AROUND TOWN/MUSIC: Michael Feinstein sings Gershwin with Pasadena Pops

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.
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Pasadena Pops With Michael Feinstein
Saturday, July 19 • 7:30 p.m. (Gates open 5:30 p.m.)
Los Angeles County Arboretum; 301 North Baldwin Ave., Arcadia
Tickets: $20-$115
Information: www.pasadenasymphony-pops.org
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Feinstein-singing

Michael Feinstein will sing songs of the Gershwins — an integral part of “The Great American Songbook” — with the Pasadena Pops on Saturday, July 19, at the Los Angeles County Arboretum.
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When Michael Feinstein steps onto the stage Saturday night at the Los Angeles County Arboretum, he will be in an unfamiliar role, at least for Pasadena Pops concerts. Rather than appearing as Principal Conductor (the orchestra’s Resident Conductor, Larry Blank, will be waving his baton, instead) Feinstein will spend the evening crooning music by George and Ira Gershwin, songs that are dear to his heart and an integral part of “The Great American Songbook” (LINK), a project on which Feinstein has focused his career and life for more than 20 years.

“I fell in love with the Gershwins’ music at a very early age,” said Feinstein in an interview recently, “and then had the opportunity of knowing and working with Ira Gershwin for six years. He taught me much of what I know about this music and how to perform it. This program will be an affectionate tribute to their collaboration, filled with anecdotes that are often humorous and illuminating.”

Feinstein has created some new arrangements for this concert; he will also include classic sets. “For example,” says Feinstein, “I will do one piece with lyrics by Ira and music by another composer, called Tchaikovsky. It was introduced by Danny Kaye and I perform it with Danny’s original orchestration. There will be a medley of songs that George put together for Fred Astaire that I have arranged. I perform different ‘chestnuts’ in different ways, with different styles. So this is a fresh look at this iconic music.”

Music of the Gershwins is a quintessential example of “The Great American Songbook,” believes Feinstein. ‘This is a body of work that began in the earlier part of the 20th century, crystalizing in the 1920s and continues today,” he explains. “It contains music and lyrics that transcend their time — they have a timeless quality that appeals to contemporary audiences.”

Feinstein isn’t the only person to work with this concept; three years ago Thomas Hampson traveled throughout the United State States and Europe performing recitals of music from this collection and as long ago as the 1950s Ella Fitzgerald was recording music by Rodgers and Hart that she termed a “song book.”

Nonetheless, “The Great American Songbook” is Feinstein’s passion. “There are a few songs from the early 1900s that survive — Stephen Foster and Victor Herbert, for example,” says Feinstein, “but the creations that began in the 1920s had a certain level of sophistication in the words, a clever turn of phrase, that not only has appeal today but continues to speak to the human condition. It is time that determines what lasts, not someone saying, ‘This is part of The Great American Songbook.”

Mining that collection produces consistently distinctive concerts for the Pasadena Pops (Feinstein is in his second year as the ensemble’s principal conductor). “Pasadena is an extension of my love for The Great American Songbook,” says Feinstein, “but the concerts a very different experience because it’s a symphony orchestra playing these arrangements. Often ‘pops’ concerts are dumbed-down arrangements of songs that are, for want of a better word, ‘schlocky,’ kind of generic and boring. Our programs are not elevator music; this is music of true harmonic substance, played by a great orchestra.

“Moreover,” he continues, “this is often ‘new music’ for the musicians. ‘Pops’ orchestras traditionally play certain pieces of music but there’s very little that the Pasadena Pops Orchestra is accustomed to in our concerts. That keeps things fresh. Things like Saturday’s Gershwin concert are fun for me and for the musicians, as well. I want to create programs that I would enjoy attending.”

For more on Michael Feinstein on “The Great American Songbook,” click HERE.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

MEMOIR: Michael Feinstein — building and preserving “The Great American Songbook”

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
home
Michael Feinstein will sing songs of the Gershwins — an integral part of “The Great American Songbook” — with the Pasadena Pops on Saturday, July 19, at the Los Angeles County Arboretum. LINK
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When I first heard the term “The Great American Songbook,” I thought it was actually a book — I even went online to see whether I could purchase it. If I had, I would have needed to be a loose-leaf notebook, because “TGAS” is, in reality, a living, expanding organism, as one of its greatest exponents, Michael Feinstein explains.

”The Great American Songbook is a body of work that began in the earlier part of the 20th century, crystalizing in the 1920s and continues today,” Feinstein explains. “It contains music and lyrics that transcend their time — they have a timeless quality that appeals to contemporary audiences.”

