Month: September 2024

7-9 p.m. EDT
2300-0100 UTC/GMT
WDCE, University of Richmond
90.1 FM
http://wdce.org

Chopin: “Rondo à la krakowiak” in F major, Op. 14
Jan Lisiecki, piano
NDR Elbphilharmonie Orchester/Krzysztof Urbański
(Deutsche Grammophon)

Alice Mary Smith: Andante for clarinet & orchestra
Angela Malsbury, clarinet
London Mozart Players/Howard Shelley
(Chandos)

Johann Nepomuk Hummel: Piano Concerto in B minor
Stephen Hough, piano
English Chamber Orchestra/Bryden Thomson
(Chandos)

Rossini: “La scala di seta” (“The Silken Ladder”) Overture
Chamber Orchestra of Europe/Claudio Abbado
(Deutsche Grammophon)

Mendelssohn: Double Concerto in D minor
Isabelle Faust, violin
Kristian Bezuidenhout, fortepiano
Freiburg Baroque Orchestra/Gottfried von der Goltz
(Harmonia Mundi)

Glinka: “Symphony on 2 Russian Themes”
BBC Philharmonic/Vassily Sinaisky
(Chandos)

The musicians’ strike at Washington’s National Symphony Orchestra ended less than four hours after it began on Sept. 26, with the musicians and the Kennedy Center, which houses the orchestra and controls many of its administrative functions, settling on a contract raising the musicians’ salaries and improving benefits such as healthcare and parental leave.

Under the new 18-month contract, musicians’ pay will rise to nearly $172,000 by 2026.

The contract “will provide all parties time to come together to settle a longer-term agreement that demonstrates our respect for their artistic contributions and maintains the orchestra’s competitiveness in the field,” the Kennedy Center said in a statement.

The NSO’s season-opening gala, set for Sept. 28 but canceled when the strike was called, went on with the show.

The Washington Post’s Michael Andor Brodeur reports on the settlement:

https://www.washingtonpost.com/entertainment/music/2024/09/27/national-symphony-orchestra-strike-kennedy-center/

Karim Sulayman, tenor
Alarm Will Sound
Alan Pierson conducting
Sept. 26, Modlin Arts Center, University of Richmond

David T. Little’s “What Belongs to You,” being introduced at the University of Richmond’s Modlin Arts Center (which co-commissioned the work) in performances by tenor Karim Sulayman and the new-music ensemble Alarm Will Sound, is a chamber opera based on the novel by Garth Greenwell, in which an unnamed American recalls his torrid, tortured affair with a Bulgarian male hustler – transactional sex that gave “necessary nourishment from an inadequate source,” feeding long-festering frustration and shame.

For those old enough to recall the previous century, the tormented gay man is a familiar trope. Greenwell’s story, as distilled in Little’s text and score, strips away surface components of that trope, the fevered cheeriness and biting wit that cloaks self-loathing and fear of exposure and rejection. With the cloak off, we see and hear and see into a profoundly naked man whose raw psychic wounds won’t knit.

Little, whose compositional style runs quite a gamut – influences range from Monteverdi, Schubert and Britten to shape-note singing and heavy metal – taps those wildly varied sources to produce an almost forensic sonic realization of what’s roiling the protagonist’s mind and heart. Explicit sexual references are sparse in the text, but readily inferred from vivid effects in Little’s vocal and orchestral scoring.

The composer asks a lot of the performers, especially the singer, who is onstage, moving and urgently vocalizing for most of the opera’s 90-minute duration. (A brief intermission is his only real break). The vocal writing bears some resemblance to traditional operatic recitative, advancing the narrative while revealing the character of the storyteller, but it’s more overtly dramatic than standard-issue recit. And the real drama plays out internally. So what’s called for is an introspective Heldentenor – a most uncommon voice type.

In the first of two performances, Sulayman proved to be a most uncommon vocalist, boasting whisper-to-scream expressive range, tonal malleability, and a knack for transforming the old baroque concept of affectus, or stylized emotional signaling, into something spontaneous and primal. Plus stamina. Plus comprehensible diction. Plus visibly and audibly deep immersion in his character.

