Music director – Jose Carlos Matos http://josecarlosmatos.com/ Sat, 01 Oct 2022 18:00:00 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://josecarlosmatos.com/wp-content/uploads/2021/05/cropped-icon-32x32.png Music director – Jose Carlos Matos http://josecarlosmatos.com/ 32 32 Music Director Candidate Paul Haas to Conduct “Still Points & Turning Worlds” with Guest Pianist Awadagin Pratt https://josecarlosmatos.com/music-director-candidate-paul-haas-to-conduct-still-points-turning-worlds-with-guest-pianist-awadagin-pratt/ Sat, 01 Oct 2022 18:00:00 +0000 https://josecarlosmatos.com/music-director-candidate-paul-haas-to-conduct-still-points-turning-worlds-with-guest-pianist-awadagin-pratt/

Paul Haas, the second nominee for the Winston-Salem Symphony Orchestra’s search for a new music director, will be guest conductor for the orchestra’s Classics Series concert “Still Points & Turning Worlds.”

Concerts on October 8 and 9 will highlight the music of Beethoven, Prokofiev and acclaimed contemporary composer Jessie Montgomery.






Pianist Awadagin Pratt has performed at the White House three times, including in November 2009, when he was one of four artists chosen to perform for First Lady Michelle Obama and President Barack Obama.


Winston-Salem Symphony, provided


Awadagin Pratt will return to Winston-Salem to perform Montgomery’s “Rounds” for piano and strings.

“In recent years, Montgomery has become one of the most prominent living composers, changing the face of American classical music and leveling the playing field for women and composers of color,” said the Winston-Salem Symphony. “Montgomery was influenced by the imagery and themes of TS Eliot’s evocative poem ‘Four Quartets’, which includes the line ‘At the fixed point of the revolving world’ and provides the title of the concert.”

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Jessie Montgomery

Montgomery


Winston-Salem Symphony, provided


“Rounds” is one of Montgomery’s most recent works and was created in collaboration with Pratt and premiered in March by Pratt and Hilton Head Symphony Orchestra.

E. Merritt Vale, president and CEO of Winston-Salem Symphony, said in a statement that the organization is thrilled to welcome its second music director nominee.

“We hope you will join us in the concert hall for some truly exciting music and that you will come to the various events throughout the week to meet Paul Haas, who is an innovative artist and an exciting conductor” , Vale said. “We’re relying on public input to choose our next musical director and would like to know what you think of his onstage and offstage presence!”

The concert

“Like Eliot’s poem about time standing still, the concert features music influenced by the winds of war, which have seemingly stopped the world again and again,” said the Winston-Salem Symphony.

The concert will open with Beethoven’s performance of Coriolanus as he prepares to besiege Rome and close with Prokofiev’s Fifth Symphony, an inspiring work written at the end of World War II.

“For me, it’s a program about war, basically, and the resilience of the human spirit that we see in the face of war,” Haas said.

He said the music is powerful, as well as amazing to direct and listen to.

“It really is some of the best music out there,” he said. “It really speaks to us and everyone can relate to it.”

Haas said that “Overture to Coriolanus”, op. 62, is a “breathtaking opening, but one that ends with that dark moment when Coriolanus dies. I put it there to get the audience in the right frame of mind for the rest of the program, to get us into the space where Prokofiev’s symphony can have the maximum impact.

As a conductor who loves surprises, Haas mentioned that the audience will have a musical surprise at this concert.

“It will be a great way for the public to get to know me,” he said.

The driver

Haas, a bandleader and composer, grew up in San Francisco, California, and now lives in New York with his family.







Paul Haas

Haas


Winston-Salem Symphony, provided


He started playing the violin in kindergarten and sang in the Grace Cathedral Choir as a boy soprano in San Francisco.

Haas is a graduate of Yale University and the Julliard School, where he received a master’s degree in orchestral conducting. He also studied opera conducting in Dresden, Germany at the Hochschule für Musik.

“I played instruments and sang in elementary school and high school, and started composing and arranging at the same time in high school,” Haas said. “I officially started directing at Yale University.”

Haas has been Music Director of the Symphony of Northwest Arkansas since 2010 and the Thunder Bay Symphony Orchestra since 2017.

He was at the start of a promising conducting career in 2006 when he conceived and produced a concert project called REWIND, “which was a reaction against the stuffy nature of standard classical music performance and featured performers surrounding the audience, sculptures hanging from the ceiling, and theatrical lighting design,” the Winston-Salem Symphony said in a statement.

The project was a success and prompted Haas to found Sympho, an organization devoted to creating and performing unusual programs in unusual places.

Haas said he had spent a lot of time attending orchestra concerts over the years, where he found the needs of the audience were not recognized.

“There’s a visual component to the performance,” Haas said. “There is a level of energy in the performance. I’ve always wanted concerts to take me with them. I wanted to be transported and carried from start to finish, so I started Sympho with REWIND as an experience… Can I create a concert experience where the audience was involved and engaged from the moment they entered the venue until he left? And that’s what I did. »

Over the past decade, 15 commissions have come from a variety of venues, including Park Avenue Armory and Rubin Museum of Art in New York, Grace Cathedral in San Francisco, Anchorage Museum of Art in Alaska, and Fay Jones School of Architecture and Design in Arkansas. .