One could, of course, make the same claim for classical music. “We’re still listening to the music of Schubert and Brahms because it still has value or resonance today,” says Feinstein. “It’s the same things with these songs: this is popular music that has turned into standards by still being performed: people continue to want to hear them.”

By Feinstein’s definition, “The Great American Songbook” begins with music from the 1920s. “There are a few songs from the early 1900s that survive — Stephen Foster and Victor Herbert, for example,” continues Feinstein, “but the creations that began in the 1920s had a certain level of sophistication in the words, a clever turn of phrase, that not only has appeal today but continues to speak to the human condition. It is time that determines what lasts, not someone saying, ‘This is part of The Great American Songbook.’”

“No one knows exactly when the term The Great American Songbook was first used,” believes Feinstein. “Ella Fitzgerald, starting in the 1950s, recorded what she called the Rodgers and Hart song book; I don’t know if anyone used the term prior to those recordings. It’s only in the last 20 years or so that we’ve been using the phrase The Great American Songbook.”

Feinstein’s devotion to what would become TGAS began in the 1970s when he was introduced to Ira Gershwin, who hired him to catalogue his extensive collection of phonograph records. “I fell in love with the Gershwins’ music at a very early age,” recalls Feinstein, “and then had the opportunity of knowing and working with Ira Gershwin for six years.”

Later he began cataloguing and preserving the unpublished sheet music and rare recordings in Gershwin’s home, thus securing the legacy of not just Ira but also that of his composer brother George Gershwin, who had died four decades earlier. “He [Ira] taught me much of what I know about this music and how to perform it.”

That preservation work continues to this day. “I have office space where I have thousands and thousands of pounds of sheet music,” says Feinstein who has lived in a 1920s-era castle-like house since 1998 (“it’s a peaceful retreat, which is necessary for balance in my life”). Feinstein has a full-time archivist working in Hollywood. Some of the material can be scanned but not all. “Some are not readable enough to be digitized,” explains Feinstein.

“There are songs being written today that have the potential of becoming part of the Great American Songbook,” believes Feinstein. “The last great wave of songwriters was in the 1970s: Carole King, Billy Joel, Elton John, Carly Simon. Their songs are now being recognized as part of The Great American Songbook.

“One of the problems with songs written today is that they are often identified indelibly an individual performer. One example is Pharrell Williams’ song, Happy. Other people can sing it but it’s really identified with him. So I don’t know what has been written in the last 20 years that will last, aside from the specific recordings. And maybe that’s how they will last because technology is such that people will go back to that specific recording.”

Feinstein cites one of many examples. “A song like Skyfall, by Adele: It won an Oscar but that’s a terrible song. It’s three chords and succeeds because of the power of her interpretation. She’s a powerful and talented performer but not’s delude ourselves: it’s not a great song and outside of her performance I doubt very much if that song will last.”

One of the things that make a song last is that it’s been interpreted by many people in many different ways. “Any given Gershwin song can have hundreds of interpretations,” says Feinstein. I Got Rhythm was introduced by Ethel Merman in 1930 but it is the different types of interpretations over the years that has kept it alive.”

Feinstein’s work in TGAS takes many forms. In 2007, he founded the “Michael Feinstein Great American Songbook Initiative,” dedicated to celebrating the art form and preserving it through educational programs, Master Classes, and the annual High School Vocal Academy and Competition, which awards scholarships and prizes to students across the country.

He serves on the Library of Congress’ National Recording Preservation Board, an organization dedicated to ensuring the survival, conservation and increased public availability of America’s sound recording heritage.

Feinstein’s work as Principal Conductor of the Pasadena Pops have open up new horizons. “This was an opportunity to create music in a different way and it explained why I had been collecting orchestrations these many years,” explains Feinstein. “I would never had the opportunity to sing a Peggy Lee tune to an orchestration because it’s in a different key for a different singer, but when I would come across these things I would preserve them and collect them. Now I realize why I’ve been preserving and collecting orchestrations all these years.”
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

OVERNIGHT REVIEW: Broadway with a twist from Pasadena Pops

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

What if an orchestra presented a summertime Broadway-themed concert and Rodgers and Hammerstein didn’t show up? That’s what the Pasadena Pops almost did last night at the Los Angeles County Arboretum.

Of the nearly three-dozen songs on the program, only one was by the iconic duo. Instead, the Pops spotlighted four beautiful and talented Broadway female vocalists and one hunky (and talented) male. Along with delivering a first-rate program, they emphatically demonstrated that there’s been a lot of life on The Great White Way since R&H left the scene more than half a century ago.

