Joaquin Turina (1882-1949)
Conchita Supervia (1895-1936)
Dame Elisabeth Schwarzkopf (1915-2006)
Dennis Eberhard (1943-2005)
Christopher Robson (1953)
Donny Osmond (1957)
Joshua Bell (1967)
and
John Milton (1608-1674)
Ödön von Horváth (1901-1938)
Wednesday, December 9, 2009
Tuesday, December 8, 2009
Review of Tallis Scholars concert
Last night I heard the Tallis Scholars give one of the best choral concerts I have ever heard. My review of the concert is in Oregon Music News.
Work For Art - funds that match your donation
Here's a great way to stetch your donation to the arts: contribute to Work for Art. This is a non-profit organization that will double your donation and forward it to a local arts group. Also, if you donate $60 or more, you will receive a handy Arts Card that will give you some great 2 for 1 ticket deals!
Here are more details from the web site:
Here are more details from the web site:
Donations to Work for Art support more than 80 vital arts and culture organizations every year—encompassing dance, visual arts, music, film arts, theater, cultural arts, and arts education. Donors can be confident that their dollars are supporting well-run groups that have undergone a rigorous grant application process. Any 501(c)(3) arts and culture organization based in Clackamas, Multnomah, or Washington Counties is eligible to apply for these grants. A full 100% of donations that Work for Art receives goes straight to our funded arts organizations.
In appreciation of your gift of $60 or more to Work for Art, we’ll send you an Arts Card. This offers you 2-for-1 tickets at hundreds of arts and culture events for a full year at more than 50 organizations. We’ll also send you an e-newsletter that tells you where you can use your Arts Card each month.
Today's Birthdays
Jean Sibelius (1865-1957)
Manuel Ponce (1882-1948)
Bohuslav Martinů (1890-1959)
Gérard Souzay (1920)
Sir James Galway (1939)
and
Horace (65-8 B.C.)
Diego Rivera (1886-1957)
Mary Gordon (1949)
Bill Bryson (1951)
Manuel Ponce (1882-1948)
Bohuslav Martinů (1890-1959)
Gérard Souzay (1920)
Sir James Galway (1939)
and
Horace (65-8 B.C.)
Diego Rivera (1886-1957)
Mary Gordon (1949)
Bill Bryson (1951)
Monday, December 7, 2009
Review of the Oregon Symphony concert with Yefim Bronfman
My review of the Oregon Symphony concert with Yefim Bronfman is in Oregon Music News here.
Review of Portland Baroque and interview with PBO concertmaster Carla Moore
You can find my review of this past weekend's Portland Baroque Concert with Alexander Weimann in Oregon Music News. Also I interviewed Carla Moore, PBO's concertmaster in Oregon Music News as well.
Today's Birthdays
Pietro Mascagni (1863-1945)
Ernst Toch (1887-1964)
Rudolf Friml (1879-1972)
Daniel Jones (1912-1993)
Helen Watts (1927)
Harry Chapin (1942)
Daniel Chorzempa (1944)
Tom Waits (1949)
Kathleen Kuhlmann (1950)
and
Willa Cather (1873-1947)
Joyce Cary (1888-1957)
Noam Chomsky (1928)
Ernst Toch (1887-1964)
Rudolf Friml (1879-1972)
Daniel Jones (1912-1993)
Helen Watts (1927)
Harry Chapin (1942)
Daniel Chorzempa (1944)
Tom Waits (1949)
Kathleen Kuhlmann (1950)
and
Willa Cather (1873-1947)
Joyce Cary (1888-1957)
Noam Chomsky (1928)
Sunday, December 6, 2009
Review of PSU Symphony's Destinies and Destinations concert
By guest reviewer Stephen Llewellyn (aka Operaman)
As any of you who read my weekly Operaman’s blog will know by now I am no musicologist. Furthermore, let me tell you right off that I was Northwest Reverb’s fourth-string option to review last Friday evening’s concert given by the Portland State University Symphony Orchestra. So your reading this is a bit like you going to a Minnesota Vikings game expecting to see Brett Favre and getting Sage Rosenfels. You may just catch him on a day that he's great of course, but that's unlikely and he’s not what you paid good money for. That having been said, I did attend that concert and have some moderately cogent thoughts about what I saw and heard so try and stay with me here, okay?
