According to the Independent and the Jewish Week, he is also the son of two Jewish musicians, one a Polish pianist and one a Russian violinist, both of whom were forced to flee their homes at the start of World War II. His father was captured by the Nazis as a POW, but, during a march between camps, managed to escape into a nearby ditch, where he proceeded to spend the entire night. A month-long trek to Moscow, a brush with starvation, and a brief prison stint later, Yefim’s father met and settled down with Yefim’s mother in Tashkent, where their young son was “accepted” into the Soviet conservatory as a portion of the two-percent maximum quota for Jews.
I only mention all this past, because somehow when you see Bronfman play, even on YoutTube, he seems to be exorcising his roots. It’s no wonder he became so well-known for his renditions of Russian composers; within them, he must have found the way to tell his own beginnings of his own story.
And today, he continues telling that story, one which has become all the more complex and varied as he has grown, become a US citizen, and renowned all over the world. On Wednesday, March 9th at 8:00 PM, he returns to Los Angeles at the Walt Disney Concert Hall with a “kaleidoscopic program pairing the world premiere of Salonen’s Humoreske with Schumann’s Humoreske, plus works by Haydn and Chopin.” To win two tickets to see Bronfman’s powerful presence in person, simply enter your first name, last name, and e-mail address into the form below. If you do so, you will also automatically be entered into
the running for our next three FineArtsLA ticket giveaways as well.
As the writer Phillip Roth once wrote about Bronfman:”With a jaunty wave, he is suddenly gone, and though he takes all his fire off with him like no less a force than Prometheus, our own lives now seem inextinguishable. Nobody is dying, nobody – not if Bronfman has anything to say about it.”
Well, by the time he was he was 16, Alexander the Great had successfully demolished a rebellion and founded his first city—which he cleverly dubbed Alexandropolis. At the age of 20, following the sketchy assassination of his father, he was proclaimed king of Macdeonia. And by his 30th birthday, Alexander was in control of the majority of the known world, from the Ionian Sea to the Himalayas, and with far greater plans to conquer even more before his death.
Pianist Simon Trpceski is also from Macedonia, he’s 32, and some might say he’s given his national forefather a run for his shekels. He’s performed in over 8 different countries and won prizes for his performances in the United Kingdom, Italy, and the Czech Republic. He was invited to do a solo recital at the close of the 62nd session of the U.N. General Assembly by none other than the session’s President himself, H.E. Srgjan Kerim. He has toured extensively and played with such well-known conductors as Zinman, Andrew Davis, Maazel, Jurowski, Tortelier, and Pappano. And this month, he comes to Los Angeles.
On Tuesday, February 22nd at 8 PM in the Walt Disney Music Hall, Trpceski will perform sonatas from Hadyn and Prokofiev, along with two pieces from Chopin, and finally, the California premiere of Sahov’s “Songs and Whispers – Suite for Piano.” To see this conquering performance free of charge, simply enter your first name, last name, and e-mail address into the form below and you will automatically be entered into the running to win two free tickets, as well as be considered for the next three FineArtsLA ticket giveaways.
By the way, to answer my first question: some say Alexander’s mother knew he would conquer the world before he was even born. He still had to see it through though.
Baroque is one of those words that seems to have somehow morphed into a false and flavorless definition over the years. These days, when I hear something described as ‘baroque,’ I instinctively think of haunted archways and Gothic ornamentation, but more than that, I think….old, dead, of the past. My old music teacher in middle school used to have a chart that mapped out, with cartoonish illustrations, the major periods of Classical music, and I distinctly remember the baroque portion of the chart appearing creepy and cold.
But despite my probably colored memory and purely individual reaction to the term, I still feel our societal understanding of baroque, in general, has come a long way from the original adaptation of the Italian word barocco, meaning mishappen pearl—a singularly beautiful phrase. And one listen to the French early music ensemble, L’Arpeggiata, a collection of some of today’s most pre-eminent soloists who will be performing “Baroque Variations” at the Walt Disney Music Hall on Wednesday, January 19th at 8 PM, will illuminate that beauty within the word.
