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Bach and the Nanny-Goat Bassoonist

Bach…the Brawler?

Did J.S Bach, the eminent composer of such celestial works as the Goldberg Variations, the Well-Tempered Clavier, the Brandenberg concertos, and the Toccata and Fugue in D Minor have an alter ego?

It appears that the clever Kapellmeister, director of heavenly choirs, and the composer of music divine, may have had a mischievous streak.

As choir director in Arnsadt, the 20-year old Bach got into fisticuffs with a student named Johann Geyersbach.

The brawl originated thusly: walking softly and carrying a big stick, Geyersbach approached Bach as he crossed the marketplace with his cousin. Geyersbach accused Bach of having insulted his bassoon skill, 18th century lexicon for “Come at Me Bro.” Bach denied having insulted him. Geyersbach retorted, “Whoever insults my bassoon, insults me.”

He then called Bach a “dirty dog” and Bach drew his sword. The two began wrestling until other students tore them apart.

The nanny goat case was taken to court. The court found Bach guilty of having called Geyersbach “Zippelfagottist,” a nanny goat bassoonist. They told him that a man must learn to accept the less talented.

Did Bach take the court’s advice to heart? A few years later he tore of his wig and hurled it at a musician, telling him he should have gone into cobble making.

Overall, Bach did a good job of hiding his Hyde. Where there is smoke, there is fire. With the embers of genius burning in his brain, it is only natural that Bach had to let off a little steam. If the cost of brilliant intensity is a tossed wig and a nanny-goat epithet, they are minor ducats compared to eternal treasures.

To listen to one of those timeless treasures,  Prelude #15 in G from the Well-Tempered Clavier Book II played by Rosalyn Tureck, click on

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A dose of London in LA: British Polo Day USA 2015


A Dose of London in LA: British Polo Day USA 2015


Leticia Marie Sanchez

The launch party for British Polo Day USA 2015, held at the rooftop of the London Hotel brought a dose of Britain to the city of angels.


Naturally, one of the 10 cities in the global British Polo Day series is Los Angeles, the film capital of the world, as the event itself is cinematic, with exotic landscapes and adventurous protagonists.

This exciting series encompasses matches across the globe at destinations including Abu Dhabi, Singapore, and Mexico.

In Morocco, the terracotta hued sand of Marrakech billows like swirls of desert smoke while a caravan of vehicles heads to the polo match, the majestic Atlas Mountains looming in the background.

A colorful host of global luminaries inhabit these real-life sets, from royal families and dashing athletes to fashion icons like haute couture London milliner Philip Treacy.


BPD 3British Polo Day Co-Founder, Tom Hudson shared historical trivia about polo, current cultural adaptations in each host country, and ways that the sport is breaking new ground.

For instance, a princess in Dubai, Sheikha Maitha Al Maktoum, has recently come on the scene as a formidable opponent to her male peers.

Called the King of Games and the game of kings, Polo has been played throughout history by Emperors, Shahs, Kings, Khans, and Sheiks.

And now by Sheikhas as well.

Well played!


A spot of tea, anyone? Elevator at the London Hotel, West Hollywood.

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End of May Highlights: Cultural Cocktail Hour Top Picks


The latest Cultural Cocktail recipe includes a flask of Flamenco, a pinch of Polo, & a splash of Strauss!


Walt-Disney-concert-hall-take-2Rodrigo’s Concierto De Aranjuez performed by classical guitarist Angel Romero

MAY 21-24; Thu-Fri, May 21-22 8:00pm; Sat-Sun, May 23-24 2:00pm; Program also includes Manuel de Falla, El Amor Brujo; Siudy Garrido Flamenco Dance Company;

Walt Disney Concert Hall. 111 South Grand Avenue, Los Angeles, CA 90012

British Polo DayBritish Polo Day

Saturday May 30th; Noon

Lord and Lady Frederick Windsor will be hosting a day of Polo and Philanthropy in Los Angeles; including matches between Eton, Oxbridge, and the Southern California Polo Club and Harrow and the Will Rogers Polo Club.