If your idea of a wonderful orchestral concert includes going into the intermission with memories of a grand Beethoven overture still sounding in your head but fighting with the sparkling tunes of the Mozart Piano Concerto that followed it, then the first half of Friday’s concert afforded you a great opportunity to stay home in the warm, pour yourself a scotch and watch a rerun of National Lampoon’s Christmas Vacation or, perhaps, World Wrestling’s Friday Night Smackdown. If, however, you did go to Saint Mary’s Cathedral you would have found the first half of the gig opened with Heiner Goebbel's Surrogate Cities Sampler Suite which segued into Ernest Bloch’s Concerto Grosso Number 2. And if you went, then I hope you had as splendid a time as I did.
I should begin by mentioning the venue. I have been to only one concert previously in this church and was very disappointed by the sound. Not so on Friday evening. The sound was warm without being mushy and from my seat (about a half of the way back and on the aisle,) I was able to hear every note as clear as a bell. I attribute this to conductor Ken Selden having paid very close attention in rehearsal to matters such as balance within the orchestra and vis-à-vis the audience. Thank you, Maestro. It made a huge difference to my level of enjoyment.
One of the problems with giving a piece a lengthy and somewhat curious title, and then naming all of the 'movements' after baroque dances, is that it induces expectations in the audience. In this case, one might well have looked at the programme and said to ones self "Ah. Somehow this work is going to make me think of a city within the context of pieces of music that will remind me of 18th century dances." Well, I think Mr Goebells is having a little private joke here. Alternatively, while listening to Lully and Rameau and reading the record sleeve that referred to things such as Menuet and Gavotte, he was doing some really wicked acid. Not for a moment, however, did that detract from my enjoyment of the work which I found to be quirky, whimsical and imaginative. But the movement marked Bourée? I know Bourées, Mr Goebbels and that was no Bourée. The imaginative orchestration includes a sampler, a computer-programmed instrument that produces synthesized sound in accordance with instructions 'written in' to the machine ahead of the performance. Lisa Marsh was a fine soloist on this instrument.
I am somewhat ashamed to have to admit that I came very late to the Ernest Bloch musical party in celebration of the 50th anniversary of his death. It has been going on all year, largely without me, but I finally showed up at the door and brought a good bottle of wine so they let me in. I am very happy. My first exposure to Bloch was Elmar Oliveira’s stunning performance of Baal Shem at Chamber Music Northwest’s Summer Festival, which James Bash reviewed here. More recently I heard the Portland Youth Philharmonic perform two interludes from his opera Macbeth. I have also taken the opportunity to listen to some recordings and I no longer need to be persuaded that Bloch wrote music of the highest order and that Oregon is justly very proud that he chose to make it his home.
Bloch’s Concerto Grosso Number 2, written in 1952, is scored for just sixteen string players. Now, if you are designing a concert for an amateur orchestra that is a bold choice because with such small forces, every instrumental part is, at some point, very exposed, and matters such as faulty intonation are laid bare for all to hear. Maestro Selden played a brilliant card by bringing in some ringers – in this case four string players from the Third Angle New Music Ensemble. This seeding of the strings had two excellent results. Firstly, of course, the Third Angle players provided a solid base in support of the other instrumentalists. Additionally, though, their presence raised everyone else’s game. What we got as a result was string playing that was disciplined, virtually pitch-perfect and displaying remarkable ensemble. The piece itself is just gorgeous! It put me very much in mind of the works for string orchestra of Vaughan Williams. I do not mean this in the sense that Bloch was ripping off VW’s style or that he was displaying himself as a Vaughan Wannabee. I mean that he wrote a piece that is lush, romantic, dense and complex while being melodic and charming. It also demonstrated what you can do with strings if they are not fighting to be heard over a brass section. I liked it so well I have just purchased if from Amazon.com. And had there been a recording of what I heard on Friday, that is the one I would have bought. That's how well I liked it.
