Concerts

data-filter="[2020 01|2020 02|2020 02|][jones-hall|jones-hall|jones-hall|][January|February|February|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" It captivated listeners so completely when first premiered that an immediate, mid-symphony encore was demanded. More than 200 years later, from Hollywood to the concert hall, the bewitching “Allegretto” from Beethoven’s Seventh speaks to the heart just as intently—a vast, brooding midnight amidst a Symphony of sunny exuberance and surging high spirits. Kirill Gerstein kindles enough piano pyrotechnics to light up all of Texas with Liszt’s Piano Concerto No. 1 and Totentanz (“Dance of Death”). Pre-Concert Activities: Chamber Music Prelude Your ticket includes a special chamber music performance by Houston Symphony musicians on the Jones Hall stage starting 45 minutes before the concert. Hear Beethoven’s String Quartet No. 9, IV. Allegro molto performed by Rodica Gonzalez, violin, Mihaela Frusina, violin, Wei Jiang, viola, and Jeff Butler, cello. The first people to arrive will be given the opportunity to sit onstage for the prelude performance. Those interested should line up outside the Jones Hall main entrance on the Louisiana Patio near the first door on the right before doors open, 1 hour before the concert begins. All others may watch the chamber music performance from the front orchestra seating of Jones Hall. The chamber music replaces the regularly scheduled Prelude discussion. {|with_image|:[{|type|:|custom|,|name|:|Dima Slobodeniouk|,|bio|:|\u201cSlobodeniouk\u2019s calm, clean direction helped hold the sprawling symphony tightly\u00a0together, ensuring that even the softest, slowest-moving passages had a compelling\u00a0edge.\u201d Baltimore Sun\nLauded for his deeply informed and intelligent artistic leadership, Dima Slobodeniouk has held the position of Music Director of the Orquesta Sinf\u00f3nica de Galicia since 2013, which he combines with his more recent positions as Principal Conductor of the Lahti Symphony Orchestra and Artistic Director of the Sibelius Festival following his appointment in 2016. Linking his native Russian roots with the cultural influence of his later homeland Finland, he draws on the powerful musical heritage of these two countries. He works with orchestras such as the Berliner Philharmoniker, Gewandhausorchester Leipzig, Symphonieorchester des Bayerischen Rundfunks, London Philharmonic, London Symphony Orchestra, Finnish Radio Symphony, Chicago, Houston and Baltimore as well as Sydney Symphony Orchestras.\nSummer 2018 sees Slobodeniouk give his debut with the Boston Symphony Orchestra and Joshua Bell at the Tanglewood Music Festival. Further highlights are his debuts with the Royal Concertgebouw Orchestra Amsterdam, Rotterdam Philharmonic, ORF Radio-Symphonieorchester Wien at the Musikverein, Bayerisches Staatsorchester Munich, Minnesota, Seattle and Milwaukee Symphony Orchestras, NHK Symphony Orchestra and Seoul Philharmonic Orchestra as well as West Australian Symphony Orchestra. He returns to WDR Sinfonieorchester Cologne with Yefim Bronfman, Rundfunk Sinfonieorchester Berlin, Dresdner Philharmonie, Netherlands Radio Philharmonic Orchestra, Finnish Radio Symphony, Helsinki Philharmonic and New Zealand Symphony Orchestras. In Lahti, Slobodeniouk opens the 2018\/19 season with Joseph Canteloupe\u2019s Chants Auvergene and Beethoven\u2019s Eroica Symphony, before he takes the orchestra on tour to China including Shanghai Arts Festival. In Galicia he launches the new season with Patricia Kopatchinskaja and Shostakovich Symphony No 11. Other soloists he works with include Nicolas Altstaedt, Leif Ove Andsnes, Khatia Buniatishvili, Vilde Frang, Vadim Gluzman, Johannes Moser, Baiba Skride, Simon Trp\u010deski, Yuja Wang and Frank Peter Zimmermann.\nSlobodeniouk\u2019s discography was recently extended by recordings of works by Stravinsky with Ilya Gringolts and Orquesta Sinf\u00f3nica de Galicia (BIS) and works by Aho with Lahti Symphony Orchestra (BIS), the latter received the BBC Music Magazine award 2018. He has previously recorded works by Lotta Wenn\u00e4koski with Finnish Radio Symphony Orchestra (Ondine) and works by Sebastian Fagerlund with Gothenburg Symphony Orchestra (BIS).\nMoscow-born Dima Slobodeniouk studied violin at Moscow Central Music School under Zinaida Gilels and J. Chugajev, the Middle Finland Conservatory as well as the Sibelius Academy under Olga Parhomenko. He continued his Sibelius Academy studies with Atso Almila also under the guidance of Leif Segerstam and Jorma Panula, and has also studied under Ilya Musin and Esa-Pekka Salonen. Striving to inspire young musicians of the future, Slobodeniouk has worked with students at the Verbier Festival Academy over recent years and furthermore began a conducting initiative with the Orquesta Sinf\u00f3nica de Galicia, providing an opportunity for students to work on the podium with a professional orchestra.\n|,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Kirill Gerstein|,|bio|:|Kirill Gerstein\u2019s natural versatility and curiosity has led him to explore a wide range of repertoire and styles. From Bach to Ad\u00e8s, his playing is distinguished by a discerning intelligence, great virtuosity and a clarity of expression which he combines with an energetic and imaginative musical presence. He has been described as \u201cgloriously free and unfazed by technical difficulties, he made the piano sing\u2026 The concerto that we\u2019ve heard so many times before gained new life.\u201d (Leipziger Volkszeitung)\nIn the 2018\/19 season Gerstein will give the world premiere performance of Thomas Ad\u00e8s\u2019 new Piano Concerto with the Boston Symphony Orchestra conducted by the composer, with performances in Boston and in Carnegie Hall, New York. Gerstein and Ad\u00e8s will also give the European premiere with the Leipzig Gewandhaus Orchestra. They will also collaborate for performances of In Seven Days in London with the London Philharmonic and in Los Angeles with the LA Philharmonic, and in recitals in New York and Boston.\nElsewhere in this season, Gerstein appears with the Czech Philharmonic and Semyon Bychkov, and will return to the London Symphony Orchestra under Sir Mark Elder. He will perform in China with the Shanghai and Guangzhou Symphony Orchestras, with the Rotterdam Philharmonic, Orchestre Philharmonique de Radio France, NDR Elbphilharmonie Orchestra, Dresden Staatskapelle, Danish National Symphony Orchestra, Helsinki Philharmonic, Cleveland Orchestra, Cincinnati Symphony, and the Orquestra Sinf\u00f4nica de S\u00e3o Paolo. He plays recitals in London, Stuttgart, Lisbon, Singapore, Melbourne and Copenhagen, as well as chamber performances with the Hagen Quartet, Veronika Eberle and Clemens Hagen in Lucerne, and with actor Bruno Ganz for recitals in Germany and Austria.\nIn Autumn 2018 Gerstein\u2019s recording of Scriabin\u2019s Prometheus: The Poem of Fire, with the Oslo Philharmonic and Vasily Petrenko will be reeleased on LAWO Classic\u2019s. Future recording releases this season include Busoni\u2019s Piano Concerto on myrios classics in spring 2019 and Tchaikovsky\u2019s Piano Concerto Nos. 1-3 in summer 2019, part of Semyon Bychkov\u2019s Tchaikovsky Project recorded for Decca with the Czech Philharmonic. Recent recordings for myrios classics include The Gershwin Moment, released earlier this year; Liszt\u2019s Transcendental \u00c9tudes, picked by The New Yorker as one of 2016\u2019s notable recordings; and Tchaikovsky\u2019s First Piano Concerto in the composer\u2019s own final version from 1879. He also released Imaginary Pictures which couples Mussorgsky\u2019s Pictures at an Exhibition with Schumann\u2019s Carnaval, two discs with Tabea Zimmerman of sonatas for viola and piano by Brahms, Schubert, Franck, Clarke and Vieuxtemps, and a recital disc of works by Schumann, Liszt and Knussen.\nKirill Gerstein was brought up in the former Soviet Union studying both classical and jazz piano, and at the age of 14 years he moved to the US where he was the youngest student to attend Boston\u2019s Berklee College of Music. He subsequently shifted his focus to the classical repertoire and studied with Solomon Mikowsky in New York, Dmitri Bashkirov in Madrid and Ferenc Rados in Budapest. Gerstein won the first of a series of prestigious accolades in 2001: First Prize at the 10th Arthur Rubinstein Competition. In 2002, he won a Gilmore Young Artist Award, and in 2010 both an Avery Fisher Career Grant and the Gilmore Artist Award, which provided the funds for him to commission new works from Timothy Andres, Chick Corea, Alexander Goehr, Oliver Knussen and Brad Mehldau.\nA committed teacher and pedagogue, Gerstein taught at the Stuttgart Musik Hochschule from 2007-2017 and from autumn 2018, will teach as part of Kronberg Academy\u2019s newly announced Sir Andr\u00e1s Schiff Performance Programme for Young Artists.\n|,|title|:|piano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]} LISZT Piano Concerto No. 1 LISZT Totentanz JÖRG WIDMANN Con brio BEETHOVEN Symphony No. 7

data-filter="[2020 02|][duncan-recital-hall-at-shepherd-school-of-music|][February|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Experience the music of Robert Schumann and his wife, composer and pianist Clara Schumann, in an intimate recital featuring Houston Symphony musicians Joan DerHovsepian, associate principal viola, and Mark Nuccio, principal clarinet. https://houstonsymphony.org/wp-content/uploads/2020/01/HSYMP-011420-Schumann-A-Radio-30REV.mp3   LOCATION: Duncan Recital Hall, Shepherd School of Music at Rice University, 6100 Main St, Houston, TX 77005 {|with_image|:[{|type|:|existing|,|name|:|Joan DerHovsepian|,|bio|:||,|title|:|Associate Principal|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/joan-derhovsepian\/|},{|type|:|existing|,|name|:|Mark Nuccio|,|bio|:||,|title|:|Principal|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/mark-nuccio\/|}],|without|:[{|type|:|custom|,|name|:|Brian Connelly|,|bio|:||,|title|:|piano|,|small_image|:false,|bio_image|:false,|full_image|:false}]} R. SCHUMANN Adagio and Allegro, Op. 70 C. SCHUMANN Romances, Op. 22 R. SCHUMANN Märchenerzählungen, Op. 132 for clarinet, viola, and piano BRAHMS Sonata in F minor for viola and piano, Op. 120 No. 1

data-filter="[2020 02|][the-museum-of-fine-arts-houston|][February|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Discover Romantic art and music with this interactive gallery tour and performance. In partnership with the Houston Symphony’s Schumann Festival, this fun and informative talk features a live performance of music by Robert Schumann from Houston Symphony musicians. This guided tour explores the themes and ideas of Romanticism as Schumann’s music is paired with works from the Museum’s permanent collection. ADMISSION AND PARKING: General admission to the MFAH is free on Thursdays. Parking in the museum’s two garages—one at 5101 Montrose, the other at 1144 Binz—is free for MFAH visitors who enter the museum between 5 p.m. and 9 p.m. on Thursdays. https://houstonsymphony.org/wp-content/uploads/2020/01/HSYMP-011420-Schumann-A-Radio-30REV.mp3   LOCATION: The Museum of Fine Arts, Houston, 1001 Bissonnet St. Above: Gustave Courbet, The Gust of Wind, c. 1865, oil on canvas, the Museum of Fine Arts, Houston, Museum purchase funded by Caroline Wiess Law. Courtesy of the MFAH false

data-filter="[2020 02|][kirkland-ellis|][February|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Enjoy more music in an exclusive post-concert recital! Join Schumann Festival guest artist Benjamin Grosvenor, piano, at a sky bar in the heart of downtown Houston. Grosvenor, “one of the greatest young pianists in the world” (L’Est Républicain), performs Robert Schumann’s Kreisleriana. This performance is part of the upcoming Schumann Festival, a two-week celebration of the life and work of German composer Robert Schumann, led by Music Director Andrés Orozco-Estrada. Tickets are $45 and are General Admission seating. https://houstonsymphony.org/wp-content/uploads/2020/01/HSYMP-011420-Schumann-A-Radio-30REV.mp3   LOCATION: Kirkland & Ellis, 609 Main St, Houston, TX 77002 {|with_image|:[{|type|:|custom|,|name|:|Benjamin Grosvenor|,|bio|:|British pianist Benjamin Grosvenor is internationally recognised for his electrifying performances, distinctive sound and insightful interpretations. His virtuosic command over the most arduous technical complexities underpins the remarkable depth and understanding of his music making. Described as \u201cone in a million…several million\u201d by The Independent, he has also been lauded as \u201ca keyboard visionary\u201d by the S\u00fcddeutsche Zeitung.\nBenjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven, and he was invited to perform with the BBC Symphony Orchestra at the First Night of the 2011 BBC Proms aged just nineteen. A pianist of widespread international acclaim, he was announced as the inaugural recipient of The Ronnie and Lawrence Ackman Classical Piano Prize with the New York Philharmonic in 2016.\nRecent and forthcoming concerto highlights include engagements with the Boston and Chicago Symphony Orchestras, The Philadelphia Orchestra, New York Philharmonic, Finnish Radio Symphony Orchestra, G\u00fcrzenich-Orchestra Cologne, Hall\u00e9 Orchestra, Orchestre National de Lyon, Orquesta Nacional de Espa\u00f1a, Filarmonica della Scala, London Philharmonic Orchestra, and the London, Melbourne, San Francisco, and Washington National Symphony Orchestras. Benjamin works with such esteemed conductors as Vladimir Ashkenazy, Andrey Boreyko, Semyon Bychkov, Riccardo Chailly, Sir Mark Elder, Edward Gardner, Alan Gilbert, Manfred Honeck, Vladimir Jurowski, Emmanuel Krivine, Andrew Manze, Ludovic Morlot, Kent Nagano, Sir Roger Norrington, Gianandrea Noseda, Fran\u00e7ois-Xavier Roth, Esa-Pekka Salonen, Leonard Slatkin, Nathalie Stutzmann, Michael Tilson Thomas, Krzysztof Urba\u0144ski, and with Kazuki Yamada.\nAmong Benjamin\u2019s major recital dates in the 2018\/19 season are London\u2019s Barbican Hall, Th\u00e9\u00e2tre des Champs Elys\u00e9es Paris, Madrid\u2019s Ciclo Grandes Int\u00e9rpretes, San Francisco Performances, Sydney Symphony Orchestra\u2019s recital series, Munich\u2019s Herkulessaal, Milan\u2019s Societ\u00e1 dei Concerti and Palau de la M\u00fasica Catalana Barcelona. Also a keen chamber musician, he joins Tabea Zimmermann and others for a performance of Schubert\u2019s Trout Quintet at Bonn\u2019s Beethovenwoche 2019, and together with the Doric String Quartet performs piano quintets by Faur\u00e9 and Dvo\u0159\u00e1k as well as chamber settings of Chopin\u2019s Piano Concertos as part of his concert series at London\u2019s Barbican in 2019.\nIn 2011 Benjamin signed to Decca Classics, becoming the youngest British musician ever, and the first British pianist in almost 60 years, to sign to the label. Benjamin\u2019s fourth CD on the label, Homages (2016), explores a number of works in which great composers pay tribute to their predecessors, including Busoni\u2019s transcription of Bach\u2019s great solo violin Chaconne, Franck\u2019s Choral, Prelude and Fugue and Liszt\u2019s tribute to Italian folk song, Venezia e Napoli. Named Instrumental Recording of the Month in BBC Music Magazine, the disc was also awarded a Diapason d’Or, with Diapason’s critic declaring that \u201chis pianistic ingenuity, his lyrical voice and aristocratic distinction remind one of the young Josef Hofmann or Ignaz Friedman. The whole recital is charged with Romantic \u00e9lan.\u201d\nDuring his sensational career to date, Benjamin has received Gramophone\u2019s Young Artist of the Year and Instrumental Awards, a Classic Brits Critics\u2019 Award, UK Critics\u2019 Circle Award for Exceptional Young Talent and a Diapason d\u2019Or Jeune Talent Award. He has been featured in two BBC television documentaries, BBC Breakfast and The Andrew Marr Show, as well as in CNN\u2019s Human to Hero series.\nThe youngest of five brothers, Benjamin began playing the piano aged 6. He studied at the Royal Academy of Music with Christopher Elton and Daniel-Ben Pienaar, where he graduated in 2012 with the \u2018Queen\u2019s Commendation for Excellence\u2019 and in 2016 was awarded a Fellowship. Benjamin has been supported since 2013 by EFG International, the widely respected global private banking group.\n|,|title|:||,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]} SCHUMANN Kreisleriana