Their mission as a group is “to revive an almost unknown repertoire and to focus especially on works from the beginning of the 17th century,” and that they do. When you watch the video above, or listen to one of their recordings, they don’t sound or look old, dead, or cold, they don’t even appear to be in strenuous revival-mode. They simply seem like they’re a group of extremely talented, modern musicians, having fun on stage. Which, I believe, is what the original baroque practitioners were doing as well.
To win tickets to see L’Arpeggiata perform “Baroque Variations” at the Walt Disney Music Hall on Wednesday, January 19th at 8 PM, simply enter your first, last name, and e-mail address into the form below, and you will automatically be entered into the running to win not only those tickets, but the tickets for our next three giveaways as well. Talk about a pearl.
Is Los Angeles really the “arts capital of North America?” How about “the world?” According to Steve Rountree (President of The Music Center), Antonio R. Villaraigosa (Mayor of Los Angeles), Olga Garay (Executive Director of the Department of Cultural Affairs for the city of Los Angeles), and many others in attendance at Wednesday’s kick-off for the 3rd Annual LA Arts Month—which took place outside, between the Music Center and the Ahmanson Theatre—it is. Which brings to mind another question: if you repeat something enough times, and you really believe it in your heart of hearts, does it start to become true?
Los Angeles Arts Month—or January, as most people know it—was put together three years ago in an effort to promote tourism and encourage artistic community engagement. And from what I gather—although it was difficult to ascertain during the afternoon’s strange launch party, which included a Glee-like performance from the Hollywood High School Choir and a body-bending tidbit from this coming summer’s Cirque du Soleil show at the Kodak—it’s essentially a couple ticket give-aways, free museum entries, and of course, lots of media coverage.
Of course, any Angeleno—no matter how prideful—who’s ever been to New York will tell you Los Angeles is not the artistic capital of North America. And anyone who’s ever been to most any major city in Western Europe will scoff at the notion that Los Angeles is the artistic capital of theworld. Don’t get me wrong: I spend a lot of time supporting and enjoying LA’s enormous, eclectic, and vibrant arts scene, but I would never claim it to be any more than it is—which, at least on the government-supported side of things, is struggling.
25 full-time positions, between last year and this year, were eliminated in the Department of Cultural Affairs (DCA); grants and donations to the DCA decreased significantly from 2009 to 2010; the Transient Occupancy Tax (TOT), responsible for a quarter of the Department’s entire budget, was decreased by approximately $1.6 million; and the expenses for the coming year are projected to be about $0.7 million more than last year.
And these numbers are not just numbers. They actually do affect our city in a major way. The DCA, through grants, is responsible for producing over 400 free or low-cost exhibitions, classes, performances, film screenings, and festivals each year. So all those times you go out to a cool, free event at LACE or LA Theatre Works or the Echo Park Film Center or even make the trip downtown to MOCA or the LA Philharmonic, you can thank the DCA. Not only that, but they provide grants to over 25 individual artists each year, they uphold historic sites like the Watts Towers, and they make sure those many murals all over town stay in tact.
So, if the DCA is in trouble, why all the bravado? Well, on one hand, there is a significant amount of money coming in through grant awards. These include the Arts and American Recovery and Reinvestment Act (a.k.a. stimulus), Pacific Standard Time (an award to fund a massive collaboration of over 50 exhibitions throughout the city designed to show off Los Angeles’s contribution to modern art), and the Mayors’ Institute on City Design 25th Anniversary Initiative (a plan to install affordable artist housing in Downtown LA). On the other hand, it may have more to do with what I mentioned before—that the illusion of a thriving artistic capital (much like the illusion of easy weightlessness created by the Cirque du Soleil dancer as she balanced her entire body on top of her chin) is less challenging than the reality of a city that’s come a long way, but must still use every practiced muscle in its body to pull off the act.
I’ll be honest: I don’t know much about Randy Newman. I’ve seen Toy Story and loved The Full Monty, but maybe it’s because I’m not originally from Los Angeles (and thus never heard “I Love L.A.” over the loudspeakers at Dodgers games), but I was never really exposed to him as a personality, let alone a singer/songwriter. And I feel left out. I feel as though my body is missing an integral cultural nerve-ending (I scoffed at my friend who, until recently, hadn’t heard Prince’s “Kiss”).
