FIVE-SPOT: April 20-23, 2017

By Robert D. Thomas
Music Critic
Southern California News Group

Each week about this time I list five (more or less) classical-music programs in Southern California (more or less) during the next seven days (more or less) that might be worth attending. Once again, Saturday will be a VERY busy day.

8 p.m. April 20 and 22; 2 p.m. April 23
at Walt Disney Concert Hall; Los Angeles
David Robertson, music director of the St. Louis Symphony, returns “home” (he’s a Santa Monica native) to lead the Phil in a program that features the west coast premiere of Christopher Rouse’s Organ Concerto, with Paul Jacobs as soloist. The concerto is bookended by Charles Ives’ Three Places in New England and Dvorak’s Symphony No. 9 (“from the New World”). The Rouse concerto, a L.A. Phil co-commission, debuted last fall in Philadelphia.

BONUS: Disney Hall is easily reachable (at least if you’re not mobility challenged) via Metro’s Red and Purple Lines. Exit at the 1st and Hill St. side of the Civic Center/Grand Park station and walk up two steep blocks to reach the hall.


1 p.m. at Walt Disney Concert Hall; Los Angeles (see “Additional Concert” below)
1,000 high school students from 30 Southland schools can be heard in a free concert when the Los Angeles Master Chorale presents the 28th Annual High School Choir Festival. The Festival choir will be led by LAMC Artistic Director Grant Gershon in a varied program that features works by this year’s guest artist singer/composer Moira Smiley. Smiley will also teach the massive choir body percussion to accompany one of her songs.

BONUS: Free admission, first come, first served (which means it’s a great — and cost effective — opportunity to hear choral music in Disney Hall).

ADDITIONAL CONCERT: Assistant conductor Jenny Wong will lead 16 members of the Chorale in a concert at 11 a.m. This one is also free but tickets must be arranged through the Master Chorale Web Site (see below).

Disney Hall is easily reachable (at least if you’re not mobility challenged) via Metro’s Red and Purple Lines. Exit at the 1st and Hill St. side of the Civic Center/Grand Park station and walk up two steep blocks to reach the hall.


7 p.m. at Walt Disney Concert Hall; Los Angeles
Guest Conductor Christian Arming (music director of the Liège Royal Philharmonic) leads this top-notch conservatory orchestra in a program that features a collection of songs by Irving Berlin sung by tenor Joshua Wheeker and danced by The Colburn Dance Academy. The songs are bookended by Leonard Bernstein’s Overture to Candide and a suite from Prokofiev’s ballet Romeo and Juliet.

BONUS: This concert is part of the L.A. Phil’s “Sounds About Town” series, which means that tickets are very reasonably priced ($15-$44). So, if you’ve never heard a concert in Disney Hall, this is a great opportunity.

Disney Hall is easily reachable (at least if you’re not mobility challenged) via Metro’s Red and Purple Lines. Exit at the 1st and Hill St. side of the Civic Center/Grand Park station and walk up two steep blocks to reach the hall.


8 p.m. at La Mirada Theatre for the Performing Arts; La Mirada
The McCoy-Rigby mounting of Leonard Bernstein’s West Side Story, his iconic retelling of Romeo and Juliet, moves to La Mirada for an extended run that lasts through May 14.

BONUS: Nice ticket prices: $14-$70.


8 p.m. April 22 at Alex Theatre; Glendale
7 p.m. April 23 at Royce Hall, UCLA; Westwood
In his penultimate concert as LACO Music Director, Jeffrey Kahane leads the orchestra, soloists and members of the Los Angeles Master Chorale in Beethoven’s Symphony No. 9.


3 p.m. at The Huntington Library; San Marino
Harpsichordist Paolo Bordignon will play one of Bach’s most famous keyboard works as part of Camerata Pacifica’s 27th season.


6 p.m. at Royce Hall, UCLA; Westwood
Music Director Carlos Izcaray leads his young musicians in a performance of Mozart’s Overture to The Marriage of Figaro, Rachmaninoff’s Symphonic Dances, and Korngold’s Violin Concerto, with Rachel Ostler as soloist.

BONUS: Tickets are free but should be reserved in advance (the concert is nearly sold out). The concert is followed by a ticketed gala dinner; reservations are required.


