May 2, 2011 |
The National Endowment for the Humanities has announced $2 million in grants to Southern California arts and cultural institutions. Among other things, the money will enable USC librarians to bring 34,000 historic photos of 1920s and '30s Los Angeles into public view via the Internet and help the Pacific Symphony press forward with its "Music Unwound" series, a bid to enhance the concertgoing experience by adding visual projections and slices of...
March 9, 2011 |
Where does one begin with the most prolific of major modern composers? Philip Glass has written more than two dozen operas along with a considerable amount of incidental music for plays. By next season, his symphonies will number nine. There are concertos galore, film scores galore, solo pieces galore, and an impossible-to-categorize repertory for his Philip Glass Ensemble (now complemented by the Glass Chamber Players). Glass' list of collaborators is also profligate. Along with film and theater directors ?
February 20, 2011
The symphonies of Bruckner What: Ninth Symphony, Pacific Symphony with Carl St.Clair and Paul Jacobs Where: Renée and Henry Segerstrom Concert Hall, 615 Town Center Drive, Costa Mesa When: 8 p.m. Thursday through Saturday Tickets: $25 to $185 Information: (714) 755-5799 or http://www.pacificsymphony.org What: Seventh Symphony, Los Angeles Philharmonic with Gustavo Dudamel Where: Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. When: 8 p.m. March 3 and 4, 2 p.m. March 6 Tickets: $57 to $123 Information: (323)
February 20, 2011 |
In 2011 we will not be celebrating a round-numbered anniversary pertaining to Anton Bruckner (1824-96). The music world will be busy feting Liszt (born 200 years ago) or Gustav Mahler (died 100 years ago). Nevertheless, the schedules in Southern California converge this month and next, giving us a concentrated hearing of two of this formidable Austrian symphonist's best works. This week, Carl St.Clair and the Pacific Symphony tackle his craggy, deeply moving, unfinished final testament, the Ninth Symphony.
February 8, 2011 |
The Pacific Symphony will try to relight a torch for opera in Orange County starting next year ? not with full productions like those that vanished when Opera Pacific went under late in 2008, but with "semi-staged" concert versions of Puccini's "La Boheme" and Engelbert Humperdinck's "Hansel and Gretel. " The two operas ? casts will be announced later ? will be part of a three-year sung-music initiative called "Symphonic Voices," described by Pacific Symphony as "an effort to restore [opera]
June 3, 2010
Carl St.Clair conducts Pacific Symphony Where: Renée and Henry Segerstrom Concert Hall, Costa Mesa When: 8 p.m. Thursday to Saturday (with guest violinist Leila Josefowicz) and 8 p.m. June 10-12 and 3 p.m. June 13 (with guest pianist André Watts) Tickets: $25 to $185 Information: http://www.pacificsymphony.org or (714) 755-5799
January 31, 2010
The Pacific Symphony's annual American Composers Festival explores a different facet of music in America. This year's festival -- the 10th -- focuses on "The Greatest Generation," examining themes from the Depression of the 1930s through World War II. Programs at the Orange County Performing Arts Center will feature composers Aaron Copland and Kurt Weill as well as a world premiere of Michael Daugherty's "Mount Rushmore." In addition, the festival includes performances by two student arts groups to explore the festival's themes.
January 31, 2010 |
Imagine a postmodern Aaron Copland or Charles Ives with a pop cultural twist, and you're primed for the music of Michael Daugherty. A composer of his time and birthright, Daugherty is a Cedar Rapids, Iowa, native and the musical embodiment of Americana. His canvas reflects a 20th century cultural mosaic dotted by the likes of Elvis and Superman and Jackie Onassis. At age 55, Daugherty is also the exuberant master of his craft, an artist whose sophistication and compelling appeal can seem utterly at odds with the often kitschy titles of his works.
January 3, 2010 |
As the crew checks the lighting and the lead singers relax in the wings, Los Angeles Opera director Eli Villanueva zeros in on a weak spot he noticed during the just-completed rehearsal. "You girls are looking good," he says as he joins a cluster of chorus members. They beam at him. "But in that last scene we need a little more attitude ." They stare blankly. Villanueva tries a different approach. "You know when you're in line for tetherball and someone cuts in front of you?