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Janaki String Trio:
Penderecki at 75

The Janaki String Trio, the 2006 winners of the Concert Artists Guild International Competition, present Penderecki at 75 for the closing concert of the 07/08 New Works at the Thalia Series at Symphony Space, Thursday, May 15 at 7:30 pm

Penderecki dominates a concert that also features Schubert's charming String Trio in Bb anda world premiere by composer Dan Visconti, the result of the BMI Commissioning Prize. The Janaki String Trio will perform three later works by Penderecki, which one is duty-bound to comment is in the composers later tonal style (sometimes called either neo-romantic, or neo-classical, but there is no one label that can be attached to all the Penderecki pieces on the program, maybe “probing” modernism?). Penderecki's String Trio (1991) is a solemn piece that showcases the individual instruments in searing passages punctuated by a driving, insistent collective voice, playing with blocks of sound and disjunctured time. The Trio is joined by clarinetist Alicia Lee for Penderecki's Prelude (1987) for solo clarinet and Clarinet Quartet (1993) which is generally considered one of Penderecki's best chamber works.

The Janaki String Trio's 2006 New York debut was praised by The New York Times for being “magnificently polished” and exhibiting “ an irresistible electricity.” Of its first recording, which includes Penderecki's String Trio, The New Yorker commented on the ” fresh and bracing character of the performance.”

This concert is the closing installment of the 2007 — 2008 CAG/New Works at the Thalia Series. Concert Artists Guild is an arts service organization whose mission is to discover, nurture and promote young musicians. Its annual international competition identifies gifted artists who join the CAG roster and receive comprehensive career development services including marketing, bookings, recordings and commissions. CAG/New Works at the Thalia Series is part of CAG's New Music/New Places initiative, designed to bring concert music to new settings and engage new listeners. By developing, promoting and presenting classical music in non-traditional settings, including both standards of the repertoire and newer works from CAG's commissioning program, CAG builds new audiences and captures the vitality and diversity of the current musical landscape.

On the Janaki Trio My Space page there is a sample of the Penderecki Trio (you tell me if probing is apt), there is also a great snippet of Beethoven's trio Op.9, but which one from opus 9? I'm too lazy to find out, even if CAG does advertise; anyway hit the site find out.

The Janaki Trio
Leonard Nimoy Thalia, Symphony Space
Thursday, May 15 at 7:30 pm
Details

Janaki String Trio:
Serena McKinney, violin   •   Katie Kadarauch, viola   •   Arnold Choi, cello

With, Alicia Lee, clarinet

Works by Penderecki:
String Trio (1991)
Prelude (1987) for solo clarinet
Clarinet Quartet (1993)

Schubert: String Trio TBA
Dan Visconti: New work (Commissioned by the BMI Foundation)

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Mitsuko Uchida & The Borletti-Buitoni Trust Concerts

Mitsuko Uchida, Martin Fröst, Christian Poltéra, and Soovin Kim Perform Messiaen's Quartet for the End of Time, and other works, May 17th at Zankel Hall.

Mitsuko Uchida, a founding trustee of the Borletti-Buitoni Trust (BBT) leads the Trust's first ever U.S. chamber music tour with former trust winners Martin Fröst (clarinet), Soovin Kim (violin), Christian Poltéra (cello), and Llŷr Williams (piano). The tour culminates with a performance at Carnegie Hall's Zankel Hall on May 17, 2008 at 7:30 p.m. The program for each evening includes Liszt's La Lugubre gondola, Bartók's Contrasts and Messiaen's Quatuor pour la fin du temps.

Borletti-Buitoni Trust was established in 2002 by Ilaria Borletti-Buitoni to help young concert artists, in as flexible and innovative way as possible, to develop and sustain burgeoning international careers. In addition to the financial awards it makes (individual award winners receive '40,000, quartets receive '60,000 and fellowship winners each receive '20,000), BBT pledges commitment and support to all its artists by way of advice, contacts, networking and public relations. The trust also works in partnership with managers, concert promoters, broadcasters, publishers and recording companies to provide young musicians with recording and performance opportunities which help them gain greater public recognition. It has also formed an honorary committee of internationally renowned musicians who have agreed to either perform with, or provide performance opportunities for their chosen artists. The committee currently includes Leif Ove Andsnes, Richard Goode, Clemens Hagen, Truls Mork, Heinrich Schiff, Christian Tetzlaff, Mitsuko Uchida and Thomas Zehetmair. The Trust has given awards and fellowships to 41 young musicians and ensembles from 18 countries, supporting a growing portfolio of enterprising projects.

