Jazz in Full Swing at Rockport Music

Notes
b e hi nd t he
the DI S TI N CTI V E S O UN D
O F R O CKP O R T
ROCKPORT MUSIC NEWSLETTER : FA L L 2 0 1 3
Jazz in Full Swing at Rockport Music
BY CHRIS BARKER, EDITOR
The standard jazz trio includes piano, bass and drums,
but many musical instruments can create the jazz sound,
including singers.
The music form known as jazz has come a long
way from the Roarin’ 1920s — its early years.
The homegrown American musical style has
influenced generations of famous musicians,
some of whom have played at Rockport Music’s
Shalin Liu Performance Center.
Kurt Elling, a Grammy® Award-winning jazz vocalist, can span
four octaves with his rich baritone voice. The Four Freshmen,
stars of 1950’s radio, blend harmonic jazz arrangements with
classic Big Band sounds.
Jazz greats Ramsey Lewis, Branford Marsalis and the late
Dave Brubeck drew standing ovations with their familiar style
of straight-ahead jazz.
But others, like
trumpeter Chris Botti
and guitarist John
Pizzarelli, played tunes
from the Great American
Songbook—“popular”
music from the 1940’s
and 1950’s. Botti even
crossed over to
classical, performing
his brass version
of Chopin.
Regina Carter uses the violin —a traditional classical music
instrument — to create African folk tunes fused with a
contemporary twist. Branford Marsalis, of the well-known New
Orleans jazz family, is a Grammy Award-winning saxophonist
and recently performed
with his Quartet’s
pianist, Joey Calderazzo.
The talented duo
frequently improvised,
giving the audience a
peek into their
comfortable friendship.
These performers have
played to a heightened
interest in jazz at the
Shalin Liu Performance
Center. Strong ticket
sales encouraged
Beadle to establish an
annual jazz festival in
addition to the annual
jazz fundraising gala.
So what exactly is jazz?
Rockport Music’s
Executive Director Tony
Beadle says, “Hard to
say, but you know it’s
jazz when you hear
RAMSEY LEWIS AND JOHN PIZZARELLI PERFORM AT THE FOURTH ANNUAL JAZZ ON THE ROCKS CONCERT
Straighten Up and Fly
it….the combination
Right, a tribute to Nat
of improvisation, syncopation and swing. Jazz music has
King Cole, was the theme of the recent fourth jazz gala, featuring
rhythm with a distinct feel that is off the beat, and moves you
pianist Ramsey Lewis and guitarist John Pizzarelli. The concert
forward somehow. When a group has players performing solo
drew a full house and helped Rockport Music raise money to
and it’s never the same thing twice, then you’ve heard them
continue its artistic programming and educational outreach to
improvise.”
Jazz in Full Swing at Rockport Music continues on pg. 07
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a tech rider primer
BY TONY BEADLE, EXECUTIVE DIRECTOR
After an artist contract has been signed, there’s
another whole round of technical (hereinafter called
tech) requirements and requests that must be prepared
in advance of the artist’s arrival. Welcome to the
world of the tech rider.
The tech rider first and foremost provides the blueprint for
what happens on the stage. If it’s a string quartet, for example,
four chairs and four stands will suffice. On the other hand, if
you’re John Pizzarelli and Ramsey Lewis, who were here this
fall, you will have a tech requirement for speakers on stage,
specific types and brands of microphones, hookups to the
house sound system, a separate amp for the bass, etc. There
are drawings to show the specific locations of the equipment
on stage as well as the way to
interconnect them. All of this is critical
Expectations these
to the success of the performance
and is negotiated depending on the
days go much
size and acoustics of the hall.
Tech riders also contain requirements for the dressing room, most
notably the food that is provided
between a rehearsal and the show.
The requests run the gamut from a
simple cheese and cracker plate with
some veggies to asking for a 100%
further than the
old story of the
rock band that
demanded all
red M&M’s.
