Month: March 2022

The three largest international recording combines, Sony, Warner and Universal, have suspended operations in Putin’s world. Live Nation, the concert promoter, also announces that “we will not do business with Russia,” The New York Times’ Ben Sisario reports:

Russia already had been ejected from the Eurovision song contest, and Spotify and Apple have restricted access to their streaming services.

Performative gestures, literally – Sisario cites International Federation of the Phonographic Industry data showing Russia to be a smaller market than Mexico and Sweden for recorded music – but also markers of the country’s rapid cultural isolation.

Njioma Grevious, violin
Melissa Reardon, viola
Mary Boodell, flute
Charles Overton, harp
March 6, Seventh Street Christian Church

The latest offering from the Chamber Music Society of Central Virginia was a homecoming – and hometown professional debut – for Charles Overton, an alumnus of Richmond Montessori School and the American Youth Harp Ensemble who has become a rising star among US harpists, building a resumé of dates with major orchestras and recital presenters.

Joining three mainstays of the Chamber Music Society – violinist Njioma Grevious, violist Melissa Reardon and flutist Mary Boodell – Overton could be heard in roles ranging from collaborative to supportive, sometimes in the same piece.

The most vivid showcase of his playing came in Camille Saint-Saëns’ Fantaisie in A major, Op. 124, for violin and harp, a fairly late (1907) work from a very prolific composer whose chamber music and orchestral miniatures often featured unusual instrumental combinations or were written for under-employed instruments. (Name another prominent composer who produced a bassoon sonata or chamber music with trumpet.)

The Saint-Saëns Fantaisie is prime example of two genres of late-romantic and early modern French music: Short-ish, rhapsodic works for violin (Ernest Chausson’s Poème is the best-known of these) and pieces that feature the harp. The modern chromatic instrument was introduced by French builders in the 1890s, and soon figured prominently in music by the country’s composers, notably Maurice Ravel’s, but usually as a rhythmic enhancer (somewhat like a continuo harpsichord) or as a means of enlarging the palette of tone colors.

Saint-Saëns makes the harp a full partner, engaging in a real dialogue with the violin. The exchanges between Grevious and Overton, and the merging of their voices as the piece grows more intense and passionate, amounted to a clinic in the interpretation and performance of high-romantic music. Saint-Saëns also was a classicist, devoted to form, balance and musical symmetry, and this duo projected those qualities as well.

In Claude Debussy’s Sonata for flute, viola and harp (1916), one of the rather austere, expressively elusive chamber works written toward the end of his life, the harp plays quasi-continuo or atmospheric roles behind the alternating leads of flute and viola. The harp is also a sonic mediator between the sharply focused tone of the flute and the darker, at times more earthy or wiry, tone of the viola – a role that Overton filled with keen sensitivity. Boodell and Reardon ably negotiated the shifting moods of this music, a weird tonescape that ranges from pastoral reverie to almost hermetic introspection.

The second half of the program was devoted to music by contemporary composers: “Winterserenade” (1997) by the Lithuanian Onutė Narbutaitė and “The Eye of Night” (2010) by the American David Bruce.

Narbutaitė’s piece for flute, violin and viola, styled as a paraphrase of “Gute Nacht” from Franz Schubert’s song cycle “Die Winterreise,” is more of a deconstruction of the melody in the minimalist yet emotionally resonant style often heard in modern Baltic music. Boodell, Reardon and Grevious nicely realized Narbutaitė’s spare texture and ambivalent moodiness while echoing Schubert’s emotive tone.

Bruce’s “Eye of Night,” scored like the Debussy for flute, viola and harp but more democratically apportioned among the instruments, proved to be considerably less intense, technically and expressively, than the other works on this program, giving listeners a pleasant, at times breezy, sendoff.

Boodell was the star of the piece, juggling three different flutes and varying expressive roles across four movements. Reardon and Overton had their moments, too, especially in pizzicato exchanges, a natural opportunity for interplay between harp and fiddle that Debussy, for whatever reason, rarely exploited.

This post has been corrected to clarify Charles Overton’s educational background in Richmond.

Updated

“Cancel-culture” campaigns to ostracize, silence or deny employment to those expressing views that the campaigners find repellent have been flashpoints in Western societies in recent years, sparking heated debates over suppression of free speech and scrambling alliances across the ideological spectrum.

Vladimir Putin’s war on Ukraine opens a new front in the cultural battle, a thus-far uneven one in which Western businesses, social media, sports leagues, arts institutions and other entities have abruptly cut ties with Russia and with people aligned with its dictator or publicly ambivalent or silent about his actions.

On the other side of the battle line, cancellation – extending to the extremes of exile, imprisonment and murder – is an old story in Russia, long predating Putin’s suppression of internal dissent and recent moves to block information sources that he doesn’t control. Old Soviet-speak is making a comeback: It is now a crime in Russia to call the war a war, as opposed to its official designation as a military “special operation.”

It was already hazardous just to call for peace, as Ivan Velikanov, a French-born conductor of Russian descent now working in Moscow and Nizhny Novgorod, learned after he opened a Feb. 25 performance in the latter city’s opera house with a speech, after which he led the orchestra in the “Ode to Joy” theme from Beethoven’s Ninth Symphony.

“I said that war is bad and peace is good. In my naïvete, I assumed there was nothing to argue about. And I said it because the war had just begun,” Velikanov told Anastassia Boutsko in an interview for Deutsche Welle, the German international broadcast service (now on Russia’s list of outlawed foreign media). “I think that today . . . we should call things by their names, as simply as possible.”

He was promptly suspended from the opera house.

“[A] cold civil war is raging in Russia,” dividing its society over “a forbidden topic, a topic that concerns absolutely everyone,” Velikanov said:

http://www.dw.com/en/beethoven-and-a-peace-speech-get-russian-conductor-suspended/a-60996710

(via http://www.artsjournal.com)

In the democratic world, meanwhile, cultural institutions and their constituents are wondering how far to go in the cancellation of Russian artists – how bold a line to draw between figures such as conductor Valery Gergiev, a prominent Putin ally, and the likes of soprano Anna Netrebko, who call themselves apolitical and decry the violence, but without denouncing its instigator.

