MEMETERIA by Thomas May

Music & the Arts

Inauguration of the Seattle Bach Festival

From left: Debra Nagy, Tekla Cunningham, Danielle Reutter-Harrah, David Morris, Tyler Duncan and Ross Gilliland perform at the Whidbey Island Music Festival, founded and directed by Cunningham. Cunningham is also founder and director of the new… (Dennis Browne)

The brilliant violinist, artistic director, and educator Tekla Cunningham has been extra-busy of late laying the groundwork for a promising new venture that launches this weekend. I had the privilege to speak with Tekla about the inspiration behind the Seattle Bach Festival:

For Tekla Cunningham, music happens in the connections — not only between the notes but between the humans who produce and experience them. …
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Filed under: Bach, early music, music news, Seattle Times

8 Seattle Classical Music Picks To Look Forward to in 2025

In March, Xian Zhang will conduct Seattle Symphony in Gustav Holst’s “The Planets” — her first program with the orchestra since she was announced as its next music director. (Courtesy Seattle Symphony)

Here’s a brief list of suggestions — far from exhaustive — for Seattle area music lovers for the first months of 2025:

Stepping into a new year means embracing its promises but also facing its challenges. Fortunately, the performing arts offer a reliably inspiring source of motivation. Following are some recommendations — by no means exhaustive — of classical music events to mark on your calendar for the coming months. May you find them inspirational in the new year….
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Filed under: early music, music news, Seattle Symphony, Seattle Times

Happy New Year!

Filed under: photography

The Calidore Quartet on Their Beethoven Cycle

Calidore String Quartet: Ryan Meehan, left, Estelle Choi, Jeffrey Myers, and Jeremy Berry, Photo: Marco Borggreve

I spoke with Calidore Quartet violinist Ryan Meehan about their recording of the complete Beethoven quartets:

To accompany its ongoing release of the complete Beethoven cycle, the Calidore String Quartet has chosen Mark Rothko–like images as cover art: floating fields of color that seem suspended in time. “We’re all huge fans of Rothko’s work,” says violinist Ryan Meehan. “These colors are so bold and sometimes polarizing. Each color creates such a clear feeling on its own, but then as a collective, they also fill the viewer with an intense inner feeling. That’s very similar to Beethoven in that sections can be so contrasting from one to another, but the combination is an experience that you don’t forget.”
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Filed under: Beethoven, string quartet

Not Just Another “Messiah”: Harmonia’s Seattle Handel Tradition

Harmonia Orchestra & Chorus performs Messiah in 2023. Its Messiah performances this year are Dec. 14 and 15. (Carlin Ma)

My latest for The Seattle Times:

Like Starbucks rolling out its festively colored holiday cups, performances of “Messiah” make an inevitable appearance each December. For many, it’s as much a part of the season as twinkling lights and the scent of pine….

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Filed under: Handel, Seattle Times

OPrak, New York’s First Disability-Affirmative Opera Company

From the OPrak press release:

New York’s first disability-affirmative opera company OperaPraktikos.org (OPrak) presents There Will Be Cake – a matinee mono-opera concert series on Thursday-Saturday, 12-14 December 2024, at 1:30 p.m., at downtown Manhattan’s Asylum NYC.

Opera Praktikos (OPrak), established in 2021, proudly stands as New York City’s pioneering disability-affirmative opera company. Its mission is to make opera an inclusive and accessible art form for audiences and artists alike by crafting exceptional opera productions that transcend conventional barriers related to class, economic status, and physical challenges.

Through deliberate reinterpretations of classical operas and the commissioning of new works, it aims to ensure that artists and audience members can readily identify with the stories and lived experiences of People with Disabilities being portrayed on the stage. OPrak is dedicated to breaking down stereotypes about disability and fostering an inclusive and accessible opera community in the heart of New York City.

