Sitting at a red light in Houston, behind a Range Rover with an “I [red cube] Marfa” (like I [heart] NY) bumper sticker, I’d say Marfa’s myth is at peak mythology.
In the liner notes for an upcoming CD on GRM, Paris, composer Hans Tutschku - Professor of Music at Harvard University - defines the listening ritual as, “listening […] without doing anything else – just diving into the sound world and letting all inner images and imaginations flow.”
When the Fort Worth Opera Festival unveiled its plans for this year’s edition, the repertoire included a milestone: the company’s first staging of Das Rheingold, the opening of Richard Wagner’s four-part The Ring of the Nibelung.
When I was assigned this story, editor-in-chief Nancy Wozny advised me to think of “Allison Orr as a daughter of Ted Shawn in that she is interested in the movement of work … she doesn't use dancers, but people.”
Ripple, on view at Cherryhurst House through Jan. 1, 2019, is the latest and perhaps the most ambitious deconstruction/transition project by the Houston-based artist collective Havel Ruck Projects.
The Tony Award-winning musical Memphis tells a rollicking story of the dawn of rock ’n’ roll in the segregated south that rejects black and white simplicity.
When the Rolston String Quartet first flashed onto Chamber Music Houston’s radar screen, the young ensemble was quartet-in-residence at Rice University’s Shepherd School of Music.