The Pops’ resident conductor, Larry Blank, presided over a well-paced program and the orchestra provided stylish accompaniment throughout. The ensemble also got its moments in the spotlight with renditions of Song on the Sand from La Cage Aux Folles and Leonard Bernstein’s Candide Overture.

However, the spotlight was on the vocalists: Susan Egan, Valeri Perri, Christina Saffran, Lisa Vroman and David Burnham.

There were several touching moments and a surprise during the evening. Egan, Perri and Saffran (with some well-time peacocks counterpoint) offered a poignant rendition of At the Ballet from A Chorus Line by the Pops’ late principal conductor, Marvin Hamlisch. Later in the second half, Vroman delivered an operatic performance of If I Loved You from Rodgers and Hammerstein’s Carousel, just two days after Richard’s daughter, Mary, died at the age of 83. In dedicating the performance to Mary Rodgers, Blank noted that she was involved in the R&H Foundation, which owns and licensed much of the music on the program.

The surprise was Egan’s powerful rendition of the world premiere of Every Time We Touch from an unproduced musical by Richard Kagan and Michael Jay. Kagan had been friends with Hamlisch for 48 years and was with him when Hamlisch died suddenly on August 6, 2012 at the age of 68.

As Blank related, Kagan had harbored thoughts of becoming a composer but after he heard Hamlisch play, Kagan recalls, “it changed my life. I was overwhelmed by his talent. I knew for me it was time to go into the insurance business.” For the next four decades, Kagan ran a successful life insurance business in L.A. but apparently he has had second thoughts about the musical theatre.

Burnham and Vroman provided one of the evening’s highlights with their heartfelt rendition of All I Ask of You from Andrew Lloyd Webber’s Phantom of the Opera. Perri brought great emotion to Don’t Cry for Me, Argentina from Evita, while Saffran displayed a gorgeous voice in I Dreamed a Dream from Les Miserables.

Although Judy Garland didn’t have a Broadway stage career, she figured prominently in the evening’s proceedings. Perri sang an arrangement written for Garland of Almost Like Being in Love from Brigadoon, while later Egan brought her unique touch to a medley of Garland songs from the movies, concluding with (what else?) Over the Rainbow.

Hemidemisemiquavers:
• Now in its third season at the Arboretum, the Pops continues to settle in nicely. The video screens on either side of the stage seem to have much sharper definition this year and the camera work was, for the most part, quite satisfactory. The only oddity was that Perri’s purple gown showed up bright blue on the video, although the other ladies’ gowns seemed to translate well on screen.
• One major problem from previous years, a lack of lighting on the pathway leading to the south exit after the concert, has been rectified thanks to dozens of young volunteers armed with flashlights.
• Although not many people seemed to realize it, the Pops has “gone green” by publishing its playlists on its Web site (www.pasadenasymphony-pops.org) and on a free app downloadable for tablets and smart phones. A limited number of paper copies were available last night.
• Fortunately last night was the only concert this summer where the Pops goes head to head with the California Philharmonic at nearby Santa Anita Racetrack. At least one patron got on the wrong shuttle and ended up at the Arboretum instead of the other location.
• Last night was also the only concert of the summer that didn’t invite Principal Pops Conductor Michael Feinstein, who returns on July 19 to sing music by George and Ira Gershwin with Blank again on the podium (LINK). Feinstein will conduct the final two concerts of the summer on Aug. 16 and Sept. 6.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

AROUND TOWN/MUSIC: Cal Phil, Pasadena Pops perform Saturday in Arcadia

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
This column was published today in the above papers.

Summertime … and the classical music season warms up along with the temperatures. Arcadia is the place to be on Saturday as the California Philharmonic begins its 2014 summer season at Santa Anita Racetrack, while a few hundred yards away at the Los Angeles County Arboretum the Pasadena Pops continues its summer schedule.

• Music by John Williams headlines the Cal Phil’s opening concert, as Victor Vener leads his ensemble in the first of five concerts at the performing space in the infield of the famed racetrack. Among the selections will be a violin/cello arrangement of the theme from Schindler’s List, with father and son duo Dennis Karmazyn on cello and Max Karmazyn on violin as soloists. The program will also include Tchaikovsky’s 1812 Overture and Orff’s Carmina Burana, with the Cal Phil Chorale assisting in the latter.

