Classical Music

What is Mindulful Awareness?  And how do you do it?

Right now my brain thinking of a way to describe this new-age, medical concept while sending signals to the muscles in my fingers in order to type out, letter by letter, the words and eventual sentences to communicate this notion to an imagined, future audience.  Oh, and I’m hungry.  That’s Mindful Awareness: the “moment-by-moment process of actively and openly observing one’s physical, mental and emotional experiences.”

To hear more specific information about the proven health benefits of such exercises, as well as how to do them, head to the Hammer Museum at 12:30 PM this Thursday for their free weekly “drop in” session.  Leading the discussion is the UCLA Mindful Awareness Research Center’s Director of Mindfulness Education, Diana Winston, alongside Dr. Marvin Belzer, an expert practitioner of Mindful Awareness.

What is Gesamtkunstwerk?  And how do you sing it?

Well, Gesamtkunstwerk, pronounced ‘guess-amt-kunst-verk,’ is a term made famous by German composer, conductor, director, anti-Semite, and writer Wilhelm Richard Wagner, and it’s usually translated to mean “total artwork.”  Wagner, in all his “Ride of the Valkyries” gusto, had a vision of a kind of ‘future art,’  in which the end-result would be a synthesis for every art-form known to man (i.e. music, performance, drama, architecture, poetry, etc.).  It’s debatable whether or not Wagner actually achieved a true Gesamtkunstwerk in his work, but his deep influence and brilliance as a composer/writer of opera is hard to match, let alone perform.

At 7:00 PM on Thursday night at the Hammer Museum, Wagnerian singers Linda Watson and John Treleavan of the on-going Ring Festival LA (an enormous cultural compilation of lectures, exhibitions, shows, and conferences revolving around the first-ever Los Angeles performance of Wagner’s four-opera masterpiece, The Ring of the Nibelung) will discuss the intricacies of belting out complex tonal and chromatic changes, while still remaining a simple piece of the overall Gesamtkunstwerk.

What is the connection?  And why would you attend both lectures?

Besides the obvious similarity in setting, there does seem to be a thematic crossover between these two programs.  Both attempt to explain the whole in terms of its parts, and those parts in terms of their smaller parts, and so on.  This mode of thinking assumes there’s a greater organism at work, spinning wheels inside wheels, and what better way to get lost inside these rotations than to spend a day at the Hammer?  Either that, or write an opera.

“Mindful Awareness” starts at 12:30 PM on Thursday, March 11.  “Ring Festival: The Challenges of Singing Wagner” begins at 7:00 PM.  Both programs are free of admission, and take place at The Hammer Museum, located at 10899 Wilshire Blvd.  For more information, please call (310) 433-7000, or visit hammer.ucla.edu.

In an obvious turn of events, considering the children are the future, youth orchestras in Los Angeles have a chance to give the LA Philharmonic a run for their money own their own home court.  This Saturday at the Walt Disney Concert Hall, three youth orchestras have been invited to participate in the LA Phil’s Youth Orchestra Festival Day.  The Renaissance Arts Academy Orchestra, Korean American Youth Symphony, and the Santa Monica High School Orchestra will all take the stage to perform Mozart, Bizet, Tchaikosvky, Dvorak, and Bernstein in concerts set to last all day.

The Youth Orchestra Partners Program has six total participants that are presented with free concert tickets, master classes with LA Phil musicians, and this kind of opportunity to perform on stage at Disney Hall during their two year run in the program.  It is the Philharmonic’s way of making sure, six schools at a time, that classical music programs and youth orchestras are nurtured as they should be and are made to feel like valued parts of our local arts community.

Saturdays performances are set to provide us all with a marvelous perspective on what high school students are capable of when they have the right instruments in their hands.  From 1 – 1:45pm, the Renaissance Academy will delight with compositions by Holst, Bizet, Mozart, Adamis, and Orff.  Run off, have a snack at the café on the Music Center campus across the street.  Come back from 2:30pm – 3:15pm for the Korean American Youth Symphony’s take on works by Suppe, Saint-Saens, and Dvorak – a very enticing combination, if you think about it.

Run off again for a coffee, and jet back to your seats to finish off your day of discovering classical music with the Santa Monica High School Orchestra’s performance of works by Bernstein, Tchaikovsky, and Saint-Saens from 4 – 4:45pm.

You’ll discover that children are, indeed, the future and so is classical music.

The Youth Orchestra Festival Day performances will be held on Saturday, March 13 from 1pm – 4:45pm at Walt Disney Concert Hall. Click here or call (213) 972-3454 for more information.

