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Author Topic:   Gustavo Dudamel and the Los Angeles Philharmonic

Posts: 326
From:Studio City, CA
Registered: Apr 2000

posted October 09, 2009 08:50 AM     Click Here to See the Profile for EmilySachs   Click Here to Email EmilySachs     Edit/Delete Message   Reply w/Quote
I love that we have the most buzzed about and one of the top orchestras in the world. Los Angeles is truly a world-class fine art city.

Last night's opening concert was EPIC!


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posted October 09, 2009 01:21 PM     Click Here to See the Profile for a   Click Here to Email a     Edit/Delete Message   Reply w/Quote
Review from the New York Times - mostly positive:

Los Angeles Glows at Dudamel’s Inaugural Concert

LOS ANGELES — That Gustavo Dudamel began his tenure as the music director of the Los Angeles Philharmonic with a free concert last Saturday night at the Hollywood Bowl, a multicultural community love fest, will always be a point of pride for citizens here.

Mr. Dudamel’s much-anticipated official inaugural came on Thursday night at Walt Disney Concert Hall, a formidable program with Mahler’s First Symphony and the premiere of a new work by John Adams. This was a black-tie gala, complete with a red- carpet procession of celebrities and patrons, and a South American-themed post-concert dinner in a makeshift tent set up outside the hall, smack in the middle of South Grand Avenue.

For all of Mr. Dudamel’s innate abilities to connect with audiences and inspire young people, he was hired to conduct a major American orchestra. The 10-minute ovation that erupted at the end of the Mahler made clear that supporters of the Los Angeles Philharmonic are thrilled with their new 28-year-old music director. But this was an exceptional and exciting concert by any standard.

Making a telling artistic statement, Mr. Dudamel began his tenure conducting the premiere of the new Adams piece, “City Noir,” a bustling, complex 35-minute work in three movements: the final panel in a triptych of orchestral works inspired by what Mr. Adams calls the “California experience,” its “landscape and its culture.” (The first two are “El Dorado” and “The Dharma at Big Sur,” a violin concerto.)

The piece was suggested, Mr. Adams has written, by the richly evocative books on California’s social history by Kevin Starr, especially a chapter called “Black Dahlia,” which explores the sassy, shoddy and sensational era of the 1940s and ’50s, which gave rise to film noir. It is not easy to evoke the milieu of an era in music. But this score was also inspired by jazz-inflected American symphonic music of the 1920s through the ’50s, from Gershwin to Copland to Bernstein, something that is a lot easier to evoke.

Mr. Adams does so brilliantly in this searching, experimental de facto symphony. The first movement, “The City and Its Double,” begins with a wash of orchestral sound, murmuring motifs and rhythmic shards. Scurrying figurations break out and whirl around, getting stuck in place one moment, spiraling off frenetically the next. Is this harmonically astringent be-bop or weird echoes of a Baroque toccata?

Eventually the violins begin a winding, sometimes aimless-sounding episode of fitful, churning lines. Mr. Adams has become a master at piling up materials in thick yet lucid layers. Moment to moment the music is riveting. Yet, as in some other Adams scores, I found it hard to discern the structural spans and architecture of this one.

The pensive second movement, “The Song Is for You,” with its hazy sonorities, slithering chords, sultry jazzy solos and undulant riffs, does somehow convey California. The third movement, “Boulevard Night,” begins languorously but soon erupts, all jagged, quirky and relentless. Call it “The Rite of Swing.”

Mr. Dudamel, gyrating on the podium and in control at every moment, drew a cranked-up yet subtly colored performance of this challenging score from his eager players. He seemed so confident dispatching this metrically fractured work that I was drawn into the music, confident that a pro was on the podium.

Like Mr. Dudamel’s Beethoven Ninth at the Hollywood Bowl, the Mahler performance was not what you might expect from a young conductor. For all the sheer energy of the music-making, here was a probing, rigorous and richly characterized interpretation, which Mr. Dudamel conducted from memory. The suspenseful opening of the first movement, with its sustained tones and cosmic aura, had uncannily calm intensity. But when bird calls and genial folk tunes signaled the awakening of nature, the music had disarming breadth and guileless tenderness. And Mr. Dudamel was all ready-set-go when Mahler’s wildness broke out.