Other 2014 concerts are:
July 12 — “Copland and Cowboys”
July 26 — “Music, Fantasy and Adventure”
Aug. 9 — “Movie Masterpieces
Aug. 23 — “Broadway and Bolero”
As usual, each outdoor program is repeated the following afternoon in Walt Disney Concert Hall. Information: www.calphil.com

• Broadway is on the Pasadena Pops agenda Saturday night, as resident conductor Larry Blank leads the orchestra in a potpourri of selections from famous Broadway shows. Soloists include vocalists Susan Egan, Valerie Perri, Christina Saffran, Lisa Vroman, and David Burnham. Among the shows featured will be Cabaret, Evita, Les Misérables, Phantom of the Opera, A Chorus Line, The Music Man, Wicked and West Side Story.

This is the only concert of the five-event Pops season that will go head-to-head with the Cal Phil, but as is usual when that happens, traffic issues can arise. This is also the only Pops concert of the season where Principal Conductor Michael Feinstein will not appear. Information: www.pasadenasymphony-pops.org

Got a bunch of money? If you hurry you can still find an orchestra that will put your name on its music director position. The Chicago Symphony was the latest to join the naming craze when a gift of $17 million from the Zell Family Foundation bought perpetual naming rights to the orchestra’s music director position, currently held by Riccardo Muti.

If the name “Zell” sounds familiar, it’s because Sam Zell bought The Tribune Co. (including the Los Angeles Times) in April 2007 and then took it into Chapter 11 bankruptcy 20 months later.

The CSO joins the Los Angeles Philharmonic, where Gustavo Dudamel holds the title of “Music Director, Walt and Lily Disney Chair” (which is amusing since Dudamel only sits on a chair during rehearsal), and Los Angeles Opera, where James Conlon is the “Richard Seaver Music Director.” Upon checking their Web sites, it appears that both the Pasadena Symphony and Los Angeles Chamber Orchestra are still open.
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

AROUND TOWN/MUSIC: Indoor, outdoor concerts clash in first weekend of June

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

Style: "p25+-Ipro"
Michael Feinstein will open his second season as the Pasadena Pops’ principal conductor on June 7 at the Los Angeles County Arboretum.
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We’re at that odd time of the year for classical music when seasons collide. In June we’re wrapping up indoor seasons and beginning the outdoor concerts that are so much a part of Southern California life and, unfortunately, they all collide next weekend.

On the indoor scene:
• The Pasadena-based Angeles Chorale will conclude its 2013-2014 season at UCLA’s Royce Hall on June 7 at 8 p.m. when long-time artistic director and now resident guest conductor Donald Neuen makes his final appearance with the Angeles Chorale. The ensemble will be joined by the UCLA Chorale, UCLA Philharmonia and piano soloist Neal Stulberg in an all-Beethoven program: Mass in C Major, Choral Fantasy and the “Hallelujah” chorus from Christ on the Mount of Olives. Soloists for the mass will be soprano Sarah Grandpre, alto Sarah Anderson, tenor Daniel Suk, and bass Michael Dean. Information: www.angeleschorale.org

• The Pasadena Master Chorale’s final concert this year will feature Carl Orff’s ever-popular Carmina Burana on June 7 at 7:30 p.m. at First Congregational Church, Pasadena. Artistic Director Jeffrey Bernstein will conduct the work’s two-piano chamber version. Soprano Krystle Casey and Baritone Ryan Thorn will be the soloists. Information: www.pasadenamasterchorale.org

• On June 8, Pasadena Pro Musica concludes its 50th season at 4 p.m. at Pasadena’s Neighborhood Church as Artistic Director Stephen Grimm leads a program of music by Mozart. Soloists include soprano Paula Rasmussen, who sang with PPM as a young chorister and has since gone on to an international opera career. Information: www.pasadenapromusica.org

• The Los Angeles Master Chorale wraps up its 50th season on June 8 at 7 p.m. at Walt Disney Concert Hall as Artistic Director Grant Gershon leads world premieres of pieces by the Los Angeles Philharmonic’s Conductor Laurate Esa-Pekka Salonen, David Lang, and the Chorale’s composer-in-residence, Shawn Kirschner, along with music by Gabriela Lena Frank and Francisco Nuñez. Gershon’s new title came with welcome news that he is extending his contract with LAMC through 2019-2020. Information: www.lamc.org

On the outdoor front, Michael Feinstein returns for his second season as the Pasadena Pops’ principal conductor, leading the group’s opening concert on June 7 at 7:30 p.m. at the Los Angeles County Arboretum. The program will include a treasure trove of lost works that Feinstein has unearthed in places ranging from libraries to garages as he continues to build “The Great American Songbook.” Feinstein will conduct three of this summer’s concerts and sing in a fourth. Information: www.pasadenasymphony-pops.org
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: Michael Feinstein appears with Pasadena Pops in four summer concerts

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

To no one’s great surprise, summer with the Pasadena Pops will be a Michael Feinstein affair as the singer-conductor-curator will appear in four of the five Pops programs at the Los Angeles County Arboretum beginning June 7.

