Like Leonard Bernstein himself, there is absolutely nothing predictable about the music he wrote. None of the three amazing works Bernstein labeled as "symphonies" in any way resemble a conventional orchestral symphony.
Originally published on Fri September 20, 2013 10:06 am
Jessye Norman's commanding soprano voice makes her the quintessential operatic diva for many listeners. But she frequently draws inspirations from jazz: She ranks singers like Billie Holiday, Mabel Mercer and Sarah Vaughan high on her list of influences.
Ballet San Antonio is gearing up for their move into the Tobin next year, but first, there's this season.
"We start with Ben Stevenson’s 'Cinderella' and from there we go into 'The Nutcracker' with the San Antonio Symphony," says Ballet San Antonio’s Executive Director Courtney Barker. "We’re going to be having 'Firebird,' which is an exciting ballet with some mixed repertoire of contemporary works. And then finally we’re going to be doing a free community performance at La Villita."
Some of San Antonio's most able musicians play an instrument we all take for granted.
"I can't tell you how many people tell us how, that when they hear our a capella music, it is what they imagine Angels must sound like," said Copperleaf Quintet Artistic Director and singer Ruth Moreland.
Some of the group's new season, which begins September 29, will be performed primarily at the University of the Incarnate Word's Chapel of the Incarnate Word.
The year was 1982, I believe, when I first encountered the Brazilian conductor Isaac Karabtchevsky. He had come to guest conduct the Orquesta Filarmonica de la Ciudad de Mexico (Mexico City Philharmonic), of which I was a member. I have fond memories of the experience, especially the opening number of the concert, the “Overture to Der Freischutz” by Carl Maria von Weber. The orchestra loved playing for him and gave him terrific performances. I recall going out afterward with a group of musicians and Maestro Karabtchevsky, for drinks.
Camerata San Antonio begins its next season by taking the show on the road. The popular local Chamber Music ensemble made up of San Antonio Symphony players has been dazzling south Texas audiences for the last decade.
Ken Freudigman, who plays cello in the group, dropped by to talk about their coming programs, starting in Boerne and Kerrville.
"We have music from Benjamin Britten, Béla Bartók, we’re doing some music of Dvořák, Hugo Wolf, music of Brahms and Mendelssohn, all throughout the entire year," he said.
Speak of the Mexican pianist Maria Teresa Rodriguez and the topic quickly turns to her recordings of the solo piano music of Carlos Chavez. However, many will advise a more thorough exploration of her work, for she was said to have had a repertoire which included more than 400 pieces, including Maurice Ravel's "Le Tombeau de Couperin."
Pamela Armstrong (left) as Alice Ford and Heather Johnson as Meg Page in New York City Opera's production of <em>Falstaff. </em>The so called people's opera may have to cancel its upcoming season if fundraising falls short.<em></em>
Credit Carol Rosegg / New York City Opera
The U.S. premiere of<em> Anna Nicole </em>is set to open at the Brooklyn Academy of Music — BAM — on Sept. 17. Above, a 2011 performance of <em>Anna Nicole</em> at the Royal Opera House in London.
There are a lot of operas that end with heroines on their deathbeds, singing one glorious aria before they die. That's what happens at the end of Anna Nicole, the controversial new work that New York City Opera is presenting at the Brooklyn Academy of Music in September. But the company's artistic director and general manager, George Steel, says it could also be City Opera's last gasp.