“Classical music likes to think of itself [as] floating serenely above politics, in a realm of beauty and unity,” The New York Times’ Zachary Woolfe observes.

He contrasts Netrebko’s ambivalence with a statement from the Russian-born German pianist Igor Levit: “Being a musician does not free you from being a citizen, from taking responsibility, from being a grown-up. . . . And never, never bring up music and your being a musician as an excuse. Do not insult art.”

Wolfe suggests a parallel between Gergiev and Wilhelm Furtwängler, who despite being frequently at odds with the Nazis remained in Germany during the Hitler regime and allowed himself to be made its “court conductor.”

He also wonders whether institutions such as New York’s Metropolitan Opera and the Munich Philharmonic, which for years employed Gergiev and others in Putin’s favor, only to break with them quickly once Ukraine was invaded, are now fit to play the roles of outraged innocent parties.

“I understand the reluctance to step away from idyllic notions of exchange and collaboration, even amid conflict,” Woolfe writes; but those who don’t speak out against a dictator’s brutality “should not be surprised that there are consequences.”

I’m of two minds about this. I think it’s unjust to hold artists personally responsible for the behavior of warlords; but I also think that accepting the patronage of an evil regime rubs off, certainly on the artist as a person and not infrequently as an artist.

Conveniently, perhaps, I’ve never had much use for Gergiev. To my ears, his work (which I’ve heard live as well as recorded) is, at best, a sleek echo of the crudely muscular style common in Soviet-era orchestral performance, which does justice to very little music that’s worth hearing. Not being a connoisseur of verismo sopranos, I don’t feel qualified to assess Netrebko’s artistic merits; but I’m sure there are many fine singers to take her place.

I’m not purging my collection of recordings by Furtwängler, Karl Böhm, Willem Mengelberg, Walter Gieseking and others who were Nazis or Nazi-adjacent, or by Soviet-favored artists such as Evgeny Mravinsky and David Oistrakh. I don’t fault Western musicians who performed with the Czech Philharmonic or the Staatskapelle Dresden when those orchestras were cultural jewels of communist regimes; and I don’t credit foreign musicians who’ve boycotted the US when they opposed a president or his policies.

I try not to judge artists by the environments in which they work; but I can’t help noticing that their comfort level in bad environments is quite often reflected in the art they produce. That is a revealing difference between a Dmitri Shostakovich and a Richard Strauss.

Also conveniently, I’m not a Russian music addict. Taking a break from it wouldn’t leave me feeling too gravely deprived. (Short- or medium-term, at least – I won’t forgo Mussorgsky forever.) If I crave Slavic accents, there are plenty of first-rate Czech and Polish composers.

Putin and his cronies and enablers vs. the civilized world is a battle that will – and should – continue for as long as he and his repressive mindset and brutal behavior continue to define Russian policy.

Presenters and consumers of classical music will be drawing moral lines and deciding to cancel some artists for some time.

UPDATE (March 6): Facing conflicting pressures to speak out on the Ukraine war, Tugan Sokhiev, the 44-year-old Russian who has been serving as principal conductor of the Bolshoi Theater in Moscow and music director of France’s Orchestre national du Capitole de Toulouse, has resigned from both posts.

“Over the past few days, I have witnessed what I thought I would never see in my life,” Sokhiev told a Russian music website, his remarks quoted on Norman Lebrecht’s Slipped Disc blog. The conductor continues: “In Europe today I am being forced to make a choice and prefer one member of my musical family to another. . . . I cannot see my colleagues – conductors, actors, singers, dancers, directors – threatened, treated disrespectfully, and become victims of a ‘cancellation culture.’ ”

His full statement is worth pondering:

Breaking: Bolshoi chief conductor resigns in both Russia and France

Michael Tilson Thomas, the San Francisco Symphony’s music director from 1995 to 2020 and founding conductor of the New World Symphony in Miami, has announced his semi-retirement from the Florida ensemble and plans to scale back his other activities as he copes with an aggressive form of brain cancer.

The 77-year-old conductor last summer underwent surgery, chemotherapy and radiation treatment for glioblastoma, and is currently in remission, he reported in a statement. “But the future is uncertain as glioblastoma is a stealthy adversary. Its recurrence is, unfortunately, the rule rather than the exception.”

Tilson Thomas is scheduled to conduct the National Symphony Orchestra in Washington in two programs of staples of his repertory, American music and Mahler (the “Resurrection” Symphony [No. 2 in C minor]) between March 25 and April 1 at the Kennedy Center.

His schedule in coming months includes engagements with the Cleveland Orchestra and the London Symphony Orchestra, as well as the New World Symphony, with which he will play a laureate role after retiring as music director. He also plans to continue composing.

The New World Symphony, founded by Tilson Thomas in 1987, is this country’s premier post-graduate orchestral academy, selected from alumni of leading conservatories who after fellowships in Miami typically are hired by professional orchestras and educational institutions in the US and abroad.

For some years, the Richmond Symphony has recruited musicians from this source, notably as principal players. Current New World Symphony alumni are the symphony’s first-stand violinists, concertmaster Daisuke Yamamoto and assistant concertmaster Adrian Pintea; acting associate principal second violinist Jeannette Jang; violinist Stacy Matthews; and four wind principals – oboist Victoria Chung, clarinetist David Lemelin, bassoonist Thomas Schneider and French horn player Dominic Rotella.

Valentina Peleggi conducting
with George Li, piano
Feb. 26-27, Carpenter Theatre, Dominion Energy Center
(Reviewed from online stream, posted March 2)

Music can be an escape, or it can meet the moment. That’s especially true of classical music, which requires a substantial investment of both mind and heart by the listener to be heard as more than a lengthy, complicated construct of sounds. And it can meet the moment unexpectedly: Beethoven’s “Choral Fantasy” would not rank high on many lists of anthems for Western civilization, but that’s how it came across in the Richmond Symphony’s first concert after the 9/11 attacks.

Flash forward two decades: The orchestra’s long-planned program of two Russian works, Rachmaninoff’s Piano Concerto No. 2 in C minor and Shostakovich’s Symphony No. 5 in D minor, presented a few days after the would-be tsar of today’s Russia, Vladimir Putin, launched his invasion of Ukraine, looked to be a glaring mismatch of music and moment.

