The Daily Voice

By Sam Luehrs

Indie bands. They’re out there, lurking in the shadows of a café or playing in some small venue, but the question is where? Where do viewers, thirsty for some new obscure sound, go to find these humble, self-proclaimed bands? The answer is to simply think outside the box and tune into local surroundings.

In the past year, the small genre of indie music began in the state of California as a slow sizzle, but then gradually transformed into a steamy hot boil. Whether it be in cafés, at environmental benefit concerts, or anywhere within the famous city walls, its clear that these hot new bands are here, and here to stay.

“Indie bands are so cool. It always looks impressive to your friends if you start listening to a foreign band that they have never listen to before,” said Corona del Mar High School junior Erika Lewis.

Ra Ra Riot
Entrance yourself in the rhythmic sync of Ra Ra Riot. With hits such as “Can You Tell,” this group of six will make you tap and groove to their irresistible beat. After the tragic death of Ra Ra Riot’s drummer, instead of giving up music all together, it inspired them to channel their emotions into the optimistic yet frightening thought of death in their single, “Dying Is Fine. ”Don’t miss their performances in California the month of April in San Luis Obispo on the 12th, Visalia on the 13th, Oakland on the 14th, and at Coachella on the 16th.

“Ra Ra Riot was absolutely incredible live. Their body synchronization was appealing to everyone in the crowd,” said Corona del Mar sophomore Zach Salaam.

A.A. Bondy
Feel the mellow indie folk of the solo artist A.A. Bondy. His soothing voice along with his heart-grabbing lyrics make you want to enter a forest with your loved one. His new album, “When the Devil’s Loose” consists of the enchanting song, “I Can See the Pines are Dancing,” which will put a smile on the listener’s face. Sadly, there are no upcoming performances listed for A.A. Bondy, but keep an eye out for a rare appearance in L.A cafés, because he just may be there singing his lullaby to the ones that will listen.

Angus and Julia Stone
The Australian duo. Need anyone say more? With their humble charm, sound, and beauty this brother and sister will make you learn to feel love again. While making a statement in the music industry with hit songs such as “Paper Aeroplane” along with “Just a Boy,” Angus and Julia made their way to the states touring as an opening band for Brett Dennen. Their vibe crosses between a soft melody and folk tale which proves to be addicting to the ears. Unfortunately, the fabulous duo are not touring the U.S. this year, but may make a performance next year with the release of a possible EP.

“The first time I heard the melody of Angus and Julia Stone, I smiled with satisfaction. What a lovely couple of Australians,” said Corona del Mar junior Ryanne Berube.

Black Rebel Motorcycle Club
Catchy rhythm electric guitar and biting lyrics can’t even begin to describe the versatile spice of Black Rebel Motorcycle Club. As “666 Conducer” plays, you’ll find yourself thinking that Black Sabbath has risen from the dead. Black Rebel Motorcycle Club, also known as BMRC, will radiate your soul with the electrifying shocks of rock along with a breathy gripping voice to match.

“Whenever I want to feel a little bit more like a bad boy, I’ll play Black Rebel Motorcycle Club. Those guys are awesome,” said Corona del Mar junior Chris Robertson.

Bon Iver
Feeling a rainy day coming your way? Then pop in some Bon Iver to enhance the mood. With loose-playing guitar accompanied by this single début from this beautiful genius, it can make any wet day feel dry. A highly recommended song to listen to would be “Skinny Love.” The combination of his voice with the touching lyrics will make the listener crave more. Lush, rich, and calming don’t even begin to cover the remarkable Bon Iver. Go treat yourself to a new purchase because he is definitely worth the money.

“His voice is very unique and relaxing. I highly recommend buying this,” shared Corona del Mar sophomore Cheyne Kelley.

Well, there you have it. Five hidden indie artists uncovered for the select listeners. Each artist contains a unique, timeless quality that will remind the listener of what quality musicians sound like. Whether it is the edgy rock of BMRC, or the soft melody of Bon Iver, as a music fan, you will surely be pleased.

