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												2006 Brochure 5/19/06 11:15 AM Page 1
2006 brochure 5/19/06 11:15 AM Page 1 CELEBRA RSARY TION NIVE AN 11th 2006 A Festival of Yiddish / Jewish Culture and the arts SUNDAY, AUGUST 20 TO SUNDAY, AUGUST 27 CAMP B’NAI BRITH LANTIER, QUEBEC (one hour north of Montreal) For further information: KlezKanada 5589 Queen Mary Road Montreal, Qc H3X 1W6 Tel.: (514) 489-9014 • Fax: (514) 489-0260 Website: www.klezkanada.com • e-mail: [email protected] 1 2006 brochure 5/19/06 11:15 AM Page 2 A Shaynem Dank !ebts ogbhha t KlezKanada, a division of the Conservatory for Judaic Performing Arts extends its profound thanks and appreciation to its many benefactors and supporters whose encouragement and financial support assure that KlezKanada’s goals and objectives are realized. N Herschel Segal Family Foundation N Zukerman Charitable Foundation (Toronto) N Élaine and David Sela N Tauben Charitable Foundation (Montreal) N Jewish Community Foundation of Montreal N Council on Jewish Identity and Continuity (Fed CJA - Montreal) N Stephani and David Azrieli, C.H.C.Q. N Joan and Hy Bloom N Neri Bloomfield and Evelyn Schachter N Joanne and Douglas Cohen N Cummings and Gold Families N Wally and Aaron Fish N Jojo and Bram Gelfand N Sandy and Hy Goldman N Marlene and Joel King N Millie Lande N Alta and Harvey Levenson N Dora and Avi Morrow KLEZKANADA BOARD OF DIRECTORS Hy Goldman Chairman Bob Blacksberg (Philadelphia) Chaim Ronn Vice Chairman Marc Dolgin (Ottawa) Herschel Segal Vice Chairman Adriana Kotler David Sela Vice Chairman David Novek Irwin Tauben Treasurer Bernard Rosenblatt Tzipie Freedman Secretary Rozlyn Rosenblatt (Pittsburg) Sandy Goldman Administrative Director Robert Smolkin (Toronto) Jack Wolofsky Norman Beiles Auditor Helen Zukerman (Toronto) Stan Cytrynbaum Legal Council Thanks are also extended to Sandy Cytrynbaum, Harvey and Alta Levenson, Evelyn Schachter, and Penny Meshwork for their support in so many ways. - 
												
												Savage Winter #Bamnextwave No Intermission LOCATION: RUN TIME: DATES: Pittsburgh Opera Approx 1Hr15mins BAM Fisher (Fishman Space) NOV 7—10At7:30Pm
Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Savage Winter Executive Producer American Opera Projects and Pittsburgh Opera Music by Douglas J. Cuomo Directed by Jonathan Moore DATES: NOV 7—10 at 7:30pm Season Sponsor: LOCATION: BAM Fisher (Fishman Space) Leadership support for music programs at BAM RUN TIME: Approx 1hr 15mins provided by the Baisley Powell Elebash Fund. no intermission #BAMNextWave BAM Fisher Savage Winter Written and Composed by Music Director This project is supported in part by an Douglas J. Cuomo Alan Johnson award from the National Endowment for the Arts, and funding from The Andrew Text based on the poem Winterreise by Production Manager W. Mellon Foundation. Significant project Wilhelm Müller Robert Signom III support was provided by the following: Ms. Michele Fabrizi, Dr. Freddie and Directed by Production Coordinator Hilda Fu, The James E. and Sharon C. Jonathan Moore Scott H. Schneider Rohr Foundation, Steve & Gail Mosites, David & Gabriela Porges, Fund for New Performers Technical Director and Innovative Programming and The Protagonist: Tony Boutté (tenor) Sean E. West Productions, Dr. Lisa Cibik and Bernie Guitar/Electronics: Douglas J. Cuomo Kobosky, Michele & Pat Atkins, James Conductor/Piano: Alan Johnson Stage Manager & Judith Matheny, Diana Reid & Marc Trumpet: Sir Frank London Melissa Robilotta Chazaud, Francois Bitz, Mr. & Mrs. John E. Traina, Mr. & Mrs. Demetrios Patrinos, Scenery and properties design Assistant Director Heinz Endowments, R.K. Mellon Brandon McNeel Liz Power Foundation, Mr. & Mrs. William F. Benter, Amy & David Michaliszyn, The Estate of Video design Assistant Stage Manager Jane E. - 
												
