The Musica Angelica Baroque Orchestra opened its fourth season under its music director, Martin Haselböck, at Zipper Hall on Saturday night in fine shape, juxtaposing a clutch of famous baroque-era composers with two lesser-known ones.
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Rossini’s “The Barber of Seville” is one of opera’s miraculous rush jobs: It took only three weeks to write and hasn’t lost its freshness in the nearly two centuries since.
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Jorge Mester and the Pasadena Symphony went all Mexican, all the time, with a vengeance at the Pasadena Civic Auditorium on Saturday night.
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Conventional wisdom suggests that a choral music concert wouldn’t consist of Haydn and Rachmaninoff to the exclusion of anything else.
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Once they’ve hit the big time, opera stars have often used their platforms to explore and promote their national heritages.
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No fewer than seven of the programs on the Los Angeles Chamber Orchestra schedule this season – in other words, most of them – contain West Coast,
U.S. or world premieres.
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Last year was the octocentenary of the 13th century Persian poet Rumi, whose nondenominational messages of tolerance and spiritual love resonate among newly enlightened folk in the West.
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Many Southern Californians still remember the feelings of promise and unity generated by the epochal 1984 Olympic Arts Festival and its successors, the Los Angeles Festivals.
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That irrepressible British wit Bramwell Tovey – who also happens to be principal guest conductor of the Los Angeles Philharmonic at the Hollywood Bowl – was at it again Tuesday night.
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Those who arrived at the Hollywood Bowl on Thursday night expecting to see and hear conductor Edo de Waart and violinist Julian Rachlin play some Russian music were hit with a double whammy.
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