Flutist & Conductor Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Rebecca Petersen Executive Administrator 1 (916) 539-0266 Skype: rebeccajoylove [email protected] Olivia Stanford Marketing Operations Manager [email protected] Contents: Karrah O’Daniel-Cambry Biography Opera and Marketing Manager [email protected] Press Reviews Mailing Address: Recommendations 1000 South Denver Avenue Repertoire Suite 2104 YouTube Video Links Tulsa, OK 74119 Photo Gallery Website: http://www.pricerubin.com Complete artist information including video, audio and interviews are available at www.pricerubin.com Orlando Cela – Biography Venezuelan born musician Orlando Cela is committed to engaging audiences with lively performances that open new worlds of experience. Known for his engaging performances using imaginative programming, Orlando has premiering over 100 works, both as a flutist and as a conductor. In concert, Mr. Cela regularly offers short lively introductions to selected works, offering audiences entry points into unfamiliar works, so that listeners can easily connect the music with other life experience. As a flutist, Mr. Cela has performed at the National Portrait Gallery of the Smithsonian (Washington DC), the Isabella Stewart Gardner Museum (Boston), and at the Center for New Music and Technologies at UC Berkeley. His credits abroad include concerts at the Zentrum Danziger (Berlin), the Espace des Femmes (Paris), and at the Musikverein (Vienna). As a collaborative artist, Mr. Cela has concertized with flutist Paula Robison, tabla player Samir Chatterjee, harpsichordist John Gibbons, and shen (mouth organ) virtuoso Hu Jianbing. To help expand the flute repertoire further, Orlando recently launched FluteLab, an online forum in which he answers composers’ questions about writing for the flute, posting answers and commentaries in engaging video clips to help the entire field and share the latest approaches and technical wizardry. The former Music Director of the Boston-based Willow Flute Ensemble, Orlando arranged over a hundred works for the ensemble, from Baroque to contemporary, including folk music from five countries. His world music arrangements were highlighted on the ensemble’s 2009 album, “World Winds.” As a conductor, Mr. Cela’s experience includes launching the orchestral department at Ningbo University in China and conducting the inaugural concert of the Ningbo City Symphony Orchestra. In the US, his conducting positions include work with orchestras and choruses at Randolph College (VA) and UMass Dartmouth (MA). Guest conducting credits include the Marquette Symphony Orchestra (MI), the Northern Michigan State University Orchestra (MI), Brandeis New Music Ensemble (MA). He is currently the music director and conductor of Orlando Cela – Biography the Arlington Philharmonic Orchestra and the orchestra of the Governor’s School of North Carolina, with which he has performed world and American premieres by composers like Salvatore Sciarrino, Chen Yi, Hector Parra, Rebecca Saunders, Ashley Fure and many others. A dedicated music educator, Orlando is known for his dynamic workshops and lecture demonstrations. Popular and effective as a guest lecturer and clinician, he has presented sessions on contemporary music topics at Tulane University, Berklee College of Music, and Brandeis University, as well as at the Central Conservatory of Music in China, the Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart (Germany), and the Charlotte New Music Festival (NC). Mr. Cela has also lectured on general performance practice issues at flute festivals in Ithaca and Syracuse, and at Dulwich College (Beijing) and Shanghai Normal University. Orlando received his undergraduate degree from DePauw University, and holds two master’s degrees (flute and conducting) from New England Conservatory. His teachers include Glenn Michael Egner, Anne Reynolds, and Paula Robison, and he has performed in master classes for Raymond Guiot, Alan Marion, Shigenori Kudo, Leone Buyse, and Trevor Wye. Orlando Cela – Press “The performance given by Orlando Cela of Varèse’s Density 21.5 for solo flute was in a different category. His reading was especially lyrical, […] a brief episode that lingered in memory after it ended.” — The Boston Musical Intelligencer, 2015 “The problem with that degree of concentration and exposure is that the resultant performance can be rather