In the rustic second movement, he captured the music’s beery, galumphing charm, and milked the Viennese lyricism with the panache of a young Bernstein. He and his players uncovered the slightly obsessive quality of the songful slow movement, with its droning repetition of tonic-dominant bass patterns. And he viscerally conveyed the fits and starts of the mercurial finale, building to a brassy climactic fanfare almost scary in its ecstasy.

The musicians were with him all the way, though the playing was rough at times, with patchy string tone and scrappy execution. For all the important accomplishments, of Mr. Dudamel’s predecessor, Esa-Pekka Salonen, he was not the most gifted orchestra builder. The vitality of the playing was always inspiring. No one wants the slick virtuosity that some orchestras are content with. Still, Mr. Dudamel and his players may have work to do.

At the end, as a confetti shower of Mylar strips fell from the ceiling, Mr. Dudamel returned to the stage again and again. But he never took a solo bow from the podium. Instead, he stood proudly with his players on stage.

This concert will be broadcast in PBS’s Great Performances series on Oct. 21; check local listings.


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From:La Canada
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posted January 06, 2010 08:40 AM     Click Here to See the Profile for HollywoodProducer   Click Here to Email HollywoodProducer     Edit/Delete Message   Reply w/Quote
Adieu, LA - Dufour is staying on in Chicago

John von Rhein

Tribune critic

January 6, 2010

Mathieu Dufour has ended the confusion over his orchestral loyalties by choosing to remain as principal flute of the Chicago Symphony Orchestra.

The French-born flutist had taken sabbatical leave from the CSO to serve as principal flute of the Los Angeles Philharmonic for 22 weeks this season, an appointment the philharmonic announced in September without specifying that Dufour would be appearing on a trial basis.

He had fulfilled part of that commitment before returning to Chicago for concerts last fall under Bernard Haitink and this week's subscription concerts under Pierre Boulez, at which he will solo in the local premiere of Marc-Andre Dalbavie's Flute Concerto. He also is scheduled to perform the Dalbavie work this month on tour with Boulez and the orchestra to Ann Arbor, Mich., and Carnegie Hall in New York City.

"All we can say is that he is leaving us for personal reasons and is returning to Chicago," said Sophie Jefferies, media relations director of the Los Angeles Philharmonic. Dufour gave notice this week, and will not perform any further concerts with the philharmonic this season, she added.

Dufour, 36, is due to undergo surgery on his shoulder next month and plans to spend the following weeks recuperating, according to a CSO spokeswoman. His contract with the CSO runs through the present season. He succeeded Donald Peck as CSO principal flute in 1999.


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From:Redmond, WA
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posted July 15, 2010 10:15 AM     Click Here to See the Profile for fred   Click Here to Email fred     Edit/Delete Message   Reply w/Quote
Download Me, Amadeus! Sony Set to Open a Classical iTunes

by Peter Kafka

What’s holding you back from buying classical music downloads? Is it because they’re too hard to find on iTunes? Or is it because the tracks don’t sound that good?

Sony Music thinks it has an answer: It plans to open its own online store dedicated to classical music, and perhaps jazz as well. Sources tell me that Sony (SNE) is prepping a specialty store that features high fidelity, “lossless” downloads, and is on track to bring in the other big labels–Universal Music Group, Warner Music Group (WMG) and EMI–for a launch this fall. No comment from Sony.

I don’t believe Sony has formally signed on the other labels yet, but the industry sources I’ve talked to seem confident that all of the majors will be on board, via non-exclusive deals, sooner than later.

That makes sense: This one doesn’t require any label to rethink a business model, and the stakes are fairly low. The labels don’t sell much classical or jazz online, so if they can get any kind of boost here, it’s all gravy.

Do a genre-specific store and higher-quality audio matter? For most digital music, the answer has been a resounding “no”: People seem quite content to listen to severely compressed files on lousy speakers and headphones.

And people–perhaps those very same people!–manage to easily find the newest Kesha single at Apple’s (AAPL) iTunes.

But I’m out of my depth here: My classical collection consists of a couple random Mozarts, some Beethoven and maybe a Handel. I’m not sure, because I never play them.


