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Top Picks Nov 16th & 17th in LA

This weekend’s Cultural Cocktail recipe: a burst of Beethoven and a shot of 12th Century Music- enjoy!

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Los Angeles Chamber Orchestra Nov 16th and 17th

Hans Graf, conductor Alessio Bax, piano

DUTILLEUX:  Mystère de l’instant; MOZART:  Piano Concerto No. 24 in C minor

BEETHOVEN:  Symphony No. 6 in F major, “Pastoral”

Sat. Nov. 16, 8 pm Alex Theatre, Glendale

216 North Brand Boulevard, Glendale CA 91203

November 17, 7 pm. Royce Hall, UCLA 340 Royce Drive, Los Angeles, CA 90095. 213 622 7001

Gordon Getty Concerts

Music Inspired by St. Thomas of Canterbury & other 12th-Century Marvels

Sat. Nov 16th 7:00 p.m

Members of Los Angeles Master Chorale led by Grant Gershon.

Harold M. Williams Auditorium

Getty Center

1200 Getty Center Drive. LA, CA. 90049. (310) 440-7300




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Top Picks this weekend in LA

This weekend’s Cultural Cocktail recipe: a Shot of a suspenseful jury nail-biter, a Swizzle of Shakespearian opera, and a fusion of dance and painting- enjoy!

Cultural Cocktail Hour® is a registered Trademark

Reginald Rose’s Twelve Angry Men

November 5 – December 1

The Pasadena Playhouse, 39 South El Molino Avenue, Pasadena CA 91101



Giuseppe Verdi’s Falstaff

Opening Night

Saturday Nov 9th 7:30

LA Opera

135 North Grand Ave. LA, CA 90012 (213) 972-8001


Art in Motion at the Norton Simon

Nov. 9th; 2:00 pm – 3:00 pm

Family Festival. Live Performances.

Theater | Free with admission. | No reservations needed

411 W. Colorado Boulevard Pasadena, CA 91105 626.449.6840


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Backstage at LA Opera’s Falstaff: “Let them Eat Parkin!”

                    Let them Eat Parkin!

                (It ain’t over till Falstaff sings)

                 Behind-the-scenes at LA Opera’s Falstaff


Leticia Marie Sanchez

Cultural Cocktail Hour® is a registered trademark

It ain’t over till Falstaff sings.

The chubby British knight is opera’s favorite foodie.

During a backstage tour at LA Opera, director Lee Blakeley revealed that Verdi’s opera about Shakespeare’s mischievous knight centers on appetite. Lust for food, money, and carnal pleasures. The feasts on Blakely’s stage illustrate the portly knight’s gusto for gastronomy, from plump turkey to Parkin cake. This sticky, traditional British dessert made of oatmeal and treacle dates back to the precise era when Falstaff would have cavorted with his merry wives of Windsor.

The Parkin cake prop highlights Blakeley’s attention to historical detail. This isn’t opera re-set during the Vietnam War, and the food props highlight the production’s meticulous accuracy. The food masks, designed by Hallie Dufresne, derive inspiration from fruit portraits created by sixteenth century Italian painter, Giuseppe Arcimboldo.

Left, Hallie Dufresne with Food Mask, Backstage LA Opera

Left, Guiseppe Arcimboldo, Spring, 1563






And how do the singers cope with singing whilst devouring turkey and Parkin?

Very carefully.

We test to see “what will choke them, what will not choke them,” explained Blakeley.


As if hitting those falsettos isn’t hard enough.

Mezzo-Soprano Ronnita Nicole Miller (Mistress Quickly) described eating cookies during much of Act Two Scene Two.

She sticks to oat flavored.

“They’re more period than Chocolate Chip.”


Cookie Monster Falstaff believes that extra body fat bolsters his libido. Ha actually takes the time to thank his portly frame for attracting the ladies. In the aria “Va Vecchio John” (Go for it Old John), Falstaff sings

“All the women in revolt together risk damnation for me/

Good body of Sir John/ which I nourish and indulge/ I thank you.”

LA Opera’s production revels in the exuberance of Falstaff.

Bawdy and Soul.

Left Dorothy Chandler Pavillion

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Theater Review: Macbeth at Lincoln Center Theater starring Ethan Hawke and Anne-Marie Duff– a Must See Production


Photography and text © 2013 Leticia Marie Sanchez

Cultural Cocktail Hour® is a registered trademark



By Leticia Marie Sanchez

No gimmicks. No tricks. Just pure unadulterated Shakespeare. Jack O’Brien’s poetic interpretation of Macbeth at Lincoln Center Theater reveals the essence of Shakespere’s text. This is where the magic happens.

The dark, sparse sets by Scott Pask enhanced the aura of mysticism provided by Mark Bennett’s musical score. The minimalist set design proved especially evocative when a single black vase of red roses graced the center stage during Duncan’s murder. The red underscored the passion between Macbeth and his wife, a lust that propelled bloody deeds. As Macbeth stabbed Duncan off-stage, the red petals floated to the floor one by one in poetic fashion, leaving a hauntingly empty vase in its wake.

