Word: sopranos
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
MUSIC | Harvard-Radcliffe ChorusThe 165-voice choir kicks off its 2004 season, welcoming new conductor, Dr. Kevin C. Leong. The program will be an all-Mozart affair, including Vesperae solennes de Confessore, Missa brevis in F and the ever-popular Eine kleine Nachtmusik. Featuring soprano Amanda Forsythe. Tickets available at the Harvard Box Office $16/$14, $8/$7 for students and seniors. 8 p.m. Sanders Theater...
Aleck Karis on piano and soprano Tony Arnold will perform Birtwistle’s works including 26 Orpheus Elegies, Nenia: The Death of Orpheus, Harrison’s Clocks and Verses. Free and open to the public. Parking available at the Everett Street Garage. John Knowles Paine Concert Hall...
...have been snowing outside, but inside the Winthrop House Junior Common Room, a small gathering of the elderly and the youthful were alternatively startled, stunned and awed by the lecture-demonstration on jazz improvisation and movement by acclaimed soprano saxophonist Jane Ira Bloom last Friday afternoon. Accompanied by modern dancer Peentz Dubble, and moderator Tom Everett, Director of Harvard Bands, Bloom presented “An Exploration of Improvisation,” which focused on combining physical movement and improvisation as a jazz musician in the first of Harvard’s Office for the Arts?...
Jane Ira Bloom, a “mover and shaker”—literally—in the use of both electronics and movement in jazz, was awarded soprano sax of the year by the Jazz Journalists Award in 2001, the Charlie Parker Fellowship for Jazz Innovation, and the International Women in Jazz Jazz Masters Award. But her proudest accomplishment is that she is the first musician to be commissioned by NASA’s art program-—and she even has an asteroid named after...
After a short introduction by Everett, Bloom and Dubble began to zigzag without a word across the floor in a seemingly pre-staged manner. The silence was broken as Bloom began to play on her soprano sax. Dubble mirrored the music with her body, looking as if she was being blown away when empty air blew through the barrel of the saxophone, and writhing during moments when the tempo quickened, as if she were the embodinment of the sound itself. It was only after a synchronized “Welcome” that the audience was informed that both...