Feathery soft sustained notes, smoothly articulated runs, and buttery tones are just a few phrases that hardly do justice to the superb performance of Paul Creston’s Concerto for Saxophone and Orchestra that Jeffrey Siegfried delivered in his appearance (November 2) with the Vancouver Symphony at Skyview Concert Hall Siegfried, who teaches at West Virginia University, was a last-minute replacement for Albert Juliá, who experienced Visa problems. Siegfried had just three weeks to reacquaint himself with the pieces, and during that time he finished a tour with The Moanin’ Frogs saxophone orchestra before flying to Vancouver.
Using impeccable breath control, Siegfried held listeners spellbound and wonderfully showed off the merits of the alto saxophone as a solo instrument. He impressively shifted from double fortes to double pianissimos in a split second without ever twisting or tweaking the sound. Whenever he reeled off an unrelenting series of arpeggios, there was never a blurred note or a blip. His immaculate technique allowed him to create a hauntingly beautiful atmosphere during his cadenza in the second movement, “Meditative.” His expressive playing, supported with sensitivity by the orchestra under Salvador Brotons, communicated instantly with listeners, who responded to each movement with applause.
After the finishing the piece, Siegfried quieted the enthusiastic listeners by playing Claude Debussy’s Syrinx, which Siegfried had transcribed for soprano saxophone from the original score for flute. He created an enigmatic and ethereal mood with fleeting trills and a final note that seemed to gradually fade into the far reaches of the hall.
After intermission, Brotons interviewed a couple musicians from the orchestra, who mentioned their love for the music of Brahms. That feeling came directly to the listeners from the first beat of Brahms’ Second Symphony. Conducting from memory, Brotons elicited cheerfulness and optimism from his forces. The French horns demonstrated a polished, resonant sound. The strings created sunshine and enjoyed themselves, and the brass and woodwinds chimed in with buoyancy. The patrons loved it all, applauding between movements and cheering at the end.
Barber’s First Essay for Orchestra opened the concert with a solid but slightly sad sound that reminded me of his Adagio for Strings, which he wrote a year earlier. That heaviness transitioned to a lighter, brighter melody that skipped along before being subdued by the stately earlier theme. The brass section distinguished itself with firm fortes. Perhaps the orchestra will tackle Barber’s other Essays in the near future.
Wednesday, November 6, 2019
Today's Birthdays
Adolphe Sax (1814-1894)
John Philip Sousa (1854-1932)
Don Lusher (1923-2006)
James Bowman (1941)
Arturo Sandoval (1949)
Daniele Gatti (1961)
and
Robert Musil (1880-1942)
Harold Ross (1892-1951)
Ann Porter (1911-2011)
James Jones (1921-1977)
Michael Cunningham (1952)
From The Writer's Almanac:
It’s the birthday of the March King, John Philip Sousa, born in Washington, D.C. (1854). His father was a U.S. Marine Band trombonist, and he signed John up as an apprentice to the band after the boy tried to run away from home to join the circus. By the time he was 13 years old, Sousa could play violin, piano, flute, cornet, baritone, trombone, and was a pretty good singer too. At 26, he was leading the Marine Band and writing the first of his 136 marches, including “Semper Fidelis,” which became the official march of the Corps, and “The Washington Post March.” In addition to those marches, he wrote nearly a dozen light operas, and as many waltzes too; and he wrote three novels. But he’s best known for “The Stars and Stripes Forever.”
John Philip Sousa (1854-1932)
Don Lusher (1923-2006)
James Bowman (1941)
Arturo Sandoval (1949)
Daniele Gatti (1961)
and
Robert Musil (1880-1942)
Harold Ross (1892-1951)
Ann Porter (1911-2011)
James Jones (1921-1977)
Michael Cunningham (1952)
From The Writer's Almanac:
It’s the birthday of the March King, John Philip Sousa, born in Washington, D.C. (1854). His father was a U.S. Marine Band trombonist, and he signed John up as an apprentice to the band after the boy tried to run away from home to join the circus. By the time he was 13 years old, Sousa could play violin, piano, flute, cornet, baritone, trombone, and was a pretty good singer too. At 26, he was leading the Marine Band and writing the first of his 136 marches, including “Semper Fidelis,” which became the official march of the Corps, and “The Washington Post March.” In addition to those marches, he wrote nearly a dozen light operas, and as many waltzes too; and he wrote three novels. But he’s best known for “The Stars and Stripes Forever.”
