Upcoming concerts

Conductor Neeme Jarvi.  Credit: Simon van Boxtel

Estonian National Symphony

The Estonian National Symphony Orchestra, that country’s leading orchestra and well known in the West for its recordings of Arvo Pärt, drops by Soka University as part of a U.S. tour. The venerable Neeme Järvi is on the podium to lead music by Pärt (the “Cantus in Memory of Benjamin Britten”), Dvorák (the Cello Concerto, with Narek Hakhnazaryan) and Sibelius (the majestic Symphony No. 5). 3 p.m. Sunday. Tickets are $48-$58. Soka Performing Arts Center, Aliso Viejo. 949-480-4278 or performingarts.soka.edu

Perlman conducts

Still among the world’s most popular violinists, Itzhak Perlman has added conducting to his resumé in recent years. With violin and baton in hand, he visits the Los Angeles Philharmonic this week to lead performances of the “Summer” and “Winter” concertos from Vivaldi’s “The Four Seasons” (in which he also plays the solo part), Weber’s Overture to “Oberon” and Berlioz’s roof-raising “Symphonie Fantastique.” 11 a.m. Friday; 8 p.m. Saturday; 2 p.m. Sunday. Tickets are $24-$191. Walt Disney Concert Hall, Los Angeles. 323-850-2000 or laphil.com

South Coast Symphony

The pops-oriented South Coast Symphony, self-billed as Orange County’s “unstuffy symphony,” opens its season with a light but bona fide classical program featuring “the 3 Gs.” The program includes Glazunov’s “Autumn” from “The Seasons,” Gershwin’s Symphonic Selections from “Porgy and Bess” and Ferde Grofé’s beloved “Grand Canyon Suite.” 7:30 p.m. Friday. Tickets are $15-$40. Crossline Community Church, 23331 Moulton Parkway, Laguna Hills. 714-731-8079 or southcoastsymphony.org

Pasadena Symphony

The Pasadena Symphony launches the season with its new music director, British conductor David Lockington. The program tests everyone’s mettle: It opens with Shostakovich’s blistering “Festive Overture,” continues with Leonard Bernstein’s “Serenade” (based on Plato’s “Symposium” and featuring violinist Anne Akiko Meyers as soloist) and ends with Stravinsky’s “The Rite of Spring.” 2 and 8 p.m. Saturday. Tickets are $35-$105. Ambassador Auditorium, Pasadena. 626-793-7172 or pasadenasymphony-pops.org

Verdi’s Requiem

Conductor John Alexander and the Pacific Chorale, entering their 42nd season together and never singing better, open their schedule with the big operatic bang of Verdi’s Requiem in celebration of the composer’s 200th birthday. Soprano Amber Wagner, mezzo-soprano Nancy Maultsby, tenor James Valenti and bass Eric Halfvarson are the soloists. The Pacific Symphony joins in the thundering and somber masterpiece. 5:30 p.m. Sunday. Tickets are $29-$129. Renée and Henry Segerstrom Concert Hall. 714-662-2345 or pacificchorale.org

photo credit: Simon van Boxtel

Review: Salonen conducts Debussy, Lindberg and Bartok

In today’s Orange County Register online … free …

Click here to read my review.

Yuja Wang, the review

Pianist Yuja Wang. Credit: Xavier Antoinet.

In today’s Orange County Register online, my review of pianist Yuja Wang’s recital last week is available for free.

Click here to read it.

photo: Xavier Antoinet

A note on warming up

I seem to be noticing it more and more recently: Musicians warming up onstage before a performance and playing signature bits of the piece they are about to perform. I don’t know if it’s happening more or, for some reason, I’m just aware of it more.

The other night took the cake though. Before a performance of Bartok’s “Music for Strings, Percussion, and Celesta,” the pianist, center stage, was hammering away on her big solos, very distinctive licks from the piece.

Back in my day — which admittedly was a long time ago — this kind of thing was frowned upon. We were told, or at least I was told, that you don’t play anything from the repertoire you are about to perform as you are warming up onstage. It was considered bad form.

For one thing, it gives the impression to the audience that the musician hasn’t mastered his or her part yet. It gives the impression that there haven’t been enough rehearsals. It gives the impression that the musician hasn’t practiced on his own. It may also suggest that the musician doesn’t give a damn.

Further, when a musician plays a bit of a piece before the performance, it’s a kind of spoiler. To the listener who doesn’t know the piece about to be performed, it may not matter much. But to the listener who does, it puts him ahead of things, as if he were viewing a key scene from a movie (Bergman pulling a gun on Bogart, say) before the movie runs.

For similar reasons, believe it or not, I don’t even like hearing snatches of pieces in pre-concert lectures. I’m probably in the minority on this one — it seems like most people consider concerts “learning experiences” these days — but to me it’s like tasting a dinner before it is served. I want to sit down and listen to a piece fresh, hear it in the order and context it was meant o be heard in, and not have bits of it brought to the attention of my ears beforehand like one of those Norton scores with the highlighted themes. That’s for school.

Musicians, if you think about it, are the only performers we regularly witness warming up. We never see, for instance, actors rehearsing their lines and movements on stage before a play. If we did, we wouldn’t like it. Why should it be any different with musicians?

Review: ‘Einstein on the Beach’

A scene from "Einstein on the Beach,"  Lucie Jansch

Photo: Lucie Jansch

In today’s Orange County Register, my review of “Einstein on the Beach,” performed last weekend at L.A. Opera, is available gratis.

Click here to read it.

Yuja Wang: More than a red dress

In today’s Orange County Register online, my interview with pianist Yuja Wang, which took place before her sensational recital here on Sunday, has become free for all to read.

Click here to read my interview with Yuja Wang.  Oct. 9, 2013.

Interview: In which I answer the New York Times’ questions meant for Yo-Yo Ma

tim in essen

Do you ever wonder why it was you and not someone else who became a great cellist? What sets you apart?

Uh, I don’t play the cello. I guess that sets me apart from other cellists.

Earlier this year at the Aspen Ideas Festival you said it wasn’t until you turned 49 that you thought being a musician was cool. What did you mean by that?

I don’t have the foggiest idea. I don’t remember saying that. I don’t remember being in Aspen.

I don’t know if a lot of people think of music as a vehicle for understanding human behavior.

Is that a question?

How often do you practice, and for how long?

I practice whenever the band at work has a performance coming up. It usually takes me 3 or 4 weeks to get back into shape. I start simply, maybe 5 minutes a day, and gradually increase the time over the course of my practicing, to 30 to 45 minutes. That gets me in good enough shape for our band’s gigs.

Read more…

Yuja Wang: Bumblebee

She plays Sunday in O.C.

Review: Olga Kern

Olga Still 1

Olga Kern launches Society’s 60th season. Orange County Register, Oct. 5, 2013. (The link is free.)

photo: Evan Rosenberg/sicshot productions

Review: Dudamel and L.A. Phil open season with unusual program, Yo-Yo Ma

Los Angeles Philharmonic's Walt Disney Concert Hall 10th Anniversary Celebration - Performance

In today’s Orange County Register online, my review of the Los Angeles Philharmonic’s season opening gala has been made available free to my adoring public.

Click here to read my review

photo: Mathew Imaging