												Blues Symphony in Atlanta Two Years Ago, Wynton Marsalis Embarked on a New Challenge: Fuse Classical Music with Jazz, Ragtime and Gospel
01_COVER.qxd 12/10/09 11:44 AM Page 1 DOWNBEAT DOWNBEAT BUDDY GUY BUDDY // ERIC BIBB // JOE HENRY JOE HENRY // MYRON WALDEN MYRON WALDEN DownBeat.com $4.99 02 FEBRUARY 2010 FEBRUARY 0 09281 01493 5 FEBRUARY 2010 U.K. £3.50 02-27_FRONT.qxd 12/15/09 1:50 PM Page 2 02-27_FRONT.qxd 12/15/09 1:50 PM Page 3 02-27_FRONT.qxd 12/15/09 1:50 PM Page 4 February 2010 VOLUME 77 – NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Contributing Designer Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. - 
												
												The Internationally Acclaimed Festival of Yiddish/Jewish Culture and the Arts KLEZKANADA
The Internationally Acclaimed Festival of Yiddish/Jewish Culture and the Arts KLEZKANADA August 22- 28, 2011 Founders From the KlezKanada Board of Directors Hy and Sandy Goldman Again we are so privileged to welcome you (and welcome you back) to KlezKanada on behalf of the Board, our faculty and artistic staff. As we arrive at Camp B’nai Brith, we marvel when our Artistic Coordinator, Summer Festival gem of Jewish culture comes alive, in its sounds, songs, language, dance and performance. It Frank London binds us as a community committed to connect, not to a lost past, but to a living present. We are grounded in our contact with our treasured giants, such as Flory Jagoda and Theodore Bikel, and Artistic Coordinator, Local Programming and Montreal Jewish Music Festival nourished and realized in the work of our faculty who created the renaissance and the generation Jason Rosenblatt of younger leaders who carry it to new places. Our pride, our nakhes, knows no limit when we see artists who came of age in our scholarship and fellowship programs, now take the world Founding Artistic Director and Senior Artistic Advisor stage. Jeff Warschauer We are also extremely gratified that KlezKanada has now linked up with the McGill University Board of Directors Schulich School of Music through the Department of Jewish Studies and will be hosting a group of McGill students for the week. This sets a precedent and augers well for future academic Bob Blacksberg, Stan Cytrynbaum (legal consultant), Tzipie Freedman (secretary), Hy associations. Goldman (chair), Sandra Goldman (registrar), Adriana Kotler, Robin Mader, Sandra Mintz, Bernard Rosenblatt, Roslyn Rosenblatt, Herschel Segal, David Sela, Robert Smolkin, Eric Now 16 years strong, we feel we have just begun. - 
												
												Extending the Tradition: Klezkanada, Klezmer Tradition and Hybridity
Extending the Tradition: KlezKanada, Klezmer Tradition and Hybridity MIKE ANKLEWICZ Abstract: This paper examines the way in which klezmer revival institutions, particularly KlezKanada, contradict many of the notions that are generally held of revival movements. Both historical klezmer music and its revival have long histories of incorporating musical styles both of other minority groups, as well those of the dominant majority culture. This paper shows how the communities created within the klezmer revival are constantly recreating their “tradition,” and are responsible for an environment in which musical experimentation is not only accepted, but valued. Résumé : Cet article examine la manière par laquelle les institutions de renouveau du klezmer, en particulier KlezKanada, contredisent nombre des idées que l’on se fait en général des mouvements de revival. La musique historique klezmer et son renouveau ont tous deux de longues histoires d’incorporation de styles musicaux, tant des autres groupes minoritaires que de ceux de la culture majoritaire dominante. Cet article montre comment les communautés qui se créent au sein du revival du klezmer recréent constamment leur « tradition » et sont responsables d’un environnement dans lequel l’expérimentation musicale est non seulement acceptée, mais valorisée. n today’s international klezmer scene, there has been a wide proliferation Iof klezmer fusions. These hybrids, which blend an ever-expanding array of musical styles and genres with klezmer, defined here as Eastern-European Jewish instrumental celebratory music, are notable because they are being encouraged by the scene’s formal institutions (festivals and workshops). These new interpretations of klezmer exist in a dialectical relationship to the music’s own history. - 
												