Tuesday, November 5, 2019
Today's Birthdays
Hans Sachs (1494-1576)
Paul Wittgenstein (1887-1961)
Walter Gieselking (1895-1956)
Claus Adam (1917-1983)
György Cziffra (1921-1994)
Nicholas Maw (1935-2009)
Anthony Rolfe Johnson (1940-2010)
Art Garfunkel (1941)
Gram Parsons (1946-1973)
and
Ida M. Tarbell (1867-1944)
Raymond Duchamp-Villon (1876-1918)
Thomas Flanagan (1923-2002)
Sam Shephard (1943)
Vandana Shiva (1952)
Diana Abu-Jabar (1960)
and from the Composers Datebook:
On this day in 1955, Karl Böhm conducts a performance of Beethoven's "Fidelio" at the gala re-opening of Vienna Opera House (damaged by Allied bombs on March 12, 1945). During the rebuilding of the Opera House, performances had continued in two nearby Viennese halls: the Theatre and der Wien and the Volksoper.
Paul Wittgenstein (1887-1961)
Walter Gieselking (1895-1956)
Claus Adam (1917-1983)
György Cziffra (1921-1994)
Nicholas Maw (1935-2009)
Anthony Rolfe Johnson (1940-2010)
Art Garfunkel (1941)
Gram Parsons (1946-1973)
and
Ida M. Tarbell (1867-1944)
Raymond Duchamp-Villon (1876-1918)
Thomas Flanagan (1923-2002)
Sam Shephard (1943)
Vandana Shiva (1952)
Diana Abu-Jabar (1960)
and from the Composers Datebook:
On this day in 1955, Karl Böhm conducts a performance of Beethoven's "Fidelio" at the gala re-opening of Vienna Opera House (damaged by Allied bombs on March 12, 1945). During the rebuilding of the Opera House, performances had continued in two nearby Viennese halls: the Theatre and der Wien and the Volksoper.
Monday, November 4, 2019
Todaly's Birthdays
Carl Tausig (1841-1871)
Arnold Cooke (1906-2005)
Elgar Howarth (1935)
Joan Rodgers (1956)
Elena Kats-Chernin (1957)
Daron Hagen (1961)
and
Will Rogers (1879-1935)
C. K. Williams (1936-2015)
Charles Frazier (1950)
Arnold Cooke (1906-2005)
Elgar Howarth (1935)
Joan Rodgers (1956)
Elena Kats-Chernin (1957)
Daron Hagen (1961)
and
Will Rogers (1879-1935)
C. K. Williams (1936-2015)
Charles Frazier (1950)
Sunday, November 3, 2019
Today's Birthdays
Samuel Scheidt (1587-1654)
Vincenzio Bellini (1801-1835)
Vladimir Ussachevsky (1911-1990)
and
Benvenuto Cellini (1500-1571)
William Cullen Bryant (1794–1878)
Ignatius Donnelly (1831-1901)
Vilhjalmur Stefansson (1879-1962)
Walker Evans (1903-1975)
Terrence McNally (1939)
Martin Cruz Smith (1942)
Joe Queenan (1950)
Vincenzio Bellini (1801-1835)
Vladimir Ussachevsky (1911-1990)
and
Benvenuto Cellini (1500-1571)
William Cullen Bryant (1794–1878)
Ignatius Donnelly (1831-1901)
Vilhjalmur Stefansson (1879-1962)
Walker Evans (1903-1975)
Terrence McNally (1939)
Martin Cruz Smith (1942)
Joe Queenan (1950)
Saturday, November 2, 2019
Moser and Oregon Symphony wow everyone with Lutosławski concerto
Oregon Symphony’s concert on October 26th was a blast! Soloist Johannes Moser and the orchestra under Carlos Kalmar turned Lutosławski’s Cello Concerto into an entertaining standoff that had everyone at the Arlene Schnitzer Concert Hall of the edge of their seats. We were also treated to an evocative taste of Peru via Gabriela Lena Frank’s Walkabout: Concerto for Orchestra. And all of that was topped off with an incisively energetic performance of Beethoven’s Fifth Symphony.