It didn’t turn out that way. The ribbons in Ukraine’s national colors, blue and yellow, worn by many of the musicians reflected the sound and spirit of their performance, especially – perhaps surprisingly – in the Shostakovich.

The Rachmaninoff concerto is a product of pre-Soviet Russia, in both its vintage (1901) and its sensibility, by a composer who spent his later years as an émigré in the US and Switzerland – a refugee from the regime that would spawn a Putin.

This music found an advocate of unusual sensitivity in George Li, a 26-year-old Bostonian of Chinese parentage who was a silver medalist at the 2015 Tchaikovsky Competition and subsequently has earned international acclaim as an interpreter of Russian repertory.

Li deftly managed the elusive balancing of roles that Rachmaninoff requires of the soloist. The concerto needs a pianist with abundant and tonally brilliant technique and an ear for high-romantic expressivity and rhetorical flourish; but it also needs a musician who knows when and how to collaborate with the orchestra, especially in the instrument’s exchanges with solo winds in the central adagio movement.

Without underplaying its passages of pianistic dazzle or the soulful tunefulness of its main themes, Li was attentive to the subtleties of tone and color and the long arcs of expression that make this concerto more than a virtuoso showpiece with plush orchestral padding. His performance sang and sighed and glittered, but it never gushed or skimmed the surface.

Following the concerto, Li played an encore, Chopin’s Prelude in D flat major, Op. 28, No. 15, with a contemplative, elegiac air that was both profoundly musical and remarkably attuned to the somber, hope-against-hope atmosphere of the world outside the concert hall.

The Shostakovich Fifth, introduced in 1937, was characterized, purportedly by the composer but more likely by some apparatchik ghost-writer, as “a Soviet artist’s creative response to justified criticism.” In that phrase, the only true adjective is “creative.”

Fanfares and pounding drums notwithstanding, this piece is anything but Stalinist, socialist-realist triumphalism, as anyone who listens to the music that lies between its brassy outbursts can sense immediately. Its big tunes are bleak, introduced mostly by solo instruments playing with stark purity, as lone voices in a spiritual wasteland, and its loudest moments exude more menace than triumph.

In comments at the beginning of the program, Valentina Peleggi, the orchestra’s music director, called the largo movement of the Shostakovich “a powerful cry against any form of brutality,” and observed that, sadly, “little has changed” in the 85 years since its composition.

That verbally signalled a measured, sober reading whose most affecting moments were its quietest, thanks largely to the contributions of the symphony’s wind principals – flutist Mary Boodell, oboist Victoria Chung, clarinetist David Lemelin, bassoonist Thomas Schneider – and the imposingly dark tone of the cello and double-bass sections that served as the foundation of the performance. Brasses and percussion came through with the needed impact, but more as sonic contrast than as emotional climaxes.

It was powerful; but more to the point, it was a compelling lamentation.

The stream of Li’s performance of the Rachmaninoff concerto will be accessible until March 31, and the Shostakovich symphony through June 30. Single-concert access: $30. Full Masterworks season access: $180. Details: (800) 514-3849 (ETIX); http://www.richmondsymphony.com

In 1931, Florence Reese, the wife of a mine workers’ union organizer, wrote a song whose refrain should be ringing in some influential ears:

Which side are on you on, boys?
Which side are you on?

Vladimir Putin’s invasion of Ukraine has forced that question on all sorts of people and entities: this country’s ex-president and his followers, energy and mining companies, financiers and fixers, purveyors of high-end properties and luxury goods, icons of highbrow culture in Russia and their promoters in the West.

Russia’s classical musicians and ballet dancers – who since tsarist times have rivaled vodka and caviar among the country’s most desired exports – must be dismayed by the international ostracizing of the conductor Valery Gergiev, one of Putin’s most high-profile supporters in the Russian cultural elite.

Their association dates back to the 1990s, when Gergiev was restoring the Mariinsky Theatre of St. Petersburg to world stature, with support from Putin, then a key apparatchik in the city government. After Putin rose to national power, Gergiev was there for him, again and again.

In 2008, when Russia carved South Ossetia out of Georgia, Gergiev, a son of Ossetians who spent much of his youth in the region, led a concert in tribute to dead secessionists. In 2012, he appeared in a television ad for Putin’s presidential campaign. A year later, he offered a clumsy rationale for homophobic legislation enacted by Putin. In 2014, he signed a letter by cultural figures calling for the Russian annexation of Crimea. In 2016, he led his Mariinsky Orchestra in a concert in the ruins of ancient Palmyra in Syria, celebrating the Russian forces fighting alongside Bashar al-Assad’s army.

Along the way, Gergiev’s Mariinsky Theatre was treated to a lavish expansion of its physical plant in St. Petersburg, establishment of satellite venues in Russia’s Far East, and employment of the company as a premier cultural representative of the Russian state. The conductor received a number of official awards, among them designation as a “hero of labor” – fitting, as he’s certainly gotten his hands dirty.

On the Putinesque scale of friendship-with-benefits, Gergiev qualifies at least as an honorary oligarch. Now, he’s one of the first of Putin’s favorites to take a serious hit from Western sanctions.

The Vienna Philharmonic, which has engaged Gergiev regularly as a guest conductor, dropped him from tour performances in New York and Florida. (Also disinvited from the concerts was pianist Denis Matsuev, another Russian artist in the Putin orbit.) Carnegie Hall in New York has canceled concerts by Gergiev and the Mariinsky Orchestra that had been scheduled in the spring. Gergiev has been dismissed from his post as chief conductor of the Munich Philharmonic. His German talent agent has bailed on him. La Scala in Milan, the Elbphilharmonie in Hamburg, the Rotterdam Philharmonic, the Verbier Festival in Switzerland, the Riga Jurmala Festival in Latvia, the Baden-Baden Festspielhaus and the Edinburgh Festival are severing their relationships with Gergiev for his failure to denounce the invasion.