												2019-2020 Season Volume Xxvii • Issue 10
2019-2020 SEASON VOLUME XXVII • ISSUE 10 22......Information 26......Royal Winnipeg Ballet 36......The Klezmatics 44......Miss Nelson has a Field Day 68......Davina & The Vagabonds and Hot Club of Cowtown 73......Wharton Circle CONSUMER ALERT REGARDING TICKET PURCHASING With so many high-profile and popular events coming to Wharton Center, we have found more and more patrons are being exploited by unscrupulous ticket resellers. Often our tickets are being marketed on secondary ticket websites before the operator of the website has even purchased tickets – and they are selling at prices far above the price you will pay through whartoncenter.com. Purchasing tickets to Wharton Center events through another source might result in paying too much for your tickets or paying for tickets that are invalid. If there is a problem with your tickets, you may not be able to receive help from Wharton Center’s Ticket Office as there will be no in-house record of your transaction. In addition, we are unable to contact you if there is a change in performance time, traffic notices, etc. To avoid being ensnared by unscrupulous ticket resellers: • Bookmark our website, whartoncenter.com for ticket and show information. • Sign up for our eClub to receive information directly from Wharton Center. We urge you to protect yourself by purchasing directly from the official source for Wharton Center tickets: at whartoncenter.com; by phone at 1-800-WHARTON (1-800-942-7866); or at the Auto-Owners Insurance Ticket Office at Wharton Center. IN CASE OF EMERGENCY Please observe the lighted exit signs located throughout the building and theatre(s). - 
												
												John Zorn and the Construction of Jewish Identity Through Music
HARVARD JUDAICA COLLECTION STUDENT RESEARCH PAPERS No.7 Studies in Jewish Musical Traditions Insights from the Harvard Collection of Judaica Sound Recordings Edited by Kay Kaufman Shelemay Professor of Music Harvard University '. HARVARD •COLLEGE LIBRARY Cambridge, Massachusetts 2001 Free Improvisation: John Zorn and the Construction of Jewish Identity through Music Michael Scott Cuthbert In early 1993, the Japanese record company Eva released a new disc of pieces by a composer best known for his work in free jazz, avant-garde "classical" music, and film scoring.! Taking its title from the night of violence against Jewish people, their businesses, and their property which occurred in Nazi Germany on November 9 and 10, 1938, Kristallnacht was John Zorn's first musical exploration of his Jewish heritage. After working with a group of musicians, most of whom he had little or no prior recorded collaboration with, Zorn built on the success of this project by turning in a new direction in his creative life. Quickly founding his own Hebrew-titled record company, encouraging other Jewish musicians to embrace their ethnic and religious heritage, and releasing in quick succession a CD series of Klezmer-flavored tunes, John Zorn's seemingly abrupt decision to visibly take up his cultural identity has gained him not only fans in the Jewish and free jazz worlds, but also critics and accusations of ethnic profiteering. This paper examines the underlying assumptions, aims, and methods for achieving these goals in Zorn's recent Jewish work through statements made by the composer, and reception by his fans and critics, but primarily through his recorded legacy. - 
												
												A ZEITGEIST FILMS RELEASE Divan a Film by Pearl Gluck
A ZEITGEIST FILMS RELEASE Divan a film by Pearl Gluck As a teenager, filmmaker Pearl Gluck left her Orthodox Jewish clan in Brooklyn for secular life in Manhattan. Many years later, Pearl’s father has one wish: that she marry and return to the community. Pearl, however, takes a more creative approach to mend the breach. She travels to Hungary to retrieve a turn-of-the-century family heirloom: a couch upon which esteemed rabbis once slept. En route for the ancestral divan, Pearl encounters a colorful cast of characters who provide guidance and inspiration, including a couch exporter, her ex-communist cousin in Budapest, a pair of Hungarian-American matchmakers and a renegade group of formerly ultra-Orthodox Jews. Nimbly clever and intensely illuminating, DIVAN is a visual parable that offers the possibility of personal reinvention and cultural re-upholstery. USA/HUNGARY/UKRAINE/ISRAEL • 2003 In Hungarian, Yiddish, and English, with English subtitles Running Time: 77 minutes Synopsis DIVAN breaks the mold of Hasidic storytelling and takes an unorthodox approach to a religious icon, an ancestral divan in Hungary that illuminates both the conflict and necessity of repairing the fractured trajectory of personal history and identity. Divan is a visual parable that crosses family heritage with the possibility of culturally re- upholstering a couch. As a renegade approach to healing a breach between herself and her father, Pearl travels from the Hasidic Jewish community of Brooklyn where she was raised to her roots in Hungary, to retrieve a turn-of-the-century family heirloom, her great- grandfather's couch upon which revered rebbes once slept. - 
												
