Boston Pops Opener, May 11--Linda Eder/Sound of Music event/Over the Rainbow Video Collage

By -

The Boston Pops Orchestra and Keith Lockhart celebrate the opening of the 2011 season in style when Broadway darling Linda Eder takes the stage for a tribute to the music of Judy Garland, singing such favorites as “Me and My Shadow,” “Zing! Went the Strings of My Heart,” and “Over the Rainbow.” This Boston Pops opening night program on Wednesday, May 11, at 8 p.m.—heralding the start of the 126th Boston Pops season—opens with Peter Boyer’s “Silver Fanfare,” followed by a medley of Gershwin hits including “Someone to Watch Over Me” and “The Man I Love,” and a Sound of Music Sing-Along, featuring “My Favorite Things,” “Edelweiss,” and “Climb Ev’ry Mountain.” In the spirit of the festive opening of the Boston Pops spring season, Keith Lockhart invites audience members to attend the concert dressed as their favorite Sound of Music character. The first 20 patrons who enter the doors dressed in character will be invited to sing from the stage of Symphony Hall, accompanied by Keith Lockhart and the Boston Pops Orchestra, and leading the audience in the incredibly popular Sound of Music Sing-Along.

The opening night program will also present the premiere of a new film by frequent Boston Pops collaborator Susie Dangel. Inspired by Aaron Copland’s “Hoe Down” from Rodeo, the film will be shown with live musical accompaniment provided by Keith Lockhart and the Boston Pops Orchestra. Opening Night at Pops and the entire 2011 Spring Pops Season are sponsored by Fidelity Investments.

No Boston Pops Opening Night celebration would be complete without a chance for audience members to socialize with friends and family at a complimentary pre-concert (7 p.m.) reception, in the relaxed atmosphere of a festively decorated Symphony Hall.

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