Southern California local Gwen Stefani will kick off the Hollywood Bowl’s 2022 summer lineup, which marks the venue’s 100th such season. The June 3 in a program also featuring the L.A. Phil, led by musical director Gustavo Dudamel, the Los Angeles Philharmonic Association announced today.
The opening night event benefits the L.A. Phil’s learning and community programs and also highlights performances from ballet dancer Roberto Bolle, Grammy-winning saxophonist Branford Marsalis and dancing sisters group Let It Happen.
Also together for the first time will be members of both the UCLA Bruin and USC Trojan marching bands. The evening will begin with the world premiere of a new fanfare for orchestra, performed by the LA Phil, created by composer John Williams to mark the Bowl’s centennial.
The night concludes with a fireworks display.
Join us on June 3 for Opening Night 2022, a celebration of the Hollywood Bowl's first 100 years!
The opening night event benefits the L.A. Phil’s learning and community programs and also highlights performances from ballet dancer Roberto Bolle, Grammy-winning saxophonist Branford Marsalis and dancing sisters group Let It Happen.
Also together for the first time will be members of both the UCLA Bruin and USC Trojan marching bands. The evening will begin with the world premiere of a new fanfare for orchestra, performed by the LA Phil, created by composer John Williams to mark the Bowl’s centennial.
The night concludes with a fireworks display.
Join us on June 3 for Opening Night 2022, a celebration of the Hollywood Bowl's first 100 years!
- 3/15/2022
- by Tom Tapp
- Deadline Film + TV
Howard Shore on Judith Clurman and the Juilliard connection in casting Daniel Mutlu as the cantor in The Song Of Names: “He was able to learn the new piece and create the role with Judith's help. She was really instrumental in creating that scene. And particularly the congregation, so that the response was accurate.” Photo: Anne-Katrin Titze
In the second half of my conversation at Sony in New York with three-time Oscar-winning composer Howard Shore, we discussed what director François Girard wanted for the Paganini battle of the violins in The Song Of Names, performed by the 'great virtuoso' Ray Chen, the help from Brooklyn Heights Synagogue conductor and choral director Judith Clurman in the casting of the cantor played by Daniel Multu, and where in the film Shore used a chamber orchestra with ten male singers when he recorded the score with the Orchestre Métropolitain in Montreal.
Dovidl...
In the second half of my conversation at Sony in New York with three-time Oscar-winning composer Howard Shore, we discussed what director François Girard wanted for the Paganini battle of the violins in The Song Of Names, performed by the 'great virtuoso' Ray Chen, the help from Brooklyn Heights Synagogue conductor and choral director Judith Clurman in the casting of the cantor played by Daniel Multu, and where in the film Shore used a chamber orchestra with ten male singers when he recorded the score with the Orchestre Métropolitain in Montreal.
Dovidl...
- 12/26/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
“The Song of Names” is the kind of mediocre Holocaust drama that used to be taken more seriously in the 1990s, partly thanks to the Weinstein brothers and Miramax.
Director Francois Girard (“The Red Violin”) and screenwriter Jeffrey Caine’s adaptation of Norman Lebrecht’s novel is full of empty gestures and banal observations about remembrance and family, most of which flop because of wooden performances and trite dialogue.
Girard’s direction, as well as some star charisma from co-leads Tim Roth and Clive Owen, both give the movie enough emotional resonance to keep afloat its bland narrative — about the 35-year-long search for a missing Jewish violinist prodigy — but there’s no urgency or mystery to the movie, nor any compelling reason to care about its characters beyond a general hope that they’ll ultimately discover something true and/or moving about Judaism, music, and genocide. They do not, though...
Director Francois Girard (“The Red Violin”) and screenwriter Jeffrey Caine’s adaptation of Norman Lebrecht’s novel is full of empty gestures and banal observations about remembrance and family, most of which flop because of wooden performances and trite dialogue.
Girard’s direction, as well as some star charisma from co-leads Tim Roth and Clive Owen, both give the movie enough emotional resonance to keep afloat its bland narrative — about the 35-year-long search for a missing Jewish violinist prodigy — but there’s no urgency or mystery to the movie, nor any compelling reason to care about its characters beyond a general hope that they’ll ultimately discover something true and/or moving about Judaism, music, and genocide. They do not, though...
- 12/23/2019
- by Simon Abrams
- The Wrap
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