SEASON HIGHLIGHT: JAZZ PIANIST KEIKO MATSUI PERFORMS FEBRUARY 21.
organic whole chicken with a medley of organic vegetables,
served with a bottle of wine— an oak-barreled Chardonnay
preferred, thank you. The performer who orders the whole
chicken may also request an additional meal for the sole
vegetarian in the band. It can get complicated.
Requests are common for the sole vegan or gluten-free meal.
Yet, as healthy as these artists are trying to be, they are not
above also asking for beer and whiskey on the same list.
Mostly we negotiate such items out of the contract, although
we want to be as gracious as possible within reasonable
financial limits. Life on the road can be tough, and expectations
these days go much further than the old
story of the rock band that demanded all
red M&M’s in the dressing room.
My own favorite request in a tech rider
came years ago from none other than
Itzhak Perlman, who wanted a 15-foot
telephone cord for the phone in his hotel
room. Could he be hanging laundry across
the room? I asked him why.
“I need to make many calls,” he explained
when he arrived for the concert,“and it is
more comfortable for me to sit on the bed
than in a chair at a table (Perlman walks
with braces).
SEASON HIGHLIGHT: SWING XING! FEATURING BUCKY PIZZARELLI WITH FRANK VIGNOLA AND VINNY RANIOLA PERFORM
DECEMBER 15.
“Most hotels have the phone next to the
bed, but not always, since some hotel
chains figured out that sitting on the side
of the mattress wears it out more quickly.
I always ask for the long cord.” We skipped
the organic chicken lunch and had burgers
and fries that day.
organic whole plate with some veggies, to asking for a 100%-
For a complete listing of upcoming events, visit rockportmusic.org
FA L L 2 0 1 3 N E W S L E T T E R 0 2
a tale of three pianists
BY DAVID DEVEAU, ARTISTIC DIRECTOR
The winter classical series places the piano
front and center as three of the world’s most
renowned and in-demand pianists come to the
Shalin Liu Performance Center.
Audiences will have an unusual
opportunity to sample three playing
styles that are equally distinguished
but very different. Richard Goode
leads off in November, followed by
Garrick Ohlsson and Stephen Hough
in February. A concert by any one of
these great artists is an occasion, so
we are fortunate to have all three.
These performers have sustained
major careers that sprang from
successful youth competitions, a rare
accomplishment. (Can you name the
last gold medalists of the Cliburn,
Tchaikovsky, Naumburg or Chopin
competitions?) Goode won the Clara
Haskil competition in Switzerland at
age 30 and Ohlsson won the Chopin
Competition in Warsaw at age 22. Both
are Americans. British-born Hough
won the Naumburg Competition in
New York at 21. How have these artists
maintained major international careers
when others have not? All have a
common seriousness of purpose,
voracious musical appetites, and
splendid techniques, nourished by
an ongoing curiosity about the world
they inhabit.
Richard Goode and
Sarah Shafer
JAN 11
Borromeo Quartet
with Giovale Quartet and
David Deveau
FEB 2
Garrick Ohlsson
FEB 16
Members of the Handel &
Haydn Society
FEB 28
Stephen Hough
MAR 7
Irish Baroque Orchestra
APR13
Andrés Cárdenes and
David Deveau
Goode’s solo career developed quite late, following years as a
member of the Chamber Music Society of Lincoln Center. He
had been a favorite collaborator of leading string quartets and
singers, including Benita Valente and Dawn Upshaw. After
recording the complete Beethoven
sonatas for Nonesuch, he was
eagerly sought as a soloist. When
Goode plays, it seems the composer
— whether Beethoven, Chopin,
Debussy or Mozart — is speaking
directly to you. The native New
Yorker now tours the world annually,
performing recitals and concerti in
the great concert halls.
Garrick Ohlsson
RICHARD GOODE
Ohlsson has perhaps the largest
repertoire of any current pianist—
over 80 concerti (most available on
a moment’s notice)including the
complete works of Chopin. He is a
specialist in all areas. His virtuoso
technique is never showy and he
can play new music as well as old.