ARTISTS

Mitsuko Uchida, piano
Mitsuko Uchida is a performer who brings to her audiences a deep insight into the music she plays through her own search for truth and beauty. She is renowned for her interpretations of Mozart and Schubert, both in the concert hall and on CD, but she has also illuminated the music of Berg, Schoenberg, Webern and Boulez for a new generation of listeners and her recording of the Schoenberg Piano Concerto with Pierre Boulez and the Cleveland Orchestra won four awards, including The Gramophone Award for Best Concerto. Over the last two years she has been giving performances of Beethoven's last three piano sonatas, and Opus 101 and 106 (“Hammerklavier”): Royal Festival Hall performance of Op109, 110 and 111 was described by John Allison, The Times critic, as “one of the most transporting concerts London has heard all year;” and her performance of the “Hammerklavier” in March 2005 was described by Andrew Clements in The Guardian as “totally compelling”. She has recorded last three Beethoven sonatas for Decca and has received outstanding critical acclaim. Hugh Canning wrote in The Sunday Times “This is magical piano-playing: we are lucky to live in an age when Uchida is the medium through which Beethoven's genius still speaks to us so eloquently.”

Martin Fröst, clarinet (BBT award winner 2003) Swedish clarinet virtuoso Martin Fröst is one of the most charismatic and multi-talented instrumentalists performing today, appearing regularly in leading music centers and with major orchestras worldwide. He studied with Hans Deinzer in Hannover and Sölve Kingstedt in Stockholm and has won the first prize in the Geneva Competition and has also received the Nippon Music Award as well as the Akzo Nobel Music Award. He used his 2003 BBT award to commission a Clarinet Concerto from Finnish composer Kalevi Aho which he world premiered in London in April 2006 and later recorded for BIS with the Lahti Symphony Orchestra and Osmo Vänskä.

Soovin Kim, violin (BBT award winner 2005)
Korean-American violinist Soovin Kim is particularly known for his breadth of repertoire: he typically takes on everything from Bach to Paganini to the big romantic concertos to new commissions within a single season. As well as playing with the world's great orchestras he is a keen chamber music player and regularly teams up with artists such as Jeremy Denk, Janos Starker and Zuill Bailey for recordings and recitals and is a regular performer at the Marlboro Festival. He used his BBT award to support the promotion and recording of his two Azica label CDs; Niccolò Paganini's demanding 24 Caprices and works by Faure and Chausson. He plays the 1709 “ex-Kempner” Stradivarius and has also been award the Avery Fisher Career Grant, Henryk Szeryng Foundation Career Award and first prize at the Paganini Competition.

Christian Poltéra, cello (BBT award winner 2004)
Swiss cellist Christian Poltéra studied with Nancy Chumachenco, Boris Pergamenschikow and Heinrich Schiff. Besides his appearances as a soloist with numerous renowned European orchestras, he has a busy career as a chamber musician playing with partners such as Gidon Kremer, Julius Drake, Lars Vogt, Christian Tetzlaff, Leif Ove Andsnes and the Auryn, Guarneri, Artemis and Zehetmair Quartets. He made his US-debut in 2006 as the soloist of the American Symphony Orchestra at Avery Fisher Hall in New York and also played Carnegie (Weill) Hall with pianist Polina Leschenko as part of the ECHO Rising Stars tour. He used his BBT award to support a BIS 3-CD recording project featuring neglected cello works by Swiss composers Schoeck, Honegger and Martin.

Llŷr Williams, piano (BBT award winner 2004)
Welsh pianist Llŷr Williams is much in demand as soloist, accompanist and chamber musician all over the world and has given acclaimed performances at major festivals such as the BBC Proms and Edinburgh International Festival. He recently completed a successful tour of the United States with the BBC National Orchestra of Wales. Llŷr Williams read music at The Queen's College, Oxford, graduating in 1998 with a first class alpha degree. He went on to take up a postgraduate scholarship at the Royal Academy of Music where he won every prize and award. He used his BBT award to help finance the purchase of a new grand piano.