Simply enter your first name, last name, and e-mail address into the form below, and you will be entered into the running to receive two free tickets to Randy Neman’s Harps and Angels on December 22nd at 8 PM. And as always, though especially in the spirit of the holiday season, you will automatically be eligible to win any or all of our next three ticket giveaways. So happy holidays, and enjoy your cultural nerves—whatever those may be.
“I wouldn’t say I’m a pianist – I’m a musician, and the piano happens to be my instrument.” This is a quote from world-famous and widely applauded musician (who specialized in piano) Pierre-Laurent Aimard, and it evinces, in a simple way, one of my main fascinations with those artists who deal in vibrations. They inherently grasp the underlying structure and tools of their craft, and even when they’re just hitting keys on a piano or bowing strings on a cello, they are simultaneously attuning and reacting to a world of sounds. Even anyone who’s ever participated in an amateur garage band before (me) can tell you it’s very hard to play the guitar to a song without knowing the drum beat in your fingers.
And the piano seems to be the epitome of multi-instrumental instruments, as it holds within its audible reach both percussive and stringed qualities, and can, unlike many other species of the orchestra, harmonize with itself at the extreme ends of pitch. It’s no surprise to me that Aimard describes himself as a musician before a pianist, because the more I think about it, the more I realize the piano (or for that matter, any instrument) may just be the musician’s personalized stepping stone to engage with his/her art.
I suppose, then, that leaves us, the listener. How do we engage with these über-talented engagers? Emotionally? Do we feel the music? Intellectually? Do we think about the music? Physically? Do we tap our feet? Or is listening, too, a multi-faceted craft?
If so, we here at Fine Arts LA have your last-minute stepping stone. Once again, two free tickets to see none other than legendary Pierre-Laurent Aimard this Wednesday, December 1st, 8:00 PM, at the Walt Disney Concert Hall in Downtown. Aimard, known for both his classic and contemporary performances and recordings, will be performing pieces by Messiaen, Chopin, and Ravel. For your chance to engage (an a strictly non-monetary level), all you have to do is enter your first name, last name, and e-mail address into the form below, and you will be automatically entered into the running. And, as is customary, every person who enters can also win any one of our next three ticket giveaways (it’s happened before). So don’t just be a blog reader, be a blog engager.
Thanksgiving. The word itself seems like an oxy-moron, especially in LA. Here we are used to saying thanks for getting, and any gift we give should rightfully come with its proper reward in return. And this is all well and good for a city that was built on pure opportunism, but when does this type of self-centered thinking—as opposed to communal—hurt us creatively?
Take the ever-growing Mustaches for Kids craze, for instance: it’s a wildly creative organization whereby volunteers grow mustaches in order to raise money for children’s charities. The thing is that the institution, which is now nation-wide (I even saw filmmaker Darren Aronofsky sporting a mustache), was borne out of Los Angeles. It was started by three friends in a reality TV-show production office who all thought it would be fun to grow mustaches for a month (an act of true creativity, in my opinion). However, despite its success, Mustaches for Kids really took off when it hit New York, the city now considered to be the center of the organization. And there’s only one reason for this re-location: creative pursuits (i.e. no profit involved), whether it be growing mustaches for charity or painting pictures or playing music or putting on plays, etc. can only thrive in a community of supporters.
This is not to say that Los Angeles is completely bereft of such support. In fact, one of the most charitable, not to mention talented, violinists working today, Midori, is based out of LA, and she is performing alongside pianist Robert McDonald at the Walt Disney Concert Hall this Sunday, November 21 at 7:30 PM. Only 28-years-old, Midori was a musical prodigy sprouting from Japan, who quickly rose to international acclaim, and is now widely recognized as one of the top violinists in the world. But it is her incredible charity work that has truly carved her reputation as an artist. Not only an established educator at USC, she personally founded four different community-centered organizations—Midori & Friends, Partners in Performance, Orchestra Residencies Program, and Music Sharing—beginning the first one when she was just 10-years-old and is still actively involved in all four.