dry and fussy. What we heard performed by flutist Orlando Cela and bassoonist Neil Fairbairn was anything but; in fact, it was possibly the best we’ve heard, live or on recording, full of both perky, bustling movement” — The Boston Musical Intelligencer, 2010 “ an exciting virtuosic display” — Worcester Telegram & Gazette, 2010 “... absolute solidity and soaring imagination […] from the Soria Chamber Players and conductor Orlando Cela” — The Boston Globe, 2002 “the Soria Chamber Players under the direction of Orlando Cela presented themselves as a group possessing high ability and talent” “a magnificent concert” “the concert was excellent” — The MIT Tech, 2000 12, 2000 December THE ARTS THE TECH Page 7 CONCERT REVIEW Estampas Mexicanas Vladimir Ashkenazy. was truly exciting and filled with enchanting melodies that express the enthusiastic, pas­ SoriaChamber Players r sionate,Feria/, Danza and colorful def pajaro sides sag ofado, the MexicanTeot­ andJalli, Spanish culture. Its three movements, A Special ConcertFeaturing Works fry Famous Composers andMIT Alums and are all very attractive and moving. After listening to the performance, it is not diffi­ Sog110 di Scipione. cult to sense the charisma and the prowess of F STAF WRITER_ Elizondo as a composer. By Guan-Jong Chen Mozart added the last tion held at East Carolina University and The concert was excellent. _Anyone who movement later to make this a self-standing fourth prize at the International Guitar Com­ loves classical music should have attended. ast Wednesday, the Soria Chamber work. petition at the Portland Guitar Festival 2000 in For most of the audience, the concert was Players, under the direction of Orlando Throughout the performance of this sym­ Oregon. truly a wonderful opportunity to listen to the Cela, presented a magnificent. concert phony, the Soria Chamber Players did a great Aside from his tremendous skills as a gui­ Soria Chamber Players perform. However, the L . at St. Paul's --- job in keeping tarist, his stage presence was remarkable. concert was also significant because it show­ Episcopal Church in the precise Throughout the performance, he was not only cased MIT as a school that does not just pro­ Brookline.Sinfonie Thein D, con­ KV. rhythm that any able to play his music but also communicate duce one-dimensional students, but rather cert's14/a program includ­ Mozart piece his music to the audience smoothly and com­ individuals with many talents. Elizondo is ed requires. The fortably. It was a memorable and impressive one of these great individuals. Fantasiaby para Wolfang gen­ performance and performance. �� ����-.--,,-, tilhombreAmadeus Mozart, the symphony Needless to say, the� -,.�-.-���-,.��������� w1Estam­ were both light­ most exciting perfor­ pas Mexicanasby Joaquin hearted and dig­ mance of theEstampas night Rodrigo, and nified. 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Revueltas. and made it a special event 1111 Poce.'· he for the MIT communi­ ElizondoMIT. wrote this ty in general. featuring classi­ piece when was a The Soria Chamber cal guitarist student at It was Players startedSinfonie the in William Riley as originally an assign­ performanceD, KV. 14/a. with the soloist. Even ment for a music class Mozart's though the piece taught by Professor This is oftenFantasia consid- Peter Child. Later, it Estampas --•••••••••••••Mexicanas. piece was written in ":"�-���- ered a1111 concerto, was performed by the Jose Elizondo, MIT alum and compose r of para gentil­ 1772. It has three dis- homl>re the MIT Symphony under tinctive1771, movements. Tl Sogno di the Estampasdirection Me.xicanasof Profes­ ScipioneWhen Mozart returned from Italy in Decem­ departs from the usual three or four sor David Epstein. ber of he was preparing movement form previously used by Rodrigo. (Scipio's Dream) to be performed This piece is best described as a suite of sev­ has now been per­ for the fiftieth anniversary of the ordination eral movements of shorter proportion. Itformed in over 60 con­ of Count Sigismund Christoph von Schatten­ In this work, Rodrigo exploits many differ­ certs around the world. bach. However, Schattenbach was very ill, ent compositional techniques, such as theme has also received and died a month before the opera was put and variations, figures, and composite great reviews from the on stage. Mozart then revised the opera, rhythms. Throughout the