7:30 p.m. at Dorothy Chandler Pavilion; Los Angeles
Sondra Radvanovsky returns to L.A. to reprise her role in Puccini’s tear jerker. James Conlon conducts and John Caird oversees his original LA Opera staging. Other performances are April 27, May 2, 5 and 13 at 7:30 p.m. and April 30 and May 7 at 2 p.m.

BONUS: The Pavilion is easily reachable (at least if you’re not mobility challenged) via Metro’s Red and Purple Lines. Exit at the Temple St. side of the Civic Center/Grand Park station, walk north to Temple and then west up two steep blocks to reach the hall.



(c) Copyright 2017, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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Last-minute Christmas gift needs? Tickets are the best choice

By Robert D. Thomas
Music Critic
Los Angeles Newspaper Group
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
Daily News/Daily Breeze/Long Beach Press-Telegram

Even at this late date I get someone asking me what to give to a classical-music loving friend. Earlier this month Mark Swed, in the Los Angeles Times (LINK) offered a well-researched compendium of new recordings. However, with all due respect to my esteemed colleague I think he missed the boat. The best gift you can give to a classical music lover isn’t a recording. It’s tickets.

There’s no denying that technology has produced some stupendous recordings, both audio and visual. Nonetheless, music resonates best when it is performed — and heard — live. The interplay between artist and audience cannot be duplicated on a recording, no matter the technological marvels. So give your recipient tickets instead.

You can start with the obvious: the Los Angeles Philharmonic. There’s still half a season left for the Phil but one of my choices would be the concerts on March 12 and 13 when Music Director Gustavo Dudamel will lead the Phil in John Adams City Noir and Dvorak’s Symphony No. 9 (from the New World), just before they will take off on an Asian tour with these pieces.

If you have never heard City Noir, which was written for Dudamel’s inaugural Disney Hall concerts, I think you’ll find it to be a terrific piece of music that would be enjoyed by almost anyone. Of course, the New World symphony is one of the most beloved works ever written. INFO

One reason to attend L.A. Phil concerts is the chance to hear music inside Walt Disney Concert Hall, one of the world’s great venues from an acoustical and visual point of view. However, there are other groups appearing throughout the year where prices are lower than those for the Phil. One is The Colburn Orchestra, one of the nation’s premiere conservatory ensembles, which will appear Jan. 18 when Sir Neville Marriner leads performances of Holst’s The Planets and Tchaikovsky’s Violin Concerto, with Blake Pouliot as soloist. INFO

Other ensembles appearing on the Phil’s “Sounds About Town” series (with reasonably priced tickets) are the USC Thornton Symphony Orchestra on Jan. 24, the American Youth Symphony on March 7, and The Colburn Orchestra, conducted by Esa-Pekka Salonen, on April 24. All offer fine music at a great value.

This is the first season for David Lockington as music director of the Pasadena Symphony and their concert on Valentine’s Day at Ambassador Auditorium will be particularly appropriate because the soloist will be Lockington’s wife, Dylana Jensen. Before you dismiss this ss pure nepotism, know that Jensen is a superb violinist who in 1978 was the first American to win a silver medal in the Tchaikovsky Competition. With the PSO she will solo in Shostakovich’s lyrical Violin Concerto No. 1; the program will include Beethoven’s Symphony No. 7. INFO

One of the great benefits to tickets in Southern California is that price is no barrier. Because of the amazing depth and breadth of musical talent in Southern California there are wonderful concerts throughout the year, many of which are free or modestly priced. Among the groups that perform free concerts are the Peninsula Symphony in Redondo Beach, the Rio Hondo Symphony in Whittier, and the American Youth Symphony at UCLA’s Royce Hall.

There are other groups where tickets are either modestly priced or free; do a little Internet sleuthing to uncover them. Just remember that “free concerts” are not really free; someone is footing the bill so donations are always gratefully appreciated.

Finally, when you give tickets, don’t just provide pieces of paper or cardboard. Take the time to make the concert an event. Take your friend to dinner beforehand or dessert afterwards. Arrange to pick them up and drive them. Dress up — whatever that means to you. Make it all special — as it should be!

