Conductor Masaaki Suzuki 鈴木 雅明, trained in improvisation and infused with a reported Calvinist bent, delivered a refreshing slant on H + H’s hallowed Messiah tradition. The early-instrument contingent, chorus, and remarkable soloists covered themselves in glory at Symphony Hall Sunday. [continued]
Boston Early Music Festival’s virtuoso chamber ensemble treated us to a delectable evening of 17th-century-opera selections based on the Orfeo legend. The performance I heard Friday at Jordan Hall will repeat on Sunday at 3:00. [continued]
Christian Zacharias served as both superb conductor and pianist in a cleverly conceived amalgam of Brahms and Schumann with the BSO Friday. [continued]
In “The Voice of the Cello,” cellist Joseph Gotoff and pianist SangYoung Kim explored Romantic and late-Romantic tropes and impressions from vocal and vocalise transcriptions at St. John’s Episcopal Church for a moment of respite and warmth on Sunday. [continued]
“Now you know why I love to live in California,” said John Adams to this reviewer after the LA Phil Concert Saturday in Symphony Hall. [continued]
Watching and hearing a very satisfying production of Argento’s Postcard from Morocco in NEC’s Plimpton Shattuck Black Box Theater Friday felt surprisingly similar to seeing Samuel Beckett’s Waiting for Godot. [continued]
Stefan Jackiw joined Benjamin Zander and the BPYO for HIP Mendelssohn before the orchestra responded like true believers to Zander’s interpretation of Mahler’s First. [continued]
The resonant air came alive Saturday with the sound of Bach at First Church Cambridge as the Spectrum Singers counterpointed away with 16th-note ha-ha-has galore, including, in one long run, 120 iterations—just for the basses. [continued]
The ever-popular Tchaikovsky Violin Concerto, with the remarkable 18-year-old Swedish soloist Daniel Lozakovich, formed the centerpiece of this weekend’s concerts from Andris Nelsons and the Boston Symphony Orchestra at Symphony Hall Thursday. The three shorter pieces included “My River runs to thee . . . ,” Galina Gigorjeva’s 1999 Na iskhod (“On Leaving”) and Shostakovich’s single-movement Symphony No. 2 (To October). [continued]
As the Zukerman Trio, violinist Pinchas Zukerman, cellist Amanda Forsyth and pianist Angela Cheng filled the Concord Academy hall Sunday with estimable intimacy, egalitarianism, and collegiality. [continued]
A select, ad-hoc orchestra of volunteers inspired by cancer survivor Julie Scolnik played a moving benefit concert at Jordan Hall on Sunday. [continued]
Harvard University’s Blodgett Artists-in-Residence, the Parker String Quartet, gave an enthusiastic crowd a well-honed and oft-inspired selection of Mozart’s Hoffmeister quartet, Leon Kirchner’s first string quartet and Schubert’s “cello” quintet on Sunday. [continued]
Curtis on Tour brought its brilliant quartet in residence along with an illustrious faculty pianist to Rockport in company with Beethoven, Bright Sheng, and Franck. [continued]
Violinist Inmo Yang and pianist Sahun Hong offered diverse works for violin and piano at the Gardner this afternoon, sandwiching examples by three relatively unknown composers the stalwart sonatas of Beethoven and Schubert. [continued]
Renaissance Men’s “On This Island,” an hour-long musical exploration of those islands to the West of the European continent, in settings ranging from traditional to art-song, filled the Parish Hall for Late Night at Emmanuel last night. [continued]
Andris Nelsons’s BSO concerts this week pair Grieg’s Piano Concerto in A Minor (1868), Leif Ove Andsnes, soloist, with Mahler’s Fourth Symphony featuring the radiant soprano Genia Kühmeier. “No music on earth can compare with ours.” [continued]
President Dwight D. Eisenhower’s Executive Order 10450, condemning “sexual perversion,” which purged an estimated 1,200 federal employees accused of homosexual activity from the government in what is now known as the “lavender scare,” formed the backdrop of Gregory Spears’s Fellow Travelers. I attended the Boston debut yesterday. BLO’s run continues through Sunday and the Paramount Center. [continued]
The Terezin Music Foundation’s annual gala concert at Symphony Hall helped keep alive the memory and music of artists interned at the “model concentration camp.” [continued]
Anne Azéma led the musicians of the Boston Camerata in the lively and moving “Free America! Early Songs of Resistance and Rebellion” at Faneuil Hall Friday. [continued]
Sounding great in its 80th season, Masterworks Chorale gloried in Vivaldi at Sanders on Saturday under Kevin Leong, [continued]
Violinist Randall Goosby and pianist Zhu Wang took a turn at Ashmont Hill Chamber Music on Sunday with “pieces I love.” [continued]
Now that the publication embargo has lifted, it can be told. The BSO will present concerts, lectures, and performances of astonishing variety once again at its summer home of some 84 years. Readers can skip the commentary and go directly to the June 19th to August 30th season calendar HERE. A lot is also going on the Tanglewood Learning Institute too. Click HERE to find out what to think. Then take your time savoring, since tickets don’t go on sale until February 9th.