Conductor Alan Pierson and Alarm Will Sound (co-commissioner of the opera), a 16-member ensemble (playing way more than 16 instruments, and chanting at a couple of dramatic hinge points), demonstrated consistent mastery of Little’s intricately layered yet propulsive instrumental writing, and keen awareness of the orchestra’s atmospheric and dramatic roles.

The big name on the production’s stagecraft side is Mark Morris, best-known for his dance troupe but long-experienced in other genres of music theater. Morris and Maile Okamura, the show’s set and costume designer, opted for minimal, no-fuss staging – a set seemingly built from what was lying around backstage, stage direction that seemed to boil down to “keep it real,” modest but strategically potent lighting, designed by Nicole Pearce and Mike Faba.

Asked to single out the tech star of the show, I would give the nod to William Stanton, the sound engineer, who managed to amplify Sulayman and the orchestra without distorting their tonal qualities or obscuring the details of the orchestration. Discreet amplification of classical voices and instruments is a rare skill.

This premiere production of “What Belongs to You” is being recorded for future commercial release, and the opera has been booked for further performances at an as yet unannounced time and place.

Its longer-term prospects will depend in part on how many singers are willing to tackle such a physically and emotionally grueling role – could I interest you in a 90-minute mad scene? – and on how many instrumental groups have the chops to play such a demanding score.

Its future also may depend on lived experience. This character and his story will resonate powerfully with those old enough to remember when homosexuality was “deviant” and criminal. Will it pack a comparable punch with a younger crowd that’s coming of age in a less intolerant social climate?

David T. Little’s “What Belongs to You” repeats at 7:30 p.m. Sept. 28 in Jepson Theatre of the University of Richmond’s Modlin Arts Center. Tickets: $20-$60. Details: (804) 289-8980; http://modlin.richmond.edu

Musicians of Washington’s National Symphony Orchestra have gone on strike. Contract negotiations with the Kennedy Center, which houses and provides management services for the NSO, have stalled, with the musicians’ union local stating that union proposals and management response “remain far apart on wages and other important issues.”

The NSO’s Sept. 28 season-opening gala has been canceled.

The Washington Post’s Michael Andor Brodeur outlines the terms being negotiated and back-and-forth assertions in the NSO musicians’ first work stoppage since 1978:

http://www.washingtonpost.com/entertainment/music/2024/09/27/national-symphony-orchestra-strike-kennedy-center/

The New York Times’ Joshua Barone recounts the genesis and performance challenges of “What Belongs to You,” David T. Little’s opera based on the Garth Greenwell novel, receiving its premiere by vocalist Karim Sulayman and the Alarm Will Sound ensemble in a production directed by Mark Morris, at 7:30 p.m. Sept. 26 and 28 at the University of Richmond’s Modlin Arts Center:

Panelists from the production will give a free talk at 7 p.m. Sept. 27 in the Modlin Center’s Jepson Theatre.

For more information, call the center’s box office at (804) 289-8980 or visit http://modlin.richmond.edu

Musicians of Washington’s National Symphony Orchestra have voted unanimously to go on strike, citing stalled negotiations with the Kennedy Center, which partially funds and provides a venue and services for the orchestra.

NSO’s union negotiators called for musicians’ wages to rise by 25 percent over the next four years. The Kennedy Center’s counter-proposal is for a 12 percent increase over four years. Most NSO players currently earn about $209,000 annually, according to the center.

The Washington Post’s Michael Andor Brodeur lists comparative wage increases agreed to recently by other major orchestras: 30 percent over three years at the New York Philharmonic; 15.8 percent over three years at the Philadelphia Orchestra; and a rise similar to New York’s at the Boston Symphony Orchestra.

“That pay disparity combined with the high cost of living in the D.C. area make it harder for the NSO to attract and retain talent commensurate with the reputation of the National Symphony Orchestra and the Kennedy Center itself as a premier performance venue,” reads a statement from the union local to which NSO musicians belong.

A statement from the Kennedy Center terms its wage proposal “generous and fiscally responsible,” and notes that its offer includes improved healthcare and parental leave provisions.