Finally get a head start on Christmas giving by attending one of the Christmas Eve concerts discussed in my post HERE. Oh, any by the way; Merry Christmas!

(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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AROUND TOWN/MUSIC: L.A. Phil and others open 2014-2015 seasons

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
A shorter version of this article was first published today in the above papers.

Dudamel-9-29-13Less than three weeks after concluding its Hollywood Bowl summer season, the Los Angeles Philharmonic will open its 2014-2015 season this week at Walt Disney Concert Hall as Music Director Gustavo Dudamel (right) leads the annual gala concert on Sept. 30 and the first two weekends of subscription concerts beginning Oct. 2.

During his sixth season as the Phil’s music director, Dudamel, now age 33, will conduct 12 subscription programs during the upcoming season along with Tuesday’s gala. Dudamel will also lead the orchestra on an Asian tour in March 2015.

The gala (which benefits the musicians’ pension fund) will honor legendary movie score composer John Williams, whose 49 Academy Awards are second only to Walt Disney. Dudamel will conduct music ranging from familiar (Star Wars) to less-well-known scores (The Adventures of Tintin). Violinist Itzhak Perlman will be the soloist in excerpts from Schindler’s List and Fiddler on the Roof.


The opening week of LAPO subscription concerts (Oct. 2, 3, 4 and 5) will begin with the U.S. premiere of man made by Pulitzer Prize-winning composer David Lang. The quartet “Sō Percussion” will be the soloist in the concerto, a L.A. Phil co-commission that was written for the quartet and premiered last May in London. This will be one of 10 L.A. Phil-commissioned works in the upcoming season.

So_Metronomes_smallIn his program note, Lang wrote: “I have worked with Sō Percussion (pictured left) for a very long time now. They are frequently theatrical, they invite found objects into their performances, they build their own instruments, etc. I wondered if I could make the unusualness of their musicality the centerpiece of this concerto, but how could an orchestra of ‘normal’ instruments doing mostly ‘normal’ things find common ground with them?”

“My solution,” continues Lang, “was to set up a kind of ecology between the soloists and the orchestra, using the orchestral percussionists as ‘translators.’ An idea begins with the soloists on an invented instrument, the percussionists in the orchestra hear the solo music and translate it into something that can be approximated by more traditional orchestral percussion, the rest of the orchestra hears and understands the orchestral percussion, and they join in.

“The opening, for example begins with the soloists snapping twigs, which the orchestral percussionists translate into woodblocks, marimba, and xylophone, which the orchestra takes up and embellishes, eventually overwhelming the soloists. This process of finding something intricate and unique, decoding it, regularizing it, and mass producing it reminded me of how a lot of ideas in our world get invented, built, and overwhelmed, so I decided to call it man made.”

This weekend’s concerts will conclude with Mahler’s Symphony No. 5, a work that Dudamel has conducted and recorded with his Simón Bolivár Symphony Orchestra of Venezuela. However, this marks the first time that he has conducted it with the Phil.

KUSC’s Brian Lauritzen has a concert preview HERE.


The second week of subscription concerts (Oct. 9, 10, 11 and 12) will find Dudamel conducting John Adams’ Harmonium, along with Beethoven’s Choral Fantasy and Piano Concerto No. 5 (Emperor). Pianist Leif Ove Andsnes and the Los Angeles Master Chorale will be the soloists.


Two other L.A. Phil series begin during the upcoming fornight. Sō Percussion and LAPO percussionists will open the Phil’s “Green Umbrella” series of new-music concerts on Tuesday at 8 p.m. in Disney Hall, performing music by David Lang and Michael Gordon, co-founders of the group “Bang on a Can.”


Meanwhile, the Phil’s organ series, celebrating the 10th anniversary of the Disney Hall instrument, will open Oct. 12 at 7:30 p.m. Organist Christopher Houlihan, LAPO Principal Timpanist Joseph Pereira and members of the orchestra’s brass section will offer a selection of music ranging over four centuries.