Ringo Star opens the popular offerings on June 19th, but the classical good news begins with BSO Music Director Andris Nelsons’s commitment to 12 appearances. Many predictable favorite artists and conductors return, and 22 make Tanglewood debuts.
According to the press release, the season highlights include an Andris Nelsons-led Act III of Tannhäuser, Paul Lewis performing all five Beethoven piano concertos, a weekend-long celebration of Isaac Stern on the 100th anniversary of his birth, a Boston Pops presentation of Star Wars: The Empire Strikes Back under the direction of Keith Lockhart, Film Night hosted by John Williams, Thomas Adès directing the 2020 Festival of Contemporary Music, and a Popular Artist series with Ringo Starr, Trey Anastasio, and Judy Collins and Arlo Guthrie. Alongside these programs taking place in the Koussevitzky Music Shed will be intimate chamber music and recital concerts in Ozawa Hall and engaging and thought-provoking activities in the Linde Center, which opened to great popular and critical acclaim in 2019 (see separate press release for 2020 Tanglewood Learning Institute programs here). Giants of the classical music field and beloved Tanglewood guest artists Emanuel Ax, Joshua Bell, Pamela Frank, Susan Graham, Leonidas Kavakos, Midori, Yo-Yo Ma, and Gil Shaham, as well as the talented musicians of the Tanglewood Music Center, the BSO’s famed summer music academy, which presents free and discounted concerts all summer long.
Berklee Silent Film Orchestra (BSFO) will perform its powerhouse score to the definitive, digital restoration of the 1925 silent movie The Phantom of the Opera at The Cabot in Beverly on Saturday, December 14, at 7:30 pm, following by a week its West-Coast premiere of this new pairing live at the San Francisco Silent Film Festival Day of Silents.
BSFO’s director Sheldon Mirowitz assigned a “reel” of the movie to each of seven of his top students after creating themes and motifs for characters and situations which all the composers will employ. In the new score, a soprano will sing Marguerite’s “Ballad” from Gounod’s Faust in direct sync with actress in the film; the “Jewel Song” as well as other portions of the opera will resound at the appropriate moments on the stage of the Paris Opera. Mirowitz’s breakthrough concept of letting the silent faces speak and sing led to the acclaimed BFSO scoring of Dreyer’s Passion of Jeanne d’Arc, which BMInt reviewed and discussed at length HERE and HERE. Imagine hiring lipreaders to transcribe the actors’ French, German, and Latin.
For tickets to see and hear Phantom in the beautiful, jazz-age Cabot click HERE.
Directed by Rupert Julian, The Phantom of the Opera stars Lon Chaney, Hollywood’s “Man of 1,000 Faces” as Erik, the horribly disfigured phantom who leads a menacing existence in the catacombs beneath the Paris Opera House. When Erik falls in love with a beautiful prima donna, the master musician kidnaps her and holds her hostage in his lair. One of the most discussed — and unnerving — films of all time, Phantom gets a turbocharged, new life from the 12-member Berklee Silent Film Orchestra’s spectacular, modern score. Click HERE to see a short clip from a version Mirowitz (and BSFO alumni Eren Başbuğ) directed last year in Istanbul, Turkey with a local orchestra.
How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep in our ears: soft stillness and the night
Become the touches of sweet harmony.
The dynamic performer, insightful voice teacher, and brilliant operatic interpreter ranged from Monteverdi to Brel, touching countless lives with his singing gifts and distinctive ability to teach his craft to others. His friends and colleagues will commemorate Richard Conrad in words and song at the Eliot Church of Newton, 474 Centre Street in Newton Corner, on Saturday, November 16th at 7:00.
Ralph Vaughan Williams’s Serenade to Music, his paean to 16 of his favorite singers, will highlight musical selections from Schumann, Rossini, Sullivan, Bellini, Mozart, Giuseppe Verdi, Weill, Gershwin, and Henry Bishop from a great number of musicians from his circle.
Pulitzer Prize winning composer, eminent Bostonian elder statesman, and celebrated pianist Yehudi Wyner will be playing his Concert Duo for Violin and Piano with violinist Daniel Stepner at the 14th-Annual Scholarship Benefit Concert for the Aston Magna/Brandeis Unaccompaied Bach Workshop at the Brandeis University Slosberg Music Center, Sunday, November 10 at 3pm. Founded in 1972 by Lee Elman and Albert Fuller, the Aston Magna Festival (Daniel Stepner, Artistic Director) is the oldest annual summer festival in America devoted to music performed on period instruments.
Wyner received us in his studio, through a garden of asters, among musical scores, books, photographs and memories.
