It was a momentous occasion for the Israel Philharmonic Orchestra’s annual Carnegie Hall concert on Feb. 22. It marked the orchestra’s 75th anniversary, conductor Zubin Mehta’s 75th birthday, and his 50th year as IPO conductor.
At the post-concert dinner at the Plaza Hotel, hosted by the American Friends of the Israel Philharmonic Orchestra, vice president and benefit co-chair Lauren Veronis couldn’t praise the maestro enough.
That’s right, Johnny Mathis. The third best-selling recording artist of all time, whose open-hearted, sultry voice animated our car rides to Lake Tahoe when I was 10, the eight-track cassette seemingly invented just so my sister and I could say, yet again, “Go back to ‘Chances Are’!”
Israeli Philharmonic to perform the young Israeli composer’s ‘Azerbaijani Dances’ here next week.
The Israel Philharmonic Orchestra will give the U.S. premiere of Israeli composer Avner Dorman’s “Azerbaijani Dance” at Carnegie Hall on Tuesday. But it will not be the first time the conductor, Zubin Mehta, one of the world’s most prominent maestros, collaborated with Dorman. In fact, Mehta essentially gave Dorman his start.
Playing celebrated composer’s ‘Tehillim’ is close encounter with a classic of modern music and Jewish culture.
‘Do it again! Kol han-sha ma ta-ha lail!” thundered Alan Pierson, conductor of the new music classical group Alarm Will Sound, at a rehearsal last week with the teenage ensemble Face the Music.
They were rehearsing Steve Reich’s seminal chorale piece, “Tehillim,” from 1981, which both ensembles performed together on Sunday at Merkin Concert Hall. Face the Music will continue to perform the piece throughout the city in upcoming weeks.
Don Kirschner, the rock music publisher and producer who became known as “The Man With the Golden Ear” for his knack as identifying and managing successful singing groups, died Jan. 17 of heart failure in Boca Raton. He was 76.
One of Debbie Friedman’s most beautiful songs, “Lechi Lach,” reflects God’s telling Abraham and Sarah to go to “a place you do not know.” In her way, Ms. Friedman — Dina Leah bat Freydl v’Gavriel — did that for the rest of us, taking us to a spiritual place that few could have imagined, either as individuals or as a community.
She did it not only as a composer and singer but as a presence, a guide, a friend.
New documentary shows Phil Ochs caught between folk and rock.
Special To The Jewish Week
It is undoubtedly simplistic to suggest that a single incident can shape the way a person lives his entire life. Even the survivor of a catastrophic accident is more than the accumulated scars and physical deficits thus incurred. But watching Kenneth Bowser’s new documentary, “Phil Ochs: There But For Fortune,” it is impossible not to register a story that the great singer-songwriter’s brother Michael recalls from their childhood in small-town Ohio.
From Yiddish tunes to alt-rock to Sephardic rhythms, female performers dominated this year.
Special To The Jewish Week
This was a year in which recorded Jewish music seems to have been dominated by women. Certainly the CDs that have stayed with me the longest in 2010 are the work of some tremendously talented female singers, songwriters, composers and instrumentalists. So here’s a list of some recordings that have haunted me and delighted me since the first time I heard them. Not exactly a top 10 list, but not a bad yardstick to go by.
YU a cappella group atop Billboard charts, adored by media.
Just as the Maccabees continued the Chanukah wars long after the eight days of flames disappeared into a wisp of smoke, the story of the Maccabeats — an a capella group formed by Yeshiva University students — and their Chanukah video continues to dazzle even as the holiday fades.