He is in great demand, as conductors
love him. Ohlsson lives in San
Francisco, having previously spent
many years in New York.
Stephen Hough
GARRICK OHLSSON
2013-14 Classical Season
NOV 24
Richard Goode
STEPHEN HOUGH
Hough is a multi-faceted musician
and blogger. He not only plays
brilliantly, but he also composes,
often including his own works in
his recitals. The recipient of a
MacArthur Fellowship, Hough is
widely recorded (Hyperion label),
writes on a broad range of topics,
and is a painter. Like Goode and
Ohlsson, the London-based musician
tours internationally and appears
with all of the world’s major
orchestras.
All three pianists are frequent
soloists with the Boston Symphony
Orchestra. Now they will all have
performed recitals here, as Hough
makes his Rockport Music debut
this season.
FA L L 2 0 1 3 N E W S L E T T E R 0 3
what’s your passion?
BY JO FRANCES MEYER, DIRECTOR OF DEVELOPMENT
We know Rockport Music supporters are passionate
about music, but we also delight in learning about
what kinds of music you love. Trustee Nina Fieldsteel’s
deep love of Early Music has inspired some unique
concerts featured in the Rockport Chamber Music
Festivals. Recent noteworthy examples are Jordi
Savall in 2012 and the Gotham Early Music Scene’s
fully-staged production this past summer of The
Play of Daniel, an 11th century liturgical drama.
Early Music is a passion Nina shared with her late husband,
Ira. This passion led her to establish the Ira Fieldsteel Early
Music Fund in his honor and memory, and to have the fund
sponsor these wonderful performances.
Ira Fieldsteel was a long-time devotee of Early Music and good
friend of the late Noah Greenberg, who is often credited with
single-handedly reviving interest in medieval, Renaissance and
Baroque music in New York during the mid-20th century. Ira
actually sang in Noah’s early choral group. Today, there is
a thriving and knowledgeable Early Music fan base with
many outstanding organizations devoted to the performance
of Early Music.
Longtime Rockport Chamber
Music Festival attendees Irv and
Janet Plotkin (Irv is also a member
of the Rockport Music Council)
have contributed to the Ira Fieldsteel
Early Music Fund. They are
enthusiastic fans of Nina and
Rockport Music. “The love and
enjoyment of Early Music has been
a part of our lives since college
days and we are delighted that the
Rockport Chamber Music Festival
NINA FIELDSTEEL (CENTER) WITH FRIENDS DR. PRISCILLA KAUFF (LEFT) AND MARY
RUTH SOLE PRIOR TO THE PLAY OF DANIEL PERFORMANCE IN JUNE.
has incorporated such fine examples into its programming.
Thank you Nina! Let’s do more.”
Nina and Ira knew that Noah Greenberg had made a seminal
contribution to the revival of Early Music in the United States,
and we know that Nina has made just such a contribution
to Rockport Music. She is also
quick to acknowledge the support
Just what is early music? Tunes before breakfast?
she received from Artistic Director
A loosely used term, it generally applies to works
David Deveau: “This really could
not have been done without
written before 1750 (the year Bach died) or the late
David’s increased interest in
18th century, from medieval chant to contemporaries
programming high-level concerts
of the boy Mozart. Some commentators suggest that
such as Jordi Savall and The Play
of Daniel,” she said.
early music means pieces written before the idea
emerged that there was a standard past canon of music
that could be dipped into for repeated performances.