Show Schedules

Ra Ra Riot
03.19.10: Austin, Texas // SXSW @ Club De Ville
04.12.10: San Luis Obispo, Calif. // Downtown Brewery 
04.13.10: Visalia, Calif. // Cellar Door 
04.14.10: Oakland, Calif. // The New Parish 
04.16.10: Indio, Calif. // Coachella Music Festival 
04.27.10: West Liberty, Iowa // Daytrotter Barnstormer: Secrest

Black Rebel Motorcycle Club
03.16.10: House of Blues Anaheim

Bon Iver
04.01.10 Cincinnati, Ohio// MusicNow Festival

Sam Luehrs is a contributing writer to The Daily Voice and a student at Corona del Mar High School.

Orange Coast College theatre arts instructor John Ferzacca has adapted Shakespeare’s “Hamlet” into an experimental, pared-down version of the tragedy that will be staged at Orange Coast College from March 17-21.
 
Performances, directed by OCC theatre arts professor Alex Golson, are Wednesday through Saturday, March 17-20, at 8:00 p.m. in the Drama Lab Theatre, with a 2:30 matinee on Sunday, March 21.  
 
Advance tickets are $10 for general admission, $5 for OCC students and seniors at the OCC Bursar’s Office.  Tickets can be ordered by phone at (714) 432-5880, ext. 1, or at www.occtickets.com.  Tickets will be $11 at the door.
 
The 90-minute production takes some intriguing, mysterious turns that explore some questions Shakespeare left unanswered.  Why is Ophelia crazy?  Why is Hamlet so angry?
 
“It was great fun to write,” Ferzacca said, adding that “if you’re a Shakespeare purist, you’ll hate it” despite the fact that every word in the production was penned by the master playwright himself. 
 
Ferzacca took liberties with the plot and tossed in some mystery and intrigue.  Costumes worn by the characters represent all periods between Shakespeare’s Elizabethan time and present day.  Actors selected their own attire based on each character’s personality.
 
Ferzacca, who officially retired in 2003 after teaching and directing theatre arts at OCC for 33 years, still teaches two acting classes part-time at the college.  During his career, “I got to direct every play I ever wanted,” he said.  Now he is spends his time writing.  
 
Ferzacca has published five plays and two screenplays, including “The Failure to Zigzag,” which was staged by the Laguna Playhouse in 1978 and later adapted for a CBS movie. “ZigZag” has been produced more than a dozen times across the country, including a campus production in 1991. Ferzacca hopes to find the same success with his abridged “Hamlet.” 
 
OCC’s “Hamlet” has a 26-member cast, including 10 speaking roles.  Alex Duremdes, Huntington Beach, is Hamlet, and Erin Fitzpatrick, Fullerton, plays Gertrude.  The cast also includes Aaron Drake, Tustin; Danica Houchen, Huntington Beach; and Adam Wilson, Newport Beach.

Pacific Symphony and Music Director Carl St.Clair announce the orchestra’s 2010-11 classical season—one that marries St.Clair’s commitment to adventurous programming and his passion for the great orchestral traditions. Among the highlights taking place in the Renée and Henry Segerstrom Concert Hall next season is the Great Pianists Series, featuring nine important artists offering beloved masterworks from the piano literature including Tchaikovsky’s Piano Concerto No. 1, Rachmaninoff’s Piano Concert No. 2 and Gershwin’s Rhapsody in Blue. Brazilian pianist Arnaldo Cohen undertakes the herculean task of performing all five Beethoven Piano Concertos over three nights. Additionally in the spotlight: Beethoven’s Violin Concerto and Symphony No. 7. For more information or to purchase season tickets, $231-$951; call (714) 755-5799 or visit www.pacificsymphony.org.

The vibrant and enriched season is the second of a three-year initiative funded by the Andrew W. Mellon Foundation in which three symphony concerts contextualize music and enrich the concert music experience by utilizing varied formats, opportunities for interaction with musicians, and occasional use of visual imagery. Symphony surveys have revealed that over 85 percent of audiences have responded favorably to its engagement efforts, but the Symphony continues to identify ways to achieve balance and respect the interests of those who prefer traditional formats.

“This is a season that is steeped in the ‘most beloved of masterworks,’” states St.Clair. “Arriving on the heels of the final Summer Festival 2010 concert on Sept. 11, which features Beethoven’s mighty Ninth Symphony, we will launch into a season filled with music by the great composers. Never before in my tenure as music director have we offered such an array of works by these classical giants.

