AROUND TOWN/MUSIC: A big opening classical-music month for Hollywood Bowl

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.

Although classical concerts fill only about a third of the increasingly busy Hollywood Bowl season, for us old codgers summer at the Bowl doesn’t really begin until the classical season opens July 8 with Tuesday and Thursday night concerts continuing until Sept. 11.

There’s an unusually interesting mix of programs and conductors in this, the 93rd season at the venerable Cahuenga Pass amphitheatre. Any season where we can see Gustavo Dudamel and Esa-Pekka Salonen in consecutive weeks rates as noteworthy.

Bramwell Tovey, who for several years held the title of Principal Conductor at the Bowl but now is just a frequent albeit welcome guest, leads the July 8 program, which is definitely not your typical classical-season opener. Instead it’s a delightful hodge-podge featuring violinists Joshua Bell and Phillippe Quint, the ensemble Time for Three, vocalist Frankie Moreno and actress Glenn Close, performing music ranging from Franz Waxman to Edgar Meyer and Igor Stravinsky (the 1919 Firebird Suite).

Tovey will be both conductor and pianist on July 10 in music by Leonard Bernstein and George Gershwin, including Rhapsody in Blue. Jazz singer Dee Dee Bridgewater will sing Gershwin songs during the concert.

Things shift into hard-core classical programming after that. In the second week Salonen — the Phil’s former music director and now conductor laureate — makes rare Bowl appearances. The July 15 program pairs a suite from Prokofiev’s ballet Romeo and Juliet with Tchaikovsky’s Piano Concerto; one of Salonen’s favorite collaborators, Yefim Bronfman, will be soloist.

The July 17 program is subtitled “Russian First” with good reason. It pairs the first symphonies of Prokofiev and Shostakovich with both composers’ first piano concertos. One of our era’s most exciting pianists, Yuja Wang, will return to the Bowl as soloist in the concertos and LAPO Principal Trumpet Thomas Hooten will do the honors in the Shostakovich (indeed, hearing Yang and Hooten in the Shostakovich should be worth the price admission by itself).

LAPO Music Director Gustavo Dudamel takes the Bowl podium for the next two weeks. The July 22 and 24 programs are duplicate performances of Beethoven’s Symphony No. 5 and his rarely performed Triple Concerto, featuring Renaud Capuçon, violin, Gautier Capuçon, cello and Jean-Yves Thibaudet, piano.

The duplication gives the Phil extra time to rehearse for what has become the now-annual opera night, which this year features the traditional pairing of Pagliacci and Cavalleria Rusticana on July 27.

Dudamel and the Phil continue the summer’s crossover programming on July 29 with Marquez’s Danzóns Nos. 4 and 8 and Kauderer’s Symphonic Tangos joined by Latin-jazz songs of from Rubén Blades.

The final July concert will conclude this summer’s edition of Dudamel’s “Americas and Americans” theme as the orchestra screens film clips accompanied by music from a number of composers including Gustavo Santaolalla (e.g., The Motorcycle Diaries) and concluding with a suite from Dudamel’s score to Libertador, a Simón Bolivár biopic that is scheduled to open in the U.S. Aug. 22.

That, my friends, counts as quite a month of music making!

INFORMATION: www.laphil.com
_______________________

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

AROUND TOWN/MUSIC: A new direction for opera?

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.

ARenée Fleming stars as Blanche DuBois in André Previn’s “A Streetcar Named Desire,” being presented May 18, 21 and 24 at the Dorothy Chandler Pavilion. Photo by Todd Rosenburg, Lyric Opera, Chicago.

Los Angeles Opera: André Previn’s A Streetcar Named Desire
May 18 at 5 p.m.; May 21 and 24 at 7:30 p.m.
Dorothy Chandler Pavilion, Los Angeles
Information: www.laopera.org

Los Angeles Philharmonic: Mozart’s Così fan tutte
May 23 and 29 at 7:30 p.m.; May 25 and 31 at 2 p.m.
Walt Disney Concert Hall, Los Angeles
Information: www.laphil.com
_______________________

Although unintended, it’s ironic that as San Diego Opera continues to struggle with the question of how or even whether it should move forward, Los Angeles during the next couple of weeks offers two notable examples of what the future might look like not only for San Diego but for other opera companies, as well.

On May 18, 21 and 24 at the Dorothy Chandler Pavilion Los Angeles Opera presents an innovative staging of André Previn’s opera A Streetcar Named Desire with superstar soprano Renée Fleming in the role of Blanche DuBois. Then on May 23, 25, 29 and 31 the Los Angeles Philharmonic will conclude its three-year cycle of Mozart/Da Ponte operas when Gustavo Dudamel conducts Così fan tutte at Walt Disney Concert Hall.

On March 19 San Diego Opera’s board of directors voted to close the company following the completion of this, its 49th season, due to dwindling financial support. Since then plans are moving forward cautiously to (a) find a way to finance a 50th anniversary season and (b) discover a new future direction. Fundraising will be a key to both decisions. For the past year San Diego Opera’s budget was reportedly about $15 million annually and it presented four operas.