“I have been commissioned by many different places and organizations to bring their spaces to life,” Haas said. “I guess I kind of became a performance artist that way.”

Haas said his greatest strength as a bandleader is “my love of music and my joy in sharing that love with other people, whether it’s the musicians on stage with me or the audience members and anyone else. I have a big heart and I like to share it.

He added, “I’m a skilled musician with a lot of experience in playing, conducting and writing. I love being able to share all of this with everyone in the room. And my experience as a composer on several occasions is a great help as a conductor because I approached music as a creator, a conductor and a performer at the same time. I see it from all sides. »

Haas heard performances by the Winston-Salem Symphony Orchestra on videos.

“It’s an amazing orchestra, and I’m so excited to come, get to know the musicians in the orchestra, work with them, and make amazing music together,” he said.

While visiting Winston-Salem in the spring for his interview as a semi-finalist for the position of music director, Haas said he had a fantastic time.

“I was totally overwhelmed by everything that was going on at Winston-Salem,” he said. “It’s beautiful. I’m totally into nature and growing things, so I was mesmerized by all the trees and the tech district.

He said he got to see some great and fun places to perform outdoors in the city.

Haas is also a farmer and has around 200 trees growing in two orchards.

“And I garden and I have chickens,” he said.

Guest pianist

Born in Pittsburgh, Pratt began studying piano at age 6. At 16, he entered the University of Illinois, where he studied piano, violin and conducting.

He then enrolled at the Peabody Conservatory of Music, where he became the first student to receive degrees in three areas of performance – piano, violin and conducting.

In 1992 Pratt won the Naumburg International Piano Competition and received an Avery Fisher Career Fellowship two years later. Since then he has performed at Lincoln Center, Kennedy Center, Dorothy Chandler Pavilion, Orchestra Hall Chicago, New Jersey Performing Arts Center and many more. He has performed with orchestras across the United States, toured Japan four times, and performed in Germany, Italy, Switzerland, Poland, Israel, Colombia, and South Africa. He is also a faculty member of the Eastern Music Festival.

He has performed at the White House three times, including in November 2009, when he was one of four artists chosen to perform for First Lady Michelle Obama and President Barack Obama.

Haas said he met Pratt years ago when they both conducted at the National Conducting Institute hosted by the National Symphony Orchestra.

“I can’t wait to see him again,” Haas said. “He’s a wonderful human being and obviously a great artist.”

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Carnegie Hall and WQXR will present the 12th season of “Carnegie Hall Live” with the São Paulo Symphony Orchestra and more https://josecarlosmatos.com/carnegie-hall-and-wqxr-will-present-the-12th-season-of-carnegie-hall-live-with-the-sao-paulo-symphony-orchestra-and-more/ Thu, 29 Sep 2022 02:35:47 +0000 https://josecarlosmatos.com/carnegie-hall-and-wqxr-will-present-the-12th-season-of-carnegie-hall-live-with-the-sao-paulo-symphony-orchestra-and-more/

WQXR and Carnegie Hall unite to present the 2022-2023 season of Carnegie Hall Live, a series of live concert broadcasts, hosted by WQXR’s Jeff Spurgeon and WNYC’s John Schaefer.

The season opens Thursday, September 29 at 7 p.m. ET with the Carnegie Hall Opening Gala Performance of the Philadelphia Orchestra conducted by Yannick Nézet-Séguin. The evening features acclaimed pianist Daniil Trifonov as a soloist, performing Liszt’s Piano Concerto No. 1. Also on the program, La Valse de Ravel, “Chasqui” by Leyendas: An Andean Walkabout by Gabriela Lena Frank and Symphony No. 8 by Dvořák.

Other highlights of the season include the São Paulo Symphony Orchestra making its Carnegie debut with honorary conductor Marin Alsop, harmonica master José Staneck and the São Paulo Symphony Choir in a program of works by Brazilian composer Heitor Villa-Lobos; the Berliner Philharmoniker with conductor Kirill Petrenko performing Mahler’s Symphony No. 7; the Vienna Philharmonic Orchestra and conductor Christian Thielemann; pianist Mitsuko Uchida and the Mahler Chamber Orchestra performing Mozart and Schoenberg; Susanna Mälkki conducts the Helsinki Philharmonic Orchestra with flautist Claire Chase, and many others.

All live shows from Carnegie Hall are broadcast locally on New York’s only classical music station, WQXR 105.9 FM, and on demand on wqxr.org and carnegiehall.org/wqxr. Additionally, the series airs on public radio stations across the country throughout the year. The full WQXR broadcast schedule is listed below.

“It’s an honor to once again partner with Carnegie Hall to bring live music to the hearts and ears of music lovers everywhere,” said Ed Yim, Chief Content Officer, WQXR. “For its 12th season, we are proud to present a global collection of artists and musicians from the Carnegie Hall stage to audiences across the city and around the world, and to shine a light on the eclectic and diverse scene that is New York.”

“Carnegie Hall’s 2022-2023 season features superb programs from the greatest artists of our time, ranging from early music to the latest works written today,” said Clive Gillinson, Executive and Artistic Director of Carnegie Hall. “We are excited to share the best in live music with listeners around the world through our continued partnership with WQXR.”