“And to compliment our Beethoven-filled season, we also offer some of the Romantic favorites: Rachmaninoff’s Second Symphony (to conclude the season), Mahler’s First (which we last did to open the hall), Dvorak’s ‘New World Symphony,’ and Anton Bruckner’s Symphony No. 9—his final and unfinished cathedral-like masterwork.”

Classical Series Opens with Brahms and Tchaikovsky Favorites

The Symphony’s 2010-11 classical season—presented by the Hal and Jeanette Segerstrom Family Foundation—kicks off with a musical feast on Sept. 23-25—as Costa Rican guest conductor Giancarlo Guerrero—the new music director of the Nashville Symphony Orchestra—returns for the fourth year in a row (last seen leading the orchestra in Beethoven’s Symphony No. 5) to conduct “Tchaikovsky’s First.” In June 2004, Guerrero was awarded the Helen M. Thompson Award by the League of American Orchestras, which recognizes outstanding achievement among young conductors nationwide.

The program features the first of many significant pianists this season, Jon Kimura Parker, who was the gold-medal laureate at the Leeds International Piano Competition, and whose extraordinary career has taken him from Carnegie Hall and the Sydney Opera House to the Canadian Arctic and war-torn Sarajevo. The evening also includes a work that is considered the epitome of the romantic piano concerto, “Tchaikovsky’s First.” Then, Brahms finally steps out of Beethoven’s shadow with his Symphony No. 2—a rich and ingenious composition that is a juxtaposition of light and dark, as well as lyrical and forceful. 

Beethoven Piano Concerto Project

“For many years I’ve wanted to present Beethoven’s five piano concertos in one setting—and this coming year, I’ll finally be able to do it,” says St.Clair. “With the wonderful pianist Arnaldo Cohen, we’ll be doing the concertos plus Beethoven’s Seventh Symphony, both Romances, the Leonore Overture and the Overture to ‘Fidelio.’”  

Interpreted by international sensation Cohen during three separate programs performed on consecutive nights in February 2011, it was St.Clair’s goal to create a unique format that would allow audiences to better compare, contrast and appreciate the individual concertos. Cohen dazzled Orange County audiences in 2002, when he performed Liszt’s Piano Concerto. The New York Times said of the Brazilian-born Cohen: “He is a big pianist. His sound is splendid and full…”

In November 2010, St.Clair offers the first in a series of Beethoven masterworks, when he conducts the composer’s Choral Fantasy.  Pianist Jeffrey Biegel returns for the concert “Mozart & Beethoven” after his 2009-10 world-premiere performance of Richard Danielpour’s Piano Concerto, “Mirrors”—a piece that was written specifically for the pianist.

 “So we’ll be covering nearly all of Beethoven’s major works with soloists—offering a unique concert experience for our audience and for our musicians—as we journey through this great repertoire,” adds St.Clair.

Great Pianists Series  

The Symphony welcomes classical superstar Lang Lang in January for a one-night-only performance with the orchestra conducted by St.Clair. Heralded as the “hottest artist on the classical-music planet,” by The New York Times, the 27-year-old pianist has played sold-out concerts around the world. He recently appeared in the 2009 Time 100, Time magazine’s annual list of the 100 most influential people in the world.

Pianists continue to dazzle with the best-of piano repertoire throughout the 2010-11 season, beginning with the sunny, exuberant landscape of Ravel’s extraordinary “Piano Concerto No. 1,” performed by pianist Jean-Efflam Bavouzet (of whom Gramophone magazine said, “[His] flexible virtuosity and innate grasp…yields ravishing, freshly minted interpretations.”).

And recent winner of the international Gilmore Award, Russian-born Kirill Gerstein, takes on one of the world’s best-known, most popular and lyrical piano concertos, Rachmaninoff’s Piano Concerto No. 2—while 27-year-old piano sensation Orion Weiss performs what is perhaps the most famous work of classical music by an American composer: Gershwin’s “Rhapsody in Blue,” which combines classical themes and techniques with that most American of musical genres—jazz. Even jazzier, Weiss also plays Gershwin’s Variations on “I’ve Got Rhythm.”

The next pianist is taking the classical music world by storm and earned a Grammy nomination with her very first album. Called “jaw-dropping,” “astounding,” “superhuman” and “fearless,” the 23-year-old Chinese virtuoso makes her debut with the Symphony next season for “Yuja Wang Plays Rachmaninoff.” The Chinese prodigy performs “Rhapsody on a Theme of Paganini,” a work that becomes the peaceful center of a program that also showcases music by Martinu and Shostakovich.