The last time the Dirty Projectors played in Los Angeles was on Halloween at the Jensen Recreation Center in Echo Park, where frontman David Longstreth wore a ten-gallon foam cowboy hat and his upside-down guitar with the confidence of a newly minted visionary. Fans of the Projectors’ odd, brilliant, shimmering music had been waiting for the band to play at Disney Hall since November, anticipating their breakout hit, 2009’s Bitte Orca, amplified by a lush string section.

But on Saturday night, Longstreth looked small and befuddled on the Disney Hall stage, fiddling with the tuning of his guitars for a half an hour during intermission. Longstreth is 28, with the refractory brain of a brilliant twelve-year-old with attention deficit disorder and the composing abilities of Mozart on mushrooms in Africa. After Saturday night, the audience learned his musical influences include Ligeti, Wagner, Ravel, and Don Henley.

Don Henley might seem like an odd choice. The program notes include an earnest letter Longstreth sent Henley in 2005, accompanying a free copy of The Getty Address, Longstreth’s 2005 opera about materialism, the homogenization of FM radio, and Sacagewea, or something like that. “I have included a copy of it here for you,” Longstreth wrote to Henley. “The album examines the question of what is wilderness in a world completely circumscribed by highways, once Manifest Destiny has no place to go- but in the end it is a love story.” Clearly, this makes sense to only one person: Longstreth himself.

The program was divided into three parts: the Philharmonic playing alone, the Projectors playing The Getty Address along with the ensemble Alarm Will Sound, and the Projectors playing alone. The program began with selections Longstreth hand-picked for the Philharmonic. Highlights included Ligeti’s Etude No. 13, played by gray-haired John Orge, who lingered on the piano keys after the last high notes for a long, indulgent silence, and Ravel’s beautifully orchestrated Mother Goose Suite. After a long intermission, the Projectors emerged, wearing color-coordinated hooded jackets, to play The Getty Address in its entirety. And here is where the problems began.

Truthfully, the opera is an indulgent college project from a very, very talented student, with glimpses of the Projectors’ current, much more successful musical incarnation nestled in like raisins studded into a very wobbly gray oatmeal. In the first song (er, movement), “I Sit on the Ridge at Dusk,” the beat kicked in, and the Projectorettes (Amber Coffman, Haley Dekle, and Angel Deradoorian) wailed “got a world of trouble on my mind,” in an indistinct language, moving very slightly from side to side, like shy sirens. But momentum was lost on the second song, and the album is so complex, the time signatures so twisted, it seemed that no amount of practice could have nailed it down. It didn’t help that Alarm Will Sound had some spotty synchronicity and tuning moments. The long, drifting passages on “But in the Headlights” and “Gilt Gold Scabs” sounded misguided and naked, as though a player were missing. Some members played on wine bottles, and a base flute was involved, as well as lots of gratuitous hand-clapping, which sounded messy at times, perhaps on purpose. Many in the audience began to get restless, but the ensemble soldiered on to no avail.

After the opera finally ended, the Projectors (minus their drummer) took the stage for three songs: a very slow cover of Dylan’s “I Dreamed I Saw St. Augustine,” as well as their own “Temecula Sunrise” and “Cannibal Resource” from Bitte Orca. They sounded good, and Longstreth’s singing sounded much more comfortable, but the band would have sounded much better with a whole orchestra backing them up. None of the women got to sing lead on any song, though Angel Deradoorian singing “Two Doves” would have sounded lovely in this acoustic setting.

All in all, the event demonstrated what the Projectors are capable of musically. It also showed that some misguided musical experiments are better laid to rest, no matter how brilliant their 23-year-old composer may be. As the Eagles said, “And I don’t want to hear any more/ No, no, baby/ I don’t want to hear any more.” Here’s hoping the Projectors stick to Bitte Orca from now on.

By Cassandra McGrath of CWG Magazine

The Walt Disney Concert Hall is located at 111 South Grand Avenue in Downtown Los Angeles.  For more information on upcoming shows, please call (213) 972-7211, or visit www.laphil.com.

One of Los Angeles’ most talented groups of classical musicians is also one of it’s most playful.  For people with very serious job descriptions that celebrate the world’s most revered classical composers, the members of the Los Angeles Chamber Orchestra are borderline goofy.  They’re also incredibly knowledgeable and are interested in telling Los Angeles (and the world beyond) what makes chamber music so unique and exciting.

In an effort to reach everyone, they perform at venues all across this sprawling metropolis and even perform in a series of half-concert-half-lectures to bring everyone in the audience up to speed on how instruments have changed since the days when Bach, for example, was composing.  These aren’t, to be clear, the kind of lectures you avoided in college – these redefine what you know about lectures and they come with live music.