Moser, the Oregon Symphony’s Artist-in-Residence, gave a mesmerizing interpretation of the Lutosławski concerto, emphasizing his role as a soloist whose musings on the cello are interrupted by the collective of musicians surrounding him. He looked askance and fairly annoyed at the interruptions from the orchestra. Of course, that was all part of the piece, but he could take a few simple notes – sometimes the exact same note – and make each stroke of that note totally engaging. At other times, he would suddenly embark on a wild frenzy of notes then in a split-second return to the same set of pulsating notes that he started with. The brass would crash into his idyllic world and back off, but after Moser reestablished his path another section of the orchestra would butt disruptively. Moser would become defiant, taking wide movements with his bow and his entire body as if to fend of the sonic intruders. Sometimes the pace would quicken as if he had hurried away to find a private space. But the orchestra always tracked him down and to pummel him with volleys of sound. Moser exhibited unbelievable control of his instrument, despite playing wickedly virtuosic passages. The combative nature of the piece had a wonderfully spontaneous feeling that made the music amazingly compelling.
After the pieces concluded – with no obvious winner – the audience showered Moser and forces with enthusiastic applause that would have gone on and on if Moser had not had an encore ready. For that he teamed up with orchestral bass Nina DeCesare for a delightful transcription of a Rossini number – humorously mimicking a motif from the Lutosławski – which brought down the house again.
On the front end of the program, we heard Frank’s Walkabout, a four-movement work that was inspired by her travels in Peru, which is her mother’s homeland. “Soliloquio Serrano” (Mountain Soliloquy) was devoted to the strings and featured solos by the principals, including several brief flurries by concertmaster Sarah Kwak and a lovely plaintive solo by principal violist Joël Belgique. “Huaracas” (Slingshots) catapulted forward with punchy rat-ta-tats from the brass. Marimbas and other percussive instruments kept things stirred up and the orchestra created threatening sounds that swelled and subsided until the sound finally drifted away. “HailÍ” (Prayer) was introspective yet bumpy and even gently throbbing, opening and closed with a dense mesh of sound from the strings. “Tarqueada” (which referred to a parade of musicians) offered a festive outburst with whistles, a thunder sheet, high nasal-sounding clarinets, pounding timpani, and spirited brass. It was lively conclusion to the sonic tour of Peru, which was capped off by Frank, who came to the podium to acknowledge the sustain acclamation from the concertgoers
The concert finished with a superb performance of Beethoven’s Fifth Symphony. Led by Kalmar, the orchestra made this evergreen fresh and invigorating. Terrific articulation, little accents here and there, well-shaped phrases, wonderful dynamics – the entire piece was a gem form start to finish. The glowing sound of the French horn from Joseph Berger and the spirited, uplifting piccolo of Zachariah Galatis were just two of the highlights of the evening. Everyone left the concert hall with a buoyant step.
Moser, the Oregon Symphony’s Artist-in-Residence, gave a mesmerizing interpretation of the Lutosławski concerto, emphasizing his role as a soloist whose musings on the cello are interrupted by the collective of musicians surrounding him. He looked askance and fairly annoyed at the interruptions from the orchestra. Of course, that was all part of the piece, but he could take a few simple notes – sometimes the exact same note – and make each stroke of that note totally engaging. At other times, he would suddenly embark on a wild frenzy of notes then in a split-second return to the same set of pulsating notes that he started with. The brass would crash into his idyllic world and back off, but after Moser reestablished his path another section of the orchestra would butt disruptively. Moser would become defiant, taking wide movements with his bow and his entire body as if to fend of the sonic intruders. Sometimes the pace would quicken as if he had hurried away to find a private space. But the orchestra always tracked him down and to pummel him with volleys of sound. Moser exhibited unbelievable control of his instrument, despite playing wickedly virtuosic passages. The combative nature of the piece had a wonderfully spontaneous feeling that made the music amazingly compelling.
