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Leonard Cohen's 'Songs From The Road' Showcases Most Outstanding Performances From Ongoing World Tour

 

In 2008, following the celebration of his 40th year as a Columbia recording artist and coinciding with his induction into the Rock And Roll Hall Of Fame, Leonard Cohen thrilled his fans by announcing his first tour dates in 15 years. Cohen went on to play the most prestigious and beautiful venues in virtually every corner of the globe, mesmerizing and charming audiences with performances that were hailed as some of the best of his career.

 

One dozen of Leonard Cohen's most famous songs from those recent world tour performances - at auditorium halls, festivals, arenas, and stadiums from Tel Aviv to London, from across Europe to the California desert and his native Canada - are now collected on SONGS FROM THE ROAD.

 

"When legend Cohen takes to the stage, it's no less than a cultural event of Biblical dimensions." - The Independent

Many news stories about Afghanistan cover the ongoing insurgency and hardships of war, but few tell of how people are seeking to rebuild their lives.  This work explore this other side of Afghanistan.

 

 

Click on image for Award Winning Special Feature

Ahmad Hassan Muhammad is a pianist and composer from Cincinnati Ohio, and a recent graduate of Bowdoin College. He began studying jazz in the ninth grade under the guidance of pianist William Menefield, an incredible musician and educator that lit a powerful fire inside of Ahmad through performing for his class one afternoon in the fall of 2002 at the School for Creative and Performing Arts. In Ahmad, Menefield planted seeds of passion and commitment, inspiring not only a love for improvisation but a desire to share that love with others. At Bowdoin College, Ahmad continued to grow as a pianist and improviser under the inspiration and direction of Frank Mauceri, Naydene Bowder, Matthew Fogg and Steve Grover, and sought to pay it forward, exposing his classmates—and audiences throughout New England—to jazz music, and his other favorite improvisational activity—freestyle rapping. In his sophomore year at Bowdoin, Ahmad began commuting to Boston to study with pianist Aaron Goldberg—whose educational wisdom and insightful mentor ship helped him move towards a distinctive musical voice of his own—and to New York City, to study with other world-renowned improvisers such as Fred Hersch, Tony Malaby and Andy Milne. On campus, Ahmad's active performance career was complemented by passionate engagement with literature and philosophy, his hunger for which was central in his decision not to attend a music school as an undergraduate.  Having graduated from Bowdoin with a degree in English, Muhammad currently resides in Portland, Maine, where he continues to immerse himself in the musical styles that have spoken the most to his soul—jazz, hip-hop, Afro-cuban music, African music, and European classical music—and prepares to go on a six month long tour throughout the US and Canada this fall, to jazz clubs, k-12 schools, colleges and universities, boys and girls clubs, and hospitals, with five incredible musical talents: Phil Mcgowan (drums), Adam Frederick (bass), Andy Robbins (drums), Stu Mahan (bass) and Oliver Watkinson (bass).

Events promoting peace are planned for the ninth anniversary of the World Trade Center attacks at the Frontier Cafe, Cinema and Gallery.  The second annual Pedal for Peace, a bicycle ride that benefits the Business Council for Peace's work with entrepreneurs in Rwanda, Afghanistan and El Salvador, will be held Saturday, Sept. 11.

 

Pedal for Peace was the brainchild of Mary Ciampa, a volunteer board member of the business council, also known as Bpeace. She sought to join her love of cycling with Bpeace's aim to aid primarily female entrepreneurs in countries torn by conflict.

That marriage led to Pedal for Peace, through which cyclists will participate in rides of 25, 50 or 100 miles through Brunswick, Freeport and Bowdoinham. The 100-mile trek begins at 7:30 a.m., followed by the 50-mile ride at about 9 a.m. and the 25-mile trip at about 11 a.m. All begin and end at the Frontier Cafe.