With performances by abled and disabled artists, this site-specific musical drama centers around food and its visceral memories and emotions. Bon Appetit! shares Julia Child’s words of wisdom in a light-hearted, charming masterclass in comedic character singing followed by the world premiere of Fluffernutter, an opera inspired by the delicious Fluffernutter sandwich.

“Two slices of Americana to perk up any jaded New Yorker’s palette: that ineffable cook Julia Child makes a French chocolate cake; and a tasty New England staple reminds us that aging is hard,” explains Greg Moomjy, musicologist and co-founder/artistic director of OPrak. A man who has Cerebral Palsy and is a wheelchair user, Moomjy invites New Yorkers with and without disabilities to unite over their shared interest in live music and dessert. When assembling this program, we wanted to give audiences small samplings of comic opera performed by top-notch singers at an accessible venue. And, yes, we will also serve cake!”

The program begins with Lee Hoiby’s Bon Appetit! (1989), adapted from two episodes of Julia Child’s well-loved cooking show, The French Chef. With approval and input from Child herself, a friend of the composer, the libretto narrates Child’s cooking of a chocolate cake with clever lines such as “Choc’late is much more complicated than any of us suspect.” Reflecting the television show’s format, the opera is written for a single singer, performed here by Hailey McAvoy, a “gorgeous-voiced (Broadway World)” mezzo-soprano with Cerebral Palsy. Another “sweet” mono-opera is the world premiere of Fluffernutter (2024) inspired by the New England tasty treat. Composer Spicer Carr is a queer, autistic writer who was commissioned by OPrak to write Fluffernutter with libretto by OPrak’s co-founder Marianna Mott Newirth. Fluffernutter evokes the trials of adulting and the power of nostalgia all thanks to the classic peanut butter-marshmallow crème sandwich.

Program + Ticketing Information:
Thursday-Saturday, December 12-14, 2024, at 1:30 p.m.
Asylum NYC, 123 East 24th Street, New York City, Subway: 4/6 to 23rd Street.
Tickets: $10-$35 (ages 16+ only). Livestream (Saturday only) $10-$35. To reserve, visit AsylumTix.com or call 212.203.5435.

Cast + Crew:
Hailey McAvoy – mezzo-soprano
Shanley Horvitz – zwischenfach
Calvin Hitchcock – piano + music director
Gwynn MacDonald – stage director

Program:
Bon Appetit! composed by Lee Hoiby (1926-2011) with text by Julia Child adapted by 
Mark Shulgasser
Fluffernutter (2024) **world premiere** composed by Spicer Carr with libretto by Marianna Mott Newirth and piano arr. by Patrick Tice-Carroll

Filed under: music news, opera

Trusting Yourself: Jessica Meyer on Her Career as a Violist-Composer

Jessica Meyer; photo (c) Ben Fingland

I got to speak with the incredible violist-composer Jessica Meyer for The Strad. Her “Spirits and Sinew” is part of Hub New Music‘s 10th-anniversary program later this week at the Kaufman Music Center:

The award-winning composer and violist Jessica Meyer is an unclassifiable phenomenon even in today’s genre-defying contemporary music sphere. Meyer has been carving a unique space through her extraordinary blend of creativity, charisma, technical mastery, educational work and innovation, all in service of an urge to share ideas and build musical communities.
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Filed under: interview, Strad

Requiems and Riddles: Seattle Symphony Muses on the Ultimate Questions

Kazuki Yamada conducts the Seattle Symphony; image (c) Brandon Patoc

Some thoughts on the Seattle Symphony’s recent program with Kazuki Yamada:

The state of the world this November feels especially conducive to mourning. Before presenting one of the best-loved Requiems in the canon, visiting conductor Kazuki Yamada opened his Seattle Symphony program with a much less frequently encountered work of grieving by his great compatriot Tōru Takemitsu. Requiem for string orchestra signaled the young Japanese composer’s international breakthrough after Stravinsky heard it and pronounced the composition a masterpiece. ..
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Filed under: Edward Elgar, review, Seattle Symphony, Toru Takemitsu

