Bringing Klezmer to Ojai Music Festival
Growing up Jewish in Philadelphia, Uri Caine, the genre-bending jazz pianist and composer, said he was “too cool for klezmer.”
Growing up Jewish in Philadelphia, Uri Caine, the genre-bending jazz pianist and composer, said he was “too cool for klezmer.”
“The first and last bullfight I ever saw was with my father and Picasso,” actor John Rubinstein said via cellphone on his way home from the set of “Perception,” a new TV series in which he plays an FBI agent.
As a baby boomer, composer Russell Steinberg has lived long enough to see admired mentors and friends pass away.
On Oct. 7, 1985, Leon and Marilyn Klinghoffer were celebrating their 36th wedding anniversary onboard the Achille Lauro cruise ship.
For Polish conductor Boguslaw Dawidow, long tours with symphony orchestras have become a way of life. In 2011, as music director of the Opole Philharmonic of Poland, he took the orchestra on its first transcontinental United States tour, which included 48 concerts in 19 states.
Almost two years ago, while watching a YouTube video of Mohammed Fairouz’s “Tahrir for Clarinet and Orchestra,” Neal Brostoff, a visiting lecturer in Jewish music history at UCLA, had an idea. The concerto sounded “surprisingly Jewish,” he thought, and not just because the soloist was the eminent klezmer clarinetist David Krakauer.
Opera director Barrie Kosky didn’t like Mozart’s “The Magic Flute” when he first saw it at age 10. Mozart’s Singspiel — a genre of opera characterized by spoken dialogue, along with singing — was a big hit in 1791, and the composer himself goofed around on stage during some of the performances. Ideally, given its broad comedy and fantastical characters, the opera should be able to engage kids.
On Nov. 9, music by Samuel Adler, Steve Reich, Arnold Schoenberg and Eric Zeisl will observe the 75th anniversary of Kristallnacht as part of the enterprising Jacaranda concert series.
When the Israel Philharmonic Orchestra (IPO) performs Vivaldi’s evergreen “The Four Seasons” at a benefit at the Beverly Hills Hotel on Oct. 30, the orchestra won’t be made up of its 100-plus players.
The 1976 premiere of “Einstein on the Beach” shook audiences up, recalling the shock at Stravinsky’s “The Rite of Spring” in 1913. There was something incomprehensible, even infuriating, about Philip Glass and Robert Wilson’s “Einstein,” but in spite of that — or perhaps, in part, because of it — the work became a landmark, challenging and enlarging traditional ideas and conventions of opera, theater and dance.