At 7 p.m. the evening before at the cafe, artist and activist Paula Lerner will offer a multimedia presentation about her work with female Afghani artists. Live music by Bowdoin College musician Ahmad Hassan Muhammad on piano and DJ Moore on drums will follow. A donation of $5 is suggested at the door.

"I am humbled by the courage of the brave entrepreneurs we assist," Bpeace co-founder and Chief Executive Officer Toni Maloney said. "They trump adversity to work relentlessly for a better life for their families, community and country. It's a privilege to have the opportunity to transfer ideas and expertise into their waiting arms."

Ride registration is available at bpeace.org/ride. Each individual must raise a minimum of $250. Fundraising support, training tips and more information are available on the Pedal blog: pedalforbpeace.blogspot.com.

What price does our community pay for the military budget?  Moderatted panel and questions from the community.  Panelists:

 

Debbie Atwood, Brusnwick Town Councilor

Michael Brennan, Human Services Provider/Social Worker

William Clark, Physician

John Rensenbrick, Editor, Green Horizon Magazine

Lisa Savage, Educator

 

Moderator: James McCarthy, Opinion Editor, Times Record

 

Co-sponsored by: PeaceWorks, St Paul's Church, War Tax Resisters, Maine Veterans for Peace, Woman's International League for Peace and Freedom

Join us once a month with your little one for inspiring world music and stories with Janice O'Rourke - an actress, singer/songwriter and mom of two small boys. She has a passion for stories and songs that teach us about culture, language, and community from all parts of the world. Come in with your kids and 'go beyond'. This program is best suited for children six and under.

The Haberdashery Ensemble is a genre defying acoustic ensemble based in Los Angeles, CA, known for their energetic, evocative and witty performances. Led by Maine native composer/bassist Brandon Turner, the Haberdashery Ensemble synthesizes their diverse and eclectic influences of Tango, Classical, Jazz, Folk, Gypsy, and French music with the precision of chamber ensemble; and expands upon those influences with the improvisational freedom of a jazz combo. The Haberdashery Ensemble's versatile acoustic musicians, Gee Rabe- Accordion, Paul Cartwright- Violin, and Brandon Turner- Double Bass provide a memorable range of timbres and textures.

 

Starting as Brandon Turner's graduate thesis project in 2008 while attending the University of Southern California, Brandon enlisted the help of longtime friend Dan Cole and classmate Chris Luther. Needing an accordion player to complete the ensemble, Brandon posted an ad on craigslist and connected with Gee Rabe. It became clear at their first rehearsal that the Haberdashery Ensemble had a winning chemistry that could not be limited to a school project.

Since that fateful rehearsal, The Haberdashery Ensemble has been performing at venues throughout Los Angeles to enraptured audiences. Performing at clubs, festivals and universities pushes themselves to find a sound all their own. Influenced by boundary breaking artists like Astor Piazzolla, Tom Waits, Kronos Quartet and Tin Hat Trio, Haberdashery plays music with an international sound that has been likened to an indie film soundtrack unfolding before you.

All of Haberdashery's personnel are individually accomplished musicians and are alumni of some of the world's finest music conservatories. Haberdashery members are also committed to music education and instruct clinics and workshops on a variety of subjects throughout the US.

In the highly anticipated second installment of the Millennium Trilogy...

 

Lisbeth Salander is a wanted woman. A researcher and a Millennium journalist about to expose the truth about the sex trade in Sweden are brutally murdered, and Salander's prints are on the weapon. Her history of unpredictable and vengeful behavior makes her an official danger to society – but no-one can find her anywhere.

Meanwhile, Mikael Blomkvist, editor-in-chief of Millennium, will not believe what he hears on the news. Knowing Salander to be fierce when fearful, he is desperate to get to her before she is cornered and alone. As he fits the pieces of the puzzle together, he comes up against some hardened criminals, including the chainsaw-wielding 'blond giant' – a fearsomely huge thug who can feel no pain.