Just 21, Lise de la Salle’s playing is so inspiring that The Washington Post wrote, “For much of the concert, the audience had to remember to breathe…the exhilaration didn’t let up for a second until her hands came off the keyboard.” For the Symphony’s concert, “Mahler and Liszt,” De la Salle brings her emotionally stirring abilities to Liszt’s Piano Concerto No. 1, a piece that displays both lyricism and bravura for which the composer became known.

Beyond the Piano

“I’m so pleased that Pinchas Zukerman has agreed to return to play and conduct in January,” says St.Clair. “He’ll be adding to our Beethoven exploration.” In addition to a treasure trove of accomplished pianists, guest artists include two world-renowned violinists: Zukerman and Philippe Quint.

Zukerman has the distinction of being the musician who played the first notes in the Renée and Henry Segerstrom Concert Hall, while wearing a hard hat (as the construction of the hall was still underway). He is also the recipient of the Stern Award for Artistic Excellence. Back for the first time since 2005 for the concert “Zukerman Plays Beethoven,” the program includes the heart-stopping beauty of Beethoven’s only Violin Concerto, in which Zukerman both plays and conducts. Concert-goers get a triple treat as he also leads Stravinsky’s Concerto in D and Haydn’s Symphony No. 83, “The Hen” (don’t miss the clucking in the first movement).

“Our Beethoven-centric season will not be to the exclusion of Mozart and Haydn,” adds St.Clair. “It has been some seasons since ‘Papa Haydn’ has been represented. He is truly a masterful composer who helped guide both Mozart and Beethoven during their developing years.”

Charismatic two-time Grammy-Award nominee Quint performs Fantasy on Bizet’s “Carmen” for the concert “Bolero!” (More on this below.) 

For “Sonic Cathedrals,” the Norbertine Fathers from St. Michael’s Abbey, take the audience back to the 11^th century and the rich, sonorous and worshipful voices of Gregorian chant. The concert also features the majestic sounds of the William J. Gillespie Concert Organ, played by Symphony-favorite and premier organist, Paul Jacobs, who opened the Symphony’s 2008-09 season by inaugurating the organ to critical acclaim and sold-out houses. Jacobs also appears with the Symphony in late 2009-10 for one of the true glories of the organ-orchestra literature: the Poulenc Organ Concerto.

“It seemed only appropriate to combine this great symphonic experience with the organ music which Bruckner would have surely played himself—he was a virtuoso organist,” says St.Clair. “Having Paul Jacobs and the Norbertine Fathers on the same program should make for a most rewarding and enriching concert experience.’

Guest Conductors: American Music Directors

Among the guest conductors next season is James Gaffigan, just named music director of Lucerne Symphony and principal guest conductor of the Netherlands Radio Philharmonic Orchestra. A familiar face to Symphony patrons, Gaffigan last conducted the orchestra during the Summer Festival 2008. Having recently stepped down as San Francisco’s associate conductor, he is at the helm for Gershwin’s “Rhapsody in Blue,” which also includes his Variations on “I’ve Got Rhythm.” Rounding out the program are Harbison’s “Remembering Gatsby: Foxtrot for Orchestra” and Rachmaninoff’s Symphony No. 2, which came 10 years after the abject failure of his first, and beautifully belies his statement that it was not in his nature to compose symphonies.

One of America’s most exciting and promising young conductors, Taiwan-native Mei-Ann Chen, makes her debut with the Symphony by leading an exhilarating program—“Rachmaninoff’s Second”—featuring Gerstein performing Rachmaninoff’s Piano Concerto No. 2. Chen, who is the just-announced music director of the Memphis Symphony Orchestra and the first woman to win the Malko International Conductors Competition (2005), leads a program that includes the sharply contrasting minimalism of Michael Torke’s “Javelin,” and the supremely rewarding and beloved “New World” Symphony by Dvorak.

Next, Great-Britain native and Grand Rapids Symphony Music Director David Lockington brings his personal vision to some of the most beautiful music ever written—when he takes the podium for “Handel’s Glorious Messiah,” featuring the exquisite voices of the Pacific Chorale and world-class soloists. Transcending three centuries of fads and fashions, this cherished holiday tradition has become Orange County’s most popular rendition of the timeless masterwork.