Will Rogers State Park, 1501 Will Rogers State Park Road, Pacific Palisades, CA 90272

For invitations, please send an email to

For additional info go to

LACMA photoCapitol Ensemble

Sunday, May 31st; 6 pm LACMA

Members of the Capitol Ensemble perform music of Johann Strauss as transcribed by Schoenberg, Berg, and Webern.

Bing Theater. Free and open to the public. 5905 Wilshire Blvd. Los Angeles CA 90036. 323 857-6000.

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This week in LA: May 1-8

This week’s Cultural Cocktail recipe: a blast of Beethoven, a mixture of Masterpieces, and a blend of BaroqueEnjoy!


Stieler, Joseph Karl: Beethoven mit der Missa solemnis Ölgemälde, 1819Beethoven and Strauss

Fri May 1 8pm; Sat May 2 8:00 pm;

Walt Disney Concert Hall. 111 S. Grand Ave. LA, CA USA 90012 (323) 850-2000


DegasLACMA 50 for 50

Opened April 26

Works by Edgar Degas, Henri de Toulouse-Lautrec, Edouard Vuillard, Claude Monet, Jean-Auguste-Dominique Ingres, & Andy Warhol.  5905 Wilshire Blvd. Los Angeles CA 90036. 323 857-6000.



VivaldiBaroque Conversations

Thursday, May 7th 7 pm

Los Angeles Chamber Orchestra. Zipper Hall.  The Colburn School. 200 South Grand Ave. LA, CA 90012 Program: HAYDN; KOHAUT, & VIVALDI.

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Picasso: Quote of the Day

“My mother said to me,

If you are a soldier,

you will become a general.

If you are a monk,

you will become the Pope.’

Instead, I was a painter,

and I became Picasso”

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This weekend in LA: April 24-26

This weekend’s Cultural Cocktail recipe: a dose of Duveen, a burst of Baroque, and a touch of Turner! Enjoy!

Cultural Cocktail Hour® is a registered Trademark

Duveen NS

Lock, Stock and Barrel: Norton Simon’s Purchase of Duveen Brothers Gallery

Closing April 27

Norton Simon. 411 W. Colorado Boulevard Pasadena, CA 91105 626.449.6840   Bust Portrait of a Courtesan, c. 1509 Giorgione




Vespers of 1610

Friday, April 24  8pm

English Baroque Soloists;The Monteverdi Choir; Sir John Eliot Gardiner, conductor;

Renée and Henry Segerstrom Concert Hall. 600 Town Center Drive. Costa Mesa, CA 92626. (714) 556.ARTS. Monteverdi by Bernardo Strozzi, c.1630


turnerJ. M. W. Turner: Painting Set Free

Through May 24

Getty Center. 1200 Getty Center Drive. LA, CA. 90049. (310) 440-7300     Burning of the Houses of Lords and Commons, October 16, 1834, exhibited 1835, J. M. W. Turner

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Wise Men- Bernard Berenson

“No artifact is a work of art if it does not help to humanize us.

Without art, visual, verbal and musical

our world would have remained a jungle.”

Bernard Berenson, I Tatti, Florence, 1952


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“Shakespeare in the Gardens” at the Huntington


Leticia M Huntington

This weekend, Cultural Cocktail Hour indulged in a scrumptious cultural recipe:

1 Part Gardens+ 3 Parts Shakespeare+ 2 Parts Wind Instruments

Merrie Olde England found its way to Los Angeles at the Huntington Gardens. Museum-goers wearing floral crowns frolicked amongst thespians who enacted scenes from the Bard. Under the refreshing shade of the Loggia, the Chamber Music ensemble Ceora Winds performed Shakespearean-inspired music, including Felix Mendelssohn’s ethereal “Midsummer Night’s Dream.”  As the winds played, an April breeze wafted through the trees  in blissful harmony.

huntington golf cart

Leaving the grounds, Cultural Cocktail Hour spied a golf cart amusingly named “Pinkie”after Thomas Gainsborough’s painting in the Huntington Gallery.

This playful little chariot looked like it had been left there by the mischievous Puck himself!