Don’t hold your breath waiting for him to speak out. Crossing Putin could cost him his Mariinsky empire. His silence may end his career outside Russia – except, perhaps, in China and a few Putin-friendly cultural backwaters. (That might be enough to keep him fully employed. China has become a lucrative destination for classical musicians.)

While Gergiev stays silent, some of his compatriots are struggling to thread the needle between patriotism and decency. Anna Netrebko, the star soprano (and the most famous Mariinsky alumna), came out against the Ukraine invasion, but added, “[F]orcing artists, or any public figure, to voice their political opinions in public and to denounce their homeland is not right. . . . I am not a political person.” She subsequently canceled all her performances in the near future.

Netrebko’s statement might be a template for other semi-disclaimers to come from prominent Russian artists who aren’t ready to leave the country or to become non-persons at home.

How should the civilized world deal with cultural figures from rogue states? It’s a question we keep having to ask.

After World War II, the victorious powers and their cultural establishments assessed the culpability of artists who worked in Nazi Germany, Fascist Italy and under collaborationist regimes in occupied countries. During the Cold War, suspicions abounded about officially favored artists from the Soviet Union and its satellites in Central and Eastern Europe. In recent years, we’ve wondered how to treat artists who are on good terms with China’s authoritarian regime.

Viewing artists through a political lens may be unfair: Most are either disinterested or naïve when it comes to politics, and few cultural figures exert any meaningful political influence on dictators.

The moral view is less cloudy: Actively promoting a repressive or warmongering regime ought to disqualify an artist – or anyone else – from participating in civilized cultural discourse.

Historically, though, drawing the line has been a selective exercise. Nearly 80 years after the destruction of the Nazi regime, and more than 30 years since the collapse of the Soviet Union, most of the cultural figures who benefitted from the dictators’ favor have been dead long enough for their unsavory links to be overlooked or explained away. The rehabilitation of some of them began when the ink had barely dried on their party cards.

It’s too soon to even guess how long artists associated with Putin will be shunned in free societies. Some who’ve taken their leave from Gergiev seem to be hedging their bets – his now-former talent agent called him “one of the greatest conductors of all time” and “a visionary artist.” Considering the musical establishment’s years-long willingness to overlook Gergiev’s ties to the dictator, no one should be surprised to see him restored to classical music’s first tier when the smoke clears and the bodies are buried.

The apolitical and the amoral all too often go hand in hand.

Classical performances in and around Richmond, with selected events elsewhere in Virginia and the Washington area. Program information, provided by presenters, is updated as details become available. Adult ticket prices are listed; senior, student/youth, military, group and other discounts may be offered.

Each listing includes primary Covid-19 safety protocols for the event. Contact presenters or venues for detailed requirements.

March 1 (7 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
Magdalena Adamek & Michelle Huang, piano duo
works TBA by Barber, Copland, Henryk Górecki, Astor Piazzolla, Richard Bennett
free
masks required
online live-stream: http://go.vcu.edu/concerthall
(804) 828-1169
http://arts.vcu.edu/events

March 2 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
Garrick Ohlsson & Kirill Gerstein, piano duo
Thomas Adès: “Powder Her Face” Suite
Rachmaninoff: Symphonic Dances
Busoni: “Fantasia Contrappuntistica”
Ravel: “La Valse”
$35 (general admission)
masks required
(804) 289-8980
http://modlin.richmond.edu

March 3 (7:30 p.m.)
Williamsburg Community Chapel, 3899 John Tyler Highway
Williamsburg Symphony Orchestra
Chia-Hsuan Lin conducting
Kodály: “Dances of Galanta”
Joaquin Turina: “Danzas fantásticas,” Op. 22
Saint-Saëns: Symphony No. 3 in C minor (“Organ”)
Rebecca Davy, organ
$55 (live attendance); $25 (online stream)
masks recommended
(757) 229-9857
http://williamsburgsymphony.org

March 3 (7:30 p.m.)
Ferguson Arts Center, Christopher Newport University, Newport News
March 5 (7:30 p.m.)
Chrysler Hall, 215 St. Paul’s Boulevard, Norfolk
March 6 (2:30 p.m.)
Sandler Arts Center, 201 S. Market St., Virginia Beach
Virginia Symphony Orchestra
Jacomo Bairos conducting
Kishi Bashi: “Improvisations on EO 9066”
Kishi Bashi, violin
Shostakovich: Symphony No. 10 in E minor
$25-$110
masks required
(757) 892-6366
http://virginiasymphony.org

March 3 (7 p.m.)
March 4 (8 p.m.)
March 5 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Gianandrea Noseda conducting
Dvořák: “The Wood-Dove”
Carlos Simon: “Tales – a Folklore Symphony”
Beethoven: Violin Concerto in D major
James Ehnes, violin
$15-$99
proof of vaccination, photo ID & masks required
(804) 444-1324
http://kennedy-center.org

March 4 (8 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
VCU Symphony
Daniel Myssyk conducting
Valerie Coleman: “UMOJA: Anthem of Unity”
works TBA by Dvořák, Saint-Saëns, Borodin
Caleb Stanger, violin
Zach Williams, cello
free
masks required
online live-stream: http://go.vcu.edu/concerthall
(804) 828-1169
http://arts.vcu.edu/events

March 4 (8 p.m.)
Ferguson Arts Center, Christopher Newport University, Newport News
The Ten Tenors
program TBA
$38-$58
masks required
(757) 594-8752
http://fergusoncenter.org

March 5 (2 p.m.)
Gellman Room, Richmond Public Library, First and Franklin streets
Chamber Music Society of Central Virginia:
Melissa Reardon, viola
Mary Boodell, flute
Charles Overton, harp
Chioke l’Anson, speaker
Angela Lehman, curator
“Our Flavors”
program TBA
free
masks required
online live-stream: http://rvalibrary.org/events/gellman-concerts/
(804) 646-7223
http://rvalibrary.org