Brodeur’s report for the Post:

http://www.washingtonpost.com/entertainment/music/2024/09/23/national-symphony-orchestra-strike-kennedy-center/

Nicholas DiEugenio & Ellen Cockerham Riccio, violins
Fitz Gary & Andriana Linares, violas
Raman Ramakrishnan, cello
Ingrid Keller, piano
Sept. 21, Ryan Recital Hall, St. Christopher’s School

The third season of Richmond’s Belvedere Series of chamber concerts opened with music that hinges, in part, on the stringed instrument that gets the least love: the viola. The program paired major works by Wolfgang Amadeus Mozart, who commonly chose viola when playing chamber music (and gave himself more to play), and Antonín Dvořák, who made his living as an orchestral violist before his compositional career blossomed.

In Mozart’s String Quintet in C major, K. 515, the fifth fiddle is a second viola. That scoring places the quintet firmly in the realm of “dark Mozart,” the sonically richer and more expressively nuanced strain of many of his later works. In Dvořák’s Piano Quintet in A major, Op. 81, the viola is given unusually prominent roles as a solo voice and duet partner with the first violin. In both works, the viola’s higher profile beefs up and tonally colors the sound of the ensemble.

In this performance, violinists Nicholas DiEugenio and Ellen Cockerham Riccio, violists Fitz Gary and Andriana Linares and cellist Raman Ramakrishnan nicely balanced bright tunefulness and textural transparency – it is Mozart, after all, and in C major – with the dusky sonic quality and expressive opportunities that an extra baritone voice brings to the ensemble.

The quintet’s enhanced “bottom” also served to spotlight the brilliance of its first violin part, played assertively by DiEugenio. (He returns later in the Belvedere season, playing J.S. Bach’s solo-violin sonatas and partitas.)

Violist Linares made the most of her solo contributions to the Dvořák, especially in its dumka movement, and was a complementary partner with DiEugenio in duets. Those were highlights in a performance that otherwise had sonic and interpretive issues.

The big first movement of the Dvořák quintet moves between high-energy passages evoking Czech folk dance and lyrical, rather wistful melodies, played more slowly. DiEugenio and cellist Ramakrishnan played up that contrast excessively, to my ears, at times turning expressive sighs into swoons. The push-and-pull pacing and swooning were largely absent in subsequent movements.

The ensemble transparency heard in the Mozart proved elusive in the Dvořák. Pianist Ingrid Keller (the Belvedere Series’ artistic director), violinists DiEugenio and Riccio, violist Linares and cellist Ramakrishnan produced a collective tone that turned congested in louder passages, especially fast-tempo climaxes. Balances went awry at several points, with accompaniment more audible than melody.

The five musicians’ concentration, energy and audible rapport compensated for those shortcomings.

The Belvedere Series continues with a recital by tenor William Ferguson and pianist Martin Katz at 7 p.m. Oct. 5 and 3:30 p.m. Oct. 6 in Perkinson Recital Hall, North Court, University of Richmond. Tickets: $45. Details: (804) 833-1481; http://belvedereseries.org

Valentina Peleggi conducting
with Daniel Dastoor, Annelle Gregory, William Hagen, Qing Li, Emma Meinreken, Julian Rhee, Adé Williams & Daisuke Yamamoto, violins
Sept. 13, Carpenter Theatre, Dominion Energy Center

The Richmond Symphony is launching its 2024-25 season with Strad Fest, a showcase of violins crafted in the early 18th century by Antonio Stradivari.

Nine of these classic instruments, drawn from the collections of foundations and dealers, that over the centuries have belonged to figures ranging from Jan Kubelik, Yehudi Menuhin and Itzhak Perlman to British noblemen and the brother of US President William Howard Taft, are being featured in a full weekend of performances.

Eight of the Strads sounded off in an opening-night program of Antonio Vivaldi’s “The Four Seasons” and that work’s most popular modern counterpart, the Argentinian tango master Astor Piazzolla’s “The Four Seasons of Buenos Aires,” each season played in turn by Daisuke Yamamoto, the symphony’s concertmaster, and an international cast of seven young violinists.

Valentina Peleggi, the orchestra’s music director, sequenced the sets hemispherically, pairing the northern season with the one that would be in progress south of the Equator – Vivaldi’s spring paired with Piazzolla’s autumn, and so on through the year. That made for a whiplashy listening experience, swinging between Vivaldi’s Italian baroque style and Piazzolla’s melange of his native tango and European modernism.

Following these sonic seasonal evocations, and who was evoking them, was a challenge. The program book listed the two sets separately, with their Italian and Spanish titles, and the soloists in each piece were identified only in brief, sometimes first-name-only stage introductions.

