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The Weekend of Jan. 30th-Feb 1

securedownload1 Tango Cabaret. Sat. January 31 8:00 p.m

Museum of Latin American Art. 628 Alamitos Ave. Long Beach, CA, 90802. (562) 437-1689








maerchenhafte1 Art of Two Germanys/Cold War Cultures

BCAM LACMA. 5905 Wilshire Boulevard

Los Angeles, CA, 90036. 323.857.6000

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Cultural Events in LA: January 24-25

hearst-the-collector Hearst the Collector

Through February 1, 2009

Art of the Americas Building

LACMA. 5905 Wilshire Boulevard

Los Angeles, CA, 90036. 323.857.6000 






gil-shaham Stéphane Denève Conducts Stravinsky and Rachmaninoff

Walt Disney Concert Hall .111 South Grand Ave. LA, CA 90012.(323).850.2000

Los Angeles Philharmonic

Stéphane Denève, conductor

Gil Shaham, violin

Stravinsky, “Dumbarton Oaks” Concerto; Khachaturian “Violin Concerto in D Minor.” Rachmaninoff “Symphonic Dances.”

Photo: Gil Shaham



orfeo Live in HD:

The Metropolitan Opera’s Orfeo ed Euridice by Gluck

Saturday, January 24, 2009 (Running time 1 hour 31 minutes / no intermission)

From the Met Web Site: “Mark Morris’s acclaimed production returns. This complete vision for Gluck, with choreography by Morris and costumes by Isaac Mizrahi, features the artistry of Stephanie Blythe in the male title role. The alluring Danielle de Niese is Orfeo’s adored wife, Euridice, who inspires the hero to face the underworld for her sake. Music Director James Levine conducts.”

 For tickets and showtimes, please visit:

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This Week in LA: Jan 17th-Jan 22nd

1832 Ray Bradbury’s “The Wonderful Ice Cream Suit.”

Fremont Centre Theatre 1000 Fremont Ave

South Pasadena, CA  91030 

Opens Sat, Jan 17, 8 pm; Sun. Jan 18 3 pm

626. 441.5977







Free Holiday Monday; Free Admission and Special Events


Martin Luther King Day; Mon. Jan 19. 12-8 pm

5905 Wilshire Boulevard, LA, CA, 90036.323.857.6000



news_7926_0 ART LA 2009 Opening Night

Thurs. Jan 22, 6:30 PM

Barker Hanger

3021 Airport Avenue

Santa Monica

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This Week in Los Angeles

 LA Opera: The Magic Flute

magic-flute2 The Magic Flute opens this weekend at LA Opera

Sat. Jan 10. 7:30. Sunday Jan 11 2:00 p.m


promo_captured_emotions Captured Emotions: Baroque Painting in Bologna, 1575 – 1725


Getty Center1200 Getty Center Dr. LA, CA 90049


nuritpacht Camerata Pacifica

Tues. Jan 13. 8p.m The Huntington Library, San Marino

Thurs. Jan. 15. 8pm Zipper Hall, Los Angeles

 Debussy, Images (Oubliées) (1894); Beethoven, Piano Sonata in F-sharp Minor, Op. 78;

Szymanowski, Violin Sonata in D Minor, Op. 9; 

Nurit Pacht, violin Anna Polonsky, piano

Photo: Nurit Pacht

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Cultural Christmas: This Weekend in LA Dec 20th-21st


‘Twas the Week Before Christmas

Walt Disney Concert Hall. Sat. Dec 20, 2:00 PM. Sun Dec. 21, 7:00 PM

111 South Grand Avenue, Los Angeles, CA 90012


The Kirov Ballet presents The Nutcracker

Sat. Dec. 20. 2:00 p.m & 7:30 p.m. Dorothy Chandler. 135 North Grand Avenue. LA, CA. 90012. (213)972.7211.


Holidays at the Rancho 2008

Gala Dinner Show

Sat. September 20.

5:30: Reception by Candlelight (Luminarias) in the ruins of the Old Coach House

7:00 P.M Dinner Show, featuring Special Guest J. Michael Walker, Artist/Author presenting excerpts from “All the Saints of the City of Angels” with Elizabeth Waldo’s new soundscape.

New Mission Theater. 9015 Wilbur Avenue. (corner of Nordhoff and Wilbur) Northridge, CA. 91324. Valet Parking. Reservations Required.

For more information, see:

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This Weekend in LA: Dec. 13th and 14th

This week’s Cultural Cocktail involves a splash of Marimba, two shots of Magnificat, and a dose of Rembrandt- Enjoy! 

makoto1lores__100dpi_ Los Angeles Chamber Orchestra


 Sat. Dec 13; 8 pm. Alex Theatre. 216 North Brand Boulevard. Glendale, CA 91203

 Sun. Dec 14; 7 pm. Royce Hall; UCLA.340 Royce Drive LA, CA 90095

Los Angeles Chamber Orchestra. Jeffrey Kahane, conductor. Makoto Nakura. Marimba.

