Opera-Vision of the Future

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From our February 2019 semi-staged performance of Puccini’s “Madame Butterfly”

As the modern world progresses and changes, people perceive and appreciate art in new ways. What makes opera so unique is how it has been able to innovate as time goes by, while continuing to bring the nostalgia and authenticity of classical performance to life.

OperaVision, a streaming platform created by Opera Europa, creates a new way for opera-lovers to experience this timeless art. Originally launched in 2017, the program has grown to provide enriched and diverse content, bringing together 29 partners from over 17 countries. OperaVision invites everyone to discover the diversity of opera whenever and wherever they want.

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Some of OperaVision’s options on their steaming service

With this easy-to-use online opera outlet, users can watch live streams of the operas as they unfold live on stage, as well as dive into the large portfolio of performances that can be watched at any time. The options on the platform seem to be endless, with a comprehensive digital library, stories and interesting articles about the opera world.

One of the things that makes OperaVision unique is its emphasis on providing content for opera-lovers of all ages. On top of live streams, articles and its back-catalogue of performances, they have a section called “Opera Academy,” which is a place for anyone to have conversations with artists about their careers and take online masterclasses with established artists. If you are new to opera and are wanting to know more about what it is, OperaVision has a “New to Opera?” section that helps people discover and learn about this incredible style of performance.

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This section is like Buzzfeed for Opera lovers!

Using this amazing platform, modern audiences can connect with opera in new, creative ways. Not only does it provide an outlet for people to experience the world of opera, it preserves the beauty, artistry, and history of an art form that has transcended centuries.

Have you tried out OperaVision? We’d love to hear feedback from our audience, so let us know in the comments!

Make sure to also check out this season’s opera, Verdi’s “Otello” (April 23, 25 & 28)!

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Some of the incredible artists on file in their “Conversations” archive


 

Emma Ballen is a Senior at Chapman University, studying Business Administration, and is currently an entertainment host as Disneyland, interning with the Symphony’s Marketing & Public Relations department.

December At-A-Glance!

It’s not yet Thanksgiving, but Christmas decorations are already out, and so is our December concert schedule. Along with our regular holiday traditions, we have some special performances this year that we couldn’t be more excited about!

IMG_7074The first event of the holiday season is Beethoven’s Seventh, taking place Thursday-Saturday, December 5-7. Lauded as one of Beethoven’s greatest symphonies, Beethoven’s Seventh epitomizes his mastery of rhythm and harmony, and is haunting and majestic in concert. Included in this concert is a performance of Prokofiev’s Piano Concerto No. 3 by award-winning and returning Ukranian pianist Vadym Kholodenko, who makes the California stop in his World Tour to play with our Pacific Symphony. After Friday’s “Classical KUSC @ Pacific Symphony” performance, we will also host a free Holiday Party after the show.

On Saturday, December 7, we will have two showings of Nutcracker for Kids at 10 a.m. and 11:30 a.m. It will be a 45-minute condensed version of Clara and the Nutcracker Prince’s classic journey through the snow and sugarplum-fairy land. The event is complete with a full orchestra and ballet. Enjoy FREE interactive activities in the lobby, featuring family-friendly arts and crafts, an instrument petting zoo and opportunities to meet Symphony musicians and local performing groups!

Messiah.jpgOn Sunday afternoon, December 8, is Handel’s Glorious Messiah. This ever-popular holiday tradition, beloved for its blaring trumpets and “Hallelujah!” chorus, features the Pacific Chorale as well as guest vocalists Elissa Johnston, Kate Maroney, Derek Chester and Paul Max Tipton. The entire place was packed last year so get your tickets soon!

Holiday Organ 2018 quintetAnother Holiday tradition, our annual Holiday Organ Spectacular, will be on December 17. Todd Wilson, head of the Organ Department at the Cleveland Institute of Music and world-renowned organist, will be on the 4,322 pipe, $3.1 million William J. Gillespie Concert Organ. The performance will include sacred and traditional music, as well as Christmas Carols that will put you in the holiday spirit!

marie's kawaiaha'o chapel headshot copy (1).jpgWe have a very special Christmas celebration to end the year. Coming off her 11-year residency at the Flamingo in Las Vegas, Marie Osmond will join us for Christmas with Marie Osmond on Friday and Saturday, December 20 and 21! This exclusive event will include performances by David Osmond, her fellow Las Vegas resident artist and brother, and Daniel Emmett, a finalist from “America’s Got Talent.” Experience her captivating talent with an unforgettable holiday concert featuring festive favorites as well as hit singles such as “Paper Roses.”