After the intermission we were treated to a brilliant performance of the Elgar Cello Concerto with soloist Hye Jun Yang. Ms Yang won first prize in the 2009 PSU Symphony Concerto Competition. It's not hard to see how she did that. From the opening notes of the first movement she showed technical command and emotional restraint which combination allowed us to sit back, comfortable in the knowledge that she was up to the physical demands of the piece, while letting the music move us without her trying to superimpose dramatic effect. There were one or two minor problems of intonation in the first movement. I put them down to nerves. When set against the gorgeous overall effect she achieved they were inconsequential. I mention them not to nit pick, but because she knows they were there and to omit any mention of them would be to deny the attention I paid to her playing and the degree to which she drew me in to her first-rate performance. In the lento section of the second movement, Ms Yang gave us ravishing tone and the virtuoso passages of the final movement's allegro were presented in a fluid and unaffected style. Throughout, Maestro Selden had his orchestra provide exemplary support. I should make specific mention of the woodwind section which was crisp and very well balanced. This was a totally captivating performance and it was received with the enthusiasm it deserved.
Addendum and clarification from James Bash: I did contact Stephen because I and my colleague Lorin Wilkerson and regular guest reviewer Aaron Barenbach were not available to review this concert. Stephen might say that he is fourth-stringer, but he is a first-rate writer.
As any of you who read my weekly Operaman’s blog will know by now I am no musicologist. Furthermore, let me tell you right off that I was Northwest Reverb’s fourth-string option to review last Friday evening’s concert given by the Portland State University Symphony Orchestra. So your reading this is a bit like you going to a Minnesota Vikings game expecting to see Brett Favre and getting Sage Rosenfels. You may just catch him on a day that he's great of course, but that's unlikely and he’s not what you paid good money for. That having been said, I did attend that concert and have some moderately cogent thoughts about what I saw and heard so try and stay with me here, okay?
If your idea of a wonderful orchestral concert includes going into the intermission with memories of a grand Beethoven overture still sounding in your head but fighting with the sparkling tunes of the Mozart Piano Concerto that followed it, then the first half of Friday’s concert afforded you a great opportunity to stay home in the warm, pour yourself a scotch and watch a rerun of National Lampoon’s Christmas Vacation or, perhaps, World Wrestling’s Friday Night Smackdown. If, however, you did go to Saint Mary’s Cathedral you would have found the first half of the gig opened with Heiner Goebbel's Surrogate Cities Sampler Suite which segued into Ernest Bloch’s Concerto Grosso Number 2. And if you went, then I hope you had as splendid a time as I did.
I should begin by mentioning the venue. I have been to only one concert previously in this church and was very disappointed by the sound. Not so on Friday evening. The sound was warm without being mushy and from my seat (about a half of the way back and on the aisle,) I was able to hear every note as clear as a bell. I attribute this to conductor Ken Selden having paid very close attention in rehearsal to matters such as balance within the orchestra and vis-à-vis the audience. Thank you, Maestro. It made a huge difference to my level of enjoyment.
One of the problems with giving a piece a lengthy and somewhat curious title, and then naming all of the 'movements' after baroque dances, is that it induces expectations in the audience. In this case, one might well have looked at the programme and said to ones self "Ah. Somehow this work is going to make me think of a city within the context of pieces of music that will remind me of 18th century dances." Well, I think Mr Goebells is having a little private joke here. Alternatively, while listening to Lully and Rameau and reading the record sleeve that referred to things such as Menuet and Gavotte, he was doing some really wicked acid. Not for a moment, however, did that detract from my enjoyment of the work which I found to be quirky, whimsical and imaginative. But the movement marked Bourée? I know Bourées, Mr Goebbels and that was no Bourée. The imaginative orchestration includes a sampler, a computer-programmed instrument that produces synthesized sound in accordance with instructions 'written in' to the machine ahead of the performance. Lisa Marsh was a fine soloist on this instrument.
I am somewhat ashamed to have to admit that I came very late to the Ernest Bloch musical party in celebration of the 50th anniversary of his death. It has been going on all year, largely without me, but I finally showed up at the door and brought a good bottle of wine so they let me in. I am very happy. My first exposure to Bloch was Elmar Oliveira’s stunning performance of Baal Shem at Chamber Music Northwest’s Summer Festival, which James Bash reviewed here. More recently I heard the Portland Youth Philharmonic perform two interludes from his opera Macbeth. I have also taken the opportunity to listen to some recordings and I no longer need to be persuaded that Bloch wrote music of the highest order and that Oregon is justly very proud that he chose to make it his home.