After the pieces concluded – with no obvious winner – the audience showered Moser and forces with enthusiastic applause that would have gone on and on if Moser had not had an encore ready. For that he teamed up with orchestral bass Nina DeCesare for a delightful transcription of a Rossini number – humorously mimicking a motif from the Lutosławski – which brought down the house again.
On the front end of the program, we heard Frank’s Walkabout, a four-movement work that was inspired by her travels in Peru, which is her mother’s homeland. “Soliloquio Serrano” (Mountain Soliloquy) was devoted to the strings and featured solos by the principals, including several brief flurries by concertmaster Sarah Kwak and a lovely plaintive solo by principal violist Joël Belgique. “Huaracas” (Slingshots) catapulted forward with punchy rat-ta-tats from the brass. Marimbas and other percussive instruments kept things stirred up and the orchestra created threatening sounds that swelled and subsided until the sound finally drifted away. “HailÍ” (Prayer) was introspective yet bumpy and even gently throbbing, opening and closed with a dense mesh of sound from the strings. “Tarqueada” (which referred to a parade of musicians) offered a festive outburst with whistles, a thunder sheet, high nasal-sounding clarinets, pounding timpani, and spirited brass. It was lively conclusion to the sonic tour of Peru, which was capped off by Frank, who came to the podium to acknowledge the sustain acclamation from the concertgoers
The concert finished with a superb performance of Beethoven’s Fifth Symphony. Led by Kalmar, the orchestra made this evergreen fresh and invigorating. Terrific articulation, little accents here and there, well-shaped phrases, wonderful dynamics – the entire piece was a gem form start to finish. The glowing sound of the French horn from Joseph Berger and the spirited, uplifting piccolo of Zachariah Galatis were just two of the highlights of the evening. Everyone left the concert hall with a buoyant step.
Today's Birthdays
Unico Wilhelm van Wassenaer (1692-1766)
Carl Ditters von Dittersdorf (1739-1799)
Count Andrey Razumovsky (1752-1836)
John Foulds (1880-1939)
Luchino Visconti (1906-1976)
Douglas Lilburn (1915-2001)
Harold Farberman (1929-2018)
Guiseppe Sinopoli (1946-2001)
Jeremy Menuhin (1951)
Marie McLaughlin (1954)
Paul Moravec (1957)
and
George Boole (1815-1864)
C.K. Williams (1936-2015)
Thomas Mallon (1951)
Carl Ditters von Dittersdorf (1739-1799)
Count Andrey Razumovsky (1752-1836)
John Foulds (1880-1939)
Luchino Visconti (1906-1976)
Douglas Lilburn (1915-2001)
Harold Farberman (1929-2018)
Guiseppe Sinopoli (1946-2001)
Jeremy Menuhin (1951)
Marie McLaughlin (1954)
Paul Moravec (1957)
and
George Boole (1815-1864)
C.K. Williams (1936-2015)
Thomas Mallon (1951)
Friday, November 1, 2019
Keller's acoustic does in Madama Butterfly
 |
| Luis Chapa as B.F. Pinkerton and Hiromi Omura as Cio-Cio-San in Portland Opera's 2019 production of Puccini's Madama Butterfly. Photo by Cory Weaver/Portland Opera. |
The barn-like acoustic of the Keller Auditorium presents a lot of challenges for opera productions, especially when the orchestra goes full tilt. That was the case with Portland Opera’s production of Madama Butterfly on opening night (October 25). The orchestra, guided by assistant conductor Nicholas Fox, who replaced an ailing George Manahan, created a vivid account, but quite often the voices of the principal characters, with the exception of Luis Chapa’s Pinkerton, got lost in the vastness of the hall. The lack of vocal oomph lessened the impact of the tragic story, despite astute stage directions from E. Loren Meeker.
The performance marked the U.S. debut of Hiromi Omura in the title role. The Japanese native, who now lives primarily in France, sang impeccably, but she needed to be louder. Mexican tenor Chapa (in his company debut) had no such problem and conveyed the culturally obtuse and cruel Pinkerton with carefree ease. At the curtain call, the audience rained boos and applause on him, which he accepted with gallantry.