If San Diego Opera closes, it will follow in the footsteps of Opera Pacific in Orange County and New York City Opera, each of which shuttered its doors. If SD Opera continues, it will undoubtedly be as a different, probably smaller, company.

Christopher Koelsch, LA Opera’s chief executive officer, says he has no inside knowledge of the San Diego Opera struggles, but he can relate to them. “When the 2008 worldwide crisis hit,” he remembers, “we at LA Opera had to pivot to become a much different company, going from a $60 million budget to $40 million. It wasn’t easy.”

What’s important, say Koelsch and other arts organization leaders, is that companies must be in constant dialogue with their communities as organizations determine what programming can and should be presented. A key word that Koelsch uses frequently is “diversity,” a word that relates both to audiences and programming.

“The traditional subscription model of selling tickets is breaking down,” says Koelsch. “Instead of one large audience, we now have audiences breaking down into smaller niches. It’s not that we’re totally abandoning the idea of presenting grand operas in a house the size of the Dorothy Chandler Pavilion. But we’re constantly trying find ways to demystify the art form so that we can broaden our overall appeal.”

Earlier this spring, LAO presented another in its family opera programs, the world premiere of Jonah and the Whale at the Cathedral of Our Lady of the Angels diagonally across the Temple St. and Grand Ave. corner from the Music Center. Thousands of people attended the free performances; many had never seen an opera before.

A Streetcar Named Desire is another example of reaching out to different audiences. The original work was a play written in 1947 by Tennessee Williams, for whom it won the Pulitzer Prize in 1948. Three years later, Elia Kazan’s searing film adaptation won Academy Awards for Vivian Leigh (best actress), Karl Malden (best supporting actor) and Kim Hunter (best supporting actress). Marlon Brando, who played Stanley Kowalski, lost out to Humphrey Bogart (The African Queen) for the Best Actor Oscar.

Previn — who, although he has composed extensively, is better known for his work in motion pictures and as an orchestra conductor — used a libretto by Philip Littell to adapt the play into an opera; it was premiered in San Francisco in 1998. However, rather than using the elaborate original production, LAO is using Brad Dalton’s intriguing staging that puts the costumed cast at the front of the stage, with the orchestra on stage behind the action. The production has played to strong reviews at Carnegie Hall in New York City and Lyric Opera Chicago.

Koelsch cautions that creating a show with a “much smaller footprint” from a larger version may not always be feasible, but it’s one way for companies such as LAO to bring contemporary operas into the company’s increasingly large repertoire.

Of course it helps that Fleming is portraying the one of the starring roles in Streetcar. “I’ve been eager to bring Renée to Los Angeles as Blanche DuBois for more than a decade,” says LAO’s General Director Plácido Domingo, Fleming’s only rival for operatic superstar status. Ironically, Domingo is appearing onstage in Jules Massenet’s Thais, which is running in tandem with Streetcar. The opportunity to present Streetcar came together at the last minute, as least in opera company terms. It didn’t materialize until LAO had already announced its current season last year.

The L.A. Phil’s Così follows in the footsteps of Don Giovanni and The Marriage of Figaro to be presented on stage at Disney Hall during the past two years. In each case, the director and stage designer had to find innovative ways to cope with the fact that Disney Hall was built for orchestra and choral groups, not operas. That means there is no proscenium or ways to hang scenic backdrops. Overall, the two Mozart productions successfully managed that challenge.

Well-known opera director Christopher Alden will lead the Cosí fan tutte production, which has been created by architect Zaha Hadid, winner of the Pritzker Architecture Prize in 2004 (the previous productions were also designed by architects; Frank Gehry handled Don Giovanni, while Jean Nouvel did the “installations” for The Marriage of Figaro). Hussein Chalayan has designed the Cosí costumes.

As is the case with LAO, the Phil is using this unique combination of talents to reach out to new audiences, as well as to traditional opera and symphony fans.

Next season LAO continues its broadening trend in two radically different ways. For its production of Hercules vs. Vampires in the Dorothy Chandler Pavilion, the company will synchronize live music with the 1961 cult fantasy film. When actors on the screen open their mouths to speak, the audience will instead hear their lines sung by members of the Domingo-Colburn-Stein Young Artist Program, accompanied by a 26-piece orchestra.

The company’s final offering of the 2014-2015 season will be David T. Little’s Dog Days, which will be presented at Disney Hall’s The Roy and Edna Disney/CalArts Theater (REDCAT), which seats less than 300 people.

This is definitely not your grandfather’s opera company.
_______________________

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

ANALYSIS: Doors close and open at local orchestras

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

Like any business and top executives, orchestras and their music directors undergo cyclical lives — it’s just that when an orchestra changes its music director it’s newsworthy, at least in its hometown or region.