Bloch’s Concerto Grosso Number 2, written in 1952, is scored for just sixteen string players. Now, if you are designing a concert for an amateur orchestra that is a bold choice because with such small forces, every instrumental part is, at some point, very exposed, and matters such as faulty intonation are laid bare for all to hear. Maestro Selden played a brilliant card by bringing in some ringers – in this case four string players from the Third Angle New Music Ensemble. This seeding of the strings had two excellent results. Firstly, of course, the Third Angle players provided a solid base in support of the other instrumentalists. Additionally, though, their presence raised everyone else’s game. What we got as a result was string playing that was disciplined, virtually pitch-perfect and displaying remarkable ensemble. The piece itself is just gorgeous! It put me very much in mind of the works for string orchestra of Vaughan Williams. I do not mean this in the sense that Bloch was ripping off VW’s style or that he was displaying himself as a Vaughan Wannabee. I mean that he wrote a piece that is lush, romantic, dense and complex while being melodic and charming. It also demonstrated what you can do with strings if they are not fighting to be heard over a brass section. I liked it so well I have just purchased if from Amazon.com. And had there been a recording of what I heard on Friday, that is the one I would have bought. That's how well I liked it.
After the intermission we were treated to a brilliant performance of the Elgar Cello Concerto with soloist Hye Jun Yang. Ms Yang won first prize in the 2009 PSU Symphony Concerto Competition. It's not hard to see how she did that. From the opening notes of the first movement she showed technical command and emotional restraint which combination allowed us to sit back, comfortable in the knowledge that she was up to the physical demands of the piece, while letting the music move us without her trying to superimpose dramatic effect. There were one or two minor problems of intonation in the first movement. I put them down to nerves. When set against the gorgeous overall effect she achieved they were inconsequential. I mention them not to nit pick, but because she knows they were there and to omit any mention of them would be to deny the attention I paid to her playing and the degree to which she drew me in to her first-rate performance. In the lento section of the second movement, Ms Yang gave us ravishing tone and the virtuoso passages of the final movement's allegro were presented in a fluid and unaffected style. Throughout, Maestro Selden had his orchestra provide exemplary support. I should make specific mention of the woodwind section which was crisp and very well balanced. This was a totally captivating performance and it was received with the enthusiasm it deserved.
Addendum and clarification from James Bash: I did contact Stephen because I and my colleague Lorin Wilkerson and regular guest reviewer Aaron Barenbach were not available to review this concert. Stephen might say that he is fourth-stringer, but he is a first-rate writer.
Today's Birthdays
Johann Christoph Bach (1642-1703)
Ira Gershwin (1896-1983)
Dave Brubeck (1920)
Nikolaus Harnoncourt (1929)
Henryk Górecki (1933)
Tomas Svoboda (1939)
John Nelson (1941)
Daniel Adni (1951)
Bright Sheng (1955)
Matthew Taylor (1964)
and
Baldassare Castiglione (1478-1529)
Ira Gershwin (1896-1983)
Dave Brubeck (1920)
Nikolaus Harnoncourt (1929)
Henryk Górecki (1933)
Tomas Svoboda (1939)
John Nelson (1941)
Daniel Adni (1951)
Bright Sheng (1955)
Matthew Taylor (1964)
and
Baldassare Castiglione (1478-1529)
Saturday, December 5, 2009
Gregory Vajda nominated for MIDEM Classical Award
Oregon Symphony's resident conductor Gregory Vajda is the conductor on a recording of music by Péter Eötvös that has been nominated for a MIDEM Classical Award 2010. The recording is of Eötvös's "As I Crossed a Bridge of Dreams." It is among three recordings nominated for MIDEM Classical Award 2010.
http://www.midemclassicalawards.com
http://www.midemclassicalawards.com
Today's Birthdays
Francesco Geminiani (1687-1762)
Little Richard (1932)
José Carreras (1946)
Krystian Zimerman (1956)
Osvaldo Golijov (1960)
and
Christina (Georgina) Rossetti (1830-1894)
Joan Didion (1934)
Calvin Trillin (1935)
Little Richard (1932)
José Carreras (1946)
Krystian Zimerman (1956)
Osvaldo Golijov (1960)
and
Christina (Georgina) Rossetti (1830-1894)
Joan Didion (1934)
Calvin Trillin (1935)
Friday, December 4, 2009
Tallis Scholars concert almost sold out
Monday night's concert by the Tallis Scholars is almost sold out. That's the news I just received via email from Linda Magee, executive director of Chamber Music Northwest. CMNW is sponsoring this concert by the Tallis Scholars as part of its Encore Series. This vocal ensemble is the ne plus ultra when it comes to Renaissance music. For more information, click here.