The costumes by Catherine Zuber reflected the timelessness of Shakespeare’s play. The costumes occasionally alluded to more than one epoch: Edwardian, film noir, yet were successfully seamless because they immediately defined the interior world of the characters inhabiting them. For instance, with her black gloves, platinum tresses, and crimson lips, Anne-Marie Duff‘s Lady Macbeth looked every inch a Femme Fatale, her sylphlike frame belying steely ambition. Anne-Marie Duff embodied the full range of emotions necessary in a powerful Lady Macbeth: edgy, ruthless, seductive, and vulnerable. Furthermore, the palpable chemistry between Duff and Ethan Hawke provided the necessary fuel for the subsequent murder.

As Macbeth, Hawke delivered a naturalistic, charming interpretation. When a blood stained lackey appears at Macbeth’s dinner to reveal his attack on Banquo, Hawke asked, “Is he dispatched?” with such a light-hearted emphasis on the last word, the audience sees his chilling capacity to murder with ease. Hawke’s humor is an effective acting choice, a defensive shield demonstrating why, post-murder Macbeth does not descend (unlike his wife) into sleepwalking madness. Glib until the very end, Hawke muses, “I have almost forgot the taste of fears.” His humor corresponds with his hubris, as he rushes to battle blissfully unaware of his oncoming demise.

The entire cast effectively depicts the full palette of personalities in Macbeth’s orbit. Richard Easton personified the benevolence and gravitas of King Duncan with shades of charismatic playfulness as he tries to elicit a kiss from Lady Macbeth. Daniel Sunjata’s Macduff captures the passionate righteousness necessary to combat Macbeth. Particularly noteworthy was the performance of John Glover who portrayed both the Porter and a witch, stealing the show. In Act II, Scene 3, Glover as the Porter pointed to select members of the audience as though he were a stand up comedian, transforming the monologue into a hilarious, interactive piece. A live wire, Glover exposed the dynamic electricity possible in the theater. Finally, Glover, and the cast of witches (Byron Jennings, Malcolm Gets) illustrated the provocative gender-bending themes inherent in Shakespeare’s play by appearing as elderly men dressed in scanty black lingerie. This unorthodox vision is spot on with the Bard’s description. After all, when looking at the witches, Banquo remarked, “You should be women/And yet your beards forbid me to interpret/That you are so.” In other words, once again, Jack O’Brien’s Macbeth remained faithful to the text.

During the performance, a member of the audience sitting behind me gasped, whispering to her companion, “What a beautiful line.” Ultimately, this performance of Macbeth triumphed. Not only did it humanize the darker side of humanity, it illuminated the words of Shakespeare, through its stellar cast and poetic vision.

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Cultural Cocktail Hour in Manhattan!

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Cultural Cocktail Hour is in Manhattan this week!

What is the recipe for the perfect Cultural Cocktail in New York City this week?

Photography, Left.

Museum Mile

Fifth Avenue,

New York

© 2013 Leticia Marie Sanchez




#1 Lock eyes

with Vermeer’s Girl With a Pearl Earring

now on view at

the Frick.

(She’ll win the stare-down, no contest)


#2. Hie thee to the Jewish Museum

to see Chagall: Love, War and Exile-

for a different side to Chagall: profound and haunting. An exploration of loss both personal (his wife Bella) and global (the Holocaust) through his unique iconographical use of the Crucifixion as a secular symbol to personify suffering.



#3. Enjoy the Double, Double, Toil and Trouble at the Vivian Beaumont Theatre production of

Macbeth starring Ethan Hawke!

(Check back on Cultural Cocktail Hour later this week for a full review of Macbeth)

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Cultural Events LA: October 25th, 26th, & 27th

This weekend’s Cultural Cocktail recipe: 1 Part Sibelius, and a flourish of young talent at the Met Opera Auditions. Enjoy!

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Walt Disney Concert Hall

Fri Oct 25 8:00PM Sat Oct 26 8:00PM Sun Oct 27 2:00PM

Esa-Pekka Salonen, conductor; Leila Josefowicz, violin; IVES: The Unanswered Question; SALONEN: Violin Concerto; SIBELIUS: Symphony No. 5 

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

WDCH Photo:© 2010 Leticia Marie Sanchez

Metropolitan Opera National Council 2013 Western Regional Finals

Saturday Oct. 26- 1:00 pm

The Colburn School. Zipper Concert Hall. 200 South Grand, LA. 90012.

Ticket Price Is $35 per person.Tickets may be purchased by contacting: Fred Dear, 626. 257.7878  -

Send $35 check made out to “MONC-‘Western Region.” Mail to:  MONC – Western Region, 1415 Indiana Avenue, South Pasadena, CA  91030

Colburn School Photo: © 2010 Leticia Marie Sanchez

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Cultural Events LA October 20th and 21st

This weekend’s Cultural Cocktail recipe: 1 Part Chekhov, a dash of Beethoven, and a double dose of concerts at the Getty Villa! Enjoy!