David Deveau
Artistic Director
Tony Beadle
Executive Director
BOARD OF TRUSTEES
Joseph Mueller, Chair
Allan H. Cohen,
Vice-Chair
Susanne Guyer,
Vice-ChaIr
Garth Greimann,
Treasurer
Mary Malone,
Clerk/Secretary
(NEW YORK TIMES, DANIEL WAKIN, 9/6/12)
Mary M. Barcus
Peter D. Bell
Stephen M. Bell
Frank G. Berson
Janice Cane
Priscilla C. Deck
Nina D. Fieldsteel
S. Frank Fritsch
Mary-Jo Grenfell
Margaretta Hausman
William Hausman
Steve Lindo
Jeannie McIntyre
Michael Pardee
Ruth S. Shane
William E. Taylor
Richard Tennant
Peter Wernau
Margaret Ziering
TRUSTEES EMERITI
James Barker
Thomas Burger
Mollie Byrnes
Philip Cutter
Susan Gray
Mimi Harper
We thank Nina for sharing her
and Ira’s passion with us and for
enriching our musical lives.
ROCKPORT MUSIC
COUNCIL
William J. Kneisel,
Chairman
Peter A. Anderson
Gregory R. Bover
Andrew Calkins
J. Robert Cassady, M.D.
Richard Caturano
Stephanie Connaughton
Deborah Epstein
Sherwin Greenblatt
Lorraine B. Horn
G. Timothy Johnson
Jan Loeber
Michael J. Mazzini
Olivia Parker
Irving H. Plotkin
Frank E. Previte
David W. Scudder
Hinda Simon
Andrew Spindler
Naomi R. Stonberg
Bruce D. Sunstein
FA L L 2 0 1 3 N E W S L E T T E R 0 4
JAZZ
ON THE ROCKS • TAKE 4
ROCKPORT MUSIC TRUSTEE SUSANNE GUYER (LEFT) AND
PETER AND KATHY COAKLEY ENJOY A COCKTAIL AT THE
“HALF NOTE CLUB” DURING THE 1940’S THEMED PARTY.
ROCKPORT
MUSIC TRUSTEE
FRANK FRITSCH
AND WIFE MARY
POSE NEXT TO
A CLASSIC 1938
FORD COUPE
BEFORE
ENTERING THE
RECEPTION.
GALA CO-CHAIR FRANK PREVITE SHARES
A LAUGH WITH JAZZ GUITARIST JOHN
PIZZARELLI.
PAUL ST. GERMAIN (SEATED LEFT TO RIGHT), JUDY SPURR AND
BETTY ANN ST. GERMAIN, JOIN (STANDING LEFT TO RIGHT) TONY
LOBELLO, VALEE BORDINARO, AND GENE AND KATHY SKRABUT,
AS THEY REVEL IN THE EVENING’S FESTIVITIES.
A LIVELY GROUP OF BIDDERS COMPETE FOR AN AUCTION ITEM!
ROCKPORT MUSIC COUNCIL MEMBER LORRAINE
HORN AND HUSBAND BERNIE TAKE A MOMENT FOR
A PHOTO IN FRONT OF THE CLASSIC FORD.
DID SOMEONE SAY 1940’S? DRESSED TO THE NINES–GALA
CO-CHAIR CINDY TENNANT (CENTER) POSES WITH FRIENDS
CATHY MARENGHI (LEFT) AND DEBORAH SCHNEEBELI (RIGHT)
IN THE SPIRIT OF THE EVENING.
Photos by Paul Cary Goldberg
STUDENTS GILLIAN (LEFT) AND RHIANNON
HURST SHARE THE WAYS ROCKPORT MUSIC’S
EDUCATION PROGRAMS ENRICH THEIR LIVES.
ROCKPORT MUSIC TRUSTEE MARY MALONE
MAKES A SLY BID FOR AN AUCTION ITEM.
ROCKPORT MUSIC TRUSTEE PETER WERNAU AND WIFE THI (LEFT) FIT RIGHT IN
WITH THE SPEAKEASY NIGHTCLUB THEME WITH NEW FRIENDS JOE AND
HEATHER GASPAR.