Who played what and in what order? Yamamoto played Vivaldi’s “Spring” Concerto. As for the other seven soloists and each one’s showcase, my notes hastily scribbled in the dark are too close to guesses to be published. (The performers are listed for each selection in their Sept. 14 chamber program.)

The violinists generally coaxed fine tones, bright colors and vivid sound effects from their instruments. Several sounded as if they were still feeling their way around the sonic and expressive capacities of the fiddles. Understandable: It takes musicians some time to get all they can out of any instrument, let alone a Strad.

Peleggi and a chamber-orchestra contingent of symphony players played the Vivaldi with warmth and sharp focus when needed (in the summer storm, for example), and with a perhaps surprising degree of heft, considering their numbers, in Piazzolla’s more earthy and turbulent score. Cellist Neal Cary and violist Hyo Joo Uh partnered soloists ably.

The Richmond Symphony’s Strad Fest continues at Dominion Energy Center, Sixth & Grace streets, with eight violinists playing chamber music, 1 p.m. Sept. 14 at Gottwald Playhouse (tickets: $200); violinist Itzhak Perlman joining the orchestra in “Cinema Serenade,” 5 p.m. Sept. 14, at Carpenter Theatre (tickets: $15-$69); and “An Afternoon with Itzhak Perlman,” a multimedia recital and talk, 3 p.m. Sept. 15 at Carpenter Theatre (tickets: $82-$180.) Details: (800) 514-3849 (ETIX); http://richmondsymphony.com

For years, it has been common in the Richmond area’s classical season to see multiple events on the same day. In the coming season, conflicts really abound.

Among the events scheduled to date, I count nine one-or-the-other decisions to make for comparably programmed events – even dueling Christmas festivals of lessons and carols at the same time, a few blocks from each other. If I had counted classical/pops conflicts, the number would be a dozen or more.

We can chalk this up to (1) an inevitable consequence of weekend-heavy scheduling; (2) an embarrasment of musical riches, especially for a medium-sized city; or (3) a failure of the city’s classical presenters to communicate and stay out of one another’s way. Or all of the above?

At times, it’s possible to juggle tickets and fit, say, a symphony concert and one or two chamber programs into a weekend; but as the season progresses, will listeners tire of these music binges?

(My biggest binge looks to be on the weekend of Nov. 1-3, when on successive days I plan to attend a recital by fortepianist Daniel Adam Maltz, a Richmond Symphony concert with violinist James Ehnes, and the local debut of the young piano virtuoso Alexander Malofeev. Plenty of variety, but I’ll have barely digested one musical meal before chowing down on the next.)

The following thumbnail calendar is a September-to-June list of all of the season’s major ticketed classical series and a sizeable but incomplete list of free or admission-by-donation performances, which are denoted with an asterisk (*). Some free concerts require ticket reservations. The schedules of choral groups and other civic troupes, and holiday performances, had not been announced as of this posting.

Program and ticket details may be found in the season announcements posted here on Sept. 6, as well as the websites of presenters and venues. Contact information and online links follow the monthly listings.

SEPTEMBER
8 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Hae Lee.
13 (Carpenter Theatre, Dominion Energy Center) – Strad Fest: Richmond Symphony/Valentina Peleggi; Daniel Dastoor, Annelle Gregory, William Hagen, Qing Li, Emma Meinrenken, Julian Rhee, Ade Williams & Daisuke Yamamoto, violins.
*13 (Modlin Arts Center, University of Richmond) – artists TBA. (“Family Weekend Concert”).
14 (Gottwald Playhouse, Dominion Energy Center) – Strad Fest Chamber Concert.
14 (Carpenter Theatre, Dominion Energy Center) – Strad Fest: Richmond Symphony/Valentina Peleggi; Itzhak Perlman, violin.
15 (Carpenter Theatre, Dominion Energy Center) – Strad Fest: Itzhak Perlman, violin & speaker.
15 (Episcopal Church of the Holy Comforter) – Chamber Music Society of Central Virginia ensemble.
19 (Hardywood Park Craft Brewery) – Richmond Symphony/Hae Lee.
*21 (Heritage Amphitheater, Pocahontas State Park) – Richmond Symphony/Hae Lee.
*21 (Gellman Room, Richmond Public Library main branch) – Peni Candra Rini, vocalist.
21 (Ryan Recital Hall, St. Christopher’s School) – Belvedere Series ensemble.
26/28 (Modlin Arts Center, University of Richmond) – Karim Sulayman, tenor; Alarm Will Sound; Mark Morris, stage director (“What Belongs to You”).
*27 (River Road Church, Baptist) – Richmond chapter, American Guild of Organists’ Repertoire Recital Series: Alan Morrison, organ.