For the concert “Mahler & Liszt,” internationally acclaimed conductor Justin Brown leads Berlioz’ sometimes serene, sometimes swashbuckling ode to the sea, “Le Corsaire”—which serves as an apt prelude to Liszt’s stirring Piano Concerto No. 1, played by de la Salle, and Mahler’s Symphony No. 1. Mahler originally identified with the despairing hero of Jean Paul’s novel, “Titan,” but the symphony’s brilliance and triumphant conclusion so contradicted his earlier emotions, he came to reject them.

“Under Brown’s leadership…” said the Badische Neueste Nachrichten, one of his performances became “a truly explosive event, electrifying an attentive audience and ending with the veritable storms of applause.”

Dynamic and inspired conductor Carlos Miguel Prieto leads a colorful “Music Unwound” concert entitled “Bolero!” (see below). 

Inventive, Forward-Thinking Projects

“We have had a great deal of fun and success with our “Music Unwound” concerts this season,” says St.Clair, “and look forward to continuing to create interestingly unique concert-going experiences for our audiences next season.”

In 2010-11, there are three distinct “Music Unwound” concerts. Generously underwritten by the Andrew W. Mellon Foundation, “Music Unwound” was initiated at the start of the 2009-10 season to bring innovative new formats, context, audience engagement, and thematic programming to the concert experience. The Symphony approaches each performance by creating a contextual backdrop for the music, in an effort to give the music deeper meaning. The concerts include unusual formats, use of multimedia, extra-musical activities and customized experiences.

In 2010-11, St.Clair’s first program of the season takes place in mid-October and happens to also be the first “Music Unwound” concert. “Pictures at an Exhibition,” which begins in a Russian forest with Prokofiev’s symphonic version of the beloved children’s tale, “Peter and the Wolf,” is accompanied by the 2008 Academy Award-winning animated film. The concert then moves to Ravel’s “Piano Concerto No. 1,” performed by Bavouzet, and returns, finally, to Russia for Mussorgsky’s grand, heartbroken memorial to a friend—his “Pictures at an Exhibition.”  As part of the Music Unwound initiative, St.Clair finds musical and historic linkages throughout the program.

 “We begin with the film that was a sensation at the Academy Awards,” says St.Clair. “I’m happy to be able to bring it to our audiences when I return for my first set of concerts of the season. I am combining ‘Peter and the Wolf’ with two works in which Ravel’s talents as composer and master orchestrator are apparent—his Piano Concerto in G and his orchestration of ‘Pictures at an Exhibition.’”

For the second “Music Unwound” concert, music director of Mexico’s most important orchestra, the National Symphony Orchestra of Mexico, as well as Orquesta Mineria, Carlos Miguel Prieto leads “Bolero!,” a musical journey to the Iberian Peninsula. Albénez’ guided tour, selections from “Iberia,” is followed by Ravel’s virtuosic, gypsy-inspired rhapsody Tzigane, and Sarasate’s Fantasy on Bizet’s “Carmen,” featuring violinist Quint. De Falla’s charming ballet about a magistrate who falls in love with a married woman, “The Three-Cornered Hat,” precedes the most famous 11 minutes in classic music—Ravel’s mesmerizing “Bolero.” Popular with O.C. audiences, Prieto last conducted the Symphony in June 2009 (“The Emperor”), as well as “Tchaikovsky Spectacular” during Summer Festival 2007. 

“Later in the season, we are able to continue our look at the romantic composer Anton Bruckner,” says St.Clair of “Sonic Cathedral,” the third “Music Unwound” undertaking. “The spirituality of his cathedral-like symphony is apparent in every moment. He instills a uniquely religious significance into the traditional symphonic format.”

St.Clair refers to Bruckner’s Symphony No. 9, a grand summation of the composer’s work, which reveals his distinctive creative genius and sweeping symphonic sound. “Bruckner transforms the symphony’s structure into an ascending narrative—beginning mysteriously with uncertainty, implementing both beauty and a sense of suffering of the world, he sweetly smiles and weeps with it. There always is a victorious arrival, a sense of conquest in the end.” This 19^th-century triumph is preceded by a visit to the 11^th century and the mesmerizing tones of Gregorian chant by the Norbertine Fathers from St. Michael’s Abbey.

