Music & Concerts
SPRING ARTS 2016: classical music
Wide spate of genres represented in spring classical concerts


Out conductor Michael Tilson Thomas directing the San Francisco Symphony. They play the Kennedy Center on Saturday, April 16. (Photo courtesy Bucklesweet Media)
On Saturday, March 5 at 8 p.m., the National Symphony Orchestra, under the direction of Conductor Christoph Eschenbach, performs Prokofiev’s “Symphony No. 1,” “Symphony No. 5” and Bruch’s “Scottish Fantasy” at the Kennedy Center Concert Hall (2700 F St., N.W.). Tickets are $15 and as with all Kennedy Center performances, tickets are available at kennedy-center.org.
Also on the 5th at 8 p.m., the Baltimore Symphony Orchestra performs works by Bach and Brahms with several soloists and concert choir at the Music Center at Strathmore (5301 Tuckerman Lane, North Bethesda, Md.). They’ll also perform these works twice this weekend in Baltimore. Full details at bsomusic.org.
Every Friday at 12:15 p.m., free organ recitals are held at National City Christian Church (5 Thomas Circle). The church has one of the finest organs in the city and often attracts world-class performers. Out minister of music Rev. Michael McMahon programs the series. Details at nationalcitycc.org.
On Monday, March 7 at 8 p.m., the Vienna Mozart Orchestra performs at Strathmore. Tickets are $39-97.50.
On Thursday, March 10 at 7 p.m., the NSO performs works by Brahms and Liszt and the world premiere of “Opera Without Words.” The concert will feature Jean-Yves Thibaudet on piano. Tickets are $15. This program will also be performed at 11:30 a.m. on Friday and March 11, at 8 p.m. on Saturday, March 12.
On Friday, March 11 at 8 p.m., Baldwin Wallace University presents “Advance Always: a Celebration of Frank Battisti and Harwood Whaley” featuring the schools wind ensembles, the Arlington Diocese Congregational Choirs and more performing works by Strauss, Sousa and more. It’s in the Kennedy Center Concert Hall. Tickets are $25.
On Saturday, March 12 at 8 p.m., the BSO performs an all-Beethoven recital at the Strathmore. Tickets are $35-99.
On Monday, March 14, the Montreal Symphony performs works by Debussy, Prokofiev and Stravinsky at 7 p.m. in the Kennedy Center Concert Hall. Tickets are $50-120.
On Wednesday, March 16 at 8 p.m., Paul Jacobs returns for another organ concert in the Kennedy Center Concert Hall on the Rubenstein Family Organ. He’ll perform works by Bach, Brahms, Reger, Mozart and more. Tickets are $15.
On Thursday, March 17 at 7 p.m., the NSO performs works by Brahms and Beethoven in the Kennedy Center Concert Hall. Tickets are $15. This program will be repeated at 8 p.m. on Friday, March 18 and at 8 p.m. on Saturday, March 19.
On Sunday, March 20 at 7 p.m., Sir James Galway and Lady Jeanne Galway perform a flute recital at the Kennedy Center Concert Hall. Tickets are $30.
On March 16-17 at 7:30 p.m., “Generations: Poland,” a dance performance by Company E that got postponed because of the blizzard, will be performed at the Kennedy Center Family Theater. Tickets are $25-35.
On March 22-23 at 7 p.m., cellist Sharon Robinson and pianist Anna Polonsky perform the five sonatas for cello and piano by Beethoven along with other works in the Kennedy Center Terrace Theater. Tickets are $45.
On Thursday, March 24 at 7 p.m., tenor Javier Camarena and pianist Angel Rodriguez perform a recital of operatic selections in the Kennedy Center Terrace Theater. Tickets are $50.
On Saturday, March 26 at 2 p.m., pianist Joseph Moog performs works by Beethoven, Liszt and Tchaikovsky at the Kennedy Center Terrace Theater. Tickets are $48.
On Thursday, March 31 at 7 p.m., the NSO under the direction of Conductor Christian Macular performs works by Faure, Brahms, Debussy and more at the Kennedy Center Concert Hall. Violinist Nikolaj Znaider will also perform. Tickets are $15. This program will also be performed at 11:30 a.m. on Friday, April 1 and at 8 p.m. on Saturday, April 2.