OCTOBER
5 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony Pops/Chia-Hsuan Lin; Miramar.
5-6 (Perkinson Recital Hall, North Court, University of Richmond) – Belvedere Series: William Ferguson, tenor; Martin Katz, piano.
6 (Singleton Arts Center, Virginia Commonwealth University) – Spanish Brass.
*12 (Gellman Room, Richmond Public Library main branch) – Chamber Music Society of Central Virginia ensemble.
12 (Altria Theater) – Richmond Symphony/Eric Roth (“Final Fantasy VII: Orchestra World Tour”).
12-13 (Carpenter Theatre, Dominion Energy Center) – Virginia Opera/Adam Turner (“Don Giovanni”).
14 (First Unitarian Universalist Church) – Chamber Music Society of Central Virginia ensemble.
*19 (Gellman Room, Richmond Public Library main branch) – Justin Golden, guitar & vocalist.
19-20 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Valentina Peleggi; Clayton Stephenson, piano.
19 (Westmoreland Place Estate) – Belvedere Series annual gala.
24 (Hardywood Park Craft Brewery) – Richmond Symphony/Hae Lee.
*24 (Perkinson Recital Hall, University of Richmond) – Keith Phares, baritone; pianist TBA.
*25 (Modlin Arts Center, University of Richmond) – Christoph Wagner, cello; Joanne Kong, piano.
26 (Altria Theater) – Richmond Symphony/conductor TBA (“Harry Potter and the Order of the Phoenix.”
*27 (Ryan Recital Hall, St. Christopher’s School) – Richmond Philharmonic/Peter Wilson.
*27 (Modlin Arts Center, University of Richmond) – UR Schola Cantorum/Jeffrey Riehl.
*30 (Cathedral of the Sacred Heart) – Olivier Latry, organ.

NOVEMBER
*1 (River Road Church, Baptist) – Daniel Adam Maltz, fortepiano.
2-3 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Valentina Peleggi; James Ehnes, violin.
3 (Singleton Arts Center, Virginia Commonwealth University) – Alexander Malofeev, piano.
8 (Modlin Arts Center, University of Richmond) – Tessa Lark, violin; Joshua Roman, cello; Edgar Meyer, double-bass.
*9 (Gellman Room, Richmond Public Library main branch) – Chamber Music Society of Central Virginia ensemble.
9 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony Pops/Valentina Peleggi.
10 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony Pops/Chia-Hsuan Lin; U.S. Naval Academy Glee Club.
*12 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony Youth Orchestra/conductor TBA.
15 (Perkinson Arts Center, Chester) – Richmond Symphony/Hae Lee; Sam Huss, trumpet.
*15 (River Road Church, Baptist) – Vox Humana/William Bradley Roberts.
*15-16 (Modlin Arts Center, University of Richmond) – artists TBA. (Third Practice Electroacoustic Music Festival).
16 (Ryan Recital Hall, St. Christopher’s School) – Richmond Symphony/Hae Lee; Sam Huss, trumpet.
16-17 (Marburg House) – Belvedere Series ensemble.
17 (Blackwell Auditorium, Randolph-Macon College, Ashland) – Richmond Symphony/Hae Lee; Sam Huss, trumpet.
22/24 (Carpenter Theatre, Dominion Energy Center) – Virginia Opera/Adam Turner (“Carmen”).
*23 (Gellman Room, Richmond Public Library main branch) – Sally Irwin, flute; Anne James, piano.
*25 (Modlin Arts Center, University of Richmond) – UR Wind Ensemble/Brianna Gatch.
30 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony Pops/Hae Lee; Carrie Brockwell, vocalist. (“Let It Snow!”)

