Two Big Apple bookends operating outside of the SXSW machine served to salvage an otherwise lost Spring Break. Jace Clayton was joined by narrator/singer Arooj Aftab and pianists David Friend and Emily Manzo to perform The Julius Eastman Memorial Dinner, while Brooklyn Rider played the first of two shows of their ten-day residency with Texas Performing Arts.
While his background is as academically rigorous as it could possibly be, Tod Machover’s compositional work, as well as his instrument and software design, leans in a direction that can certainly be described as approachable to a broad audience. This was on display in the recent production of his Pulitzer-nominated opera Death and the Powers by The Dallas Opera.
Aperio curates concerts that one night might feature contemporary chamber music from the U.S. (like the one I attended last weekend) and focus on the music of Nicaragua the next. The change in focus from one region to the next over the course of a season helps Aperio track and understand trends on this side of the pond as distinct from concert series that include European repertoire.
I believe Dr. Reed was capable of holding at least a 15-minute conversation with just about any English-speaking person, regardless of that individual’s background, education, occupation, etc., at the end of which the other person quite likely would be thinking: “What a nice guy he is!” But I also learned from him that there are times and contexts when it’s appropriate to discuss almost any topic, and other times and contexts when it is completely inappropriate to discuss almost anything.
Boston Modern Orchestra Project never seems to run out of juice. It fills a need. It mounts concerts that manage to be both one-stop shopping for the merely curious and essential for professionals. The “modern” in the name has always been as much stylistic as calendrical, but its concert at Jordan Hall on January 17 was aggressively new: three world premieres in wildly disparate styles.