data-filter="[2020 02|2020 02|][jones-hall|jones-hall|][February|February|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Robert Schumann’s music speaks to us in a timeless, universal language. His romance with virtuoso pianist Clara Wieck is a love story for the ages, while his ongoing battle with depression, and eventual descent into insanity, makes his noble, life-affirming creations all the more remarkable. Join us for a deep dive into the trials and the triumphs, the love and the madness, the man and the music. Catch all of the Schumann Festival performances! Enjoy Intimate Songs & Grand Choruses on February 13, Chamber Music with Alisa Weilerstein and Houston Symphony Musicians on February 14, and guest artist Alisa Weilerstein, cello, on February 15 & 16. Andrés Orozco-Estrada, conductor https://houstonsymphony.org/wp-content/uploads/2020/01/HSYMP-011420-Schumann-A-Radio-30REV.mp3 {|with_image|:[{|type|:|existing|,|name|:|Andr\u00e9s Orozco-Estrada|,|bio|:||,|title|:|Music Director|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/conductor\/andres-orozco-estrada\/|},{|type|:|custom|,|name|:|Benjamin Grosvenor|,|bio|:|British pianist Benjamin Grosvenor is internationally recognised for his electrifying performances, distinctive sound and insightful interpretations. His virtuosic command over the most arduous technical complexities underpins the remarkable depth and understanding of his music making. Described as \u201cone in a million…several million\u201d by The Independent, he has also been lauded as \u201ca keyboard visionary\u201d by the S\u00fcddeutsche Zeitung.\nBenjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven, and he was invited to perform with the BBC Symphony Orchestra at the First Night of the 2011 BBC Proms aged just nineteen. A pianist of widespread international acclaim, he was announced as the inaugural recipient of The Ronnie and Lawrence Ackman Classical Piano Prize with the New York Philharmonic in 2016.\nRecent and forthcoming concerto highlights include engagements with the Boston and Chicago Symphony Orchestras, The Philadelphia Orchestra, New York Philharmonic, Finnish Radio Symphony Orchestra, G\u00fcrzenich-Orchestra Cologne, Hall\u00e9 Orchestra, Orchestre National de Lyon, Orquesta Nacional de Espa\u00f1a, Filarmonica della Scala, London Philharmonic Orchestra, and the London, Melbourne, San Francisco, and Washington National Symphony Orchestras. Benjamin works with such esteemed conductors as Vladimir Ashkenazy, Andrey Boreyko, Semyon Bychkov, Riccardo Chailly, Sir Mark Elder, Edward Gardner, Alan Gilbert, Manfred Honeck, Vladimir Jurowski, Emmanuel Krivine, Andrew Manze, Ludovic Morlot, Kent Nagano, Sir Roger Norrington, Gianandrea Noseda, Fran\u00e7ois-Xavier Roth, Esa-Pekka Salonen, Leonard Slatkin, Nathalie Stutzmann, Michael Tilson Thomas, Krzysztof Urba\u0144ski, and with Kazuki Yamada.\nAmong Benjamin\u2019s major recital dates in the 2018\/19 season are London\u2019s Barbican Hall, Th\u00e9\u00e2tre des Champs Elys\u00e9es Paris, Madrid\u2019s Ciclo Grandes Int\u00e9rpretes, San Francisco Performances, Sydney Symphony Orchestra\u2019s recital series, Munich\u2019s Herkulessaal, Milan\u2019s Societ\u00e1 dei Concerti and Palau de la M\u00fasica Catalana Barcelona. Also a keen chamber musician, he joins Tabea Zimmermann and others for a performance of Schubert\u2019s Trout Quintet at Bonn\u2019s Beethovenwoche 2019, and together with the Doric String Quartet performs piano quintets by Faur\u00e9 and Dvo\u0159\u00e1k as well as chamber settings of Chopin\u2019s Piano Concertos as part of his concert series at London\u2019s Barbican in 2019.\nIn 2011 Benjamin signed to Decca Classics, becoming the youngest British musician ever, and the first British pianist in almost 60 years, to sign to the label. Benjamin\u2019s fourth CD on the label, Homages (2016), explores a number of works in which great composers pay tribute to their predecessors, including Busoni\u2019s transcription of Bach\u2019s great solo violin Chaconne, Franck\u2019s Choral, Prelude and Fugue and Liszt\u2019s tribute to Italian folk song, Venezia e Napoli. Named Instrumental Recording of the Month in BBC Music Magazine, the disc was also awarded a Diapason d’Or, with Diapason’s critic declaring that \u201chis pianistic ingenuity, his lyrical voice and aristocratic distinction remind one of the young Josef Hofmann or Ignaz Friedman. The whole recital is charged with Romantic \u00e9lan.\u201d\nDuring his sensational career to date, Benjamin has received Gramophone\u2019s Young Artist of the Year and Instrumental Awards, a Classic Brits Critics\u2019 Award, UK Critics\u2019 Circle Award for Exceptional Young Talent and a Diapason d\u2019Or Jeune Talent Award. He has been featured in two BBC television documentaries, BBC Breakfast and The Andrew Marr Show, as well as in CNN\u2019s Human to Hero series.\nThe youngest of five brothers, Benjamin began playing the piano aged 6. He studied at the Royal Academy of Music with Christopher Elton and Daniel-Ben Pienaar, where he graduated in 2012 with the \u2018Queen\u2019s Commendation for Excellence\u2019 and in 2016 was awarded a Fellowship. Benjamin has been supported since 2013 by EFG International, the widely respected global private banking group.\n|,|title|:|piano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]} SAT., FEB. 8 SCHUMANN Symphony No. 1 SCHUMANN Piano Concerto SCHUMANN Symphony No. 2 SUN., FEB. 9 SCHUMANN Symphony No. 4 SCHUMANN Piano Concerto SCHUMANN Symphony No. 3

data-filter="[2020 02|][jones-hall|][February|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Creative artists throughout history have been especially vulnerable to mental illness. Dr. Richard Kogan, a Juilliard-trained concert pianist and Harvard-educated psychiatrist, presents a program that explores the connection between the troubled mind and the creative output of the great German composer Robert Schumann. Dr. Kogan explores how the racing thoughts and sharpened imagination of Schumann’s hypomanic states brought about prodigious bursts of creativity—until the onset of psychosis led to Schumann’s tragic final years in an asylum. The presentation includes Houston Symphony musicians’ performance of the Andante Cantabile movement from Schumann’s Piano Quartet. “Through a unique combination of brilliant psychiatric insights and superb musicianship, my musical colleague Richard Kogan presents a rich multidimensional profile revealing some of the most intimate sources of Schumann’s enormous creativity, imagination and artistry.” —Yo Yo Ma Ticket Information This is a free event, but ticket reservations are required. You may use the link below to reserve tickets. *This unique arts in health presentation is made possible by a collaboration between Houston Symphony and Houston Methodist Center for Performing Arts Medicine. This lecture qualifies for Continuing Medical Education (CME) Credit Offered to Physicians. For more information and to register, please contact [email protected] https://houstonsymphony.org/wp-content/uploads/2020/01/HSYMP-011420-Schumann-A-Radio-30REV.mp3 {|with_image|:[{|type|:|custom|,|name|:|Dr. Richard Kogan|,|bio|:|Psychiatrist and concert pianist Dr. Richard Kogan is renowned for his lectures\/concerts that explore the influence of psychological factors and psychiatric and medical illness on the creative output of the great composers. A master storyteller, he has captivated audiences with these programs at music festivals, concert series, medical conferences and scholarly symposia throughout the world. Dr. Kogan is clinical professor of psychiatry at Weill Cornell Medical College, and artistic director of the Weill Cornell Music and Medicine Program. The New York Times has praised him for his \u201celoquent, compelling, and exquisite playing\u201d as a pianist. About his distinguished career as both a concert pianist and a psychiatrist, the Boston Globe wrote, \u201cKogan has somehow managed to excel at the world\u2019s two most demanding professions.\u201d\nDr. Kogan is a graduate of the Juilliard School of Music Pre-College, Harvard College, and Harvard Medical School. He has won numerous honors and awards in both music and psychiatry.\n|,|title|:|presenter|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]}

data-filter="[2020 02|][jones-hall|][February|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Celebrate Valentine’s Day week with romantic ballads and grand choral music. Catch all of the Schumann Festival performances! Enjoy guest artist Benjamin Grosvenor, piano, on February 8 & 9, Chamber Music with Alisa Weilerstein and Houston Symphony Musicians on February 14, and guest artist Alisa Weilerstein, cello, on February 15 & 16. NOTE: This concert only features the Houston Symphony Chorus and piano. The orchestra does not perform on this program. https://houstonsymphony.org/wp-content/uploads/2020/01/HSYMP-011420-Schumann-A-Radio-30REV.mp3   {|with_image|:[{|type|:|custom|,|name|:|Richard Trey Smagur|,|bio|:|Winner of the 2017 Metropolitan Opera National Council Auditions, Richard Trey Smagur, tenor, has been noted by Opera Today for his “attractive lyric tenor” and “vivid presence.\u201d In the 2018-19 season, he returned to the Houston Grand Opera Studio as Steuermann in Der fliegende Holl\u00e4nder, Parpignol in La boh\u00e8me, and the cover of Nadir in Les p\u00eacheurs de perles. This past summer, he returned to Santa Fe Opera in his role debut as \u0160teva in David Alden\u2019s production of Jen\u016ffa, to great critical acclaim. In addition to this performance at the Schumann Festival, other orchestral engagements this season include his debut as Narraboth in Salome with the Dallas Symphony Orchestra, Mahler\u2019s Das klagende Lied with the Cincinnati Music Festival, and Handel\u2019s Messiah with the Tucson Symphony Orchestra. \nIn the 2017-18 season, Richard made role and house debuts at HGO, including Gastone in La traviata, Young Servant in Elektra, and Count Almaviva in Il barbiere di Siviglia at the Miller Outdoor Theatre. He also debuted at Santa Fe Opera as Tsarevitch Gvidon in The Golden Cockerel, as well as Tybalt in Rom\u00e9o et Juliette with Wolf Trap Opera. Orchestral appearances included Beethoven’s Ninth Symphony with the National Symphony Orchestra at the Filene Center and Mahler’s Das Lied von der Erde at the Aspen Music Festival and School. \nOperatic highlights include Tamino in The Magic Flute with OK Mozart, covering Des Grieux in Manon at Des Moines Metro Opera, the title role in Peter Grimes, B.F. Pinkerton in Madama Butterfly, Don Jos\u00e9 in Carmen, and Ralph Rackstraw in H.M.S. Pinafore at Indiana University. Concert appearances include Elijah with the Tucson Desert Song Festival and performances as a tenor soloist with the Cincinnati Boychoir. \nA native of Clarkesville, Georgia, Richard holds a Performer\u2019s Diploma from Indiana University and a Bachelor of Music from Shorter College. He was a fellow at the Steans Music Institute at Ravinia Music Festival and a participant in HGO\u2019s 2012 Young Artists\u2019 Vocal Academy. Honors and awards include the Richard Tucker Fund Award from Santa Fe Opera and a 2016 Georgina Joshi Fellowship at Indiana University.\n|,|title|:|tenor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Alex Munger|,|bio|:|Alex Munger, a first-year Houston Grand Opera Studio artist and Dr. Sa\u00fal and Ursula Balagura\/Mr. Trey Yates Fellow, is a collaborative pianist from Milwaukee, Wisconsin. Last year, he was a staff pianist at the University of Illinois, where he helped prepare La boh\u00e8me and The Rape of Lucretia, among other opportunities. In 2018, as a fellowship pianist with the Aspen Opera Center, he worked on Il barbiere di Siviglia; he returned to Aspen this past summer. \nAlex received his Master of Music degree in vocal coaching and accompanying from the University of Illinois, where he was the recipient of the Nancy Kennedy Wustman Award in Vocal Accompanying and worked on productions of Don Giovanni and Hansel and Gretel. Previous engagements include the Bay View Music Festival (Carmen); he returned in 2019 as a faculty pianist for its two-week opera and art song program. During the 2019\u201320 season at Houston Grand Opera, he coaches Rigoletto, La favorite, and The Magic Flute. He also appears with HGO Studio singers in recital and other performances.\n|,|title|:|piano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Betsy Cook Weber|,|bio|:|Dr. Betsy Cook Weber was appointed Director of the Houston Symphony Chorus in 2014. She also serves as professor of Music and director of Choral Studies at the University of Houston\u2019s Moores School of Music.\nBetsy is in high demand as a conductor, clinician, adjudicator and lecturer and has conducted performances in more than half the states in the United States. Internationally, she has conducted acclaimed, prize-winning performances in France, Wales, Germany and the Czech Republic. She is editor of the Betsy Cook Weber Choral Series with Alliance Music Publishing, and in 2013, she became the 13th person and first woman to receive the Texas Choral Director Association\u2019s coveted Texas Choirmaster Award. Betsy holds degrees from the University of North Texas, Westminster Choir College and the University of Houston.\n|,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|existing|,|name|:|Scott Holshouser|,|bio|:||,|title|:|Principal|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/scott-holshouser\/|}],|without|:[{|type|:|custom|,|name|:|Grace Roman|,|bio|:||,|title|:|soprano|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Anna Diemer|,|bio|:||,|title|:|soprano|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Sean Jackson|,|bio|:||,|title|:|tenor|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Michael Kessler|,|bio|:||,|title|:|bass|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Melissa Medina|,|bio|:||,|title|:|soprano|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Emily Boudreaux|,|bio|:||,|title|:|mezzo-soprano|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Sarah Brannon|,|bio|:||,|title|:|mezzo-soprano|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Beth Chrisman Schurtz|,|bio|:||,|title|:|mezzo-soprano|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Chris Kersten|,|bio|:||,|title|:|baritone|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Jennifer Breneman|,|bio|:||,|title|:|mezzo-soprano|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Elizabeth Kragas|,|bio|:||,|title|:|soprano|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Emily Sanders|,|bio|:||,|title|:|soprano|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Houston Symphony Chorus|,|bio|:||,|title|:|Betsy Cook Weber, director|,|small_image|:false,|bio_image|:false,|full_image|:false}]} SCHUMANN Dichterliebe (A Poet’s Love) SCHUMANN Pilgrimage of the Rose

data-filter="[2020 02|][zilkha-hall-at-hobby-center|][February|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" The third performance of our Chamber Music Series, part of the Houston Symphony’s two-week Schumann Festival, takes place at Zilkha Hall at the Hobby Center on Valentine’s Day. The program features a small ensemble of Houston Symphony musicians and Alisa Weilerstein (cello) in Schumann’s most romantic works. Participating Houston Symphony Musicians R. SCHUMANN Three Romances for Oboe and Piano: Jonathan Fischer, oboe; Scott Holshouser, piano. C. SCHUMANN Three Romances for Violin and Piano: Sophia Silivos, violin; Scott Holshouser, piano. R. SCHUMANN Piano Quartet (with Alisa Weilerstein): Yoonshin Song, violin; Joan DerHovsepian, viola; Scott Holshouser, piano. https://houstonsymphony.org/wp-content/uploads/2020/01/HSYMP-011420-Schumann-A-Radio-30REV.mp3   LOCATION: Zilkha Hall, 800 Bagby St. #300, Houston, TX 77002 {|with_image|:[{|type|:|custom|,|name|:|Alisa Weilerstein|,|bio|:|“A young cellist whose emotionally resonant performances of both traditional and contemporary music have earned her international recognition, … Weilerstein is a consummate performer, combining technical precision with impassioned musicianship.” So stated the MacArthur Foundation when awarding Alisa Weilerstein a 2011 MacArthur “genius grant” Fellowship, prompting the New York Times to respond: “Any fellowship that recognizes the vibrancy of an idealistic musician like Ms. Weilerstein … deserves a salute from everyone in classical music.” In performances marked by intensity, sensitivity, and a wholehearted immersion in each of the works she interprets, the American cellist has long proven herself to be in possession of a distinctive musical voice.\nIn the 2017-18 season Weilerstein gives two performances of Schumann’s Cello Concerto, with the Pittsburgh Symphony under Manfred Honeck and the Philadelphia Orchestra led by Christoph Eschenbach; two performances of the Barber Concerto, with the Chicago Symphony led by Jir\u00ed Belohl\u00e1vek and the Cleveland Orchestra under Alan Gilbert; and a performance of Tchaikovsky’s Variations on a Rococo Theme with conductor Jeffrey Kahane leading the New York Philharmonic. She also plays a series of duo recitals on tour with her regular recital partner, Israeli pianist Inon Barnatan, beginning at Philadelphia’s Kimmel Center and Carnegie Hall. Repertoire includes Mendelssohn’s Cello Sonata No. 2, the sole cello sonatas of Rachmaninoff and Britten, and a new work by Grammy-winning guitarist and composer Steven Mackey, co-commissioned by Carnegie Hall and Wigmore Hall, where Weilerstein and Barnatan give its UK premiere in November. Other concerto appearances include Shostakovich with the Deutsches Symphonie Orchester and James Conlon; Prokofiev with the Dallas Symphony under Jaap van Zweden; tours of the UK with the Czech Philharmonic and Belohl\u00e1vek playing Shostakovich and Dvor\u00e1k; and performances of Lutoslawski’s Cello Concerto with the Indianapolis Symphony under the baton of Krzysztof Urban\u00b4ski.\nThe 2016-17 season saw Weilerstein release her new album of Shostakovich’s two cello concertos with the Bavarian Radio Symphony under Pablo Heras-Casado. In a career first, she gave performances of Bach’s complete suites for unaccompanied cello; toured nine U.S. cities, capped by a Lincoln Center performance at Alice Tully Hall, with Barnatan and New York Philharmonic principal clarinetist Anthony McGill; and toured Europe with Barnatan, culminating with a return to London’s Wigmore Hall. In concerts around the globe she performed Britten’s Cello Symphony with the New World Symphony; Shostakovich’s First Cello Concerto with the Lausanne Chamber Orchestra, the Netherlands Philharmonic, and the National Symphony in both Washington, DC and Moscow; Prokofiev’s Sinfonia concertante with the Royal Stockholm Philharmonic and the Dallas Symphony; Schumann with the San Francisco Symphony and the Orpheus Chamber Orchestra, the latter at Carnegie Hall and on tour in Italy and Spain; Elgar with the Staatskapelle Weimar; Walton with Amsterdam’s Residentie Orkest; and Dvor\u00e1k with the Minnesota Orchestra, Sydney Symphony, and the Tokyo Symphony on a three-stop tour of Japan, where she also played four solo recitals. The cellist also performed Henri Dutilleux’s Tout un monde lointain… with Lisbon’s Gulbenkian Orchestra, and gave the world premiere of Matthias Pintscher’s Cello Concerto with the Boston Symphony Orchestra, which co-commissioned the piece for her.\nIn recent years, Weilerstein recorded the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin. The disc was named “Recording of the Year 2013” by BBC Music, which featured the cellist on the cover of its May 2014 issue. Her next release, on which – as in concerts this season – she plays Dvor\u00e1k’s Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart. Her third album, a compilation of unaccompanied 20th-century cello music titled Solo, was pronounced an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo’s centerpiece is the Kod\u00e1ly sonata, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chlo\u00eb Grace Moretz in which the cellist makes a cameo appearance as herself. In 2015 she released a recording of sonatas by Chopin and Rachmaninoff, marking her duo album debut with Inon Barnatan, which earned praise from Voix des Arts as “a ravishing recording of fantastic music.\nWeilerstein has appeared with all the foremost orchestras of the United States and Europe, collaborating with conductors including Marin Alsop, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Giancarlo Guerrero, Bernard Haitink, Marek Janowski, Neeme J\u00e4rvi, Paavo J\u00e4rvi, Lorin Maazel, Cristian Macelaru, Zubin Mehta, Ludovic Morlot, Yannick N\u00e9zet-S\u00e9guin, Peter Oundjian, Matthias Pintscher, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo V\u00e4nsk\u00e4, Simone Young and David Zinman. Her major career milestones include an emotionally tumultuous account of Elgar’s concerto with the Berlin Philharmonic and Daniel Barenboim in Oxford, England, for the orchestra’s 2010 European Concert, which was televised live to an audience of millions worldwide and subsequently released on DVD by EuroArts. She and Barenboim reunited in 2012-13 to play Elliott Carter’s concerto on a German tour with the Berlin Staatskapelle. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high profile classical music event at the White House, featuring student workshops hosted by the First Lady, and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Sim\u00f3n Bol\u00edvar Symphony Orchestra under Gustavo Dudamel. She has since made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program. Other highlights of recent seasons include her debut at the BBC Proms in 2010, and with England’s Academy of St. Martin in the Fields, which she joined in 2013 for a 16-city U.S. tour.\nCommitted to expanding the cello repertoire, Weilerstein is an ardent champion of new music. Two seasons ago she gave the world premiere of Pascal Dusapin’s Outscape, which she performed with the co-commissioning Chicago Symphony before giving its first European performances with the Stuttgart and Paris Opera Orchestras; this past season she premiered Matthias Pintscher’s Cello Concerto with the Boston Symphony Orchestra. She gave the New York premiere of Pintscher’s Reflections on Narcissus under the composer’s own direction during the New York Philharmonic’s inaugural 2014 Biennial, and subsequently the two also performed the work at the BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra (originally premiered by Yo-Yo Ma) for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Weilerstein has since played the work with orchestras around the world, besides frequently programming the Argentinean composer’s Omaramor for solo cello. At the 2008 Caramoor festival, she gave the world premiere of Lera Auerbach’s 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two have subsequently reprised the work at the Schleswig-Holstein Festival, the Kennedy Center, and for San Francisco Performances. Joseph Hallman, a 2014 Grammy Award nominee, has also written multiple works for Weilerstein, including a cello concerto that she premiered with the St. Petersburg Philharmonic in 2008, and a trio that she premiered on tour with Inon Barnatan and clarinetist Anthony McGill last season.\nWeilerstein has appeared at major music festivals throughout the world, including Aspen, Bad Kissingen, Delft, Edinburgh, Jerusalem Chamber Music, La Jolla SummerFest, Mostly Mozart, Salzburg, Schleswig-Holstein, Tanglewood, and Verbier. In addition to her appearances as a soloist and recitalist, Weilerstein performs regularly as a chamber musician. She has been part of a core group of musicians at the Spoleto Festival USA for the past eight years and also performs with her parents, Donald and Vivian Hornik Weilerstein, as the Weilerstein Trio, the trio-in-residence at Boston’s New England Conservatory.\nThe cellist is the winner of both Lincoln Center’s 2008 Martin E. Segal prize for exceptional achievement and the 2006 Leonard Bernstein Award. She received an Avery Fisher Career Grant in 2000 and was selected for two prestigious young artist programs in the 2000-01 season: the ECHO (European Concert Hall Organization) “Rising Stars” recital series and the Chamber Music Society of Lincoln Center’s Chamber Music Society Two.\nBorn in 1982, Weilerstein discovered her love for the cello at just two and a half, when her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her while she was ill with chicken pox. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn’t produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed her natural affinity for the instrument and gave her first public performance six months later. At 13, in October 1995, she played Tchaikovsky’s “Rococo” Variations for her Cleveland Orchestra debut, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, the cellist also holds a degree in history from Columbia University, from which she graduated in May 2004. In November 2008, Weilerstein, who was diagnosed with type 1 diabetes when she was nine, became a Celebrity Advocate for the Juvenile Diabetes Research Foundation.\n|,|title|:|cello|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|existing|,|name|:|Yoonshin Song|,|bio|:||,|title|:|Concertmaster|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/yoonshin-song\/|},{|type|:|existing|,|name|:|Sophia Silivos|,|bio|:||,|title|:||,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/sophia-silivos\/|},{|type|:|existing|,|name|:|Joan DerHovsepian|,|bio|:||,|title|:|Associate Principal|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/joan-derhovsepian\/|},{|type|:|existing|,|name|:|Jonathan Fischer|,|bio|:||,|title|:|Principal|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/jonathan-fischer\/|},{|type|:|existing|,|name|:|Scott Holshouser|,|bio|:||,|title|:|Principal|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/scott-holshouser\/|}],|without|:[]} R. SCHUMANN Three Romances for Oboe and Piano C. SCHUMANN Three Romances for Violin and Piano R. SCHUMANN Piano Quartet

