Monthly Archives: August 2021
The sounds of musical theater favorites will drift back to Montgomery on Thursday.
The free Broadway Under the Stars Pops concert brings the Montgomery Symphony Orchestra back to the Great Lawn at the Alabama Shakespeare Festival in the Blount Cultural Park.
Doors open at 5:30 p.m. Starting at 7:30 p.m., MSO will present a mix of new and old favorite tracks including “West Side Story”, “Wicked”, “Hamilton”, “The Sound of Music”, “Camelot” and more.
“Everyone is delighted to be back,” MSO Executive Director Bryan Reeves said of his resident musicians in the River area.
The performance scheduled for last year has been canceled due to the pandemic.
“We did a few shows last season,” Reeves said. “It’s the first one that sort of comes back at full speed.”
The general public is invited to bring picnic chairs and blankets. For those who have purchased meals, special care has been taken with the spacing of the tables for safety reasons.
“We have a lot of space for people to spread out there,” Reeves said.
If the guests can get closer to the musicians, they can also walk away across the pond in front of ASF and clearly hear the concert.
“We’re bringing in a world-class sound team to do the audio amplification for this gig,” said Reeves. “This system is designed to make sure that we get the sound across the pond.”
Reeves said MSO learned to take virus precautions for the audience and the orchestra, who rehearsed at the Davis Theater.
“We take a lot of distance when we’re indoors,” Reeves said. “We had the winds and brass offstage in the audience seats for rehearsals so that we had enough room to spread out everyone. “
Entering the park is a bit easier now. The Woodmere and Vaughn Road entrances will be open, now that repairs to the bridge at the Vaughn Road entrance are complete.
The concert is sponsored by Regions Bank, with support from the JK Lowder Family Foundation and the S. Adam Schloss Foundation.
Jamie Reeves is the Acting Director and Conductor
A native of Montgomery, Jamie Reeves, director and interim conductor of MSO, will lead the Broadway Under the Stars orchestra. He was praised by the Bloomington Herald Times for his “… sharp and charismatic performances”. He is also a versatile artist committed to presenting a diverse repertoire of symphonic works ranging from the Baroque to the 21st century.
In recent seasons, Jamie has frequently participated in masterclasses and international conducting competitions where he has conducted orchestras such as the Baltimore Symphony Orchestra, Cabrillo Festival Orchestra, Festival Strings Lucerne, Filharmonia Śląska, Fort Worth Symphony Orchestra , The Victor Hugo Orchestra. Franche-Comté and the Richmond Symphony Orchestra.
As a strong advocate of new music, Jamie frequently collaborates with composers of our time, directing early performances by Camila Agosto, Maxime Daignault, Patrick Thompson and Hangrui Zhang, among others. Jamie has also been recognized with numerous awards and scholarships, including the Peabody Career Development Grant and the Thelma A. Robinson Award from the Conductors Guild and the National Federation of Music Clubs. Strongly committed to inspiring the next generation of orchestral musicians, Jamie is a visiting clinician for youth orchestras across the United States including the Baltimore Symphony Youth Orchestra, Chesapeake Youth Symphony Orchestras, Southern Maryland Youth Orchestra and Stamford Young Artists Philharmonic.
Jamie received his Bachelor of Music degree from the University of Alabama in 2009, studying trombone with Dan Drill and Jay Evans and conducting with John Ratledge. During this time, Jamie performed with many orchestras in the area, including the Alabama Symphony Orchestra and the Tuscaloosa Symphony Orchestra. Jamie continued his education at the Jacobs School of Music at Indiana University, earning his Masters of Music in Conducting in 2011. In May 2020, Jamie received his PhD in Musical Arts in Conducting at the Johns Hopkins University Peabody Conservatory. Jamie studied conducting primarily with Marin Alsop, David Effron, Arthur Fagen, John Ratledge and Joseph Young, and in masterclasses with JoAnn Falletta, Bernard Haitink, Cristain Măcelaru, Leonard Slatkin and Markus Stenz.