March 5 (7 p.m.)
March 9 (7:30 p.m.)
March 13 (2 p.m.)
March 19 (7 p.m.)
March 21 (7 p.m.)
March 25 (7:30 p.m.)
Eisenhower Theater, Kennedy Center, Washington
Washington National Opera
Robert Spano conducting
“Written in Stone”
Jason Moran: “Chantal”
Alicia Hall Moran (Chantal)
Huang Ruo & David Henry Hwang: “The Rift”
Karen Vuong (Maya Lin)
Nina Yoshida Nelsen (Phuong Tran)
Christian Mark Gibbs (Grady Mitchell)
Rod Gilfry (Robert McNamara)
Kamala Sankaram & A.M. Homes: “Rise”
Vanessa Becerra (Alicia Hernández)
J’Nai Bridges (Officer Victoria Wilson)
Daryl Freedman (A Powerful Woman/Adelaide Johnson)
Danielle Talamantes (Maria Hernández)
Suzannah Waddington (The Monument)
Marc Bamuthi Joseph & Carlos Simon: “it all falls down”
J’Nai Bridges (Laurel)
Christian Mark Gibbs (Bklyn)
Alfred Walker (Mtchll)
James Robinson, stage director
in English, English captions
$35-$199
proof of vaccination, photo ID & masks required
(804) 444-1324
http://kennedy-center.org

March 6 (4 p.m.)
Seventh Street Christian Church, Grove and Malvern avenues, Richmond
Chamber Music Society of Central Virginia:
Njioma Grevious, violin
Melissa Reardon, viola
Mary Boodell, flute
Charles Overton, harp
Saint-Saëns: Fantaisie in A major, Op. 124, for violin & harp
Debussy: Sonata for flute, viola & harp
David Bruce: “The Eye of Night” for flute, viola & harp
Onutė Narbutaitė: “Winterserenade” (after Schubert) for flute, violin & viola
$30
masks required
(804) 304-6312
http://cmscva.org

March 6 (3 p.m.)
Cave Spring United Methodist Church, 4505 Hazel Drive, Roanoke
Roanoke Symphony Orchestra winds
David Stewart Wiley, piano
Mozart: Quintet in E flat major, K. 452, for piano & winds
Mozart: Serenade in C minor, K. 388, for winds
$32-$49
masks recommended
(540) 343-9127
http://rso.com

March 6 (2 p.m.)
Terrace Theater, Kennedy Center, Washington
Martin James Bartlett, piano
Rameau: Suite in A minor – VII. Gavotte et six doubles
François Couperin: “Les Barricades Mystérieuses”
François Couperin: “Le Tic Toc Choc ou Les Maillotins”
Haydn: Sonata in A flat major, Hob. XVI:46
Wagner-Liszt: “Tristan und Isolde” – “Liebestod”
Julian Anderson: “She Hears”
Rachmaninoff-Wild: “Where Beauty Dwells”
Rachmaninoff-Wild: Vocalise, Op. 34, No. 14
Rachmaninoff: “Polka de W.R. Ravel – La Valse”
$40
proof of vaccination, photo ID & masks required
(202) 784-9727 (Washington Performing Arts)
http://washingtonperformingarts.org

March 7 (7:30 p.m.)
Kaufman Theater, Chrysler Museum of Art, 1 Memorial Plaza, Norfolk
Feldman Chamber Music Society:
Parker Quartet
Mozart: Quartet in D major, K. 575
Vijay Iyer: “Mozart Effects”
Billy Childs: “Unrequited”
Janáček: Quartet No. 2 (“Intimate Letters”)
$25
masks required
(757) 552-1630
http://feldmanchambermusic.org

March 7 (8 p.m.)
Kennedy Center Concert Hall, Washington
Emanuel Ax, piano
Leonidas Kavakos, violin
Yo-Yo Ma, cello
Beethoven: Piano Trio in E flat major, Op. 1, No. 1
Beethoven: Piano Trio in G major, Op. 1, No. 2
Beethoven: Piano Trio in B flat major, Op. 11 (“Gassenhauer”)
Beethoven: Piano Trio in D major, Op. 70, No. 1 (“Ghost”)
$60-$200
proof of vaccination, photo ID & masks required
(202) 784-9727 (Washington Performing Arts)
http://washingtonperformingarts.org

March 8 (8 p.m.)
Williamsburg Library Theatre, 515 Scotland St.
Chamber Music Society of Williamsburg:
Parker Quartet
Mozart: Quartet in D major, K. 575
Vijay Iyer: “Mozart Effects”
Billy Childs: “Unrequited”
Janáček: Quartet No. 2 (“Intimate Letters”)
$25 (waiting list)
masks required
(757) 741-3300 (Williamsburg Regional Library)
http://chambermusicwilliamsburg.org

March 10 (6:30 p.m.)
Hardywood Park Craft Brewery, Overbrook Road at Ownby Lane, Richmond
Richmond Symphony
conductor TBA
program TBA
$30
proof of vaccination or recent negative test results, photo ID & masks required
(800) 514-3849 (ETIX)
http://www.richmondsymphony.com

March 10 (7:30 p.m.)
Sandler Arts Center, 201 S. Market St., Virginia Beach
Virginia Symphony Orchestra
Governor’s School for the Arts Orchestra
Benjamin Rous conducting
“Side by Side Concert”
Shostakovich: Symphony No. 5 in D minor
$10-$25
masks required
(757) 892-6366
http://virginiasymphony.org

March 11 (7 p.m.)
River Road Church, Baptist, River and Ridge roads, Richmond
Robert Gallagher, organ
“My Favorite Bach”
works TBA by J.S. Bach
free; ticket reservation required
masks required
(804) 288-1131
http://rrcb.org

March 11 (7:30 p.m.)
The Barns at Wolf Trap, 1635 Trap Road, Vienna
Chamber Music Society of Lincoln Center:
Michael Brown & Gloria Chien, piano
Cho-Liang Lin, violin
Nicholas Canellakis, cello
Chopin: Barcarolle in F sharp major, Op. 60
Chopin: Cello Sonata in G minor, Op. 65
Chopin: Nocturne in D flat major, Op. 27, No. 2
Chopin: Waltz in D flat major, Op. 64, No. 1
Chopin: Piano Trio in G minor, Op. 8
$44
proof of vaccination or negative test result, photo ID & masks required
(703) 255-1868
http://wolftrap.org

