The Met’s world premiere of “The Hours,” as well as performances by the Berlin and Los Angeles Philharmonics, and the reopening of David Geffen Hall are just a few of the highlights.
The epidemic hasn’t been the only impediment keeping the New York Philharmonic from its home at David Geffen Hall; the structure has undergone a full refurbishment that is slated to conclude this fall.
New works in new formats, such as Etienne Charles’s parade-like San Juan Hill: A New York Story, will be on display for weeks after the venue reopens.
In the coming months, Carnegie Hall will return to its usual glory as it begins to attract not just the world’s best soloists but also the world’s greatest ensembles, such as the Berlin Philharmonic. Even Nevertheless, the nature and quality of live performances continue to be unstable and changeable.
Kate Soper’s HEX touted as a dramatic comedy about the gates of hell, features Soper and Rick Burkhardt (an ensemble artist in residence) on voice and piano,
alongside the unorthodox septet Orlando Furioso, as the season opener for the WET INK ENSEMBLE (a project of the composer and drummer Vicente Hansen Atria, also in residence). (Saturday, September 14; Roulette, Brooklyn)
It’s so great to see our friends in the Allentown Band included in this great article. Let’s hear it for #communitybands!
Community bands are back after being battered by the pandemic https://t.co/zEpHSVeSPE
— WWFM Classical (@WWFMClassical) September 8, 2022
It was Leonard Bernstein’s maximalist, genre-bending Mass that was performed during the 1971 opening of the John F. Kennedy Center for the Performing Arts.
James Gaffigan conducts the National Symphony Orchestra, while baritone Will Liverman serves as the Celebrant, returning for the grand finale of the center’s 50th-anniversary celebrations. Check out TheActiveNews.Com for more posts like this.