Digging deeper, Blomkvist also unearths some heart-wrenching facts about Salander's past life. Committed to psychiatric care aged 12, declared legally incompetent at 18, this is a messed-up young woman who is the product of an unjust and corrupt system. Yet Lisbeth is more avenging angel than helpless victim – descending on those that have hurt her with a righteous anger terrifying in its intensity and truly wonderful in its outcome.

Tosca was called a "shabby little shocker" by one English critic, but that's an understatement: Tosca is a fiercely effective masterpiece of music-drama. Puccini had been interested in the Sardou's play La Tosca for some time, but by 1895 the rights belonged to another composer, Alberto Franchetti. However, the publisher Ricordi and librettist Luigi Illica had no trouble persuading Franchetti to surrender the rights, telling him the subject matter – rape, murder, warring political factions – were far too vulgar for the Roman public's taste. Soon after, Puccini was busy at work with the complete libretto in hand. Puccini approached the opera with his usual meticulousness – travelling to Rome to hear the tones of the bells in Castel Sant'Angelo, marking the exact pitch of the bell at St. Peter's. Puccini also made two important changes to the libretto. He rejected an aria sung by Cavaradossi under torture, instead replacing it with the quartet; he felt that the static nature of the aria would slow the drama. Likewise, Puccini rejected both a poetic aria and transcendental love duet for the couple before Cavaradossi's execution. Ricordi found the "acting lesson" scene too perfunctory, but Puccini insisted that Tosca would not waste her time on flowery language – and of course, the drama proves that he was right.

 

Performed at Teatro Carlo Felice, Genoa, Italy

Daniela Dessì (Tosca)
Fabio Armiliato (Cavaradossi)
Claudio Sgura (Scarpia)
Enrico Iori (Angelotti)
Armando Gabba (Sagrestano)
Mario Bolognesi (Spoletta)
Angelo Nardinocchi (Sciarrone)
The chorus (A jailer)

Production by the Opera Theatre of Rome
Conductor: Marco Boemi
Orchestra and Chorus of Teatro Carlo Felice
Chorus master Ciro Visco
Chorus of Voci Bianche del Teatro Carlo Felice
Choir master of di Voci Bianche Gino Tanasini
Director: Renzo Giacchieri
Scenic design & costumes: Adolf Hohenstein

180 SOUTH - 'Conquerors of the Useless' follows Jeff Johnson as he retraces the epic 1968 journey of his heroes Yvon Chouinard and Doug Tompkins to Patagonia. Along the way he gets shipwrecked off Easter Island, surfs the longest wave of his life - and prepares himself for a rare ascent of Cerro Corcovado. Jeff's life turns when he meets up in a rainy hut with Chouinard and Tompkins who, once driven purely by a love of climbing and surfing, now value above all the experience of raw nature - and have come to Patagonia to spend their fortunes to protect it.

 

One day, Jake went looking in the backroom closet for his trusty snare drum, but
found only an old, black leather bound suitcase covered in dust.  He tried to open
it, but the latch was stuck.  He called Joe and Colin over.  Joe shook it—they could
hear something inside.  Colin worked on the latch with a screwdriver, nothing.
Jake grabbed a drumstick from off the floor and started hitting the top of the
case, hoping it would open.  Within minutes Jake realized he had found
something, and within a few hours the Toughcats' first album, Piñata was
completed.

Energetic. Catchy. Fun. Exciting. Danceable. Memorable. Loveable. Beautiful.
Amazing. At times, unabashedly hirsute. This is not the Toughcats ad on
Matchmaker.com; these are just some of the words die-hard Toughcats fans
mutter in their sleep after a performance. Toughcat shows are as exhausting for
the audience as they are for the beat-red drummer and the blister-fingered string
players. The intensity can induce a stoic crowd to dance, and a wild crowd to stop
and take a look. They pull out a little something for everyone, the young folks,
the old folks, the hippies and the hipsters, the yuppies and the rural unemployed.
If you don't fall head-over-heels in love with one of the band members, you are
either a super villain, or an igneous rock (all other rocks have been noted to
contain trace amounts of love for Jake Greenlaw.)