In Los Angeles, we’ve gotten a bit spoiled because both the Los Angeles Philharmonic and Los Angeles Chamber Orchestra have enjoyed great longevity in their musical leadership. Esa-Pekka Salonen served as the L.A. Phil’s music director from 1992 through 2009 and his successor, Gustavo Dudamel, came on board immediately after Salonen stepped down.
Kahane
Jeffrey Kahane (right) has been LACO’s music director since 1997 but recently announced that the 2016-2017 season will be his 20th and final season at LACO’s helm. Meanwhile, earlier this season, Enrique Arturo Diemecke announced that he would not return as the Long Beach Symphony’s music director.

On the other side of the coin, the Pasadena Symphony has now settled its musical leadership team. Michael Feinstein returns this summer for his second season as the Pasadena Pops’ principal conductor, and Music Director David Lockington and Principal Guest Conductor Nicholas McGegan will divide duties for the PSO’s upcoming season as they begin their tenures with the orchestra.

In some ways, Long Beach’s situation parallels the Pasadena Symphony when it severed relationships with its long-time music director, Jorge Mester, in 2010. The LBSO management situation appears more stable than the turmoil that had enveloped the PSO four years ago, so it may not take the length of time that it took the PSO to get its new Lockington-McGegan-Feinstein music leadership team on board but it will undoubtedly take some time to find the right replacement for Diemecke, who has led the LBSO for 10 years.

LACO has more than three years to find Kahane’s replacement but they may need every month . For one thing, Kahane brought unique combination of skills to the position. Among his predecessors, only Sir Neville Marriner and Christof Perick could have been classified as “pure” conductors. Gerard Schwarz was well known for his trumpet skills as for his conducting prowess and Iona Brown did most of her conducting from the first violin chair. Kahane came to LACO with a modest, albeit growing, reputation as a conductor but he was — and is — a high-profile pianist, something he hopes to continue in his post-LACO life.

Moreover, LACO has several musical streams beyond its orchestral series, including its “Baroque Conversations” and “Westside Connections” series. Concertmaster Margaret Batjer has curated the latter series; what influence or changes will a new music director want to make in either or both of these series will be part of the questions involved in naming Kahane’s successor.

In contrast to LACO and Long Beach, the Pasadena Symphony is looking forward eagerly to its new era. Some music directors come to new positions with great overarching themes, but Lockington’s first season as Pasadena Symphony music director has a series of themes interwoven throughout the five programs, each of which will be presented in two concerts at Ambassador Auditorium.

Lockington-small4Web“I suppose if I had to pick one adjective for the season,” said Lockington (right) recently, “it would be ‘colorful.’ “ The PSO’s 2014-2015 season includes a wide range of music, from Baroque to contemporary, with a healthy selection of American music sprinkled throughout the five programs.

Lockington and McGegan will alternate in leading the five programs. The opening concerts on Nov. 1 will feature an all-American program that says Lockington, “focuses on popular, virtuosic styles” using music by Leonard Bernstein and George Gershwin.

The program opens with Ceremonial Fantasy Fanfare, which Lockington wrote in 2009 for the Grand Rapids Symphony (where he remains music director) in conjunction with a project he championed entitled “ArtPrize.” “The piece features church bells,” says Lockington, “and when we performed it in Grand Rapids the city’s churches rang their bells to coincide with the music.” Unfortunately, Ambassador is too far from Pasadena’s churches to achieve the same effect.

The Nov. 1 concerts will also feature pianist Terrence Wilson as soloist in Gershwin’s Concerto in F. Lockington has never conducted the young African-American pianist but he likes what he has heard. “He plays with great panache,” says Lockington, “with a clear, precise king of brilliance.”

Perhaps the most interesting program is the Feb. 14 concerts, which will be the second that Lockington will conduct. It features Dylana Jenson (who is also his wife and mother of their four children) as soloist in Shostakovich’s Violin Concerto No. 1.

Lockington’s decision to feature his wife as soloist on Valentine’s Day may seem to smack of nepotism but nothing could be further from the truth. A Los Angeles native, Jenson was a child prodigy who studied under Nathan Milstein (among others), shared silver medal in the 1978 Tchaikovsky International Competition, and made Carnegie Hall debut two years later with Eugene Ormandy and the Philadelphia Orchestra. The Shostakovich first violin concerto is a work that Lockington and Jenson recorded in 2008 (along with the Barber Violin Concerto) with the London Symphony Orchestra to great acclaim several years ago.

The program will open with Enter Light, a work by Joel Scheckman, a California native who is a member of the Grand Rapids Symphony clarinet section. “It’s about an eight-minute piece that works beautifully as a lead-in to the violin concerto,” says Lockington. The concert concludes with Beethoven’s Symphony No. 7.

Seminal works anchor McGegan’s two concerts: Brahms’ Symphony No. 2 and Beethoven’s Symphony No. 6 (Pastoral). The cheeky January 17 concerts open with Peter Maxwell Davies’ An Orkney Wedding, With Sunrise, and also feature Poulenc’s Concerto for Two Pianos with Esther Keel and her mother, Mihyang Keel, as soloists.

