Speaking by phone from Montreal, Israeli-born cellist Matt Haimovitz revealed that he’s a great admirer of the American singer Nina Simone. Looking at his life and career, one can easily see why. Like Simone, Haimovitz is admired for his solid classical grounding, eclecticism, improvisatory brilliance and the fact that he defies easy classification.
Few can chronicle the changes in the Israel Philharmonic Orchestra better than Gabriel Vole, a veteran double bass player.
William Shatner is God. And Pharaoh. And Moses, too.
Just in time for Passover, the Jewish Music Group (a division of Shout Factory) has released "Exodus: An Oratorio in Three Parts," performed by the Arkansas Symphony Orchestra. It is conducted by David Itkin, who created and composed the Oratorio, sung by baritone Paul Rowe and includes dramatic readings from the Bible and from the haggadah, spoken by none other than Shatner.
It's not very often that a classical music recital has its roots in an airport, but in a manner of speaking, you might say that the concert that violin virtuosi Albert and Alexander Markov are giving at American Jewish University (AJU) on April 13 was born at LAX 15 years ago.
Classical virtuosos, like golden-age movie stars, are often thought to lead charmed lives in which the sundry benefits of celebrity accrue without cost. Lives of endless glamour are a fantasy, of course, yet the suggestion persists, in part because of musicians like Gil Shaham, the American Israeli violinist who comes to the Hollywood Bowl on Tuesday, July 10, to perform Tchaikovsky's Violin Concerto with the Los Angeles Philharmonic and guest conductor Leonard Slatkin.
So what is a Julliard-educated conductor doing teaching yoga in Venice Beach?
Almost seven decades after the Nazis murdered and banished many of Europe's most renowned composers, a group of German artists will honor the musicians' work and lives at two local concerts.
Last November, the classical music label Naxos released the 50th CD of its American Classics series, music from the Milken Archive of American Jewish Music, so the time has come to give the archive its props (just imagine Randy Jackson saying: Yo! Yo! Dog, check it out....)
7 Days In The Arts.
Not long before Leonard Bernstein died, in 1988, the ebullient conductor and composer approached pianist Jeffrey Siegel backstage at Lincoln Center. His business was urgent. He wanted to discuss Siegel's "keyboard conversations," concerts with commentary pioneered by Siegel and based on Bernstein's TV performances of the 1950s and 1960s.