data-filter="[2020 02|2020 02|][jones-hall|jones-hall|][February|February|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Robert Schumann’s music speaks to us in a timeless, universal language. His romance with virtuoso pianist Clara Wieck is a love story for the ages, while his ongoing battle with depression, and eventual descent into insanity, makes his noble, life-affirming creations all the more remarkable. Join us for a deep dive into the trials and the triumphs, the love and the madness, the man and the music. Catch all of the Schumann Festival performances! Enjoy guest artist Benjamin Grosvenor, piano, on February 8 & 9, Intimate Songs & Grand Choruses on February 13, and Chamber Music with Alisa Weilerstein and Houston Symphony Musicians on February 14. Andrés Orozco-Estrada, conductor https://houstonsymphony.org/wp-content/uploads/2020/01/HSYMP-011420-Schumann-A-Radio-30REV.mp3 {|with_image|:[{|type|:|existing|,|name|:|Andr\u00e9s Orozco-Estrada|,|bio|:||,|title|:|Music Director|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/conductor\/andres-orozco-estrada\/|},{|type|:|custom|,|name|:|Alisa Weilerstein|,|bio|:|“A young cellist whose emotionally resonant performances of both traditional and contemporary music have earned her international recognition, … Weilerstein is a consummate performer, combining technical precision with impassioned musicianship.” So stated the MacArthur Foundation when awarding Alisa Weilerstein a 2011 MacArthur “genius grant” Fellowship, prompting the New York Times to respond: “Any fellowship that recognizes the vibrancy of an idealistic musician like Ms. Weilerstein … deserves a salute from everyone in classical music.” In performances marked by intensity, sensitivity, and a wholehearted immersion in each of the works she interprets, the American cellist has long proven herself to be in possession of a distinctive musical voice.\nIn the 2017-18 season Weilerstein gives two performances of Schumann’s Cello Concerto, with the Pittsburgh Symphony under Manfred Honeck and the Philadelphia Orchestra led by Christoph Eschenbach; two performances of the Barber Concerto, with the Chicago Symphony led by Jir\u00ed Belohl\u00e1vek and the Cleveland Orchestra under Alan Gilbert; and a performance of Tchaikovsky’s Variations on a Rococo Theme with conductor Jeffrey Kahane leading the New York Philharmonic. She also plays a series of duo recitals on tour with her regular recital partner, Israeli pianist Inon Barnatan, beginning at Philadelphia’s Kimmel Center and Carnegie Hall. Repertoire includes Mendelssohn’s Cello Sonata No. 2, the sole cello sonatas of Rachmaninoff and Britten, and a new work by Grammy-winning guitarist and composer Steven Mackey, co-commissioned by Carnegie Hall and Wigmore Hall, where Weilerstein and Barnatan give its UK premiere in November. Other concerto appearances include Shostakovich with the Deutsches Symphonie Orchester and James Conlon; Prokofiev with the Dallas Symphony under Jaap van Zweden; tours of the UK with the Czech Philharmonic and Belohl\u00e1vek playing Shostakovich and Dvor\u00e1k; and performances of Lutoslawski’s Cello Concerto with the Indianapolis Symphony under the baton of Krzysztof Urban\u00b4ski.\nThe 2016-17 season saw Weilerstein release her new album of Shostakovich’s two cello concertos with the Bavarian Radio Symphony under Pablo Heras-Casado. In a career first, she gave performances of Bach’s complete suites for unaccompanied cello; toured nine U.S. cities, capped by a Lincoln Center performance at Alice Tully Hall, with Barnatan and New York Philharmonic principal clarinetist Anthony McGill; and toured Europe with Barnatan, culminating with a return to London’s Wigmore Hall. In concerts around the globe she performed Britten’s Cello Symphony with the New World Symphony; Shostakovich’s First Cello Concerto with the Lausanne Chamber Orchestra, the Netherlands Philharmonic, and the National Symphony in both Washington, DC and Moscow; Prokofiev’s Sinfonia concertante with the Royal Stockholm Philharmonic and the Dallas Symphony; Schumann with the San Francisco Symphony and the Orpheus Chamber Orchestra, the latter at Carnegie Hall and on tour in Italy and Spain; Elgar with the Staatskapelle Weimar; Walton with Amsterdam’s Residentie Orkest; and Dvor\u00e1k with the Minnesota Orchestra, Sydney Symphony, and the Tokyo Symphony on a three-stop tour of Japan, where she also played four solo recitals. The cellist also performed Henri Dutilleux’s Tout un monde lointain… with Lisbon’s Gulbenkian Orchestra, and gave the world premiere of Matthias Pintscher’s Cello Concerto with the Boston Symphony Orchestra, which co-commissioned the piece for her.\nIn recent years, Weilerstein recorded the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin. The disc was named “Recording of the Year 2013” by BBC Music, which featured the cellist on the cover of its May 2014 issue. Her next release, on which – as in concerts this season – she plays Dvor\u00e1k’s Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart. Her third album, a compilation of unaccompanied 20th-century cello music titled Solo, was pronounced an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo’s centerpiece is the Kod\u00e1ly sonata, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chlo\u00eb Grace Moretz in which the cellist makes a cameo appearance as herself. In 2015 she released a recording of sonatas by Chopin and Rachmaninoff, marking her duo album debut with Inon Barnatan, which earned praise from Voix des Arts as “a ravishing recording of fantastic music.\nWeilerstein has appeared with all the foremost orchestras of the United States and Europe, collaborating with conductors including Marin Alsop, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Giancarlo Guerrero, Bernard Haitink, Marek Janowski, Neeme J\u00e4rvi, Paavo J\u00e4rvi, Lorin Maazel, Cristian Macelaru, Zubin Mehta, Ludovic Morlot, Yannick N\u00e9zet-S\u00e9guin, Peter Oundjian, Matthias Pintscher, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo V\u00e4nsk\u00e4, Simone Young and David Zinman. Her major career milestones include an emotionally tumultuous account of Elgar’s concerto with the Berlin Philharmonic and Daniel Barenboim in Oxford, England, for the orchestra’s 2010 European Concert, which was televised live to an audience of millions worldwide and subsequently released on DVD by EuroArts. She and Barenboim reunited in 2012-13 to play Elliott Carter’s concerto on a German tour with the Berlin Staatskapelle. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high profile classical music event at the White House, featuring student workshops hosted by the First Lady, and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Sim\u00f3n Bol\u00edvar Symphony Orchestra under Gustavo Dudamel. She has since made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program. Other highlights of recent seasons include her debut at the BBC Proms in 2010, and with England’s Academy of St. Martin in the Fields, which she joined in 2013 for a 16-city U.S. tour.\nCommitted to expanding the cello repertoire, Weilerstein is an ardent champion of new music. Two seasons ago she gave the world premiere of Pascal Dusapin’s Outscape, which she performed with the co-commissioning Chicago Symphony before giving its first European performances with the Stuttgart and Paris Opera Orchestras; this past season she premiered Matthias Pintscher’s Cello Concerto with the Boston Symphony Orchestra. She gave the New York premiere of Pintscher’s Reflections on Narcissus under the composer’s own direction during the New York Philharmonic’s inaugural 2014 Biennial, and subsequently the two also performed the work at the BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra (originally premiered by Yo-Yo Ma) for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Weilerstein has since played the work with orchestras around the world, besides frequently programming the Argentinean composer’s Omaramor for solo cello. At the 2008 Caramoor festival, she gave the world premiere of Lera Auerbach’s 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two have subsequently reprised the work at the Schleswig-Holstein Festival, the Kennedy Center, and for San Francisco Performances. Joseph Hallman, a 2014 Grammy Award nominee, has also written multiple works for Weilerstein, including a cello concerto that she premiered with the St. Petersburg Philharmonic in 2008, and a trio that she premiered on tour with Inon Barnatan and clarinetist Anthony McGill last season.\nWeilerstein has appeared at major music festivals throughout the world, including Aspen, Bad Kissingen, Delft, Edinburgh, Jerusalem Chamber Music, La Jolla SummerFest, Mostly Mozart, Salzburg, Schleswig-Holstein, Tanglewood, and Verbier. In addition to her appearances as a soloist and recitalist, Weilerstein performs regularly as a chamber musician. She has been part of a core group of musicians at the Spoleto Festival USA for the past eight years and also performs with her parents, Donald and Vivian Hornik Weilerstein, as the Weilerstein Trio, the trio-in-residence at Boston’s New England Conservatory.\nThe cellist is the winner of both Lincoln Center’s 2008 Martin E. Segal prize for exceptional achievement and the 2006 Leonard Bernstein Award. She received an Avery Fisher Career Grant in 2000 and was selected for two prestigious young artist programs in the 2000-01 season: the ECHO (European Concert Hall Organization) “Rising Stars” recital series and the Chamber Music Society of Lincoln Center’s Chamber Music Society Two.\nBorn in 1982, Weilerstein discovered her love for the cello at just two and a half, when her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her while she was ill with chicken pox. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn’t produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed her natural affinity for the instrument and gave her first public performance six months later. At 13, in October 1995, she played Tchaikovsky’s “Rococo” Variations for her Cleveland Orchestra debut, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, the cellist also holds a degree in history from Columbia University, from which she graduated in May 2004. In November 2008, Weilerstein, who was diagnosed with type 1 diabetes when she was nine, became a Celebrity Advocate for the Juvenile Diabetes Research Foundation.\n|,|title|:|cello|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]} SAT., FEB. 15 SCHUMANN Symphony No. 4 SCHUMANN Cello Concerto SCHUMANN Symphony No. 3 SUN., FEB. 16 SCHUMANN Symphony No. 1 SCHUMANN Cello Concerto SCHUMANN Symphony No. 2

data-filter="[2020 02|2020 02|2020 03|][jones-hall|jones-hall|jones-hall|][February|February|March|][[{|term_id|:8,|name|:|POPS Series|,|slug|:|pops-series|,|term_group|:0,|term_taxonomy_id|:8,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:9,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" His warm, velvety voice is unmistakable. His legacy is Unforgettable. Join the world in celebrating legendary crooner Nat King Cole in his centennial year as vocalists Ryan Shaw and Melonie Daniels perform all the songs that made us fall in L-O-V-E with Nat—“When I Fall in Love,” “Mona Lisa,” “Stardust,”  “Straighten Up and Fly Right,” and many more. {|with_image|:[{|type|:|existing|,|name|:|Steven Reineke|,|bio|:||,|title|:|Principal POPS Conductor|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/conductor\/steven-reineke\/|},{|type|:|custom|,|name|:|Ryan Shaw|,|bio|:|Ryan Shaw is a three-time Grammy-nominated artist. He most recently appeared as Judas in the Lyric Opera House (Chicago) U.S. debut of the critically acclaimed Regents Park (London) production of Jesus Christ Superstar, which won the Oliver for Best Musical Revival. He also stared as the original Stevie Wonder in Motown the Musical on Broadway; on London\u2019s West End, he was the Soul of Michael Jackson in Thriller Live.\u00a0Ryan has toured the world and shared the stage with such artists as Van Halen, Bonnie Rait, Joss Stone, John Legend, B.B. King, Bruce Hornsby, and Jill Scott, to name a few.\nAs a concert soloist, Ryan made his Radio City Music Hall debut at the Dream Concert benefit to build the Martin Luther King Jr. National Monument in Washington, D.C.\u00a0His Carnegie Hall appearances include the Elton John and Bernie Taupin Tribute and A Celebration of The African American Cultural Legacy, curated by Jessye Norman. He headlined Carnegie Hall\u2019s Nat King Cole Centennial Concert. Ryan was the second artist in history to perform a return engagement at the Central Park SummerStage Gala (second to Stevie Wonder).\u00a0The Houston Symphony featured Ryan at a July 4th celebration and its R&B Mixtape concert.\nUpcoming and recent concerts include engagements with the Houston Symphony, The Cleveland Orchestra, Philly Pops, National Symphony, Colorado Symphony, Arkansas Symphony, Colorado Springs Philharmonic, Tucson Symphony, Harrisburg Symphony, Springfield (OH) Symphony, and Calgary Philharmonic, among many others.\n|,|title|:|vocalist|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Melonie Daniels|,|bio|:||,|title|:|vocalist|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]}

data-filter="[2020 02|2020 02|][jones-hall|jones-hall|][February|February|][[{|term_id|:1035,|name|:|Family Series|,|slug|:|family-series|,|term_group|:0,|term_taxonomy_id|:1035,|taxonomy|:|series|,|description|:|Now in his tenth season, our Associate Conductor Robert Franz is ready to help your family create cherished memories. Buckle up! Our Family Series is taking you on a magical, musical quest on Saturday mornings.\r\n\r\nAlso, enjoy pre- and post-concert activities, including our Instrument Petting Zoo, young musician performances in the lobby as well as crafts and musical activities. \r\n\r\n|,|parent|:0,|count|:4,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Batter up! Put on your baseball cap and root, root, root for your hometown orchestra – we’re gearing up for Spring Training with this fun program inspired by America’s favorite pastime! A star slugger swings for the fences in a musical narration of the humorous poem Casey at the Bat. And, show your Texas pride as you sing and clap along to “Deep in the Heart of Texas” during a special Seventh Inning Stretch! Children of all ages, including infants, are welcome at Family Series performances. All patrons must have a ticket when entering the concert venue. Lap children are welcome for free. For lap child tickets, please contact our Patron Services Center at 713.224.7575, 12 noon–6 p.m., Monday–Saturday. Family Concert Activities Families can enjoy a craft station and other musical activities, like our Instrument Petting Zoo, in the Jones Hall lobby! Activities take place from 9 to 9:50 a.m. before the 10 a.m. concert, and from 12:30 to 1 p.m. after the 11:30 a.m. concert. {|with_image|:[],|without|:[{|type|:|custom|,|name|:|Christopher Lees|,|bio|:||,|title|:|conductor|,|small_image|:false,|bio_image|:false,|full_image|:false}]}

