Conductor Michael Berkowitz to Replace Damon Gupton for BSO Concerts, “Motown Tribute with Spectrum,” April 22-25

By -

Michael Berkowitz will replace Damon Gupton as the conductor in the BSO SuperPops’ program, Motown Tribute with Spectrum, April 22-25, 2010.

In this program, the BSO SuperPops and Spectrum celebrate the classic sounds and dance moves of 1960s’ Motown and R&B. Darryl Grant, Pierre Jovan, David Prescott and group founder Cushney Roberts have worked with artists such as Tony Bennett, Blue Magic and Little Richard, as well as headlining Royal Caribbean Cruise ships and various nationwide tours. They currently perform nightly on the Las Vegas strip.

About Michael Berkowitz
Michael Berkowitz is currently the principal pops conductor of the Santa Rosa Symphony in California. Previous posts have included the Carolina Pops in Greensboro, North Carolina and the Paducah Pops in Kentucky. He is also the music director and conductor for Liza Minnelli and her Tony Award-winning Liza's at the Palace on Broadway and on tour.

He also served as Marvin Hamlisch's music director for nine years, appearing with him at the White House, the London Symphony and the Academy Awards as well as virtually every symphony in the U.S. He also had a 13-year working relationship with arranger Nelson Riddle as his drummer, assistant conductor and musical contractor. He worked closely with Riddle on projects with Dame Kiri Te Kanawa, Linda Ronstadt, television specials and recordings.

COMPLETE CONCERT DETAILS
BSO SuperPops: Motown Tribute with Spectrum
Thursday, April 22, 2010 at 8:00 p.m.—The Music Center at Strathmore
Friday, April 23, 2010 at 8:00 p.m.—Joseph Meyerhoff Symphony Hall
Saturday, April 24, 2010 at 8:00 p.m.—Joseph Meyerhoff Symphony Hall
Sunday, April 25, 2010 at 3:00 p.m.—Joseph Meyerhoff Symphony Hall

Michael Berkowitz, conductor
Spectrum:
    Darryl Grant, vocalist
    Pierre Jovan, vocalist
    David Prescott, vocalist
    Cushney Roberts, vocalist

Tickets for these performances range from $30 to $85 and 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 ...
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

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more