GALA COMMITTEE CHAIRS, RICH AND CINDY TENNANT (FAR LEFT) AND FRANK AND
FA L L 2 0JAZZ
13 N
E W S L EPIANIST
TTER 05
ELLEN PREVITE (CENTER RIGHT,) JOIN THE EVENING’S
ARTISTS,
RAMSEY LEWIS (CENTER) AND GUITARIST JOHN PIZZARELLI, BEFORE THE CONCERT.
jazz and the
black diaspora
BY ED GLEASON, PROFESSOR OF LITERATURE, ST. ANSELM COLLEGE;
CONTRIBUTOR, JAZZ JOURNAL
The theme for two of the Rockport Music Education
residencies this season is jazz migration, which will
begin with the University of New Hampshire Faculty Jazz
Sextet performing November 13 and will culminate with
a jazz program by the Berklee World Strings on May 1.
As the Underground Railroad facilitated the movement of
slaves across the Mason-Dixon line into the free North, so
jazz music—formed in New Orleans some 40 years after the
Emancipation Proclamation —might be thought of as a vehicle
whose sophistication and influence “transported” its practitioners
from that city up the Mississippi River and into the base of
America’s cultural consciousness.
An unintended consequence of the Department of the Navy’s
decision to purge New Orleans of prostitution by closing down
“Storyville” in 1917 was that the decree also meant the end
of a musical experiment more or less dependent upon the
atmosphere Storyville had created. It was an environment
ideally suited for bringing together the dozens of strains of
musical types which formed what came to be known — a
decade or so later—as jazz. Without a home base, the music
and the musicians were obliged to take to the road, the “road”
in this case being the Misissippi River and the steamboats,
which now added jazz and jazzers to the cargo each carried
upriver. From Memphis to Kansas City to St. Louis to Davenport
—and inevitably, by the early 1920s—to Chicago and New York,
jazz began to energize (and, yes, in some cases, terrify) the
population who listened to it intently and curiously on records
and in clubs.
What King Oliver, Fate Marable, Buddy Bolden, and Louis
Armstrong could not have expected as they blew their horns in
the gambling rooms of the steamboats was that, virulent as
racist attitudes toward them would be even in the North, a degree
of dignity would eventually be accorded them because of their
association with a musical form which even the great classical
composers—Ravel, Ansermet, Faure, Stravinsky—were hailing
as revolutionary. An abhorrent but widespread belief — with its
roots even in the “science” of Thomas Jefferson more than a
century earlier — that blacks were constitutionally incapable
of artistic achievement, began to be challenged — at least by
those who took the time to appreciate the immense talent it
took to compose and/or execute the music effectively.
Jazz music, it could be argued, gave black musicians — and,
by extension, black people generally—a kind of cultural legitimacy.
The musical “diaspora”—from New Orleans and eventually to
New York City (and its new home in Harlem)—certainly doesn’t
match in scope or effect, the political impulse initiated by Dr.
King in the ‘60s and ‘70s, but in many ways the acceptance of
jazz by white Americans had an estimable social usefulness
for the Civil Rights movement.
Elementary Students Explore the Cello!
Boston Symphony Orchestra cellist Owen Young presented
two programs for fourth and fifth-graders at Rockport Music
Elementary School in September. Young played music by Bach
and demonstrated the different sounds of the cello and the various
techniques used in playing it. He presented the programs while
in town for a solo appearance with the Cape Ann Symphony,
as part of a collaboration between the symphony and Rockport
Music. Some fourth-graders were asked to write a haiku about the
experience, as an interdisciplinary activity.
Haiku Poems by Beth Zerilli’s Fourth-Grade Class
Concert, beautiful
Talking, describing, neat,
awesome
The music was fun.
By Emma Fuller
He was amazing!
The cello has a great sound
It is cool to play.
By Alexis Berglund
Drawing by William Couchon
Drawing by John Cahill
FA L L 2 0 1 3 N E W S L E T T E R 0 6
Letter from the Chairman
The 2012–13 season at the Shalin Liu Performance Center
was incredibly successful, with 30,000 tickets sold to 175 events,
including our celebrated Rockport Chamber Music Festival and
our second annual Rockport Music Jazz Festival. The audience
response to our growth has been truly gratifying.
