Tickets

LAB Performs Best Nutcracker To Date

Arabian11-122The Los Angeles Ballet opened it’s sixth season last weekend with their annual production of “The Nutcracker. ” A favorite Christmas tradition of many since its popularity exploded in the mid-twentieth century, the ballet draws people of all ages to share in the Christmas spirit.

LA Ballet prides itself on having an original production of “The Nutcracker.” The story-line is the same and if you don’t look closely at the program, you might not even realize the Sugarplum Fairy is now referred to as “Marie” (which was the name of the Clara character in the original E.T.A. Hoffmann story) and her Cavalier is her “Prince.” The dancers in Act II are originally named for presents under the tree (Spanish Hot Chocolate, Arabian Coffee, Russian Candy Cane, and Danish Marzipan), but LAB has shortened them to Spanish, Arabian, Russian, and then a reappearance of Harlequin and Columbine from Act I. And finally, the most visual change is “The Rose” amongst the daisies in what is traditionally called “The Waltz of the Flowers.”

Act I opens with party goers on their way to the Staulbaum house for Christmas Eve. The setting is Victorian and beautiful, and the costumes are exquisite. The lack of dance shoes and dance attire considerably limits the amount of balletic movement in Act I. Clara (Mia Katz) and her youthful friends perform adolescent pointe routines and the young boys entertain with their serious faces and synchronized marches. Peculiar Uncle Drosselmeyer (Nicolas de la Vega) enters, bearing special gifts for the children, enabling the only true dancing in the party scene, when the toys come to life. The Harlequin, Columbine, and Cossack Dolls, danced by Isabel Vondermuhll, Angel Lopez, and Chehon Wespi-Tschopp, all sparkle perfectly in their dances before freezing up and becoming still toys again.

This year’s party scene was the most comedically infused to date, and very enjoyable for the audience. Casting questions arise as we meet Uncle Drosselmeyer, the role that becomes consistently younger and younger over the company’s 6 productions. We wonder perhaps if LA Ballet intends him to be an older brother returning for the holidays in extravagant clothing, rather than an enigmatic Godfather to whom Clara bears a special bond.  Considering the history of the character it is a distracting element to the theatricality of the story.

After the party, Clara goes to bed with her favorite of Drosselmeyer’s bestowments, her Nutcracker doll. Clara is awakened into a magical world where her Nutcracker (Nathaniel Solis) is fending off rats and slays the Rat King. The rats are less than beautiful to watch (although children love them), yet it cannot go without saying how incredibly hard it must be to do chaine turns in a huge rat suit.

The Nutcracker’s victory has not only turned him into a handsome prince, it also has bore entrance to the “Land of Snow” and dancing snowflakes. The Waltz of the Snowflakes is heralded as one of the most beautiful pieces of music in the entirety of the ballet; with snow falling on the dancers for the length of the dance, and flawless unity of the dancers. In the past, LAB has been guilty of the Corps de Ballet of not perfecting synchronization: either the extensions were not the same height, dancers were one beat ahead of the rest, or lines were not straight. But it is breathtaking to see the body of dancers move as a unit and LAB did just that. The only lacking element is the absence of a live orchestra, which means for this piece, an absence of a choral group. It does seem excessive to hire singers for one song of a whole ballet, but there is nothing quite like hearing angelic voices singing to live music  while watching perfect dancing. Wishful thinking for future seasons.

As the curtain opens on Act II, we find ourselves in a Moroccan-esque setting known as the Palace by the Sea (traditionally known as The Land of Sweets). The presents have come to life to dance for Clara, the Prince, and Drosselmeyer. Marie and her Prince perform solos, and due to an injury of principle dancer Christopher Revels, the part of Marie’s Prince was danced by Kenta Shimizu. Shimizu is a powerful dancer from Japan, who flies to LA once a year to perform in select performances for LAB. Although Revels is an excellent dancer, it was a wonderful surprise to find out Shimizu was understudying. His stunning and powerful jumps seem effortless as he soars right through the first piece. The well known “Dance of the Sugarplum Fairy” makes audience members sit up straighter in their seat, as soon as they recognize the music, and LAB Sugarplum veteran Allyssa Bross is well equipped for the famous dance. The ballet picks up speed as we move through the dances from around the world. “Russian” (Chehon Wespi-Tschopp, Christopher McDaniel, & Tian Tan) is momentous, but because this is usually the crowd jaw dropper, it did seem to want more acrobatics and dance stunts to wow the audience.

“Arabian” (Julia Cinquemani & Alexander Castillo) was wonderful and impressive; there was nothing lacking here but the marriage of choreography to music. The music rightly suggests that each movement be languid until it hits its full extension. One should feel as if the dancers are moving through molasses while dancing, which makes the dance even more impressive because the muscles cannot rely on momentum to reach the height of their flexibility. Instead the choreography found all the final spots without the liquidity of getting there. The Pas de Deux was beautiful, a little shaky on some of the shoulder jumps but the foite turns by Bross were clean and impressive.