So in the spirit of Midori, and to show our thanks for her giving, we are, in turn, giving away a pair of tickets to see her perform on Sunday night. Not only that, but we are adding in the bonus prize of a pair of tickets to see legendary bass-baritone Bryn Terfel the next night, Monday, November 22nd at 8:00 PM, same location. All you have to do is enter your first name, last name and e-mail address into th form below, and you will automatically be entered into the running to receive both pairs of tickets, and be eligible to win our next three ticket giveaways. Happy Thanksgiving, from Fine Arts LA!
Occasionally a friend—and even more occasionally, a date—will get in the passenger seat of my car and I’ll turn on the radio. Like most LA commuters, I spend most of my car-time alone, with the windows up, free to listen to whatever cool or un-cool music I please, and the probability of the radio being tuned into Classical KUSC is quite high. For me, classical music is choice on a long trip down the 10 if only because it’s so unfathomable. Most pop and hip-hop music, though enjoyable and satisfying its own right, I can deconstruct. I can imagine the songwriting process, and in my limited musical ability, fathom the instrumentation. There’s little wonder involved; it’s more nostalgia and/or primal reaction.
But for most friends or dates, the mere sound of strings without vocals or brass without beat incites a confused reaction. They look at me like I’m a pretentious ass, as if just before they entered the car, I had switched the radio station to KUSC, then turned it off so as to trick them into thinking how cultured I really am.
The truth is I am just as confused as they are. Listening to classical music is a slow and constant learning process, at least for me, and I often struggle with what makes these so-called masters—these Beethovens, the Bachs, these Mozarts—what makes them so good. It wasn’t until a few years ago, when I went to my first symphony voluntarily, that I realized the answer: you have to see it live.
And fortunately for you, our dear and patient reader, FineArtsLA is giving you that chance—for free, no less—to experience all three of the big names listed above (well, almost) in one night. This Saturday, October 30th, 8:00 PM at Walt Disney Music Hall in Downtown Los Angeles, world-renowned conductor and celebrated pianist Christian Zacharias leads the LA Philharmonic and mega-mezzo-soprano Susan Graham in a program featuring all music composed within 53 years. Mozart’s “Ch’io mi scordi di te?“, C.P.E Bach’s “Keyboard Concerto in D Minor,” and Beethoven’s “Suite from The Creatures of Prometheus” make up the bill. All you have to do is enter your first name, last name, and e-mail address into the form below, and you will be eligible to receive two free tickets to this event (as well as be automatically entered into the running for our next three ticket giveaways).
This way, when your friend or date gives you that confused look when you turn on the radio to KUSC, you can simply say, “This is Beethoven. The music we’re headed to go see.”
I once read somewhere that the job of the ballet dancer was to create the illusion of weightless-ness—an earthly angel floating and spinning above the ground, free from gravity’s shackles.
Fortunately for the Corella Ballet Castilla Y León, a young but internationally acclaimed ballet company from Spain, they have an Angel looking after them. Ángel Corella that is. A principal dancer at the American Ballet Theatre, Corella returned to his home country in 2001 to start the kind of institution that simply did not exist when he was growing up: a classical dance school, and more importantly, an affiliated Spanish-based company for the students to aspire to. The school, called La Foundación Ángel Corella, is now almost ten-year-old and teaches everything from technique to history to lighting design. The company, however, is only about three years old, as it took Ángel (a legitimate star in the ballet world), along with his family, approximately eight years of “extremely hard work” to get it off the ground. Initial auditions were held back in 2007 before the company even had the money the support themselves.
Many were dubious of Angel’s ability to sustain a successful ballet company, especially out of Spain, and amidst a tanking global economy. But today, the Corella Ballet Castilla Y León has 45 dancers, most of them Spanish in origin, and is widely considered to be one of the most exciting troupes performing in the world. In a sense, Angel is just doing his job by providing the illusion of weightless-ness.
So to show our support, FineArtsLA is giving away two tickets to see the West Coast debut of the Corella Ballet Castilla Y León, only their second appearance in North America on Saturday, November 6th at 7:30 PM at the Ahmanson Theatre. Among the pieces to be performed are Soleá—a pas de deux choreographed by flamenco legend María Pagés, which stars Ángel and his sister Carmen—a couple of contemporary works by Christopher Wheeldon, Stanton Welch’sClear, and the Bruch Violín Concerto Nº1 as choreographed by the award-winning Clark Tippet. All you have to do is enter your first and last name into the form below, along with your e-mail address, and you will automatically be in the running to win not only these tickets, but also our next three give-aways (not bad). Just consider us your guardian Ángels (okay, that was bad).
