Even just a decade or two ago, classical musicians might look back occasionally to the Baroque era or try out a new work, but most stuck to Johannes Brahms, Franz Schubert, and the genre’s other tried-and-true standard bearers. But today, many of the field’s younger generation of artists, who can access music from virtually any time or place in seconds on their iPhones, don’t feel nearly so confined. They might play a quartet by Ludwig van Beethoven one night and then join forces with an indie-rock band the next.
Imagine for a moment that you’re a jazz pianist/organist. Also imagine that you’ve made a recording, a good part of which is your own material. And while you’re at it, imagine that said recording followed several major public appearances: Apollo Theater in Harlem, Jazz at Lincoln Center, Weill Recital Hall at Carnegie Hall, and even a segment on Ellen (she loved you so much that she gave you a vibraphone!). You also own a music publishing company and have toured abroad, performing in such far-flung places as France, Italy, Morocco, and Japan. Along the way you’ve picked up some major endorsement deals from Yamaha and Hammond.
Frankie Valli and The Four Seasons never had an autumn. They are of their time, and timeless.
With his early life and crooning career chronicled in the multiple Tony Award–winning and internationally successful stage musical, Jersey Boys—along with a movie version directed by Clint Eastwood—a five-decade catalogue of blockbuster hits, and even a sinister stint on TV’s The Sopranos, Frankie Valli is a well-deserving pop culture icon.
Chad Hoopes was apportioned an arresting array of adjectives in a Washington Post review of the violinist’s Kennedy Center debut last year: “jaw-dropping,” “a little intoxicating,” “glowing,” “gripping,” “smiling-slash-snarly” (his performance of Ravel’s tempestuous Tzigane).
But it’s a verb in the first sentence that catches the eye: “The gifted young violinist Chad Hoopes has been rising—or maybe hurtling—toward international stardom since taking first prize in the junior division of the Yehudi Menuhin International Violin Competition in 2008.”
At face value, Switchfoot is one of the most engaging and entertaining alternative rock acts to come out of Southern California in the last 20 years. But those who take a longer look at the Grammy Award–winning group will also find some of the most socially conscious, spiritually enlightening, and ultimately thought-provoking lyrics of their generation.
Of course, that’s yielded smash singles such as “Dare You to Move,” “Meant to Live,” and “Stars,” plus multiplatinum- or gold-selling modern day masterpieces such as The Beautiful Letdown, Nothing Is Sound, and Learning to Breathe. However, Switchfoot also built up a sizeable community of listeners who’ve been consistently challenged by the band members to make a difference in their corner of the globe. In fact, both the band and their fans did exactly that earlier this season at the 13th Annual Switchfoot BRO-AM, which merges a massive music festival and surf contest, with all the proceeds benefitting various children’s charities.
“I think one of the cool things about four-hand piano,” says Christina Naughton, “is that it allows the deepest communication between the two players, because it may be the only form of chamber music where the players actually share the instrument.”
“It’s fun and it’s a different form of communication than chamber music,” chimes in Christina’s twin sister and piano duo partner, Michelle Naughton. “It’s really unique to its own self. It’s an art in itself. Family is a big part of that, too, and you can see that with Mozart’s and Mendelssohn’s music: they wrote stuff to be played with their siblings who were also fantastic musicians.” Not coincidentally, four-hand piano works by those two composers are central to the Naughton sisters’ Ravinia-debut performance on August 24.
The oft-quoted New Testament adage about prophets struggling for credibility in their own countries certainly seems to apply to American conductors. While some noted ones like James Levine and Marin Alsop have built their careers largely in the United States, others have had to make their marks in Europe before they could land a major post in their home country. Examples include David Zinman, who served as principal conductor of the Rotterdam Philharmonic prior to becoming music director of the Baltimore Symphony in 1985, and Alan Gilbert, who was principal conductor of the Royal Stockholm Philharmonic in advance of taking over as music director of the New York Philharmonic in 2009.
In 1896, Morris Gershovitz and his wife, Rose, were living above a pawnshop on New York’s Lower East Side. In December of that year, the immigrant couple saw the birth of their first child, a son, whom they named Israel. In September of 1898, the Gershovitzes, now in Brooklyn, welcomed their second son, Jacob. Within a few weeks the family moved back to Manhattan, where they occupied a second-floor flat above a phonograph shop.
Leslie Odom Jr. is not the kind of guy to let grass grow under his feet. Even if he wanted to, the grass wouldn’t stand a chance, given the actor/singer/dancer extraordinaire’s fancy footwork. Though now firmly fused into American consciousness for his Tony and Grammy Award–winning portrayal of Aaron Burr in the Broadway megahit Hamilton, Odom has long been demonstrating his astonishing versatility not just on stage but on television with his appearances on CSI: Miami, Grey’s Anatomy, Person of Interest, and Law & Order: Special Victims Unit, and particularly in the role of Sam Strickland in the 2013 musical series Smash. His many fans will shortly enjoy him on the big screen as well, in Kenneth Branagh’s soon-to-be-released film Murder on the Orient Express.
You can’t talk emo culture without certain bands immediately rolling off the tongue: Jawbreaker, Sunny Day Real Estate, Death Cab for Cutie, Alkaline Trio, Rites of Spring—and, of course, Dashboard Confessional, whose lead singer, Chris Carrabba, became the unofficial poster boy for the genre, characterized by emotional, hardcore punk and “confessional” lyrics. When Carrabba sang “I’m reading your note over again / There’s not a word that I comprehend /Except when you signed it / ‘I will love you always and forever,’ ” a generation of music fans felt his guitar-driven angst.
Ray Chen is a 28-year-old violinist with a white-hot career. He recently signed a major recording deal and multimedia partnership with Decca Classics, noted critics sing his praises, and he’s followed by over two million fans on SoundCloud.
There are goodbyes, and then there are farewells. When Glen Campbell embarked upon his career-concluding tour in 2012, which included a stop at Ravinia on June 28, there was a sense that he really wanted to do his fare well for his generations of fans, and also for himself.
You can hear it throughout her new release, Salón Lágrimas y Deseo (Room of Tears and Desire), just released at the end of May. “It’s also the most emotional album we’ve ever done,” Downs observes. “It’s not from the brain; it’s from the heart. And”—she adds with a modest chuckle—“from below.”
You can’t miss it. Nestled in the center of Ravinia and gazing upon the festival’s grand entrance is the Martin Theatre, the immaculate Arts and Crafts–style concert hall that has stood since the park first opened in 1904. But over Ravinia’s 113-year history, it hasn’t always been a stage for the premier chamber musicians—and even small orchestras—of the world. During the first decade of the park’s existence, it was largely used for motion pictures.
In commemoration of the 50th anniversary of its original Broadway staging, Leonard Bernstein’s omni-theatrical masterpiece West Side Story came to life at Ravinia in a version devised especially for the occasion by the North Carolina School of the Arts. The school’s chancellor, John Maucieri, was an assistant to Bernstein for 18 years, and he was on hand as
In today’s high-tech world of digital sampling and music streaming, the symphony orchestra is a wonderful if curious anachronism, with many of its instruments and much of its repertoire dating back centuries. Even for regular attendees of symphony concerts, the alchemy of how 80 to 100 or more diverse musicians come together under a conductor to produce one coordinated body of sound remains something of a mystery.
Regardless of the genre they ultimately become associated with, most musicians worth their salt can cite a varied list of influences that helped create the performer they’ve become. And surely Bonnie Raitt’s list is as eclectic as they come.
“Any artist should be so lucky to have one song in their career that people still want to hear,” singer-musician Seal intoned in a 2015 interview with Details magazine.
He was, of course, speaking of “Kiss from a Rose,” the multimillion-selling, triple Grammy-winning pop hit from the soundtrack of the 1995 film Batman Forever that changed his life.
Before Andy Grammer made his national debut in 2011, the singer/songwriter/multi-instrumentalist was at turns getting a crash course on entertaining a crowd from his father, Red Grammer (a Grammy-nominated children’s recording artist), or busking on the streets of Santa Monica, hoping to be discovered. And once he was, the floodgates of fame flew wide open, from the platinum-selling smash “Keep Your Head Up” and its equally contagious follow-up “Fine by Me,” to tour dates alongside Train, Gavin DeGraw, Colbie Caillat, Plain White T’s, Natasha Bedingfield, Mat Kearney, and Parachute, among others.
An hour’s conversation with Ksenija Sidorova flies right on by. The comely, Latvian-born accordion virtuoso may be a darling of the contemporary classical music industry, with appearances in A-list concert halls and, as of this year, a lucrative recording contract with Deutsche Grammophon to her credit, but she is also a refreshingly down-to-earth charmer.