• The “Green Umbrella” and organ recital concert are part of a new Phil new ticketing policy where a limited number of seats are offered for $20. They are available online, by phone and in person at the box office. INFO

• The opening concerts also mark the resumption of “FastNotes,” the orchestra innovative informational effort. You sign up for a Phil email account (no charge) and a few days before each concert you get an email with program notes, bios, links, audio samples and ticketing information about the event. A few other organizations have similar programs but none as good as the Phil’s. LINK

• The Phil has also announced that Danish conductor Christian Kluxen and New Zealand native Gemma New will participate in this season’s Dudamel Fellowship Program. This program has shrunk during the past two years, going from four Fellows in 2012-13 to three last season and now two. However, LAPO Director of Public Relations Sophie Jeffries reports: “There is no fixed number for how many Dudamel Fellows are announced each year. It has to do with identifying young conductors to take part and also their availability.”

Lluxen leads the Philharmonia of London’s “iOrchestra” project and just finished a three-year stint as Assistant Conductor of the Royal Scottish Orchestra. New is Associate Conductor of the New Jersey Symphony and Founder and Director of the Lunar Ensemble, a contemporary music collective in Baltimore.

Read the media release HERE.

• The Phil also recently named Lithuanian native Mirga Gražinytė-Tyla, a Dudamel Fellow two seasons ago, as the orchestra’s Assistant Conductor. Read the media release HERE.

Two of the Southland’s — indeed, the nation’s — premiere youth orchestras open their seasons during the next fortnight.

• Roger Kalia begins his final season as music director of the Young Musicians Foundation Debut Orchestra on Oct. 5 at 7:30 p.m. at the Aratani/Japan American Theater in Little Tokyo. The program, which celebrates 60 years for the YMF, will feature flutist Catherine Baker and soprano Solène Le Van as soloists; both were Special Recognition winners in the recent YMF Debut Concerto Competition. Tickets are $5. Information:

• Meanwhile, the American Youth Symphony kicks off its 50th anniversary season with a free concert on Oct. 12 at 7 p.m. in UCLA’s Royce Hall. Music Director Alexander Treger leads his ensemble — 107 musicians, ages 15 to 27, representing 26 schools — in Mahler’s Symphony No. 5 and the world premiere of Henri Lazarof’s Cello Concerto No. 4. Alan Steele, who at age 21, departed the AYS to become principal cellist of the Fort Worth Symphony, will be the concerto soloist. Information:

(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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OVERNIGHT REVIEW: Los Angeles Children’s Chorus, American Youth Symphony at Walt Disney Concert Hall

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily



Los Angeles
Children’s Chorus; American Youth Symphony

James Conlon, Anne
Tomlinson, Alexander Treger, conductors

Music by Vaughan Williams, Britten, Beam, Wilcocks and

March 4 at 7:30 p.m. Walt Disney Concert Hall.


NOTE: With this
review, I come violate one of my cardinal rules, which is to not review people
for whom I’ve sung or with whom I am well acquainted. Anne Tomlinson fits in
the latter category and the Los Angeles Children’s Chorus is housed at my
church [Pasadena Presbyterian]. Thus, you can — as the late, great Molly Ivins
was often wont to say, take this review with “a grain of salt or a pound of
salt,” if you are so inclined.



We’ve just come off of six weeks that, among other things,
focused attention on Venezuela’s “El Sistema” music education system and the
Los Angeles Philharmonic’s attempt to reproduce — in some fashion — the success
of that endeavor locally.


Lost amid the Mahler, hoopla and acronyms such as YOLA and
HOLA is the fact that this region can boast of several ensembles that
demonstrate what happens when the musical cream rises to the top. Two of those
groups, the American Youth Symphony and Los Angeles Children’s Chorus, combined
for a concert last night at Walt Disney Concert Hall that concluded with the
world premiere of an intriguing cantata, The
isle is full of noises
by Icelandic composer Daniel Bjarnason.


The Los Angeles Children’s Chorus (which, despite its name
is based in Pasadena) was founded in 1986 and has become one of the nation’s
leading children’s choral programs. There are now more than 375 children, ages
6-18, participating in seven choirs and an extensive music education program.
Its artistic director, Anne Tomlinson, has been at the helm for 16 years and
LACC regularly performs with the L.A. Phil, Los Angeles Opera and other
professional groups, while also presenting its own programs. The group’s
Concert Choir recently sang for both Mahler Symphony No. 3 and No. 8.