data-filter="[2020 03|2020 03|][jones-hall|jones-hall|][March|March|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Imagine Handel’s Messiah, updated for the 21st century. This is the starting point of John Adams’ El Niño, which combines mesmerizing music with biblical verse and the words of Spanish and Latin American poets—trailblazing women writers, both ancient and contemporary, in particular—for a unique and captivating account of the story of Christ’s birth. Featuring a stellar cast of soloists alongside the awe-inspiring forces of Symphony and Chorus, this is music that invites you to reflect: an immensely powerful and moving journey and a concert experience never to be forgotten. Pre-Concert Activities: Attend the Prelude pre-concert discussion, held 45 minutes prior to each Classical concert. Prelude is led by our Musical Ambassador Carlos Andrés Botero, and sometimes features guest artists or orchestra members. {|with_image|:[{|type|:|custom|,|name|:|David Robertson|,|bio|:|David Robertson – conductor, artist, thinker, and American musical visionary – occupies some of the most prominent platforms on the international music scene.\u00a0 A highly sought-after podium figure in the worlds of opera, orchestral music, and new music, Robertson is celebrated worldwide as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator whose passionate advocacy for the art form is widely recognized.\u00a0 A consummate and deeply collaborative musician, Robertson is hailed for his intensely committed music making.\nFollowing a Fall 2018 tour of European musical capitals with the Sydney Symphony Orchestra, Robertson kicks off his valedictory season as Chief Conductor and Artistic Director with the Orchestra, February – November 2019, navigating oceans of music from Australian composers to Australian premieres, including Christopher Rouse’s Bassoon Concerto, the presence of American musical compatriots Wynton Marsalis and John Adams, concert performances of Britten’s Peter Grimes, and show-stoppers, including Andre Previn and Tom Stoppard’s Every Good Boy Deserves Favour.\u00a0 As always, musical friends from around the world will join in – Australian oboist Diana Doherty, Lang Lang, Susan Graham, the Jazz at Lincoln Center Orchestra, and a wealth of others.\u00a0 Robertson will continue to conduct the Sydney Symphony Orchestra in future seasons as the city undertakes a major renovation of its beloved Sydney Opera House.\nIn the 2018-19 season, Robertson continues his rich collaboration with the New York Philharmonic, as part of Music Director Jaap van Zweden’s first festival for the Orchestra, The Art of Andriessen.\u00a0 He ventures north to conduct two Canadian Orchestras: the Toronto Symphony Orchestra and Montreal Symphony Orchestra, and in the US, he conducts the Cincinnati Symphony Orchestra and the Dallas Symphony Orchestras, in addition to the Juilliard Orchestra, where he begins his tenure as Director of Conducting Studies, Distinguished Visiting Professor.\u00a0 Robertson will return to the Royal Concertgebouw Orchestra in Amsterdam, and to the BBC Scottish Symphony Orchestra, and will conduct in Munich, Prague, and Spain.\nDavid Robertson recently completed his transformative 13-year tenure as Music Director of the St. Louis Symphony Orchestra, where he solidified the orchestra’s status as one of the nation’s most enduring and innovative.\u00a0 For the SLSO, he established fruitful relationships with a wide spectrum of artists, and garnered a 2014 Grammy Award for Best Orchestral Performance for the Nonesuch release of John Adams’ City Noir.\nRobertson has served in artistic leadership positions at musical institutions including the Orchestre National de Lyon, and, as a prot\u00e9g\u00e9 of Pierre Boulez, the Ensemble InterContemporain, which he led on its first North American tour.\u00a0 At the BBC Symphony Orchestra, he served as Principal Guest Conductor.\u00a0 Robertson has served as a Perspectives Artist at Carnegie Hall, where he has conducted, among others, The Met Orchestra, the Lucerne Festival Orchestra, and the St. Louis Symphony Orchestra.\u00a0 He appears regularly in Europe with the Royal Concertgebouw Orchestra, the Czech Philharmonic, the Bayerische Rundfunk and the Dresden Staatskapelle, and at the Berlin Festival, the Edinburgh Festival, the BBC Proms, and the Musica Viva Festival in Munich.\nIn Spring 2018, Robertson built upon his longstanding relationship with The Metropolitan Opera, conducting the premiere of Phelim McDermott’s celebrated production of Cos\u00ec fan tutte, set in 1950s Coney Island.\u00a0 Since his Met Opera debut in 1996, with The Makropulos Case, he has conducted a breathtaking range of Met projects, including the Met premiere of John Adams’ The Death of Klinghoffer (2014); the 2016 revival of Jan\u00e1cek’s Jenufa, then its first Met performances in nearly a decade; the premiere production of Nico Muhly’s Two Boys (2013); and many favorites, from Mozart’s Le Nozze di Figaro to Britten’s Billy Budd.\u00a0 Robertson has frequent projects at the world’s most prestigious opera houses, including La Scala, Th\u00e9\u00e2tre du Ch\u00e2telet, Bayerische Staatsoper (orchestra), the San Francisco Opera, and the Santa Fe Opera.\nRobertson is the recipient of numerous musical and artistic awards, and in 2010 was made a Chevalier de l’Ordre des Arts et des Lettres by the Government of France.\u00a0 He is devoted to supporting young musicians and has worked with students at the festivals of Aspen, Tanglewood, Lucerne, at the Paris Conservatoire, the Juilliard School, Music Academy of the West, and the National Orchestra Institute.\u00a0 In 2014, he led the Coast to Coast tour of Carnegie Hall’s National Youth Orchestra of the USA.\nBorn in Santa Monica, California, Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting.\u00a0 He is married to pianist Orli Shaham, and lives in New York.\n|,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Susanna Phillips|,|bio|:|Alabama-born soprano Susanna Phillips, recipient of The Metropolitan Opera\u2019s 2010 Beverly Sills Artist Award, continues to establish herself as one of today\u2019s most sought-after singing actors and recitalists. The 2016-17 season will see Ms. Phillips return to the Metropolitan Opera for a ninth consecutive season starring as Cl\u00e9mence in the Met premiere of Kaija Saariaho\u2019s L\u2019amour de Loin conducted by Susanna M\u00e4lkki, as well as a return of her acclaimed Musetta in Puccini\u2019s La Boh\u00e8 me. In March 2017, Ms. Phillips will make her Zurich Opera debut as Donna Anna in Don Giovanni. She also appears as Cleopatra in Handel\u2019s Giulio Cesare with Boston Baroque and Martin Pearlman.\n2016-2017 orchestra engagements include a return to the San Francisco Symphony with Michael Tilson Thomas conducting a program of American songs, Mozart\u2019s \u201cExsultate Jubilate\u201d and his Mass in C Minor with Jane Glover and the Music of the Baroque, the Britten War Requiem with Kent Tritle and the Oratorio Society of New York, as well as Euridice in Gluck\u2019s Orfeo ed Euridice with Robert Spano leading the Atlanta Symphony Orchestra. Ms. Phillips will also perform recitals at the Celebrity Series of Boston, the National Museum for Women in the Arts, and her popular dual recital program with Eric Owens at Carnegie Hall and the Washington Performing Arts.\nLast season saw Ms. Phillips return to the Metropolitan Opera starring as Rosalinde in the Jeremy Sams production of Die Fledermaus conducted for the first time by music director James Levine, as well as a reprise of her house debut role of Musetta in La Boh\u00e8me. Additional engagements included a return to the stage of Lyric Opera of Chicago as Juliette in Gounod\u2019s Romeo and Juliet under the baton of Emmanuel Villaume. Additional engagements included Knoxville: Summer of 1915 with Michael Tilson Thomas leading the San Francisco Symphony, the Filas Requiem with Kent Tritle leading the Oratorio Society of New York, Mahler\u2019s Fourth Symphony with the St. Louis Symphony and David Robertson, Beethoven\u2019s Missa Solemnis with David Robertson leading the Sydney Symphony, as well as a recital at the Metropolitan Museum of Art with Brian Zeger.\nHighlights of Ms. Phillips\u2019 previous opera seasons include numerous additional Metropolitan Opera appearances as Fiordiligi in Cos\u00ec fan tutte in what the New York Times called a \u201cbreakthrough night,\u201d Rosalinde in Die Fledermaus, Donna Anna in Don Giovanni, Pamina in Julie Taymor\u2019s production of The Magic Flute, Musetta in La Boh\u00e8me (both in New York and on tour in Japan), Antonia in Les Contes d\u2019Hoffmann, and as a featured artist in the Met\u2019s Summer Recital Series in both Central Park and Brooklyn Bridge Park. She also appeared at Carnegie Hall for a special concert performance as Stella in Previn\u2019s A Streetcar Named Desire opposite Rene\u00e9 Fleming \u2013 a role she went on to perform, to rave reviews, at Lyric Opera of Chicago and as Ellen Orford in Peter Grimes with the St. Louis Symphony. She made her Santa Fe Opera debut as Pamina, and subsequently performed a quartet of other Mozart roles with the company as Fiordiligi in Cos\u00ec fan tutte, Countess Almaviva in Le Nozze di Figaro, Arminda in La Finta Giardiniera, and Donna Elvira in Don Giovanni. As a member of the Ryan Opera Center, Phillps sang the female leads in Rom\u00e9o et Juliette and Die Fledermaus. Additional roles include Elmira in Reinhard Keiser\u2019s The Fortunes of King Croesus, and the title roles in Lucia di Lammermoor and Agrippina, as well as appearances with the Oper Frankfurt, Dallas Opera, Minnesota Opera, Fort Worth Opera Festival, Boston Lyric Opera and Opera Birmingham.\nHighly in demand by the world\u2019s most prestigious orchestras, Ms. Phillips has appeared with the Royal Stockholm Philharmonic under Alan Gilbert, Chicago Symphony Orchestra, San Francisco Orchestra, Philadelphia Orchestra, Oratorio Society of New York, Santa Fe Symphony, Santa Barbara Symphony, St. Louis Symphony, Gulbenkian Orchestra, Orchestra of St. Luke\u2019s, and Santa Fe Concert Association.\nA fervent chamber music collaborator, Ms. Phillips recently teamed with bass-baritone Eric Owens for a recital of all Schubert which they have taken on tour in Chicago with members of the Chicago Symphony Orchestra, at the Gilmore Festival, and Philadelphia Chamber Music Society. Additional recital engagements included chamber music concerts with Paul Neubauer and Anne Marie McDermott, an appearance at the Parlance Chamber Music Series with Warren Jones, the 2014 Chicago Collaborative Works Festival, the Emerson String Quartet in Thomasville, Georgia with Warren Jones and colleagues from the Metropolitan Opera, and at Twickenham Fest, a chamber music festival she co-founded in her native Huntsville, Alabama. The soprano also made her solo recital debut at Carnegie\u2019s Weill Recital Hall with pianist Myra Huang.\nOther recent concert and oratorio engagements include Beethoven\u2019s Ninth Symphony, Mahler\u2019s Fourth Symphony, Mozart\u2019s Coronation Mass, the Faur\u00e9 and Mozart Requiems, Carmina Burana, and Handel\u2019s Messiah. She made her Carnegie Hall debut with Skitch Henderson, Rob Fisher, and the New York Pops. Following her Baltimore Symphony Orchestra debut under Marin Alsop, the Baltimore Sun proclaimed: \u201cShe\u2019s the real deal.\u201d\nIn August 2011, Ms. Phillips was featured at the opening night of the Mostly Mozart Festival, which aired live on Live From Lincoln Center on PBS. The same year saw the release of Paysages, her first solo album on Bridge Records, which was hailed as \u201csumptuous and elegantly sung\u201d (San Francisco Chronicle). The following year saw her European debut as Pamina in Die Zauberfl\u00f6te at the Gran Teatro del Liceu Barcelona.\nAs resident artist at the 2010 and 2011 Marlboro Music Festivals, she was part of Marilyn Horne Foundation Gala at Carnegie Hall, made her New York solo recital debut at Lincoln Center\u2019s Alice Tully Hall, and appeared at the Kennedy Center in Washington, DC under the auspices of the Vocal Arts Society.\nIn 2005 Ms. Phillips won four of the world\u2019s leading vocal competitions: Operalia (both First Place and the Audience Prize), the Metropolitan Opera National Council Auditions, the MacAllister Awards, and the George London Foundation Awards Competition. She has also claimed the top honor at the Marilyn Horne Foundation Competition, and has won first prizes from the American Opera Society Competition and the Musicians Club of Women in Chicago. Ms. Phillips has received grants from the Santa Fe Opera and the Sullivan Foundation, and is a graduate of Lyric Opera of Chicago\u2019s Ryan Opera Center. She holds both a Bachelor of Music and Master of Music degree from The Juilliard School and continues collaboration with her teacher Cynthia Hoffmann. A native of Huntsville, Alabama, over 400 people traveled from her hometown to New York City in December 2008 for Ms. Phillips\u2019 Metropolitan Opera debut in La Boh\u00e8me. She returns frequently to her native state for recitals and orchestral appearances.\n|,|title|:|soprano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Kelley O\u2019Connor|,|bio|:|Possessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation.\nDuring the 2018-19 season, the artist\u2019s impressive symphonic calendar features Mahler\u2019s Second Symphony with Andr\u00e9s Orozco-Estrada and the Houston Symphony, his Third Symphony with Donald Runnicles and the Grand Teton Music Festival Orchestra, Michael Stern and the Kansas City Symphony Orchestra, and with Andr\u00e9s Orozco-Estrada and the Chicago Symphony Orchestra, and Das Lied von der Erde both with the Dallas Symphony Orchestra and BBC Scottish Symphony Orchestra. \u00a0Sought after by many of the most heralded composers of the modern day, Kelley O\u2019Connor gives the world premiere of Joby Talbot\u2019s A Sheen of Dew on Flowers with the Britten Sinfonia at the Victoria & Albert Museum to celebrate the opening of the institution\u2019s new jewellery wing, debuts with the Orchestra dell’Accademia Nazionale di Santa Cecilia in the title role of John Adams\u2019 The Gospel According to the Other Mary under the baton of the composer, presents the west coast premiere of Bryce Dessner\u2019s Voy a Dormir with the Los Angeles Chamber Orchestra led by Jaime Mart\u00edn, and brings Peter Lieberson\u2019s Neruda Songs to life in performances with St\u00e9phane D\u00e9n\u00e9ve and the St. Louis Symphony and with Brett Mitchell and the Colorado Symphony.\u00a0 Bernstein\u2019s Songfest serves the American mezzo-soprano with her Boston Symphony Orchestra debut under the baton of Bramwell Tovey and she is heard in performances of this work with Thomas Dausgaard leading the BBC Scottish Symphony Orchestra.\u00a0 Kelley O\u2019Connor returns to the Los Angeles Philharmonic for a Stravinsky Festival singing multiple works there under the direction of Esa-Pekka Salonen and she assays the title role of Britten\u2019s The Rape of Lucretia presented by Boston Lyric Opera in a new production by Broadway theater director Sarna Lapine conducted by David Angus.\nJohn Adams wrote the title role of The Gospel According to the Other Mary for Kelley O\u2019Connor and she has performed the work, both in concert and in the Peter Sellars fully staged production, under the batons of Gustavo Dudamel, Grant Gershon, Gianandrea Noseda, Sir Simon Rattle, and David Robertson.\u00a0 She has sung the composer\u2019s El Ni\u00f1o with Vladimir Jurowski and the London Philharmonic Orchestra and continues to be the eminent living interpreter of Peter Lieberson\u2019s Neruda Songs having given this moving set of songs with Christoph Eschenbach and the National Symphony Orchestra, with Bernard Haitink and the Chicago Symphony Orchestra, with Robert Spano and the Minnesota Orchestra, and with David Zinman and the Berliner Philharmoniker and the Tonhalle-Orchester Z\u00fcrich among many others.\nRecent seasons include performances of Wagner\u2019s Wesendonck Lieder with Matthias Pintscher and the Indianapolis Symphony Orchestra, Beethoven\u2019s Missa Solemnis with David Robertson and the St. Louis Symphony, and Mahler\u2019s Eighth Symphony with Andr\u00e9s Orozco-Estrada and the Tonk\u00fcnstler-Orchester Nieder\u00f6sterreich. She has sung Mahler\u2019s Des knaben Wunderhorn with Krzysztof Urba\u0144ski and the Indianapolis Symphony Orchestra and Das Lied von der Erde with Louis Langr\u00e9e and the Detroit Symphony and with Donald Runnicles and the Atlanta Symphony Orchestra.\u00a0 Beethoven\u2019s Ninth Symphony has been performed with Iv\u00e1n Fischer and the Budapest Festival Orchestra, Ravel\u2019s Sh\u00e9h\u00e9razade with Esa-Pekka Salonen and the Philharmonia Orchestra, Berio\u2019s Folk Songs with Daniel Harding and the London Symphony Orchestra, and the role of Erda in Wagner\u2019s Das Rheingold with the New York Philharmonic conducted by Alan Gilbert.\u00a0 Recital appearances include performances in Boston with Thomas Ad\u00e8s in a program of Brahms, Purcell, and Stravinsky, in Chicago offering works of Debussy, Massenet, and Chausson, in Cincinnati with pianist Louis Langr\u00e9e in programs of Brahms and Ravel, and in Jackson Hole with the music of Brahms and Bernstein in a collaboration with Donald Runnicles.\nMiss O\u2019Connor has appeared numerous times with Gustavo Dudamel, including in performances of Bernstein\u2019s \u201cJeremiah\u201d Symphony on an international tour with the Los Angeles Philharmonic and of Mahler\u2019s \u201cResurrection\u201d Symphony with the Sim\u00f3n Bol\u00edvar Orchestra.\u00a0 She enjoys a rich musical collaboration with Franz Welser-M\u00f6st and the Cleveland Orchestra with whom she has sung Beethoven\u2019s Ninth Symphony and Mass in C, Bernstein\u2019s \u201cJeremiah\u201d Symphony, staged performances of Falstaff both in Cleveland and at the Lucerne Festival, and Stravinsky\u2019s Requiem Canticles.\nOperatic highlights include Carmen with Los Angeles Opera conducted by James Conlon, Donizetti\u2019s Anna Bolena at the Lyric Opera of Chicago conducted by Patrick Summers and directed by Kevin Newbury, Madama Butterfly in a new production by Lillian Groag at the Boston Lyric Opera and at the Cincinnati Opera under the baton of Ram\u00f3n Tebar, Berlioz\u2019s B\u00e9atrice et B\u00e9n\u00e9dict at Opera Boston, Falstaff with the Santa Fe Opera, and A Midsummer Night\u2019s Dream at the Lyric Opera of Chicago and the Canadian Opera Company.\nKelley O\u2019Connor has received unanimous international, critical acclaim for her numerous performances as Federico Garc\u00eda Lorca in Osvaldo Golijov’s Ainadamar.\u00a0 Miss O’Connor created the role for the world premiere at Tanglewood, under the baton of Robert Spano, and subsequently joined Miguel Harth-Bedoya for performances of Golijov\u2019s piece with the Los Angeles Philharmonic at the Walt Disney Concert Hall.\u00a0 She reprised her \u201cmusically seductive, palpably charismatic\u201d (Washington Post) portrayal of Lorca in the world-premiere of the revised edition of Ainadamar at the Santa Fe Opera in a new staging by Peter Sellars during the 2005 season, which was also presented at New York City\u2019s Lincoln Center and Madrid\u2019s Teatro Real.\nFor her debut with the Atlanta Symphony in Ainadamar, she joined Robert Spano for performances and a Grammy\u00ae Award-winning Deutsche Grammophon recording.\u00a0 Her discography also includes Mahler\u2019s Third Symphony with Jaap van Zweden and the Dallas Symphony Orchestra, Lieberson\u2019s Neruda Songs with Robert Spano and the Atlanta Symphony, Adams\u2019 The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven\u2019s Ninth Symphony with Franz Welser-M\u00f6st and the Cleveland Orchestra.\n|,|title|:|mezzo-soprano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Dav\u00f3ne Tines|,|bio|:|\u201cIn a just world, one in which\u00a0fame was proportionate to talent,\u00a0Dav\u00f3ne Tines\u00a0would be as big a name as Kanye West\u201d proclaimed KQED following concerts given with the San Francisco Symphony.\u00a0 Breakout performances were given on both sides of the Atlantic in 2015-16 when Dav\u00f3ne Tines made a Dutch National Opera debut in the premiere of Kaija Saariaho\u2019s Only the Sound Remains directed by Peter Sellars.\u00a0 The bass-baritone was exalted by The Los Angeles Times as \u201cthe find of the season,\u201d for performances of works by Caroline Shaw and Kaija Saariaho with the Calder Quartet and with members of ICE at the Ojai Music Festival.\nPerformances of 2018-19 include the world premiere of The Black Clown by composer Michael Schachter with a libretto adapted from the Langston Hughes poem by Dav\u00f3ne Tines and Michael Schachter; presented by the American Repertory Theater, The Black Clown \u2013 in a production directed by Zack Winokur – is a music theater experience that animates a black man\u2019s resilience against America\u2019s legacy of oppression by fusing vaudeville, opera, jazz, and spirituals to bring Hughes\u2019 verse to life onstage.\u00a0 Kaija Saariaho\u2019s Only the Sound Remains returns to Dav\u00f3ne Tines\u2019 calendar in performances at the Teatro Real and Lincoln Center and John Adams\u2019 El Ni\u00f1o serves his debut with Vladimir Jurowski conducting the Rundfunk-Sinfonieorchester Berlin.\u00a0 The artist reprises his acclaimed portrayal of Ned Peters in the European premiere of John Adams and Peter Sellars\u2019 Girls of the Golden West at Dutch National Opera and he assays the title role of Henze\u2019s El Cimarr\u00f3n in a new production by Zack Winokur at the Metropolitan Museum of Arts in collaboration with the American Modern Opera Company.\u00a0 Dav\u00f3ne Tines makes a debut at Opera Theatre of Saint Louis in the world premiere of Fire Shut Up In My Bones by the creative team of Terence Blanchard and Kasi Lemmons and symphonic appearances of the season include concerts with Esa-Pekka Salonen and the Los Angeles Philharmonic, Michael Tilson Thomas and the San Francisco Symphony, and Aram Demirjian leading the Kansas City Symphony.\nDav\u00f3ne Tines made a San Francisco Opera debut in 2017-18 in the world premiere of John Adams and Peter Sellars\u2019\u00a0Girls of the Golden West, a debut at the Op\u00e9ra national de Paris in Kaija Saariaho\u2019s\u00a0Only the Sound Remains\u00a0directed by Peter Sellars, and a debut at the Brooklyn Academy of Music in the role he originated in a production of Matthew Aucoin\u2019s\u00a0Crossing directed by multi Tony Award-winning director Diane Paulus.\u00a0 He bowed in performances of Handel\u2019s rarely staged serenata, Aci, Galatea, e Polifemo at National Sawdust in a new production by Christopher Alden that examined parallels between an 18thcentury telling of Ovid\u2019s mythological tale and our own contemporary aesthetic driven by power, class, race, and the cruelty of thwarted desire. \u00a0Other appearances of the season included a debut at the Baltic Sea Festival in Stravinsky\u2019s\u00a0Oedipus Rex conducted by Esa-Pekka Salonen and Coming Together\u00a0by Frederic Rzewski and Schumann\u2019s\u00a0Das Paradies und die Peri, both under the baton of Gustavo Dudamel, with the Los Angeles Philharmonic in a fully-staged production by Peter Sellars.\nHighlights of past seasons include John Adams\u2019 El Ni\u00f1o under the composer\u2019s baton with the London Symphony Orchestra in London and in Paris as well as with Grant Gershon conducting the Los Angeles Philharmonic, Bruckner\u2019s Te Deum with Christopher Warren-Green and the Charlotte Symphony, Kaija Saariaho\u2019s True Fire with the Orchestre national de France, and a program exposing the Music of Resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox.\u00a0 On the opera stage, Dav\u00f3ne Tines has debuted at Lisbon\u2019s Teatro Nacional de S\u00e3o Carlos in a new production of Oedipus Rex led by Leo Hussain and at the Finnish National Opera in Only the Sound Remains directed by Peter Sellars.\nDav\u00f3ne Tines is a founding core member of the American Modern Opera Company (AMOC) and the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts.\u00a0 He was graduated from Harvard University and received a Master of Music degree from The Juilliard School.\n|,|title|:|bass|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Daniel Bubeck|,|bio|:|Daniel Bubeck has earned an international reputation on both the opera and concert stages in repertoire ranging from Bach and Handel to John Adams. He has performed with the Th\u00e9\u00e2tre Musical de Paris-Ch\u00e2telet, English National Opera, Spoleto and Adelaide Festivals, London Philharmonic, Tokyo Symphony, the Radio Orchestras of Berlin and The Netherlands, Royal Flemish Philharmonic, Estonian National Philharmonic, Concerto K\u00f6ln, Vancouver Symphony, Los Angeles Philharmonic, and the Boston Symphony, working with Gustavo Dudamel, Esa-Pekka Salonen, Vladimir Jurowski, Kent Nagano, David Robertson, Robert Spano, Christopher Hogwood and Nicholas McGegan.\nCareer highlights include the premieres and subsequent performances of John Adams: El Ni\u00f1o and The Gospel According to the Other Mary.\u00a0 Bubeck is a noted Handelian sing the roles of Cesare, Rinaldo, Solomon, Medoro (Orlando), Arsamene (Serse), David (Saul), Guido (Flavio) Armindo (Partenope), Tauride (Arianna in Creta), Didymus (Theodora) Israel in Egypt and Messiah. He can be heard on recordings of Adams’ The Gospel According to the Other Mary (Deutsche Gramophone), El Ni\u00f1o (Nonesuch CD \/Art Haus Musik DVD), Vivaldi cantatas with Musica Sequenza (Deutsche Harmonia Mundi, Sony Music) and on the soundtrack of the Warner Brothers thriller, I Am Legend. Recent performances include Britten\u2019s A Midsummer Night\u2019s Dream with Hawaii Opera Theater, Stradella\u2019s San Giovanni Battista in Chicago, and Bach\u2019s Johannes Passion with the American Classical Orchestra. He can be heard in upcoming performances of Adams\u2019 El Ni\u00f1o and Gospel in Russia, France, Germany and the US including Carnegie Hall. A native of Wilmington, Delaware, Dr. Bubeck holds degrees in voice from Indiana University, Peabody Conservatory and the University of Delaware.\n|,|title|:|countertenor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Brian Cummings|,|bio|:|Brian Cummings sang the premiere of John Adams\u2019 The Gospel According to the Other Mary in 2012 with the Los Angeles Philharmonic under Gustavo Dudamel. He made his professional debut in the premiere of John Adams\u2019 El Ni\u00f1o in Paris and has appeared in performances of this piece throughout the world including Carnegie Hall, English National Opera, the London Philharmonic, BBC Symphony, Estonian National Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, the Adelaide Festival, the Tokyo Symphony and most recently at the Spoleto Festival USA.\nHe has worked under such conductors as Esa-Pekka Salonen, Robert Spano, David Robertson, John Adams, T\u00f5nu Kaljuste and Kent Nagano. He recently appeared in the title role of Handel’s Giulio Cesare with Opera Fuoco under David Stern. Cummings collaborates regularly with director Timothy Nelson including singing the role of David in Charpentier’s David et Jonathas, Hamor in Handel’s Jephtha, and Iarbo\/Corebo in Cavalli’s Didone.\u00a0 He has also appeared as a soloist at the Washington and Bloomington Early Music Festivals.\u00a0 He has sung with Paul Hillier in Theatre of Voices and the Pro Arte Singers and can be heard on their recordings for harmonia mundi as well as the recording and DVD of El Ni\u00f1o. In France, he sings with ensembles such as Les Arts Florissants, Opera Fuoco, Ensemble Entheos, and Les Muses Galantes. Cummings currently resides in Paris where he studies with Guillemette Laurens.\u00a0 He studied Early Music at Indiana University working with Paul Elliott, Paul Hillier, and Nigel North. Forthcoming engagements include John Adams\u2019 Gospel According to the Other Mary with the Netherlands Radio Orchestra in Strasbourg and Cologne.\n|,|title|:|countertenor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Nathan Medley|,|bio|:|Nathan Medley has emerged in recent years as one of the leading younger-generation countertenors, with notable success internationally in concert and opera. He has sung at some of the major stages of the world including the English National Opera and Barbican Centre in London, La Salle Pleyel in Paris;\u00a0 Palais de Musique, Strasbourg, Amsterdam\u2019s Concertgebouw,\u00a0 The Lucerne Festival; Avery Fisher Hall in New York, and Walt Disney Concert Hall in Los Angeles.\nRecent performances have brought him to the Boston Early Music Festival (as Ottone in Monteverdi\u2019s\u00a0 ‘L’Incoronazione di Poppea), the Netherlands Radio Philharmonic, the Los Angeles Philharmonic, Chicago\u2019s Ravinia Festival, Opera Omaha, Pacific MusicWorks, Mercury Baroque, Seraphic Fire, Indianapolis Baroque Orchestra, , Cincinnati Collegium, Miami Bach Society, and Dayton Bach Society. He is a member of Echoing Air, an ensemble focused on music of the baroque and modern eras composed for countertenor. He made his professional debut in 2012 in John Adams\u2019 The Gospel According to the other Mary with the Los Angeles Philharmonoic conducted by Gustavo Dudamel, which was recorded on the Duetsche Grammophon label. He returned to Los Angeles in 2013 for Peter Sellers\u2019 staged performances of The Gospel, which toured to Switzerland and New York City, and again in 2015 under the baton of John Adams performing Olga Neuwirth\u2019s theatrical song\/play, Hommage \u00e1 Klaus Nomi. His opera credits include Ottone in Handel\u2019s Agrippina (Opera Omaha). Speranza in Monteverdi\u2019s Orfeo (Boston Early Music Festival), Athamus in Semele (Pacific Muisic Works, Seattle), Oberon in A Midsummer Night’s Dream, Dema in Cavalli’s L’Egisto, Le Peinture in Charpentier’s Les Arts Florissants, Acteon in Charpentier’s Acteon, and Ottone in Monteverdi’s L’incoronazione di Poppea, where critics in Cleveland praised him for an interpretation “sung with baroque perfection.\u201d\nIn May 2016 he will premier a new piece by John Harbison for countertenor and viola da gamba consort in Chicago with Second City Musick.\n|,|title|:|countertenor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[{|type|:|custom|,|name|:|Houston Grand Opera Children's Chorus|,|bio|:||,|title|:|Karen Reeves, director|,|small_image|:false,|bio_image|:false,|full_image|:false},{|type|:|custom|,|name|:|Houston Symphony Chorus|,|bio|:||,|title|:|Betsy Cook Weber, director|,|small_image|:false,|bio_image|:false,|full_image|:false}]} JOHN ADAMS El Niño

