Miller Theatre’s Pop-Up Concerts are back
Ugh. It’s pretty grim to realize it’s only Tuesday. And what a nasty Tuesday it has turned out to be.
But there’s something happening tonight that’ll put a drink in your hand, a smile on your face and send you back out into the world with a head full of music: Pop-Up Concerts at Columbia University’s Miller Theatre.
And it won’t cost you a dime.
Here’s the deal: One Tuesday a month, this very cool program takes over the theater for a quick, casual get-together that ends in a very cool concert. Doors open at 5:30 p.m. Grab a free drink (thanks to Harlem Brewing Co.) when you get there, and hang out with fellow music lovers until the show starts at 6.
Tonight’s program is Minimalism’s Evolution. Sure, it sounds a little heady, maybe even academic. This is happening on an Ivy League campus, after all. But this series isn’t like any college course you might remember. Pop-Up Concerts let you get up close and personal with the artists in an informal performance that lasts just an hour.
Be sure to save the dates of the next two installments of Pop-Up Concerts: Nov. 13 of 120 Years of Solo Piano and Dec. 11 for John Zorn for Strings.
Tonight you’ll get three members of the awesome Ensemble Signal: Courtney Orlando on violin, Lauren Radnofsky on cello and Paul Coleman on sound.
Read on for the full program and all the details you need to get there. Continue reading
Posted in Concerts, Contemporary, Contemporary Classical, Free, Music, News
Tagged Columbia University, Courtney Orlando, Donnacha Dennehy, Ensemble Signal, Giacinto Scelsi, Harlem Brewing Co., John Zorn, Lauren Radnofsky, Louis Andriessen, Maya Beiser, Michael Gordon, Miller Theatre, Paul Coleman, Philip Glass, Pop-Up Concerts, Robert Woodruff
John Kelly as Prince and Lauren Worsham as Lisa in the world premiere performance of “Dog Days.” (Photo: James Matthew Daniel)
Be prepared to hold onto your seat if — as you really should — go to see “Dog Days,” the new opera from composer David T. Little and librettist Royce Vavrek now in its world premiere run at the Alexander Kasser Theater in Montclair, N.J.
Composer David T. Little (Photo: Merri Cyr)
While the extremely dark, comedic piece is clearly a team effort (Jim Findlay‘s scenery, live video and video design lend the piece extra oomph), it’s Little’s powerfully dramatic music that makes the tale so compelling. The emotional score, with spiky, jarring moments, never loses its lyrical bearings. “Dog Days” signals Little as one of the great compositional voices of his generation.
(Click here for a video preview.)
Focusing on one American family that has, so far, survived a vaguely described apocalypse, the opera grapples with questions of human relationships, their limits and even what it means to be human.
The opera is based on a short story of the same title by Judy Budnitz. While the opera makes the story arc understandable, I regret not reading the story before seeing the sold-out first performance at the Kasser, a jewel of a theater on the campus of Montclair State University.
Posted in Contemporary, Contemporary Classical, Music, Opera, Review, Theater
Tagged Alan Pierson, Ashley Kelly Tata, Beth Morrison, Beth Morrison Projects, Cherry Duke, christopher Rountree, Connor Lynch, David T. Little, Garth MacAleavey, James Bobick, Jedediah Wheeler, Jim Findlay, John Kelly, Judy Budnitz, Justin Jacobs, Kate Lindsay, Lauren Worsham, Lindsey Turteltaub, Marnie Breckenridge, Matt Frey, Michael Marcotte, Michael Minahan, Montclair State University, Newspeak, Peak Performances, Peter Tantskts, Prince, Robert Woodruff, Royce Vavrek, Victoria "Vita" Tzykun