Jamie joined the University of Alabama faculty in the fall of 2020 as Director of Orchestral Studies and Music Instructor. Jamie conducts the Huxford Symphony Orchestra at the University of Alabama and teaches conducting and introductory listening courses with distinction.
– Montgomery Symphony Orchestra
Contact reporter Shannon Heupel of Montgomery Advertiser at email@example.com.
The Baton Rouge Symphony is celebrating its 75th anniversary season, as well as its long-awaited return to the River Center Theater.
The season kicks off with The Lamar Family Chamber Series, featuring favorites Bachtoberfest and Holiday Brass, as well as guest artists Willis Delony and Houston Symphony principal clarinetist Mark Nuccio.
In November, the 75th anniversary of the symphony is celebrated with a special concert under the direction of Timothy Muffitt, Music Director and Conductor, as well as VIP tours and a special dinner.
In January, the orchestral series returns to the River Center Theater with guest conductors Andrew Grams, Julian Kuerti and Kazem Abdullah. The season ends with a performance of Beethoven’s Ninth Symphony, starring Maestro Muffitt.
The Orchestra Series will be:
- Series 1: Andrew Grams conducts Brahms with soloist Richard Lin on violin at 7:30 p.m. on January 27 at the River Center Theater.
- Series 2: Julian Kuerti conducts Dvořák with soloist Zuill Bailey on cello at 7:30 p.m. on March 10 at the River Center Theater.
- Series 3: Kazem Abdullah conducts Tchaikovsky with soloist Matthew Hakkarainen on violin at 7:30 p.m. on April 7 at the River Center Theater.
- Series 4: Timothy Muffitt conducts Beethoven’s Ninth Symphony at 8 p.m. on May 20 at the River Center Theater with the Baton Rouge Symphony Chorus.
For tickets and a full program of special concerts, visit brso.org.
Longtime Music Director and Conductor of the St. Petersburg Symphony Orchestra, Ulysses Kirksey, Dies of Illness | Richmond Free Press
Ulysses Kirksey grew up in Richmond, traveled the world with his cello, and returned to Petersburg, where he conducted the community symphony orchestra for 32 years.
Mr. Kirksey is remembered for his musical leadership and talent after his death on Friday August 13, 2021. He had been hospitalized in an area hospital for what his family described as “a long illness”.
Funeral arrangements remained incomplete by the Free Press deadline.
Mr. Kirksey was an institution in Petersburg working with the orchestra to spread the joy of music in a voluntary organization that catered for performers ranging from teenagers to retirees. He is credited with improving the string section and expanding the selection of music played by the symphony.
“You can do whatever you want with an orchestra,” Kirksey once said. “You can bring all of these people together and make music as one. “
The online tributes posted since his death reflect the esteem in which he was held. The testimony of Mr. Felicia Bishop, member of the orchestra, illustrates the testimony: “Such a generous, caring and talented man who inspired and changed me as a musician and as a person.
“I am so grateful to have had the chance to be in the symphony with him. He changed my daughter’s life through music and just being a powerhouse and a stimulating person that included so many young talents. He was tough and gentle, stern and witty, a musical giant, a tornado in a teacup, and I will miss him desperately.
Ed J. Aunins, a horn player who has been with the St. Petersburg Symphony Orchestra for almost 25 years, said Kirksey was “really a lot of fun working with him”.
Mr Aunins said that as music director and conductor, Mr Kirksey challenged the orchestra to learn new, more difficult pieces as part of the range of music he included. in the orchestra’s standard repertoire.
The Richmond native has been involved in music his entire life. As a child, he started playing the saxophone and had the ambition to be part of an orchestra.
In a biographical video he posted in 2020, he said he switched to stringed instruments after realizing that few symphonic groups included the saxophone and that he would need to play an instrument. privileged.
He said he chose the cello and took private lessons because John Marshall High School did not have a music teacher who could teach him how to play.
Mr Kirksey said his music teacher quickly got him to play the cello suites by Johann Sebastian Bach, which won him a place in the Richmond Youth Symphony Orchestra.