Performing February 20 and 21 at the Alex Theatre in Glendale and Royce Hall, respectively, the LA Chamber Orchestra are exploring the world of Baroque music with a concert that includes compositions by Purcell, Vivaldi, Bach, and Mendelssohn.  We caught up with Assistant Concertmaster Tereza Stanislav and got to chat with her about Baroque music, playing violin, and her favorite place in Los Angeles. (See? Serious job description. Smiling, giggling interview. Go figure.)

Not only did we get a chance to talk to them and get some insider info, we also begged and pleaded for some tickets to give to our readers for the February 20 performance at the Alex Theatre.  Check out our video interview and enter this installment of our Extra! Extra! giveaway!

Some details you’ll want to remember: by entering into this giveaway, you’re automatically entered into the next three we’ve got going on.  All we need is your first name, last name, and email address and voila – you’re headed downtown for a first class look at LA’s most charismatic orchestra.  Just make sure you’re on your best behavior – no fooling around.

(Click here if you’d rather buy your own tickets – it’s not worth the risk!)

It’s pretty safe to say at this point in Beethoven’s posthumous career, that the man was not a one hit wonder.  Sure, we’re more familiar with some of his works than others, but generally speaking – he’s a heavy hitter.  His Piano Concerto No. 5 “Emperor” is considered one of the most magical and beautiful pieces amidst the enormous anthology of his compositions – it has a sort of romance and familiarity that is sweeter than Moonlight Sonata and less intense or dramatic than his famed Fifth Symphony.

Then there’s his Symphony No. 7.  It has an almost dancing rhythm, with plenty of drama, fantasy, and familiar melodies hidden within an abundance of brass and string instruments doing what they do best.  Perhaps the most recognizable movement of Symphony No. 7 is the Allegro con Brio.

While we’re on the subject of classical musicians who are worth their salt, the Leipzig Gewandhaus Orchestra, performing on Wednesday, February 17 at the Walt Disney Concert Hall, is the oldest civic concert orchestra in the world.  Founded in 1743, the Gewandhaus Orchestra is no stranger to performing Beethoven – they performed all of his symphonies during his lifetime.  For those who are skimming, that was during his lifetime.  We love our LA Philharmonic just as much as Gustavo Dudamel likely does, but even they can’t boast having played all of a composer’s works during his lifetime.  (Maybe we can accomplish this with Esa-Pekka Salonen’s compositions? Hint, hint!)

Because there is absolutely nothing like seeing the Leipzig Gewandhaus Orchestra perform Beethoven’s Piano Concerto No. 5, “Emperor,” and his Symphony No. 7 with Riccardo Chailly at the conductor’s stand and guest pianist Louis Lortie gracing the stage, we’re actually giving away the pair of tickets hidden behind our backs for the performance on February 17 at 8:00pm.  It’s the kind of thing we’d normally just keep for ourselves.

Here are some Extra! Extra! details you’ll want to keep in mind: by entering into this giveaway, you’re also entered into the next three giveaways! All we need is your first name, last name, and email address and voila – you’re reminiscing about the days of yore when Beethoven was just a young man and a gewandhaus was just a meetinghouse for textile merchants.  Ah, the good old days.

(Click here if you’d rather not risk it and you’d like to buy your own tickets.)

American composer Robert Kurka’s only opera, Good Soldier Schweik, began life in 1956 as a six movement suite based on characters from the popular Czech antiwar novel of the same name, by Jaroslav Hask. New York City Opera became interested in turning the suite into an opera and Kurka expanded the orchestra from his original scoring for 7 woodwinds, to 16, plus brass and percussion, and began working with librettist Lewis Allan – a songwriter known for the celebrated anti-lynching song, “Strange Fruit,” and the Frank Sinatra hit, “The House I Live In,” but chiefly, as the adoptive father of Julius and Ethel Rosenberg’s sons after the couple had been convicted of espionage and executed.

Kurka died in 1957 at the age of 35, four months before the opera’s successful NYCO premiere. Within the next 40 years, Good Soldier Schweik had seen over one hundred productions throughout the world, and been translated into 12 languages.

The work combines elements of American musical theatre, jazz, and Czech folk music, to underscore an explicitly anti-war story. The Long Beach Opera company’s cast of singing and dancing actors – led by tenor Matthew DiBattista in a powerhouse performance – delivered the goods in director Ken Roht’s dazzling multi-media production at Barnum Hall in Santa Monica. The orchestra – well, band, in this case – played with stylish pizzazz under Conductor/Artistic Director Andreas Mitisek.

