October 2, 1990 |
Mystifying. That's what observers on the scene call her career. "And I agree with them," says Benita Valente, the sedately beauteous soprano who opens Wednesday night in the Music Center Opera production of "Orfeo ed Euridice." All her adult life she's been a connoisseur's singer--known for her impeccable musicianship, poetic sensibility and ravishing silvery-toned voice--a no-nonsense professional and a trouper.
June 30, 1997 |
It seems almost laughable now, the founding of the Music Academy of the West here, 50 years ago, by the then-music critic of this paper, Isabel Morse Jones. For the previous decade Los Angeles had been, by any reasonable standards, one of the most important musical cities in the world.
January 30, 1990 |
Soprano Benita Valente will replace Jill Gomez on the Pacific Symphony programs Wednesday and Thursday at the Orange County Performing Arts Center. Gomez, a citizen of Great Britain, was not able to get a work visa in time for the concerts, according to a spokesman for the orchestra . The revised program will include three of Mahler's five "Ruckert" Lieder ("Blicke mir nicht in die Lieder," "Ich atmet' eine Linden Duft" and "Ich bin der Welt abhanden gekommen") and Mozart's "Exsultate, Jubilate."
May 21, 2000 |
Looking to the East is really looking to the West. When the ever-provincial Northeastern music establishment peers to Asia, as it so fashionably does these days, it still tends to head across the Atlantic to Europe and keep going.
March 27, 1990 |
The deeply coherent program that Jorge Mester put together Saturday for his Pasadena Symphony and soprano Benita Valente embraced folk music as a unifying power--a wondrous one, in the 20-Century context at hand. After all, it was the sweet pathos and aching innocence of such music that inspired Mahler, whose Fourth Symphony became the evening's focus at Civic Auditorium, as well as Canteloube, whose "Songs of the Auvergne" served as a preface. Even Henry Cowell's "Hymn and Fuguing Tune" No.
November 7, 1988 |
Everything was right about the Los Angeles Chamber Orchestra concert at Ambassador Auditorium on Saturday: the balanced, unhackneyed program, the vitality and warmth of Sir Charles Mackerras' conducting, the trio of soloists. Above all there was the orchestra itself, playing with the sort of strong, compact, projectile ensemble tone that commands the listener's attention at every turn.