Photos © 2015 by  Leticia Marie Sanchez

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Cultural Cocktail Hour Books: Italy and France


Cultural Cocktail Hour is proud to present two books in a series by author Leticia Marie Sanchez

Wonderful memorabilia for lovers of art and travel.

These two books are a passport to cultural landmarks, a window to iconic images of theater, opera, sculpture, and museums.



Cultural Cocktail ParisCultural Cocktail Hour: Paris

This hardcover book contains images of cultural landmarks in Paris, including: The Paris Opera, the Tuileries Garden, and the Louvre.


Hardcover Price: $75 



imageCultural Cocktail Hour: Italy

This hardcover book contains images of cultural landmarks in Venice, Florence, Spoleto, Assisi, and Siena.

Hardcover Price: $75






To order either of these books, please send an email to with “CCH Book Order” in the SUBJECT.

Happy Reading! 

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Review: LA Opera’s “Lucia di Lammermoor”- Standout Albina Shagimuratova- Do not miss

 Review: LA Opera’s “Lucia di Lammermoor”

Albina Shagimuratova delivers a

A Standout Performance- 

by Leticia Marie Sanchez

LA Opera’s “Lucia Di Lammermoor” epitomizes everything that an opera should be: scenes of unrequited passion, arias between star-crossed lovers, and most importantly- a stellar, unsurpassed voice that rouses the audience at every turn.

LuciaAlbina Shagimuratova is by far the most gifted female singer to have performed on the LA Opera stage in recent memory.

Photo, Left Albina Shagimuratova as Lucia di Lammermoor, Photo Credit: Robert Millard

Singing Bel Canto Opera, particularly in a role like Lucia, is like swimming in the ocean without a life vest- the singer is completely exposed. Thankfully, Albina Shagimuratova and the entire cast of Lucia have the vocal chops to carry out their roles.

A force of nature, Albina truly carried the opera with her undeniable talent. Range, Clarity, Coloratura, Stamina. Flawlessly and exquisitely, Albina performed the difficult twenty-minute mad scene with finesse, never appearing to tire as she drew on seemingly infinite reserves of vocal capacity.

In addition to her fierce vocal talent, Albina proved a consummate actress eliciting the range of emotions particular to her character- girlish hope, defiant resistance, heartbreak, and then, chillingly, madness- a psychological break that she portrayed with beautiful sensitivity, without histrionics, but baring her heart and soul, plainly and purely.

In the first act, tenor Saimir Pirgu as Lucia’s lover Edgardo, seemed tentative in comparison to the sheer power of Albina’s voice. However, in the second act, Pirgu’s voice flourished, particularly in the poignant and dramatic last scenes. He seemed to thrive in the angst-ridden portions of the score, showcasing his considerable talent. Despite Pirgu’s initial timidity, he and Shagimuratova make a couple for whom the audience roots.

Bass James Creswell as Chaplain Raimondo delivered a particularly noteworthy performance, as the interfering religious figure who manipulates Lucia’s guilt.

The sparse set allowed the Bel Canto music to reign at the forefront. The simple, non-distracting design elements employed visuals only when absolutely central to the narrative- such as the effective use of foreshadowing in the drowning image of Lucia at the well: a haunting, Pre-Raphaelite pictorial reminiscent of Lady of Shallot. Another effective visual was the image of the moon, derived from the Latin word “Luna,” an ancient symbol of lunacy, and again, a fitting foreshadowing of Lucia’s eventual madness.

Just as the set allowed the singers to shine, so did the orchestra. As Conductor James Conlon revealed during a dress rehearsal, “With Bel Canto opera, if the orchestra is perfect, you don’t notice them. If they’re off, it’s a disaster.” His conducting was impeccable. The orchestra showcased the long lyrical lines of the singers, keeping pace with them at every turn; even the Glass Harmonica blended hauntingly and eerily with Shagimuratova during the mad scene. During passages with the Glass Harmonica, members of the audience craned their necks to peer into the Orchestra Pit, staring at the unusual instrument that emanated a supernatural sound.

Do not miss this one.

Albina Shagimuratova’s standout performance in LA Opera’s “Lucia Di Lammermoor” makes this production one that audiences will remember for years to come.

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