March 12 (8 p.m.)
Center for the Arts, George Mason University, Fairfax
Fairfax Symphony Orchestra
Christopher Zimmerman conducting
Tchaikovsky: Piano Concerto No. 1 in B flat minor
Sofya Gulyak, piano
Brahms: Symphony No. 3 in F major
$45-$70
proof of vaccination or negative test result, photo ID & masks required
(703) 993-2787
http://cfa.gmu.edu

March 12 (7 p.m.)
March 14 (7 p.m.)
March 18 (7:30 p.m.)
March 20 (2 p.m.)
March 23 (7:30 p.m.)
March 26 (7 p.m.)
Eisenhower Theater, Kennedy Center, Washington
Washington National Opera
Erina Yashima conducting
Mozart: “Così fan tutte”
Laura Wilde (Fiordiligi)
Rihab Chaieb (Dorabella)
Kang Wang (Ferrando)
Andrey Zhilikhovsky (Guglielmo)
Anna María Martínez (Despina)
Ferruccio Furlanetto (Don Alfonso)
Alison Mortitz, stage director
in Italian, English captions
$69-$200
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

March 13 (4 p.m.)
Ryan Recital Hall, St. Christopher’s School, 711 St. Christopher’s Road, Richmond
Richmond Philharmonic
Peter Wilson conducting
John Turner: “Lament for the Victims of Covid-19”
Alan Silvestri: “Cast Away” – main theme
George Walker: “Lyric for Strings”
Grieg: “Holberg” Suite
Arvo Pärt: Symphony No. 3
ticket price TBA
masks required
(804) 556-1039
http://richmondphilharmonic.org

March 13 (3 p.m.)
Shaftman Performance Hall, Jefferson Center, 541 Luck Ave., Roanoke
Roanoke Symphony Orchestra
David Stewart Wiley conducting
Mozart: “Eine kleine Nachtmusik,” K. 525
Mozart: “Ave verum corpus,” K. 616
Mozart: Requiem in D minor, K. 626
Amy Cofield, soprano
Jan Wilson, alto
Brian Thorsett, tenor
Daryl Duff, bass
Roanoke Symphony Orchestra Chorus
$34-$56
masks required
(540) 343-9127
http://rso.com

March 13 (2 p.m.)
Terrace Theater, Kennedy Center, Washington
Lionel Yu, piano & composer
Soo-Yeon Kim, violin
Jeremy Russo, cello
“MUSICALBASICS, a Transcendental Experience”
Yu: “Fires of a Revolution”
Yu: “The Black Star”
EDM remixes of works by Beethoven, others
$35-$55
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

March 15 (7:30 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
Tuesday Evening Concerts:
Apollo’s Fire – the Cleveland Baroque Orchestra
Jeannette Sorrell directing
Vivaldi: “L’estro armonico” – Concerto No. 6 in A minor, RV 356
J.S. Bach: Violin Concerto in D minor, BWV 1052r
Francisco Fullana, violin
J.S. Bach: “Brandenburg” Concerto No. 3 in G major, BWV 1048
Vivaldi: Concerto in G major, RV 531, for two cellos
Vivaldi: Concerto grosso (“La Folia”) (arrangement by Sorrell after Vivaldi: Sonata in D minor, Op. 1, No. 12)
$12-$39
masks required
(434) 924-3376 (UVa Cabell Hall box office)
http://tecs.org

March 15 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Vocal Arts DC:
Elena Villalón, soprano
Kathleen Kelly, piano
works TBA by Wolf, Sibelius, Rachmaninoff, Xavier Montsalvatge, Maria Grever, Federico Chapi, Reinaldo Moya
$50
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

March 16 (7:30 p.m.)
Capital One Hall, 7750 Capital One Tower Road, Tysons
Penn State School of Music Philharmonic
Gerardo Edelstein conducting
Oriana Singers
Kathryn Hilton directing
Richard Strauss: “Der Rosenkavalier” Suite
Kabalevsky: “Colas Breugnon” Overture
other works TBA
$10-$25
proof of vaccination, photo ID & masks required
(800) 653-8000 (Ticketmaster)
http://capitalonehall.com/events

March 17 (7 p.m.)
March 19 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Thomas Wilkins conducting
Suppé: “Die schöne Galathée” Overture
Chopin: Piano Concerto No. 1 in E minor
Jan Lisiecki, piano
Hindemith: “Mathis der Maler” Symphony
$15-$99
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

March 19 (8 p.m.)
March 20 (3 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth and Grace streets, Richmond
Richmond Symphony
Valentina Peleggi conducting
Peter Maxwell Davies: “An Orkney Wedding with Sunrise”
bagpiper TBA
Bruch: “Scottish Fantasy”
Daisuke Yamamoto, violin
Mendelssohn: Symphony No. 3 in A minor (“Scottish”)
$10-$82
proof of vaccination or recent negative test results, photo ID & masks required
(800) 514-3849 (ETIX)
http://www.richmondsymphony.com

March 20 (3 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
Doris Wylee-Becker, piano
works TBA by J.S. Bach, Schumann
free; tickets required
masks required
(804) 289-8980
http://modlin.richmond.edu

March 20 (7:30 p.m.)
River Road Church, Baptist, River and Ridge roads, Richmond
Jory Vinikour, harpsichord
J.S. Bach: “Goldberg Variations,” BWV 988
free; ticket reservation required
masks required
(804) 288-1131
http://rrcb.org

March 20 (3 p.m.)
Capital One Hall, 7750 Capital One Tower Road, Tysons
Capital Wind Symphony
George Etheridge directing
“A Celebration of John Williams”
Williams: film-score excerpts TBA
free
proof of vaccination, photo ID & masks required
(800) 653-8000 (Ticketmaster)
http://capitalonehall.com/events

March 20 (2 p.m.)
Terrace Theater, Kennedy Center, Washington
Young Concert Artists:
Steven Banks, saxophone
Anthony Trionfo, flute
Harmony Zhu, piano
Takemitsu: Air
Sigfrid Karg-Elert: “Sonata Appassionata” in F sharp minor, Op. 140
Banks: “Come As You Are”
Eugène Bozza: “Three Pieces”
Russell Peterson: Trio No. 1 – III. Allegro
Charles Koechlin: “Épitaphe de Jean Harlow”
Chopin: Sonata No. 3 in B minor, Op. 58
$20-$40
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