On Thursday, April 7, the NSO performs works by Mozart and Mahler at 7 p.m. in the Kennedy Center Concert Hall. This program will be repeated at 8 p.m. on Saturday, April 9. Zanier will conduct and pianist Benjamin Grosvenor will perform. Tickets are $15.
On Tuesday, April 12 at 8 p.m., the Bavarian Radio Symphony Orchestra will perform in the Kennedy Center Concert Hall. Tickets are $60.
On Wednesday, April 13 at 8 p.m., cellist Yo-Yo Ma and pianist Emanuel Ax will perform several Beethoven cello sonatas at 8 p.m. in the Kennedy Center Concert Hall. Tickets are $60.
The NSO performs on Thursday, April 14 at 7 p.m. a concert or works by Barber, Bates and Ives with Hugh Wolff conducting and an appearance by violinist Anne Akiko Meyers at 7 p.m. in the Kennedy Center Concert Hall. This program will be repeated at 8 p.m. on Saturday, April 16. Tickets are $15.
On Saturday, April 16, the San Francisco Symphony performs works by Schubert and Mahler at 8 p.m. at the Kennedy Center Concert Hall. Michael Tilson Thomas, who’s openly gay, conducts. Mezzo Sasha Cooke and tenor Simon O’Neill will perform. Tickets are $55.
On Tuesday, April 19 at 8 p.m., violinist Hilary Hahn performs at the Strathmore. Tickets are $45-90.
On Sunday, April 24, the NSO performs “Lights! Canvas! Music!,” a family concert at 2 and 4 p.m. at the Kennedy Center Concert Hall. Tickets are $15.
Also on the 24th, violist Antoine Tamest performs suites and partitas by Bach at 7 p.m. in the Kennedy Center Terrace Theater. Tickets are $40.
On Thursday, April 28 at 7 p.m., the NSO performs works by Dvorak, Ravel and more at the Kennedy Center Concert Hall. James Gaffigan conducts. Storm Large and the Hudson Shad quartet will sing.This program will be repeated on Saturday, April 30.
Storm Large, known for her work with gay band Pink Martini, returns on April 29 at 9 p.m. for “Declassified: Cabaret of Sins,” a journey through the “crazy arc of love” and the seven deadly sins. Tickets are $39.
On Wednesday, May 4 at 8 p.m., out organist Christopher Houlihan will perform works by Bach, Franck, Vierne and more on the Rubenstein Family Organ at the Kennedy Center Concert Hall. Tickets are $15.
On May 5-7, the NSO performs works by Tchaikovsky and Shostakovich under the direction of Andrew Litton at the Kennedy Center Concert Hall. They perform again May 12-14 works by Elgar and Vaughan Williams under the direction of James MacMillian. Tickets are $15. Times and details at kennedy-center.org.
On Tuesday, May 10 at 7 p.m., violinist Itzhak Perlman and pianist Emanuel Ax perform works by Mozart, Faure, Strauss and more at the Kennedy Center Concert Hall. Tickets are $55-135.
On Sunday, May 22 at 4 p.m., pianist Simone Dinnerstein performs works by Glass and Schubert at the Strathmore. Tickets are $35-90.
Washington National Opera performs the first complete performance of Richard Wagner’s epic “Ring” cycle, a four-opera saga of gods and men, giants and dwarves starting in late April. “The Rhinegold” will be performed April, 30, May 10 and 17; “The Valkyrie” will be performed May 2,11 and 18; “Siegfried” will be performed May 4, 13 and 30; “Twilight of the Gods” will be performed May 6, 15 and 22. Tickets are $75 for each performance and are available here.
Legendary organist Diane Bish performs a recital at First Baptist Church of Washington (1328 16th St., N.W.) on Sunday, June 12 at 4 p.m. The church’s new Austin Organ is one of the city’s finest.
Music & Concerts
Here’s everything queer that just happened at the 67th Grammy Awards
LGBTQ megastars among winners, performers

The 67th Grammy Awards featured debut performances by LGBTQ megastars Chappell Roan, Sabrina Carpenter, and Doechii — all of whom also won awards at Sunday’s awards ceremony, making the gay sons and thot daughters of the queer and trans world rejoice.
