/2018 season."

For complete information, visit

--Sarah Jarvis, TheWallis

Artis-Naples Announces Three New Naples Philharmonic Musicians for 2017-18 Season
Artis-Naples named three new Naples Philharmonic musicians effective in the 2017-18 season. Ryan Little will become principal horn. Jane Mitchell will become the associate principal viola. Hui-Ying Ma will join as section violin.

"These musicians represent our continued commitment to artistic excellence under the leadership of music director, Andrey Boreyko," said Kathleen van Bergen, CEO and President. "We are entering an exciting time for our organization and one of the keys to our success is the strength of the orchestra."

Added Boreyko: "I am thrilled to begin working with these wonderful musicians as we start the 2017-18 season. Beyond their musical talent, they represent the continued growth in the size and capabilities of the Naples Philharmonic."

More than 300 musicians participated in the international search, with approximately 150 traveling to Naples to audition in Hayes Hall for the positions in March and April. The three will begin their work with the Naples Philharmonic at the start of the 2017-18 season in September. The appointments grow the size of the orchestra by two full-time musicians.

The Naples Philharmonic has long been recognized as one of the cornerstones of Southwest Florida's arts community. As the resident orchestra of Artis-Naples, the Naples Philharmonic performs more than 140 orchestral and chamber music concerts, as well as opera and ballet, education, community and special event concerts annually between September and June in the 1,477-seat Hayes Hall, the 283-seat Daniels Pavilion and around the Southwest Florida region.

--Jonathan Foerster, Artis-Naples

The Crypt Sessions Presents Elizabeth Cree in the Crypt, May 31
The Crypt Sessions Season 2 continues on May 31, 2017 with special preview of the new Gothic murder mystery chamber opera Elizabeth Cree by the Pulitzer Prize-winning team of composer Kevin Puts and librettist Mark Campbell, which will receive its world premiere September 14-23, 2017, as part of Opera Philadelphia's inaugural fall festival, O17. The opera is based on the novel The Trial of Elizabeth Cree by Peter Ackroyd, and is co-commissioned and co-produced by Opera Philadelphia and Hackney Empire and co-produced with Chicago Opera Theater.

With Puts accompanying at the piano, the evening will feature mezzo-soprano Daniela Mack, who will create the title role of Elizabeth Cree, and tenor Joseph Gaines, who will play Music Hall star Dan Leno. In addition to a special sneak preview of the music from the opera, Mack and Gaines will also perform songs by Benjamin Britten, Francis Poulenc and Henry Purcell.

For more information, visit

--Andrew Ousley, Unison Media

AOP: Parties, Premieres & Parks
Party Tues. May 23, 6:30 - 9:30, with selections from Three Way performed by Sarah Moulton Faux & surprise performance by Rosebud
$150 for party - or $333 for party + special listing in BAM program
Contact for details

Party + "Three Way" Opera @ BAM
June 15, 7:30 to midnight
Brooklyn Academy of Music (BAM) Fisher,
321 Ashland Pl, Brooklyn 11217
$500 for prime ticket, champagne intermission, VIP party

AOP for Free
Premieres of 3 new works from AOP's New York University Opera Writing Workshop:
 May 13, 5pm: NYU Black Box Theatre, 82 Washington Sq. Park East
May 14, 5pm: International House, 500 Riverside Dr.
AOP @ Fort Greene Park:
May 13 & June 10 from 11am to 12:30pm

--Matt Gray, American Opera Projects

San Francisco Girls Chorus Presents Trinity Youth Chorus
The San Francisco Girls Chorus (SFGC) concludes its 2016-2017 on Sunday, June 4, 4pm at Herbst Theatre in collaboration with New York's Trinity Youth Chorus.

Making their West Coast debut, the Trinity Youth Chorus from Trinity Wall Street in Manhattan will share the stage with SFGC for the U.S. Premiere of Song of Seals by Canadian composer and SFGC alumna Emily Doolittle. The program, titled "Mystics and Ecstatics," will also feature Vivaldi's Gloria, recently performed by SFGC at the SHIFT Festival at the Kennedy Center in April 2017, and John Tavener's Hymns of Paradise. Tickets start at $26 and are available through City Box Office.

Single tickets range in price from $26 to $36 and can be purchased through City Box Office: and (415) 392-4400. Discounted $18 single tickets are available to students.

For further information, please visit

--Brenden Guy

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Meet the Staff

Meet the Staff
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 Jon 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 simpleminded, 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 Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. 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 cell phone. 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.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

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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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa