If you've been listening to WRTI, you know we are in the midst of Great American Voices, which celebrates the breadth and diversity of 250 years of American music-making. It's part of our spring fund drive, and we appreciate your support — which makes all that we do possible, including Fanfare, this weekly concert guide. Thank you!
Spotlight: Copland's American Inspiration — Thursday through Saturday, Marian Anderson Hall
Violinist Leila Josefowicz has a history in Philadelphia. As a young prodigy, she attended the Curtis Institute, and was one of the whispered names destined for the typical virtuoso career. But she took a turn from the beaten track, intrigued by the opportunity to introduce new violin concertos by major living composers. Ever since, she has reveled in new works created specifically for her.
This week, Josefowicz will advocate for Assonanza, a concerto by Matthias Pintscher, who also leads this concert. Aaron Copland’s Symphony No. 3 is equally a highlight — not just for its blazing incantation of the well-known “Fanfare for the Common Man,” but for its symphonic rendering of Copland’s uncannily all-American voice, better known in his ballets and film scores but beautifully on display in symphonic form. John Williams, a worthy Copland successor, supplies the introduction to this concert with a few delectable moments from his film score for Close Encounters of the Third Kind.
April 30 - May 2, Marian Anderson Hall, Kimmel Center for the Performing Arts, 300 S Broad Street, $29-$196; tickets and information.
Curtis Opera Theatre – A Midsummer Night’s Dream – Thursday through Saturday, Perelman Theater
Benjamin Britten is a renowned opera composer, and yet… how often do we get to see his operas in performance? That alone is reason to check out this staging of Britten’s take on A Midsummer Night’s Dream. We know Shakespeare’s story — which itself is a charmer, filled with engaging characters and madcap situations — but Britten has a way of twisting our expectations that always rewards attention. Vinay Parameswaran conducts singers from The Curtis Opera Theatre along with the Curtis Symphony Orchestra, in a production directed by Sarah Ina Meyers.
April 30 at 7 p.m. and May 2 at 2 p.m., Perelman Theater, Kimmel Center for the Performing Arts, 300 S Broad Street, $43-$88; tickets and information.
Philadelphia Ballet: Romeo and Juliet — Thursday, April 30 to May 10, Academy of Music
Another irresistible Shakespeare story, with a score to match. Prokofiev’s evening-length ballet is so rich with musical inspiration, he was able to extract no fewer than three suites for the concert hall while he waited impatiently for Russian ballet companies to sort out who would premiere it and when. It was all sorted out eventually, to the joy of ballet fans worldwide. And there’s nothing quite like hearing and seeing it all at once. Just sink into the sheer romantic bliss of it.
April 30–May 10, various times, Academy of Music, 240 S Broad Street, $29-$270; tickets and information.
Itzhak Perlman: In the Fiddler’s House — Friday, Marian Anderson Hall
Itzhak Perlman’s impeccable violin technique wedded to a Klezmer band? This just sounds fun! You may have encountered this enterprise on PBS, but experiencing it in person is too good to pass up. The quintessential virtuoso has assembled a crack team of collaborators to have you dancing in the aisles.
May 3, Marian Anderson Hall, Kimmel Center for the Performing Arts, 300 S Broad Street, tickets and information.
Looking Ahead:
Philadelphia Bach Collective: Cantata No. 80, Ein feste Burg — May 5, St. Mark’s Church, Locust Street
A lunchtime respite, free of charge: 30 minutes with Bach and one of his most inspiring cantatas, founded on the famous Lutheran chorale (“A Mighty Fortress.”). If you’re in Center City at lunchtime, there is no better restorative prescription.
May 5 at 1 p.m., St. Mark’s Church, 1625 Locust St, free; more information.