And we revisited Harlequin and Columbine from Act I which was short and sweet, but jarring to see Lopez’s toes not pointed. The standout of the evening was Allynne Noelle, “The Rose” in the Waltz of the Flowers number. Noelle, backed by the Corps de Ballet dressed as daisies, was the most engaging and in control dancer on the stage. As soon as she entered, eyes were glued to her and as soon as she exited, you wanted her back on the stage. Noelle is in her second season with LAB, and they will be lucky to hold on to her.

The Corps was also flawless and in synch once again. And when the final dances have been danced and Clara bids adieu and returns home, her parents find her asleep on the floor and carry her to bed. The curtain closes after Clara sits up realizing it may not have been a dream, as The Nutcracker and Uncle Drosselmeyer are lit upstage.

LA Ballet performs their best Nutcracker to date, proving they continue to grow and improve into what is sure to be a most promising resident dance company. Later this season they will dance Swan Lake and NextWaveLA, new dances with famed choreographers such as “So You Think You Can Dance” Sonya Tayeh.

The Nutcracker runs December 17th and 18th at UCLA’s Royce Hall and December 22nd-24th at the Redondo Beach Performing Arts Center. For tickets, visit www.losangelesballet.org

- By Deidre Moore

 

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Extra! Extra! Tickets to See Master and Conqueror Pianist Simon Trpceski Live!

trpceski_415x150How old do you have to be to conquer the world?

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.

- By Joshua Morrison

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Mishappen Pearl: Win Tickets to See L’Arpeggiata Live!

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.

- By Joshua Morrison

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Extra! Extra! Expand Your Cultural Nerves with Tickets to Randy Newman!

randy-newman-harps-and-angels-poster_gazette_thumbI’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’sKiss”).

Now I have my chance though, and so do you (whether or not you’re a Newman newbie). And in fact, it may be our last chance. At the Mark Taper Forum in Downtown, the world-premiere musical Randy Neman’s Harps and Angels has enjoyed a successful one-month long run, which ends this Wednesday, December 22nd, and Fine Arts LA has two tickets to give away to this final performance. Directed by Tony winner Jerry Zaks of Guys and Dolls fame, and starring such names as Ryder Bach, Storm Lange, Adriane Lenox, Michael McKean, Katey Sagal, and Matthew Saldivar, the show features all the Newman hits (“Political Science,” “I Think It’s Gonna Rain Today,” “You Can Leave Your Hat On,” and “I Love L.A.”), and maybe even some you don’t know.

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.

-By Joshua Morrison

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Engage the Engager! Win Tickets to see Pierre-Laurent Aimard!

image001“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.

- By Joshua Morrison

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Extra! Extra! A Very Midori Thanksgiving! Ticket Giveaway!

midori-299x300Thanksgiving. 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!

- By Joshua Morrison

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Extra! Extra! Zacharias! Zacharias! Ticket Giveaway to LA Phil!

WDCH-ImageOccasionally 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.”

- By Joshua Morrison

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Extra! Extra! An Angel Spreads His Wings and You Win Tickets!

Corella-GKPD-logoI 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’s Clear, 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.

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Extra! Extra! Win Tickets to See Angel City Jazz Festival!

Wadada_Leo_SmithThere’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 eye of this Angel City Jazz storm takes place on Sunday, October 3rd, at the John Anson Ford Amphitheatre in Hollywood, spotlighting five future-thinking, jazz-influenced musicians beyond category.

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.

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Extra! Extra! Ticket Giveaway to see All-Star George Gershwin Tribute!

george_gershwinBy far one of the greatest opening sequences of any film ever made is Woody Allen’s Manhattan. Yes, it’s the photography, the voice-over narration, the shots of New York City at its finest, but more than anything, it’s George Gershwin’sRhapsody in Blue.” The undertow of buzzing clarinet and twinkling piano, combined with the slow, celebratory build of the entire orchestra induces a simultaneous feeling of hopeful anticipation and relaxed confidence. In Gershwin’s own words: “I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness.”

No, no. Too expected. Too pretentious. Calls too much attention to the movie. Try it again.

By far one of the best pieces of music to completely and flawlessly capture the essence of an entire season is “Summertime,” by George Gershwin. Originally conceived for the ‘folk-opera,’ Porgy and Bess, the aria—which has been covered more times than “Blackbird”—manages to somehow smell like summer. You need an iced tea when you hear it. And what better time, what better place than the Hollywood Bowl

No. Just get to the point, Josh. You’re supposed to be giving away tickets. That’s all people care about. Just do your job.

This Wednesday, August 25th at 8:00 PM at the Hollywood Bowl, the LA Philharmonic presents Gershwin Across America, an all-star, all-genre tribute to the legendary composer and upcoming CD of the same name. Artists include Jason Mraz, Monica Mancini (daughter of film composer Henry Mancini), gospel singer Bebe Winans, Grammy Award-winning Nancy Wilson), St. Vincent (for the hipster fetishists among us), and an accompanying big band and strings section feautring the Shelly Berg Trio, Gordon Goodwin, Tom Scott, Arturo Sandoval and more.

To win two tickets to this summertime rhapsody of sorts, all you have to do is enter your first name, last name, and e-mail address into the form below,and you will automatically be entered into the running for this concert, as well as our next three ticket giveaways.

I guess that’s good enough. Why make a blog longer than it needs to be? Why even write these things? God, it’s hot out… I wish I could play the piano…

- By Joshua Morrison

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