UPCOMING LIVE STREAMING PROGRAM

Thursday, September 29, 2022 at 7:00 PM

The Philadelphia Orchestra

Yannick Nézet-Séguin, musical director and conductor

Daniil Trifonov, Piano

RAVEL The Waltz

LISZT Piano Concerto No. 1 in E flat major

GABRIELA LENA FRANK “Chasqui” by Leyendas: an Andean walk

DVOŘÁK Symphony No. 8

Friday, October 14, 2022 at 8:00 PM

São Paulo Symphony Orchestra

Marin Alsop, Honorary Conductor

Jose Staneck, Harmonica

The São Paulo Symphony Choir

NIKOLAÏ RIMSKI-KORSAKOV Scheherazade, op. 35

HEITOR VILLA-LOBOS Preludio de Bachianas Brasileiras No. 4

HEITOR VILLA-LOBOS Concerto for Harmonica

HEITOR VILLA-LOBOS Chôros n°10

Wednesday, October 26, 2022 at 8:00 PM

Los Angeles Philharmonic

Gustavo Dudamel, musical and artistic director

Anne Akiko Meyers, violin

GABRIELA ORTIZ Kauyumari (New York premiere)

ARTURO MÁRQUEZ Fandango for violin and orchestra (premiere in New York)

AARON COPLAND Symphony No. 3

Thursday, November 10, 2022 at 8:00 PM

Berlin Philharmonic

Kirill Petrenko, conductor

G. MAHLER Symphony No. 7

Thursday, November 17, 2022 at 8:00 PM

(Originally recorded October 13, 2022)

Virtuoso Sphinx

Amaryn Olmeda, violin

Hannah White, violin

Tommy Mesa, cello

Xavier Foley, bass

VILLA-LOBOS Bachianas brasileiras n°9

VALERIE COLEMAN Tracing Visions (New York premiere, co-commissioned by Carnegie Hall)

CARLOS SIMON Between the worlds

JESSIE MONTGOMERY Divided (New York premiere, co-commissioned by Carnegie Hall)

XAVIER FOLEY An Ode to Our Time (World Premiere)

BEETHOVEN Finale from Sonata for Violin and Piano No. 9 in A major, Op. 47, “Bridgetower” (arr. for string orchestra by Rubén Rengel)

Thursday, December 1, 2022 at 7:30 PM

Brentano String Quartet

Mark Steinberg, violin

Serena Canin, Violin

·· Misha Amory, viola

Nina Lee, cello

HAYDN String Quartet in B flat major, op. 33, No. 4

BARTÓK String Quartet No. 5

FANNY MENDELSSOHN String Quartet in E flat major

Wednesday, January 18, 2023 at 8:00 PM

The Cleveland Orchestra

Franz Welser-Möst, musical director and conductor

Joelle Harvey, Soprano

Daryl Freedman, mezzo-soprano

Julian Prégardien, tenor

Martin Mitterrutzner, tenor

Dashon Burton, bass

The Cleveland Orchestra Chorus

Lisa Wong, choir director

BERG Lyric Suite

SCHUBERT Symphony No. 8, “Unfinished”

SCHUBERT Mass No. 6 in E flat major, D. 950

Friday, February 3, 2023 at 8:00 PM

Anne-Sophie Mutter, violin

Virtuoso Whispers

VIVALDI Concerto in B minor for four violins, strings and basso continuo, RV 580

UNSUK CHIN Gran Cadenza for two violins (premiere in New York)
SAINT-GEORGES Violin Concerto in A major, Op. 5, No. 2

VIVALDI The Four Seasons

Friday, March 3, 2023 at 8:00 PM

Vienna Philharmonic Orchestra

Christian Thielemann, conductor

ARNOLD SCHOENBERG Verklärte Nacht, Op. 4

RICHARD STRAUSS Eine Alpensinfonie, op. 64

Thursday, March 9, 2023 at 8:00 PM

Mahler Chamber Orchestra

Mitsuko Uchida, piano and director

WOLFGANG AMADEUS MOZART Piano Concerto No. 25 in C major, K. 503

ARNOLD SCHOENBERG Kammersymphony No. 1, Op. 9

WOLFGANG AMADEUS MOZART Piano Concerto No. 27 in B flat major, K. 595

Tuesday March 28, 2023 at 7:30 p.m.

Concerto Cologne

Jeanine De Bique, Soprano

Mirrors

GEORGE FRIDERIC HANDEL Sinfonia of Partenope, HWV 27

CARL HEINRICH GRAUN “Laughing solver non oso” by Rodelinda

GEORGE FRIDERIC HANDEL “Ritorna, o caro e dolce mio tesoro” by Rodelinda, HWV 19
LEONARDO VINCI Sinfonia of Partenope

CARL HEINRICH GRAUN “L’empio rigor del fato” by Rodelinda

GEORGE FRIDERIC HANDEL “Ah, mio ​​cor!” by Alcina, HWV 34

HANDEL “Ballo: Entry of pleasant dreams” by Alcina

HANDEL “Ah, Ruggiero rawl” by Alcina

HANDEL “Ombre pallid” by Alcina

HANDEL Suite by Rodrigo

MANNO “Chi può dir che rea son io” by Achille in Sciro

HANDEL “M’hai resa infelice” by Deidamia

HANDEL Sonata in G major, op. 5, No. 4, HWV. 399

HANDEL “Che sento? Oh dio! … Se pietà di me non sent” by Giulio Cesare

HANDEL “Ballo: Entry of Frightened Pleasant Dreams – Combat of Funereal and Pleasant Dreams” by Ariodante