Mitsuko Uchida & Friends
Zankel Hall, Carnegie Hall
May 17, at 7:30 pm
Details

Mitsuko Uchida, piano   •   Llŷr Williams, piano   •   Martin Fröst, clarinet
Soovin Kim, violin   •   Christian Poltéra, cello

Liszt: La Lugubre gondola
Bartók: Contrasts for violin, clarinet, and piano
Messiaen: Quatuor pour la fin du temps

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On Tuesday, May 27, Israeli-born violinist Yonah Zur and cellist Michal Korman will perform a Concert for Israel's Environment at Congregation Shaare Zedek on West 93rd Street. The concert will feature works of Bach, Ravel and Israeli composers Paul Ben-Haim and Menachem Zur and will support Israeli environmental causes while celebrating Israel's 60th Anniversary.

Classical Domain recently spoke with Yonah Zur about the concert and being an environmentalist, an Israeli musician in New York, and the son of a composer.

Yonah Zur & Michal Korman
Congregation Shaare Zedek
Tuesday, May 27, at 8:00 pm
Details

Yonah Zur, violin   •   Michal Korman, cello
A Concert for Israel's Environment
Works of Bach, Ravel, and Israeli composers Paul Ben-Haim and Menachem Zur, celebrating Israel's 60th Anniversary.

Tickets: $20 in advance; $25 at the door; $10 for students.
Congregation Shaare Zedek
212 West 93rd Street, between Broadway and Amsterdam

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Illustrations Copyright © by Trustees of the Clement Hurd 1982 Trust. Reprinted by permission of HarperCollinsPublishers.

The American Symphony Orchestra Premieres Glen Roven's The Runaway Bunny with Narrator Brooke Shields and Solo Violinist Ittai Shapira — April 29th

I know there's Mahler and Stravinsky to cover, and Elliot Carter everywhere (at 100) — but don't get your strollers locked, there's also time for the world premiere of Glen Roven's The Runaway Bunny at Carnegie Hall's Stern Auditorium, Tuesday, April 29th. Performed by the American Symphony Orchestra with narrator Brooke Shields and violin soloist Ittai Shapira. The Runaway Bunny is a contemporary concert piece for Violin, Reader and Orchestra that serves as the musical adaptation of one of the most beloved and best-selling children's books of all time.

Taking the audience through the journeys of Margaret Wise Brown's wayward bunny, the work fills a post-Prokofiev gap in the symphonic/literature children's repertoire, The Runaway Bunny was composed in 2006, by Emmy award-winning composer Glen Roven collaboration with violinist Ittai Shapira. The Runaway Bunny was recorded with Brooke Shields narrating and the Royal Philharmonic Orchestra in London. Since its UK release on the SONY/BMG label, millions of listeners have embraced it. “To see how honestly this piece resonates and communicates with the audience is truly gratifying as a composer,” according to composer Glen Roven. Following its recent success in London, SONY/BMG is slated to release The Runaway Bunny/Paddington Bear's First Concert/Tubby The Tuba children's classics album in the United States April 8th.

Hidden as almost an after thought is a fine tidbit: J.S. Bach's Double Concerto for two violins with Shmuel Ashkenasi and Arnold Steinhardt, as well as other great violinists and other works suitable for all ages.

Schneider Children's Medical Center Benefit
Weill Recital Hall, Carnegie Hall
April 29, at 7:30 pm
Details>

Glen Roven, conductor & Brooke Shields, narrator Shmuel Ashkenasi, Arnold Steinhardt, Hagai Shaham, Netanel Draiblate, Itamar Zorman: violins

Glen Roven, The Runaway Bunny(World premiere)
Works by Bach, Bernstein, Achron, Hubay, and Sarasate

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Cyprien Katsaris: Artist and Outlaw

by Charles Berigan

The world of “Classical Music” is, let us face it, a world of rampant and chronic schizophrenia. On the one hand, conformity and conservatism are law. Generations of teachers impart rules, methods, attitudes solutions to generations of students who themselves, in turn, create more “Fellow Travelers” as they begin to teach. Often, the source of the approved and accepted wisdom is so utterly far from the reality of practice that the two defy any logic or parentage.