Last season’s “Music Unwound” included Richard Strauss’s “Alpine” Symphony,” a musical and visual journey through the Bavarian Alps complemented by the vivid hues of Tobias Melle’s stunning footage projected above the stage. The second, “A Tchaikovsky Portrait: Child of Glass,” explored the tortured composer through multimedia (live theater, film, photographs and a rare recording) to reach a more profound understanding of his music. “Gershwin & All That Jazz,” presented as a collage of jazz delivered in a new format, explores the broad spectrum of jazz and its influence on composers like Gershwin and Bernstein.

Season Spotlights Two Living American Composers

This year’s American Composer’s Festival (ACF), “The Passion of Philip Glass,” led by St.Clair, focuses on one of today’s most intriguing and renowned composers. Mixing Eastern and Western traditions, the concert features the revival of Glass’s “Passion of Ramakrishna,” a heroic musical homage to a simple Hindu holy man that paints an exquisite symphonic and choral picture of India emerging from centuries of foreign domination. Several compositions by Glass and Ravi Shankar fill out this south-Asian odyssey that features Pacific Chorale and baritone Nomura. “The Passion of Ramakrishna” was first performed at the opening concerts of the new Renée and Henry Segerstrom Concert Hall.

Through his operas, symphonies, compositions for his own ensemble, and his wide-ranging collaborations with artists beyond the classical world—such as Twyla Tharp, Allen Ginsberg, Woody Allen, David Bowie, Paul Simon, Linda Ronstadt, Yo-Yo Ma and Doris Lessing (to name a few)—Glass has had an extraordinary impact upon the musical life of our times. Additionally, he has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese’s “Kundun,” and “Koyaanisqatsi.”

 “The year before the hall opened, Philip was supposed to have been the featured composer at ACF,” reflects St.Clair. “He was unable to fulfill this, so I asked him to compose a choral work for the opening concerts of the hall. He agreed and we were given the ‘Passion of the Ramakrishna.’ We’ve only had one opportunity to perform this work during that second concert in the new hall. It’s a wonderful work which received a standing ovation and much praise, so I thought it only proper to try again to have Philip as our ACF composer. He agreed and I am delighted.”

St.Clair also welcomes another of today’s leading composers for the world-premiere of William Bolcom’s “Prometheus” for solo piano, orchestra and chorus.  

For this concert, Bolcom’s work is wrapped between the fanfares and flourishes of Mozart’s Symphony No. 34, and the genius of his 35th, the “Haffner,” in which he turned a serenade into a symphony. And tying up the package is Beethoven’s surprisingly charming, joyous “Choral Fantasy.”

“Along with Philip Glass, William Bolcom played a historic role in the opening of our hall,” recalls St.Clair. “His ‘Canciones de Lorca’ song cycle sung by Placido Domingo was a historic moment in the musical life of O.C. Following this wonderful set of songs, I began talking to Bill about writing a work with a similar structure to Beethoven’s ‘Choral Fantasy,’ and he has delivered a wonderful new work for chorus and solo piano. ‘Prometheus’ is a moving, searching work that ponders many relevant questions of today. It will be wonderful having my old and dear friend back with the Symphony.”

PACIFIC SYMPHONY 2010-11

Calendar of Events

TCHAIKOVSKY’S FIRST

Thursday through Saturday, Sept. 23-25, 8 p.m.

Giancarlo Guerrero, conductor

Jon Kimura Parker, piano

Opening Work TBD

Tchaikovsky:  Piano Concerto No. 1

Brahms: Symphony No.2

PICTURES AT AN EXHIBITION

Thursday through Saturday, October 14-16, 8 p.m.

Carl St.Clair, conductor

Jean-Efflam Bavouzet, piano

Prokofiev: Peter and the Wolf (featuring the 2008 Academy Award-winning film)

Ravel: Piano Concerto

Mussorgsky/Ravel: Pictures at an Exhibition

MOZART & BEETHOVEN

Thursday through Saturday, November 18-20, 8 p.m.