Founded in 1964 by Mehli Mehta (father of former LAPO Music
Director Zubin Mehta), the American Youth Symphony has trained more than 200
musicians who now play in professional orchestras. Together the New York
Philharmonic, Chicago Symphony and Cleveland Orchestra have eight AYS alumni in
principal posts, while the L.A. Phil, L.A. Chamber Orchestra and L.A. Opera
Orchestra use 32 members who worked with the AYS.


For their appearance on the Phil’s “Sounds About Town”
series this year, the two organizations combined to commission Bjarnason’s
14-minute, three-movement piece based on Shakespeare’s The Tempest. In the preconcert lecture, Tomlinson identified a
significant problem of writing a big piece for a children’s chorus: the range
of the young singers is only slightly more than two octaves, far less than if a
composer were writing for adults.


Bjarnason, who at age 31 isn’t all that much older than some
of the AYS instrumentalists (that group’s upper age limit is 27), was equal to
the task. He chose the texts purposefully; his grandfather translated
Shakespeare’s sonnets into Icelandic, a project that was published just before
his grandfather’s death.


Deciding that some of Shakespeare’s sonnets weren’t
appropriate textually for children, Bjarnason instead turned to The Tempest and selected Miranda’s O I Have Suffered, Caliban’s Be Not Afear’d and Prospero’s The Cloud-Capp’d Towers as the texts for
the three movements. He reserved the loudest, richest orchestral moments for
when the children weren’t singing, creating massed clusters of sound with piano
and percussion punctuation. However, during the choral portions Bjarnason
skillfully cut back the orchestra so as not to overpower the 86 members of the
LACC Concert Choir, whom he challenged with close harmonies and tricky sliding
chromatic scales; the composition ranged from unison singing to as many as 12
parts. The result was often intriguing and occasionally riveting.


Conlon, who spends much of his life balancing orchestras
with singers, was the perfect choice to lead this premiere performance. He did
an expert job of balancing and supplied a supple hand to the score’s tone
painting. The orchestra — with Principal Flute Alexandra Walin standing out in
her solo turns — played with assurance and skill and the choristers sang with
compelling gracefulness and cohesion. Considering that the singers had
relatively little time to prepare owing to their work in the Phil’s “Mahler
Project,” their performance was particularly noteworthy.


Prior to the Bjarnason work, Alexander Treger, who has been
the orchestra’s music director since 1998, led his AYS in a polished
performance of a suite from Prokofiev’s ballet, Romeo and Juliet. Last week, Charles Dutoit led the L.A. Phil in a
riveting performance of eight sections of the ballet and if Treger’s concept
(using just six sections) felt a little more episodic than Dutoit’s, this
performance had its exhilarating moments, as well.


In the first half of the program, three of the LACC choirs
began the Shakespearean theme by performing a series of short selections from
American and British composers. The 16 high-school girls of the Chamber Singers
made a block dividing the larger Intermediate and Apprentice Choirs.


The most impressive performance was the initial selection:
Douglas Beam’s Spirits, which
Tomlinson conducted and the combined choirs sang with impressive diction and


Individually, the Intermediate Choir (led by Mandy Brigham)
and the Apprentice Choir (led by Larissa Donnelly) sang Britten’s Fancie, Robert Johnson’s Where the Bee Sucks and Vaughan
Williams’ Orpheus with His Lute with
supple grace, although the diction was more muddied (part of which can be laid
at the hands of the composers). The Chamber Singers concluded the set with a
sweet performance of Vaughan Williams’ Sigh
No More, Ladies.
Among other things, the collection of choirs and songs
provided the audience with valuable lessons in how voices change as children
grow older and gain more experience in choral singing. Twyla Meyer accompanied
skillfully on the piano.


To conclude the first half, Tomlinson returned to the podium
to the lead the orchestra and Concert Choir (LACC’s flagship ensemble) in a
performance of David Wilcocks’ The
Glories of Shakespeare.
Actor Stuart W. Howard opened the piece by reciting
lines from uncredited, albeit familiar Shakespeare lines, and he and Lina Patel
added additional recitatives between each of the five selections in this


Unlike Bjarnason, whose orchestral writing covered a wide
range, Wilcocks’ orchestral accompaniments stayed mainly with the two-octave
treble-voice range, which made the work less interesting. Whether it was the
singers not projecting quite enough volume or the orchestra playing with two
much, Tomlinson had troubles with balances in the first piece but provided a
more integrated whole during the final four movements. Principal Flute Walin
again provided sparkling solo work.