So as LACO and the Long Beach Symphony move forward into uncertain futures, the Pasadena Symphony and Pops appear to be on the threshold of new chapters of stability. Just remember: in a few years (or, if the stars align, decades), the cycles will undoubtedly turn over again.
_______________________

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

AROUND TOWN/MUSIC: Jeffrey Kahane to retire as LACO music director

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.

Jeffrey Kahane has announced that he will step down as music director of the Los Angeles Chamber Orchestra at the end of the 2016-2017 season, concluding a 20-year reign as the orchestra’s fifth and longest-serving music director. Kahane will assume the title of music director laureate and the orchestra has launched a search for his replacement.

“Twenty years is a very long tenure for any music director,” said Kahane in a statement. “I really felt it was time to pass the torch, as difficult as it is to move on, and 20 years seemed like a good round number.”

Although he had been music director of the Santa Rosa Symphony, Kahane was far better known as a pianist than as a conductor when, at age 41, he replaced Iona Brown at LACO’s helm. It was a dark time for the orchestra, which only recently had emerged from bankruptcy. However in the succeeding 17 years, Kahane and the orchestra have grown and flourished together.

He expects to continue his burgeoning guest conducting, solo piano and chamber music careers, and said he has no plans at the present to take on another music director position.

LACO will be the second local ensemble in search mode. Earlier this season, Enrique Arturo Diemecke announced that this would be his last season as music director of the Long Beach Symphony. Given that LACO has a three-year lead-time before Kahane leaves, it’s possible that the transition to his successor might be virtually seamless.

The Pasadena Symphony, which knows quite a bit about the ins and outs of search processes, concludes its 2013-14 classics series on May 10 with concerts at 2 p.m. and 8 p.m. at Ambassador Auditorium. If you like your music big and bold, this is the program for you. Jahja Ling, music director of the San Diego Symphony for 10 years, will lead Shostakovich’s Symphony No. 5 and Tchaikovsky’s Piano Concerto No. 1, with Israeli-born pianist Shai Wosner as soloist in the concerto. Information: www.pasadenasymphony-pops.org

• Speaking of pianists playing big concertos, the next two Los Angeles Philharmonic concerts fit that description. This Thursday, Friday and Saturday at Walt Disney Concert Hall, Emmanuel Ax will be soloist in Brahms’ Piano Concerto No. 2. The Thursday and Saturday concerts also include Ax as soloist in the world premiere of Release, a LAPO commission by Andrew Norman, who happens to be LACO’s composer-in-residence. Music Director Gustavo Dudamel returns to town for the month of May; he opens this weekend’s concerts with Brahms’ Academic Festival Overture.

On May 8-11, Lang Lang comes to town to appear with the Phil as soloist in Prokofiev’s Piano Concerto No. 3, with Dudamel leading the Phil in Ravel’s La Valse and Valses nobles et sentimentales, along with Venezuelan composer Paul Desenne’s Sinfonía Burocratica ed’ Amazzonica. Information: www.laphil.com

• Finally, continuing in the monumental-works mode, preeminent American organist Paul Jacobs comes to Disney Hall next Sunday at 7:30 p.m. to play Johann Sebastian Bach’s complete Clavier-Übung III, which begins and ends with one of Bach’s most famous works, the Prelude and Fugue in E-Flat Major, BWV 552 (St. Anne). Information: www.laphil.com
_______________________

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

OVERNIGHT REVIEW: Corigliano’s Symphony No. 1 revived powerfully at Los Angeles Philharmonic concert

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
______________________

Los Angeles Philharmonic; Gustavo Dudamel, conductor
Corigliano: Symphony No. 1; Brahms: Symphony No. 2
Tonight and Saturday at 8 p.m. • Feb. 9 at 2 p.m.
Walt Disney Concert Hall
Information: www.laphil.com

When the Los Angeles Philharmonic announced its 2013-2014 season last spring, I immediately put a big red circle around this weekend’s concerts at Walt Disney Concert Hall because they featured John Corigliano’s Symphony No. 1 being played for only the second time in LAPO history. I remember hearing the first time when David Zinman conducted the Phil at the Dorothy Chandler Pavilion in January 1993 and being gobsmacked by the work’s power and anguish.

However, this is a different time. Gustavo Dudamel is a different conductor, and Walt Disney Concert Hall is a VERY different venue than the Pavilion. At the time of its composition, Corigliano’s Symphony No. 1 was triggered by the AIDS crisis that was sweeping the nation. Many people now view the work simply as a “tragic symphony,” a la Tchaikovsky’s “Pathetique.” Either reaction, says Corigliano, is fine.