data-filter="[2020 03|2020 03|2020 03|][jones-hall|jones-hall|jones-hall|][March|March|March|][[{|term_id|:8,|name|:|POPS Series|,|slug|:|pops-series|,|term_group|:0,|term_taxonomy_id|:8,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:9,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Goodness gracious great hits of fire! Put on your Blue Suede Shoes and get ready to rock as multi-instrument phenomenon Dave Bennett and his amazing band tear it up with hits of Elvis, Johnny Cash, Jerry Lee Lewis, Glenn Miller and more. This high-energy concert will have you in the mood to Sing, Sing, Sing. {|with_image|:[{|type|:|existing|,|name|:|Steven Reineke|,|bio|:||,|title|:|Principal POPS Conductor|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/conductor\/steven-reineke\/|},{|type|:|custom|,|name|:|Dave Bennett|,|bio|:|Dave Bennett doesn\u2019t fit the mold.\nFor starters, you don\u2019t find many jazz clarinet players who name Alice Cooper, Stevie Ray Vaughan, and Chris Isaak among their influences. You also won\u2019t find many musicians who are equally conversant with the music of Benny Goodman (the \u201cKing of Swing\u201d) and Roy Orbison (\u201cThe Soul of Rock and Roll\u201d).\nBennett is a clarinet virtuoso who plays electric guitar, piano, drums, AND vocalizes.\u00a0 Saluting Swing to Rock: covering music from the Swing Era to early Rockabilly and Country, to Elvis Presley and more. \u00a0Leading His Tribute to Benny Goodman, Dave has been a featured soloist at Carnegie Hall with The New York Pops (2013) and has played the show with 35 other US and Canadian orchestras including Nashville, Detroit, Rochester, Omaha, Toronto, Vancouver, Orlando, San Antonio, Jacksonville, Portland, OR and Portland, ME, and Houston. Fifty performing arts centers across the USA have had success with his presentations.\nAn annual fixture at several American music festivals, Dave\u2019s \u201cRockin the \u201850s\u201d show always brings down the house!\u00a0 Dave pays tribute to Jerry Lee Lewis (piano and vocals), and Johnny Cash and Elvis Presley (electric guitar and vocals). Dave\u2019s original compositions are influenced by the style of Roy Orbison, the \u201cSoul of Rock and Roll\u201d. Some of his annual \u201croots music\u201d presenters include The Elkhart Jazz Festival, The Suncoast Classic Jazz Festival, The Arizona Classic Jazz Festival, The Southeast Clambake Music Festival, and The Redwood Coast Music Festival.\nDave has been featured on NPR Radio\u2019s \u201cJazz at Riverwalk.\u201d He made his European debut in 2008 at the The Bern Jazz Festival (Switzerland) in a combo with jazz legends and Benny Goodman band alumni guitarist Bucky Pizzarelli and vibraphonist, the late Peter Appleyard.\nDave is a Mack Avenue Records artist. His 2013 CD \u201cDon\u2019t Be That Way\u201d met with critical acclaim.\nHis second release, Blood Moon, which features five originals and six pop\/jazz covers, hit the No 24 on the Billboard Jazz chart in 2018.\n|,|title|:|vocalist, pianist, clarinetist, guitarist|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]}

data-filter="[2020 03|2020 03|2020 03|][jones-hall|jones-hall|jones-hall|][March|March|March|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Mozart’s genius burns with brooding intensity in the darkly passionate Piano Concerto No. 20, a masterpiece long celebrated as one of his greatest musical achievements. Fearless French star Cédric Tiberghien brings boundless imagination and a poetic touch in his Houston debut. Then, indulge in evocative sound-paintings by music’s Impressionist master, sensuous, softly glowing dreamscapes that drift through lively Spanish street fairs, brilliant spring days and sweet-scented nights. Pre-Concert Activities: Attend the Prelude pre-concert discussion, held 45 minutes prior to each Classical concert. Prelude is led by our Musical Ambassador Carlos Andrés Botero, and sometimes features guest artists or orchestra members. {|with_image|:[{|type|:|custom|,|name|:|Matthias Pintscher|,|bio|:|Matthias Pintscher is the Music Director of the Ensemble Intercontemporain, the world’s leading contemporary music ensemble founded by Pierre Boulez. In addition to a robust concert season in Paris, he tours extensively with them throughout Europe, Asia, and the United States, this season leading concerts in Berlin, Hamburg, and Zurich. Known equally as one of today’s foremost composers, Mr. Pintscher will have two works premiered in the 2018\/19 season: Nur, a new concerto for piano and ensemble will be performed by Daniel Barenboim and the Boulez Ensemble conducted by the composer in January; and a new work for baritone, chorus, and orchestra will performed by Dietrich Henschel and the Tonhalle-Orchester Z\u00fcrich conducted by maestro Kent Nagano in June.\nMr. Pintscher is the 2018\/19 Season Creative Chair for the Tonhalle-Orchester Z\u00fcrich, the Artist-in-Residence at the Los Angeles Chamber Orchestra, and finishes a nine-year term as the BBC Scottish Symphony Orchestra’s Artist-in-Association. This season, Pintscher makes his debuts with the Saint Louis Symphony Orchestra, Rotterdam Philharmonic, and the Staatsoper Unter den Linden in Berlin, where he conducts the world premiere of Violetter Schnee, a new opera by Beat Furrer. Return guest engagements include the symphony orchestras of Chicago, Cincinnati, Cleveland, Indianapolis, Milwaukee, the New York Philharmonic, as well as the New World Symphony in Miami. In Europe, having begun the season conducting the Scottish Chamber Orchestra at the Edinburgh International Festival, Pintscher also returns to the Orchestre de Paris, Danish National Symphony Orchestra, and Helsinki Philharmonic.\nIn the 2017\/18 season, Mr. Pintscher made several significant debuts with the Royal Concertgebouw Orchestra, London Symphony Orchestra, Berlin Radio Symphony, Finnish Radio Symphony, and the Gulbenkian Orchestra in Lisbon. Pintscher and the Ensemble Intercontemporain brought an ambitious presentation of Pierre Boulez’s R\u00e9pons to the Park Avenue Armory in New York and performed a number of concerts on tour in London (Royal Festival Hall), Vienna (Konzerthaus), and Cologne (Philharmonie). In addition, they were joined by alumni of the Lucerne Festival Academy Orchestra in a special multi-media Messiaen project performed in four cities. Other guest engagements in the 17\/18 season included the Los Angeles Philharmonic in both a subscription week and at the Hollywood Bowl, Atlanta Symphony Orchestra, Utah Symphony, Saint Paul Chamber Orchestra (where he premiered Salvatore Sciarrino’s new piano concerto with Jonathan Biss), Orchestre de la Suisse Romande, Frankfurt Radio Symphony, and the Mahler Chamber Orchestra conducting Beethoven’s Ninth Symphony. An enthusiastic supporter of and mentor to students and young musicians, Pintscher served as Principal Conductor of the Lucerne Festival Academy Orchestra from 2016-2018 and worked with the Karajan Academy of the Berlin Philharmonic in their 2017\/18 season, culminating in a concert at the Philharmonie.\nMatthias Pintscher began his musical training in conducting, studying with Peter E\u00f6tv\u00f6s in his early twenties, during which time composing soon took a more prominent role in his life. He rapidly gained critical acclaim in both areas of activity, and continues to compose in addition to his conducting career. As a composer, Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. His works have been performed by such orchestras as the Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra, and the Orchestre de Paris, among others. B\u00e4renreiter is his exclusive publisher, and recordings of his compositions can be found on Kairos, EMI, Teldec, Wergo, and Winter & Winter. Pintscher has been on the composition faculty of the Juilliard School since 2014.\n|,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|C\u00e9dric Tiberghien|,|bio|:|C\u00e9dric Tiberghien is a French pianist who has established a truly international career. Performances this season include his debuts with the Berliner Philharmoniker, San Francisco Symphony, DSO Berlin and NDR Elbphilharmonie Orchestra. His solo recitals include London, Chicago and Tokyo, and with violinist Alina Ibragimova at the Vienna Konzerthaus and on tour to Japan and Korea. He will also perform at the Beethoven Haus in Bonn with viola player Tabea Zimmermann. In Spring 2019 the Th\u00e9\u00e2tre des Bouffes du Nord (Paris) will present the premiere of Zauberland (Magic Land). This music theatre project, staged by Katie Mitchell, will see Schumann\u2019s Dichterliebe performed alongside a new work by Bernard Foccroulle, setting a text by Martin Crimp. This work will be performed by C\u00e9dric and soprano Julia Bullock.\nDuring the 2017\/18 season C\u00e9dric returned to the London Symphony Orchestra and Rotterdam Philharmonic Orchestras. He also undertook an extensive tour to Asia including solo and duo recitals, the latter with Alina Ibragimova. Their numerous performances that season included the Pierre Boulez Saal (Berlin) and Wigmore Hall (London). C\u00e9dric has a particularly strong relationship with the latter, where he a performed a total of five times during the season, in both solo and duo recital.\nC\u00e9dric recently presented a major focus on the music of Bartok, culminating in a three-volume exploration of his solo piano works for the Hyperion label which has received huge critical acclaim. He has been awarded four Diapason d\u2019Or, for his solo recordings on Hyperion. His solo discography also includes concerto and recital discs on Harmonia Mundi.\nHe is a dedicated chamber musician, with regular partners including violinist Alina Ibragimova, violist Antoine Tamestit and baritone St\u00e9phane Degout. C\u00e9dric\u2019s passion for chamber music is reflected in numerous recordings: his discography with Alina includes complete cycles of music by Schubert, Szymanowski and Mozart (Hyperion) and a Beethoven Sonata cycle (Wigmore Live).\n|,|title|:|piano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]} WEBERN Im Sommerwind MOZART Piano Concerto No. 20 DEBUSSY Images