												Arlo Guthrie & the Klezmatics
CAL PERFORMANCES PRESENTS Arlo Guthrie & Th e Klezmatics Holy Ground: Th e Spiritual Music of Woody Guthrie Tuesday, December 7, 8 pm, 2004 Zellerbach Hall Arlo Guthrie, vocals, guitar Abe Guthrie, multiple instruments Gordon Titcomb, multiple instruments Susan McKeown, guest vocalist Th e Klezmatics Matt Darriau, multiple instruments Lisa Gutkin, fi ddle David Licht, drums Frank London, trumpet Paul Morrissett, bass, tsimbl Lorin Sklamberg, vocals Tonight’s program will be announced from the stage. It will be approximately 1 hour and 50 minutes in length, and will include one intermission. Th is performance has been made possible in part by the Friends of Cal Performances. Cal Performances thanks the William and Flora Hewlett Foundation, Th e Wallace Foundation, and the Zellerbach Family Foundation for their generous support. CAL PERFORMANCES 19 ABOUT THE PROGRAM Holy Ground: The Spiritual Music of Woody them. “Holy Ground” highlights the songs in this Guthrie was drawn from the Woody Guthrie collection that focus on Hanukah. Archives, which contains scores of songs created Woody Guthrie’s favorite word was “union” by Guthrie but never recorded or formally written – in both the political and spiritual sense. He loved down. Among the archives is a recently discovered to delve into the connective tissue that bound collection of songs with Jewish themes ranging different peoples, races, religions and cultures. It from Hanukah and blintzes to the horrors of is in Woody’s spirit of union that “Holy Ground” World War II. Woody’s daughter Nora asked her continues to investigate disparate religious and brother Arlo and The Klezmatics to compose new spiritual worlds, always with his keen insight and music for these rediscovered lyrics and to perform great, good humor. - 
												
												Peak Performances Presents the World Premiere Of
! Press Contact: Blake Zidell Blake Zidell & Associates 718.643.9052 [email protected] For Immediate Release July 10, 2018 PEAK PERFORMANCES PRESENTS THE WORLD PREMIERE OF HATUEY: MEMORY OF FIRE, AN AFRO-CUBAN-YIDDISH OPERA FROM FRANK LONDON, ELISE THORON, AND MUSIC-THEATRE GROUP, SEPTEMBER 14-23 Directed by Mary Birnbaum and Choreographed by Maija Garcia, This First Fully Staged New Yiddish Opera in Nearly a Century Tells the Story of a Jewish Refugee in Cuba and His Deep Connection to a Heroic Taíno Freedom Fighter Peak Performances Presents Hatuey: Memory of Fire (World Premiere) From Frank London, Elise Thoron, and Music-Theatre Group Composer: Frank London Librettist: Elise Thoron Music Director: Constantine Kitsopoulos Stage Director: Mary Birnbaum Choreographer: Maija Garcia Set Designer: Camellia Koo Lighting Designer: Devorah Kengmana Costume Designer: Oana Botez Performances: September 14-23 Critics Welcome Starting September 15 The Alexander Kasser Theater at Montclair State University (1 Normal Ave., Montclair, NJ) $30; FREE for Montclair State undergraduates with ID www.peakperfs.org or 973.655.5112 Peak Performances kicks off its 2018-19 season with the world premiere of Hatuey: Memory of Fire, a rousing Afro-Cuban- Yiddish opera performed in English, Yiddish and Spanish, with music by Frank London, libretto by Elise Thoron, direction by Mary Birnbaum, and choreography by Maija Garcia. Based on an 87-year-old epic Yiddish poem by Asher Penn, a Jew who fled the pogroms in his native Ukraine and found refuge in Cuba, Hatuey: Memory of Fire is a love story that bridges multiple histories of oppression and resistance. - 
												