The Pops’ gamble on hiring Feinstein as its Principal Conductor paid off big dividends last summer and the organization moved quickly to capitalize on that success in planning the upcoming season. Feinstein will conduct three of the summer programs and will appear as a singer in an all Gershwin-concert on July 19.

The concerts:
June 7:
Feinstein will lead a program of music by Harry Warren, Richard Rodgers, Nelson Riddle, Henry Mancini and Alfred Newman, and the world premiere of a piece by André Previn, which was originally part of a movie score that never materialized. Vocalists Laura Osnes and Norm Lewis and pianist Armen Guzelimian will be guests.

June 28:
On the only program not involving Feinstein on stage, composer-producer-songwriter Tena Clark appears with Dionne Warwick, Sheléa Frazier, Sara Niemetz and the orchestra’s resident conductor, Larry Blank.

July 19:
Feinstein puts aside his baton to sing Gershwin and selections from other composers.

August 16:
Feinstein curates and conducts music from the silver screen — Warner Bros., 20th Century Fox, Columbia Pictures and Walt Disney. Debby Boone, Alan Bergman, Maureen McGovern and Kevin Early will also appear.

September 6:
In a program entitled “New York! New York!, Feinstein turns to music that celebrates the Big Apple. Patti Austin, Liz Callaway and Jeremy Jordan are on the program.

• The complete media release and artists’ photos are HERE
• For information and ticket ordering, click HERE
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(c) Copyright 2014, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

CLEANING OUT THE INBOX

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

The following items come the hundreds of emails that land in my inbox each week … along with material from other Blogs and stories.

• CALIFORNIA PHILHARMONIC FOUNDATION DECLARES BANKRUPTCY; ORCHESTRA TO BE OWNED AND RUN BY FOR-PROFIT COMPANY
The Cal Phil has struggled financially for several years, so the CalPhil Foundation has declared bankruptcy. The orchestra will now be owned and run by Pasadena Entertainment, a local, for-profit company headed by André Vener, who has been President and CEO of the Foundation for 10 years and is the son of Music Director Victor Vener.

Among the highlights of the announcement:
• Pasadena Entertainment has paid all back wages owed to the musicians and a new collective bargaining agreement has been signed. Presumably all other debts incurred by the orchestra will be handled through the CalPhil Foundation bankruptcy.
• The 2014 season has been set, with outdoor concerts continuing at Santa Anita Racetrack and the indoor season taking place at Walt Disney Concert Hall.
• According to the release “close to 20,000 people” attended the five “Festival on the Green” concerts at Santa Anita this past summer and “10,000 fans” attended the five “sold out” Disney Hall concerts.

(The complete media release is at the bottom of this post.)

• PASADENA SYMPHONY AND POPS TO PRESENT FREE “MUSIC UNDER THE STARS” CONCERT OCT. 5 AT PASADENA CITY HALL PLAZA
Larry Blank will conduct the orchestra in this annual concert with soloists Susan Egan, Vicki Lewis and David Burnham and the JPL Chorus singing. The free program begins at 7:30 p.m. DETAILS

• CARL ST.CLAIR TO HEAD COSTA RICAN ORCHESTRA FOR ONE YEAR
Carl St.Clair, music director of the Pacific Symphony in Costa Mesa for 25 years, will become music director of the National Symphony of Costa Rica for one year beginning in 2014. He will continue with his Pacific Symphony post. Read the Los Angeles Times story HERE.

