Lagrime di San Pietro to Return to Walt Disney Concert Hall
The Los Angeles Master Chorale's groundbreaking and critically-acclaimed production of Orlando di Lasso's Lagrime di San Pietro (Tears of St. Peter) directed by Peter Sellars will return to Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles, CA for a special Gala performance on Sunday, March 18, 2018 at 7 PM.
The performance will be conducted by Grant Gershon, the Kiki and David Gindler Artistic Director, and feature 21 Master Chorale singers who perform the 75-minute, dramatically-staged work from memory. The performance will be part of a gala evening honoring Los Angeles arts philanthropists Kiki and David Gindler for their leadership, and honoring Sellars for artistic vision. David Gindler is currently Chairman of the Los Angeles Master Chorale Board of Directors, a position that he will step down from on June 30, 2018 after serving two three-year terms. In 2012, the Los Angeles Master Chorale announced a gift of $1 million from the Gindlers. The gift established the Master Chorale's Artistic Director's Circle, a group of dedicated donors who donate $50,000 or more to the organization to support core institutional programming to enable innovative projects.
Lagrime is the Los Angeles Master Chorale's first collaboration with the internationally-renowned Sellars and his first staging of an a cappella choral work. A longtime colleague and friend of Gershon, the two discovered a shared passion for Renaissance music and were intrigued — and challenged — by the idea of staging Lagrime, a work that, although widely respected, remains relatively under-performed.
Single tickets to the concert will be released at a later date pending availability
Gala table reservations and tickets including the Lagrime performance on Sunday, March 18 and pre- and post-concert festivities are available now from 213-972-4355 and email@example.com. For information and pricing visit lamasterchorale.org/gala.
--Jennifer Scott, Los Angeles Master Chorale
See American Opera Projects Nationwide
Philadelphia - 11/29 & 30
"Wolf-In-Skins" workshop performance of a dance opera
Brooklyn's Ft. Greene Park
Free pop-up opera
Hudson, NY - 11/18, 1:00 & 4:00pm
"One Thousand Splendid Suns" - Act II Workshop
San Diego, Chicago, and Des Moines
"As One" - Full Production - 3 Cities!
For complete details, visit http://aopopera.org/
--Matt Gray, American Opera Projects
Young People's Chorus of NYC Debuts at The Metropolitan Museum
The Young People's Chorus of New York City (YPC), led by Artistic Director and Founder Francisco J. Núñez, debuts at The Metropolitan Museum of Art in the New York premiere of composer Ben Moore and librettist Kelley Rourke's Odyssey: A Youth Opera, an hour-long re-telling of Homer's epic. This new, fully staged and costumed production incorporates video imagery from the Museum's extensive collection—including images of ancient Greek art and artifacts—to create thematic links to the action on stage. The production is directed and choreographed by Eric Sean Fogel, with video and projection design by S. Katy Tucker. Three performances, presented as part of the Museum's MetLiveArts series, will be held at The Grace Rainey Rogers Auditorium on Friday, November 3 at 7:00 p.m. and Saturday, November 4 at 2:00 p.m. and 7:00 p.m.
Tickets start at $50 and are available online at metmuseum.org/odyssey or by phone at 212-570-3949. Tickets are $1 for children ages 5 to 16 with the purchase of one adult ticket. For groups of 15 or more, call 212-570-3750.
For more information, visit https://www.metmuseum.org/events/programs/met-live-arts/odyssey-a-youth-opera
Augustin Hadelich Named Musical America's Instrumentalist of the Year
Classical violinist Augustin Hadelich has been named Musical America's 2018 Instrumentalist of the Year, it was announced today by the pre-eminent performing arts resource. The announcement precedes the December publication of the 2018 Musical America International Directory of the Performing Arts which will pay homage to Augustin and his fellow-award winners in its editorial pages.
In his tribute article for the 2018 Musical America Directory, Bruce Hodges praises Augustin's "lyrical, singing style" and "unambiguously emotional style, abetted by the lyrical, singing quality of his "Ex-Kiesewetter" Stradivari from 1723 [that] affords audiences exalted performances from Mozart to the moderns."
--Melanne Mueller, MusicCo International
Francisco J. Núñez Named Musical America's 2018 Educator of the Year
Francisco J. Núñez, Artistic Director and Founder of the Young People's Chorus of New York City (YPC), was today announced as the recipient of Musical America's Educator of the Year award.
Musical America will hold a ceremony for award winners at Carnegie Hall's Weill Terrace Room on Wednesday, December 6, 2017 at 5:00 p.m. Other winners include Andris Nelsons (Artist of the Year), Mason Bates (Composer of the Year), Augustin Hadelich (Instrumentalist of the Year), and Sondra Radvanovsky (Vocalist of the Year).
Nic McGegan Leads Juilliard415 - Buy One, Get One Free
Witness the future of historically-informed performance as Nicholas McGegan leads the talented student musicians of the Juilliard415 ensemble in a side-by-side concert with the Philharmonia Baroque Chamber Players. Hear works by Telemann, Rameau, Gluck, Avison, and others inspired by the music, culture, and people of Baroque France, Spain, Scotland, the Ottoman Empire, Persia and China in this musical excursion.
Join us for this inspiring program at the Koret Auditorium at the de Young Museum, San Francisco, CA on Sunday, October 29 at 4pm. Come to the museum early to enjoy free access to the dynamic exhibit in Wilsey Court, the Café and Terrace with sculpture garden, and the Hamon Observation Tower on the 9th floor with 360 degree views of the city. Tickets to other museum exhibits can be purchased on site.
