League of American Orchestras的动态

Nightlife Articles #40: Why Aren’t Clubs Recognised as ‘National Portfolio Organisations’ like Galleries, Museums and Theatres The time has come to question the outdated cultural hierarchy that places classical arts above contemporary ones. The contribution of clubs to our society is clear—they are hubs of creativity, diversity, and economic activity. Clubs or venues like Fabric, SubClub, Ministry of Sound, and Printworks deserve to be celebrated, protected, and funded in the same way that opera houses and theatres are. Let’s not wait until it’s too late to recognise their value. It’s time to give clubs the support they need to continue shaping the culture of tomorrow. https://buff.ly/3Uahfke

Nightlife Articles #40: Why Aren’t Clubs Recognised as ‘National Portfolio Organisations’ like Galleries, Museums and Theatres The time has come to question the outdated cultural hierarchy that places classical arts above contemporary ones. The contribution of clubs to our society is clear—they are hubs of creativity, diversity, and economic activity. Clubs or venues like Fabric, SubClub, Ministry of Sound, and Printworks deserve to be celebrated, protected, and funded in the same way that opera houses and theatres are. Let’s not wait until it’s too late to recognise their value. It’s time to give clubs the support they need to continue shaping the culture of tomorrow. https://buff.ly/3Uahfke

Nightlife Articles #40: Why Aren’t Clubs Recognised as ‘National Portfolio Organisations’ like Galleries, Museums and Theatres The time has come to question the outdated cultural hierarchy that places classical arts above contemporary ones. The contribution of clubs to our society is clear—they are hubs of creativity, diversity, and economic activity. Clubs or venues like Fabric, SubClub, Ministry of Sound, and Printworks deserve to be celebrated, protected, and funded in the same way that opera houses and theatres are. Let’s not wait until it’s too late to recognise their value. It’s time to give clubs the support they need to continue shaping the culture of tomorrow. https://buff.ly/3Uahfke

Listen to the interview.

In this six min video, a master of conducting describes his craft. We are blessed to have a man of such artistic integrity in our community. Parallels to business? https://lnkd.in/gdeJPPi9

Eurydice Fragments: Auditions Open Call Be part of a contemporary performance that fuses opera with modern technology. Through an immersive exploration of our digital and carbon existences, the performance dissolves the binaries we are bound to from birth until death, and strums the threads between heaven and hell, male and female, maker and muse, performer and audience. Learn more: https://lnkd.in/dKFDipvF #CreativePathways

200 years ago today, on 7 May 1824 in Vienna, Ludwig van Beethoven conducted the premiere of his 9th Symphony. It was therefore fitting today that we ended a two day workshop in #T?llberg by listening and watching a recording of a glorious performance at the Royal Albert Hall from the BBC Proms in 2012, with the West-Eastern Divan Orchestra and Daniel Barenboim. The early 1820s were a time of great upheavals and shifts, just like the 2020s. Here are some questions for us to reflect on now: ?? Which of today’s artistic creations will or should be celebrated in May 2224? ?? Of all the ideas, ideals and solutions that we hold dear today, which should we absolutely carry with us into the future… ??? …and which should we leave behind or throw away? ?? And of course, what will the world - and the planet - look like in 200 years?

Why are the arts so important? Because they are an integral part of what it mean to be human, they are key to our mental wellbeing wether participating in them as an audience member or as a maker. How do you harness this wellbeing power for your employees? We can [email protected]

A snippet of the collaborative A.I. opera piece, "Song of the Ambassadors" (SoTA), that I composed at the opening ceremony for TED Conferences last year with text by K Allado-McDowell and multimedia by Refik Anadol. This piece explores our ever-changing relationship with A.I., merging traditional art and artificial intelligence. A pretty unique experience! Watch the full experience here: https://lnkd.in/getnrMsR

https://lnkd.in/e-swp5Kp This is it! ?? I am so thrilled to share with you my last work for orchestra, Shores (working title: "Longing For Belonging"), conducted by Erin Bodnar. I want to thank the Mostly Modern Festival for choosing my work and giving me this tremendous opportunity to make my music happen - it's more rare than you could imagine! The piece has a suffered story. If you want to know more about it, here's an extract of the program notes. "It all started with “The Island” - a long time ago, probably during the pandemic in 2020, as a musical theater piece [...] meant to be based on a dialogue by Cesare Pavese, part of the book “Dialoghi con Leucò”. I remember reading this book and that “The Island” dialogue in particular, and getting so emotionally involved. It was about the story between Odysseus and Calypso, in a sort of alternative ending of the Odyssey where the protagonist decides not to come back home, but stay on the island with Calypso, because - freely paraphrasing her words from the book: It's just an island, what difference does it make where you decide to lie down and rest your head? And even if you eventually manage to come back to Ithaca, will you even be able to recognize your own houses after 20 years? And the people? Some of them will certainly be understanding, but will you ever be able to share what you have seen and done? You will feel more alone than in the sea. At the time, I found it interesting for the implications of the piece: it was full of insights about what it means to be isolated, and what is the meaning of travel and returning home. It was, as I said, during the pandemic, so of course, the theme was also resonating with the current situation in my life where I was in Germany and couldn’t come back home to Italy. It was a tough time in my life, I was scared for my loved ones - I remember having nightmares every single night. Anyway, the project evolved, but I never actually managed to make it an opera: not only because of the lack of funding, but also - to be honest - because the dialogue was so full and rich of intellectual interest that I found it difficult to transpose it into a libretto to be sung and not really “understood”.