CH GRAUN “Tra le procelle assorto” by Cleopatra and Cesare

Tuesday, May 9, 2023 at 8:00 PM

Helsinki Philharmonic Orchestra

Susanna Mälkki, conductor

Claire Chase, flute

JEAN SIBELIUS “Le retour de Lemminkäinen” excerpt from the Suite de Lemminkäinen, op. 22

KAIJA SAARIAHO Dream Wing

JEAN SIBELIUS Symphony No. 2 in D major, op. 43

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Halloween Stage Fright Cabaret on the Apollo Stage for the first time | Journal-news https://josecarlosmatos.com/halloween-stage-fright-cabaret-on-the-apollo-stage-for-the-first-time-journal-news/ Tue, 27 Sep 2022 03:00:00 +0000 https://josecarlosmatos.com/halloween-stage-fright-cabaret-on-the-apollo-stage-for-the-first-time-journal-news/

MARTINSBURG— A new Halloween event is coming to downtown Martinsburg this fall.

Stage Fright Cabaret will be presented this weekend at the historic Apollo Civic Theater. The shows will take place at 8 p.m. on Thursday, Friday and Saturday and at 2:30 p.m. on Sunday.

Heather Lee Perry, Artistic Director of the Apollo Theater, is the show director and Zane Oberholtzer is the musical director. The team is thrilled to bring the Stage Fright Cabaret to downtown Martinsburg – a show that will bring a unique twist to the Halloween spirit.

Perry said she is most looking forward to bringing a unique selection of music to audiences and showcasing local talent.

“It will definitely get people into the spirit of Halloween and the spirit of autumn,” she added. “The musical selections are spooky, familiar songs that people associate with the season, with a few surprises. We don’t do cabarets often, and there’s a variety of songs, so there’s something for everyone on this show.

She also added that one aspect of the show will include many young and up-and-coming artists performing for the audience.

“This is the first time we’ve done a Halloween-themed cabaret. We don’t often do cabarets, but it seemed like the perfect season to have one. We have a group of young people who have really stepped up to do this,” said Aubrey Ervin, Apollo program director.

The show will feature songs from popular movies and Broadway shows.

“There will be spooky, wicked songs that will get you into the Halloween spirit,” Perry said.

Stage Fright Cabaret is rated PG-13, according to the website.

The Apollo Civic Theater is located at 128 E. Martin Street in Martinsburg. Tickets can be purchased online at https://apollocivictheatre.org/apolloween.

Several other Halloween events will take place at the Apollo Theater in the coming weeks. For more information, visit the Apollo Theater Facebook page or its website at https://apollocivictheatre.org.

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Bach angles, rounds, a toast! https://josecarlosmatos.com/bach-angles-rounds-a-toast/ Sat, 24 Sep 2022 15:27:37 +0000 https://josecarlosmatos.com/bach-angles-rounds-a-toast/

Something of a party on BSO’s opening night delighted the masses of music lovers with a convenient new start time of 7:30 am on Thursday nights at Symphony Hall. American pianist Awadagin Pratt made his BSO debut in the work of American composer Jessie Montgomery Sleeves wrote for him, and he oriented Bach according to his own muse. Music director Andris Nelsons started with the music, celebrating it late with a fanfare from BSO favorite John Williams. The closest, Holst’s popular Interplanetary Orchestral Expedition, once again reminded us of the music from the Star Trek movie.

Especially for the brass, the three minutes of Williams A toast! (2014) would add little to the band’s repertoire. Being a marching band, if the brass had been standing rather than seated, that, at least, would have given some visual satisfaction. The brilliance of the BSO’s horns contrasted refreshingly with a small contingent of strings, though this section of the orchestra, by comparison, sounded surprisingly bland for the most part. Attention has therefore focused primarily on soloist Awadagin Pratt in JS Bach’s Piano Concerto in A major, BWV 1055.

More precisely, as is often the case with JS Bach, the approaches offer us an immense range of understandings, from period recreations to escapes, from harpsichord to piano. Although the 56-year-old Pratt has traveled extensively, performing several times in Boston, he is likely a newcomer to many.

Jessie Montgomery and pianist Awadagin Pratt (photo Aram Boghosian))

What brings this pianist to so many places, from the White House to Sesame Street, could very well be an American artist following his own muse. Some might quarrel with details; others might find Pratt’s muse taking longer, deeper breaths. The heaviest BSO strings would ultimately shine a light on Pratt’s formidable, seasoned, individualized and brooding playing. If the string section lacked effect, it allowed Pratt to have even more emotional reach. Towards the end of the Larghetto, his phrasing tugged at the heartstrings. Other “investigations” like this have brought a personal and inspiring perspective to Bach, expanding our own.

Appearing onstage, Jessie Montgomery introduced Sleeves, which she wrote for two years in collaboration with Pratt. Montgomery dedicated the performance of this true musical offering to his late mother who “lived just down the street for 15 years.”