“At the time [the work was written],” said Corigliano in an e-mail interview just after his 76th birthday last month, “I had lost over 100 friends and colleagues. My closest friend (for three decades) was dying, and came to the performances, accepted the dedication to him, and passed away a week later. This was a horrible time and writing my symphony was all I could do. So my feelings at the premiere were enormously influenced by my friend, Sheldon [Shkolnik], his state and the world then around me.” Corigliano subtitled the first movement Apologue: Of Rage and Remembrance.

Thanks to increase in medical treatments and national awareness, AIDS is no longer the scourge it was in 1990. “Many things have changed,” says Corigliano, “especially concerning the treatment of AIDS. So hearing the work now has been more of a nostalgic experience. The memories of my friends come back to me, and I feel grateful to be able to mourn them in this different way.”

Corigliano was age 48 and serving as the Chicago Symphony Orchestra’s first Composer in Residence when in 1998 the CSO commissioned him to write a large work. The orchestra got more than it bargained for. It was Corigliano’s first large-scale symphonic work; the four-movement piece lasts a little over 40 minutes and the forces necessary to perform the piece are enormous.

There are extra players in every section last night, including 18 brass players in a ring behind the winds and strings. The percussion array includes two sets of timpani (Dudamel placed them on either edge of the back row); two sets of tubular chimes, placed behind the orchestra’s first and second violins; two pianos, one onstage and one off, along with two glockenspiels, crotales, two vibraphones, xylophone, marimba, snare drum, three tom-toms, three roto-toms, field drum, tenor drum, three bass drums, suspended cymbal, tam-tam, three temple blocks, tambourine, anvil, metal plate, brake drum, triangle, flexatone, police whistle, whip, ratchet, harp and four (!) mandolins. About the only instrument that Corigliano didn’t use was an organ — I think Chicago’s symphony hall didn’t have one at the time and where would they have put the console anyway?

Corigliano was on hand during rehearsals this week and attended last night’s performance. He also provided an emotional and extensive tour of the work at the preconcert lecture, far more detailed than either his original program notes or the truncated version in the L.A. Phil’s printed program. If you’re going to one of the remaining concerts, don’t miss the lecture.

Dudamel was conducting the work for the first time. He used a score, followed it carefully and brought out a great deal of both the anger and pathos in the work, along with much of the tragic lyricism. Following this weekend’s performances, the Phil will make this work a centerpiece of its North American tour beginning March 11 (DETAILS). They will perform it in six cities and, based on how splendidly Dudamel and the orchestra played last night, I would love to be in Montreal or Boston at the end of the tour to hear how everyone will have grown into this complex piece after another eight performance.

Among the highlights:
• The strings underlaying Joanne Pearce Martin’s wistful playing of measures from Albéniz’s Tango in the first movement. The effect was mesmerizing.
• The end of the second movement, described by the composer as “a brutal scream” with the overtones ringing throughout a silent Disney Hall for several seconds. Magical.
• The hauntingly soulful solos by Principal Cellist Robert deMaine and Assistant Principal Ben Hong in the third movement, Chaconne: Giulio’s Song. Sublime.
• The full-out orchestra in the many moments of rage that are embedded throughout the work. Shattering.

During the tour, Corigliano’s Symphony No. 1 will be paired with Tchaikovsky’s Symphony No. 5, which will make for an emotionally wrenching evening. This weekend, the companion piece is the much more pastoral Brahms’ Symphony No. 2, which will be played as part of an alternate tour program in second concerts in San Francisco and New York City and in the single performance in Kansas City.

Compared to the Corigliano, the Phil seemed like a chamber orchestra in the Brahms: two flutes, two oboes, two clarinets and two bassoons (the Corigliano had four, three, four and three, respectively); four horns instead of six, two trumpets (five), three trombones (four) and one tuba (2). On the back riser instead of that massive percussion array sat a lone set of timpani with Principal Timpanist Joseph Pereira. Nonetheless, it was enough; all forces could produce a powerful, albeit sweet sound.

Freed from having a score on a music stand in front of him and leading a work he knows well, Dudamel was in his all-out “Showtime” conducting mode and the orchestra was right with him for the entire ride. Dudamel sculpted phrases throughout, often with big swooping movements, occasionally with the barest of gestures. The first movement began with unhurried lyricism, the second emphasized drama, the third was notable for its gentle opening, and the finale blazed in full glory. By March 12, everyone will be ready for Davies Hall in San Francisco.