At the same time, a culture of the celebration of the outlaw, the unique, fuels the far edges of the “Empire of Classical“ sounds. Rachmaninoff records “His” Schumann Carnival and Chopin “Funeral March” Sonata and all others pale by comparison. Leonard Bernstein makes Mahler and Tchaikovsky Symphonic volumes of archived psychic battlefields, as much as his own pain and suffering as that of Mahler and Tchaikovsky. Glenn Gould flings his scores of Bach's Art of Fugue, Krenek Sonata and Brahms Intermezzi right at the heads of Academicians everywhere, and all artists in all manner of media eagerly seek to do the same to their peers, audience, whoever cares to listen or look.

The pianist Cyprien Katsaris is both product of the most distinguished “Blueblood” piano pedigree and a brigand, an outlaw of the 88's, a kind of swashbuckling thrill seeker. In point of fact, he could be considered the Academicians worst nightmare, as he has enough style, polish and erudition to be truly dangerous to any sense of “Status Quo.”

Hard to imagine now, but I've known Katsaris personally for almost ten years. I'd first encountered his craft and ability when discovering his recordings of the Beethoven Symphonies arranged by Liszt and infused with more notes by Katsaris to better realize instruments, voices and textures. Not only did he manage to lend lightness to the rather heavy Lisztian piano textures, but also his readings of the Symphonies were fresh and electric in a manner many a podium Maestro might envy.

At Carnegie Hall, on two separate occasions, I marveled at the exquisite touch, the flair for mood and ambience, and yes, the sheer mechanism. In fact, the extent of his keyboard possibility allows Katsaris to live an onstage pianists's life that is most dangerous indeed. For Katsaris in concert is all about risk. He skates perilously close to the edge of chaos in music of dramatic character much as Chaplin did, in his famously ebullient screen stunts on roller skates in an empty department store and in “The Rink”. Above all, in any Katsaris performance there is always the spontaneous, the improvised, the joy in the act of playing.

Katsaris enjoys a foundation in terms of fundamental musicianship as solid as the Paris Opera , and is an industrious and indefatigable worker and sight reader. There doesn't seem to be any corner of the piano repertoire that he has not explored or wandered into. Among the teachers and influences of Katsaris as a young man was French piano legend Monique de la Bruchollerie, a player described by critic Joachim Kaiser as a “Piano Valkyrie” as he attempted to characterize her style, temperament and daring. Besides exposure to this fiery brand of Wagnerian piano-heroism, Katsaris was colleague and friend to perhaps the greatest of 20th Century “Outcast” Virtuosi György Cziffra.This Hungarian Wotan of the piano clearly defined “Outlaw” in the world of classical music and to this day, Katsaris speaks with awe and reverence of this peerless master. So, Katsaris can claim both an impeccable academic background as well as Olympian piano parentage.

Yet when I think of kindred spirits when it comes to Katsaris the pianist, I'm reminded also of other legends from deeper in the past: Vladimir DePachman at his best and most spontaneous and the urbanity and grace of Benno Moiseiwitsch. Katsaris is capable of the most subtle pianissimo playing as layer on top of layer of sonority exists for him with but a flick of his finger, and in full flight, Katsaris reaches for the true sense of “Bacchanale” embodied by Moiseiwitsch in the famous filmed performance of the Wagner-Liszt Tannhauser Overture, where the supremely elegant “Benno the Bold” casts arpeggiated thunderbolt after thunderbolt in the hymnto Venus”. But I hasten to add that none of the virtuosi mentioned ever displayed the range, scope and mass of repertory at the fingertips of Katsaris. That is a Valhalla pretty much his, and his alone.

Having enjoyed the playing of Katsaris privately on more than one occasion, I have often wondered whether Katsaris's artistry isn't best suited to more intimate settings rather than large auditoria. As enjoyable and memorable as an event such as a Carnegie or Tully recital can be, there is simply no substitute for hearing and seeing this artist at close range, in such a venue as the Yamaha Piano Salon, in New York City at their midtown Fifth Avenue flagship center. In fact, the last time I heard Katsaris was at this particular venue, which has quickly become known in New York musical life as a place for all manner of provocative piano events. Cycles of Mozart Concerto's, retrospectives of the piano output of Franz Liszt, concerts in memory of György Cziffra: all have happened here in a relatively brief span of time, invariably featuring the cream of pianistic talent in the City. And, as the House of Yamaha has served as haven for those artists who, by example and legacy have defined notions of “SingularVision”, in more recent times (Gould, Richter, Fiorentino and Cziffra come to mind), Maestro Katsaris finds himself completely and utterly at home.