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posted January 22, 2011 02:18 PM     Click Here to See the Profile for a   Click Here to Email a     Edit/Delete Message   Reply w/Quote
Gustavo Dudamel Leads LA Philharmonic for European Tour, 1/21
Back to the Article

by BWW News Desk


On January 21, 2011, the Los Angeles Philharmonic embarks on a 7-city, 13-concert European tour led by Gustavo Dudamel, his first international tour as Music Director of the Los Angeles Philharmonic. This tour marks the Los Angeles Philharmonic's 18th tour to Europe, the most recent being in 2007 with former LA Phil Music Director and now LA Phil Conductor Laureate, Esa-Pekka Salonen.

The 2011 European tour begins in Lisbon at Gulbenkian Hall on January 21 & 22 and also stops in Madrid at Auditorio Nacional on January 23, Cologne at the Philharmonie on January 25 & 26, London at the Barbican on January 27 & 28, Paris at Salle Pleyel on January 30 & 31, and Budapest at the Palace of the Arts on February 2 & 3. The tour concludes in Vienna at the Musikverein with two performances on February 4 & 5, the orchestra's first return to the venue since the 1980 European tour with former Music Director Carlo Maria Giulini. The 2011 tour also features the orchestra's debuts in Portugal's Gulbenkian Hall and Budapest's Palace of the Arts, and marks Dudamel's first appearance in Hungary.

Two programs will be performed in each city (with the exception of Madrid) featuring works by Adams, Bernstein, Beethoven and Mahler, all composers for which Gustavo Dudamel feels a particular affinity. "One of the most important things when you go on tour is to bring works that identify the orchestra with its own musical history," commented Dudamel. "As one of the most famous contemporary North American composers and our Creative Chair, John Adams is already a strong part of the orchestra's identity and was a perfect choice for us to include in the tour program. Bernstein, Beethoven and Mahler are composers to whom I feel close and are a big part of my life."

Program 1 begins with Adams' Slonimsky's Earbox. The piece was originally performed by the LA Phil under Adams' direction in May 1997 and was part of the repertoire for the orchestra's 1997-98 European tour with Esa-Pekka Salonen. The program continues with Bernstein's Symphony No. 1, "Jeremiah." Bernstein is frequently featured in Dudamel's repertoire including his first summer as Music Director of the LA Phil at the Hollywood Bowl. The performance of "Jeremiah" features mezzo-soprano Kelley O'Connor. The evening closes with Beethoven's Symphony No. 7, one of the symphonies included on Dudamel's debut recording with the Simón Bolívar Youth Orchestra of Venezuela.

Program 2 features Dudamel and the Los Angeles Philharmonic performing a single work, Mahler's Symphony No. 9. Since Dudamel sprang to international attention after winning the inaugural Bamberg Symphoniker Gustav Mahler Conducting Competition in May 2004, Mahler has been a composer who figures prominently in his repertoire. Mahler's Symphony No. 1 was featured in Dudamel's inaugural performance as Music Director of the Los Angeles Philharmonic on October 8, 2009.

In keeping with the LA Phil's commitment to provide educational opportunities that foster the next generation of composers, during the 2011 visit to London, Dudamel and members of the LA Phil will participate in an event at St. Luke's, co-organized with the Barbican Centre. This event will also launch the educational element of the LA Phil's 2013 London residency.

For full artist biographies, please visit:

The Los Angeles Philharmonic Association, under the leadership of Gustavo Dudamel, presents the finest in orchestral and chamber music, recitals, new music, jazz, world music and holiday concerts at two of the most remarkable locations anywhere to experience music - Walt Disney Concert Hall and the Hollywood Bowl. In addition to a 30-week winter subscription season at Walt Disney Concert Hall, the LA Phil presents a 12-week summer festival at the legendary Hollywood Bowl, summer home of the Los Angeles Philharmonic and home of the Hollywood Bowl Orchestra. In fulfilling its commitment to the community, the Association's involvement with Los Angeles extends to educational concerts, children's programming and community concerts, ever seeking to provide inspiration and delight to the broadest possible audience.