Looking Back
In 2008, the Rockport Music Board of Trustees made a bold decision to build the
Shalin Liu Performance Center with support from an organization that grew around
a summer chamber music festival.
The Present
The leap from the earlier days when the Festival performed in a rented space, selling
about 5,000 tickets per year, has been a transformation. Now we offer a broad array
of musical genres year-round in our own world-class venue. Our education programs
alone reach 9,000 children and adults every year.
Looking to the Future
Our Board and staff have just finished a new strategic plan, honing the artistic,
educational and community vision that will guide Rockport Music on its trajectory
of artistic growth.
This artistic growth should broaden our reach and reputation regionally and nationally.
We plan to expand the Rockport Chamber Music Festival, possibly adding a chamber
music competition and artist residencies. We hope to make the Rockport Music Jazz
Festival one of the premier festivals in the Northeast. Education and Outreach
programs are set to thrive and nurture future audiences.
USHERS – THE FRONT
OF HOUSE TEAM
There are 237 dedicated ushers at the Shalin Liu
Performance Center, volunteers who collectively
are the faces of Rockport Music.
Ushers are the first faces guests see as they arrive,
greeting them, scanning tickets and then helping
them to their seats. Upstairs, volunteers serve
refreshments during intermission. So much goes
into making each event a rousing success and all
the ushers are quick to cite the incredible TEAM
mentality that makes it work.
“We are blessed to be able to call on the talents
of current and former educators, researchers,
hospice care aides, restaurateurs, artists and more,
who all blend their unique perspectives to ensure
guests leave the magical hall with smiles on their
faces,” says Jeremy Farmer, volunteer coordinator.
Millicent Bruce, house manager, says, “I've been a
Rockport Music volunteer for 14 years and value
the friendships and the privilege of serving in such
a world class organization that provides so much
pleasure to so many.”
Linda Teahen, team captain, says, “When you are
part of this gem, you can't help but be proud of
belonging, helping to make it succeed in whatever
volunteer position you are in.”
The opening of the Shalin Liu Performance Center in 2010 enabled us to scale new
artistic heights but we also need to scale new financial heights to sustain our organization.
A capital base for hall maintenance and repairs, operational needs, and future artistic growth is a key priority to continued year-round operations for future generations.
As we set the course for Rockport Music’s future, we are fortunate to have extraordinary
resources. Our Board of Trustees, professional staff, Rockport Music Council
advisors and volunteers are committed to the task.
Joseph Mueller, Chairman, Board of Trustees
THE HOUSE MANAGEMENT TEAM OF GAIL REHM (LEFT)
AND BARBARA ARNOLD WELCOME GUESTS TO THE SHALIN
LIU PERFORMANCE CENTER.
Jazz in Full Swing at Rockport Music continued from pg. 01
enrich many lives.
There were 17 jazz concerts this year at the Shalin Liu Performance Center, a sharp
rise from the five held the year it opened in 2010. Revenue from all non-classical
music—the newcomers to Rockport Music—has grown 56 percent in just the last year.
Carl Gustin, of Gloucester, came to his first Rockport Music concert to hear Dave
Brubeck, impressed that such a jazz legend was playing in Rockport. He called the
performance “exceptional,” and continues to attend other concerts and broadcasts.
He said, “The organization’s ability to draw and expand audiences through the variety
of programming is terrific.”
Beadle is not surprised that Rockport Music is building an audience for non-classical
programming, especially jazz.
“I am pleased with the ongoing interest and response of our patrons to jazz programming
here. Jazz fans are passionate and when you give them great artists in a superb
performing space, they’re going to come.”
MEMBERS OF THE FRONT OF HOUSE TEAM—KATHY HEINZE
(LEFT) AND DODIE CARVALHO—SHARE A LAUGH PRIOR TO A
CONCERT.