Food Banks and Music Making
Two performances this weekend will help to stock up the shelves at the Oregon Food Bank. The Oregon Symphony concerts with pianist Yefim Bronfman are gasking patrons to write a check for the Oregon Food Bank, because Bronfman is a big supporter of food banks. He gave a concert for the Food Bank for New York City at Grand Central Station, and you can read about it here.
Another concert that will benefit the Oregon Food Bank will take place on Sunday afternoon (4 pm) at St. John Fisher Catholic Church (7106 S.W. 46th Avenue, Portland). This is a collaborative choir concert that features the choirs of First Immanuel Lutheran Church, St. John Fisher Catholic Church, and St. Luke Lutheran Church. The program consists of the Magnificat" of Pergolesi, the cantata "In Dulci Jubilo" by Buxtehude, "And the Glory of the Lord" by Handel, and other shorter works and hymns of the season. Conductors Dan Hibbett and Ralph Nelson direct the 80-voice combined choir and string orchestra in this one-hour celebration of music for the Advent season. There is no admission charge, but an offering of cash or checks will be collected to benefit the Oregon Food Bank. (PS. I'll be singing in this concert.)
Another concert that will benefit the Oregon Food Bank will take place on Sunday afternoon (4 pm) at St. John Fisher Catholic Church (7106 S.W. 46th Avenue, Portland). This is a collaborative choir concert that features the choirs of First Immanuel Lutheran Church, St. John Fisher Catholic Church, and St. Luke Lutheran Church. The program consists of the Magnificat" of Pergolesi, the cantata "In Dulci Jubilo" by Buxtehude, "And the Glory of the Lord" by Handel, and other shorter works and hymns of the season. Conductors Dan Hibbett and Ralph Nelson direct the 80-voice combined choir and string orchestra in this one-hour celebration of music for the Advent season. There is no admission charge, but an offering of cash or checks will be collected to benefit the Oregon Food Bank. (PS. I'll be singing in this concert.)
Today's Birthdays
André Campra (1660-1744)
Sir Hamilton Harty (1879-1949)
Alex North (1910-1991)
Yvonne Minton (1938)
Lillian Watson (1947)
Andrew Penny (1952)
and
Thomas Carlyle (1795-1891)
Samuel Butler (1835-1902)
Rainer Maria Rilke (1875-1926)
Sir Hamilton Harty (1879-1949)
Alex North (1910-1991)
Yvonne Minton (1938)
Lillian Watson (1947)
Andrew Penny (1952)
and
Thomas Carlyle (1795-1891)
Samuel Butler (1835-1902)
Rainer Maria Rilke (1875-1926)
Thursday, December 3, 2009
John Richards to take final bow with MYS band
Dr. John Richards will conduct the Metropolitan Youth Symphonic Band this Friday at the Arlene Schnitzer Concert Hall for the last time. Richards played principal tuba with the Oregon Symphony for over 50 years and is one of the most remarkable and energetic people I have ever met. He can play almost any instrument, has a collection of tubas that stretches back to the earliest kinds of tubas, has extensively travelled the globe, grew up on a farm in Idaho, served with military bands during WWII, has a doctorate in psychology and taught at Lewis & Clark College for many years. Richards has also rescued many tubas and other brass instruments from schools that were shutting down their music programs. He started the Tuba Christmas event and was the director of the MYS Symphonic Band.
Richards will conduct the "March of the Belgian Paratroopers" at the concert on Friday.
Richards will conduct the "March of the Belgian Paratroopers" at the concert on Friday.
Huggett and Bronfman nominated for Grammys
The Grammy nominiations are in.
Monica Huggett has been nominated for her conducting of Bach's Orchestral Suite for a Young Prince with the Ensemble Sonnerie.
Yefim Bronfman, who is in town to play with the Oreogn Symphony, has been nominated for his playing of Salonen's Piano Conccerto.
Here are the details:
Category 104, Best Small Ensemble Performance
(Award to the Ensemble (and to the Conductor.)
Bach: Orchestral Suites For A Young Prince
Monica Huggett, conductor; Gonzalo X. Ruiz; Ensemble Sonnerie
[Avie Records]
Category 101, Best Instrumental Soloist(s) Performance (with Orchestra)
(Award to the Instrumental Soloist(s) and to the Conductor.)