Anne Davenport and Leon Golub: The relationship of a composer to his own work is a bit mysterious. A couple of weeks ago, you felt prompted to re-commune personally with your 14-minute piano solo Refrain of 2011. Did you uncover intentions, nuances or details that had remained latent to you when composing it? How transparent is a work to the composer from the start?
YW: That’s a profound question. The process of going back and really learning how to play it as I think it should be played was an arduous one. I had to work really hard to master a lot of the accuracy and technical detail, especially in the fast parts. In doing that, I really, I must say, I found myself feeling more and more convinced of its legitimacy and rightness. The other thing I discovered is that there were all kinds of small emendations, edits, revisions, details, notes here and there, a phrase here and there — but not much.
OK, Anne, you need to come clean. Boston Camerata’s November 8th Americana concert and CD celebration at Faneuil Hall seems to have a strange French accent on its Harmonia Mundi label. Do I detect foreign collusion?
Anne Azéma: (laughs) It’s certainly significant that there is so much interest abroad in a collection of very old American broadside ballads, fife and drum tunes, and patriotic calls to resistance of autocratic rulers. When we performed “Free America” at the invitation of Strasbourg, Boston’s sister city, three weeks ago, there wasn’t an empty seat to be seen in the Palais de la Musique et des Congrès. And the audience, including plenty of younger people, joined in loudly on the saucy refrain to “Yankee Doodle.”
I think that here at home we underestimate to what extent people in other countries celebrate and cherish that lofty “American Dream.” Right now people want to know if it still exists. Are we still n exceptional a role model for other lands? When we sing American songs of resistance and rebellion to a foreign audience, we are sending a message of reassurance about our beliefs in our homeland. Strasbourg is Boston’s sister city, thanks in large part to Charles Munch, and we continue to share something mutually important with its citizens.
Will you be singing and protesting about current events the way patriots have for two centuries at Faneuil Hall?
Well, yes and no. These beautiful, historical musical works make direct references to events that took place centuries ago, in Boston, New England, and elsewhere, roughly from the battle of Bunker Hill to the Abolitionist movement. What is amazing, however, is the constancy of certain themes or leitmotifs throughout our American history. Our forebears resisted, with all their being, tyranny and arbitrary abuse of power. So many of them struggled for inclusion and for racial justice – “All kindred, all colors…no nation or sect are rejected at all,” as the Shakers were singing, circa 1840. Americans were deeply allergic to the interference of foreign powers into our affairs, as Thomas Paine’s brilliant song text, “Liberty Tree,” underscores. And they constantly reaffirmed their birthright to freedom: “So guard your rights, Americans,” as the title song to the program exhorts us.
MassOpera’s concert performance of Dan Shore’s opera Freedom Ride, presented in collaboration with the Chicago Opera Theater (COT) this Sunday at 3:00 at the Strand Theater in Dorchester, sets the show in motion for its staged premiere production in February. Freedom Ride tells the story of one young black woman’s decision to join the civil rights movement as a freedom rider. COT Music Director Lidiya Yankovskaya will conduct an orchestra of 26, and NAACP Award-winner Tazewell Thompson will direct.
MassOpera’s cast includes Alicia Russell, Imani Francis, Fred C. VanNess, Ron Williams, Steven D. Myles, and Melynda Davis. General admission tickets of $20, are available through MassOpera.
Lidiya Yankovskaya, conductor for both MassOpera’s New Opera Workshop performance and the premiere of Freedom Ride with Chicago Opera Theater, sat down to interview composer, Dan Shore about the creation of his opera.
LY: Dan—I’ve known about Freedom Ride for about 5 years, but the opera has been in development for a long time. Could you speak about how this project came to be?
“this is our song; we still have to remember her songs and pray for her” From East Asia – Unforgotten Song November 16, 2019 | 8 p.m. Brandeis
Curated by a remarkable and visionary Korean musician named gamin, the upcoming concert will be as much ritual as it is performance. This evening will invite us to remember and honor the comfort women of occupied countries in East Asia who were forced into sexual slavery between 1932 and 1945. The Lydian String Quartet and skakuhachi player Adam Robinson will join gamin, and the video art of New York-based Chang-Jin Lee will add to the soundscape. At its heart, the concert will transform archived songs sung by survivors into tales of resilience, courage and strength in the face of suffering and injustice. In poignant irony, the music-making results in a beautiful yet heart-breaking paean not only for victims in the past, but also for all people who are suffering from injustice in the world.
I am an admirer of Korean gugak, both the elegant court music, and the deeply expressive folk genre. Over the years I have had the honor of listening to, learning from, and collaborating with a number of performers of this tradition. One of the most virtuosic, versatile and visionary is Gamin Kang, whose stage name is simply, gamin. She is a yisuja (master) of South Korea’s Important Intangible Cultural Asset No. 46 (piri and daechita), as well as one of the most celebrated contemporary performers on piri (a tiny, yet enormously powerful bamboo reed instrument), taepyeongso (another reed instrument, with a trumpet-like voice), and saengwhang (reed mouth organ).