 


 

Jacob Sanchez is an arts and culture writer based in Southern California. His work has been published in the “Inkslinger” and “River Voice” journals.

OCSA Symphony Orchestra Performs Brahms’ Double Concerto With Two Pacific Symphony Principal Musicians

Orange County School of the Arts, also known as OCSA, recently released some exciting news about our Concertmaster Dennis Kim and new Principal Cellist Warren Hagerty. You can read the full press release on their website here, but we’ve distilled the main points below.

An awe-inspiring evening of mentorship and musicianship awaits as two special guest artists join the Orange County School of the Arts (OCSA) Symphony Orchestra for a performance of Brahms’ Double Concerto at the upcoming Winter Concert. Both principal musicians of Pacific Symphony, Dennis Kim and Warren Hagerty also have a connection to OCSA. Kim has been this year’s artist-in-residence, coaching aspiring violinists in a weekly master class. Hagerty graduated from OCSA’s Instrumental Music Conservatory in 2009 before attending The Juilliard School and founding the Verona Quartet. In a special performance with the school’s top ensemble led by conductor Nicholaus Yee, Kim and Hagerty perform the third movement from Brahms’ final piece for orchestra, which requires adept precision and mastery from all its performers. This collaborative concert will be an exciting representation of the value of quality arts education and professional mentors on the next generation of musicians.

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“I always felt at home during my time at OCSA,” said Hagerty. “I loved being surrounded by like-minded peers, and that helped me to feel empowered to pursue a life in music. The faculty and staff were all so wonderful and supportive.”

 

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“This performance is very special as I will get a chance to perform with the new principal cellist of Pacific Symphony,” said Kim. “I find it so amazing that Warren is a graduate of OCSA, and I am honored to share the stage with him for this special event.”

 

 

Check out the third movement of the Brahms below:

Taking place on Thursday, Dec. 12, at 7 p.m. at the Michael F. Harrah Symphony Hall on OCSA’s campus, the Winter Concert also features the OCSA Symphony Orchestra led by guest conductor Michael Powers performing the “Egmont” Overture by Beethoven, the “Karelia” Suite by Sibelius and “Callirhoe” by Chaminade. The 7th-8th grade String Orchestra performs Grieg’s “Holberg” Suite and Vivaldi’s “Winter” concerto from “The Four Seasons.”

 

 

Bach, Improvisation and Live Performance

Juliana-Soltis

Organic, spontaneous embellishments and classical music aren’t often two concepts heard in the same sentence, but cellist Juliana Soltis is trying to change all that. She’s released an album, “Going Off Script,” celebrating the marriage of these two concepts, performing Bach’s famed 6 Suites for Unaccompanied Cello with her own improvisations, and entirely on historical instruments, no less, including the 5-string violoncello piccolo.

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Violoncello piccolo

Cellist and historical performance specialist Juliana Soltis found herself asking that
question one day while practicing music by J.S. Bach. She started improvising on the repeats — and it sounded pretty good. She thought, “Too bad I can’t do that in real life.”

But why not? 

From there, “I started thinking about everything I’d learned about Bach [and] historical performance. I realized that there was no good reason, either from a historical or artistic perspective, why you wouldn’t ornament Bach’s music.”

-via The Baltimore Sun

Check out the article linked above to learn more about her philosophy on improvisation, and her thoughts on the future of classical music performance! Below, check out a preview of the album – we’d love to know your thoughts in the comments below.

Back On Stage with the Youth Orchestra

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Brendan Faegre

In March 2018, our very own Pacific Symphony Youth Orchestra (PYSO) performed the world premiere of “Analog Intelligence” by Brendan Faegre—a young composer who has reimagined what an acoustic orchestra can do. “Analog Intelligence,” for example, recreates an electronic soundscape by manipulating different parts of the orchestra to mimic effects created by a synthesizers and drum machines. The 3 movements are named after 3 related styles of electronic dance music, namely Dubstep, IDM (Industrial Dance Music) and Drum’n’Bass. Faegre’s composition represents forcing electronic music idioms into the classical form – no easy task.

It took much practice by the PYSO to create the effects needed for the full expression of this piece. Some of the innovations used to make the work more immersive included organizing the orchestra to sound like music was oscillating from ear to ear, creating a sort of stereo pulsing effect. To create a distortion effect, the strings put aluminum foil mutes on their fingerboards, giving their sound a grit and buzz.

Check out their performance of this unique, genre-bending piece below:

 

This coming Monday at 7 p.m. (Nov. 18), Pacific Symphony’s Youth Orchestra returns to the Renée and Henry Segerstrom Concert Hall to perform popular favorites from Marquez, de Falla, Ginastera and Britten in their PSYO Fall Concert! We’re very excited to see what they have in store.

