NPR’s Scott Simon to Narrate BSO’s Performances of Peter and the Wolf

By -

National Public Radio’s Peabody Award-winning correspondent Scott Simon will lend his distinctive voice to narrate the Baltimore Symphony Orchestra’s performances of Prokofiev’s Peter and the Wolf on Thursday, March 18 at 8 p.m. at The Music Center at Strathmore and Friday, March 19 and Saturday, March 20 at 8 p.m. at the Joseph Meyerhoff Symphony Hall. (Rheda Becker, longtime BSO education concert narrator, will narrate the performance on Sunday, March 21 at 3 p.m. at the Joseph Meyerhoff Symphony Hall.) Led by Music Director Marin Alsop, the program also includes David T. Little’s Screamer and John Corigliano’s Symphony No. 3, “Circus Maximus,” which features members from The U.S. Army Band, “Pershing’s Own” and the University of Maryland Wind Orchestra.

COMPLETE PROGRAM INFORMATION
Classical Concert: Circus Maximus
Thursday, March 18, 2010 at 8:00 p.m.—The Music Center at Strathmore
Friday, March 19, 2010 at 8:00 p.m.—Joseph Meyerhoff Symphony Hall (JMSH)
Saturday, March 20, 2010 at 8:00 p.m.—JMSH
Sunday, March 21, 2010 at 3:00 p.m.—JMSH

Marin Alsop, conductor
Scott Simon, narrator (March 18, 19 & 20 performances)
Rheda Becker, narrator (March 21 performance only)
Members of The United States Army Band "Pershing's Own"
Members of the University of Maryland Wind Orchestra

David T. Little: Screamer
Prokofiev: Peter and the Wolf
Corigliano: Symphony No. 3, "Circus Maximus"

Tickets for these concerts range from $26 to $85. Tickets are available through the BSO Ticket Office, 877.BSO.1444, 410.783.8000 or BSOmusic.org.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more