Other Portland Opera debuts included Nina Yoshida Nelsen, who created a sympathetic and conflicted Suzuki, Cio-Cio-San’s servant. Troy Cook’s gorgeously resonant baritone fit the role of Sharpless like a glove. Peixin Chen’s Bonze needed more vocal heft. It just wasn’t damning enough. Karl Marx Reyes was totally convincing as the greedy marriage broker Goro.
The chorus, prepared expertly by Fox, sounded terrific, generating a lovely “Humming Chorus,” and the women were almost scary in their denunciation of Cio-Cio-San when her uncle more or less excommunicates her
Under Meeker’s directions, Cio-Cio-San’s son was on stage for a much longer period than I have seen in other productions. That went surprisingly well.
The production, a revival of scenery and costumes originally constructed for New York City Opera but now owned by Portland Opera, beautifully evoked the bay below and the hillside above Cio-Cio-San’s house. A little bridge, garden, and a tree attractively graced a traditional-looking Japanese home. All was deftly lit by designer Mark McCullough.
Madama Butterfly is the first opera to be performed under the reign of Portland Opera’s new general director, Sue Dixon. As good as the performance was, Dixon still has to deal with the problem of Keller Auditorium’s size and poor acoustic. Good luck!
Preview of Vancouver Symphony concert in today's Columbian
Today's edition of The Columbian newspaper printed my preview of this weekend's Vancouver Symphony concert, which will feature Paul Creston's Saxophone Concert. Click here to read the article online.
Today's Birthdays
Roger Quilter (1877-1953)
Eugen Jochum (1902-1987)
Bruno Bjelinski (1909-1992)
Victoria de Los Angeles (1923-2005)
William Mathias (1934-1992)
Lyle Lovett (1957)
and
Stephen Crane (1871-1900)
Grantland Rice (1880-1954)
A. R. Gurney (1930-2017)
Edward Said (1935-2003)
and from the Composers Datebook:
On this day in 1830, Chopin’s friends in Warsaw throw a festival “bon voyage” dinner for the composer-pianist on the eve of his departure for Paris. As it turned out, he would never return to his native land.
Eugen Jochum (1902-1987)
Bruno Bjelinski (1909-1992)
Victoria de Los Angeles (1923-2005)
William Mathias (1934-1992)
Lyle Lovett (1957)
and
Stephen Crane (1871-1900)
Grantland Rice (1880-1954)
A. R. Gurney (1930-2017)
Edward Said (1935-2003)
and from the Composers Datebook:
On this day in 1830, Chopin’s friends in Warsaw throw a festival “bon voyage” dinner for the composer-pianist on the eve of his departure for Paris. As it turned out, he would never return to his native land.
Thursday, October 31, 2019
Today's Birthdays
Louise Talma (1906-1996)
August Everding (1928-1999)
Colin Tilney (1933)
Odaline de la Martinez (1949)
Naji Hakim (1955)
and
Jan Vermeer (1632-1675)
John Keats (1795-1821)
Susan Orlean (1955)
from The New Music Box
On October 31, 1896, the Boston Symphony premiered the Gaelic" Symphony in E Minor by Mrs. H.H.A. Beach (Amy Marcy Cheney Beach), the first symphony by an American woman ever publicly performed.
and from the Composers Datebook:
On this date in 1933, Arnold Schoenberg, accompanied by his wife, baby daughter, and family pet terrier "Witz," arrives in New York on the liner Isle de France.
August Everding (1928-1999)
Colin Tilney (1933)
Odaline de la Martinez (1949)
Naji Hakim (1955)
and
Jan Vermeer (1632-1675)
John Keats (1795-1821)
Susan Orlean (1955)
from The New Music Box
On October 31, 1896, the Boston Symphony premiered the Gaelic" Symphony in E Minor by Mrs. H.H.A. Beach (Amy Marcy Cheney Beach), the first symphony by an American woman ever publicly performed.
and from the Composers Datebook:
On this date in 1933, Arnold Schoenberg, accompanied by his wife, baby daughter, and family pet terrier "Witz," arrives in New York on the liner Isle de France.