Hemidemisemiquavers:
• For my preview story including other comments from Corigliano, click HERE.
• Corigliano’s complete program notes for Symphony No. 1 are HERE.
• One of the interesting things to come out of the preconcert lecture was that all three of Corigliano’s symphonies were written for quite different ensembles. Symphony No. 2 (which won him the Pulitzer Prize after it was composed in 2000) was written for string orchestra, while Symphony No. 3, subtitled “Circus Maximus,” was written for concert band — brass and wind ensemble.
• Corigliano’s music will return next year when Los Angeles Opera presents The Ghosts of Versailles Feb. 7 through March 1 at the Dorothy Chandler Pavilion. DETAILS
• Of the more than 100 works that Corigliano has published, arguably the best known is his score for the movie The Red Violin, for which he received an Oscar in 1999 and subsequently created a violin concerto and other versions.
• Corigliano is one of a very few composers to have won an Oscar, Grammy, Pulitzer and a Grawmeyer Award (he won the latter for Symphony No. 1).
_______________________

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

AROUND TOWN/MUSIC: March coming in like a lion

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

Even with the Los Angeles Philharmonic on tour during the next three weeks, March is a very busy month for classical music lovers. Among the offerings are:

• To be accurate, the Phil is in town this weekend with Gustavo Dudamel conducting John Corigliano’s Symphony No. 1 and Brahms’ Symphony No. 2 at Walt Disney Concert Hall. My preview story is HERE.

• If meaty Brahms is your idea of a musical feast, then make a reservation for the Long Beach Symphony concerts tomorrow night at 8 in that city’s Terrace Theatre. Enrique Arturo Diemecke, who is completing his 14-year-tenure as the LBSO’s music director, will lead Brahms’ Symphony No. 1 and Piano Concerto No. 2; the latter features Mexican pianist Jorge Federico Osorio. (Hint: arrive early; no matter which piece gets played first, the initial movement is long and you don’t want to wait in the lobby for late seating.) INFO: www.lbso.org

Two organists are on the agenda this week.

Ann Elise Smoot, 1998 winner of the American Guild of Organists’ National Young Artists Competition in Organ Performance, makes her Disney Hall debut on Sunday at 7:30 p.m. with a program of music by J.S. Bach, Reger, Jehan Alain and others including the U.S. debut of Solomon’s Demos by Joanna Marsh, a British composer who has lived in Dubai since 2007. INFO: www.laphil.com

Timothy Howard will present a free recital at Pasadena Presbyterian Church on March 15 at 7:30 p.m. Playing on the church’s Aeolian-Skinner pipe organ, Howard will be assisted by organist Meaghan King and soprano Judith Siirila Paskowitz in a program of music by J.S. Bach, Marcel Dupré, Paul Halley, William Mathias, Giacomo Puccini and Louis Vierne. INFO: www.ppcmusic.org

On the choral front:

Pasadena Pro Musica continues its 50th anniversary season on Sunday at 4 p.m. at Pasadena’s Neighborhood Church as Artistic Director Stephen Grimm leads a program of music by Flemish Renaissance composer Orlando di Lasso: De profundis clamavi, Primi diei from Hieremiae Prophetae Lamentationes, and Prophetiae Sibyllarum. INFO: www.pasadenapromusica.org

• Janet Harms will lead the combined forces of the Windsong Southland Chorale and the United Methodist Church of La Verne Choir, in “Sacred Utterances” on March 15 at 7 p.m. at the UMLV, 3205 “D” Street, La Verne. The program will include O, Gracious Light (Phos hilaron) by Timothy Sharp, The Lord is My Light by Hank Beebe, True Light by Keith Hampton, I Want to Walk as a Child of the Light by Kathleen Thomerson, Magnificat by Charles Villiers Stanford and others.

This concert will be a reprise of the same program Windsong sang when it participated in an annual choral festival on February 16 at the Cathedral of Our Lady of the Angels in Los Angeles.

Hollywood Master Chorale will present an afternoon of Dvorak’s Mass in D Major, Op. 86 and Te Deum on March 16 at 4 p.m. at Hollywood Lutheran Church. Artistic Director Lauren Buckley will conduct. The Te Deum was written in 1892 on the 400th anniversary of Christopher Columbus landing on the American shore. Mass in D Major was composed two years before. INFO: www.hollywoodmasterchorale.org

_______________________

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

AROUND TOWN/MUSIC: “Billy Budd,” L.A. Chamber Orchestra, L.A. Phil headline busy fornight + upcoming schedues

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.

Several significant events will take place during the next fortnight, headed by Los Angeles Opera’s revival of its production of Benjamin Britten’s Billy Budd, which opens next Saturday at 7:30 p.m. in the first of six performances running through March 16 at the Dorothy Chandler Pavilion. Four performances are in the evening while two are in the afternoon.

LAO Music Director James Conlon will conduct this production and will offer one of his typically erudite lectures an hour before each performance. Billy Budd concludes the company’s celebration of the centennial of Britten’s birth on Nov. 22, 2013.

Baritone Liam Bonner performs the title role for the first time, joining with tenor Richard Croft as Captain Vere and bass Greer Grimsley, making his company debut, as John Claggart, whose attraction to Billy is the pivot point of the opera. The production, by Francesca Zambello, originated in Geneva in 2004 and at London’s Royal Opera House, Covent Garden in 1995; it was first seen in L.A. in 2000.
Read my preview story HERE.
John Farrell’s story in the above newspapers is HERE
David Ng’s preview story in the Los Angeles Times is HERE.

