The venue was the Recital hall of Laidlaw Performing Arts Centre, and the presentations were exclusively French classical music in a capella style (Keith par 1). Since the guest performers were popular…
The famous ‘French Favorites for Woodwind Trio’ were to perform.
Upon entering the hall, I was fascinated by its appeal. The decorations of the hall consisted of flashing disco lights that spelt classical music. It was all silent though, apart from the director who was showing some clips of the traditional, folk songs in the hall’s giant screen. I wedged my way through the already parked venue, and I was welcomed by familiar faces of my college mates. For a moment, I thought that most of the seemingly young people in attendance were students, but I was proofed wrong by the face of my teacher who was widely smiling in front of me. No sooner had I settled at the a-bit spacious place in the back, the master of ceremony (a lady), took over and welcomed everyone for the concert. The master of the ceremony was notably funny, and she kept the audience laughing over and over as she introduced one performance after the other.
The university Chorale opened the floor, with the “Die Harmonie in der ehe” of Joseph Haydn (1732-1809). The Chorale popularity was evidenced by the appraisal of the audience, followed by the singing along the lyrics, from the many girls (lovers of squeaky sound). At this point, I thought that was the best way to start of the performance. Laura Moore’s command of the choir as she conducted indicated her experience and skills. Thomas Rowel was another public figure in the performance, singing tenor. There were no other instrumentals apart from the piano that Brent Nowell played to grace the performance. After the “Die harmonie in der Ehe”, the group switched to “O Vos Omnes”, then the “Sure on This Shining Night” and deserted with the “When He Shall Die”. The audience kept singing along and finally applauded the group as it exited the stage.
Then, the voice recitals with piano accompaniment were performed. As the name suggests, it ...
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I took a seat quite near the stage where the musicians performed and this made it all the more interesting watching the concert from close quarters. The concert conductor was Emmanuelle Haim and the artists performing at the concert were the Los Angeles Philharmonic and the Soprano Sonya Yoncheva.
The hall was already full when I arrived, which was what I expected least. At the start of the live concert, the New Horizon Brass Ensemble headed by Kate was seated on the podium; women wore black dresses or pants, and males in the band wore tuxedos. Kate, who was the band leader and concertmaster, came out to coach the band, while the conductor entered the hall to make a brief introduction of the performance that was almost to be staged (Range & Smith, 1999).
The concert by ‘The Stony Brook Symphony Orchestra’ took place at 8.PM sharp on Saturday, 9th March, 2013. The Concert Conductor was George Manahan . The program comprised of ‘Scherzo a la Russe’ (1945) by Igor Stravinsky (1882 -1971) a ‘Viola Concerto,’ Op.37 (1979) by Miklos Rozsa (1907 – 1995) and the Concerto Competition Winner for 2011 – 2012 – Chieh – Fan Yiu, Viola that took place before the intermission and this was followed by ‘Enigma’ Op, 36 (1899) by Edward Elgar (1892 – 1955) comprising of ‘Variations of an Original Theme for Orchestra.’
This paper presents a brief analysis of the song Milonga de angel along with a review of the concert as a whole.
The milonga precedes the tango music style. Most of the milongas are fast. They are conventionally lent a solid rhythmic character by
e Ossetian excitement of Valery Gergiev might well seem an unlikely combination, but this coupling of two range standards offers attractive, well-balanced readings striking for instrumental delicacy and orchestral feelings. Overall, the concert sounds very well due to
The tickets for the concert were available at the Royce Hall web site, where each ticket was selling cheaply at $25 for students with identity cards. The event started at 7 PM as scheduled with director Jeffrey Kahane conducting two double concertos as a pianist
The first two compositions affected me in absolutely different ways taking me to emotional stages which are not the same due to my personal circumstances. The third composition was a culmination of the concert which made me close the eyes and stay till the audience had left. The most intimate moment was when the last notes were in your heart.
The performance space was small with a limited number of seats to be occupied by the guests. There was a small place provided for the composers with a projector in the middle of stage. A seat was provided for the piano
ming soar but since she participated and won the second place in the Chinese reality singing competition I AM A SINGER by Gloria Tang Tsz-kei, we were still surprised that her debut and rhythmic concert still sold out very quickly, she had to add a second and third show to
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