Montgomery further compared his work to Row, Row, Row Your Boat, drawing grateful laughs. Or, she continued, you could follow along thinking of the migration of birds, their departure and their return. Pratt joined a full set of BSO strings, now colorized, responding to this finely and imaginatively created 15-minute work. Departing from the timid, mental calculations of so much new music these days, Montgomery and Pratt clung to our human nature – away from that overthinking! Instead, we encountered a natural admitting both genuine benevolence and generous optimism. Together, composer and pianist deeply touched a nerve long numbed by the contemporary music scene.

Nelsons utterly amazed with an array of gestures meshed with The Planets countless movements. In good spirits, Nelsons turned to English composer Gustav Holst, initially appearing somewhat like the Hulk. Bent over, the BSO conductor unleashed a veritable Bringer of War—Mars. When was the last time we heard our venerable orchestra in such extremes? Deafening explosions near the ear in Mars and Jupiter, and later to a real pianissimo on the way out.

In Neptune, the Mystic, the mute chorus of a dozen sopranos and altos from the Lorelei Ensemble (Beth Willer, artistic director), could be heard from somewhere outside the hall. But from where? Finally, their ethereal voices drift incredibly towards silence.

David Patterson, music teacher and former chair of the performing arts department at UMass Boston, received a Fulbright Scholar Award and the Chancellor’s Distinction in Teaching Award. He studied with Nadia Boulanger and Olivier Messiaen in Paris and holds a doctorate from Harvard University. He is the author of 20 small piano pieces from around the world (G. Schirmer). www.notescape.net
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A Resounding Coda: The Queen’s Funeral Music Was Both Solemn and Sublime | Music https://josecarlosmatos.com/a-resounding-coda-the-queens-funeral-music-was-both-solemn-and-sublime-music/ Mon, 19 Sep 2022 23:09:00 +0000 https://josecarlosmatos.com/a-resounding-coda-the-queens-funeral-music-was-both-solemn-and-sublime-music/

Jhe Queen’s state funeral was an affair of musical contrasts. Outside in the streets echoed the bagpipes, the ringing bells, the massed orchestras, the solemn stampings and marches of Beethoven, Chopin and Mendelssohn, as huge processions snaked slowly through London. Inside Westminster Abbey, the pomp was tempered by reflections on long life and reign, mingled with British choral music from the 17th century to the present, sung by the Westminster Abbey Choirs and the Chapel Royal at St James’s Palace, led by Abbey Music Director James O’Donnell.

As one might expect, the continuity of tradition weighed heavily on the event. The content of the Haunting Phrases, sung during the introduction of the coffin into the Abbey, has remained unchanged for royal and national funerals since the 18th century; their composer was William Croft, then abbey organist, although out of respect for his great predecessor, Henry Purcell, Croft also retained from the latter Thou Knowest, Lord, the Secrets of our Hearts, written for the funeral of Mary II in 1695.

Thereafter hymns, psalms, hymns and organ music are a matter of choice. Hymns included The Lord’s My Shepherd, I’ll Not Want, a favorite of the Queen and sung at her wedding, while Vaughan Williams’ O Taste and See was written for her coronation. One of the hymns, My Soul There Is a Country, featuring poems by Henry Vaughan, is taken from Songs of Farewell by Hubert Parry, one of the king’s favorite composers. The organ music before the service, performed by Peter Holder and Matthew Jorysz, paid homage to former masters of Kings’ or Queen’s music, including Elgar, Malcolm Williamson and Peter Maxwell Davies, while the Fantasy in C Bach’s minor, a bit offbeat from the rest of it all, formed the voluntary recession.

There was also, however, new music: a setting of part of Psalm 42, As the deer desires the streams, by Judith Weir, the king’s current master of music; and James MacMillan’s hymn That Will Sever Us from the Love of Christ. Weir’s psalm is startlingly beautiful, as the slowly changing chords and harmonies suggest the soul’s yearning for God in contemplation of eternity. MacMillan’s composition is in some ways more volatile, his anthem opening with upper vocals soaring above a sustained bass hum, before the music escalates into a sequence of ecstatic hallelujahs and comes to a standstill. on a quiet Amen. Both pieces deserve to be heard beyond their immediate context.

Of course you couldn’t fault anything else. Sacred music often sounds best when sung by choirs performing it in an ecclesiastical setting throughout the liturgical year. The Phrases were touching (hard not to be moved by the Purcell), the hymns wonderfully focused and mastered. Too much of the organ music at the start was either obscured by TV commentary or disappeared completely when the cameras cut out, although Holder’s Bach playing at the end is beautifully imposing and dark.

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Arts scene: Tulsa Symphony opens the season with a gala | Arts & Theater https://josecarlosmatos.com/arts-scene-tulsa-symphony-opens-the-season-with-a-gala-arts-theater/ Sun, 18 Sep 2022 05:00:00 +0000 https://josecarlosmatos.com/arts-scene-tulsa-symphony-opens-the-season-with-a-gala-arts-theater/

The Tulsa Symphony Orchestra will open its 2022-23 season in style with a gala pre-concert on Saturday, September 24, featuring acclaimed pianist Natasha Paremski and guest conductor Marcelo Lehninger.

