June 2, 1993 |
The 19th annual Seal Beach Chamber Music Festival will open on June 24 with music by Mozart, Grieg and Shostakovich played by the Festival String Quartet. The series of free concerts continues: * July 1: A Musicall Dreame, Michael Eagan director, plays works for voice, viola da gamba and lute by Elizabethan English, Italian and French composers. * July 8: Ysaye String Quartet: works by Grieg and Haydn. * July 15: Southwest Chamber Music Society: works by Schubert, Milhaud and Grieg.
June 25, 1999 |
The 25th annual Seal Beach Chamber Music Festival will open July 7 with a program of music by Beethoven, Kodaly, Milhaud and other composers played by the Ariel Ensemble. Ensemble members include Carolyn Osborn, violin; Cynthia Morrow, viola, and Alan Parker, cello. The series continues: * July 14: Palo Verde Trio (Alison Edwards, piano; Peter Marsh, violin; Charles Baker, cello): Trios by Tchaikovsky and Beethoven.
January 13, 1987 |
The idea of politicizing the classics is not new. It has seduced directors over the years with varying degrees of success. Shakespeare and the Greeks are particularly prone to such modern transpositions. And if we can have Macbeth as Idi Amin (as in Jack Manning's 1976 invention), why not a vision of Euripides' "Hecuba" as an emblem of the Palestinian struggle in the Middle East? The point in any conceptualization is to make it work, and director Lamis Khalaf almost does.
March 20, 1995 |
In what might be considered a down payment on the kind of Henry Purcell commemoration we deserve--the English composer died in 1695--the singers and period instrumentalists of Musica Angelica, under the direction of lutenist Michael Eagan, offered an ambitious program of his music in Pasadena's handsome United Methodist Church on Friday.
December 19, 1998 |
The "Renaissance Christmas" program by Michael Eagan's Musical Angelica and a small vocal ensemble Thursday in Founders Hall at the Orange County Performing Arts Center in Costa Mesa promised the intimacy and directness of a holiday celebration as it might have occurred among friends centuries ago. But as it turned out, some things worked better than others. The instrumental contributions were consistently strong; the vocals were varied.
January 31, 1994 |
Some music demands to be performed perfectly, or not at all. The angelic vocal music of the late Renaissance and early Baroque, polyphonic in structure, pure in sound, is a good example. Musica Angelica--an ensemble that offered a program of the vocal music of Dowland, Purcell, Monteverdi and Gesualdo at Westwood United Methodist Church Friday evening--didn't quite reach the requisite celestial heights, however, and its concert became a kind of listener's purgatory.
June 14, 1994 |
There can be few festivals as noble of purpose as the annual Baroque Music Festival Corona del Mar, which concluded its 14th season Sunday afternoon at St. Michael and All Angels Church. As in past years, artistic director Burton L. Karson chose imaginative programs that sought to reveal the heart of the genre. The program book was beautifully printed, and the program notes were both expert and interesting.
March 26, 2003 |
Musica Angelica Baroque Orchestra's bid to place itself prominently on the Los Angeles music map paid off handsomely Sunday afternoon at UCLA's Royce Hall with a warm and personal performance of Bach's B-minor mass that reached majestic heights. Music director Michael Eagan had turned over conducting duties to British guest Harry Bicket, who cannily gauged dynamics and expressivity, keeping the lines alive and full of conviction.
June 21, 2000 |
The ebullient, colorful Vesper music that Monteverdi published in 1610 has become something of an early music standard. Not so "Selva Morale e Spirituale," the conceptually similar anthology he issued in 1640. Gandharvas--a new vocal ensemble from New York--and the local heroes of Musica Angelica sampled the latter collection in a loose, engaging concert Monday at First Presbyterian Church of Santa Monica.