My story about YOLA (Youth Orchestra Los Angeles) for the new issue of Strings magazine is now online:
YOLA has become a signature of the Gustavo Dudamel era. Its creation predates his first season at the helm of the Los Angeles Philharmonic in 2009 and shows the influence of the educational philosophy that shaped him…
Esa-Pekka Salonen is back in Disney Hall to lead the second weekend of programs exploring the musical ferment of the Weimar Republic. Tonight brings the orchestra’s collaboration with director Simon McBurney for a staged presentation of Hindemith’s Murderer, the Hope of Women
and two Weill-Brecht creations: Das Berliner Requiem and The Seven Deadly Sins. And I’m wishing this had not become so relevant…
Meredith Monk’s “Atlas” at the Los Angeles Philharmonic, staged by Yuval Sharon; photo credit (c) Mathew Imaging
Yuval Sharon bid adieu this past week to his three-year residency with the Los Angeles Philharmonic by boldly staging a work that changed his life: Meredith Monk’s opera Atlas, which before this had existed in just one production: the original, commissioned by Houston Grand Opera under David Gockley and staged there in 1991.
My review has been posted on Musical America (apologies for the paywall):
LOS ANGELES — A generation has already passed since Meredith Monk first charted an unprecedented operatic world in Atlas. Yet her ambitious stage work, which premiered at Houston Grand Opera in 1991, retains an aura of singularity — not just inits radiant music and almost entirely wordless libretto, but in the process through which Atlas was shaped as well. Monk cast aside convention altogether, building her opera from performance practices she had pioneered.
Hands-down one of my highlights of the season so far: Tan Dun’s Buddha Passion, which I reviewed here for Musical America:
LOS ANGELES—A signature of Tan Dun’s most successful compositions is his gift for mixing putatively disparate elements into powerfully original amalgams. To make that happen means being able to take serious risks—and the premise behind Buddha Passion is nothing if not bold. The audience’s euphoric reaction at Walt Disney Concert Hall, where the Los Angeles Philharmonic and a cast of guest performers under Gustavo Dudamel gave the United States premiere on February 8, confirmed the tangible impact of Tan’s wildly imaginative gamble here.
It’s been a bracing week of the non-routine in Los Angeles: Philip Glass’s Satyagraha at LA Opera and, from the Los Angeles Philharmonic, John Cage’s Europeras 1 & 2(with Yuval Sharon’s The Industry) and Susanna Mälkki’s first program of the season. Here’s my review of the Mälkki concert for Musical America:
LOS ANGELES–This past weekend’s program by the Los Angeles Philharmonic was both a newsworthy event and a rousing artistic triumph. Newsworthy because it offered the world premiere of the first composition Steve Reich has written for a full orchestra in more than three decades. And with Susanna Mälkki on the podium, the entire concert on Friday night (November 2) made the concept of a modern symphony orchestra itself feel vitally relevant. Juxtaposed against the pleasures of Reich’s exquisitely crafted piece, a familiar Mahler symphony–the Fifth–was transformed into a revelatory experience.
I finally had a chance to listen to Sustain, the major new Andrew Norman piece, thanks to the Los Angeles Philharmonic’s online, on-demand (free) broadcast of the 4 October 100th-anniversary season kickoff concert, conducted by Gustavo Dudamel.
The entire program is terrific: Esa-Pekka Salonen’s LA Variations and the Beethoven Triple Concerto on the first half, with Sustain, an LA Phil commission and receiving its world premiere here, filling the second. But you should especially get excited about Norman’s composition. It’s a big piece, ambitious, visionary, otherworldly, spun from fascinating aural patterns that seem to wormhole and teleport across vast astronomical spaces.
Such purposeful originality here: the multilayered connotations of the title are by no means merely incidental. There’s no question now that Norman is a major, significant voice. Especially given its spatial conception, Sustain obviously has to be experienced live. But I highly recommend checking out the broadcast while it’s still available as a temporary compromise.*
Mark Swed writes: ” In an exceptional feat of musical transformation, we wind up in an indefinable new dimension. This is something new.”
And in theNew York Times, Seth Coulter Walls discerns “a sublime new direction for the composer”: “Over the final third of ‘Sustain,’ this unusual merger between restraint and hyperactivity could hypnotize … Even when the dynamic level increases to an undeniable roar, there is a smoothness to the piece.”
*Look for the little link button (a bit hard to find) on this page, right below the words “in case you missed it – or want to relive the magic – we’re bringing it to you here on KUSC.org on demand!”
I covered a very unusual approach to Mahler’s Das Lied von der Erde for Musical America. This remarkably original staging by Yuval Sharon and the Chile-based Teatrocinema Company was performed this past weekend by the Los Angeles Philharmonic and Gustavo Dudamel, with soloists Russell Thomas and Tamara Mumford. [review behind paywall]
Esa-Pekka Salonen’s return to Walt Disney Concert Hall highlighted his gifts as composer and conductor alike and underscored how an orchestra can sound genuinely 21st century.
Simon Woods, who as President & CEO has worked so closely with Ludovic Morlot to reshape the Seattle Symphony and enhance its sense of mission, will head south in January to become Chief Executive Officer of the Los Angeles Philharmonic.
In Los Angeles, Mr. Woods will have far greater resources — and a far larger organization to run. The Los Angeles Philharmonic’s annual budget, the largest of any American orchestra, is approximately $125 million — nearly four times Seattle’s, which is $32 million. But he said he was undaunted.
Seattle Symphony Board to Launch Search for Successor
SEATTLE – The Seattle Symphony’s President & CEO Simon Woods, who has led the organization since 2011, will leave in January to become the Chief Executive Officer of the Los Angeles Philharmonic, widely regarded as one of the nation’s most important and forward- looking orchestral organizations. A search committee led by Board Chair Leslie Jackson Chihuly and Chair-Elect René Ancinas will be formed to launch an international search for Woods’ successor.
King began his career on radio in the '50s and went on to host Larry King Live on CNN, which ran for 25 years and taped over 6,000 shows. He died Jan. 23. Originally broadcast in 1982.
New Yorker writer John Colapinto says the development of vocal structures may have been the key to humans' becoming the dominant species on the planet. His new book is This is the Voice.
America's librarians award Tae Keller's When You Trap A Tiger the Newbery Medal and We Are Water Protectors illustrated by Michaela Goade and written by Carole Lindstrom won the Caldecott medal.
On Jan. 25, 1996, a new rock musical by a little-known writer, Jonathan Larson, gave its first performance. But that show almost didn't happen: Larson died of an aortic aneurysm early that morning.
In a memoir, Cicely Tyson recalls an improbable journey through a six-decade career. She says several roles "hurt me deeply because it happened simply because of the color of my skin and my sex."
Over just 10 days in November, Gemina Garland-Lewis photographed 42 bird species with her partner on their land in Mexico. It wasn't until recently, she writes, that birds made her "tick."
Honolulu's Bishop Museum is hosting an exhibition on the history and culture of surfing, from Polynesian, African, and South American predecessors to the home of modern board surfing in Hawaii.
Natalie Haynes's new book tells the epic story of the Trojan War from the perspectives of the women involved in it. And that means all the women — from Troy and Sparta, goddesses, Amazons and more.
This month, you're never too old — or too young — for a Happy Ever After, whether you're a 50-something entrepreneur, a beauty influencer or a teenager working hard at the family restaurant.
Director Fernando Frías de la Parra's Netflix film I'm No Longer Here is Mexico's entry for Best International Feature Film at the Oscars. "He's truly original," says Roma director Alfonso Cuarón.