The Toughcats tour regularly, promoting their first album Piñata, which was so
well liked as a rough cut that it was then mastered by Kramer (renown producer
and former Butthole Surfer.) They have made multiple national tours playing
music and film festivals, theaters, bars, boats, fields, and everything in between.
The band has shared the bill and worked with the likes of Kathy Mattea, Hot
Buttered Rum, Deerhoof, Sam Bush, The Mammals, Tony Trischka, The Avett
Brothers, The Red Stick Ramblers, even author Jim Hightower, to name a few.
They recently played two back-to-back shows with Ketch Secor (of Old Crow
Medicine Show) performing music from both repertoires and even some covers
like Springsteen's Thunder Road. The band's sophomore album Run to the Mill
was released February of 2010.

With their unusual sound, a blend of old timey bluegrass, thoughtful indie rock,
and classic pop twitches a la early Beatles, they bring their audience a best of both
worlds scenario: timeless music that is at once unquestionably danceable and
haltingly listenable. The feverish beats from Greenlaw are engulfing, and his
energy captivating...the whole band provides vocals and lyrics that are self
reflexive and without pretence...the melodies and complex tonal structures from
Joe Nelson on guitar and Colin Gulley on banjo are dulcet, frolicking, even
headbanging, pieces of artistry, built from chops that prove hands down they're
worth their salt as musicians. Their music is the kind that builds a following
because it is pan-generic, yet respectful of the greats, and mindful of the nuances
of their influences. Their music is attentive not only to their musical ancestry, but
also to their contemporary audience. This is not a band that forces itself on a
listener—this is a band that is sought by a listener.

Pop quiz: What could cause a band to play a Devo-esque robotic klesmer melody
in the middle of a poppy, bluegrass dance hit?

Answer: the suitcase.

Join us for a special Apres Art Walk performance by Syd Alberg entitled:  Beyond Darkness - Original Music and Photography (virtual classical instruments with projected video).  Photography exhibit August 27 - October 16

Music historian Richard Taruskin calls The Queen of Spades "the first and possibly the greatest masterpiece of musical surrealism." The composer himself, Pyotr Tchaikovsky, was almost shocked by how well the opera came out. In a letter to his brother Modest Tchaikovsky (the librettist), he wrote: "Either I am horribly mistaken, Modya, or the opera is a masterpiece." Time has proven him correct. The lush, expressive music, combined with fantastic source material – Alexander Pushkin's 1833 novella – was a recipe for great opera. According to the San Juan Star, Misha Didyk's voice is "gigantic, powerful, and very well controlled lyric voice which has inside a dark, burnished tone reminiscent of a big Russian Orthodox Cathedral Bell." American soprano Emily Magee, whose "voice of ravishing luster" (The New York Times) graces the role of Lisa. The opera also features contralto Ewa Podlés as the Countess – the Queen of Spades herself. She has been praised as a "true contralto with a smoky, rich and throbbing sound" (The New York Times). Truly, this is a cast that would please the composer.

 

Emily Magee (Lisa)
Misha Didyk (Gherman)
Lado Ataneli (Tomsky/Zlatogor)
Ludovic Tézier (Prince Yeletsky)
Ewa Podlés (The Countess)
Elena Zaremba (Pauline)
Francisco Vas (Chekalinsky)
Alberto Feria (Tsurin)
Mihail Vekua (Chaplitsky)
Kurt Gysen (Narumov)
Stefania Toczyska (The Governess)
Claudia Schneider (Masha)
Jon Plazaola (The Master of Ceremonies)
Michelle Marie Cook (Prilepa)

 

Performed at the Gran Teatre del Liceu

Conducted by Michael Boder

Directed by Gilbert Deflo

Choreography by Nadejda Loujine

Sung in Russian with English subtitles

3 hrs 55 mins plus two intermissions

Scene 1: At the bottom of the River Rhein, the three Rheinmaidens (Woglinde, Wellgunde, and Flosshilde) are playing near the Rheingold; suddenly Alberich, a Nibelung dwarf, appears and tries to woo them. The Rheinmaidens mock the ugly Alberich and anger him. As the sun rises, the maidens praise the golden glow atop a nearby rock; Alberich asks what it is. They tell him of the Rheingold, which they guard. It can be made into a magic ring which will let its bearer rule the world, but only by someone who first renounces love. Alberich, embittered by their mockery, curses love, seizes the gold and returns to the depths as the Rheinmaidens flee in despair.