Though Roan was the only queer artist to take home one of the “Big Four” awards — Best New Artist, Doechii, Carpenter, Charlie XCX, Billie Eilish, and Lady Gaga were also all nominated for one or more of the “Big Four.”
Carpenter, Roan, and Doechii also shocked audiences with their debut performances, showing us what it really means to be out and loud.
Doechii
The self-proclaimed swamp princess from Florida took home a well-deserved win for Best Rap Album (“Alligator Bites Never Heal”).
She stunned audiences with her performance and her speech, dedicating her win to Black women everywhere. Only two other women have won the award — Lauryn Hill and Cardi B since the category was introduced in 1989.
“I know there are so many Black women out there that are watching me right now and I want to tell you: You can do it. Anything is possible,” said Doechii during her acceptance speech.
Chappell Roan
Roan won the Best New Artist award, prompting her to whip out her notebook and deliver a speech about her struggles with the healthcare industry after getting dropped by her first record label radicalized her.
On the carpet, she served looks on the red carpet while delivering Jean Paul Gaultier vintage realness and thanking the trans girlies who made her who she is today.
“Trans people have always existed and they will forever exist. They will never, no matter what happens, take trans joy away and [they] have to be protected more than anything because I would not be here without trans girls,” said Roan on the red carpet.
She also served during her debut Grammys performance, turning Crypto.com Arena into the Pink Pony Club while dedicating the performance to Los Angeles — the city that embraced her when she wanted to break into the industry. She used her acceptance speech as her opportunity to shine a light on her journey toward becoming the icon she is today — and to no one’s surprise, it didn’t come easy to her.
Roan opened up about her struggles with healthcare and being dropped as an artist in L.A., leaving her without health coverage and scrambling for solutions. Seems like the healthcare system has radicalized yet another one.
St. Vincent
St. Vincent revealed that she has a wife and daughter during her acceptance speeches, thanking them after winning three Grammys for Best Alternative Music Album (“All Born Screaming”), Best Alternative Music Performance (“Flea”), and Best Rock Song (“Broken Man”).
During her red carpet interview, reporters asked Clark about the shocking news about her mentioning her wife and daughter, she responded “Most people were [unaware]. It’s young, so we’ve kept it under wraps.” The reporter then continued his line of questioning, meanwhile intrusive thoughts quickly got ahold of Clark, prompting her to interrupt the reporter to clarify that she meant the child is young, not the person in the relationship she’s in.
Girl, you’re good.
Sabrina Carpenter
Though Carpenter didn’t win any of the “Big Four” categories, she did win Best Pop Vocal Album for (“Short n’ Sweet”) and Best Pop Solo Performance for (“Espresso”).
According to E!, Carpenter’s acceptance speech was apparently censored, cutting her off after she said: “Thank you, holy sh*t, bye!”
The pop star was nominated for Record of the Year (“Espresso”), Song of the Year (“Please, Please, Please”), Best New Artist, Best Pop Vocal Album (“Short n’ Sweet”), Album of the Year (“Short n’ Sweet”), Best Remixed Recording (“Espresso – Mark Ronson x FNZ Working Late Remix”), Best Engineered Album, Non-Classical (“Short n’ Sweet”) — all within her first year as a record-releasing musician.
Charli XCX
Charlie XCX truly brought the brat energy to the Grammys with her performance of (“Van Dutch”), also taking home the wins for Best Dance/Pop Recording for (“Van Dutch”) and Best Dance/Electronic Album for (“Brat”).
Lady Gaga
Best Pop Duo/Group Performance went to Lady Gaga and Bruno Mars. Gaga used her acceptance speech to advocate for trans people stating that we all need love and to be uplifted.
“Trans people are not invisible. Trans people deserve love. The queer community deserves to be lifted up. Music is love. Thank you,” said Gaga.
No, thank you mother.
Last, but not least
It is also worth noting that our tried and true ally, Alicia Keys used her moment on the Grammys stage to advocate for the restoration of DEI initiatives.
“This is not the time to shut down the diversity of voices,” said Keys. “We’ve seen on this stage talented, hard-working people from different backgrounds, with different points of view, and it changes the game. DEI is not a threat, it’s a gift — and the more voices, the more powerful the sound.”