FA L L 2 0 1 3 N E W S L E T T E R 0 7
37 MAIN STREET
ROCKPORT
MASSACHUSETTS
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NON-PROFIT
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Editor: Chris Barker Contributing Editor: Karen Herlitz
:: The 2013-14 Winter Season at Rockport Music ::
FRI., JANUARY 17, 8 PM
SAT., MARCH 1, 12 PM
Marc Cohn
Met Live in HD | Borodin’s Prince Igor
SAT., NOVEMBER 16, 8 PM
Jonathan Edwards
SAT., JANUARY 25, 8 PM
FRI., MARCH 7, 8 PM
Maceo Parker
Irish Baroque Orchestra
THURS., JANUARY 30, 7 PM
National Theatre HD Broadcast | Coriolanus
SUN., NOVEMBER 24, 3 PM
FRI., JANUARY 31, 8 PM
Richard Goode, piano & Sarah Shafer, soprano
Dar Williams
MARCH
NOVEMBER
FRI., NOVEMBER 15, 8 PM
Freddy Cole Quartet
JANUARY
THURS., NOVEMBER 14, 7 PM
National Theatre HD Broadcast | Hamlet
TUES., NOVEMBER 26, 7 PM
SAT., MARCH 15, 8 PM
SUN., FEBRUARY 2, 3 PM
THURS., MARCH 27, 7 PM
Garrick Ohlsson, piano
Ghostlight Chorus FREE
THURS., FEBRUARY 6, 7 PM
TUES., DECEMBER 3, 7 PM
National Theatre HD Broadcast | Habit of Art
Classical Jam FREE
SAT., APRIL 5, 12:55 PM
SAT., DECEMBER 7, 8 PM
FRI., FEBRUARY 7, 8 PM
Met Live in HD | Puccini’s La Bohème
International Guitar Night
SAT., DECEMBER 14, 12:55 PM
Met Live in HD | Falstaff
SUN., DECEMBER 15, 3 PM
Swing Xing! featuring Bucky Pizzarelli
MON., DECEMBER 16, 4:30 & 8 PM
A Christmas Celtic Sojourn
SAT., DECEMBER 21, 7 PM
Holiday Community Sing-Along FREE
SAT., JANUARY 11, 8 PM
FEBRUARY
Cape Ann Big Band Holiday Show
SAT., FEBRUARY 8, 12:55 PM
Met Live in HD | Dvorák’s Rusalka
SAT., APRIL 12, 8 PM
APRIL
Brian Gore | Pino Forastiere | Quique Sinesi
Mike Dawes
SUN., DECEMBER 8, 3 & 7 PM
SAT., FEBRUARY 15, 8 PM
Deborah Henson-Conant
SUN., APRIL 13, 3 PM
Andrés Cárdenes, violin &
David Deveau, piano
SAT., APRIL 26, 12:55 PM
Rockapella
Met Live in HD | Mozart’s Così fan tutte
SUN., FEBRUARY 16, 3 PM
Members of the Handel & Haydn Society
THURS., MAY 1, 7 PM
FRI., FEBRUARY 21, 8 PM
Berklee World Strings FREE
Keiko Matsui, jazz piano
THURS., FEBRUARY 27, 7 PM
National Theatre HD Broadcast | War Horse
MAY
Nutopians: Songs of John Lennon
DECEMBER
SAT., MARCH 15, 12:55 PM
Met Live in HD | Massenet’s Werther
Red Molly
National Theatre HD Broadcast
50 Years on Stage
JANUARY
Monica Huggett, artistic director
SAT., MAY 10, 12:55 PM
Met Live in HD | Rossini’s La Cenerentola
Borromeo String Quartet
FRI., FEBRUARY 28, 8 PM
SAT., MAY 17, 8 PM
with Giovale String Quartet & David Deveau, piano
Stephen Hough, piano
Cheryl Wheeler & Ellis Paul
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