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posted March 13, 2011 05:18 PM     Click Here to See the Profile for a   Click Here to Email a     Edit/Delete Message   Reply w/Quote



Posts: 882
From:Toluca Lake, California
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posted March 24, 2011 09:16 PM     Click Here to See the Profile for DavidChang   Click Here to Email DavidChang     Edit/Delete Message   Reply w/Quote

Opera, Live Theater Ride to the Rescue of Troubled Multiplexes
Published: March 24, 2011 @ 7:54 pm

Who needs Hollywood? A healthy new revenue stream is growing for the theatrical exhibition industry. It's coming not from studio suites and backlots but from the more rarefied realm of high art.

Indeed, while the domestic motion-picture box office may be down 21.4 percent year-to-date, and the major studios on the verge of playing havoc with release windows, the market for alternative programming shown in movie theaters -- everything from opera to Broadway productions -- is burgeoning.


In 2010, theatrical presentations beyond just movies generated $112 million for the exhibition industry, a 51 percent uptick over 2009, according to Screen Digest.

"We think this is an historic moment in terms of alternate content in movie theaters," said Dan Diamond, VP of National CineMedia's Fathom Events, which presents hundreds of special events in a digital broadcast network of nearly 1,400 movie theaters around the U.S.

Driving the market: the rapid adoption of digital projection technology, with exhibitors hurrying to keep pace with the demand for 3D films. And it's that digital technology that's allowing theaters to expand their program offerings.

Also read: 'Broadening Broadway: In-Theater Broadcasts Take the Arts to Main Street [1]'

In addition to opera, which has drawn sellout audiences to movie theaters for the last five years, recent weeks have seen capacity crowds showing up in movie theaters around the country not just for live productions from New York's Met but for a major Danny Boyle play from London, and orchestral concerts from Los Angeles featuring wunderkind conductor Gustavo Dudamel with help from actors Orlando Bloom, Malcolm McDowell and Matthew Rhys.

Indeed, as theater companies, symphony orchestras and opera companies fight the continuing effects of the recession, high-definition movie-theater broadcasts of their work have hit a new high:

>> London's National Theatre is in its second season of bringing its productions to movie theaters worldwide, currently with Boyle's acclaimed production of "Frankenstein." The production (pictured above left) showed last week with Jonny Lee Miller as Dr. Frankenstein and Benedict Cumberbatch as the monster; a second screening on Thursday (postponed until next week at the Chinese 6 in Hollywood) finds the two actors swapping roles. (National Theatre photo by Catherine Ashmore.)

>> "Memphis," the reigning Tony winner for Best Musical, is about to become the first current Broadway show to broadcast a complete performance in theaters around the country. Another hot Broadway musical, "Fela!," had its London production broadcast as part of the National Theatre Live season in advance of its national tour, while the "Les Miserables" 25th anniversary show last November was enormously successful in movie theaters.

>> The Los Angeles Philharmonic just showed the second concert in its inaugural season of "LA Phil Live," a Tchaikovsky program featuring the orchestra's music director Dudamel. One more HD transmission, broadcast live from Walt Disney Concert Hall to more than 400 theaters, is scheduled for June.

>> The Rave Motion Pictures theater circuit has joined forces with Emerging Pictures to present live and pre-recorded cultural programming, much of it from European opera and ballet companies like the Gran Teatre del Liceu, Teatro Alla Scala and the Bolshoi Theater and Ballet.

Lucia de Lammermoor

>> And of course, there's the New York's Metropolitan Opera, in its fifth season of bringing its productions to theaters. Since it began in December 2006 with Julie Taymor's production of Mozart's "The Magic Flute," its reach has grown from fewer than 100 screens in its first season to more than 600, almost all of them sell-outs. By 2008 close to a million fans were attending the screenings, more than come to an entire season of theatrical performances.

The current season, which ends in May, includes 12 different productions, from "Lucia de Lammermoor" (above) to "Nixon in China," including two of the operas in Wagner's Ring cycle.

Diamond told TheWrap: "The objective from the beginning has been to create unique experiences in movie theaters and transform the theater environment into a local community performing arts center. And we've been growing significantly in the performing arts category."

Besides the Metropolitan Opera and Los Angeles Philharmonic (with Dudamel, left), Fathom also presents special events from outside the realm of high art, including pop music that ranges from Bon Jovi, the Black-Eyed Peas and Eric Clapton's Crossroads Guitar Festival to an upcoming special screening of "The Grateful Dead Movie"; documentaries including "My Run," the story of a 57-year-old Terry Hitchcock, who ran 75 marathons on consecutive days, followed by a Q&A with Hitchcock; and sports, from mountain biking to UFC title bouts.