• THREE NAMED DUDAMEL FELLOWS FOR 2013-2014
The Los Angeles Philharmonic has named the latest class of young conductors who will work with Music Director Gustavo Dudamel and the orchestra during the upcoming season: David Cohen, Ben Gernon and Antonio Méndez. DETAILS

• JAMES LEVINE RETURNS TO CONDUCTING DUTIES AT THE METROPOLITAN OPERA
Many of us thought that the day would never come given the serious of Maestro Levine’s health issues, but by the press accounts his return as conductor of Mozart’s Cosi fan Tutte was triumphant.
New York Times (Anthony Tommasini)
Financial Times (Martin Bernheimer)
Los Angeles Times (James C. Taylor)
Washington Post (Anne Midgette)

• FASTNOTES: A great L.A. Phil tradition continues
I got the first edition of “FastNotes” for the upcoming season in my inbox this week and once again I highly recommend them to any classical music lover. “FastNotes” are an email glimpse at each upcoming concert with an overview of the program, notes about each of the composers, links to ticket purchasing options, and links to the programs notes and excerpts of the pieces to be played (or, as is the case this week, when a piece is a premiere, excerpts from the composer’s other works — there may be a fee for the excepts). You can sign up for this through the Phil’s E-Newsletter section HERE. Even if you’re not going to attend a concert, I find them very informative.

(From the post above, here’s the complete Cal Phil media release)

CALIFORNIA PHILHARMONIC ENDS 2013 SUMMER SEASON ON A HIGH NOTE;
SANTA ANITA RACE TRACK AND WALT DISNEY CONCERT HALL SET FOR EXCITING 2014 SUMMER SEASON

Local 47 Musicians Union Issues Statement Of Support As California Philharmonic Moves Forward With New Ownership And Operations Under Pasadena Entertainment

Pasadena – With the dynamic conclusion of California Philharmonic’s 2013 summer season comes exciting news for the world class orchestra. And, as it begins the next phase of its legacy, now owned and operated by Pasadena Entertainment, California Philharmonic is moving full steam ahead with the announcement that both of its summer homes, iconic venues Santa Anita Race Track and Walt Disney Concert Hall, are on board for 2014 and beyond.

“It’s been our pleasure to work with Pasadena Entertainment since 2009,” says Sharon Stewart, Director of Scheduling and Events for the Music Center of Los Angeles County. “We look forward to working with them in future summers, and to another successful summer classical music series.”

Pasadena Entertainment has served as the production and marketing firm for the California Philharmonic and its concert series for the past four years.

“We value the professionalism of Pasadena Entertainment as part of our marketing and production team,” said Pete Siberell, Director of Special Projects for Los Angeles Turf Club. “Teaming up with California Philharmonic has been a great opportunity to develop Santa Anita Race Track as a premier concert venue.”

And the close to 20,000 people who attended California Philharmonic’s 2013 Festival on the Green at Santa Anita Race Track couldn’t agree more. Equally enthusiastic, are the 10,000 fans who filled last season’s sold out concerts at Walt Disney Concert Hall and showed their appreciation of the revered orchestra with an unprecedented five standing ovations during the final performance of the season.

The transition of California Philharmonic to Pasadena Entertainment from the non-profit CalPhil Foundation began earlier this year. CalPhil Foundation (not the California Philharmonic), will phase out through bankruptcy.

Under its new organization, all past and present professional obligations with California Philharmonic musicians have been met. A new collective bargaining agreement has been set and California Philharmonic is moving forward with the Musicians Union and its members in good standing.

“AFM, Local 47 is pleased to announce that all back wages owed to California Philharmonic musicians for services rendered have been paid,” comments John Acosta, Vice President of Local 47. “Pasadena Entertainment has stepped up to take on the proud tradition of California Philharmonic, providing summer concerts in Los Angeles County. Local 47 and its new partner Pasadena Entertainment look forward to a long and successful relationship!”

The musicians echo the excitement for the future of California Philharmonic along with the Union, the orchestra’s ever-growing loyal fan base and the venues.

“Maestro Vener and California Philharmonic create the kind of energy that John Mauceri, Arthur Fiedler and Leonard Bernstein brought to the concert stage,” says Dennis Karmazyn, California Philharmonic’s principal cellist. “California Philharmonic takes the audience on a musical journey.”

Subscriptions and tickets are available for the 2014 summer season.

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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

OVERNIGHT REVEW: Feinstein, Pasadena Pops close season in style

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

Russell-Feinstein
Vocalist Catherine Russell, conductor Michael Feinstein and the Pasadena Pops lit up the night in an arrangement of Gershwin tunes at the Los Angeles County Arboretum. (Photo by Steve Sabel for the Pasadena Pops)
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When the Pasadena Pops hired Michael Feinstein to replace Marvin Hamlisch as its Principal Conductor shortly after Hamlisch died unexpectedly on Aug. 6, 2012, the orchestra was taking quite a gamble. Although Feinstein is a prolific entertainer and musical scholar, he had never conducted an orchestra prior to the Pops’ opening night last June.