March 23 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Fortas Chamber Music Concerts:
Joseph Kalichstein, piano
Jaime Laredo, violin
Sharon Robinson, cello
David Shifrin, clarinet
Mozart: Piano Trio in B flat major, K. 502
Ellen Taaffe Zwilich: “Abgang and Kaddish” for piano trio & clarinet
Brahms: Piano Trio in B major, Op. 8
$45
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

March 25 (8 p.m.)
March 26 (7:30 p.m.)
March 27 (2:30 p.m.)
Harrison Opera House, 160 E. Virginia Beach Boulevard, Norfolk
Virginia Opera
Adam Turner conducting
Mozart: “The Marriage of Figaro”
Erik Earl Larson (Figaro)
Alisa Jordheim (Susanna)
Symone Harcum (Countess Almaviva)
Richard Ollarsaba (Count Almaviva)
Lauren Cook (Cherubino)
Whitney Robinson (Marcellina)
Jason Ferrante (Basilio/Don Curzio)
Eric J. McConnell (Bartolo)
Catherine Goode (Barbarina)
Chauncey Blade (Antonio)
Kyle Lang, stage director
in Italian, English captions
$25-$135
proof of vaccination or recent negative test results & masks required
(866) 673-7282
http://vaopera.org

March 25 (8 p.m.)
March 26 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Michael Tilson Thomas conducting
Carl Ruggles: “Angels”
Tilson Thomas: “Four Preludes on Playthings of the Wind”
Measha Brueggergosman & Mikaela Bennett, sopranos
Kara Dugan, mezzo-soprano
Copland: “Appalachian Spring”
$15-$99
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

March 26 (7:30 p.m.)
Ryan Recital Hall, St. Christopher’s School, 711 St. Christopher’s Road, Richmond
March 27 (3 p.m.)
Blackwell Auditorium, Randolph-Macon College, 205 Henry St., Ashland
Richmond Symphony
Valentina Peleggi conducting
Magdalena Kuzma, soprano
Mahler: Symphony No. 4 in G major (chamber-orchestra arrangement by Klaus Simon)
$22
proof of vaccination or recent negative test results, photo ID & masks required
(800) 514-3849 (ETIX)
http://www.richmondsymphony.com

March 26 (8 p.m.)
Capital One Hall, 7750 Capital One Tower Road, Tysons
Virginia Chamber Orchestra
William & Mary Symphony
David Grandis conducting
Copland: “Quiet City”
Wieniawski: Violin Concerto in D minor – I: Allegro moderato
Benny Netzer, violin
Dvořák: Symphony No. 8 in G major
$25-$50
proof of vaccination, photo ID & masks required
(800) 653-8000 (Ticketmaster)
http://capitalonehall.com/events

March 27 (3:30 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
UVa Chamber Music Series:
Ayn Balija, viola
Shelby Senfder & John Mayhood, piano
Jiyeon Choi, clarinet
I-Jen Fang, marimba
Enesco: Concert Piece for viola & piano
David R. Gillingham: “Songbook” for viola & marimba
Miguel de Aguila: “Disagree!” for viola, clarinet & piano
$15
(434) 924-3376
http://music.virginia.edu/events

March 27 (4 p.m.)
Center for the Arts, George Mason University, Fairfax
Edgar Meyer, double-bass & composer
The Scottish Ensemble
Holst: “St. Paul’s Suite”
Meyer: Concert Duo – movement 1
Meyer: new work TBA
Caroline Shaw: “Punctum”
J.S. Bach: Viola da gamba Sonata in G major, BWV 1027
Vaughan Williams: “The Lark Ascending” (arrangement by Adam Johnston)
$35-$55
proof of vaccination or negative test result, photo ID & masks required
(703) 993-2787
http://cfa.gmu.edu

March 28 (7:30 p.m.)
Cannon Memorial Chapel, University of Richmond
Bruce Stevens, organ
“Bach & His Friends and Successors”
J.S. Bach: Fantasia in G major, BWV 572
Johann Ludwig Krebs: Trio in E flat major
J.S. Bach: Toccata and Fugue in D minor, BWV 538 (“Dorian”)
J.S. Bach: Chorale Prelude on “Erbarm dich mein, o Herre Gott,” BWV 721
Mendelssohn: Prelude and Fugue in C minor
Brahms: Chorale Prelude on “Herzlich tut mich verlangen”
Rheinberger: “Miscellaneen,” Op. 174 – four excerpts
free; tickets required
(804) 289-8980
http://modlin.richmond.edu

March 29 (7:30 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
Tuesday Evening Concerts:
Arod String Quartet
Mozart: Quartet in C major, K. 465 (“Dissonance”)
Bartók: Quartet No. 1
Ravel: Quartet in F major
$12-$39
(434) 924-3376
http://tecs.org

March 29 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Hilary Hahn, violin
Seth Parker Woods, cello
Andreas Haefliger, piano
program TBA
$75 (waiting list)
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

March 30 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Fortas Chamber Music Concerts:
Harlem Quartet
Joseph Kalichstein, piano
Debussy: Quartet in G minor
Jessie Montgomery: “Strum”
Schumann: Piano Quintet in E flat major, Op. 44
$45
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

March 31 (7:30 p.m.)
Moss Arts Center, Virginia Tech, 190 Alumni Mall, Blacksburg
Edgar Meyer, double-bass & composer
The Scottish Ensemble
Holst: “St. Paul’s Suite”
Meyer: Concert Duo – movement 1
Meyer: new work TBA
Caroline Shaw: “Punctum”
J.S. Bach: Viola da gamba Sonata in G major, BWV 1027
Vaughan Williams: “The Lark Ascending” (arrangement by Adam Johnston)
$25-$55
masks required
(540) 231-5300
http://artscenter.vt.edu