												Freier Download BA 88 Als
BAD 88 ALCHEMY Merke: Der Misophoniker könnte der Meinung sein, dass es einer richtige und eine falsche Art gebe, den Kartoffelbrei zu essen. rbd's Favoriten 2015 Phall Fatale - Moonlit Bang Bang (Qilin Records / Slowfoot) Jenny Hval - Apocalypse, girl (Sacred Bones Records) Konstruktivists - Anarchic Arcadia (E-Klageto) Loomings - Everyday Mythology (AltrOck) Malerai + Uchihashi + Maya R - Utsuroi (For Tune) Mary Ocher + Your Government (Klangbad) Oiseaux-Tempête - ÜTOPIYA? (Sub Rosa) Post Office - The Marylebone Greenwave (Minority Records) Dominik Strycharski Core 6 - Czôczkò (For Tune) The Very Big Experimental Toubifri Orchestra - Waiting in the Toaster (Label Bleu) alternativ auch BDC La Belle - Merci Professeur (La main mouche) Julia Holter - Have You In My Wilderness (Domino Records) The Necks - Vertigo (ReR Megacorp) Rejoice with the Book-Spider (Iain Sinclair) Martin Amis - Die Anderen. Eine mysteriöse Geschichte John Banville - Sonnenfinsternis Edmond Baudoin + Fred Vargas - Die Tote im Pelzmantel Anthony Burgess - Clockwork Orange (neu übersetzt vom U. Blumenbach) Yves Chaland - Freddy Lombard (complete) Didier Comès - Die Wildkatze; Eva Corbeyran + Horne - Die Verwandlung von Franz Kafka Samuel R. Delany - Babel-17; Treibglas (beides nicht zum ersten Mal) E. L. Doctorow - City of God Aris Fioretos - Der letzte Grieche John Fowles - Der Magus Matthias Gnehm - Der Maler der Ewigen Portrait Galerie Mark Haddon - Supergute Tage oder die sonderbare Welt des Christopher Boone Cesare Pavese - Die einsamen Frauen Padgett Powell - Edisto; Rückkehr nach Edisto Martin Rowson - Leben und Ansichten von Tristram Shandy, Gentleman Stendhal - Rot und Schwarz David Foster Wallace - Unendlicher Spaß (übersetzt von U. Blumenbach) Warn's + Raives - Lou Cale. Snapping The Big Apple's Bad Seeds Tommy Wieringa - Joe Speedboat 2 Life is a liquid drop by drop HOPE beim Jazz Festival Frankfurt 31.10.2015 Stellen wir uns den hr-Sendesaal in Frankfurt als Pandoras Büchse vor und das 46. - 
												
												2015 Brochure
Founders Eugene Orenstein – Presenter Hy and Sandy Goldman FACULTY Janie Respitz – Yiddish Language Jenny Romaine – Theatre Aaron Alexander – Percussion Artistic Director, Laurentian Retreat Jason Rosenblatt – Harmonica/Piano Merceditas Alexander-Mañago – Dance Frank London Pete Rushefsky – Tsimbl Adrian Banner – Piano Kinneret Sagee – Clarinet Richie Barshay – Percussion Artistic Director, Montreal Jewish Music Festival Cookie Segelstein – Violin Zilien Biret – Clarinet Jason Rosenblatt Uri Sharlin – Accordion Daniel Blacksberg – Trombone Jake Shulman-Ment – Violin Maya Blank – KlezKinder Founding Artistic Director and Senior Artistic Advisor Lorin Sklamberg – Yiddish Song Nikolai Borodulin – Yiddish Language Jeff Warschauer Shayn Smulyan – McGill Seminar Joanne Borts – Yiddish Song Emily Socolov – Visual Arts Matt Darriau – Clarinet/Saxophone Registrar Pete Sokolow – Piano Christian Dawid – Clarinet Sandy Goldman Madeline Solomon – KinderKord Front Cover: Josh Dolgin – Yiddish Song Eric Stein – Mandolin Artwork by Avia Moore. Sruli Dresdner – KlezKinder, Yiddish Song Board of Directors Michael Steinlauf – Presenter Inspired by the painted Herschel Fox – Cantorial, Yiddish Song Robert Abitbol, Bob Blacksberg, Stephanie Finkelstein, Tzipie Deborah Strauss – Violin wooden synagogues of Yoshie Fruchter – Guitar Freedman, Hy Goldman (Chair), Jeff Warschauer – Plucked Strings Poland and the Gwoździec Anna Gonshor – Yiddish Language Sandy Goldman, Dan Goldstein, Leo Hubermann, Robin Mader, Eleonore Weill – Flute/KlezKinder Reconstruction project