data-filter="[2020 03|][duncan-recital-hall-at-shepherd-school-of-music|][March|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Our four-concert Chamber Music Series concludes at Duncan Recital Hall at Rice University with Cédric Tiberghien (piano) and a small ensemble of Houston Symphony musicians. Participating Houston Symphony Musicians KARIM AL-ZAND Studies in Nature: Matthew Roitstein, flute; Sheldon Person, viola; Stephanie Gustafson, harp. JOLIVET Chant de Linos: Judy Dines, flute; Sophia Silivos, violin; Jarita Ng, viola; Christopher French, cello; Paula Page, harp. CHAUSSON Concerto for Violin, Piano, and String Quartet (with Cédric Tiberghien): Yoonshin Song, violin; MuChen Hsieh, violin; Anastasia Sukhopara, violin; Wayne Brooks, viola; Louis-Marie Fardet, cello. LOCATION: Duncan Recital Hall, Shepherd School of Music at Rice University, 6100 Main St, Houston, TX 77005 {|with_image|:[{|type|:|custom|,|name|:|C\u00e9dric Tiberghien|,|bio|:|C\u00e9dric Tiberghien is a French pianist who has established a truly international career. Performances this season include his debuts with the Berliner Philharmoniker, San Francisco Symphony, DSO Berlin and NDR Elbphilharmonie Orchestra. His solo recitals include London, Chicago and Tokyo, and with violinist Alina Ibragimova at the Vienna Konzerthaus and on tour to Japan and Korea. He will also perform at the Beethoven Haus in Bonn with viola player Tabea Zimmermann. In Spring 2019 the Th\u00e9\u00e2tre des Bouffes du Nord (Paris) will present the premiere of Zauberland (Magic Land). This music theatre project, staged by Katie Mitchell, will see Schumann\u2019s Dichterliebe performed alongside a new work by Bernard Foccroulle, setting a text by Martin Crimp. This work will be performed by C\u00e9dric and soprano Julia Bullock.\nDuring the 2017\/18 season C\u00e9dric returned to the London Symphony Orchestra and Rotterdam Philharmonic Orchestras. He also undertook an extensive tour to Asia including solo and duo recitals, the latter with Alina Ibragimova. Their numerous performances that season included the Pierre Boulez Saal (Berlin) and Wigmore Hall (London). C\u00e9dric has a particularly strong relationship with the latter, where he a performed a total of five times during the season, in both solo and duo recital.\nC\u00e9dric recently presented a major focus on the music of Bartok, culminating in a three-volume exploration of his solo piano works for the Hyperion label which has received huge critical acclaim. He has been awarded four Diapason d\u2019Or, for his solo recordings on Hyperion. His solo discography also includes concerto and recital discs on Harmonia Mundi.\nHe is a dedicated chamber musician, with regular partners including violinist Alina Ibragimova, violist Antoine Tamestit and baritone St\u00e9phane Degout. C\u00e9dric\u2019s passion for chamber music is reflected in numerous recordings: his discography with Alina includes complete cycles of music by Schubert, Szymanowski and Mozart (Hyperion) and a Beethoven Sonata cycle (Wigmore Live).\n|,|title|:|piano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|existing|,|name|:|Yoonshin Song|,|bio|:||,|title|:|Concertmaster|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/yoonshin-song\/|},{|type|:|existing|,|name|:|Sophia Silivos|,|bio|:||,|title|:||,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/sophia-silivos\/|},{|type|:|existing|,|name|:|MuChen Hsieh|,|bio|:||,|title|:|Principal Second Violin|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/muchen-hsieh\/|},{|type|:|existing|,|name|:|Anastasia Ehrlich|,|bio|:||,|title|:||,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/anastasia-ehrlich\/|},{|type|:|existing|,|name|:|Wayne Brooks|,|bio|:||,|title|:|Principal |,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/wayne-brooks-2\/|},{|type|:|existing|,|name|:|Sheldon Person|,|bio|:||,|title|:||,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/sheldon-person\/|},{|type|:|existing|,|name|:|Jarita Ng|,|bio|:||,|title|:||,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/jarita-ng\/|},{|type|:|existing|,|name|:|Christopher French|,|bio|:||,|title|:|Associate Principal|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/christopher-french\/|},{|type|:|existing|,|name|:|Louis-Marie Fardet|,|bio|:||,|title|:||,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/louis-marie-fardet\/|},{|type|:|existing|,|name|:|Matthew Roitstein|,|bio|:||,|title|:|Associate Principal|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/matthew-roitstein\/|},{|type|:|existing|,|name|:|Judy Dines|,|bio|:||,|title|:||,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/musicians\/judith-dines\/|}],|without|:[]} KARIM AL-ZAND Studies in Nature JOLIVET Chant de Linos CHAUSSON Concerto for Violin, Piano, and String Quartet

data-filter="[2020 04|2020 04|2020 04|][jones-hall|jones-hall|jones-hall|][April|April|April|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Instantly arresting. Brazenly theatrical. Larger than life. To experience a Mahler symphony live is to know why it’s an experience unlike anything in all of art. In his Seventh Symphony, Mahler paints with every color in the orchestral palette—from clanging cowbell to strumming mandolin—to summon nocturnal worlds both nightmarish and serene, menacingly dark and lustrously moonlit. Night erupts into dazzling day in a riotous finale replete with blazing brass and pealing bells. Andrés Orozco-Estrada, conductor Pre-Concert Activities: Attend the Prelude pre-concert discussion, held 45 minutes prior to each Classical concert. Prelude is led by our Musical Ambassador Carlos Andrés Botero, and sometimes features guest artists or orchestra members. {|with_image|:[{|type|:|existing|,|name|:|Andr\u00e9s Orozco-Estrada|,|bio|:||,|title|:|Music Director|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/conductor\/andres-orozco-estrada\/|}],|without|:[]} MAHLER Symphony No. 7

data-filter="[2020 04|2020 04|2020 04|][jones-hall|jones-hall|jones-hall|][April|April|April|][[{|term_id|:1598,|name|:|Symphony Specials|,|slug|:|symphony-specials|,|term_group|:0,|term_taxonomy_id|:1598,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:7,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Relive the magic of year six in Harry Potter and the Half-Blood Prince™ in Concert. With this film, based on the sixth installment of J.K. Rowling’s classic saga, fans of all ages can now experience the thrilling tale of Harry’s obsession with a mysterious potions book accompanied by the music of a live symphony orchestra as Harry soars across the big screen in HD! HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. Harry Potter Publishing Rights © JKR. (s20) https://houstonsymphony.org/wp-content/uploads/2019/07/HSYMP-091319-HP6-Radio-30.mp3 Watch a concert preview: false

data-filter="[2020 04|2020 04|2020 04|][jones-hall|jones-hall|jones-hall|][April|April|April|][[{|term_id|:8,|name|:|POPS Series|,|slug|:|pops-series|,|term_group|:0,|term_taxonomy_id|:8,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:9,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" The late, great Aretha Franklin will forever have our hearts and our Respect thanks to her incredible voice and soulful refrains about love, pain and triumph. Vocalist Capathia Jenkins channels all the power and charisma of the Queen of Soul in an unforgettable tribute to one of music’s most iconic artists. {|with_image|:[{|type|:|custom|,|name|:|Lucas Waldin|,|bio|:|Lucas Waldin is a dynamic and versatile conductor whose flair for audience engagement and passion for performance have delighted audiences across North America.\nBased in Edmonton, Alberta, Lucas joined the Edmonton Symphony Orchestra as resident conductor in 2009 and was subsequently appointed artist-in-residence and community ambassador, the first position of its kind in North America. He has appeared with the orchestra more than 150 times and has collaborated with artists Angela Cheng, Jens Lindemann, Sergei Babayan and Bill Eddins, and conducted in Carnegie Hall during the ESO’s participation in the 2012 Spring for Music festival. Lucas was awarded the Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts and received a Citation Award from the City of Edmonton for his outstanding achievements in arts and culture.\nWith an ability to slide easily between styles and genres, Lucas has worked with a range of pop and crossover artists, including Carly Rae Jepsen, Ben Folds, Chantal Kreviazuk, the Barenaked Ladies and Buffy Sainte-Marie, in addition to conducting presentations such as Disney in Concert, Blue Planet Live and Cirque de la Symphony. Lucas has been a guest conductor for numerous orchestras in Canada and the United States, including this orchestra, the Grant Park Orchestra, the National Arts Centre Orchestra, the Toronto and Vancouver Symphony Orchestras and the Louisiana Philharmonic Orchestra.\nA native of Toronto, Ontario, Lucas received degrees in both flute and conducting from the Cleveland Institute of Music.\n|,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Capathia Jenkins|,|bio|:|Capathia Jenkins can definitely act but all those who know her also know that this diva can blow and blow and blow you right off this planet. This woman who grappling with two dueling passions each with a strong grip: acting and music, yet she refuses to pick one because they both represent her soul. Capathia approaches a song the same way she approaches a script, like an artist. She looks for the nuances, the secret hidden within the notes or text. She seeks the melody, harmony and rhythm. She asks herself: what am I trying to say? What do I want my audience to experience with me? She wants to take her audience on a journey.\nThis Brooklyn-born and raised actress most recently starred as \u2018Medda\u2019 in the hit Disney production of Newsies\u2019 on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the Off-Broadway 2000 revival of Godspell, where she wowed audiences with her stirring rendition of \u2018Turn Back, O Man\u2019 which can still be heard on the original cast recording. She returned to Broadway in The Look of Love and was critically acclaimed for her performances of the Bacharach\/David hits. Ms. Jenkins then created the roles of \u2018The Washing Machine\u2019 in Caroline, Or Change and \u2018Frieda May\u2019 in Martin Short-Fame becomes me where she sang \u2018Stop the Show\u2019 and brought the house down every night.\nIn 2007 she went back to Off-Broadway and starred in (mis) Understanding Mammy-The Hattie McDaniel Story for which she was nominated for a Drama Desk Award. She was also seen in Nora Ephron\u2019s Love, Loss, and What I Wore.\nAn active concert artist, Ms. Jenkins has appeared with orchestras around the world including the Cleveland Orchestra, Houston Symphony, Pittsburgh Symphony (with Marvin Hamlisch), National Symphony, Atlanta Symphony, Seattle Symphony, Utah Symphony, Minnesota Orchestra, San Antonio Symphony, Minnesota Orchestra, Memphis Symphony, Nashville Symphony, Toledo Symphony, Colorado Symphony, Toronto Symphony, Edmonton Symphony, Calgary Philharmonic, Kansas City Symphony, San Diego Symphony and the Hong Kong Philharmonic. She was a soloist with the Festival Cesky Krumlov in the Czech Republic. In 2011 Capathia had the great honor of performing in the \u2018Broadway Ambassadors to Cuba\u2019 concert as part of the Festival De Teatro De La Habana. Ms. Jenkins was a guest soloist with Peter Nero and the Philly Pops and with the Cincinnati Pops.\nHer Television credits include 30 Rock, the Practice, Law & Order SVU, the Sopranos, Law & Order. She can be seen in the 2012 film \u2018Musical Chairs\u2019 directed by Susan Seidelman. She can be heard on the following film soundtracks: Nine, Chicago, Legally Blonde 2.\n|,|title|:|vocalist|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]}

data-filter="[2020 04|2020 04|][jones-hall|jones-hall|][April|April|][[{|term_id|:1035,|name|:|Family Series|,|slug|:|family-series|,|term_group|:0,|term_taxonomy_id|:1035,|taxonomy|:|series|,|description|:|Now in his tenth season, our Associate Conductor Robert Franz is ready to help your family create cherished memories. Buckle up! Our Family Series is taking you on a magical, musical quest on Saturday mornings.\r\n\r\nAlso, enjoy pre- and post-concert activities, including our Instrument Petting Zoo, young musician performances in the lobby as well as crafts and musical activities. \r\n\r\n|,|parent|:0,|count|:4,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Heroes perform daring feats in the movies and on tv, but they also walk among us every day. Set out on an epic adventure as the Houston Symphony and a local high school gospel choir perform music from Disney’s Hercules. Then, celebrate the lives of Harriet Tubman, Jesse Owens, Matthew Henson and Katherine Johnson—real-world heroes who overcame adversity to achieve greatness. Children of all ages, including infants, are welcome at Family Series performances. All patrons must have a ticket when entering the concert venue. Lap children are welcome for free. For lap child tickets, please contact our Patron Services Center at 713.224.7575, 12 noon–6 p.m., Monday–Saturday. Family Concert Activities Families can enjoy a craft station and other musical activities, like our Instrument Petting Zoo, in the Jones Hall lobby! Activities take place from 9 to 9:50 a.m. before the 10 a.m. concert, and from 12:30 to 1 p.m. after the 11:30 a.m. concert. {|with_image|:[{|type|:|existing|,|name|:|Robert Franz|,|bio|:||,|title|:|Associate Conductor|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/conductor\/robert-franz\/|}],|without|:[]}

data-filter="[2020 05|2020 05|2020 05|][jones-hall|jones-hall|jones-hall|][May|May|May|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" It shocked Parisian audiences in 1830, and almost 200 years later, Berlioz’ boundary-pushing, mind-stretching masterpiece remains classical music’s wildest ride. Enter a world where witches shriek, severed heads roll and imagination knows no limit when Karina Canellakis conducts Symphonie fantastique, and feel the lyrical beauty and lively rhythms of Bruch’s treasured masterpiece, featuring the “stunning” (Chicago Tribune) Simone Lamsma. Pre-Concert Activities: Chamber Music Prelude Your ticket includes a special chamber music performance by Houston Symphony musicians on the Jones Hall stage starting 45 minutes before the concert. Hear Offenbach’s Cours methodique de duo, Opus 54, Suite No. 2, I. Allegro performed by Louis-Marie Fardet, cello, and Maki Kubota, cello. The first people to arrive will be given the opportunity to sit onstage for the prelude performance. Those interested should line up outside the Jones Hall main entrance on the Louisiana Patio near the first door on the right before doors open, 1 hour before the concert begins. All others may watch the chamber music performance from the front orchestra seating of Jones Hall. The chamber music replaces the regularly scheduled Prelude discussion. {|with_image|:[{|type|:|custom|,|name|:|Karina Canellakis|,|bio|:|Karina Canellakis is the newly appointed Chief Conductor of the Netherlands Radio Philharmonic Orchestra, beginning in the 2019\/20 season. Internationally acclaimed for her emotionally charged performances, technical command and interpretive depth, Karina\u2019s reputation has risen quickly since winning the Sir Georg Solti Conducting Award in 2016.\nKarina makes several notable debuts in the 2018\/19 season, including with the Orchestre Symphonique de Montr\u00e9al, St. Louis Symphony Orchestra, London Philharmonic, Deutsches Symphonie-orchester Berlin, Dresdner Philharmoniker, Oslo Philharmonic, and Stavanger Symphony. She also makes her Australian debut in a four-city tour conducting the symphony orchestras of Melbourne, Perth, Adelaide, and Tasmania. In addition, Canellakis leads the prestigious 2018 Nobel Prize Concert with the Royal Stockholm Philharmonic, with whom she appears twice in this season. Over the summer, she made her Wiener Symphoniker debut at the Bregenz Festival and returned to the Proms with the BBC Symphony Orchestra.\nRe-invitations this season feature the Los Angeles Philharmonic at the Hollywood Bowl as well as the symphony orchestras of Cincinnati, Dallas, Detroit, Milwaukee, and North Carolina. She also conducts Don Giovanni with the Curtis Opera Theater at the Kimmel Center in Philadelphia. In Europe, she returns to the London Philharmonic Orchestra, BBC Symphony Orchestra, G\u00fcrzenich Orchestra Cologne, Swedish Radio Orchestra, Orchestre National de Lyon, and Scottish Chamber Orchestra, among others.\nRecent seasons have featured debuts with the Orchestre de Paris, Rundfunk-Sinfonieorchester Berlin, Bamberger Symphoniker, National Orchestra of Spain, the Hall\u00e9 Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, Hong Kong Philharmonic, and the Toronto, Vancouver, and Houston symphonies. On the operatic stage, she has conducted Die Zauberfl\u00f6te with the Zurich Opera, Le nozze di Figaro with Curtis Opera Theatre, and gave the world premiere of David Lang\u2019s opera The Loser at the Brooklyn Academy of Music. She has also led Peter Maxwell Davies\u2019 new opera The Hogboon with the Luxembourg Philharmonic, and a fully staged production of Verdi\u2019s Requiem at the Zurich Opera.\nAlready known to many in the classical music world for her virtuoso violin playing, Karina was initially encouraged to pursue conducting by Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of their Orchester-Akademie. In addition to appearing frequently as a soloist with various North American orchestras, she subsequently played regularly in the Chicago Symphony for over three years and appeared on several occasions as guest concertmaster of the Bergen Philharmonic in Norway. She also spent many summers performing at the Marlboro Music Festival. She plays a 1782 Mantegazza violin on generous loan from a private patron.\nKarina previously served as Assistant Conductor of the Dallas Symphony Orchestra. She is a graduate of the Curtis Institute of Music and the Juilliard School. Born and raised in New York City, she speaks French, German and Italian.\n|,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Simone Lamsma|,|bio|:|Hailed for her \u201cbrilliant\u2026 polished, expressive and intense\u201d (Cleveland Plain Dealer) and \u201cabsolutely stunning\u201d (Chicago Tribune) playing, Dutch violinist Simone Lamsma is respected by critics, peers and audiences as one of classical music\u2019s most striking and captivating musical personalities.\nWith an extensive repertoire of over 60 Violin Concertos, Simone\u2019s recent seasons have seen her perform with many of the world\u2019s leading orchestras.\nNotable recent highlights include performances with the Chicago Symphony, described by the Chicago Tribune as \u201cpiercingly beautiful\u201d,\u00a0 as well as the Cleveland Orchestra, Royal Stockholm Philharmonic, Royal Concertgebouw Orchestra, San Francisco Symphony, Dallas Symphony, National Symphony Washington, Royal Concergebouw Orchestra, Netherlands Radio Philharmonic, Rotterdam Philharmonic, Netherlands Philharmonic, Finnish Radio Symphony, Les Si\u00e8cles, Orchestre Philharmonique de Radio France, BBC Philharmonic, Antwerp Symphony, Brussels Philharmonic, Seoul Philharmonic, Yomiuri Nippon Symphony, Hessischer Rundfunk, Orchestra Sinfonica Nazionale della RAI, RTVE Symphony, S\u00e3o Paulo Symphony Orchestra, New Zealand Symphony, and Hong Kong Philharmonic.\nHighlights for the 17\/18 and 18\/19 season include debuts with the New York Philharmonic, Detroit Symphony, Houston Symphony, San Diego Symphony, Pittsburgh Symphony, Milwaukee Symphony, Oslo Philharmonic, MDR Leipzig, Basque National Orchestra, Sydney Symphony, and returns to the Warsaw Philharmonic, Copenhagen Philharmonic, Netherlands Radio Philharmonic and Netherlands Philharmonic at the Concertgebouw Amsterdam, Bournemouth Symphony, RTE National Symphony, Hall\u00e9 Orchestra, Quebec Symphony, Oregon Symphony and Cincinnati Symphony. In addition she will be returning to the Yomiuri Nippon Symphony Orchestra in Tokyo.\nPast seasons also marked several premi\u00e8res of new works by Simone, among which the world premi\u00e8re of a violin concerto by Matijs de Roo during the ZaterdagMatinee series at the Concertgebouw in Amsterdam, and a successful performance of the French premi\u00e8re of Michel van der Aa\u2019s Violin Concerto with the Orchestre National de Lyon.\nStand-out recent festival appearances include her return to the Cleveland Orchestra at Blossom Festival in 2015, debuts during the Enescu Festival with Les Si\u00e8cles under Fran\u00e7ois\u2013Xavier Roth, Bravo! Vail Festival with the Dallas Symphony Orchestra under Jaap van Zweden, and the Mainly Mozart Festival in San Diego, about which the San Diego Reader wrote: \u201cShe (Simone Lamsma) appeared to be engaged with Beethoven on a level we seldom encounter\u2026.. Beethoven\u2019s music was coming through her in a pure state.\u201d\nBesides her close collaboration with Jaap van Zweden, Simone has worked many other eminent conductors including Vladimir Jurowski, Sir Neville Marriner, Yannick N\u00e9zet-S\u00e9guin, Jukka-Pekka Saraste, James Gaffigan, Sir Andrew Davis, Mark Wigglesworth, Andr\u00e8s Orozco-Estrada, Ji\u0159\u00ed B\u011blohl\u00e1vek, Carlos Kalmar, Marc Albrecht, St\u00e9phane Den\u00e8ve, Edo de Waart, Hannu Lintu, Juanjo Mena, Yan Pascal Tortelier, Lawrence Foster, Robert Trevino, Fabien Gabel, Fran\u00e7ois-Xavier Roth and Omer Meir Wellber.\nA dedicated chamber musician, recent recital appearances include Simone\u2019s highly anticipated debuts in London\u2019s Wigmore Hall and New York\u2019s Carnegie Hall in March 2017 with pianist Robert Kulek.\n \nIn 2017 Simone\u2019s most recent recording featuring Shostakovich\u2019s first violin concerto and Gubaidulina\u2019s \u2018In Tempus praesens\u2019 with the Netherlands Radio Philharmonic under James Gaffigan and Reinbert de Leeuw was released on Challenge Classics and received high accolades from the press, as did her previous Mendelssohn, Jan\u00e1\u010dek and Schumann\u00a0 CD with pianist Robert Kulek.\nIn addition to her many (inter)national prizes and distinctions, Simone was awarded the national Dutch VSCD Classical Music Prize in the category \u2018New Generation Musicians\u2019 in 2010, awarded by the Association of Dutch Theatres and Concert Halls to artists that have made remarkable and valuable contributions to the Dutch classical music scene.\nIn May 2018 Simone was invited by His Majesty King Willem-Alexander and Her Majesty Queen M\u00e1xima of The Netherlands to perform during their official state visit to Luxembourg. In 2011 Simone performed during the Queen\u2019s Day Concert, in the presence of HRH Queen Beatrix of The Netherlands \u2013 a concert that was broadcast nationally on Dutch television.\nSimone began studying the violin at the age of 5 and moved to the UK aged 11 to study at the Yehudi Menuhin School with Professor Hu Kun. At the age of 14 Simone made her professional solo debut with the North Netherlands Orchestra performing Paganini\u2019s 1st Violin Concerto, her debut highly praised by the press. She continued her studies at the Royal Academy of Music in London with Professor Hu Kun and Professor Maurice Hasson, where she graduated aged 19 with first class honours and several prestigious awards. In 2011, she was made an Associate of the RAM, an honour given to those students who have made significant and distinguished contributions to their field. Simone currently lives in The Netherlands.\nSimone plays the \u201cMlynarski\u201d Stradivarius (1718), on generous loan to her by an anonymous benefactor.\nFor more information please visit: www.simonelamsma.com\nFollow Simone on Facebook at: www.facebook.com\/simonelamsma\n|,|title|:|violin|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]} DUTILLEUX Métaboles BRUCH Violin Concerto No. 1 BERLIOZ Symphonie fantastique