Carl St.Clair, conductor

Jeffrey Biegel, piano

Pacific Chorale — John Alexander, artistic director

Mozart: Symphony No. 34

Bolcom: “Prometheus” for Piano, Chorus and Orchestra (World Premiere)

Mozart: Symphony No. 35, “Haffner”

Beethoven: Choral Fantasy

RACHMANINOFF’S SECOND

Thursday through Saturday, December 9-11, 8 p.m.

Mei-Ann Chen, conductor

Kirill Gerstein, piano

Torke: Javelin (Pacific Symphony Premiere)

Rachmaninoff:  Piano Concerto No. 2

Dvorák: Symphony No. 9, “From the New World”

HANDEL’S GLORIOUS “MESSIAH”

Sunday, December 12, 3 p.m.

David Lockington, conductor

Handel: Messiah

ORGAN HOLIDAY CONCERT

Tuesday, December 21, 8 p.m. 

Program TBD 

ZUKERMAN PLAYS BEETHOVEN

Thursday through Saturday, January 13-15, 2011, 8 p.m.

Pinchas Zukerman, conductor and violin

Stravinsky: Concerto in D

Haydn:  Symphony No. 83, “The Hen”

Beethoven:  Violin Concerto

LANG LANG

Tuesday, January 25, 2011, 8 p.m.

Carl St.Clair, conductor

Lang Lang, piano

Program TBA

BEETHOVEN’S PIANO CONCERTOS

Thursday through Saturday, February 3-5, 2011, 8 p.m.

Carl St.Clair, conductor

Arnaldo Cohen, piano

Feb. 3

Beethoven: Overture to “Fidelio”

Beethoven: Piano Concerto No. 1

Beethoven: “Leonore” Overture No. 3

Beethoven: Piano Concerto No. 4

Feb. 4

Beethoven: Romance No. 1

Beethoven: Piano Concerto No. 2

Beethoven: Romance No. 2

Beethoven: Piano Concerto No. 3

Feb. 5

Beethoven: Symphony No. 7

Beethoven: Piano Concerto No. 5

SONIC CATHEDRAL

Thursday through Saturday, February 24-26, 2011, 8 p.m.

Carl St.Clair, conductor

Norbertine Fathers from St. Michael’s Abbey, vocalists

Paul Jacobs, organ

Gregorian Chant

Solo Organ Music

Bruckner:  Symphony No. 9

American Composers Festival 2011

THE PASSION OF PHILIP GLASS

Thursday through Saturday, March 10-13, 2011, 8 p.m.

Carl St.Clair, conductor

Philip Glass, composer

Christópheren Nomura, baritone

Pacific Chorale — John Alexander, artistic director

Program includes:

Music composed by Philip Glass & Ravi Shankar

Glass: Passion of Ramakrishna

MAHLER & LISZT

Thursday through Saturday, March 31-April 2, 2011, 8 p.m.

Justin Brown, conductor

Lise de la Salle, pianist

Berlioz: Le Corsaire Overture

Liszt:  Piano Concerto No. 1

Mahler:  Symphony No. 1, “Titan" 

BOLERO!

Thursday through Saturday, May 5-7, 2011, 8 p.m.

Carlos Miguel Prieto, conductor

Philippe Quint, violin

Albénez: Selections from “Iberia”

Ravel: Tzigane

Sarasate: “Carmen” Fantasy

De Falla:  The Three-Cornered Hat

Ravel:  Bolero

YUJA WANG PLAYS RACHMANINOFF

Thursday through Saturday, June 2-4, 2011, 8 p.m.

Carl St.Clair, conductor

Yuja Wang, piano

Martinu: Memorial to Lidice

Rachmaninoff:  Rhapsody on a Theme of Paganini

Shostakovich:  Symphony No. 5

RHAPSODY IN BLUE

Thursday through Saturday, June 9-11, 8 p.m.