R. STRAUSS Serenade for Winds; PIERRE JALBERT Concerto for Marimba and Orchestra (US premiere); HAYDN Symphony No. 31 in D major

213 622 7001


magnificat_r1_200 Season of Joy: Magnificat & More

Angeles Chorale

Sat. Dec. 13. 8PM. First United Methodist Church, 500 East Colorado Blvd. Pasadena, CA 91101.

 John Rutter, Magnificat; Arvo Part, Magnificat; Conrad Susa, Carols and Lullabies: Christmas in the Southwest; Carol of the Bells; Betelehemu; Still-Still-Still; and many more.. 818.591.1735


titus Rembrandt in Southern California: A Virtual Guide.

 Southern California is the center of the third largest collection of Rembrandt paintings. This excellent virtual guide provides information on Rembrandt works that are currently being shown at the Hammer Museum, The Getty Center, LACMA, the Norton Simon Museum of Art, and the Timken Museum of Art in San Diego. Click on the Virtual Exhibition and Guide for a detailed analysis of each individual portrait before venturing to the museums to see the vivid paintings in person:

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Cultural Events: Los Angeles, Dec 6th and 7th


  “The Cherry Tree: Medieval English Carols and American Christmas Tunes.”

Anonymous 4Pre-Concert Lecture: 3:30 Concert: 4:30.

 Sun. Dec. 7. St. James Episcopal Church. 393 Wilshire Blvd LA, CA 90010. 213. 388. 3417

holidaywonders  Holiday Wonders: Christmas Around the World

Sat. Dec 6th. 3:00 P.M

Los Angeles Master Chorale

Walt Disney Concert Hall. 111 S. Grand Ave. LA, CA

213.972. 7282



 “Here Comes Santa Claus”

Sun. Dec 7. Noon – 4 p.m

Autry National Center

From the Autry National Center Website:

  It’s holiday time, and Santa is back at the Autry! Bring the camera and the kids for a family sing-along of Gene Autry’s beloved classic tune, and see Santa himself decked out in his finest Western wear.”

 4700 Western Heritage Way. LA, CA, 90027. 323.667.2000

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Review: LA Opera’s Carmen

carmen Chiaroscuro in LA Opera’s Carmen

Through a study in contrasts, LA Opera’s humanistic Carmen encompassed at once the passion, frailty, and psychological vulnerability of Georges Bizet’s tragedy. The unique set and color scheme, a soothing sea of pastels (as opposed to the standard bright red motif) and white walls conjured a Caribbean island, thus evoking a carefree mood. The peach palette of the set, designed by Gerardo Trotti, proved successful in providing a sharp contrast, thereby bringing the passion of Carmen to the foreground. The soft hues and blithe island atmosphere had a second positive effect: to cleverly lull the audience into a false sense of serenity so that the bloodshed at the end becomes that much more shocking.

Carmen, as played by Viktoria Vizin, also proved a study in contrasts. Physically, Vizin looked every inch the part and moved with a limber, sensuous litheness that convincingly lured every red-blooded male into her seductive snares. Vizin’s voice proved softer than past Carmens, but this trait added to the complexity of her character. Instead of an imposing siren, Vizin’s Carmen conveyed a fragility that humanized the enchantress. This quality proved particularly effective in Vizin’s intimate, confidential interpretation of “Près Des Remparts de Séville,” that drew the audience into the psychological drama. As Don Jose attempts to resist temptation, the audience asks Will he or won’t he?  The Sub Rosa texture in Vizin’s voice suggested that at that moment, Carmen herself does not know, heightening her vulnerability, the suspense and making the story fresh, even for those familiar with the outcome. As a foil for the promiscuous and volatile Carmen, Genia Kühmeier sang the role of the virtuous Michaela with a strength and purity that conveyed her confidence in her moral quest. Kühmeier’s powerful rendition of “Je dis que rien ne m’épouvante” clearly conveyed her unfaltering determination to remain undaunted in the face of danger.

In addition to the set and the music, Jesús del Pozo’s exquisite costumes added to the overall meaning of the opera. Del Pozo paired elegantly detailed pieces like Carmen’s magnificent red dress in Act III or her splendidly avant-garde coat in Act II with simple contemporary touches like jeans, black pants, and sweaters.  This juxtaposition of the antique with the modern through Del Pozo’s costume design remind the audience that tragedy exists today, in accounts of violence in the newspapers, on our city streets, and behind closed doors.