DECEMBER
1 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony & Symphony Chorus/Richard Robbins; soloists TBA (“Messiah”).
2 (Cathedral of the Sacred Heart) – Richmond Symphony/conductor TBA; other artists TBA (Commonwealth Catholic Charities Holiday Festival of Music).
*2 (Modlin Arts Center, University of Richmond) – UR Chamber Ensembles.
*8 (Cannon Memorial Chapel, University of Richmond) – UR Schola Cantorum & orchestra/Jeffrey Riehl; Mary Beth Bennett, organ (Festival of Lessons and Carols).
*8 (River Road Church, Baptist) – River Road Chancel Choir & Camerata/Robert Gallagher (Service of Lessons and Carols).
*9 (Cathedral of the Sacred Heart) – Three Notch’d Road.
*11 (Virginia Museum of History and Culture) – Richmond Philharmonic/Peter Wilson.
*13 (Cathedral of the Sacred Heart) – Choir of Cathedral of the Sacred Heart/Daniel Sañez (Advent Lessons and Carols).
16 (Episcopal Church of the Holy Comforter) – Johnny Gandelsman, violin; James Wilson, cello.
*16 (Singleton Arts Center, Virginia Commonwealth University) – Richmond Symphony Youth Orchestra/conductor TBA.
*18 (Bon Air Presbyterian Church) – Richmond Philharmonic/Peter Wilson.
*21 (Gellman Room, Richmond Public Library main branch) – Sweet Potatoes.

JANUARY
*7 (Cathedral of the Sacred Heart) – Cathedral Schola Cantorum & Relic Ensemble/Daniel Sañez.
*8 (Cathedral of the Sacred Heart) – Daniel Stipe, organ.
10-12 (St. Luke Lutheran Church) – Alexander Paley Music Festival: Alexander Paley & Pei-wen Chen, pianos & piano 4-hands; Daisuke Yamamoto, violin; Neal Cary, cello.
*18 (Gellman Room, Richmond Public Library main branch) – Crooked Creek Misfits.
18 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Naima Burrs.
19 (Singleton Arts Center, Virginia Commonwealth University) – Time for Three.
19 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/conductor TBA (“Celebrate MLK”).
*23 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony Youth Orchestra/conductor TBA.
24 (St. Stephen’s Episcopal Church) – Belvedere Series: Nicholas Nicholas DiEugenio, violin.
25-26 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Valentina Peleggi; Jennifer Rowley, soprano; other singers TBA; Richmond Symphony Chorus (“Tosca”).
31 (Perkinson Arts Center, Chester) – Richmond Symphony/Valentina Peleggi.

FEBRUARY
1 (Ryan Recital Hall, St. Christopher’s School) – Richmond Symphony/Valentina Peleggi.
*2 (Modlin Arts Center, University of Richmond) – Ronald Crutcher, cello; pianist TBA.
*5 (Modlin Arts Center, University of Richmond) – Richard Becker, piano.
8 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony Pops/Hae Lee.
8-9 (Marburg House) – Belvedere Series ensemble.
*15 (River Road Church, Baptist) – Washington & Lee University Singers/Shane Lynch; Virginia State University Concert Choir/Craig Robertson.
16 (St. Mary’s Episcopal Church) – Chamber Music Society of Central Virginia ensemble.
21 (Modlin Arts Center, University of Richmond) – Third Coast Percussion; Zakir Hussain, tabla.
22-23 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Anna Duczmal-Mróz; Michael Sachs, trumpet.
28 (Perkinson Arts Center, Chester) – Richmond Symphony/Hae Lee; David Lemelin, clarinet.
28 (Carpenter Theatre, Dominion Energy Center) – Virginia Opera/Adam Turner (“Così fan tutte”).