Others have experimented with the concept as well -- including Sony Pictures, which launched the "Hot Ticket" series and has staged special events that include performances of Cirque du Soleil, the musical "Rent," and singers Celine Dion and Kenny Chesney.

In other words, it's not all high art -- but it's bringing people into theaters that might otherwise sit empty, and theater, classical music and opera is playing a key role in that.

"You'd be surprised at how many tickets we sell to these events," said Rick Butler, the chief operating officer of the Fandango ticketing site. "The Metropolitan Opera screenings are consistently among our best-selling alternative programming at movie theaters ... and it’s exciting to see folks lining up at the multiplex for Puccini and Donizetti.”

Typically, arts programming occupies time slots during which theaters are likely not to be crowded: midweek nights and weekend mornings.

For a theater, a full house for the opera is not taking the place of what would be another well-attended screening; it's bringing in a couple hundred popcorn-eating, soft-drink buying patrons who otherwise wouldn't be coming at all, to fill an auditorium that likely as not would be empty or sparsely populated.

A key to the success of arts content on movie screens, added Fathom's Diamond, is that promotion costs are small for the events, which typically cost more than a usual movie ticket but significantly less than a concert or theater ticket. (A usual price for one of the events at a Los Angeles theater is around $20.)

"The bottom line is that a demand for an arts community exists around the country, so you get grassroots, community-based support for these programs," said Diamond. "And that's critical because if we had to spend thousands of dollars in P&A expenses, it would render the model unaffordable."

Gustavo DudamelDiamond declines to break down how the revenue is distributed from onscreen arts programming, but the money is divided between Fathom, its creative partners and the movie theaters. "It's profitable for us and the theaters and the operas and other content providers," he said, "as evidence by the growing number of programs."

Profitable? Not so fast, say representatives from a couple of arts organizations who describe their participation as more outreach than income.

"It should come as no surprise that this is not a moneymaker for us," said Chris Ayzoukian, the director of special projects for the Los Angeles Philharmonic (with Gustavo Dudamel, above). "It's very much an effort to create more access to people who can't see the orchestra otherwise."

The LA Phil signed a sponsorship deal with Rolex to defray some of the costs of the production, which is typically handled by the orchestra or opera or theater company.

The National Theatre in London signed a sponsorship deal of its own in its second year, but National Theatre Live associate producer Emma Keith says "we still don't make much" from the programs.

"There's a high cost of doing these broadcasts, because we don't really have the in-house facilities for them," she told TheWrap. "We have to bring in freelance cameramen, a video director, special makeup and lighting people who can advise us about working with HD … There's a significant cost to it, so we're not making lots of money for the National Theatre at the moment."


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Posts: 8224
From:Redmond, WA
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posted January 12, 2012 01:10 PM     Click Here to See the Profile for fred   Click Here to Email fred     Edit/Delete Message   Reply w/Quote
Ringtone halts NY Philharmonic performance
Associated Press

NEW YORK (AP) — It's the dreaded sound at any live performance — a ringing mobile phone.
That's what happened Tuesday night at Lincoln Center's Avery Fisher Hall during the final movement of Gustav Mahler's Ninth Symphony by the New York Philharmonic. Maestro Alan Gilbert stopped the orchestra until the phone was silenced.

The Wall Street Journal reports that when an iPhone's distinctive "Marimba" ringtone initially went off, Gilbert turned his head to signal his displeasure. But the ringing from the first row persisted and minutes went by.

Gilbert asked that the offending noise be turned off and finally stopped the orchestra until it was.

The Philharmonic said it was the first time the music director had ever interrupted a performance due to a mobile phone or other disruption.


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From:Redmond, WA
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posted February 08, 2012 09:00 PM     Click Here to See the Profile for fred   Click Here to Email fred     Edit/Delete Message   Reply w/Quote
off to Venezuela.


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From:Studio City, CA
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posted November 23, 2013 04:00 PM     Click Here to See the Profile for jpgordo   Click Here to Email jpgordo     Edit/Delete Message   Reply w/Quote
Looking forward to all the Holiday concerts this year. The Nutcracker in concert should be fun. Taking my 5 year old daughter.


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