Renee Fleming sings Death Cab for Cutie and other tunes

In today’s Orange County Register online, I review Renee Fleming’s recital last night, given in honor of Henry Segerstrom’s 88th birthday. Here’s an excerpt.

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They call her “the people’s diva,” which is a little like “the average Joe’s caviar.” Is there such a thing? Well, Renée Fleming comes pretty close. She plays the “diva” part very well, not in any snobby way, but wearing her regal elegance as it were just a necessary component to her show. She wears it comfortably, easily; it’s just another role and otherwise she’s a mom who happens to sing like an angel.

Fleming, who sang a curious and varied recital before a sold-out audience in Segerstrom Concert Hall on Tuesday night, was in town to celebrate the 88th birthday of the Orange County arts patron to end all arts patrons, Henry Segerstrom, who sat ensconced with his wife above the stage taking it all in. Outside, a red carpet and roving spotlights greeted listeners. A Fleming documentary played on a giant screen. Wine and popcorn were passed out free. Folks dressed up for a change.

Click here to read the whole thing, or pick up a copy of tomorrow’s Register.

Justin Brown and Lise de la Salle debut with the Pacific Symphony

In today’s Orange County Register online, I review last night’s Pacific Symphony performance with conductor Justin Brown and pianist Lise de la Salle. Here’s an excerpt.

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A pair of guest performers made their debuts with the Pacific Symphony on Thursday night, one half the age of the other, neither of them old. Both own long and impressive résumés; the pianist’s didn’t even fit in the program, cutting off mid-sentence at the end of a three columns of accolades. Maybe it would have gone on for pages.

But program bios are always tough to gauge. Every performer comes out sounding the same – the equal of Toscanini, Heifetz, Rubinstein and Superman. You can only know the true substance of a given bio after the performance at hand.

Click here to read the whole thing, or pick up a copy of tomorrow’s Register.

Great moments in film music: ‘Raising Arizona’

Music by Carter Burwell. This is the celebrated Diaper Robbery sequence from “Raising Arizona,” a Coen Brothers film.

Nicholas Cage plays an ex-con who has vowed to his wife, Holly Hunter, not to stick up stores ever again (though they have kidnapped the baby, to raise as their own). At any rate, she gets mad at him when he sticks up a Quickie Mart.

Notice a nice postmodern touch: the “Raising Arizona” music is playing in both stores that Cage goes into, in muzak versions.

Remember: It ain’t armed robbery if the gun ain’t loaded.

Review: Long Beach Opera’s ‘Akhnaten’

In today’s Opera News online, I review the West Coast premiere of Philip Glass’ “Akhnaten” at Long Beach Opera. Click here to read my review.

photo: keith ian polakoff

Mixology 101: The Chelsea Sidecar

In today’s Orange County Register online, I take a break from classical music and celebrities to write about drink. Here’s an excerpt.

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Imagine my consternation the other day, when, after a hard day’s work and a night in Mission Viejo facing me, I discovered that, though I had almost a full bottle of gin in the pantry, there was not a drop of vermouth in the house.

We Mangans are a proud race, however. When things look their bleakest is when we spring into action. A brilliant idea crossed my mind. It ran something like this: There must be other drinks you can make with gin besides martinis. (Or gin and tonics – because, sadly, we had no tonic water either.)

Maybe I could make one.

Click here to read the whole thing

Images from Long Beach Opera’s production of Philip Glass’ ‘Akhnaten’

Photos by Keith Ian Polakoff, courtesy of Long Beach Opera. Click on thumbnails for larger views. I hope to have a review in the near future.

Concerts: Japanese court music, ‘Akhnaten’, California Quartet, Smetana Trio, Jake Shimabukuro

Click here to read details of these upcoming concerts in Orange County and slightly beyond.

Carlos Kleiber: Overture to ‘Die Fledermaus’

People always say that the musicians of the Vienna Philharmonic can play Johann Strauss in their sleep. Well, they can’t play it this way, not without our favorite conductor urging them on.

Strange to say, I’ve never heard this overture performed live by any orchestra. Not that I recall, at least. Sometimes, orchestral programming is so lame.

Also, strange (or something)… fewer than 18,000 people have watched this video on YouTube.

More than 10 million have watched this one. (I learned about this video in my other job as a celebrity journalist. The girl who made it is 13, lives in Orange County, and has suddenly become the butt of jokes the world over. Her Opus 1 has already spawned several parodies on YouTube, including one performed as if by Bob Dylan.)

Update: Due to some technical issues, I’ve switched the video above so that you can watch it on site. This is Kleiber conducting the Bavarian State Orchestra.

Argerich cancels

Martha Argerich, as they say, is available for a limited number of cancellations.

The Los Angeles Philharmonic has sent word that she’s canceling her appearances with the orchestra next week. Again. She was to perform Beethoven’s Piano Concerto No. 1 with Dudamel and company. No reason was given for her withdrawal, and we hope she’s OK, of course.

Jeremy Denk will replace her (no complaints) and will perform the same concerto.

Pacific Symphony plays Philip Glass’ ‘Passion of Ramakrishna’

In today’s Orange County Register, I review the Pacific Symphony’s performance of “The Passion of Ramakrishna” by Philip Glass. Here’s an excerpt.

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The prolific and celebrated American composer Philip Glass, 74, is in town this month, talking, performing and listening in a pair of festivals devoted to his music. Along with several others, two of his major works will be performed, “Akhnaten” by Long Beach Opera and “The Passion of Ramakrishna” by the Pacific Symphony.

“Ramakrishna,” you may remember, was commissioned by the Pacific Symphony and first performed (once) during the opening weekend of the Renée and Henry Segerstrom Concert Hall in 2006. This week’s four performances of the work are part of the orchestra’s annual American Composers Festival. Glass himself is in attendance, speaking at pre-concert talks, chatting with conductor Carl St.Clair on stage during the concerts and soaking up the applause at the end. He’ll take to the keyboard Monday night in Samueli Theater and give a recital of his own solo piano music.

Click here to read the whole thing