After high school, he was accepted to the Manhattan School of Music. He said it opened the door to musical opportunities, as well as exposure to America’s largest city. At school, he said, he performed under the direction of guest conductors of large orchestras and was also in demand for solo performances.
As a student there, Mr. Kirksey enrolled in a conductor course thinking, “I could become a better orchestral musician if I found out what was happening on the conductor’s podium. ‘orchestra. It was in this class that we discovered that I had a talent for conducting.
The professor hoped that Mr. Kirksey would focus more on being a conductor, but he stuck to the cello in hopes of securing the orchestral position of his dreams.
Although this did not happen, he found work performing with orchestral groups at Radio City Music Hall, the Apollo Theater in Harlem, and Carnegie Hall’s Symphony of the New World. He also teamed up with a touring string quartet and traveled abroad to perform.
Back in Richmond, he says he got a call from Dr F. Nathaniel Gatlin, a professor of music at Virginia State University who founded the Petersburg Symphony Orchestra in 1978. Dr Gatlin invited him to bring his music. cello and to play with the group. He did so in 1980.
Six years later, Mr. Kirksey was appointed Deputy Director and was chosen to become Director following the death of Dr. Gatlin in 1989. Mr. Kirksey held the position until his death.
“I have never felt more comfortable than playing with and conducting the Petersburg Symphony,” Kirksey said in 2020. “It really is family. I’ve never had this feeling of playing with any other band or organization throughout my career. It was a great race. “
Sammy is an Atlanta native who puts her mark on everything pop culture, through her digital content brand Sammy Approved TV. To some, Sammy is a creative storyteller who devotes most of her time to producing content and experiences that build conversation and community around music and pop culture.
Here’s your reminder from Monday that Chief Keef had a grip on the music industry when he released his hit debut single in 2012. The Chicago rapper celebrated his 26th birthday yesterday (August 15) and in heavenly timing. , this old clip has resurfaced from his live Audiomack show accompanied by an orchestra.
Audiomack offers a series of live performances with artists, who debut on their YouTube channel. A recirculated clip of a Chief Keef in 2018 performing “Love Sosa” in front of a full orchestra. Its accompaniment was naturally called “Drill Symphony” after bringing Chicago drill music to the forefront of mainstream music. Along with his fine performance of “Love Sosa”, the entertaining ensemble also performed his hits “Faneto” and “Belieber“
The performance was filmed at the Henson Recording Studios in Los Angeles. The musicians took a new twist to an old and faithful classic “Love Sosa” as he promoted his album Death 3, which debuted around the same time.
Chief Keef fans quickly remembered how much the rapper dominated music at the time. At just 17 years old, we saw Chief Keef transform sound and create an irresistible wave of music.
The rapper currently spends much of his time living fabulously in his Woodland Hills home filled with his favorite video games, massive artwork, and all the other fun things he can do from the comfort of his own home. House. He still earns around $ 100,000 for a single recording of his music and a flourishing income from his YouTube channel.
Enjoy this classic comeback of Chief Keef and the Drill Symphony presented by Audiomack. Happy birthday, Sosa!
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Also on Global Grind:
press release: Beginning with Christmas carols in the lobby, and all the audience singing Christmas carols together for the finale, this beloved annual Madison tradition kicks off the holiday season to a glorious start! Embrace the spirit of the season with our orchestra, opera stars and three choirs for a celebration of sharing hope and joy with all who join us.
Soprano Elizabeth Caballero is a frequent guest at numerous American and international operas, festivals and concert halls. His repertoire includes essentials of dramatic coloratura and the complete lyric repertoire, including Mimì, Bohemian (Metro Opera; New York Opera; Florida Grand Opera; Hawaii Opera Theater); the title role in Puccini Madame Papillon, Musetta, (Bohemian; Violetta, La Traviata (Naples Opera; Carolina Opera; Madison Opera; Pacific Symphony; Orlando Philharmonic; Compañía Lírica Nacional de Costa Rica); Donna Anna (Madison Opera) and Donna Elvira, Don Giovanni (New York Opera; Seattle Opera; Kansas City Lyric Opera); as well as Nedda, I Pagliacci (New York City Opera; Hawaii Opera), among others. In concert she sang the soprano solos of John Rutter Requiem; from Orff Carmina Burana; by Verdi Requiem; by Rachmaninoff The bells and that of Poulenc Gloria. Originally from Cuba, Elizabeth Caballero is an American citizen. She is fluent in English, Spanish and Italian.
