Peruvian composer Jimmy López has explored his Latin-American heritage in a number of orchestral, chamber and vocal works. Dreamers, his new oratorio created with the Cuban-American playwright Nilo Cruz, focuses specifically on the subject of immigration. It receives its premiere at Cal Performances in Berkeley, CA, on March 17 (the performance will be live streamed). I spoke with him for the April issue of BBC Music Magazine. Below are excerpts from the interview.Continue reading “Jimmy López Highlights Dreamers in New Oratorio”
Can method acting enhance an opera performance? Should an opera singer look like the character they are portraying, down to their body weight and hairstyle? These questions came up recently in a conversation with John Moore, the baritone who is starring as Apple co-founder Steve Jobs in the Seattle Opera production of The Revolution of Steve Jobs (February 23 – March 9).Continue reading “Method Acting, Steve Jobs, and Opera”
Even as “Home Alone” screenings with live accompaniment are a growing staple of orchestra programming in December, Handel’s Messiah remains a holiday season favorite. Like the 1990 holiday hi-jinx film, with its John Williams score, Messiah was a popular success from its 1742 premiere in Dublin. Unlike “Home Alone,” Messiah, of course, didn’t have a sequel. But Handel did compose some 25 other oratorios. For the Christmas issue of BBC Music Magazine, I asked conductor Jane Glover, author of Handel in London: The Making of a Genius, about next steps beyond Messiah.Continue reading “Enjoy Messiah? Conductor Jane Glover Recommends 5 More Handel Works”
Advocates of American classical music have often complained that there is a whole generation of mid-20th century symphonic composers whose work has been unjustly neglected. It includes figures like Roy Harris, Charles Ives, Walter Piston, Roger Sessions, and William Schuman, to name a few who were active from roughly 1930 to 1960 and who now rarely turn up on orchestra subscription programs.
Such a list could also include the name Florence Price. Continue reading “Florence Price: A New Chapter For An Undervalued Composer”
The universe of classical music podcasts is expanding. Some of these shows have an educational focus while others specialize in roundtable-style banter. The most sophisticated feature elaborate sound design and narratives; others have a quirky, home-spun feel, with guests veering off-mic and conversations peppered with “um’s.” Here are a dozen to check out, depending on your interest. Continue reading “Classical Music Podcasts: 12 to Listen For”
The most attention-getting moment in a new short film by Russian pianist Pavel Andreev comes near the end, when a front-loader carrying a mountain of household garbage approaches him from behind, seemingly ready to dump it on the musician and his 11-foot grand. Andreev (pictured, above) sits at a piano in the middle of a landfill in Russia’s northern Leningrad region. He plays an original piece as seagulls hover above and tractors scale the mounds of waste. Continue reading “Landfills, Icebergs and Far-Flung Piano Performances”
Visitors to Baden-Baden usually have a few items leading their agendas, whether visiting an old-school thermal spa, spending euros (or perhaps, rubles) on boutique-lined Sophienstrasse, or trying lady luck at the casino. The town is tucked away in the Black Forest region, and it feels, it in some ways, like the German equivalent to Aspen or Jackson Hole. Continue reading “Visiting the Brahms House in Baden-Baden”
As a potential Mexican border wall sharply divides opinion in the U.S., a number of visual arts institutions have rolled out exhibits aimed at shining a light on Mexico’s cultural riches. Continue reading “Classical Music from Mexico: A Starter Playlist”
John Luther Adams’s In the Name of the Earth, which premieres on August 11 in New York’s Central Park, may rank among the Pulitzer Prize-winning composer’s most logistically ambitious works to date: It calls for 800 singers, divided into four groups and perched around the Harlem Meer, the lake at the park’s northern tip bordered by bluffs and rocky outcroppings.
The text, says Adams, draws on the names of North American rivers, lakes, mountains and deserts. The singers are a mix of amateurs and professionals, and their parts coalesce in the final bars, suggesting rivers flowing downhill and converging in the ocean.
On May 25, I attended the first of three final programs that Leonard Slatkin had programmed for his 10th and final season as music director of the Detroit Symphony Orchestra. But Slatkin wasn’t there. The 73-year-old conductor was forced to withdraw from the concerts in order to undergo a heart-bypass operation (he’s reportedly recovering well). Continue reading “Leonard Slatkin on His Final Bow at the Detroit Symphony”