James Gaffigan, conductor

Orion Weiss, piano 

Harbison: Remembering Gatsby: Foxtrot for Orchestra

Gershwin:  Rhapsody in Blue

Gershwin:  Variations on “I’ve Got Rhythm”

Rachmaninoff: Symphony No. 2

Tales of the mythical “Firebird” have captivated the imagination of people around the world for centuries—including the great Russian composer, Igor Stravinsky, who was so inspired that he wrote one of his most compelling works. Stravinsky’s famous rendition becomes the basis for Pacific Symphony’s next family concert, which tells the story of an adventure in a magical realm by Prince Ivan, who falls in love with a beautiful princess and encounters an enchanted and mysterious Firebird that helps him defeat the evil Kashchei. Taking place on March 20, at 10 and 11:30 a.m., in the Renée and Henry Segerstrom Concert Hall, “Firebird Fairy Tale,” is the fourth concert in the 2009-10 Family Musical Mornings series, presented by Farmers & Merchants Bank, and includes Pacific Symphony Youth Orchestra (PSYO) musicians performing “side-by-side” with the Symphony musicians, led by Assistant Conductor Maxim Eshkenazy. For tickets ($19-$36) or information, call (714) 755-5799 or visit www.pacificsymphony.org.

“The story of the Firebird is one of my favorite fairytales—one which I first heard from my brother as a very young kid,” says Maestro Eshkenazy. “It’s a very colorful, engaging and beautiful fairytale from old Russia. And for a change, I will be telling the story as myself, instead of playing a role. We’ll illuminate the story through music, ballet dancing and images projected on the screen.” The images are from the children’s book, “The Firebird,” by Jane Yolen, illustrated by Vladimir Vagin (2002), which are being shown on the big screen above the stage during the concert. The performance also features dancers from the Dmitri Kulev Classical Ballet Academy, the official ballet school of the Orange County Ballet Theatre.

“Originally, Stravinsky’s ‘Firebird’ was written as a full-length ballet,” continues Eshkenazy. “These days, you typically hear the suite from the ballet played in the concert hall, as opposed to the whole piece, so I thought why not go in a different direction and add dancers to the suite? They will be dancing in the old-style Russian tradition. And we also have a side-by-side with the PSYO musicians—what better way to introduce youngsters to music than with other kids playing at a very high level?”

The Symphony’s Musical Carnival begins at 9 a.m. (for those attending the 10 a.m. performance) and at 12:15 p.m. (for those attending the 11:30 a.m. concert) with not only the chance to meet the dancers, but also the musicians, and it also includes an instrument petting zoo with instruments from every family of the orchestra. Generally, each Musical Carnival spotlights an instrument for kids to learn about, but for this concert the spotlight is on members of the PSYO.

“Our goal for this concert is to transport the audience to a magical place in every way possible,” says Mollie Gilmore, manager of educational concerts and family programs. “To really bring the story to life visually, we’re partnering with some young and talented dancers—and children will have the chance to meet them up-close-and-personal before and after the concert. Kids get to see their peers playing instruments, and maybe get inspired to pick one up and start playing themselves,” adds Gilmore.

This season’s Family series line-up continues on April 17 with “Orchestra from Planet X,” featuring special guest “The Magic Circle Mime Company,” back by popular demand! What happens when two aliens descend on the concert hall with their own ideas—and inventions—for influencing “Earth Music”? Children and their families find out as these musical worlds collide.

Producer John Breglio and the Orange County Performing Arts Center announced today that tickets for the smash-hit musical DREAMGIRLS will go on sale February 28 at 10 a.m. Ticket prices start at $20 and they will be available online at OCPAC.org, at the Center’s Box Office at 600 Town Center Drive in Costa Mesa or by calling 714.556.2787. For inquiries about group ticket discounts for 15 or more, call the Group Services office at 714.755.0236. The TTY number is 714.556.2746. To accommodate the tour’s travel schedule, opening night is Wednesday, April 21 at 7:30 p.m. and there will be an additional evening performance Monday, April 26 at 7:30 p.m. The 2 p.m. performance on Saturday, May 1 will be sign-language interpreted.

Full of onstage joy and backstage drama, DREAMGIRLS tells the story of an up-and-coming, 1960s singing girl group, and the triumphs and tribulations that come with fame and fortune. Hopeful talents Deena Jones, Lorrell Robinson and Effie White are performing as The Dreamettes when ambitious agent Curtis Taylor, Jr. discovers them. He lands them a job as backup singers for the soul and rock ‘n’ roll sensation James “Thunder” Early and begins to guide their quickly rising career. However, when the beautiful Deena emerges as the star of the group rather than the full-voiced Effie, the girls are brought to personal and professional crossroads

The Center applauds Wells Fargo for its generous support of the 2009-2010 Broadway and Curtain Call Series. Cox Communications is the Media Partner of the Center’s 2009-2010 Broadway Series.