12 pm ET: Mark Morris Dance Group presents
Dido and Aeneas. A screening of the 1995 film directed by Barbara Willis Sweete who recreated the
Dido and Aeneas set on a sound stage in Toronto and filmed it without the constraints of a proscenium stage and with Morris in his critically acclaimed role. The screening will be followed by a live Q&A with Morris and Sweete and launches a week of activities including talks with dancers and artistic collaborators. Dance with MMDG classes for all levels to learn excerpts of the work; Dance for PD classes appropriate for anyone with mobility concerns. View here and on demand for one week.
Classical Uprising presents Spring 2021 Season
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PORTLAND Out of the ashes, music rises. The future of classical music is here, and it’s in Portland, Maine.
In a moment when arts organizations across the globe are struggling, Emily Isaacson, 2018 Maine Artist of the Year, is using the pandemic to radically rethink live performance, classical music, and community arts. The result, Classical Uprising, is a performing arts organization that operates as a service agency.
“The pandemic has put a spotlight on the loneliness of modern existence,” says Isaacson. “We’ve lost the richness of community life and the meaningful social support that comes with it. The best art taps into our shared human experiences and shared emotions, so as we envision and build a post-COVID society, let’s employ music to restore our communities and live performances to feel alive again.”
Classical CDs Weekly: Christmas CDs 2020 | reviews, news & interviews Classical CDs Weekly: Christmas CDs 2020
Classical CDs Weekly: Christmas CDs 2020
Ten choice discs for the festive season
by Graham RicksonSaturday, 19 December 2020
Another year, another new Bach
Christmas Oratorio. Not that I’m complaining; this one is another zinger, up there with excellent contemporary versions from Stephen Layton and John Butt. Rainer Johannes Homberg’s Stuttgart Hymnus Boys’ Choir sing with incisive clarity, high-class support coming from Handel’s Company and a starry trio of trumpets. The first cantata’s opening chorus is all brassy exuberance, Homburg highlighting Bach’s ability to express unbuttoned joy. Try the first section of Cantata V, its dance rhythms immaculately sprung, or the unhurried splendour of Cantata VI’s finale. He has excellent soloists too: the tiny four-voice recitative just before the end of No 6 is sublime, Bach’s genius comp