Despite my familiarity with an emerging American opera that tangles with contemporary history, Anthony Davis’s Wakonda’s Dream, which received its premiere last month at Opera Omaha, still surprises me.
In the face of the cultural behemoth that is Austin’s bar/club scene, a handful of dedicated composers, performers, and promoters have succeeded in building a small but vibrant new music community, grabbing the attention of the wider Austin arts scene along the way.
The third annual National Endowment for the Arts’ Institute in Classical Music and Opera was held in late October, drawing in 25 music journalists from across the country.
If you think that you have to have gallons of publicity and a well-developed knack for the commercial to survive in Los Angeles, contemplate a hardy, high-minded, world-famous concert series called Monday Evening Concerts.
Concerts celebrating Steve Reich’s seventieth birthday are being staged around the globe this year so I thought it would be fitting for western Michigan to contribute to the party. But first, a field trip to set the tone.
In recent years, Portland has earned a reputation as one of the capitals of indie rock, but the city also reverberates to a surprisingly robust “new music” / postclassical music undercurrent.
South of the Poconos, west of Philly, and way east of the Iron City: To those more accustomed to large urban hubs, it might feel like the middle of nowhere, but music fans have a wide range of options here in Central PA.
Robert Kyr enjoys a windfall of premieres and performances that tests the 54-year-old composer’s self-asserted ability to get by on a couple hours of sleep per night.
Martin Bresnick’s Pine Eyes whittles away at the saccharine Walt Disney version of Pinocchio, exposing a darker, unadorned version of the classic story. No lie.