For more information, visit https://philharmonia.org/2017-2018-season/j415-le-monde-galante/
--Philharmonia Baroque Orchestra
PARMA: October 2017 Call for Scores
PARMA is pleased to be partnering with a diverse slate of soloists and ensembles to select works for a variety of upcoming recording and release projects. There is also a possibility of live performance of recorded works during the performers' regular concert seasons.
For each category below, we are working on crafting a full album of music representing the finest in contemporary composition for each instrumentation. The resulting recordings will be released and distributed physically and digitally on a PARMA label imprint and distributed via Naxos.
For pieces selected by PARMA and the performers, the composer is responsible for securing funding for all costs associated with recording and production. In return, the music will be professionally recorded and released on a commercial album, the composer will have full creative control during the production process, and the composer will retain all ownership of the master and underlying composition.
For complete information, visit http://www.parmarecordings.com/index.html
92nd Street Y November Concert Highlights
Saturday, November 4, 2017, 8 pm
92Y – Kaufmann Concert Hall, NYC
Leila Josefowicz, violin
John Novacek, piano
Wednesday, November 8, 2017, 7:30 pm
92Y – Kaufmann Concert Hall, NYC
Bach Odyssey IV
Angela Hewitt, piano
Friday, November 10, 2017, 9:30 pm
92Y – Buttenwieser Hall, NYC
Pedja Muzijevic,piano and prepared piano
Sunday, November 12, 2017, 3 pm
92Y – Kaufmann Concert Hall, NYC
New York Philharmonic String Quartet
New York Recital Debut
Wednesday, November 15, 2017, 7:30 pm
92Y – Kaufmann Concert Hall, NYC
For more information, visit www.92Y.org
--Xi Wang, Kirshbaum Associates
The Wallace Foundation Releases Story on the Seattle Symphony's Approach to Market Research
The Wallace Foundation today released the second installment in its "Building Audiences for Sustainability" (BAS) Stories series that looks at preliminary efforts of performing arts organizations to attract and retain new audiences in ways that also contribute to their financial health.
The Seattle Symphony story focuses on the orchestra's efforts to counter a trend in declining ticket sales by reaching new residents in downtown Seattle, home to the orchestra's performance hall. The article, written by Judith Dobrzynski, and video, produced by Stephanie Carter of WNET, are both available at wallacefoundation.org/seattlesymphony.
The story shows the Seattle Symphony's use of market research to more effectively target a new downtown audience that is growing at twice the rate of Seattle's overall population. To attract these prospective symphony attendees—dubbed by Seattle as "new urban cultural consumers" or NUCCs—the company developed three new concert formats, all more informal than its signature, more traditional "Masterworks" series.
It was unclear at first whether the new concert series would result in increased Masterworks attendance. "While they were never intended to be a formal series or viewed as a stepping stone from one concept to the next," Dobrzynski writes of the company's thought process, "there was some initial thinking that they might spur general interest in the symphony and therefore potentially in the core Masterworks concerts."
To read the release, visit http://resnicow.com/client-news/new-case-studies-profile-successful-audience-building-efforts-two-philadelphia-arts
For more information on Building Audiences for Sustainability or on other Wallace arts initiatives, visit: www.wallacefoundation.org
--Barbara P. Escobar, Resnicow and Associates
The Green Music Center Resumes Programing
Since the early morning hours of October 9, our community has been struck by devastating fires that have ripped through our neighborhoods in Northern California. Many of us experienced the damage of the fires firsthand, including 50 Sonoma State students, faculty, and staff who lost their homes. Our thoughts are with the many people who are impacted.
We are extremely thankful for the efforts made by the first responders, the care displayed by those who volunteered their time and resources, and the dedication shown by countless employees across the CSU system who came here from throughout the state to share their time and skills. Some GMC staff took part in the EOC efforts here on campus. Others volunteered countless hours at evacuation shelters across the region. Thank you for the grit and grace displayed in the midst of such devastation. We have never been more proud to be a part of the Sonoma State family.
Across the Sonoma State University Campus, our recovery efforts are all under the banner of #NomaCares. If you or someone you know would like to attend a concert at Sonoma State University's Green Music Center through the month of October, but have been impacted by the fires in any way, please know that money is not our primary concern. We seek to be a haven of peace in a time of deep hurt. All are welcome – pay as you can, come as you are. To access tickets, please use the promo code NomaCares.
For more information, visit https://gmc.sonoma.edu/post/3653993-10-18-together-we-will-move-forward
--Green Music Center, Sonoma State University
Community Music Center Benefit Concert Raising Money for Victims of Hurricane Maria, Mexico Earthquakes, and North Bay
CMC Faculty and Students will perform on November 3, 2017 at 7pm in a benefit for victims of Hurricane Maria, Mexico earthquakes and North Bay Fires. The concert will take place at the Community Music Center at 544 Capp Street (between 20th and 21st streets) in the Mission District of San Francisco.
The concert will feature several CMC performing ensembles including the CMC Cuban Charanga Ensemble directed by Tregar Otton; the Latin Vocal Workshop and Coro de Camara directed by Martha Rodriguez Salazar, CMC Children's Chorus directed by Beth Wilmurt and other performances by Allison Love Joy, CMC's Old Time Music Group featuring Erik Pearson, Tregar Otton and other CMC students and faculty.
100% of the proceeds will go to support victims of these disasters through the funds below:
Supporting Puerto Rican Communities in the Recovery from Hurricane Maria: https://connect.clickandpledge.com/w/Form/cb4a3c78-5694-4324-bead-42c8ad94c1bf
California North Bay Fires: Redwood Empire Food Bank: http://refb.org/
Mexico City Earthquakes: https://donate.omaze.com/mexico
Learn more about CMC at www.sfcmc.org
--Sylvia Sherman, Community Music Center
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 ofThe $ensible Soundmagazine 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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