The KPAC Blog features classical music news and analysis. From a detailed look at Wagner's masterpiece"Parsifal," to an inside look at the Latin Grammys, the KPAC Blog features writings about some of the music played on air as well as other interviews and essays about classical music.
The San Antonio Symphony is back with another offering for South Texans and this one a little out of the ordinary.
"The 'Halloween Spooktacular' is the first of the three family concerts," said Associate Conductor Akiko Fujimoto. "It is the weekend before Halloween, Sunday afternoon. We are featuring a piece called 'The Composer is Dead' and it sounds pretty spooky but it is actually a great whodunnit mystery piece with a narrator.
The San Antonio Chamber Choir begins its ninth season on October 20 with "Beginnings and Endings" at the Oblate School of Theology’s Immaculate Conception Chapel.
"We feature a wide range of music from the early Baroque music of Sweelinck with a Bach motet through Mahler, an Estonian composer of note, we go on to music of Britten and Holst, and we close with some wonderful spiritual arrangements by Moses Hogan." said Artistic Director Scott MacPherson.
The group's website says that one of the selections of the performance with leave listeners breathless.
San Antonio's First Presbyterian Church is known for its expansive music programs. Now, an event is set to honor former member Bess Hieronymus, who was also known as an accomplished music teacher and organ virtuoso.
"She had an international reputation," said John Silantien, director of choral activities at UTSA. "She would bring organ virtuosos down here and they would play duets together on the organ at UTSA."
A scene from the revival of Einstein on the Beach.
Credit Los Angeles Opera
The epic avant-garde opera Einstein on the Beach, a collaboration between composer Philip Glass, director Robert Wilson and choreographer Lucinda Childs, is being revived for the first time in two decades.
My first exposure to the music of Guiseppe Verdi came in high school. Fred Junkin, the director of the Victoria High School Band, chose Verdi's "Overture to La Forza del Destino" for one of our contest pieces. The drama of the piece stuck with me, such that as a professional musician and devoted listener to classical music, my heart still responds to Verdi's restless score.
Two hundred years ago today, in a small northern Italian village, a couple named Verdi — tavern owners by trade — welcomed the birth of a baby boy who would later change the face of opera forever. And, whether we recognize it or not, on the bicentennial of his birth, Giuseppe Verdi is still vital.
Originally published on Thu October 10, 2013 9:36 am
Close your eyes, and you may think that this is 1913. In the past few days, the classical music community has been set aflame by recent comments from three prominent male conductors who are — steel yourself — actually saying that women are not capable of standing on the podium.
In his operas, Giuseppe Verdi had a knack for empowering marginalized people — like the title character of Aida, who is an enslaved Ethiopian princess (played in this 2011 French production by American soprano Indra Thomas).
Two hundred years ago this week, Giuseppe Verdi was born in an Italian town midway between Bologna and Milan. On the occasion of his bicentennial, All Things Considered wanted to know what makes the great opera composer so enduring — why his work is still so frequently discussed and performed these two centuries later. The answer, says conductor and arranger John Mauceri, is that Verdi had a knack for making thorny topics accessible.