The performance I attended was a retrospective of recent repertoire interests and recorded projects of Katsaris, leavened with several sheaves of beloved recital favorites. There was everything from the rarest Mozart arrangements (two movements of The G Minor Symphony transcribed by Hummel) To the Gottschalk Banjo. For me, the standouts were a trifecta of romantic piano visions: The Wagner — Liszt Liebestod, a grouping of Chopin pieces that included The Berceuse and Op. 9 E-Flat Nocturne as well as several Etudes, and Katsaris's own astonishing arrangement of the organ Toccata and Fugue in D Minor of J.S. Bach.

In both Bach and Wagner, Katsaris was quite the renegade. He made no effort to replicate the sound of the Wagner orchestra with accompanying expirering Isolde, or mimic the memories of lush Stokowskian Philadelphia strings and Victorian rhetoric. Katsaris blazed through the Toccata and Fugue in a firestorm of octaves in place of single notes, and the whole piece was a Tour-De-Force of volcanic passion, performed by wrists of steel. The Liebestod reminded this listener of the comments made ostensibly to Arthur Rubinstein by Camille Saint-Saens, who claimed to prefer the Wagner on the piano rather than performed by orchestra. Indeed, the hot-house chromatic fever of an enchanted love only fully realized by death was never better captured than by Katsaris on this night. But for me, the peak listening experience would have to have been in the Chopin. Here, the conservative and the brigand found particular unity, as Katsaris has foundation to play with exquisite control and shading yet has the audacity to shape the works as ephemeral sonnets of the soul, caught almost as if on a breeze. He is bold enough to even add ornaments in an Etude or two, and joins Mikuli pupil Raoul Von Koczalski with a personalized “Music of the Night”, Nocturne in E-Flat that seemed improvised, rather than merely played.

Katsaris is unique in the contemporary world of piano and pianists, a daring adventurer in a time of almost chronic lack of interpretative imagination. He has the voice, but also the means to project that voice that places him among the world's elect keyboard artists.

Any opportunity to encounter a talent such as his is an opportunity that MUST be seized. His combination of conservative and rebel is singular, special, even without peer. There are many gifted players, even a higher level of attainment globally than ever before. But there is only one Katsaris!

May he continue to enthrall and provoke and by example, illustrate that identity will always be the master of conformity.

Cyprien Katsaris
Yamaha Artist Services
May 1, at 7:30 pm
Details

Works by Haydn, Schubert Songs arranged by Godowsky and Liszt
Transcriptions of Strauss and pieces from France and Latin America

Yamaha Artist Services
689 Fifth Avenue, 3rd Floor, Piano Salon
Entrance on East 54th Street

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More Locals in the News!
Simone Dinnerstein in Plays Bach and More in Three NYC Area Engagements

Brooklyn local, and now feted Bach interpreter, Simone Dinnerstein will perform three concerts in the New York area in April and May. On April 6 at 2:00 pm, she performs J. S. Bach's Goldberg Variations at Town Hall, presented by the Peoples' Symphony Concerts. She repeats the program on April 8 at 8:00 pm, at Adelphi University in Garden City, New York.

On May 4 at 11:00 am, Ms. Dinnerstein performs as part of Lincoln Center's Great Performers series at the Walter Reade Theater. Her program features J.S. Bach's Well Tempered Clavier, Book II: Prelude and Fugue No.3 in c-sharp major and No.9 in E major; George Crumb's Eine Kleine Mitternachtmusik, and Beethoven's Sonata Op. 27, No. 1. Tickets to all performances are limited (see concert information below for links to more details).

Ms. Dinnerstein has recently gained an international following because of the remarkable success of her recording of the Goldberg Variations, released on Telarc in August 2007. The album, which is Ms. Dinnerstein's solo CD debut, has swiftly brought her into the spotlight, having ranked No. 1 on the Billboard Traditional Classical Chart during its first week of sales and remaining high on the chart since then.

In August 2008, Telarc will release Ms. Dinnerstein's second disc, a live recording of her recital debut at the 1200-seat Berlin Philharmonie Kammermusiksaal, which took place on November 22, 2007. The program feature works by J.S. Bach, contemporary composer Philip Lasser and Beethoven.

In recent months, Ms. Dinnerstein has been featured in Gramophone, BBC Music Magazine, Classic FM Magazine, The New York Times, Slate.com, The Daily Telegraph, The Independent, and The Guardian, among others, and has appeared on radio programs including BBC Radio's In Tune, NPR's Morning Edition, American Public Media's Performance Today, Minnesota Public Radio, as part of the news on SIRIUS Satellite Radio's The Howard Stern Show, and on national television in Germany.