March 31 (7 p.m.)
April 1 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Michael Tilson Thomas conducting
Mahler: Symphony No. 2 in C minor (“Resurrection”)
Ying Fang, soprano
Alice Coote, mezzo-soprano
Choral Arts Society of Washington
$15-$99
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 1 (8 p.m.)
April 3 (2:30 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth and Grace streets, Richmond
Virginia Opera
Adam Turner conducting
Mozart: “The Marriage of Figaro”
Erik Earl Larson (Figaro)
Alisa Jordheim (Susanna)
Symone Harcum (Countess Almaviva)
Richard Ollarsaba (Count Almaviva)
Lauren Cook (Cherubino)
Whitney Robinson (Marcellina)
Jason Ferrante (Basilio/Don Curzio)
Eric J. McConnell (Bartolo)
Catherine Goode (Barbarina)
Chauncey Blade (Antonio)
Kyle Lang, stage director
in Italian, English captions
$19.73-$135.01
proof of vaccination or recent negative test results & masks required
(866) 673-7282
http://vaopera.org

April 1 (7:30 p.m.)
Ferguson Arts Center, Christopher Newport University, Newport News
April 2 (7:30 p.m.)
Chrysler Hall, 215 St. Paul’s Boulevard, Norfolk
April 3 (2:30 p.m.)
Sandler Arts Center, 201 S. Market St., Virginia Beach
Virginia Symphony Orchestra
Eric Jacobsen conducting
Beethoven: Symphony No. 9 in D minor (“Choral”)
soloists TBA
Virginia Symphony Orchestra Chorus
$25-$110
(757) 892-6366
http://virginiasymphony.org

April 1 (7:30 p.m.)
The Barns at Wolf Trap, 1635 Trap Road, Vienna
Chamber Music Society of Lincoln Center:
Stella Chen & Ani Kavafian, violins
Hsin-Yun Huang & Paul Neubauer, violas
Mihai Marica & David Requiro, cellos
Beethoven: String Trio in G major, Op. 9, No. 1
Mozart: String Quintet in C minor, K. 406
Brahms: String Sextet in B flat major, Op. 18
$44
proof of vaccination or negative test result, photo ID & masks required
(703) 255-1868
http://wolftrap.org

April 2 (2 p.m.)
Gellman Room, Richmond Public Library, First and Franklin streets
Capitol Opera Richmond
“Music in the Books”
arias & songs TBA
free
(804) 646-7223
http://rvalibrary.org

April 2 (7 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
Rennolds Chamber Concerts:
Viano String Quartet
Prokofiev: Quartet No. 2, Op. 92
Arvo Pärt: “Fratres”
Alberto Ginastera: Quartet No. 1
Borodin: Quartet No. 2 in D major
$30
masks required
(804) 828-1169
http://arts.vcu.edu/academics/departments/music/concerts-and-events/rennolds-series/

April 2 (3 p.m.)
Herter Hall, Garth Newel Music Center, 403 Garth Newel Lane, Hot Springs
Teresa Ling, violin
Fitz Gary, viola
Isaac Melamed, cello
Jeannette Fang, piano
Daniel Temkin: “Flow”
David Biedenbender: “Solstice”
Chris Rogerson: “Summer Night Music”
Rogerson: “Sleep Music”
donation requested
masks recommended
(877) 558-1689
http://garthnewel.org

April 2 (8 p.m.)
Kennedy Center Concert Hall, Washington
Itzhak Perlman, violin
Rohan De Silva, piano
multimedia program TBA
$45-$135
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 3 (2:30 p.m.)
River Road Church, Baptist, River and Ridge roads, Richmond
College of William & Mary Choir
James Armstrong directing
program TBA
free; tickets required
masks required
(804) 288-1131
http://rrcb.org

April 3 (3 p.m.)
Good Luck Cellars, 1025 Goodluck Road, Kilmarnock
Capitol Opera Richmond
“Music in the Books”
arias & songs TBA
$25
masks recommended
(804) 435-1416
http://capitoloperarichmond.org

April 3 (7 p.m.)
Center for the Arts, George Mason University, Fairfax
Jeffrey Siegel, piano & speaker
“Keyboard Conversations: Evocative Visions”
Debussy: “The Girl with the Flaxen Hair”
Grieg: “Wedding Day at Troldhagen”
Liszt: “By the Water”
Rachmaninoff: Étude-tableau in D major, Op. 39, No. 9
$29-$48
proof of vaccination or negative test result, photo ID & masks required
(703) 993-2787
http://cfa.gmu.edu

April 4 (7:30 p.m.)
Ukrop Auditorium, Robins School of Business, University of Richmond
Neumann Lecture on Music:
Robynn Stilwell, speaker
“Shadowland: Marginalized Identity at the Roots of ‘Americana’ ”
free; tickets required
(804) 289-8980
http://modlin.richmond.edu

April 5 (7 p.m.)
Grandin Theatre, 1310 Grandin Road SW, Roanoke
Roanoke Symphony Orchestra members
David Stewart Wiley conducting
“Lights, Camera, Classics!”
film music program TBA
$34-$52
masks required
(540) 343-9127
http://rso.com

April 6 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
UR Symphony Orchestra
Alexander Kordzaia conducting
program TBA
free; tickets required
(804) 289-8980
http://modlin.richmond.edu

April 6 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Jamie Barton, mezzo-soprano
Jake Heggie, piano & composer
works TBA by Heggie, Purcell, Schubert, Brahms, Florence Price
$50
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org

April 7 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
Edgar Meyer, double-bass & composer
The Scottish Ensemble
Holst: “St. Paul’s Suite”
Meyer: Concert Duo – movement 1
Meyer: new work TBA
Caroline Shaw: “Punctum”
J.S. Bach: Viola da gamba Sonata in G major, BWV 1027
Vaughan Williams: “The Lark Ascending” (arrangement by Adam Johnston)
$35 (general admission)
masks required
(804) 289-8980
http://modlin.richmond.edu

April 7 (7 p.m.)
April 9 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Roderick Cox conducting
Esa-Pekka Salonen: “Helix”
Ravel: Piano Concerto in G major
Helène Grimaud, piano
Prokofiev: Symphony No. 5 in B flat major
$15-$99
proof of vaccination, photo ID & masks required
(800) 444-1324
http://kennedy-center.org