- By Joshua Morrison
The Corella Ballet Castilla Y León performs at the Ahmanson from November 5-7. For more information, please visit www.musiccenter.org.
Jonathan Franzen is conducting a reading from his long awaited novel, Freedom, tonight, Thursday, September 16th, at the Aranti/Japan America Theatre on 244 San Pedro St. in Downtown. It will be interesting to see who shows up since Franzen is a bit of a controversial figure. And I think the warring views on his standing within the American literary tradition can be boiled down to three camps: the Franzen nuts, the Oprah Winfrey freaks, and the bitter elite.
The Franzen nuts—to whom I must confess to being closest in sentiment—believe that the 41-year-old writer of 2001’s The Corrections is our generation’s Great American Novelist, (there is even a recent Time Magazine article about Franzen titled exactly that). They think his ability to combine sprawling, politically-aware narratives with deep, human characters is unmatchable in our time; that he the great Messiah of serious fiction writing. And yes, I agree that The Corrections—along with many of his shorter, more personal pieces in both How To Be Aloneand The Discomfort Zone—is more applicable to my own life than any other piece of contemporary literature I’ve read. My friends and I will find ourselves arguing about which charcter in the Lambert family we like the most or are most like (for me, it’s Chip, no question). But many of these Franzenites haven’t read his earlier two novels, The Twenty-Seventh Cityand Strong Motion. I’ve only read the first, myself, and while it’s entertaining and contains much of the same aspects as The Corrections, it doesn’t feel as courageous. While reading, I never said to myself, “Oh my God, he did it.” The experience of The Twenty-Seventh City, for me, and I imagine many other devout fans who discovered his book-ography in reverse order, was one of realization: that’s he’s not a infallible genius. He, like his best characters, is flawed.
Which brings us to the Oprah-naughts. These are the people, mainly women, who regard Winfrey, not Franzen or any other actual author, as the great Messiah of contemporary literature. And anyone who crosses her path, whether it be James Frey or Jonathan Franzen, gets burned. The Franzen incident is quite dated by now, and anyone who’s actually taken the time to look into it, would know how utterly ridiculous the debacle really was, but it doesn’t change the fact that the shadow of Oprah still follows him to this day. (My well-read mother didn’t recognize his name until I brought up her name in association). Yet, I think even Franzen would be the first one to admit that Oprah helped him more than hurt him (in fact, he has accepted Oprah’s offer to put Freedom in her book club). He sold far more books because of it, developed a reputation, and awoke an historical literary debate in mainstream society: whether books should be art—and thereby too special for the plastic sticker of the Oprah Book Club—or merely entertainment.
Franzen brings up this debate over and over in his collection of essays How To Be Alone, and I think he tends to fall in the middle somewhere, that books are important and should be treated as so by the author, but never at the expense of the reader. Freedom, from all I’ve heard and the little I’ve read, is the closest he’s ever gotten to “the reader,” in both prose style and regard for entertainment value.
But as soon as someone as famously “elite” as Franzen starts to use more colloquial vocabulary, out storm the bitter class of critics and college professors. A recent review of Freedom by B.R. Myers in The Atlantic, a magazine which has published Franzen in the past, proved just as much. Myers insists that Franzen is overrated, and as opposed to the Messiah-lauding crowd, indirectly blames him for the demise of classic literature. Myers critiques the author’s use of words and phrases like “fucked,” or “she’s into him.” Myers even brings up the supercilious argument that every time someone reads a book like The Corrections or Freedom, they are missing out on a chance to read a classic like Madame Bovary (though couldn’t one argue just the opposite?). What I believe this reaction stems from is fear: the fear that books may just start to matter on a grander scale than in the annals of academia. So many people these days, including myself, bemoan the increasing attention deficit disorder of the American public, but fewer people allude to the possibility of a human reaction against it. As Franzen says himself, “We are so distracted by and engulfed by the technologies we’ve created, and by the constant barrage of so-called information that comes our way, that more than ever to immerse yourself in an involving book seems socially useful.”