To judge by the summer’s results — notably that first concert and Saturday night’s season finale — that gamble has paid off in a jackpot-large way. According to management, attendance at the Los Angeles County Arboretum has been up more than 30 percent and season renewals for next season have increased more than 200 percent. It’s no surprise that the board wasted no time extending Feinstein’s contract through the 2016 season.

Feinstein has worked on the music of George and Ira Gershwin since pianist Oscar Levant introduced Feinstein to Ira in 1977. Since then, Feinstein has been researching, cataloguing and preserving unpublished Gershwin sheet music and rare recordings, including a six-year-sojourn in the Gershwin’s home.

Thus it’s no surprise that last night’s concert, entitled “The Gershwins and Me,” included 20 Gershwin tunes, many of which were performed in arrangements that had not been played before or at least since their premieres.

As has been the case in all Feinstein concerts, his commentary Saturday was erudite, insightful and witty, laced with fascinating factoids drawn from Feinstein’s relationship with the Gershwin family and Hollywood. What was different from the opening concert was how much more comfortable Feinstein seemed on the podium (at least judging from the audience side). His beats were concise, his cutoffs more expert, and he seemed to swing and thoroughly enjoy himself, particularly in the arrangements of four songs that Nelson Riddle made for Ella Fitzgerald.

Catherine Russell was a creamy soloist in that set, which began with Nice Work if You Can Get It and ended with The Man I Love. In the second half of the concert, Tom Wopat emphasized lyrics in a set that opened with Love is Here to Stay and concluded with I Got Plenty of Nuttin, the latter using an arrangement that Riddle wrote for Frank Sinatra.

The JPL Chorus (Donald Brinegar, conductor) offered spritely lyrics to I Got Rhythm and the orchestra delivered lush sounds throughout the evening. Among the instrumental soloists, Aimee Kreston, violin, and Bryan Pezzone, piano, were standouts.

Before the final scheduled number, Feinstein sang a winsome arrangement of They Can’t Take That Away From Me from the piano, which he termed a preview of the 2014 season when Feinstein will conduct and/or sing in four of the five Pops programs beginning June 7, 2014. Judging by the audience’s reaction, that date will be eagerly awaited.
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HEMIDEMISEMIQUAVERS:
• Last night was Feinstein’s 57th birthday; the orchestra and audience serenaded him with Happy Birthday prior to the concert.
• Among the celebrities in the audience, Feinstein introduced before the concert’s end Mark Gershwin and other members of the Gershwin family, Patricia Kelly (widow of dancer-singer-actor-director Gene), Ginny Mancini (widow of composer Henry), singer Debby Boone (also known to us old fogies as daughter of crooner Pat) and actress Betty White, who Feinstein noted is older than Rhapsody in Blue (look it up).
• The camera work was spotty most of the evening. Sometimes they got the correct soloist (albeit a note or two late); at other times they were totally off base, which can be disconcerting for those watching. Directing a concert is an art form in itself.
• The Pops will offer its annual free “Music Under the Stars” concert on Oct. 5 at 7:30 p.m. in the Pasadena City Hall plaza. The orchestra’s resident conductor, Larry Blank, will lead the program. INFO
• The Pasadena Symphony opens its indoor season on Nov. 2 at 2 and 8 p.m. in Ambassador Auditorium when newly appointed Music Director David Lockington will lead a program that will include what CEO Paul Jan Zdunek joked last night will probably be the final performance in 2013 of Stravinsky’s The Rite of Spring (this year marks the centennial of the piece’s Paris debut and seemingly every orchestra in Southern California — and probably the world — has programmed it this year). Fortunately, it remains fresh and provocative each time I hear it. INFO
• Brinegar and the JPL Chorus opened the evening with The Star-Spangled Banner, accompanied by snare drum.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

PREVIEW: Cal Phil, Pasadena Pops perform tomorrow night

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
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California Philharmonic: Rodgers and Hammerstein and Gershwin
Saturday, August 10 at 7:30 p.m. at Santa Anita Racetrack, Arcadia
Sunday, August 11 at 2 p.m. in Walt Disney Concert Hall, Los Angeles
Information: www.calphil.org

Pasadena Pops: Classical Mystery Tour
Saturday, August 11 at 7:30 p.m. at Los Angeles County Arboretum, Arcadia
Information: www.pasadenasymphony-pops.org
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There’s an interesting synergy between the two local orchestra concerts taking place tomorrow night in Arcadia: the Cal Phil at Santa Anita Racetrack and the Pasadena Pops at the L.A. County Arboretum.