Panamanian-American baritone Nmon Ford begins a new chapter this season as the composer and librettist of Orfeus, a house music opera, which has its world premiere at the Young Vic Theater in London in April 2020; he will also sing the main character. Nmon has found success in an increasingly difficult and dramatic repertoire, most recently with the English National Opera of London in his company and his debut as Crown (Porgy and Bess), preceded by his role and his debut at Lincoln Center’s Mostly Mozart Festival as the celebrant in Leonard Bernstein MASS, Iago (Otello) with the Atlanta Symphony, Jochanaan (Salome) at the Pittsburgh Opera, and the Celebrant (MASS) at the Grosse Festspielhaus in Salzburg with the Mozarteumorchester in Salzburg. He appeared with the Dallas Sympnony in Vaughn Williams’ Symphony of the sea, Chicago Opera Theater in the title role of a new production by Ernest Bloch Macbeth, Atlanta Symphony at Carnegie Hall (Brahms Requiem), St. Louis Symphony (Carmina Burana) and Milwaukee Symphony (Brahms Requiem). After performing the Mahler Lieder eines fahrenden Gesellen with the Orchester National des Pays de la Loire (ONPL) conducted by John Axelrod, Nmon was immediately rehired by the ONPL for the Kindertotenlieder and Fauré’s Requiem.
It was more fabulous than I imagined. Definitely 5 shining stars! – MSO subscriber
Prelude discussion: Enjoy a 30-minute lecture starting one hour before each concert in the Overture Hall. Free for ticket holders.
We guarantee reimbursement of tickets for any concert that cannot be performed for any reason. We will follow all public health guidelines and cooperate with Overture Center for the Arts to ensure your safety. Programs, dates and artists subject to change.
We understand that you may have questions about security protocols and what to expect this fall when we resume showing live concerts. We have created a Frequently Asked Questions to provide answers. If you have any further questions about memberships, single tickets, or our 21/22 season packages, please call (608) 257-3734, or write to us at firstname.lastname@example.org.
Cleveland Orchestra Music Director Franz Welser-Most Gives Artistic Insight from a Veteran in the English Edition of the Memoir “From Silence”
CLEVELAND, Ohio – If there’s one refrain in my career so far, it’s Franz Welser-Most. With his nearly 20 years at the top of the Cleveland Orchestra, the conductor easily ranks as the artist I’ve spent the most time reviewing, interviewing, and simply reflecting.
It is only now, however, that I feel I fully understand it. After reading the newly published and very readable English translation of his book, “From Silence”, I have a whole new appreciation for his way of making music, indeed his way of life. Now, finally, I can clearly see where it came from.
It doesn’t mean that I know him. Not completely. On some subjects, “From Silence” is remarkably, refreshingly straightforward, but Welser-Most – the recent recipient of a 2021 Cleveland Arts Prize – has always been a private person, and even in his memoir he maintains a certain distance, especially when it comes to family and non-musical life. Indeed, “From Silence” is less a memoir, a story of events, than a creed, a great statement of the artistic philosophy of the conductor.
Where he’s most candid is at the start, about his early childhood, his early experiences as a music student, and the devastating car crash that left a young Franz Most (the modifier “Welser” came later, when he adopted a stage name, and refers to a town in Upper Austria) seriously injured and ultimately transformed him from violinist to conductor.
He describes the moment the car he was riding in exited an icy Austrian road in stunning, almost cinematic detail, allowing readers to feel the eerie stillness he felt and imagine the deep silence he spent on the rest of his life to be hunted. The original German title of the book, “When I Found the Silence”, is perhaps a little more precise.
