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.
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.
There’s a famous quote from Miles Davis addressed to the younger, dynastic, neo-traditionalist jazz musician/composer Wynton Marsalis; he simply asked, “Didn’t we do it right the first time?”
Davis was referring to the newest movement in jazz at the time (the 1980’s), neo-traditionalism, which was exalted more by critics and record companies than musicians and fans, and was dedicated to a strict, backwards-thinking definition of the genre. Essentially, musical virtuosos like Marsalis were limiting the scope of their instruments to “swing” only, ruling out borderline off-shoots like “Dixieland” and “free jazz.”
These days, though, the great Davis has officially been vindicated. Establishments such as the Angel City Jazz Festival—which commences its 3rd annual live-concert series tomorrow, Saturday October 2nd, and lasts an entire week, hitting various spots around Los Angeles—has committed themselves to “rethinking jazz.”
The first is a name most anybody in or out of the jazz world has heard of: Coltrane. Not John, of course, but his second son, Ravi—named after the famous sitar player. Ravi, though steeped in the tradition of his father, studied under Steve Coleman, founder of the M-Base movement, which goes beyond definition in its own definition, but often combines looping rhythmic patterns with free improvisation, creating an unpredictable and complex sound.
Also joining Ravi on Sunday night are avante-garde composer, multi-instrumentalist, and philosopher Wadada Leo Smith; improvising trio Sons of Champignon (with Wilco guitarist Nels Cline); multi-woodwind performer Vinny Golia; and Kneebody, a wild, post-modern jolt of free jazz, post-rock, and the avante-garde.
To win two free tickets to this amazing night of experimental jazz, simply enter your first name, last name, and e-mail address into the form below, and not only will you be put in the running for Sunday night’s 5:00 PM show, but also our next three ticket give-aways as well. Jazz is important for a reason, and to continue to support its on-going evolution is to continue to support American music. That’s what Miles really meant.
I used to be a volunteer teacher for underprivileged youth in a lower-class neighborhood in Boston—easily one of the most segregated cities in America. Most of the students I taught were African-American, and I was a Caucasian college student. But since race politics were not my subject—play-writing was—I gladly and professionally ignored the racial and socio-economic distinction between myself and them (note the tactful wording of my first sentence). Until one day, one of my students asked if I got paid to teach them. I answered, no, which was the truth. But then she followed up: “Then why do you do it? Because we’re black?”
It was a simple question, but it took me by surprise. Of course the answer was no, I did not choose to teach them because they were black, I did it because I wanted to teach creative-writing to kids, and they just so happened to be black. Right?
The question lurked in my mind, and I found myself thinking about it years later when Obama was running for President, and certain people would ask, “Why are you voting for him? Because he’s black?”
Both questions are not necessarily meant to be answered; they are meant to break down the polite barrier of sameness I initiated when I was a volunteer teacher, and which our society has deemed appropriate. But what if you did go about examining such a question? What if racial identity does play a part in teaching under-priveled children? What if it does play a part in how we choose our President?
This is what here-and-staying playwright Branden Jacobs-Jenkins attempts to exlpore in the West Coast premiere of his play Neighbors: A Play With Cartoons which opened at The Matrix theatre company (the same company that staged the original reading of the play) on August 28th and runs until October 24th. Directed by Nataki Garrett, the story revolves around Richard Patterson, a middle-class African-American of academia, “post-racial” in his general demeanor and self-identification. But when a family of tactless, immodest, and rude actors—who just so happen to be black—moves in next door, Richard’s entire being is called into question. Is it because they are impolite? Or because they are black?
To see these issues acted out live and free in “a grandly theatrical, highly subversive, and immensely intelligent” manner, all you have to do is supply your first and last name into the form below, along with your e-mail address, and you will be automatically entered into the running to receive two tickets to the September 2nd, 7:30 PM production of Neighbors: A Play with Cartoons at the Matrix Theatre on Melrose. As always with our ticket giveaways, everybody who enters is also eligible to receive tickets to our next three offers. So don’t fret if you don’t win; there’s always next time, and there’s always www.plays411.com/neighbors, as well as 323.960.7774, where you can simply buy your tickets the old-fashioned way.