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September 6, 2005 | David Mermelstein, Special to The Times
When three of the Los Angeles Philharmonic's most familiar faces -- principal concertmaster Martin Chalifour, principal cellist Peter Stumpf and pianist Joanne Pearce Martin -- make their debut as the Los Angeles Philharmonic Piano Trio tonight at the Hollywood Bowl, they will also be participating in the classical-music equivalent of a reunion concert. Sort of.
September 3, 2005 | Bob Baker, Special to The Times
IT'S tempting to mock this uneven collection of conversations as an attempt by Studs Terkel, now 93, to squeeze every penny out of every inch of recording tape he's used in four decades of collecting oral histories. It's tempting to complain that the book's title is misleading -- people rarely sing in these pages, they simply talk about singing, or playing or composing.
July 17, 2005 | Diane Haithman, Times Staff Writer
First there's the red mailbox, a startling splash of color amid the cool greenery at the foot of the road leading up to the Studio City home of opera singer Gloria Lane. Then there's the red front door -- opened by Lane, whose glamorous red lipstick matches her red shirt and shoes. On a table in the two-story entryway sits a bowl of faux bell peppers: also red.
July 1, 2005 | Ann Hornaday, Washington Post
It's spitting rain on a warmish spring Tuesday on the northern end of Cape Lookout National Seashore, a 55-mile stretch of beach, marsh and maritime forest on North Carolina's Outer Banks, and director John Grabowska is wondering if he's going to make the day. Grabowska is consulting with cinematographer Steve Ruth about a shot for his latest film, a sequence involving the carcass of a baby porpoise that has washed up nearby.
April 1, 2005 | Lewis Beale, Special to The Times
Ian McEwan isn't filled with dread -- just his books are. Which isn't to say that the 56-year-old British author, whose creepy and timely "Saturday" has just been published in this country, doesn't have the kinds of fears common to most people. Walking home at night on a deserted city street and watching five rowdy males coming toward you. Wondering why your teenage son, who's traveling overseas, hasn't called for a week. Feeling the unwanted attention of someone you barely know.
February 7, 2005 | Mark Swed, Times Music Critic
Sussan Deyhim and Maya Beiser are striking, powerful presences. One is an exceptional Iranian vocalist. The other, an exceptional Israeli cellist. They have a lot in common, but politics and geography had kept them apart until UCLA Live invited them to Royce Hall on Saturday night. That is to say, the politics and geography of the insular New York new music scene kept them apart. The Middle East seems to have had little to do with the situation.
January 12, 2005 | Matthew Price, Special to The Times
As both political journalist and literary critic, Christopher Hitchens is a virtuoso. Absurdly erudite and fantastically footloose (a dispatch might find him musing on Waugh or Wodehouse or high in the mountains of Iraqi Kurdistan), equipped with a fiercely dialectical habit of mind and armed with a stiletto for a pen, he writes with the impassioned prejudices of a man who refuses to obey.
October 24, 2004 | Aram Saroyan, Aram Saroyan is the author of many books, most recently, "Starting Out in the Sixties: Selected Essays" and "Artists in Trouble: New Stories."
When the poet-critic Dana Gioia wrote last year in the New York Times that "Los Angeles is perhaps the only great city in the world that has not yet produced a great poet," there was an immediate public outcry, most of it pointing reproachfully in the direction of the late Charles Bukowski. The French poet-polymath Jean Cocteau liked to speak of the poetry of film, the poetry of dance, the poetry of song et al.
May 15, 2004 | Don Heckman, Special to The Times
Persian music is a tapestry of richly hued, intertwining melodic and harmonic threads. Like the complex, but infinitely beautiful designs of Persian miniature paintings, it is a fascinating combination of intellect and emotion, structure and spontaneity. Kayhan Kalhor, a virtuoso on the kamancheh (or spike fiddle, a violin-like instrument, held vertically) is one of the best-known exponents of this mesmerizing traditional music.
April 27, 2004 | Don Heckman, Special to The Times
The music of India is an enigma to many Western listeners. To some, it recalls the Beatles and Ravi Shankar; to others it is pleasant, atmospheric, but ultimately incomprehensible; and to still others it is nothing more than exotic snake-charming music.
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