The concert, which begins at 8 p.m. at Tulsa PAC, 101 E. Third St., will feature Paremsky as the soloist in Rachmaninoff’s Piano Concerto No. 2, one of the most popular works in the repertoire.

Paremski, a Moscow native who immigrated to the United States as a youth, made her professional debut at age 9 and, at 15, performed as a soloist with the Los Angeles Philharmonic Orchestra. and made two recordings with the Moscow Philharmonic Orchestra.

Since then, she has performed with major orchestras around the world, earning accolades for what one British critic called her “spirited and broadly dynamic” playing.

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Chicago Tribune music critic Howard Reich said of a 2018 rendition of Rachmaninoff’s Piano Concerto No. 3: “At the heart of it all, however, was Paremsky’s idiomatic flair for the way Rachmaninoff must be played – with both quick gestures and a well-defined melodic profile. , all in the middle of note handles.

In addition to her concert and chamber work, Paremski was recently named Artistic Director of the New York Piano Society; was featured in a documentary series about Tchaikovsky, produced by the BBC and filmed on location in Saint Petersburg, Russia; and collaborated on “Twin Spirits”, a theatrical project starring Sting and Trudie Styler, written and directed by John Caird, the original director of “Les Miserables”, which explores the music and letters of Robert and Clara Schumann.

Guest conductor Lehninger, former associate conductor of the Boston Symphony Orchestra and current music director of the Grand Rapids (Mich.) Symphony, will lead the orchestra in the prelude to Act III of Wagner’s opera “Lohengrin” and Symphony No. ° 5 by Shostakovich.

Tickets for the concert cost between $20 and $75. To purchase: 918-596-7111, tulsapac.com.

Prior to the concert, the Tulsa Symphony will host a gala in the Tulsa Ballroom at the Hyatt Regency, 100 E. Second St., which will include a cocktail reception and seated dinner with a menu created by Chef Justin Thompson; entertainment from local pianists Cathy Venable, Amy Cottingham and Paul Sweet; priority seating at the concert; a champagne reception at intermission; and a post-concert lounge.

Tickets for the gala evening are $250 per person; sponsorships are available. To purchase and more information: my.tulsasymphony.org/donate/i/openingnightxvii

for ‘Tulsa sings!’The Tulsa Community College Signature Symphony is accepting video auditions for its annual vocal competition “Tulsa Sings!” until October 3.

Those wishing to audition for the competition will need to complete an online entry form and submit a short video of a vocal performance. For those worried about their skills at capturing themselves on video, the winner of the first “Tulsa Sings!” competition, Allison Walden, submitted an audition video she performed on her cell phone while sitting in her car.

Finalists will be selected to work with New York-based singer and concert performer Scott Coulter and perform on stage with the professional orchestra and participate in the “Tulsa Sings!” American Jukebox concert on April 8.

“This is one of the most incredible opportunities to shine the spotlight on local talent,” said Scott Seaton, Artistic Director of Signature Symphony. “We want to be a musical conduit for our community, and I can’t think of a better way to invite members on stage to sing alongside our world-class musicians and Scott Coulter, one of Canada’s greatest singers. honored in New York.”

For all the details, registration information and rules: signaturesymphony.org.

comes to TulsaGlobal storytelling nonprofit The Moth, the team behind the Peabody Award-winning Moth Radio Hour, has selected Tulsa for the launch of The Moth Pop-Up Porch, to be held in Tulsa from September 21 to 25.

The Moth Pop-Up Porch is a purpose-built tiny house with a large porch that will be traveling to Tulsa, Dallas, Jackson, New Orleans, Birmingham, and Atlanta over the next few weeks to uncover diverse new stories and bring them to… scenes around the world. and, ultimately, to listeners of The Moth Radio Hour and The Moth Podcast.

The Pop-Up Porch will be set up from 11 a.m. to 7 p.m. Wednesday through Thursday, September 21 and 22, at Guthrie Green, 111 E. Reconciliation Way; and 11 a.m. to 7 p.m. Friday through Sunday at The Gathering Place, 2650 S. John Williams Way.

Attendees will have the opportunity to meet directors, instructors and producers of Moth stories, learn how to create and present stories, collaborate with other storytellers and pitch ideas to the Moth team. The Moth. Storytellers will also be available to work with and listen to local storytellers.

Additionally, Magic City Books, 221 E. Archer St., will host a book signing at 2 p.m. on Saturday, September 24, with Jennifer Hixson, Senior Manager and Host of Moth Radio Hour to celebrate “How to Tell a Story: The Essential Guide of the memorable narration of The Moth”; and Living Arts of Tulsa will host a Moth StorySLAM, at 7 p.m. on Thursday, September 22, at the Living Arts Space, 307 E. Reconciliation Way.

“We are thrilled to launch The Moth Pop-Up Porch in Tulsa,” said Catherine Burns, Artistic Director of The Moth. “Inspiration for The Moth came in part from friends and family coming together to share stories, as moths that had found their way through the holes in screens fluttered around in the glow of the Porch Light This experience of connection and warmth is what we aim to recreate with the first Moth Pop-Up Porch.