Cultural Cocktail Hour® is a registered Trademark

Stacy Keach, Grace Gummer, Josh Radnor record David Mamet’s adaptation of Chekhov’s “Uncle Vanya”

for L.A. Theatre Works Oct. 17-20

Thursday, Oct. 17 @ 8 pm; Friday, Oct. 18 @ 8 pm; Saturday, Oct. 19 @ 3 pm & 8 pm0

Sunday, Oct. 20 @ 4 pm. James Bridges Theater.  UCLA School of Theater, Film and Television. 235 Charles E. Young Drive. Los Angeles, CA 90095 (310-827-0889 or


Beethoven, Bagels & Banter Oct. 20th 11 am

Robert Davidovici, Violin; Alexander Shtarkman, Piano;  Antonio Lysy, Cello; Beethoven – Kakadu Variations for Piano Trio in G major op. 121a; Debussy – Sonata for Cello and Piano in D minor (1915); Ravel – Sonata for Violin and Piano; Brahms – Piano Trio in C minor op. 101;

The Eli & Edythe Broad Stage, 1310 11th St. Santa Monica CA 90401 or call Box Office at 310.434.3200


Concerts at the Getty Villa

Mahsa and Marjan Vahdat

Sat, Oct. 19th 7pm; Sun October 20th 3:00 p.m

Call (310) 440-7300 or visit

Photo: Copyright 2009 Leticia Marie Sanchez

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Top Pick this weekend in LA

This weekend’s Cultural Cocktail Hour recipe involves a dose of drawings by Klimt, Boucher, Poussin, and Bernini

Cultural Cocktail Hour® is a registered Trademark

The Poetry of Paper

Closes October 20th

Getty Center. 1200 Getty Center Drive. LA, CA. 90049. (310) 440-7300

Portrait of a Young Woman Reclining, 1897–98, Gustav Klimt

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Cultural Events LA October 6th and 7th

This weekend’s Cultural Cocktail recipe: 1 Part Berlioz, a swirl of sacred treasures, topped off by a hearty shot of Tchaikovsky. Enjoy!

Cultural Cocktail Hour® is a registered Trademark

American Youth Symphony Launches 49th Season

FREE CONCERT Sun. Oct. 6th 7 p.m.

Pre-Concert Talk featuring free screening of Keeping the Score: Symphony fantastic, 5:30 p.m.; Alexander Treger, music director; Allan Steele, cello; TIMOTHY ANDRES Bathtub Shrine; TCHAIKOVSKY; Variations on a Rococo Theme; BERLIOZ Symphonie fantastique; UCLA’s Royce Hall 340 Royce Drive Westwood, CA 90095. (310) 470-2332.


Treasures from Church and Cloister

Sept 20, 2013- February 2, 2014

Getty Center. 1200 Getty Center Drive. LA, CA. 90049. (310) 440-7300

10TH ANNIVERSARY CELEBRATION: Dudamel & Bronfman Los Angeles Philharmonic

Thu-Sat, Oct 3-5 8:00PM Sun Oct 06 2:00PM

SCHUBERT: Symphony No. 4, “Tragic;” LIEBERSON (OLIVER KNUSSEN REALIZATION): Shing Kham (world premiere, LA Phil commission; TCHAIKOVSKY: Piano Concerto No. 1. Walt Disney Concert Hall. 111 S. Grand Ave. LA, CA USA 90012 (323) 850-2000

WDCH Photo:© 2010 Leticia Marie Sanchez

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Cultural Events LA Sept 28th and 29th

This weekend’s Cultural Cocktail recipe: 1 Part Colburn Orchestra, a fusion of Flanders and Florence topped off by a splash of Liszt and Rachmaninoff. Enjoy!

 Cultural Cocktail Hour® is a registered Trademark

Colburn Orchestra Concert

Sat. Sept. 28th 7:30 PM

Ambassador Auditorium, Pasadena

Yehuda Gilad, conductor; William Hagen, violin;  Program: Glinka Overture to Russlan and Ludmilla; Sibelius Concerto for Violin;  Tchaikovsky Symphony No. 6; Reserve online through:

Photo of Ambassador Auditorium: © 2012 by Leticia Marie Sanchez

Face to Face: Flanders, Florence, and Renaissance Painting

Opens Sept. 28th

Huntington Library, Art Collections, and Botanical Gardens

1151 Oxford Road. San Marino, CA  91108.

Left: Rogier Van Der Weyden; Virgin and Child; c 1460





Los Angeles Dream Orchestra 

Sat. September 28th; 8:00 p.m.

Aratani Theatre; Little Tokyo

Akira Nakano;  Rachmaninoff; Rhapsody on a Theme of Paganini; Liszt Totentanz; Nakano, Original Score from “the Norwood Affair;” All Proceeds Benefit The Dream Orchestra Youth Performance & Music Education Fund;  For more information, see:



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