MARCH
*1 (Gellman Room, Richmond Public Library main branch) – TAM Trio.
1 (Ryan Recital Hall, St. Christopher’s School) – Richmond Symphony/Hae Lee; David Lemelin, clarinet.
2 (Carpenter Theatre, Dominion Energy Center) – Virginia Opera/Adam Turner (“Così fan tutte”).
2 (Blackwell Auditorium, Randolph-Macon College, Ashland) – Richmond Symphony/Hae Lee; David Lemelin, clarinet.
2 (Singleton Arts Center, Virginia Commonwealth University) – Goldmund Quartet.
*2 (Modlin Arts Center, University of Richmond) – Doris Wylee-Becker, piano.
*3 (Cathedral of the Sacred Heart) – Richmond chapter, American Guild of Organists’ Repertoire Recital Series: Jean-Baptiste Robin, organ.
*5 (Modlin Arts Center, University of Richmond) – Anzû Quartet.
8-9 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Valentina Peleggi; Inmo Yang, violin.
15 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony Pops/Valentina Peleggi; Cirque Musica: Symphonic.
16 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Valentina Peleggi; Really Inventive Stuff’s Michael Boudewyns (“The Sneetches by Dr. Seuss”).
*16 (Ryan Recital Hall, St. Christopher’s School) – Richmond Philharmonic/Peter Wilson; Anton Miller, violin.
21 (Modlin Arts Center, University of Richmond) – Kronos Quartet; Peni Candra Rini, vocalist.
22-23 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Valentina Peleggi; soprano TBA.
22-23 (Marburg House) – Belvedere Series: Adam Birnbaum, piano; Matt Clohesy, bass; Keita Ogawa, percussion.
27 (Hardywood Park Craft Brewery) – Richmond Symphony/Hae Lee.
29 (Altria Theater) – Richmond Symphony/Chia-Hsuan Lin. (“Jurassic Park”).

APRIL
3 (Perkinson Arts Center, Chester) – Richmond Symphony/Hae Lee; Jeannette Jang, violin.
*4 (River Road Church, Baptist) – Daniel Stipe, organ.
*5 (Gellman Room, Richmond Public Library main branch) – Chamber Music Society of Central Virginia ensemble.
5 (Ryan Recital Hall, St. Christopher’s School) – Richmond Symphony/Hae Lee; Jeannette Jang, violin.
6 (Blackwell Auditorium, Randolph-Macon College, Ashland) – Richmond Symphony/Hae Lee; Jeannette Jang, violin.
6 (Singleton Arts Center, Virginia Commonwealth University) – Harlem Quartet.
11 (Modlin Arts Center, University of Richmond) – Simone Dinnerstein, piano.
12-13 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Valentina Peleggi; Stewart Goodyear, piano.
12-13 (Marburg House) – Belvedere Series ensemble.
*13 (Modlin Arts Center, University of Richmond) – UR Schola Cantorum/Jeffrey Riehl.
*14 (Modlin Arts Center, University of Richmond) – UR Wind Ensemble/Brianna Gatch.
17 (Hardywood Park Craft Brewery) – Richmond Symphony/conductor TBA.
*21 (Modlin Arts Center, University of Richmond) – UR Chamber Ensembles.
*23 (Modlin Arts Center, University of Richmond) – UR Symphony Orchestra/Naima Burrs.
*26 (Gellman Room, Richmond Public Library main branch) – Jenny and the Ghouls.
*27 (River Road Church, Baptist) – River Road Camerata.

MAY
*2 (St. Michael’s Episcopal Church) – Richmond chapter, American Guild of Organists’ Repertoire Recital Series: Jonathan Ryan, organ.
4 (Second Presbyterian Church) – Chamber Music Society of Central Virginia ensemble.
*4 (Ryan Recital Hall, St. Christopher’s School) – Richmond Philharmonic/Peter Wilson; Jennifer Kloetzel, cello.
9-11 (Carpenter Theatre, Dominion Energy Center) – Virginia Opera/Adam Turner (“Loving v. Virginia”).
*17 (Gellman Room, Richmond Public Library main branch) – Eliot Norman and friends.
17-18 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony/Michael Repper; Richmond Symphony Chorus.
17-18 (Marburg House) – Belvedere Series: Spencer Myer, piano.
*24 (outdoor location TBA) – Richmond Symphony/Hae Lee.
*30 (Cathedral of the Sacred Heart) – Music & Medicine: VCU Health Orchestra/conductor TBA.
31 (Carpenter Theatre, Dominion Energy Center) – Richmond Symphony Pops/Hae Lee.

JUNE
*1 (River Road Church, Baptist) – River Road Chancel Choir & orchestra/Robert Gallagher.
*7 (Heritage Amphitheater, Pocahontas State Park) – Richmond Symphony/Hae Lee.
13 (Ryan Recital Hall, St. Christopher’s School) – Belvedere Series: Attacca Quartet.
*16 (Virginia War Memorial) – Richmond Philharmonic/Will Pattie.
*18 (River Road Church, Baptist) – Robert Gallagher, organ.
*27 (Cathedral of the Sacred Heart) – Daniel Sañez, organ.