Wednesday, October 30, 2019
Today's Birthdays
Peter Warlock (Philip Arnold Heseltine) (1894-1930)
Stanley Sadie (1930-2005)
Frans Brüggen (1934-2014)
Grace Slick (1939)
René Jacobs (1946)
James Judd (1949)
Shlomo Mintz (1957)
and
Richard Brinsley Sheridan (1751-1816)
André Chénier (1762-1794)
Ezra Pound (1885-1972)
Robert Caro (1935)
Stanley Sadie (1930-2005)
Frans Brüggen (1934-2014)
Grace Slick (1939)
René Jacobs (1946)
James Judd (1949)
Shlomo Mintz (1957)
and
Richard Brinsley Sheridan (1751-1816)
André Chénier (1762-1794)
Ezra Pound (1885-1972)
Robert Caro (1935)
Tuesday, October 29, 2019
Today's Birthdays
Harold Darke (1888-1976)
Vivian Ellis (1904-1996)
Václav Neumann (1920-1995)
Jon Vickers (1926-2015)
James Dillon (1950)
Lee Actor (1952)
James Primosch (1956)
and
James Boswell (1740-1795)
Harriet Powers (1837-1910)
Henry Green (1905-1973)
David Remnick (1958)
Vivian Ellis (1904-1996)
Václav Neumann (1920-1995)
Jon Vickers (1926-2015)
James Dillon (1950)
Lee Actor (1952)
James Primosch (1956)
and
James Boswell (1740-1795)
Harriet Powers (1837-1910)
Henry Green (1905-1973)
David Remnick (1958)
Monday, October 28, 2019
Today's Birthdays
Giuditta Pasta (1797-1865)
Howard Hanson (1896-1981)
Dame Cleo Laine (1927)
Carl Davis (1936)
Howard Blake (1938)
Kenneth Montgomery (1943)
Naida Cole (1974)
and
Evelyn Waugh (1903-1966)
John Harold Hewitt (1907-1987)
Francis Bacon (1909-1992)
John Hollander (1929-2013)
Anne Perry (1938)
Howard Hanson (1896-1981)
Dame Cleo Laine (1927)
Carl Davis (1936)
Howard Blake (1938)
Kenneth Montgomery (1943)
Naida Cole (1974)
and
Evelyn Waugh (1903-1966)
John Harold Hewitt (1907-1987)
Francis Bacon (1909-1992)
John Hollander (1929-2013)
Anne Perry (1938)
Sunday, October 27, 2019
Today's Birthdays
Niccolò Paganini (1782-1840)
Helmut Walcha (1907-1991)
Conlon Nancarrow (1912-1997)
Dominick Argento (1927-2019)
Julius Eastman (1940-1990)
Håkan Hardenberger (1961)
Vanessa-Mae (1978)
and
Lee Krasner (1908-1994)
Dylan Thomas (1914-1953)
Roy Lichtenstein (1923-1997)
Sylvia Plath (1932-1963)
Zadie Smith (1975)
Helmut Walcha (1907-1991)
Conlon Nancarrow (1912-1997)
Dominick Argento (1927-2019)
Julius Eastman (1940-1990)
Håkan Hardenberger (1961)
Vanessa-Mae (1978)
and
Lee Krasner (1908-1994)
Dylan Thomas (1914-1953)
Roy Lichtenstein (1923-1997)
Sylvia Plath (1932-1963)
Zadie Smith (1975)
Saturday, October 26, 2019
Today's Birthdays
Hans Leo Hassler (1564-1612)
Domenico Scarlatti (1685-1757)
Johan Helmich Roman (1694-1758)
Mahalia Jackson (1911-1972)
György Pauk (1936)
Christine Brewer (1955)
Natalie Merchant (1963)
Sakari Oramo (1965)
and
Andrei Bely (1880-1934)
Napoleon Hill (1883-1970)
John Arden (1930-2012)
Andrew Motion (1952)
Domenico Scarlatti (1685-1757)
Johan Helmich Roman (1694-1758)
Mahalia Jackson (1911-1972)
György Pauk (1936)
Christine Brewer (1955)