Sounds of Change: Ayane Kozasa and Paul Wiancko on the New Kronos Quartet Formation

Kronos Quartet; image by Danica Taylor

A new interview for The Strad: I spoke with Ayane Kozasa and Paul Wiancko of the Kronos Quartet about the dramatic change in the ensemble’s lineup that began with the current season:

Having celebrated its 50th anniverary last season, the Kronos Quartet has already begun its latest chapter with a dramatic change in the ensemble’s makeup. Longtime members John Sherba (violin) and Hank Dutt (viola) retired at the end of June, leaving violinist David Harrington, who founded Kronos, as the sole remaining member from the early years. Dutt had been part of Kronos since 1977, while Sherba joined them in 1978. Cellist and composer Paul Wiancko began his relationship with the quartet in 2019 and took the place of Sunny Yang in February 2023. Violinist David Harrington, who founded Kronos, is the only member who now remains. ..

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Filed under: chamber music, Kronos Quartet, new music, Strad

Legends of Brazil: A Musical Celebration of 200 Years

André Mehmari, Angel Gil-Ordóñez, and the PostClassical Ensemble

This year marks the 200th anniversary of diplomatic relations between the United States and Brazil. To celebrate the bicentennial, Postclassical Ensemble (PCE) will showcase two centuries of music from South America on 19 and 20 November at the Kennedy Center’s Terrace Theater.

The program ranges from the earliest known works by composers native to Brazil to a world premiere commission by pianist-composer André Mehmari. Curator Flávio Chamis (a composer, conductor, and educator) and guest artists Lucas Ashby (percussion), Tatjana Mead Chamis (viola), and Elin Melgarejo (vocalist) join Mehmari and artistic director and conductor Ángel Gil-Ordóñez for this panoramic view of Brazilian concert music.

“The program includes a tempestuous classical overture by José Maurício Nunes, the modern and US premiere of Francisco Mignone’s Quadros Amazônicos (an orchestral suite based on myths from the Amazon), Heitor Villa-Lobos’s Bachiana Brasileiras no. 4, a set of popular Brazilian songs performed by DC’s Elin Melgarejo, and chamber music featuring Latin GRAMMY-nominated violist Tatjana Mead Chamis.”

Related free events:

Thursday, November 14 at 6pmPCE Prelude, a free conversation at Georgetown University (and live-streamed) previewing the concerts. (Registration required)

(SOLD OUT) Friday, November 15, at 12:30pm: guest artist André Mehmari gives a free performance as part of Georgetown University’s Friday Music Series. (Registration required)

PROGRAM:

Legends of Brazil: A Musical Celebration for 200 Years of Friendship

Tue. Nov. 19, 2024 7:30p.m

Wed. Nov. 20, 2024 7:30p.m

Terrace Theater | The Kennedy Center | 2700 F St NW, Washington, DC

Presented without intermission

‍Flávio Chamis, guest curator

Lucas Ashby, percussion

Tatjana Mead Chamis, viola

André Mehmari, piano and composer

Elin Melgarejo, vocalist

PostClassical Ensemble conducted by Angel Gil-Ordóñez

Zequinha de Abreu arr. Jamberê Cerqueira: Tico-Tico no Fubá
Padre José Maurício Nunes Garcia: Zemira
André Mehmari: Sonata for Viola

Francisco Mignone: Selection from Tres Valsas Brasileiras
Francisco Mignone: Saci and Caapora from Quadros Amazônicos
Brazilian popular songs arranged for voice and chamber orchestra: Odeón, One Note Samba, Labrinto, Samba em Preludio

Heitor Villa-Lobos: Preludio from Bachiana Brasileiras no. 4

André Mehmari: Rag Chorado. A Celebratory Humoreske (world premiere work for piano and orchestra)

Complete list of events with program notes here.

Filed under: music news, PostClassical Ensemble

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