Ably realized through Dan Weingarten’s inspired lighting and Justin Jorgensen’s novel set design, the production utilized scrims, projections, choreography, and outlandish props to whisk the plot from scene to scene at a breakneck pace, so that the audience was as disoriented as Schweik by the experience.

The house – mostly all long-time Long Beach Opera fans, and mostly very elderly – was packed, attesting to their pleasure at not having to endure a schlep to Long Beach. This brings me to my only gripe with this enterprise: somehow, LBO’s marketing missed the mark, hugely. Where was the large, 20-to-30-something demographic that would have been enraptured – and captured – by this stunning example of what opera has become in the 21st century?

- By Penny Orloff

To see Long Beach Opera’s full calendar, please click here.

Glorya Kaufman’s contribution to dance in Los Angeles, and specifically at the Music Center, has already begun to impress.  They recently presented the Joffrey Ballet’s Cinderella and up next, on February 16 – 17, we Angelenos have a chance to see the critically acclaimed Kings of the Dance at the Ahmanson Theatre.

If you haven’t heard of Kings of the Dance, you’ve more than likely heard of its components (hint: some of the world’s most phenomenal male dancers) like Guillaume Cote, Marcelo Gomes, David Hallberg, and Denis Matvienko.  Spoiled as we are in Southern California, and now by Glorya Kaufman and her welcomed and generous contribution, the performances will also include special guest appearances by Desmond Richardson, Jose Manuel Carreno, Nikolay Tsiskaridze, and Joaquin DeLuz.  These dancers have graced the stage with some of the world’s most prestigious companies like the American Ballet Theatre, Kirov Ballet, Bolshoi Ballet, and New York City Ballet.

Admittedly, when you think of ballet, the first images that come to mind are of pointe shoes, beautiful ballerinas in tutus in a perfect arabesque, or dancers with their hair pulled into tight buns and wearing enviable tiaras.  Finally recognizing the beauty and strength of male dancers, Kings of the Dance celebrates these virtuosos in some of dance’s most incredible choreography by such inspiring artists as Roland Petit, Sir Frederick Ashton, Christopher Wheeldon, and Leonid Jacobson.

Because we’re so generous (and because we want to have someone to gush over the performance with), we’ve got tickets to give away!  Enter below to win a pair of tickets to the performance on February 17 at 7:30pm and then let us know what you thought after – we’ve got a good feeling your email will be filled with exclamation points and many synonyms for amazing.

Here are some Extra! Extra! details you’ll want to keep in mind here: by entering into this giveaway, you’re also entered into our next three giveaways! All we need is your first name, last name, and email address, and voila – you’re a connoisseur of dance.  Or, at the very least, you’re on your way to watching some of ballet’s most muscular (er, talented) examples at the height of their careers.

(Click here if you feel like you need to witness what’s on stage and can’t risk the whole giveaway thing.)

I headed downtown, sniffling and sneezing the whole way, determined to revel in the magic of the Joffrey Ballet’s production of Cinderella at the Dorothy Chandler Pavilion.  With a pounding sinus headache and hot soup calling my name, I knew that if there was one reason to leave the house on Thursday evening, this performance was it.  A ballet dancer through most of my life, I had never seen Cinderella performed and more importantly, this was the Joffrey!

To say that the Joffrey’s performance is a delight would be a gross understatement.  The inexplicable energy that comes from an impenetrable technique and preparation was abound on opening night; you focused not on the choreography itself, instead you were invited to focus on the story the choreography was telling.

As Cinderella, Victoria Jaiani was convincingly transformed from poor maiden to princess – her first scene having been dressed by her fairy godmother was performed with a shopoholic level of excitement.  The new, white, sparkling tutu redefined her as a veritable, although expiring, princess in every sense of the word.  It seemed her posture even improved.  In a refreshingly aggressive move during the famous “glass slipper” scene when the prince approaches Cinderella’s stepsisters first, Victoria practically throws her partnering shoe at the Prince to prove herself – quite unlike the demure, embarrassed display of politesse in the book.

One of the more joyous characters of the ballet, and simultaneously one of the most scarily talented on the stage, was undoubtedly the Jester, played by an enormously flexible Derrick Agnoletti.  Prior to the roar of applause given to him by the audience, he moved us through each scene at the Prince’s ball with huge leaps and great comic timing.  Likewise, the two gentlemen (yes, men) playing Cinderella’s stepsisters are so entertaining and flailing, it convinces you that while their roles are significant, these dancers aren’t being used to their full potential as stepsisters.