To this day, in everything, Welser-Most seeks that same calm, that same feeling of peace and harmony with the universe. This is why he roams the mountains, practices yoga and gravitates around serene music or in a way above the fray. He seeks the timeless. His money and time is not spent on fast cars or private jets, as they could easily do, but on books and sheet music, storing and soaking up the wisdom of the vast library that he has. he built in his house on the Attersee.
He is also surprisingly open about his productive but turbulent tenure at the London Philharmonic in the 1990s. Welser-Most freely admits that in many ways it was not a good game, that he was perhaps too young. for work, and that the cruel nickname given to him by the British press deeply hurt him and even made him consider quitting music. . In these pages, the conductor has his heart on his sleeve, and it is impossible not to feel sympathy.
About his current tenure in Cleveland, Welser-Most is not verbose. He cites few specific performances and hardly anyone by name. However, he proudly writes about the group’s opera explorations and its broad educational mission, its efforts to ensure that every child in Northeast Ohio has at least one meaningful contact with good music.
He lingered a little longer in Vienna, where he served (for several years at the same time as Cleveland) as general musical director of the famous Vienna State Opera. He takes readers on as he wades into the secret world of Viennese music politics and shares the joy he felt conducting the Vienna Philharmonic Orchestra’s New Year’s Concert, one of the most classical events. watched from the planet.
He also invites readers to his rehearsals, in Cleveland and elsewhere, to understand his intellectual approach to musical creation. Music, he explains, does not exist in a vacuum and cannot be fully enjoyed in the abstract. So it makes sense to spend at least a little time with each piece tackling its social and historical context. His specific case? The recent “Prometheus Project” of the Cleveland Orchestra, which has taken an unusually broad look at the music of Beethoven.
It is clear in “From Silence” that Welser-Most is content in Cleveland, safe in his heritage. Assuming he fulfills his current contract, until 2027, his tenure will eclipse in length that of George Szell, the acclaimed former music director who elevated the Cleveland Orchestra to world-class status.
But he shines positively from his previous tenure at the Opera in Zurich, Switzerland. He remembers with relish the interactions with opera luminaries and the productions that moved and shaped him as an artist. It devotes special sections to individual operas, notably Strauss’ “Der Rosenkavalier”, and offers a veteran insight into directing work.
No wonder he made opera a priority in Cleveland. According to him, and in his experience, opera is the backbone of music, a form that every musician should study. Without regular opera exposure, even the musicians of the Cleveland Orchestra do not realize their full potential.
The audience for “From Silence” is large. It has built-in readers not only in Cleveland, Vienna, and Zurich, but everywhere the Cleveland Orchestra is known.
Yet if there is a demographic that should read “From Silence”, it is the students, those who would devote themselves to music. The glory of “From Silence” is not a musicological glimpse or a treat on Welser-Most. This is the message that for true enthusiasts of any art, including Welser-Most himself, learning never stops. There is always room to grow.
“From Silence: Finding calm in a dissonant world”
Franz Welser-Most, with Axel Bruggeman; Translated by Christine Shuttleworth
184 pages; Clearview Books, $ 30
Posted on Sunday, August 8, 2021 at 6:40 p.m.
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The Waynesboro Symphony Orchestra will present its thrilling “Symphonic Masquerade” and 12th Annual Benefit Pop Concert at the Paramount Theater on Friday, October 22.
After being canceled due to the pandemic last season, the Waynesboro Symphony Orchestra is back and Music Director Peter Wilson is preparing “An Evening Out of This World!” who will look to the stars, celebrate our accomplishments in space, and explore the wonders of the universe through the lenses of Michael Giacchino, Jerry Goldsmith, Gustav Holst, James Horner, Alan Silvestri, Richard Strauss and John Williams.
Join Maestro Wilson and the Waynesboro Symphony for a galactic experience featuring music from the Star Wars saga, Star Trek films, Apollo 13, ET, Close Encounters of the Third Kind, The Planets and beyond!
Tickets for the Orchestra level cost $ 30 ($ 10 for students) and include appetizers and a cash bar while premium balcony tickets ($ 75) include appetizers and an open bar as well. than a private reception after the concert with Dr Wilson and WSO musicians.