Music & Concerts
Gay Men’s Chorus starting the year with a cabaret
‘Postcards’ to be performed at CAMP Rehoboth

The Gay Men’s Chorus of Washington will perform “Postcards,” a cabaret, on Saturday, Jan. 18 at 5:00p.m. and 8:00p.m. at CAMP Rehoboth Elkins-Archibald Atrium.
In this performance, the choir will share hilarious and heart-warming stories and songs about the travel adventures they’ve had and hope to have. Songs include “Midnight Train to Georgia,” “Streets of Dublin,” “Magic To Do,” “Home,” and “I Left My Heart in San Francisco.” Tickets cost $35 and can be purchased on Camp Rehoboth’s website.
Music & Concerts
WMC’s ‘Comfort and Joy’ fuses drama, well-being, light
Soloist describes production as ‘reverent and beautiful’

‘Comfort and Joy’
Washington Master Chorale
Sunday, Dec. 22, 5 p.m.
Church of the Epiphany
1317 G St., N.W.
washingtonmasterchorale.org
With its warmth and unfettered imagination, it’s no surprise that the Washington Master Chorale’s enduringly popular winter program remains a holiday favorite.
This December the Washington Master Chorale (WMC), helmed by out artistic director Thomas Colohan presents “Comfort and Joy” a selection of British and American works like “Lute-Book Lullaby,” “I Saw Three Ships,” “Puer Natus” by Samuel Scheidt and “Hosanna to the Son of David” by Orlando Gibbons.
In addition to these Christmas classics, WMC will perform 2022 Florence Price Commission Winner Mason Bynes’s “Ephiphanytide” and Ēriks Ešenvalds’ “Northern Lights,” the firsthand accounts of arctic explorers Charles Francis Hall and Fridtjof Nansen and their experiences surrounding the fabled aurora borealis.
Described as “reverent and beautiful” by “Northern Lights” tenor soloist Opal Clyburn-Miller, “Comfort and Joy” fuses drama and well-being, and the import of light.
And as an artist who uses they/them pronouns, Clyburn-Miller says where classical music is concerned, “it seems people are put in their boxes and that’s where they stay.” They add, “there’s been some progress. It’s pretty much a traditional art form.”
With regard to their career, Clyburn-Miller, the Baltimore based Peabody Conservatory student, says the work usually comes through word of mouth: “You show up, you’re a good colleague and people want to work with you again.”
The solo piece, according to Colohan, is perfect for Clyburn-Miller. The soloist says in response: “Maybe I have the imagination to think of what Northern Lights might look like in Eastern Europe. I’ve never been that far north but I can put myself in that sense of wonder and astonishment.”
But the gig hasn’t been entirely without its tests. The lyrics are in Latvian, a new language for the meticulous singer.
“It’s been a bit tricky getting the Latvian down,” they say. “Usually in my singing experience, it’s been German, Italian and French, and I’m familiar with Spanish and some Hungarian and Russian, but this is entirely new.”
A perfect chorale venue requires easy parking; good acoustics; a concert level Steinway, and an excellent organ; a sanctuary wide enough to accommodate a 50-person chorale; and audience friendly loos, says Colohan.
The Church of Epiphany meets most if not all of these requirements.
Raised Catholic in Richmond, Colohan came out at Ohio’s progressive Oberlin Conservatory. Around this time, he remembers visiting Washington for a music educator’s conference and partying at JR.’s, Badlands, and other bars. He says, “I saw that D.C. had a huge population of clean-cut gay boys. That journey which started with me being gay, prompted me to ask questions.”
As WMC artistic director since 2009, Colohan, who lives with his partner in Silver Spring, became increasingly interested in secular poetry and literature, especially the ways in which it intersects with chorale music. For him, that became the heart of the art form.
“My secular approach is wider than some. I’m like the curator of the museum going down to the basement to bring some stuff up. You cannot hear the music if we don’t sing it.”
He’s remained conservative as an aesthetic but not an ethos. “I can wear a blazer and not be crazy right wing. Spiritually speaking, I’m Zen Buddhist now.”
A lot of the concert is about darkness and light. Colohan says, “In ancient times when the world became darker, the days leading to the solstice were scary and then on the 22nd they saw that days were getting longer and it was lighter.”
“Comfort and Joy” closes with a candle lit chorale memorably singing “Silent Night.”
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