Director Anne Bogart to Helm Bartók's BLUEBEARD'S CASTLE at Boston Lyric Opera
by Chloe Rabinowitz
- Feb 14, 2023
A brand-new production that blends Bela Bartók’s 1918 one-act opera Bluebeard’s Castle with 1915’s Four Songs (Vier Lieder) by his contemporary Alma Maria Schindler-Mahler – and immerses audiences in a multi-room installation including a pre-show musical salon – arrives at the Flynn Cruiseport Boston for four performances March 22-26.
Philadelphia Premiere Of CREDO Leads Into CARMINA BURANA At The Academy Next Month
by Stephi Wild
- Jan 13, 2023
Opera Philadelphia returns to the Academy of Music stage Feb. 3 and 5, 2023, gathering nearly 200 performers from the company's Chorus and Orchestra for a concert of Carl Orff's Carmina Burana and Margaret Bonds' Credo, pairing one of classical music's most recognizable choral works with a rarely performed masterpiece. The concert marks both the Philadelphia premiere of Credo and the company debut of a rising star, conductor Lina González-Granados.
Composer Ned Rorem Dies At Age 99
by A.A. Cristi
- Nov 18, 2022
American composer and writer Ned Rorem passed away at age 99 on November 18, 2022 in New York City, in his home on the Upper West Side, surrounded by family and friends. He is survived by six nieces and nephews and eleven grand nieces and nephews.
Dessoff Choirs Announces Holiday Concert Series, December 2-11
by A.A. Cristi
- Nov 18, 2022
The Dessoff Choirs today announced its annual holiday concert series. Now in its 98th year, The Dessoff Choirs continues to shepherd audiences into the holiday spirit with three performances in some of New York City's most beautiful churches.
The Cecilia Chorus Of New York Presents Works BY Margaret Bonds and J.S. Bach This December
by A.A. Cristi
- Nov 17, 2022
The Cecilia Chorus of New York, led by Music Director and Conductor Mark Shapiro, will present The Ballad of the Brown King: A Christmas Cantata (1954) by American composer Margaret Bonds on a text by Langston Hughes and in Bonds's original orchestration, along with J.S. Bach's Magnificat and part five of his Christmas Oratorio on Sunday, December 11 at 2:00PM in Stern Auditorium at Carnegie Hall on 57th Street in Manhattan.
The Curtis Institute Of Music Launches Record Label, Curtis Studio
by Stephi Wild
- Nov 17, 2022
The Curtis Institute of Music has announced the launch of Curtis Studio, a label dedicated to the discovery of new and traditional works performed by inspiring artists of our time. Releases will be available on all major streaming platforms and several releases will feature music videos.
IMG Artists To Present Damien Sneed's OUR SONG, OUR STORY 2022-23 Tour
by A.A. Cristi
- Nov 9, 2022
Created and directed by composer, conductor, and multi-genre musician Damien Sneed, Our Song, Our Story - the New Generation of Black Voices is an evening of music highlighting some of the world's most well-known operatic arias, art songs and spirituals.
Dessoff Choirs Announces Holiday Concert Series, December 2-11
by A.A. Cristi
- Nov 7, 2022
The Dessoff Choirs has announced its annual holiday concert series. Now in its 98th year, The Dessoff Choirs continues to shepherd audiences into the holiday spirit with three performances in some of New York City's most beautiful churches. This season's offerings include the popular sing-along of Handel's Messiah followed by a pair of concerts comprising carols and seasonal favorites.
UCI To Host 25th Anniversary African American Art Song Alliance Conference
by A.A. Cristi
- Oct 10, 2022
If early African American classical music composers such as Scott Joplin, who went bankrupt trying to promote his 1911 opera “Treemonisha,” had been better received by white audiences – particularly philanthropists – the history of American music might be much different than it is today.
UCI to Host 25th Anniversary African American Art Song Alliance Conference
by Michael Major
- Oct 10, 2022
If early African American classical music composers such as Scott Joplin, who went bankrupt trying to promote his 1911 opera “Treemonisha,” had been better received by white audiences – particularly philanthropists – the history of American music might be much different than it is now.
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