Information: www.laopera.com

• The Los Angeles Chamber Orchestra presents its annual “Discover” concert at Ambassador Auditorium in Pasadena Saturday night at 8 p.m. The program this year focuses on Beethoven’s Symphony No. 3 (Eroica). In the first half of the program, Music Director Jeffrey Kahane will lead the orchestra in a demonstration and discuss this pivotal work in classical music history. The second half will be a complete performance of the symphony.

Information: www.laco.org

• The Los Angeles Philharmonic begins its “TchaikovskyFest” series on Thursday night at Walt Disney Concert Hall with a performance by the Simón Bolivár Symphony Orchestra String Quartet and members of the Los Angeles Philharmonic. Beginning Friday and continuing every night (and some days) except one through March 2, Gustavo Dudamel will lead his two orchestras, the Phil and SBSO, in performances of all six of Tchaikovsky’s symphonies plus other assorted works. Mark Swed has an interview with Gustavo in the Los Angeles Times HERE.

Information: www.laphil.com

• Muse/ique continues its “Uncorked” series with a performance on Feb. 24 at “The Noise Within,” the theatre/performing space located just north of the Gold Line’s Sierra Madre Villa station at the eastern edge of Pasadena.

Music Director Rachael Worby will lead 13 members of her ensemble in Aaron Copland’s original score for the ballet Appalachian Spring. However, in true Worby fashion, that’s just part of the evening. The 70-minute program will also feature Mike Simpson (aka EZ Mike of the Dust Brothers) and fits + starts for electronic music with live cello, a piece commissioned by L.A.’s Hysterica Dance Company from composer Anna Clyne. Kitty McNamee and members of Hysterica Dance Co. will supply choreography for the evening.

Information: www.muse-ique.org

* The 2014 summer schedule for Hollywood Bowl and 2014-2015 season schedules for L.A. Opera, the L.A. Phil and Los Angeles Master Chorale have been released. My comments are listed in recent Blog posts (links below). Each post contains a link to the schedule and other information:
Hollywood Bowl 2014 summer season
Los Angeles Opera 2014-2015 season
Los Angeles Philharmonic 2014-2015 season
Los Angeles Master Chorale (below the Hollywood Bowl blurb)

PREVIEW: L.A. Philharmonic unveils adventureous 2014-2015 season

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

For the past two decades (at least) the Los Angeles Philharmonic has led the world in creating innovative programs for orchestras, but the 2014-2015 schedule at Walt Disney Concert Hall — entitled, appropriately, “Moving Music Forward” and announced officially yesterday — takes that concept into stratospheres never before envisioned, at least in a single season.

The various initiatives are complex enough that they can’t be fully grasped in one reading. Following is my first take on what’s ahead. In addition to the chronological schedule (HERE), you may want to download much of the press kit (HERE) and take some time to study what it contains.

Several sets of programs feature multiple disciplines, including three that combine video with music. LA Phil Conductor Laureate Esa-Pekka Salonen will combine with artist Refik Anadol in a program that incorporates a new video into Berlioz’s Romeo and Juliet Nov. 6, 7 and 9. Salonen and the Phil will be joined by three soloists and the Los Angeles Master Chorale.

The Friday program will inaugurate the Phil’s new “in/Sight” series of music and videos. The other programs include Beethoven’s Missa Solemnis on Jan. 9, to be conducted by Michael Tilson Thomas (part of a series of events celebrating MTT’s 70th birthday); a staged production of Unsuk Chin’s opera, Alice in Wonderland on Feb. 27 and 28, 2015; and a program featuring music by Steve Mackey and Steve Reich on May 29 and 31. Music Director Gustavo Dudamel will conduct the last two programs; all four programs will be repeated on days surrounding Friday.

The Romeo and Juliet program will be one of three sets of concerts that Salonen will conduct during the upcoming season. On Oct. 24, 25 and 26, Salonen and organist Olivier Latry will celebrate the 10th anniversary of the Disney Hall organ with a program that includes the U.S. premiere of Kaija Saariaho’s Maan varjot (Earth Shadows).

The upcoming season will feature the largest emphasis on the Disney Hall organ since the instrument made its debut in 2004. Dudamel will conduct programs on Nov. 20, 21 and 22 that will feature organist Cameron Carpenter in the long-delayed world premiere of Stephen Hartke’s Symphony No. 4 (Organ), originally slated to debut in May 2010, along with Samuel Barber’s Toccata Festiva and Saint-Saëns’ Symphony No. 3 (Organ). Carpenter will also play his own arrangement of Scriabin’s Sonata No. 2. There will also be five organ recitals during the upcoming season.

Another new Friday series will be “Inside the Music with Brian Lauritzen,” four programs hosted by the KUSC radio personality. Each concert will include a Lauritzen-produced video sent to audience members ahead of time, along with pre- and post-concert discussions with the hosts and artists and an online forum. Dudamel will conduct two of the four programs, one of which will be the organ program noted above.