In today's classical music and recording industry climate, it is rare that a debut album from a relatively little known artist generates such an enthusiastic response from both the the public and classical music media. The New York Times chose the disc as one of the Best CDs of 2007, describing it with, “An utterly distinctive voice in the forest of Bach interpretation, Ms. Dinnerstein brings her own pianistic expressivity to the Goldberg Variations, probing each variation as if it were something completely new.” Slate.com raved, “Dinnerstein is a throwback to such high priestesses of music as Wanda Landowska and Myra Hess.” Piano Magazine called the disc, “Precisely the kind of playing that the early 21st century most needs, infused as it is with a deep and pervasive sense of beauty and tenderness of heart which is often profoundly affecting.”

And luckily for us, since we don't usually don't just post press accolades — there's a bit of a story behind all the positive ink and bytes As recently as 2005, at age 33, Ms. Dinnerstein was living a quiet life in Brooklyn, and though she had been performing publicly for more than a decade and had been a much-awarded student at The Juilliard School, she did not hold a major competition title nor did she have a manager. She knew she was at a make it now-or-never age for a classical musician, since most artists establish careers in their early twenties or late teens. In March 2005, she recorded the Goldberg Variations with producer Adam Abeshouse, raising the funding for it herself. In November, she performed the piece on a self-produced Carnegie Hall recital debut. This bold move, coupled with the increasing interest in her unreleased recording of the piece, won her critical acclaim in the press, and led to a management contract with IMG Artists and a record agreement with Telarc.

Since then, Ms. Dinnerstein's career has taken off in a significant way. During the 2007-2008 concert season, she has given debut recitals at London's Wigmore Hall, Berlin's Philharmonie, and at the National Philharmonic Hall in Vilnius. She has toured with the Dresden Philharmonic under Rafael Frühbeck de Burgos and with the Czech Philharmonic under Leoš Svárovský, and will perform with the Jerusalem Symphony Orchestra in Jerusalem. Ms. Dinnerstein and cellist Zuill Bailey performed the complete Beethoven Sonatas at The Metropolitan Museum of Art in October, and will repeat the program at the National Gallery of Art in Washington, DC, in late April. She will also perform the Goldberg Variations in San Francisco in May, at the Aspen Music Festival in July, and at the Ravinia Festival in August. Highlights of Ms. Dinnerstein's 2008-2009 season include performances with the Stuttgart Radio Symphony Orchestra, the New Jersey Symphony Orchestra, the Orchestra of St. Luke's, and Kristjan Järvi's Absolute Ensemble. In the spring of 2009, she will make her recital debut at the Kennedy Center for the Performing Arts in Washington, DC.

Ms. Dinnerstein received the Classical Recording Foundation Award for 2006 and 2007 for her recordings with cellist Zuill Bailey of Beethoven's complete works for piano and cello on the Delos label. The first volume was released in October 2006 and volume two is scheduled for release in the spring of 2008.

Since 1996 Ms. Dinnerstein has played concerts throughout the United States for the Piatigorsky Foundation, an organization dedicated to bringing classical music to non-traditional venues. Amongst the places she has played are nursing homes, schools and community centers. Most notably, Ms. Dinnerstein gave the first classical music performance in the Louisiana state prison system when she played at the Avoyelles Correctional Center.

At Juilliard, Ms. Dinnerstein was a student of Peter Serkin. She also studied with Solomon Mikowsky at the Manhattan School of Music and in London with Maria Curcio, the distinguished pupil of Artur Schnabel. She lives in Brooklyn, New York with her husband and six-year-old son.

Simone Dinnerstein can also be found at Simone Dinnerstein.

CONCERT INFORMATION

April 6, 2008 at 2:00 pm
Peoples' Symphony Concerts
Town Hall, 123 West 43rd Street
Sold out. A limited number of tickets may be available at the Town Hall Box Office one hour prior to the start of the concert. Details

April 8, 2008 at 8:00 pm
University Center Ballroom
Adelphi University, Garden City, New York
Tickets: Free general admission
Details

May 4, 2008 at 11:00 am
Lincoln Center's Great Performers Series
Walter Reade Theater
Details