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Camerimage will pay tribute to music video director Hype Williams https://josecarlosmatos.com/camerimage-will-pay-tribute-to-music-video-director-hype-williams/ Thu, 15 Sep 2022 07:01:00 +0000 https://josecarlosmatos.com/camerimage-will-pay-tribute-to-music-video-director-hype-williams/

EnergaCamerimage, the film festival focused on cinematography, will crown director Hype Williams with its award for achievement in music video. The annual festival, celebrating its 30e edition, will take place from November 12 to 19 in Torun, Poland.

Williams has collaborated with a who’s who of top artists and bands including The Notorious BIG, 2Pac, Missy Elliott, Nicki Minaj, Mary J. Blige, Busta Rhymes, Jay-Z, Dr. Dre, Beyoncé, DMX, Pharrell Williams, Kanye West, Mariah Carey and Jennifer Lopez. He will be present at Camerimage to receive the award.

Having worked at the forefront of hip-hop and global pop culture since the late 1980s, Williams has also created multiple photography and advertising campaigns in the fashion world, such as Love Advent, Conde Nast publications, Marc Jacobs and Marc Jacobs Beauty. He also did the cover for the September 2017 fashion issue of In Style magazine.

Williams is the winner and nominee of awards from entities such as the Grammys, Billboard Music Awards, NAACP Image Awards, BET Awards and MTV Awards.

Williams’ versatile style is of particular interest to cinematographers, which includes fisheye lenses, split screens, aerial and tracking shots that move in multiple directions, slow motion and deep focus.

(Photo credit: Hype Williams)

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SAU Theater launches “A year with frog and toad” | local entertainment https://josecarlosmatos.com/sau-theater-launches-a-year-with-frog-and-toad-local-entertainment/ Sun, 11 Sep 2022 14:48:00 +0000 https://josecarlosmatos.com/sau-theater-launches-a-year-with-frog-and-toad-local-entertainment/

The Southern Arkansas University Theater Department opens its 2022-2023 season with “A Year with Frog and Toad,” at the Harton Theater September 22-25.

The theater department will be providing a free performance of “A Year with Frog and Toad” on Family Day this year.

Based on Arnold Lobel’s children’s books, “A Year with Frog and Toad” follows two best friends – the cheerful and popular frog and the rather grumpy toad – through four fun seasons. Audiences will see familiar stories such as “Shivers”, “Cookies” and “The Letter” come to life.

The musical production, directed by Janet Rider-Babbitt, executive director of the Magnolia Arts Center, lasts approximately one hour. Performances will be at 6:30 p.m. on September 22 and 23, at 11 a.m. on Saturday September 24 and at 2 p.m. on Sunday September 25.

Michael Womack is the musical director. Amber Micheals is the choreographer.

Tickets will be available for purchase at the door or online. General admission tickets are $10, $7 for SAU faculty, staff, and seniors, and $5 for children 12 and under and SAU students.

CLICK HERE to order your tickets online.

http://www.showtix4u.com

For more information, call 870-235-4263 or email theatre@saumag.edu.

CAST

Frog: James Taylor

Toad: Ben Gessleman

Male: Audra Tibbit

Woman 1: Amber Gantt

Woman 2: Mykala Clark

Woodland Creatures: Peaches Amos, Carmelo Brown, Kristella Kemp, Jerriah Brown, Gracie Silvis

Swings: Dalton Hale, Summer Shipp

CREW

Director: Janet Rider-Babbitt

Assistant Director and Stage Manager: Elizabeth McKee

Assistant Coach: Payge Creed

Production manager and technical director: Imma Curl

Music Director: Michael Womack

Choreographer: Amber Michael

Lighting Designer: Brian Lee

Sound designers: Ben Culp and Joe Horvath

Costume designers: Imma Curl and Danielle Hawkins

Hair and makeup artist: Amber Gantt

Prop Designer and Dramaturg: Audra Tibbitt

Scenic Artist Charge: Jocelyn Parsons

Scenographers: Rylee Creed and Dalton Hale

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Music video director Lumba dies suddenly at UHWI https://josecarlosmatos.com/music-video-director-lumba-dies-suddenly-at-uhwi/ Sun, 04 Sep 2022 18:31:08 +0000 https://josecarlosmatos.com/music-video-director-lumba-dies-suddenly-at-uhwi/

Popular Music Video Director, Tevin ‘Lumba’ Taylor. (Picture: Contribution)

ST ANDREW, Jamaica – The dancehall music fraternity mourns the sudden death of famed music video director, Tevin ‘Lumba’ Taylor of Blacq Road Media Films. Taylor died suddenly on Sunday morning after falling ill hours earlier.

“Right now it’s a big personal tragedy for me, he’s one of my favorite cousins, and knowing he just left makes it hard to deal with me, I don’t even call my aunt yet because I don’t even know what I’m going to say to her,” dancehall artist Miguel Wealthy, a cousin of the deceased, told OBSERVER ONLINE.

According to reports, Lumba had ordered chicken from a popular jerk chicken vendor in St Andrew. He would have fallen ill a few hours later. He reportedly suffered from diarrhea and vomiting and was taken to Kingston Public Hospital. The doctors made a referral for him to be transferred to the University Hospital of the West Indies (UHWI). Lumba reportedly suffered cardiac arrest while at UHWI and died around 3 a.m. Sunday morning.