In his sixth season as the Phil’s music director, Dudamel will conduct 12 subscription programs during the upcoming season, along with the annual Opening Night gala concert, which will feature violinist Itzhak Perlman and the music of John Williams. In December Dudamel will lead a program celebrating the 50th anniversary of the Music Center that will include a performance of Salonen’s Helix, with the music being relayed live into the Dorothy Chandler Pavilion where it will accompany a world-premiere presentation from LA Dance Project.

Dudamel will also lead the orchestra on an Asian tour in March 2015 that will visit Hong Kong, Bejing, Seoul and Tokyo. The programs will include Dvorak’s Symphony No. 9 (from the New World), Mahler’s Symphony No. 6, and John Adams’ City Noir, which was composed for Dudamel’s inaugural gala program in 2009.

Another new series, “Next on Grand,” is being described as “a recurring festival that converges upon a creative force or cultural element.” Next season’s focus will be on contemporary Americans ranging from “old-timers” such as Phillip Glass, Adams and Reich to relative compositional newcomers such as Bryce Dessner, guitarist for the band, the National, and Chris Cerrone.

As part of this venture, the Phil will collaborate with L.A. Opera in a production of David T. Little’s Dog Days at REDCAT, the black-box theatre inside Disney Hall, and will also produce John Adams’ Available Light at Disney Hall with Frank Gehry designing the sets and Lucinda Childs creating choreography.

Overall the season will have 10 commissioned works, eight world premieres, five U.S. premieres and seven West Coast premieres. Orchestras along with the Phil will be the London Symphony Orchestra, conducted by Michael Tilson Thomas on March 24, 2015 and the Seoul Philharmonic, led by Myun-Whung Chun on April 15, 2015. The “Sounds About Town” series has been bumped back up to three local orchestras: The Colburn Orchestra (led by Sir. Neville Marriner), USC Thornton Symphony, and the American Youth Symphony. There are also numerous other programmatic genres; as noted at the top of this Blog, there’s almost too much to absorb in one reading.
_______________________

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

AROUND TOWN/MUSIC: Hollywood Bowl, L.A. Master Chorale announce upcoming seasons

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News

Schedules for 2014-2015 continue to flow in:

• Three different versions of hair are among the highlights of the 93rd Hollywood Bowl season, which was announced Tuesday. The 2014 season begins June 14 and 15 with the 36th annual Playboy Jazz Festivals and spans 15 weeks through September.

Amid a dizzying number of pops, jazz, world music and movie nights, the Los Angeles Philharmonic will have its 10-week-long classical season, which begins July 8 and concludes September 11. Music Director Gustavo Dudamel, he of the curly hair, will lead four programs over five evenings, including another segment of his “Americas & Americans” series, an evening entitled “Noche de Cine” that will include a suite from Dudamel’s score to the movie Libertador on July 31.

The other hair-related programs will be a 50th anniversary re-creation of The Beatles appearance at Hollywood Bowl that will take place August 22, 23 and 24, and a production of the 1968 Broadway musical, Hair, on August 1, 2 and 3. Since the listing for Hair includes the words “contains mature subject matter and brief nudity,” one can assumed this will be a virtually complete production.

Esa-Pekka Salonen, the Phil’s Conductor Laureate, is among the conductors who will lead the Phil. He has programs scheduled on July 15 and 17.

Read the complete schedule HERE.
The entire Hollywood Bowl press kit is HERE.

The Los Angeles Master Chorale’s 51st season will have Music Director Grant Gershon leading 10 concerts (14 performances) in Walt Disney Concert Hall that feature world premieres by Shawn Kirchner and Nack-Kum Paik. Nearly half of the 20 composers represented in the schedule are alive.

One who isn’t alive (literally, at any rate) is Johann Sebastian Bach whose St. Matthew Passion will be featured twice: the Chorale, along with the Musica Angelica Baroque Orchestra and Los Angeles Children’s Chorus, will offer Bach’s version on Jan. 31 and Feb. 1, while Tan Dun’s Water Passion after St. Matthew will be sung April 11 and 12, 2015. Dun’s piece was commissioned by Helmuth Rilling for the 250th anniversary of Bach’s death in 2000.

Another “Passion” oriented work will open the season on Oct. 19 when the Chorale presents Richard Einhorn’s Voices of Light/The Passion of Joan of Arc. Written for chorus, soloists and orchestra, the piece accompanies Carl Dreyer’s 1928 silent film The Passion of Joan of Arc.

The season announcement also reveals a bit about the upcoming Los Angeles Philharmonic season as the Chorale will sing in performances of Beethoven’s Choral Fantasy and John Adams’ Harmonium led by Gustavo Dudamel October 9-12; for performances of Berlioz’ Romeo and Juliet under the baton of Esa-Pekka Salonen November 7-9; and in Beethoven’s Missa Solemnis to be led by Michael Tilson Thomas January 9-11, 2015.

Details on the Master Chorale season are HERE.
_______________________

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