To put it plainly, the style of ballet performed in Cinderella is a kind of anomaly, at least when it comes to ballet performed in Los Angeles of, say, the last 5 to 10 years.  It does not fall into either of the most widely performed styles of ballet: Russian and Balanchine.  (Yes, balletomanes, I am generalizing.)  Choreographed by Sir Frederick Ashton, who was born in Ecuador and whose Cinderella premiered with Sadler’s Wells Ballet at the Royal Opera House in London in 1948, the style and movement has much more fluidity than Russian choreography, but isn’t nearly as esoteric as a George Balanchine choreographed work.  It’s accessible, comedic, and yet no less impressive.

On for two more performances (well, three if you hurry), Cinderella is a gorgeous display of how well technique, set and costume design, and wit come together on stage for such a grabbing, beautiful, and entertaining performance.  Even the little girls sitting with their parents were on the edge of their seats at the end to see the prince and his princess walk off into the gold and glittering future.  As was I, actually, which was impressive considering my sickly condition pre-performance.  My evening had ended happily, after all.

Cinderella is on for three remaining performances: Today (Saturday) at 2pm and 7:30pm and tomorrow (Sunday) at 2pm at the Dorothy Chandler Pavilion.  For more information, please call (213) 972-0711 or click here.

Click here to watch a Joffrey Ballet produced video introducing their Cinderella.

No one can make fun of me, please.  But if you’ve seen Becoming Jane, you’ll remember a scene at the end when Anne Hathaway and James McAvoy have aged a la movie magic (gray paint in their hair and eyeliner-wrinkles) during which they both take in a concert in a majestic hall.  Majestic in its lavish décor, not in size – its quite an intimate performance space.  They’re listening to a solo vocal performance by a supremely talented soprano.  See the scene once and then try not to dream of attending a performance like that one day.

If you haven’t seen the film, stop griping and rolling your eyes and rent it before I come over there.  (Or, rather, before Saturday night.) This Saturday evening, at 8:00pm, the Da Camera Society is putting on one of their phenomenal concerts at the Doheny Mansion. Featuring the Fauré Piano Quartet, the concert will be an opportunity to sit amongst some of the most stunning architecture and design of downtown LA – it’s a classic, in fact iconic, LA building.  The program is set to include Mahler’s Quartettsatz, Mozart’s Piano Quartet in E-flat Major, and Gabrial Fauré’s Piano Quartet in C Minor.  The combination of the locale and the music will undoubtedly move you.  And if it doesn’t you’ll be fascinated by how memorable the place is to you, even if it’s your first time there – A Mighty Wind, Shop Girl, The Notebook, SpiderMan 3, and The Three Amigos (among a whole host of other films) have all shot at the Doheny Mansion.

The Da Camera Society presents the Faure Piano Quartet at the Doheny Mansion on Satuday, January 16, 2009.  For more information, please call (213) 477-2929 or click here.

The Glendale Philharmonic Orchestra debuts on Saturday, January 9, at 7:30 pm at the First Baptist Church of Glendale, 209 N. Louise Street, Glendale. The concert marks the inaugural offering of the “Positive Motions” concert series, under Artistic Director Ruslan Biryukov, who has assembled a sterling ensemble under conductor Mikael Avetisyan. The eclectic program mixes works by Bach with those of contemporary composers – including a world premiere “Andante Dolente & Scherzo” for two cellos and string orchestra by twenty-something Andrey Rubtsov, played by cellists Biryukov and local favorite, Maksim Velichkin of Tashkent, Uzbekistan.

Born in Moscow in 1982, Rubtsov graduated from the Moscow Conservatory with honors as both an oboist and conductor. In 2001, Rubtsov joined the Russian National Orchestra as Associate Principal Oboist, becoming the youngest artist ever in the history of RNO. The same year, he became a founding member of the RNO Wind Quintet — one of the leading Russian wind ensembles, regularly touring worldwide and winning first prize at the 5th Osaka International Chamber Music Competition in May 2005.

In February 2009, Decca Classics released a recording of Bach Concertos with the Academy of St Martin-in-the-Fields, featuring Andrey Rubtsov in the Double Concerto for Violin and Oboe.

Rubtsov’s compositions have been performed world-wide, and include a chamber ballet for the Bolshoi Theatre and a woodwind quintet which has become a standard repertoire piece for nearly two dozen quintets all over the world including the Berlin Philharmonic Wind Quintet.

By Penny Orloff

The Glendale Philharmonic’s debut performance is Saturday, January 9 at 7:30pm. For more information including a full upcoming calendar, please call (323) 663-3601, or click here.

Photo: Andrey Rubstov