“Mi really cut, and it shook a lot of artists because he shot a lot of great videos for them,” said Miguel Wealthy.

Lumba would have turned 29 next month.

He shot videos for songs such as ‘Freaky Gal’, ‘Caution’ and ‘Bubble’, for Miguel Wealthy.

“It’s a great loss for the music industry,” said Miguel Wealthy.

Lumba has also shot music videos for singles such as Nation Boss’ Solidarity and Dream, “Pain” for Silk Boss, “Love Shoot” for Skillibeng, “Feel Secure” by Kash, and “Garrison Above” for Chronic Law.

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My projects for the Academy of Early Music https://josecarlosmatos.com/my-projects-for-the-academy-of-early-music/ Fri, 02 Sep 2022 05:00:00 +0000 https://josecarlosmatos.com/my-projects-for-the-academy-of-early-music/

Academy of Ancient Music has unveiled plans for its new Cambridge series, following the success of its inaugural season under music director Laurence Cummings.

The orchestra will present a year-long exploration of the environment and our place in it, titled “The Voice of Nature”.

musical director of the Academy of Early Music. Photo: Robert Workman” data-root=”/_media/img/” data-path=”ZWJBBUMTZ10FVVNY1TMG.jpg” data-ar=”1.50″/>
Laurence Cummings, musical director of the Academy of Early Music. Photo: Robert Workman

“The wonderful thing is that even last year, my first year in the job, John McMahon and I were able to put together exactly the season we wanted,” Laurence says.

“Normally, when you take on an organization, you inherit a series of concerts that have already been planned because that’s the nature of planning. But of course, because everything was so uncertain with the pandemic, we were able to put together whatever we wanted. So we feel like we’ve already established a consistent season.

“After the pandemic, we realized that we musicians had missed the audience as much, if not more, than the audience had missed the musicians. It’s so symbiotic and this wonderful convection current that you get in the concert hall.

“We performed several concerts online at the West Road Concert Hall without an audience and were thrilled to play, but it was also quite scary.

“There’s something about having someone pretty close to you, absorbing what you’re playing. It’s a gift from us to the public, and their gift to us is their presence. So it’s nice to have that and to remember how important that communication and that relationship is.

He explains that he’s noticed the music has a “healing” effect on listeners during the pandemic and he wants everyone to have access to it and be able to enjoy this series – even if they’ve never heard the music previously.

Laurence Cummings, musical director of the Academy of Early Music.  Photo: Robert Workman
Laurence Cummings, musical director of the Academy of Early Music. Photo: Robert Workman

“I don’t want to organize a series of concerts that people need to know about before coming to listen. I want people to be able to come to a concert without knowing anything about the repertoire, or even about the orchestra.

“This concert is for them as much as it is someone who has heard six different recordings of the musical offering and has opinions about it. They are also welcome of course, but so often I think classical music can be off-putting to the newcomer and I want that not to be the case. I want to welcome people, because for each repertoire – no matter how intellectual the composition – it must be accessible and enjoyable.

He hopes people will be inspired to get interested in classical music after attending one of the concerts, just like he suddenly got into music in his youth.

“My light bulb moment as a teenager was when I was listening to Handel’s Messiah on an LP. I remember going to the record store in Birmingham, where I’m from, and then having it bought it and been blown away. And of course all those wonderful previous recordings were produced so well and you had the wonderful booklet with so much information and then I kind of soaked it all up like a sponge.

2022-23 season of the Academy of Early Music at Cambridge

Academy of Early Music.  Photo: Patrick Harris
Academy of Early Music. Photo: Patrick Harris

Wednesday, November 9, 2022

Laurence Cummings conducts a Baroque celebration of nature and music and begins with arguably the most astonishing natural wonder in all of Baroque music: the chaos with which Jean-Féry Rebel opens his Les Élémens suite.

Thursday, February 2, 2023

JS Bach wrote his Musical Offering for King Frederick the Great of Prussia. It was a collection of pieces designed to put the nature of music itself to the ultimate technical, intellectual and emotional test. Dazzling with imagination and infinite richness, this masterpiece has fascinated interpreters and scholars for centuries. AAM tells its story and unveils its secrets.

Wednesday, March 8, 2023

AAM takes Henry Purcell’s Ode to Saint Cecilia, patroness of music, as the starting point for a musical journey through all of creation. Purcell’s music has a special place in the history of the Academy: conducted by Laurence Cummings, it will sound more lively and joyful than ever.

Thursday April 20, 2023, 7:30 p.m.

Bojan Čičić opens the book of musical jokes from the Baroque era for an evening of novelties, parodies and flights. Humanity is also part of nature. For composers like Biber, Schmelzer, Farina and Schedt, there was nothing that was not musical: a fencing school, a bustling street, a city steeple or the chaos and clamor of a battle. You’ll hear them all in this flamboyant sonic extravaganza from six Baroque masters letting their imaginations run wild.

Wednesday, May 10, 2023, 7:30 p.m.

Laurence Cummings rediscovers the eternal truths (and true delights) of Handel’s spectacular Italian oratorio, The Triumph of Time and Disillusion. Still relatively unknown in the English-speaking world, it is flamboyant, expressive and contains some of Handel’s greatest melodies.


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