data-filter="[2020 05|][jones-hall|][May|][[{|term_id|:1598,|name|:|Symphony Specials|,|slug|:|symphony-specials|,|term_group|:0,|term_taxonomy_id|:1598,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:7,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Whitney Houston had a remarkable singing ability, a powerful voice, and unique delivery that touched our hearts and souls. A singer, actor, producer, and model, Whitney had unmistakable talent. A true diva, the Guinness World Records named Whitney Houston as the most-awarded female act of all-time having sold over 170 million albums, singles and videos worldwide. Vocalist Amanda Cole joins the Houston Symphony to celebrate Whitney’s extraordinary talent with an evening of her biggest hits, including “Saving All My Love,” “How Will I Know?,” “Where Do Broken Hearts Go?” and, of course “I Will Always Love You.” {|with_image|:[{|type|:|custom|,|name|:|Brent Havens|,|bio|:|Berklee-trained arranger\/conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson\u2019s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic and the BBC Concert Orchestra in London, the City of Birmingham Symphony Orchestra, the Malaysian Philharmonic, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic, and countless others.\nHavens recently completed the score for the film \u201cQuo Vadis,\u201d a Premier Pictures remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four-minute show. Havens is Arranger\/Guest Conductor for all the symphonic rock programs for Windborne Music.\n|,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Amanda Cole |,|bio|:||,|title|:|vocalist|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]}

