May 21, 1997 |
The Mozart Camerata's 1997-98 season will begin Sept. 13 at 8 p.m. at the Irvine Barclay Theatre with Ami Porat conducting Beethoven's Violin Concerto (with soloist Haroutune Bedelian) and Schubert's Symphony No. 2. The program will be repeated Sept. 14 at 4:30 p.m. at St. Andrew's Presbyterian Church in Newport Beach. The ensemble will return to the Irvine Barclay on Jan. 3 at 8 p.m.
September 15, 1997 |
During its early years, the Mozart Camerata may have suffered from inconsistencies that plague any fledgling orchestra struggling to build personnel, financial backing and a distinctive identity, but on Saturday night, as the Camerata began its 13th performing season, it offered a vibrant display of technical confidence and musical unity.
May 9, 1990 |
Varied works, each written within the past year, by three UC Irvine faculty composers revealed a broad mix of simple tonality and atonality Monday night at the Fine Arts Concert Hall on campus. The presentation provided sporadic interest mingled with more routine, unadventurous moments.
April 15, 1991 |
Though its origins can be traced to 1978, a year before the Pacific Symphony was founded, the Irvine Symphony has tended to appear and then disappear, scheduling and later canceling concerts regularly over recent years. Publicity material once described the group as the "oldest fully professional orchestra in Orange County."
CALIFORNIA | LOCAL
October 13, 2013 |
SAN FRANCISCO - Kim Knoble's past tracks an arc of promise, mental illness and descent into what her parents call "living hell. " But Knoble is not homeless, in prison or dead - outcomes common with stories like hers. Instead, on Wednesday, the woman with a head of wild red curls plans to walk into the St. Francis Yacht Club, tell her tale of recovery and lift the instrument she did not touch for a decade to play Massenet's "Meditation From Thais. " Now 31, Knoble was mastering Mozart violin concertos by the time she hit middle school.
October 19, 1997
Congratulations to the magazine and Duane Noriyuki for the superb article on Rena Weisshaar and her violin ("Secrets Wonderful and Cruel," Aug. 31). As a former subscriber to Strad magazine, I have seen many attempts to describe the challenge facing practitioners of the art of the luthier. But none have equaled Noriyuki's article, which captured, in almost poetic terms, the subtleties involved in each of Weisshaar's moves. His descriptions celebrated not only Weisshaar's mastery of her craft but the music itself.