Pianist Timothy Andres’ Insight and Virtuosity

By Ken Herman | September 22, 2012 |
Pianist Timothy Andres (photo courtesy of Ming)

Rarely does a formidable program of new music leave the listener eager for more. But Timothy Andres’ Saturday (Sept. 22) afternoon recital at the Carlsbad Music Festival made me want to hear a lot more of this astute 27-year-old pianist and composer. In a cunning juxtaposition of  four substantial, recent piano compositions with four concise selections from Robert Schumann’s “Forest Scenes,” Andres demonstrated the continuity of keyboard invention over two centuries, and at the same time suggested how prescient old Schumann’s explorations were. Of course none of this musicological insight would have unfolded without Andres’ fleet technique, subtle shadings, and…

When Looking Different Was a Crime

By Welton Jones | September 20, 2012 |
The Kimura Family of Salinas

In the earliest days of World War II, it became illegal on the West Coast to look Japanese and 120,000 people were locked up in concentration camps for the duration of the war. A new musical – ALLEGIANCE – at San Diego’s Old Globe Theatre tells the story.

Contemporary Pippin Performs Well But Casts No Spell

By Bill Eadie | September 16, 2012 |
Wendy Maples

The opening number of Pippin, Stephen Schwartz and Roger O. Hinson’s 1970s-era musical, is titled “Magic To Do.” Invoking magic in the opening number sets a high bar to jump, and Diversionary Theatre’s production, while solid, doesn’t rise to the level of magic. It has become fashionable to re-think Pippin, whose score by the composer of Godspell and Wicked includes hits such as “Corner of the Sky,” and “No Time at All.” The story is a relatively timeless one, as it takes off from the historical character of the eldest son of the great European emperor, Charlemagne. Pippin was sent…

Provocation & Divulgence

By Kris Eitland | September 14, 2012 |

  You’ve got to hand it to Mickey Mounarath and Spencer John Powell of Visionary Dance Theatre, who lately are the most visible dance producers in town. Their focus is to produce up-and-coming artists in all art forms.  There is great value in providing such a platform, especially when novices have the chance to shadow more experienced artists. But curating a dance concert isn’t an exact science, it’s an art.  There’s inherent risk in mixing extreme styles and abilities. In a recent experiment, one got the feeling that even the pros needed to go back to the laboratory. In Provocation & Diligence,…

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