Salonen, Esa-Pekka: Piano Concerto
Esa-Pekka Salonen, conductor; Yefim Bronfman (Los Angeles Philharmonic)
Track from: Salonen
[Deutsche Grammophon]
Monica Huggett has been nominated for her conducting of Bach's Orchestral Suite for a Young Prince with the Ensemble Sonnerie.
Yefim Bronfman, who is in town to play with the Oreogn Symphony, has been nominated for his playing of Salonen's Piano Conccerto.
Here are the details:
Category 104, Best Small Ensemble Performance
(Award to the Ensemble (and to the Conductor.)
Bach: Orchestral Suites For A Young Prince
Monica Huggett, conductor; Gonzalo X. Ruiz; Ensemble Sonnerie
[Avie Records]
Category 101, Best Instrumental Soloist(s) Performance (with Orchestra)
(Award to the Instrumental Soloist(s) and to the Conductor.)
Salonen, Esa-Pekka: Piano Concerto
Esa-Pekka Salonen, conductor; Yefim Bronfman (Los Angeles Philharmonic)
Track from: Salonen
[Deutsche Grammophon]
Today's Birthdays
Nicolo Amati (1596-1684)
Anton Webern (1883-1945)
Halsey Stevens (1908-1989)
Nino Rota (1911-1979)
Irving Fine (1914-1962)
Charles Craig (1919-1997)
Paul Turok (1929)
José Serebrier (1938)
Matt Haimovitz (1970)
and
Joseph Conrad (1857-1924)
Anton Webern (1883-1945)
Halsey Stevens (1908-1989)
Nino Rota (1911-1979)
Irving Fine (1914-1962)
Charles Craig (1919-1997)
Paul Turok (1929)
José Serebrier (1938)
Matt Haimovitz (1970)
and
Joseph Conrad (1857-1924)
Wednesday, December 2, 2009
Holiday music
There's no question that Christmas brings an opportunity for music groups to make some money. Just like the "Nutcracker" in the ballet world, Handel's "Messiah" is almost a sure bet to fill all of the seats in the house. There is usually plenty of people who either want to sing this piece or hear it. The Portland Baroque Orchestra has done very well with their "Messiah" concerts over a number of years and have added a "Messiah" singalong concert. For those of you who missed that singalong, you have another chance at Central Lutheran (1820 Northeast 21st Avenue) on December 18th. (The Central Lutheran singalong is not a PBO event.)
But aside from the Messiah concerts, there are many other holiday concerts. One of the best places to find out about them is to look at the PDX Choral Calendar. This calendar contains dates, times, and links in a simple format. Please take a look at this calendar, and you'll find a concert that will help you to get into the holiday spirit.
But aside from the Messiah concerts, there are many other holiday concerts. One of the best places to find out about them is to look at the PDX Choral Calendar. This calendar contains dates, times, and links in a simple format. Please take a look at this calendar, and you'll find a concert that will help you to get into the holiday spirit.
Today's Birthdays
Harry T. Burleigh (1866-1949)
Harriet Cohen (1895-1967)
Sir John Barbirolli (1899-1970)
Robert Moevs (1920-2007)
Maria Callas (1923-1977)
Irina Arkhipova (1925)
Jörg Demus (1928)
and
Georges-Pierre Seurat (1859-1891)
T. Coraghessan Boyle (1948)
Harriet Cohen (1895-1967)
Sir John Barbirolli (1899-1970)
Robert Moevs (1920-2007)
Maria Callas (1923-1977)
Irina Arkhipova (1925)
Jörg Demus (1928)
and
Georges-Pierre Seurat (1859-1891)
T. Coraghessan Boyle (1948)
Tuesday, December 1, 2009
Today's Birthdays
Agathe Grøndahl (1847-1907)
Gordon Crosse (1932)
Lou Rawls (1933-2006)
Bette Midler (1945)
Rudolf Buchbinder (1946)
Leontina Vaduva (1960)
and
Dame Alicia Markova (1910-2004)
Gordon Crosse (1932)
Lou Rawls (1933-2006)
Bette Midler (1945)
Rudolf Buchbinder (1946)
Leontina Vaduva (1960)
and
Dame Alicia Markova (1910-2004)
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