The Cal Phil concert features music by George Gershwin and Rodgers and Hammerstein. The Pops concert (entitled “Classical Mystery Tour”) features music of The Beatles, with four mop-top singers who simulate the famous English quartet. I have no idea what “Classical Mystery Tour” means but it’s obviously a popular show with one or two bookings each month during this year and next throughout the country.

The synergy is the timing. Rodgers and Hammerstein’s last musical, The Sound of Music, debuted on Broadway in 1959 and the movie version was released in 1965. The Beatles came together in 1960 in Liverpool and made their U.S. debut in 1964 when they appeared on The Ed Sullivan Show. Subsequent tours brought them to Hollywood Bowl in 1964 and 1965.

Although the musical styles of R&H and The Beatles were dramatically different, they were hugely influential in their own eras and, as evidenced by these concerts and others this summer, remain so today.

Just so, the music and musical influence of George Gershwin remains significant today. Thus, Music Director Victor Vener’s decision to pair Gershwin with R&H makes a lot of sense both from a musicology and box office point of view.

The Cal Phil concert will open with Gershwin’s An American in Paris and will continue with Rhapsody in Blue, with well-known Southern California pianist Bryan Pezzone as soloist. Broadway soloists Kim Huber and James Barbour will join Vener and the Cal Phil for music from Oklahoma, South Pacific, Carousel and The Sound of Music.
BTW: if both concerts intrigue you, you can catch the Pasadena Pops at the Arboretum on Saturday and Cal Phil Sunday afternoon at 2 p.m. in Walt Disney Concert Hall, with a preconcert lecture by Vener at 1 p.m.
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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

AROUND/MUSIC: SW Chamber opens Huntington season on another “clash Saturday”

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

As if you couldn’t tell from last week’s heat wave, summer is really upon us and our burgeoning music season reflects the seasonal change.

Southwest Chamber Music begins its 20th season in the Loggia of the Huntington Library in San Marino next Saturday and Sunday. The music begins at 7:30 p.m. Preconcert, three-course dinners are available by prior reservation from the Huntington’s Tea Room or you can bring your own picnic and enjoy it on the lawn. As a bonus, sections of the library are open to ticketholders prior to the concert and at intermission.

This weekend’s programs include Hums and Songs of Winnie the Pooh by English composer Oliver Knussen, Stravinsky’s Octet for Winds and Mozart’s Serenade, K. 361. Other programs are July 27 and 28, August 10 and 11 and August 24 and 25. Information: 800/7236-7147; www.swmusic.org

Saturday is one of this summer’s “clash nights.” In addition to Southwest Chamber Music, both the Pasadena Pops and California Philharmonic are performing in their Arcadia locations (thus creating some traffic issues).

Michael Feinstein, the Pasadena Pops’ new principal conductor, returns to the Los Angeles County Arboretum to lead a program celebrating the musical legacy of MGM movies, including Singing in the Rain, Harvey Girls, Gigi, Meet Me in St. Louis, The Wizard of Oz and others. Vocalists Christine Ebersole and Ron Raines will join the festivities. Information: 626/793-7172; www.pasadenasymphony-pops.org.

Meanwhile, the Cal Phil returns to Santa Anita Racetrack on Saturday for one of Music Director Victor Vener’s perennial programming favorites: “Andrew Lloyd Webber Meets Puccini.” Singers Lori Stinson, Christine Campbell and Cedric Berry and the Cal Phil Chorale will join the orchestra for music by two of the world’s best-known composers. The program repeats July 14 at 2 p.m. indoors at Walt Disney Concert Hall. Information: 626/300-8200; www.calphil.org

Although Hollywood Bowl has presented several pops concerts during the last month, the Los Angeles Philharmonic opens its 10-week classical season at the iconic Cahuenga Pass amphitheater Tuesday night. Michael Tilson Thomas, music director of the San Francisco Symphony, returns home to lead the Phil, Los Angeles Master Chorale and soloists Kiera Duffy and Sasha Cooke in a performance of Mahler’s Symphony No. 2 (Resurrection).

On Thursday, Thomas leads the orchestra in Tchaikovsky’s Symphony No. 4 and Rimsky-Korsakov’s Dubinushka, along with Sibelius’ Violin Concerto, with Gil Shaham as soloist.

Next week, Bramwell Tovey returns to the Bowl stage on July 16 to lead the Phil in a Britten-Elgar-Sibelius program. On July 18, Tovey conducts a program that concludes with Berlioz’s Symphonie Fantastique.

Information: 323/850-2000; www.hollywoodbowl.com.

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(c) Copyright 2013, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.