Tickets for this show are on sale now. Tickets can be reserved by calling The Paramount box office at 434.979.1333, online at www.theparamount.net, or in person at the ticket office from Monday to Friday from 10 a.m. to 2 p.m.
Arts & Extras: Roanoke Symphony Orchestra conductor David Stewart Wiley celebrates 25th season | The music
Roanoke Symphony Orchestra 2021-22 season
August 28, 7 pm, Elmwood Park: “Symphony under the Stars” with the Southwest Virginia Ballet. Free.
October 16-17, Jefferson Center, Shaftman Performance Hall: Masterpieces, “Maestro Wiley & Friends: From Baroque to Billy Joel. Celebrating 25 Years of Wiley’s RSO Leadership.
October 29, Salem Civic Center: Pops, “Sting & The Police” tribute concert with Jeans’ n Classics.
November 13-14, Shaftman: Masterworks, “Wilson Plays Mozart”, with pianist Terrence Wilson.
December 3, Salem Civic Center: “Holiday Pops Spectacular” with RSO Chorus, Roanoke Valley Children’s Choir, tenor Brian Thorsett, trumpeter Ashley Hall and more.
December 10, Cave Spring United Methodist Church: destination concert, “Holiday Brass”.
December 14, Shaftman: Handel’s “Messiah” with the Roanoke Symphony Choir.
February 12-13, 2022, Shaftman: Masterworks, “Vienna Valentine”.
March 6, Cave Spring UMC: Destination Concert, “Serenade to Music”, the main winds of RSO play Mozart.
March 13, Shaftman: Masterworks, “Transcendent Mozart”, featuring four solo singers.
April 6, Théâtre Grandin: Concert Destination, “Lights! Camera! Classics! big screen themes.
April 22, 2022, Salem Civic Center: Pops, “Sweet Caroline: Music of Neil Diamond” with guest singer Jay White.
May 7, 2022, Berglund Center, Berglund Performing Arts Theater: Masterpieces, “From the New World” by Dvorak.
June 17, 2022, Salem Civic Center: Pops, “Hotel California: A Salute to the Eagles”.
Subscription packages are on sale. For more information call 343-9127 or visit https://rso.com/packages-group-tickets/.
Princeton Symphony Orchestra and Princeton Festival Merge and Expand Symphony Orchestra Board of Directors –
The Princeton Symphony Orchestra and the Princeton Festival announced in late June that the organizations would merge. The merger took effect on July 31. The Princeton Festival will retain its name and continue as a program of the Princeton Symphony Orchestra. The festival will be the orchestra’s flagship summer performing arts program.
The Princeton Festival is an award-winning annual performing arts festival that began in 2005. The Festival features professional productions of several events each June, including opera, musical theater, jazz, dance, choral music , baroque concerts, chamber music, recitals, pop concerts, an annual piano competition, poetry readings, and more. Its series of free lectures, events and workshops attracts over a thousand participants each year. The Princeton Symphony Orchestra presents orchestral, pop music and chamber music programs, supported by lectures and related events that complement the concert
experience, including education programs in partnership with local schools and arts
“We look forward to a cross-pollination of ideas and resources. Together, our creative team will capture the imagination and spark community dialogue with new music, cutting-edge operas and new musical theater productions, ”Princeton Symphony Orchestera Music Director Rossen Milanov said of the fusion. “We are well positioned to give Princeton a national reputation for innovation in the performing arts. “
The Princeton Symphony Orchestra announced Thursday that former Princeton Festival board members Marcia Atcheson, Marcia Bossart, Thomas Lento, Anastasia Marty, Costa Papastephanou and Benedikt von Schröder have joined the board of directors of the ‘Princeton Symphony Orchestra. Louise Wellemeyer and Mark Nurse have also joined the board, and Julian Grant and Anne VanLent will serve another term on the board.
Festival director Gregory Geehern and Eva Kastner-Puschl have joined the staff of the Princeton Symphony Orchestra. Kastner-Puschl will act as responsible for special events and donor engagement.
The Princeton Symphony Orchestra will soon be announcing its fall performance schedule and a planned September fundraiser for the Princeton Festival.