Other Fall Youth Ensemble concerts include:

 


 

Jacob Sanchez is an arts and culture writer based in Southern California. His work has been published in the “Inkslinger” and “River Voice” journals.

From the Podium: Guest Conductor Mei-Ann Chen

Mei-Ann Chen  -- Manhattan School of Music

Once she stepped onto the podium, she was a force not to be denied, a dynamo. She exerted uncommon energy, but her ministrations were also precise and incisive. Watching her, you understood her enthusiasm for the music at hand, not the least because she wore a huge smile a great deal of the time. But close your eyes and listen and there was carefully calibrated and polished music-making, not just bluster.

– via Chen can’t be resisted, and who’d want to?

Praised for her dynamic, passionate conducting style, Taiwanese-American conductor Mei-Ann Chen is acclaimed for infusing orchestras with energy, enthusiasm and high-level music-making, galvanizing audiences and communities alike.

Mei-Ann ChenOriginally from Taiwan, Chen came to the United States in 1989. She graduated from New England Conservatory as the first person who held a double master’s degree in conducting and violin performance. A few years later, she continued her studies at the University of Michigan with Kenneth Kiesler and earned a Doctor of Musical Arts in conducting.

The question you had to ask Thursday night at Renée and Henry Segerstrom Concert Hall was how could anyone – orchestra or audience – possibly resist her?

In her early career, she served five-years of tenure as the fourth conductor in Portland Youth Philharmonic (PYP) from 2002-07, after being selected by a committee of “musically inclined” parents, a member of the orchestra, and representatives of the Oregon Symphony and Portland Opera. During her tenure, PYP made their debut at Carnegie Hall and received its third ASCAP award in 2004 for innovating programing. In 2007, she led the orchestra on an international tour to Asia, offering six performances in 5 cities across from Taiwan to South Korea. After her service ended with PYP, she became the assistant conductor to the Atlanta Symphony for two seasons. In 2011 Chen became the music director for Chicago Sinfonietta. She recorded and released a commercial album with the Sinfonietta in 2013, “Delights & Dances,” on the Çedille label. In 2015 Chen was named as one of the “Top 30 Influencers” from Musical America.

Mei-Ann Chen is presenting “Rhapsody in Blue” featuring distinguished pianist Aaron Diehl on Nov 14-16, at the Renée and Henry Segerstrom Concert Hall. This week’s concerts mark the third time Chen has visited Orange County to conduct Pacific Symphony, last conducting for our “East Meets West” concert back in 2013, featuring the “Butterfly Lovers” Concerto and Beethoven’s Fifth Symphony.

Her motions could be extravagant – she almost danced the score – but they never seemed superfluous. She embodied the ebb and flow of this drama, the oratorical hammering of its big moments and the serenity and mystery of its whisperings.

 

“Carnival of the Animals”: An Unlikely Union

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The most famous masterpiece by Charles-Camille Saint-Saëns, “Carnival of the Animals,” was not publicly performed during his lifetime. The suite was only played twice in small, intimate concerts. The musicians who were at those concerts, notably Frank Liszt, implored Saint-Saëns to release it. Saint-Saëns refused, fearful that the light-hearted nature of the piece would detract from the “serious” image of a composer. Only after his death would the world fall in love with the masterpiece that is “Carnival of the Animals.”

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American poet Ogden Nash

Ogden Nash, on the other hand, built his career off light-heartedness. At the time of his death, he was declared by the New York Times as the “country’s best-known producer of humorous poetry.” His only foray into serious work ended when he decided that he had better “laugh at myself before anyone laughed at me.”

So how did two artists with such distinct careers meet? Russian-born conductor and arranger Andre Kostelanetz asked Nash to write poetry for recitation in-between each movement. It’s not clear what connection Kostelanetz saw between Saint-Saëns and Nash; perhaps it was the lightheartedness of their works that lifted the careers of both artists, one who embraced it and the other who resisted it. Regardless, the version he put together has been the definitive version ever since, with the poems often included during performances of “Carnival of the Animals” – check out a version below featuring the narrative talents of Betty White, Audrey Hepburn, Charlton Heston, William Shatner and more!

On November 16 at 1:00 p.m, the Pacific Symphony Santiago Strings will be performing “Carnival of the Animals” with the recitation done by Rich Capparela, the iconic voice in the classical world.


Jacob Sanchez is an arts and culture writer based in Southern California. His work has been published in the “Inkslinger” and “River Voice” journals.