PRESENTERS
Richmond Symphony: (804) 788-1212; http://richmondsymphony.com
Virginia Opera: (804) 644-8168; http://vaopera.org
Richmond Philharmonic: (804) 556-1039; http://richmondphilharmonic.org
Chamber Music Society of Central Virginia: (804) 304-6312; http://cmscva.org
Belvedere Series: (804) 833-1481; http://belvedereseries.org
Richmond chapter, American Guild of Organists’ Repertoire Recital Series: http://richmondago.org

VENUES (all in Richmond unless listed otherwise)
Carpenter Theatre, Dominion Energy Center, Sixth and Grace streets:
(804) 592-3330; http://www.dominionenenergycenter.com
Altria Theater, Main and Laurel streets:
(804) 592-3384; http://www.altriatheater.com
Modlin Arts Center, University of Richmond, 453 Westhampton Way:
(804) 289-8980; http://modlin.richmond.edu
Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street:
(804) 828-1166; http://arts.vcu.edu/events
Blackwell Auditorium, Randolph-Macon College, 205 Henry St., Ashland:
(804) 752-7200; http://rmc.edu
Perkinson Arts Center, 11810 Centre St., Chester:
(804) 748-5555; http://www.perkinsoncenter.org
Ryan Recital Hall, St. Christopher’s School, 6010 Fergusson Road:
(804) 282-3185; http://www.stchristophers.com
Hardywood Park Craft Brewery, Overbrook Road at Ownby Lane:
(804) 420-2420; http://hardywood.com
Marburg House, 3102 Bute Lane:
(804) 604-0689
Gellman Room, Richmond Public Library, First and Franklin streets:
(804) 646-7223; http://rvalibrary.org
Pocahontas State Park, 10301 State Park Road, Chesterfield County:
(804) 796-4255; http://www.dcr.virginia.gov/state-parks/pocahontas
Virginia Museum of History and Culture, Arthur Ashe Boulevard at Kensington Avenue:
(804) 340-1800; http://virginiahistory.org
Virginia War Memorial, 621 S. Belvidere St.:
(804) 786-2060; http://vawarmemorial.org
Cathedral of the Sacred Heart, Laurel Street at Floyd Avenue:
(804) 359-5651; http://richmondcathedral.org
River Road Church, Baptist, River and Ridge roads:
(804) 288-1131; http://rrcb.org
St. Mary’s Episcopal Church, 12291 River Road, Goochland County:
(804) 784-5678; http://stmarysgoochland.org
Episcopal Church of the Holy Comforter, Monument Avenue at Staples Mill Road:
(804) 355-3251; http://www.hoco.org
First Unitarian Universalist Church, 1000 Blanton Ave. at the Carillon:
(804) 355-0777; http://richmonduu.org
St. Stephen’s Episcopal Church, Grove Avenue at Three Chopt Road:
(804) 288-2867; http://ststephensrva.org
Second Presbyterian Church, 5 N. Fifth St.:
(804) 649-9148; http://www.2presrichmond.org
St. Luke Lutheran Church, Chippenham Parkway at Custis Road:
(804) 272-0486; http://stlukerichmond.org
Bon Air Presbyterian Church, 9201 W. Huguenot Road:
(804) 272-7514; http://bonairpc.org
St. Michael’s Episcopal Church, 2040 McRae Road:
(804) 272-0992; http://stmichaelsbonair.org

7-9 p.m. EDT
2300-0100 UTC/GMT
WDCE, University of Richmond
90.1 FM
http://wdce.org

Vaughan Williams: “The Wasps” Overture
London Symphony Orchestra/André Previn
(RCA)

Stravinsky: Violin Concerto in D major
Hilary Hahn, violin
Academy of St. Martin in the Fields/Neville Marriner
(Sony Classical)

J.S. Bach: Sonata No. 2 in A minor, BWV 1003
James Ehnes, violin
(Analekta)

Carl Orff: “Carmina burana”
Dietrich Fischer-Dieskau, baritone
Gundula Janowitz, soprano
Gerhard Stoltze, tenor
Deutsche Oper Berlin Chorus & Orchestra/Eugen Jochum
(Deutsche Grammophon)