Booth hopes that the program will continue to prove Houston’s cultural excellence to go along with the city’s reputation as a home to global business innovators.
In Kinetic’s collaborative model, each of the 16 musicians in the conductorless string ensemble brings his or her creative voice to the table, to the rehearsal space, and to the concert stage.
The Houston Symphony’s new music director, Juraj Valčuha, acknowledged that opening the season with a requiem may strike some as “a strange idea.” But Giuseppe Verdi’s Requiem is no ordinary setting of the mass for the dead.
When the Apollo Chamber Players made its debut, grand visions of the future had nothing to do with it. The quartet, violinist Matthew Detrick recalls, had one simple goal: “to do that first concert.”
When one of Houston’s most acclaimed poets, Deborah D.E.E.P Mouton, set out to interview the city’s most legendary dancer, Lauren Anderson, she didn’t have a fully-formed creative objective.
After a performance season filled with joyful starts, heart-breaking cancellations and casting understudies for the understudies when positive COVID tests rolled in, Texas theater companies have endured much real life drama to make the leap back to live performances.
Ars Lyrica is picking up right where it left off. After closing last season with the poignant finish of Henry Purcell’s Dido and Aeneas, Houston’s baroque ensemble will launch its 2022-23 season with another helping of the melancholy, gently dissonant harmony that bears Purcell’s trademark.
In Artistic Director Sarah Rothenberg’s mind, a quintessential DACAMERA season must have a balance of beloved masterpieces performed by great musicians from the classical world, and fantastic jazz of varying styles that reflect the ever-widening genre.
English Baroque composer Henry Purcell’s Dido and Aeneas, his only true opera, is an indisputable masterpiece and one of the most beloved operas in the repertoire.