 

Scene 2: Wotan, ruler of the Gods, and his wife, Fricka, awaken on the mountaintop to find that their new castle is finished. The giants Fasolt and Fafner have built it in exchange for Fricka's sister Freia, but Wotan plans to renege on his bargain. Fasolt and Fafner enter with Freia, demanding their payment. Donner (god of thunder) and Froh (god of spring) arrived to defend their sister Freia, but Wotan stops them. Loge, the god of fire, enters and informs them that Alberich the dwarf has stolen the Rheingold, and has made a powerful magic ring out of it. The giants demand it as payment in lieu of Freia, who they take as a hostage. The gods need Freia, for without her golden apples of youth, they will age and decay. Wotan and Loge journey deep into the earth to find the ring.

 

Scene 3: In Nibelheim, Alberich has enslaved the rest of the Nibelung dwarves. He forces his brother Mime, the most skillful smith, to create a magic helmet. Alberich demonstrates its power by making himself invisible. When Wotan and Loge arrive, Mime tells them about the ring and the misery of the Nibelung under Alberich's rule. Alberich returns and boasts to Wotan and Loge about his plans to rule the world, but Loge tricks him into turning himself into a toad with the helmet. The gods quickly seize him and bring him up to the surface.

 

Scene 4: On the mountaintop, Wotan and Loge force Alberich to exchange his wealth for freedom. He surrenders his gold and the helmet, but when he refuses to give up the ring, Wotan seizes it. Alberich is devastated and lays a curse on the ring: until it returns to him, whoever does not possess it will desire it, and whoever possesses it will receive unhappiness and death. Fasolt and Fafner return with Freia, demanding enough gold to cover her. The gods pile up the gold, but they must relinquish the helmet to cover Freia completely. Fasolt spots a final crack in the pile, and demands the ring as well. Loge reminds everyone that the ring belongs to the Rheinmaidens, but Wotan refuses to give it up. Erda, the earth goddess, suddenly appears and warns Wotan to avoid the cursed ring. Troubled, Wotan surrenders the ring and sets Freia free. The giants, while dividing the treasure, fight over the ring and Fafner kills Fasolt. Wotan realizes the cursed ring has terrible power. At last, the gods prepare to enter their new home, which Wotan names Valhalla. Loge, who knows that the end of the gods is coming, does not follow the others into Valhalla; he is tempted to destroy them and what they have wrongly acquired. Far below, the Rheinmaidens mourn the loss of their gold. The curtain falls.

 

Performed at Teatro alla Scala, Milan, Italy

DetailsCastCrewSynopsisShowtimes

Conducted by Daniel Barenboim

Directed by Guy Cassiers

Starring René Pape

Sung in German with English subtitles

2 hrs 10 mins with no intermission

Part of Teatro alla Scala

 

René Pape (Wotan)
Stephan Rügamer (Loge)
Johannes Martin Kraenzle (Alberich)
Wolfgang Ablinger-Sperracke (Mime)
Hanno Müller-Brachmann (Fasolt)
Timo Riihonen (Fafner)
Katharina Kammerloher (Fricka)
Anna Samuil (Freia)
Anna Larsson (Erda)

Conductor: Daniel Barenboim
Staging and Sets: Guy Cassiers
Sets and Lights: Enrico Bagnoli
Costumes:Tim Van Steenbergen
Video: Arjen Clerckx and Kurt d'Haeseleer