Finally, a humorous and insightful pre-concert lecture by Spanish Consul General, Inocencio F. Arias, at a reception hosted by Hispanics for LA Opera, revealed the nationalistic contrasts inherent in the opera, Consul General Arias ultimately deemed Carmen to be decidedly un-Spanish. The Consul stated that naming a protagonist “Bullfighter” is an embellishment as stereotypical as calling a character “Clown.” Mr. Arias determined that, despite its Spanish setting, Carmen exhibits overwhelming French attributes. In the end, however, the national identity of the opera does not invalidate its charm. After all, a French opera, set in Spain, with Caribbean decor, performed in Los Angeles with a Hungarian Mezzo-Soprano, can still enthrall, entrance, bewitch, and beguile.

Photography © LA Opera

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Cultural Events LA: November 22-24

images Opera Scenes

Presented by the Bob Cole Conservatory of Music

Nov. 22, 8pm Nov. 23, 4pm

Gerald R. Daniel Recital Hall. 1250 Bellflower Blvd. Long Beach, CA, 90840

 Mozart: The Magic Flute & The Abduction from the Seraglio; Rossini: La Cenerentola & The Barber of Seville

Britten: The Turn of the Screw & A Midsummer Night’s Dream; Richard Strauss: Ariadne auf Naxos

And a scene from Professor Carolyn Bremer’s new cyberpunk opera Laughing out Loud!

Tickets: $15/10 (students with valid ID)

Online purchase:

Ticket Office Direct Line: 562-985-7000. Tickets may also be purchased at the door.

carmen-la-opera Carmen at LA Opera

Nov 22: 7:30 p.m

135 North Grand Ave. LA, CA 90012

 213. 972. 7219



harmonia-nopaul-jpg Harmonia Baroque Players

Sun. Nov 23. 4 pm

Peninsula Community Church

5640 W. Crestridge Rd. Rancho Palos Verdes, CA 90275

Program: Scarlatti: Concerto in A minor; Corelli: Sonata in G minor for Violin & Archlute Telemann: Trio Sonata in C minor for Recorder, Oboe & Basso Handel: Sonata in F major for Recorder and Basso Vivaldi: Concerto in F major P.323 

(714) 970-8545

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Review- Inventiveness Reigns with Camerata Pacifica

Inventiveness reigns at Camerata Pacifica

“I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.”

-John Cage-

      Innovation proved the theme of the night at Tuesday’s concert comprised of Ian Wilson’s Heft, for Flute and Piano, Franz Schubert’s Arpeggione Sonata. D. 821, and Johannes Brahms’ Piano Quartet in G. Minor, Op.25. Each of these pieces embodies a pioneering attitude, uniting the program into a cohesive whole of creativity, ingenuity, and vision.

 Franz Schubert wrote Arpeggione Sonata D. 821 for an unusual new invention, the Arpeggione, a cross between a cello, guitar, and viola de gamba. Although Tuesday’s performance consisted of the piece transcribed for viola and piano, Richard Yongjae O’Neill’s virtousic and subtle interpretation (one that has resulted in his recording of the piece going platinum in Korea) personified the innovation that marked the night’s theme.

 Johannes Brahms represents another avant-garde composer in the musical world. Arnold Schoenberg called him “Brahms the Progressive,” music critic William Youngren labeled him a “Proto-Modernist,” and pianist and theorist Charles Rosen dubbed him, “Brahms the Subversive.” Although Brahms composed in the nineteenth century, twentieth century composers, like Schoenberg, hail his style as distinctly modern. The Piano Quartet in G. Minor, Op.25 exemplifies progressive techniques including experimental harmonic language and asymmetrical phrasing. Violinist Nurit Pacht, violist Richard Yongjae O’Neill, cellist Lars Hoef, and pianist Kevin Fitzgerald performed the Rondo alla Zingarese on the edge, a frenzied, unrestrained rendition lauded by an audience, thoroughly captivated by the gypsy mood.

 The program commenced with Ian Wilson’s Heft, for Flute and Piano, in which the opening section of the work was inspired by a quotation by the Egyptian conquerer, Amr Ibn Al-As, “I dreamt that heaven lay close upon the earth, and I between them both, breathing through the eye of a needle.” The flute in Wilson’s piece convincingly mimics the human breath as the audience awaits each carefully constructed note; each subsequent note becomes more vital than the previous one, like breathing itself. Wilson aptly titled his work “Heft,” a word with layers of meaning. The noun definition of Heft refers to weight, heaviness, importance, and influence. The verb definition of Heft signifies to raise, to elevate, or to test the weight of something by lifting it. The double-entendre in the title of Wilson’s inventive piece thus drives at the essence of music and its manifold purposes. Music is crucial, vital, and often weighty and dense. At the same time, music aims to raise and elevate the human intellect, heart, and spirit. The last definition, “to test the weight of something by lifting it,” is particularly fitting for modern music, like Wilson’s piece, which challenge traditional audiences to open their minds to unfamiliar and often complex new horizons, which make the musical journey that much more worthwhile.

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