Natalie Merchant (1963)
Sakari Oramo (1965)
and
Andrei Bely (1880-1934)
Napoleon Hill (1883-1970)
John Arden (1930-2012)
Andrew Motion (1952)
Friday, October 25, 2019
Today's Birthdays
Thomas Weelkes (1576-1623)
Johann Strauss II (1825-1899)
Georges Bizet (1838-1875)
Don Banks (1923-1980)
Galina Vishnevskaya (1926-2012)
Peter Lieberson (1946)
Diana Burrell (1948)
Colin Carr (1957)
Midori (1971)
and
Pablo Picasso (1881-1973)
John Berryman (1914-1972)
Anne Tyler (1941)
Johann Strauss II (1825-1899)
Georges Bizet (1838-1875)
Don Banks (1923-1980)
Galina Vishnevskaya (1926-2012)
Peter Lieberson (1946)
Diana Burrell (1948)
Colin Carr (1957)
Midori (1971)
and
Pablo Picasso (1881-1973)
John Berryman (1914-1972)
Anne Tyler (1941)
Thursday, October 24, 2019
Today's Birthdays
Ferdinand Hiller (1811-1885)
Imre [Emmerich] Kálman (1882-1953)
Conrad Leonard (1898-2003)
Paul Csonka (1905-1995)
Tito Gobbi (1913-1984)
Luciano Berio (1925-2003)
George Crumb (1929)
Sofia Gubaidulina (1931)
Malcolm Bilson (1935)
Bill Wyman (1936)
George Tsontakis (1951)
Cheryl Studer (1955)
and
Sarah Josepha Hale (1788-1879)
Moss Hart (1904-1961)
Denise Levertov (1923-1997)
Norman Rush (1933)
Imre [Emmerich] Kálman (1882-1953)
Conrad Leonard (1898-2003)
Paul Csonka (1905-1995)
Tito Gobbi (1913-1984)
Luciano Berio (1925-2003)
George Crumb (1929)
Sofia Gubaidulina (1931)
Malcolm Bilson (1935)
Bill Wyman (1936)
George Tsontakis (1951)
Cheryl Studer (1955)
and
Sarah Josepha Hale (1788-1879)
Moss Hart (1904-1961)
Denise Levertov (1923-1997)
Norman Rush (1933)
Wednesday, October 23, 2019
Today's Birthdays
Albert Lortzing (1801-1851)
Miriam Gideon (1906-1996)
Denise Duval (1921-2016)
Ned Rorem (1923)
Lawrence Foster (1941)
Toshio Hosokawa (1955)
"Weird Al" Yankovic (1959)
Brett Dean (1961)
and
Robert Bridges (1844-1930)
Johnny Carson (1925-2005)
Nick Tosches (1949)
Laurie Halse Anderson (1961)
Miriam Gideon (1906-1996)
Denise Duval (1921-2016)
Ned Rorem (1923)
Lawrence Foster (1941)
Toshio Hosokawa (1955)
"Weird Al" Yankovic (1959)
Brett Dean (1961)
and
Robert Bridges (1844-1930)
Johnny Carson (1925-2005)
Nick Tosches (1949)
Laurie Halse Anderson (1961)
Tuesday, October 22, 2019
Today's Birthdays
Franz Liszt (1811-1886)
Sir Donald McIntyre (1934)
Elizabeth Connell (1946)
and
John Reed (1887-1920)
John Gould (1908-2003)
Doris Lessing (1919-2013)
In 1883, the grand opening of the original Metropolitan Opera House in New York City with performance of Gounod's "Faust" with Auguste Vianesi, conducting.
Sir Donald McIntyre (1934)
Elizabeth Connell (1946)
and
John Reed (1887-1920)
John Gould (1908-2003)
Doris Lessing (1919-2013)
In 1883, the grand opening of the original Metropolitan Opera House in New York City with performance of Gounod's "Faust" with Auguste Vianesi, conducting.
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