data-filter="[2020 05|2020 05|][jones-hall|jones-hall|][May|May|][[{|term_id|:7,|name|:|Classical Series|,|slug|:|classical-series|,|term_group|:0,|term_taxonomy_id|:7,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:29,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" “Music is a higher revelation than all wisdom and philosophy.” —Ludwig van Beethoven Where words fail, music speaks. Come together in Jones Hall for a concert that celebrates the courage, resilience and enduring strength of the human spirit. Featuring text by Pulitzer Prize-winning playwright Nilo Cruz, Jimmy López’ unforgettable Dreamers shines a spotlight on the immigrant experience. An all-star cast including actor Damon Gupton and opera star Ana María Martínez joins the Houston Symphony. Shades of “Ode to Joy” echo throughout Beethoven’s resounding Choral Fantasy, which inspires and uplifts with its timeless message of unity, peace and hope. {|with_image|:[{|type|:|custom|,|name|:|Fabien Gabel|,|bio|:|Hailed as \u201cboldly evocative,\u201d Fabien Gabel is internationally recognized as one of the stars of a new generation of conductors, having established a broad repertoire ranging from core symphonic works to contemporary music and lesser-known works by French composers. He has been the music director of the Orchestre Symphonique de Qu\u00e9bec (OSQ) since 2012 and music director of the innovative Orchestre Fran\u00e7ais des Jeunes since 2017.\nFabien\u2019s 2019-20 season features debuts with the San Francisco Symphony, Utah Symphony, West Australian Symphony Orchestra, Radio-Symphonieorchester Wien, and Lucerne Symphony Orchestra. In his eighth season with the OSQ, he leads the orchestra in works by Chausson, Ravel, Duparc, Dutilleux, Aubert, Schmitt, Dubugnon, Rebel, Tomasi, and Poulenc; and collaborates with world-class soloists, including Augustin Hadelich, Juho Pohjonen, Jean-Yves Thibaudet, Michael Barenboim, Ana Mari\u0301a Marti\u0301nez, Philippe Jaroussky, and others. He returns to conduct the Houston Symphony, Detroit Symphony Orchestra, City of Birmingham Symphony Orchestra, Orchestre Philharmonique de Radio France, BBC Symphony Orchestra, Rochester Philharmonic Orchestra, Toronto Symphony Orchestra, and Orchestre National du Capitole de Toulouse.\nHis conducting has taken him across the globe to lead top orchestras and work with the world\u2019s most formidable soloists. Fabien first attracted international attention in 2004 winning the Donatella Flick LSO Conducting Competition, which subsequently led to his appointment as the London Symphony Orchestra\u2019s assistant conductor for two seasons. The LSO has since regularly engaged him as a guest conductor. \nBorn in Paris into a family of accomplished musicians, Fabien began studying trumpet at age 6, honing his skills at the Conservatoire National Sup\u00e9rieur de Musique de Paris, which awarded him a First Prize in trumpet in 1996, and later at the Musik Hochschule of Karlsruhe. He went on to play in several Parisian orchestras under the direction of prominent conductors such as Pierre Boulez, Sir Colin Davis, Riccardo Muti, Seiji Ozawa, Sir Simon Rattle, and Bernard Haitink. In 2002, Fabien pursued his interest in conducting at the Aspen Music Festival and School, where he studied with David Zinman, who invited him to appear as a guest conductor at the Festival in 2009. He has worked as an assistant to Haitink and Davis.\n|,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Ana Mar\u00eda Mart\u00ednez|,|bio|:|Grammy Award winner Ana Mar\u00eda Mart\u00ednez is considered to be one of the foremost sopranos of her time, with an international career that spans the world\u2019s most important opera houses and concert halls. With a repertoire that encompasses opera\u2019s most intriguing and diverse leading ladies, she engages her audiences season after season with signature roles, spellbinding debuts, and a myriad of captivating recordings. Opera News\u2019 recent cover story on Ms. Mart\u00ednez declared that her \u201csoprano harks back to the golden age. Her range is even, from a dusky chest-voice through a claret-colored middle and up to radiant top, and is impressive in its quiet moments as it is at full power.\u201d\nThe soprano begins the 2017 \u2013 2018 season in the title role of Carmen with Los Angeles Opera, followed by performances as Rusalka with Teatro Colon in Buenos Aires. She joins Lyric Opera of Chicago for two productions, first as Fiordiligi in Cosi fan Tutte and then as Marguerite in Faust. With Royal Opera House Covent Garden she returns as Alice Ford in Falstaff, with Florida Grand Opera she sings the title role in Florencia en el Amazonas, and portrays Cio-Cio San in Madama Butterfly with Santa Fe Opera in the summer of 2018. On the concert stage, Ms. Mart\u00ednez appears in multiple concerts with P\u00e1cido Domingo, a solo evening with the San Antonio Symphony, and performs recitals with pianist Craig Terry with the Art Song Festival at the Cleveland Institute of Music and La Sierra University.\nLeading roles for Ms. Martinez during the 2016-2017 season included Marguerite in Faust with Houston Grand Opera, where Opera News proclaimed \u201cMartinez\u2019s voice alone \u2013 with its chocolate-rich vibrancy in the low and middle range and its thrilling brilliance at the top \u2013 is worth the price of admission, but she also has the expressive range, as a singing actress, to portray Marguerite\u2019s complex transformation from youthful innocent in the throes of first love to outcast sinner consumed by tragedy and madness, who then achieves the miracle of redemption.\u201d She had a role debut as Tatyana in Eugene Onegin with Lyric Opera of Chicago, and performed as Cio Cio San in Madame Butterfly with Royal Opera House Covent Garden and Donna Elvira in Don Giovanni with San Francisco Opera. She joined star tenor Andrea Bocelli on a multi-city US tour, performed in concert with Pl\u00e1cido Domingo on stage at the Arena di Verona, among other stages, and voiced the role of opera singer Alessandra in season three of Amazon\u2019s Mozart in the Jungle.\nDuring the 2015\u20132016 season Ms. Mart\u00ednez made her triumphant return in a leading role with The Metropolitan Opera, portraying Cio-Cio San in a revival of Anthony Minghella\u2019s breathtaking production of Madama Butterfly. The New York Times raved of her performance \u201cIt was a bit of theatrical magic in a beautiful performance: modest and delicate, yet rising to glimpses of the epic in her final aria of self- sacrifice.\u201d Ms. Mart\u00ednez joined the Los Angeles Opera for two productions, first, opening their season as Nedda in Franco Zeffirelli\u2019s production of Pagliacci, under the baton of Pl\u00e1cido Domingo, and then later in the season as Cio-Cio San in Madama Butterfly with James Conlon conducting. She returned to Opera de Puerto Rico as Cio-Cio San, Houston Grand Opera as the title role in Rusalka, The Metropolitan Opera as Musetta in La boh\u00e8me, and to San Francisco Opera in a role debut as Elisabetta in Don Carlo. She had several concert engagements with Pl\u00e1cido Domingo during the season, including an engagement with the Salzburg Festival honoring his 40th Anniversary with them, the Starlight Festival in Marbella Spain, with Vi\u00f1edos San Gabriel in Ensenada, Baja, in Manaus, Brazil, inaugurating the Dubai Opera House in the United Arab Emirates, and in a special concert event with the Lyric Opera of Chicago Orchestra under the direction of Sir Andrew Davis. During the summer she joined the Mostly Mozart Festival in New York for their opening night concert in a selection of Mozart operas for her debut with the Festival, and followed that with performances of Cio Cio San at the Mariinsky Theater Primorsky Stage in Vladivostok, Russia.\nThe soprano began the 2014 \u2013 2015 calendar opening Lyric Opera of Chicago\u2019s season as Donna Elvira in a new Robert Falls production of Don Giovanni. She returned to Opera National de Paris as Mimi in La boh\u00e8me, and portrayed Cio-Cio San in Madama Butterfly with both Houston Grand Opera and the Royal Opera House Covent Garden. She returned to Dallas Opera as Mimi and concluded the season as the leading role of Paolina in the United Kingdom\u2019s first professionally staged performances of Donizetti\u2019s Poliuto in her triumphant return to The Glyndebourne Festival. The Daily Mail proclaimed \u201cPuerto Rican soprano Ana Mar\u00eda Mart\u00ednez brings Callas-Like intensity to Paolina,\u201d and Opera Today wrote that \u201cMart\u00ednez executed Paolina\u2019s aria with such beauty that her voice seemed to shimmer.\u201d Highlights of her concert calendar included performances with Pl\u00e1cido Domingo, Andrea Bocelli, and featured selections from Rusalka at the closing Gala concert for the Year of Czech Music in Prague. In November, Decca released a recording of Manon Lescaut with Ms. Mart\u00ednez in the title role, recorded opposite Andrea Bocelli with Pl\u00e1cido Domingo conducting the Orquestra de la Comunitat Valenciana.\nMs. Mart\u00ednez opened the 2013-14 season in a role debut as Desdemona in Verdi\u2019s Otello with Lyric Opera of Chicago, where she also performed during the season as the title role of Rusalka in a new production of David McVicar. Opera News wrote of her extraordinary performance:\n\u201cThe production was grounded by the exquisite performance of the title role by Ana Mar\u00eda Mart\u00ednez, who sang the opera for Glyndebourne in 2009. The soprano was in ravishing vocal estate, offering reams of floated lyricism in Act I\u2019s famous song to the moon, as well as prodigious dynamic control in \u201c\u00d3 marno to je\u201d and power in reserve for the climaxes of \u201cNeciteln\u00e1 vodn\u00ed moci.\u201d She emerged from her lake a pale, wraithlike being that undulated in graceful waves, like the water of which she was formed, only to become all angular awkwardness as she struggled with alien surroundings in Act II. Here she resembled a frightened puppy, a creature of pure love who was completely bewildered by her inability to comprehend expectations. An image of the desperate girl being pelted with blossoms during the ballet, while visibly reaching to grasp whether she was being lauded or cruelly mocked, was one of the most heartbreaking things I have ever seen on a stage. Mart\u00ednez\u2019s achievement was easily one of the great soprano performances of the present era at Lyric.\u201d\nIn addition to her performances with Lyric Opera of Chicago, she added a new leading lady to her repertoire with the title role of Carmen in a new Robert Ashford production with Houston Grand Opera. Opera News proclaimed:\n\u201cAna Mar\u00eda Mart\u00ednez\u2019s amazing performance as Carmen established a benchmark for the role in the Houston Grand Opera performance of Bizet\u2019s opera. There was, first, Mart\u00ednez\u2019s rich, lustrous, and voluptuous soprano, which she modulated toward gutsy power in her low range and arresting brilliance at the top. Beyond her singing, alone worth the price of admission, Mart\u00ednez reveled in Carmen\u2019s flamboyance and seductive charisma, so that her every gesture radiated the persona of this dangerous but irresistible gypsy. And, for Carmen\u2019s dancing in Act II at Lillas Pastia\u2019s Inn, Mart\u00ednez led an ensemble of dancers with flair.\u201d\nShe reprised the role of Carmen with Santa Fe Opera in a new production by Stephen Lawless later in the season. She returned to the Vienna Staatsoper as Cio-Cio San in Madama Butterfly in performances conducted by Pl\u00e1cido Domingo, and to the Bayerishe Staatsoper as both Cio-Cio San and as Mimi in La Boh\u00e8me. On the concert stage, she joined Pl\u00e1cido Domingo at the Teatro Real in Madrid and at HSBC Arena in Rio de Janeiro as part of the World Cup celebration, and performed alongside baritone Dmitri Hvorostovsky in a gala concert with the Turkish Opera and Ballet Theatre. In addition, she created a unique recital program, accompanied by Craig Terry on piano, that she brought to Vocal Arts DC and to the Broad Stage in Santa Monica.\nDuring the 2012 \u2013 13 season Ms. Mart\u00ednez joined Opera National de Paris in a role debut as Antonia in Offenbach\u2019s Les Contes d\u2019Hoffman, Bayerische Staatsoper in Munich for three engagements: as the title role in Rusalka, as Mimi in La Boh\u00e8me and as Antonia in Les Contes d\u2019Hoffman, and returned to Lyric Opera of Chicago as Mimi, prompting Opera News to rave that \u201cAna Mar\u00eda Mart\u00ednez contributed a radiantly vulnerable Mimi, consistently employing her darkly-textured lyric soprano with great sensitivity to dynamics and text. \u201cDonde lieta usc\u00ec\u201d emerged as the centerpiece of her interpretation, particularly with a delicate fining away of tone in the final phrases.\u201d In addition, she joined Pl\u00e1cido Domingo for several performances, including for her debut with The Los Angeles Philharmonic at the Hollywood Bowl, conducted by Gustavo Dudamel, and for gala performances with the New Orleans Opera, Abu Dhabi Festival in the United Arab Emirates, and Arena di Verona in Italy, among others. Concert engagements included performances with the Puerto Rico Symphony at the Casals Festival, San Antonio Symphony, Mercury Baroque in Houston, the Seoul Philharmonic, and with the English National Opera Orchestra in London. In addition, she offered a solo recital with Festival Miami. This season Best Buy and HP honored her as a Latina Trailblazer.\nCareer milestones for the soprano include her headline-making recent role and house debut as Rusalka with the Glyndebourne Festival, a performance that was recording live and released on the Glyndebourne label. Rave reviews for her portrayal include: \u201cWhen Mart\u00ednez sings that \u201cto suffer is to feel alive\u201d in her lustrous, vibrant voice (an intoxicating composite of Slavic darkness and Latin brilliance), you believe her,\u201d (The\n Independent) Additional notable engagements include her performances with The Los Angeles Opera of Amelia in Simon Boccanegra opposite Pl\u00e1cido Domingo in the title role, her debut with The Metropolitan Opera as Mica\u00ebla in Carmen, and her acclaimed role debut as Cio-Cio San in Madama Butterfly with Houston Grand Opera in a new production by Tony Award winning director Michael Grandage. Concert engagements were highlighted by her debut at Teatro alla Scala with the Filharmonica della Scala, under the direction of Gustavo Dudamel, the New York Philharmonic at Carnegie Hall in a concert conducted by Alan Gilbert in selections from West Side Story, as well as several engagements in her birth place of Puerto Rico with the Puerto Rico Symphony.\nHighlights of her leading operatic roles in the United States include her performances with Lyric Opera of Chicago as Nedda in Pagliacci, Mimi in La Boh\u00e8me, and Marguerite in Faust, performances with the Los Angeles Opera as Mimi and as Violetta in La Traviata, conducted by Maestro Domingo, and her portrayals of Cio-Cio San in Madama Butterfly with Washington National Opera. She sang Amelia in Simon Boccanegra, Mica\u00ebla in Carmen, and Pamina in Die Zauberfl\u00f6te all with San Francisco Opera, Mimi in La Boh\u00e8mewith Opera de Puerto Rico, and Rosalinda in Die Fledermaus at Dallas Opera. She made her debut with Santa Fe Opera as Fiordiligi in Cos\u00ec fan Tutte, and returned there as Rosina in a new production of Il Barbiere di Siviglia, Donna Elvira in Don Giovanni, and Mimi in La Boh\u00e8me where Opera proclaimed \u201cthe great performance of the festival was the poignant, sterling Mim\u00ec of Ana Mar\u00eda Mart\u00ednez: every phrase glowing and beautifully sculpted with admirable stylistic mastery.\u201d\nAn alumnae of the Houston Grand Opera Studio, Ms. Mart\u00ednez maintains a strong relationship with the house, portraying some of her most beloved characters there, and returning season after season. In addition to her Cio-Cio San debut, additional leading roles in the house include Rosina in a new production of Il barbiere di Siviglia, Nedda in Pagliacci, Mimi in La Boh\u00e8me, Donna Elvira in Don Giovanni, la Contessa in Le Nozze di Figaro, Li\u00f9 in Turandot, and Lucero in the world premiere of Daniel Cat\u00e1n\u2019s Salsipuedes. To her great honor, she was the inaugural recipient of the Lynn Wyatt Great Artist Award, which is granted by the Houston Grand Opera and Lynn and Oscar Wyatt.\nIn recent seasons, Ms. Mart\u00ednez has portrayed leading roles on Europe\u2019s most important stages including her recent role debut as Alice Ford in Falstaff for a return engagement with the Royal Opera House Covent Garden for which Opera News declared \u201cher radiant soprano moving as accurately and elegantly around the notes as she did in negotiating the physical intricacies of [the] staging,\u201d and The Guardian wrote \u201cAna Maria Mart\u00ednez is a bright-voiced and sexy Alice, a natural leader of women\u2026\u201d Additional performances at Covent Garden include Violetta in La Traviata and Donna Elvira in Don Giovanni.\u00a0 She sang Liu in Turandot and Nedda in Pagliacci both with De Nederlandse Opera, the title role in Luisa Miller and the Countess in Le Nozze di Figaro both with the Bayerische Staatsoper. She made her debut with the Hamburg Opera as Blanche in Poulenc\u2019s Dialogues des Carmelites, her debut with the Vienna Staatsoper as Adina in L\u2019elisir d\u2019amore, and her debut with the Deutsche Oper Berlin as the title character in G\u00f6tz Friedrich\u2019s production of Luisa Miller. She joined the Vienna Staatsoper as Pamina in the Die Zauberfl\u00f6te, the Dresden Semper Opera as Mim\u00ec in La Boh\u00e8me, and the Deutsche Oper Berlin as Mim\u00ec, Violetta in La Traviata, and as Donna Elvira in their production of Don Giovanni at at the Festival Castell de Paralada, Spain. She made her debut with the Opera National de Paris as Amelia in a new production of Simon Boccanegra, and returned as the title role in their new production of Luisa Miller. In addition, she portrayed Mimi in La Boh\u00e8 mewith the Abu Dhabi Festival in the United Arab Emirates, for the city\u2019s first ever fully staged opera production.\nFor many seasons Ms. Mart\u00ednez has enjoyed collaborating on multi-city concert tours with tenor Pl\u00e1cido Domingo which has taken them to all corners of the globe.\u00a0 Highlights of their collaboration include concerts at the Ravinia Festival, the Salzburg Festival in an all-Zarzuela concert recored live entitled Amor, Vida de Mi Vida, to a Gala performance at the Teatro Real in Madrid in celebration of the tenor\u2019s birthday, and for a performance at The White House.\u00a0\u00a0 She has also performed on numerous international concert tours with tenor Andrea Bocelli. Highlights of their collaboration include her appearance on the Emmy nominated PBS TV special and DVD American Dream: Andrea Bocelli\u2019s Statue of Liberty Concert with the New Jersey Symphony, as well as her participation in his star-studded performance in New York\u2019s Central Park which was recorded live, broadcast on PBS stations nationwide, and released on DVD and CD in an album entitled Concerto: One Night in Central Park.\nMs. Mart\u00ednez\u2019s dynamic concert career includes solo engagements with some of the world\u2019s most celebrated orchestras and conductors. She has performed with the Tchaikovsky Symphony in Moscow, the Orquestra Sinfonica Brasiliera in Rio de Janeiro, the BBC Symphony at Barbican Hall, and the National Symphony of the Dominican Republic. She joined the Boston Symphony, conducted by Bernard Haitink, Lyric Opera of Chicago for a concert at Millenium Park, and Washington National Opera for a concert with Bryn Terfel conducted by Pl\u00e1cido Domingo. She made her debut with the SWR Sinfonieorchester Baden-Baden und Freiburg for Verdi\u2019s Requiem, and joined the Berlin Philharmonic Orchestra under Gustavo Dudamel. She performed with tenor Joseph Calleja in an open-air televised gala concert with the Esterhazy Festival in Austria, sang at the Ravinia Festival in concert performances as Fiordiligi in Cosi fan Tutte conducted by James Conlon, joined the Tuscan Sun Festival in Cortona, Italy, and has appeared on several occasions with the Casals Festival in Puerto Rico.\nMs. Mart\u00ednez\u2019s recording collection is highlighted by her solo disc, entitled Ana Mar\u00eda Mart\u00ednez \u2013 Soprano Songs and Arias, recorded with the Prague Philharmonia conducted by Steven Mercurio on Naxos, which was selected by Gramophone Magazine as an \u201cEditor\u2019s Choice.\u201d She stars on the Decca DVD Cosi Fan Tutte filmed at the Salzburg Festival and performs the role of Nedda opposite Andrea Bocelli in the Universal CD recording of Pagliacciwhich debuted at #1. DVDs on the Euro Arts label include Spanish Night with the Berlin Philharmonic conducted by Pl\u00e1cido Domingo, and Amor, Vida de Mi Vida where she joins Pl\u00e1cido Domingo for Zarzuelas recorded live with the Mozarteum Orchestra Salzburg. In addition, her discography includes a performance on Steven Mercurio\u2019s Sony Classical CD, Many Voices, and the Latin Grammy award-winning recording of Albeniz\u2019s Merlin with Pl\u00e1cido Domingo (Decca), which coincided with the Grammy nominated recording of Bacalov\u2019s Misa Tango with Pl\u00e1cido Domingo (Deutsche Gramophone). Additional recordings include Glass\u2019 La Belle et la B\u00eate and Symphony No. 5(Nonesuch), Albeniz\u2019s Henry Clifford (Decca), Joaquin Rodrigo\u2019s: Obra Vocal I, II, IV & V (EMI), and Daniel Cat\u00e1n\u2019s Florencia en el Amazonas (Albany). Recorded on Naxos for the Milken Archives and with the Academy of St. Martin-in-the-Fields, she can be heard on Castelnuovo Tedesco\u2019s Naomi & Ruth Opus 27(Naxos) as well as Yizkor\u2019s Requiem (Naxos) and with the Barcelona Symphony, Marvin Levy\u2019s Canto de los Marranos (Naxos), Julius Chajes\u2019 Old Jerusalem (Naxos) and Hugo Weisgall\u2019s Psalm of the Distant Dove (Naxos). Her rendition of \u201cAve Maria\u201d is heard in the Denzel Washington film \u201cJohn Q,\u201d and her \u201cJe veux vivre\u201d from Romeo et Juliette can be heard in the movie \u201cFactory Girl.\u201d\nA graduate of the Juilliard School with Bachelor and Master of Music degrees and alumna of the Houston Grand Opera Studio, Mart\u00ednez won the Pepita Embil Award at the 1995 Operalia II, first prize in the 1994 Eleanor McCollum Auditions and Awards from Houston Grand Opera, and in the 1993 Metropolitan Opera National Council Auditions she was a first place district and first place regional winner and national finalist. Mart\u00ednez has offered candid encouragement to young singers as a contributing editor to Classical Singer Magazine. She is the recipient of the National Association of Latina Leaders\u2019 Groundbreaking Latina in Music award. Her recollections and reflections are profiled in Latino Wisdom: Celebrity Stories of Hope, Inspiration, and Success to Recharge our Mind, Body, and Soul by Cathy Areu, published by Barricade Books.\n|,|title|:|soprano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Alexandra Dariescu|,|bio|:|Romanian born British pianist and creator of \u201cThe Nutcracker and I\u201d, Alexandra Dariescu dazzles audiences and critics worldwide with her effortless musicality and captivating stage presence. Alexandra\u2019s vision and innovative approach to programming make her stand out as a creative entrepreneur who likes to think differently.\nDariescu\u2019s 2018\/19 season marks a special focus on works by female composers in important milestones including her debut with the BBC Symphony Orchestra and James Gaffigan, performing Nadia Boulanger\u2019s Fantaisie vari\u00e9e at London\u2019s Barbican and a return visit to the Royal Liverpool Philharmonic Orchestra and Jessica Cottis, performing Germaine Tailleferre\u2019s Ballade for piano and orchestra. Alexandra returns to the Hall\u00e9 Orchestra and Jonathan Heyward (Tchaikovsky 1) and Mecklenburgische Staatskapelle with Daniel Huppert (Rachmaninov 2) while at the Wigmore Hall, Dariescu presents an all-French recital with works by Debussy, Messiaen, Faure, Tailleferre and Lili Boulanger.\nAfter the highly acclaimed premiere of Dariescu\u2019s own production The Nutcracker and I \u2013 a ground-breaking multimedia performance for piano solo with dance and digital animation \u2013 at Barbican\u2019s Milton Court in December 2017 \u2013 Alexandra will take the Nutcracker on a world tour, performing across Europe at Konzerthaus Wien, Laeiszhalle Hamburg, Bozar Brussels, Philharmonie Luxembourg, Konserthuset G\u00f6teborg, King\u2019s Place London amongst others as well as touring China, Australia and the Emirates. In addition, Alexandra has just released an audio book of the same name on the Signum label, with the story written by Jessica Duchen and narrated by celebrated TV children presenter Lindsey Russell.\nThis season Alexandra completes her Trilogy of Preludes with Boulanger\/Messiaen\/Faure which compliments the previously released CDs of Chopin\/Dutilleux and Shostakovich\/Szymanowski complete preludes (Champs Hill Records). 2016 saw the release of two concerto discs: Tchaikovsky\u2019s piano concerto No. 1 with the Royal Philharmonic Orchestra and Darrell Ang (Signum Records) and Emily Howard\u2019s Mesmerism (NMC Records), a concerto written especially for Alexandra, which won the British Composer of the Year at the BASCA awards.\nRecently, Alexandra toured with the European Union Youth Orchestra under the baton of Vasily Petrenko after celebrating a range of acclaimed debuts in North America with the Orchestre Symphonique de Quebec (Fabien Gabel), Utah Symphony Orchestra (Kazuki Yamada), Kitchener-Waterloo Symphony (Marzena Diakun) and her Chinese debut with the Sichuan Symphony Orchestra (Darrell Ang), as well as two different sold out performances at the Vienna Staatsoper with Angela Gheorghiu and concertos at the Musikverein.\nAlexandra has been mentored by Sir Andr\u00e1s Schiff and Imogen Cooper. After graduating from the Royal Northern College of Music with the Gold Medal, where she studied with Nelson Goerner, Alexander Melnikov, Mark Ray and Dina Parakhina, Alexandra pursued her Masters at the Guildhall school of Music and Drama with Ronan O\u2019Hora. A former artist of the Young Classical Artists Trust (YCAT), Alexandra was a Laureate at the Verbier Festival Academy and received the UK\u2019s Women of the Future Award in the Arts and Culture category. In 2017 Alexandra was appointed patron of Music in Lyddington, Cultural Ambassador of Romania and Honorary Associate Artist of the Royal Northern College of Music. In spring 2018, Alexandra received the \u201cOfficer of the Romanian Crown\u201d from the Royal Family and was selected as a Young European Leader by Friends of Europe.\n|,|title|:|piano|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |},{|type|:|custom|,|name|:|Damon Gupton|,|bio|:|A native of Detroit, Michigan, Damon Gupton held the post of assistant conductor of the Kansas City Symphony from 2006 to 2008.\u00a0 Gupton received his Bachelor of Music Education degree from the University of Michigan.\u00a0 He studied conducting with David Zinman and Murry Sidlin at the Aspen Music Festival and with Leonard Slatkin at the National Conducting Institute in Washington, D.C. He served as American conducting fellow of the Houston Symphony for the 2004\/2005 season, and has made conducting appearances with the Orchestra of St. Luke\u2019s, Detroit Symphony, Baltimore Symphony, The Cincinnati Pops, National Symphony Orchestra, Toledo Symphony, Fort Worth Symphony, Florida Orchestra, San Diego Symphony, Long Beach Symphony, San Antonio Symphony, Princeton Symphony, Orchestre Philharmonique de Monte Carlo, NHK Orchestra of Tokyo, Orquesta Filarmonica de UNAM, Brass Band of Battle Creek, New York University Steinhardt Orchestra, Kinhaven Music School Orchestra, Vermont Music Festival Orchestra, Michigan Youth Arts Festival Honors Orchestra and Sphinx Symphony as part of the 12th annual Sphinx Competition.\u00a0 He led the Sphinx Chamber Orchestra on a national tour with performances at Carnegie Hall and a well-reviewed recording available at White Pine Music.\u00a0 He also conducted the finals of the Seventh Cliburn International Amateur Piano Competition. He is a winner of the Third International Eduardo Mata Conducting Competition, held in Mexico City. Musical collaborations include work with Marcus Miller, Kenn Hicks, Brian Stokes Mitchell, Byron Stripling, Tony DeSare, The Midtown Men, Kathleen Battle and Jamie Cullum.\nMr. Gupton has been featured as narrator in many venues including The Cleveland Orchestra, The Grand Teton Music Festival, The Grant Park Music Festival, The Houston Symphony, The Memphis Symphony, and on the The Videmus recording Fare Ye Well. He also narrated a concert version of Beethoven\u2019s Fidelio with David Robertson and the St. Louis Symphony Orchestra.\nAwards include the Robert J. Harth Conducting Prize and The Aspen Conducting Prize.\u00a0 Mr.Gupton is the inaugural recipient of the Emerging Artist Award from the University of Michigan School of Music and Alumni Society.\nAn accomplished actor, Gupton graduated from The Drama Division of the Juilliard School in New York. He has had roles in television, film, and on stage, including the Broadway production of Bruce Norris\u2019 Pulitzer Prize and Tony Award winning Clybourne Park, the Ovation and LA Drama Critic\u2019s Circle award winning Ma Rainey’s Black Bottom (Mark Taper Forum), Superior Donuts (The Geffen), Christina Anderson\u2019s Inked Baby (Playwrights Horizons), Meg\u2019s New Friend (The Production Company), Wendy Wasserstein\u2019s An American Daughter (Arena Stage), True History and Real Adventures (The Vineyard Theatre), and Treason (Perry Street Theatre), The Story (Public Theater).\u00a0 He also performed the title role of Academy Award-winner Eric Simonson\u2019s Carter\u2019s Way at Kansas City Repertory Theater. Mr. Gupton was featured in title role in the critically acclaimed Heart of America Shakespeare Festival production of Othello. He received an AUDELCO nomination for Best Supporting Actor for his work in Clybourne Park.\nGupton’s television credits include series regular roles on Black Lightning, Criminal Minds, The Player, The Divide, Prime Suspect, and Deadline as well as guest appearances on Goliath, A&E\u2019s Bates Motel, Aaron Sorkin’s The Newsroom, Suits, Empire, Rake starring Greg Kinnear, Law & Order, Law & Order Criminal Intent, Conviction, The Unusuals, Third Watch, Hack, and Drift.\u00a0 He appeared in Damien Chazelle’s Academy Award-winning films Whiplash and LaLa Land, as well as This is Forty, The Last Airbender, Helen at Risk, Before The Devil Knows You\u2019re Dead, Unfaithful, and The Loretta Claiborne Story.\n|,|title|:|narrator|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[{|type|:|custom|,|name|:|Houston Symphony Chorus|,|bio|:||,|title|:|Betsy Cook Weber, director|,|small_image|:false,|bio_image|:false,|full_image|:false}]} BEETHOVEN Incidental Music from Egmont JIMMY LÓPEZ Dreamers Oratorio BEETHOVEN Choral Fantasy

data-filter="[2020 05|][jones-hall|][May|][[{|term_id|:1598,|name|:|Symphony Specials|,|slug|:|symphony-specials|,|term_group|:0,|term_taxonomy_id|:1598,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:7,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" Featuring a live performance of selections from blockbuster video games, including World of Warcraft, Assassin’s Creed, Bioshock, League of Legends, and more, Game On! combines unrivaled, world-class symphonic arrangements with stunning in-game HD videos and never-before-seen concept art. {|with_image|:[{|type|:|custom|,|name|:|Andy Brick|,|bio|:||,|title|:|conductor|,|small_image|:| \n |,|bio_image|:| \n |,|full_image|:| \n |}],|without|:[]}

data-filter="[2020 05|2020 05|2020 05|2020 05|][jones-hall|jones-hall|jones-hall|jones-hall|][May|May|May|May|][[{|term_id|:8,|name|:|POPS Series|,|slug|:|pops-series|,|term_group|:0,|term_taxonomy_id|:8,|taxonomy|:|series|,|description|:||,|parent|:0,|count|:9,|filter|:|raw|}]][{|term_id|:1851,|name|:|2019\u201320|,|slug|:|19-20|,|term_group|:0,|term_taxonomy_id|:1851,|taxonomy|:|season|,|description|:||,|parent|:0,|count|:57,|filter|:|raw|}]" From action-packed flicks to laugh-out-loud comedies to the most touching dramas, the music of John Williams delights audiences of all generations. Join the Houston Symphony and Chorus for themes from all your blockbuster favorites—Superman, Star Wars, Harry Potter and more—in this musical celebration of the master of film scores. {|with_image|:[{|type|:|existing|,|name|:|Steven Reineke|,|bio|:||,|title|:|Principal POPS Conductor|,|small_image|:| \n |,|full_image|:| \n |,|bio_image|:| \n |,|url|:|https:\/\/houstonsymphony.org\/about-us\/conductor\/steven-reineke\/|}],|without|:[{|type|:|custom|,|name|:|Houston Symphony Chorus|,|bio|:||,|title|:|Betsy Cook Weber, director|,|small_image|:false,|bio_image|:false,|full_image|:false}]}