Apparently bowing to complaints raised from opening night
onward about Disney Hall’s inability to adequately project spoken words, a
large horn cluster was suspended above the stage, which made diction from
Howard and Patel much clearer. It also looked ugly and overpowering but one can
hope that someone will figure out a way to cover the horns in a way that blends
more aesthetically with Frank Gehry’s wood walls and ceiling.

One thing the horn array did was eliminate the use
overhead projection of texts, which were, instead, in a printed-program insert.
Fortunately, house management left the lights up sufficiently for people to
follow the texts when that was necessary.



(c) Copyright 2012, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

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AROUND TOWN/MUSIC: Los Angeles Children’s Chorus and American Youth Symphony appear tonight at Walt Disney Concert Hall

By Robert D. Thomas

Music Critic

Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily

This article was first published today in the above papers.


Los Angeles Children’s
Chorus; American Youth Symphony

James Conlon, Anne
Tomlinson, Alexander Treger, conductors

Music by Vaughan Williams, Britten, Beam and Wilcocks

The Isle is full of
by Daniel Bjarnason (world premiere)

Today at 7:30 p.m. Walt Disney Concert Hall. Preconcert
lecture at 6:30 p.m.



There are several reasons to consider attending this
evening’s program by the Los Angeles Children’s Chorus and American Youth
Symphony at 7:30 p.m. in Walt Disney Concert Hall, part of the Los Angeles
Philharmonic’s “Sounds About Town” series.


First (and most important) it’s a concert that combines two
of the Southland’s major youth-oriented organizations. Now in its second
quarter century, the Pasadena-based Los Angeles Children’s Chorus is one of the
world’s premiere children’s choirs whose singers regularly perform with such
groups as the Los Angeles Philharmonic and Los Angeles Opera.  From the time it was founded, in 1964
by conductor Mehli Mehta (father of Zubin), the American Youth Symphony has
trained thousands of orchestral musicians, many of whom now play in major
orchestras throughout the U.S.


Second, the Shakespeare-themed program will see the
conductors of both ensembles on the podium (albeit at different times), along
with Los Angeles Opera Music Director James Conlon, who will lead both
ensembles in the world premiere of Icelandic composer Daniel Bjarnason’s The isle is full of noises, a
three-movement work based on Shakespeare’s The


The concert will conclude a very busy weekend for Conlon.
Last night he led a performance of Britten’s Albert Herring and this afternoon he conducts Verdi’s Simon Boccanegra, both for L.A. Opera at
the Dorothy Chandler Pavilion. It will also be a busy day at Disney Hall, as
the L.A. Phil and guest conductor Pablo Hereas-Casado conclude their weekend
series with a program that includes the west coast premiere of James Matheson’s
Violin Concerto, along with Richard Strauss’ tone poem, Ein Heldenleben.


Anne Tomlinson, LACC artistic director, will lead the
opening half of the Sunday evening program, conducting the choir in Sigh no more ladies and Orpheus with his lute by Ralph Vaughan
Williams; Benjamin Britten’s Fancie;
and Douglas Beam’s Spirits. Tomlinson
will conclude the first half by conducting both ensembles in David Wilcocks’ The Glories of Shakespeare.


After intermission and before the Bjornason work, Alexander
Treger, AYS music director, will lead his ensemble in a suite from Prokofiev’s Romeo and Juliet.


A third reason to attend is that the “Sounds About Town”
series provides people with an inexpensive way to see a concert in the Disney
Hall auditorium. Tickets for this concert range from $20.75 to $45, far less
than you would pay for an L.A. Phil concert, so if you’ve never been inside
Disney Hall, this is a great opportunity. Since the two ensembles will
undoubtedly have lots of relatives in attendance, check with the box office
before you make the trip downtown. Information:



(c) Copyright 2012, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

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