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Bravo!
Worshipping A Baptist church service is often a raucous affair, full of passionate singing and powerful warnings, fire and brimstone. So it seems fitting that Jim and Ginevra Ralph would set up shop to promote music and culture in a setting that was once a place of worship. Through The Shedd Institute for the Arts, they continue their own sort of worship in the former First Baptist Church at 868 High St. Except theirs is a worship of creativity, collective spirit, collaboration and the drive to see downtown Eugene live up to its now-official slogan, Eugene: The Worlds Greatest City of the Arts and Outdoors.
When the Ralphs founded the Oregon Festival of American Music (OFAM) 14 years ago, it was primarily a summer festival to showcase classical pops music. Most of Eugenes classical companies formed decades earlier and in Jim Ralphs own OFAM was very, very late in the game. But that gave the organization, which recently changed its name to The Shedd Institute for the Arts, one big advantage: the opportunity to fill the very large void left by the existing companies that were then, and still are, focused on classical music. By its very definition and mission, The Shedd brings inherently diverse music and performers to Eugene. It has defined itself as the only organization in town, aside from the UO, that brings in top tier performers of world music, jazz, country and many other genres. Smaller venues such as Luna, DIVA and even Cozmic Pizza help to improve the diversity of shows coming through as well, but they dont have big enough venues to court the expensive first-rate performers. And its no secret that the venues that do have that kind of clout focus on other types of music.
In this society, its OK to be a cultural bigot, Ralph said as he walked through the labyrinth of hallways and levels of the sprawling 65,000 sq. ft. building. Not only do we tolerate it, we encourage it. There is a bigotry that arises, and institutions actually cultivate that. There are clear exceptions to this, of course, but because of the very nature of the art form, music tends to be pretty closed. One problem with traditional arts groups is that their very mission statement assumes limited access. What we were trying to do [when we founded OFAM] was create an institution that, in philosophy and attitude is open, to emulate that characteristic you find in some people who approach the world with a generosity of spirit. One of the things Ralph is clearly the proudest of is the American Music Institute. With more than 400 music students ages 2.5 on up to elder hostelers, kids and adults mix together in classes studying everything from vaudeville to cello to rock. Summer camps, pre-school programs and after school programs help take up the slack as public schools slash and hack their arts programs in desperate budget cuts. When Ralph starts talking about opening up the arts to more people and teaching kids to play music, a side of him few see comes out. Gesturing with his hands for emphasis, his gaze intensified as he talked about inclusion in the music programs. I had one public school teacher tell me that they didnt want mentally disabled kids in their music class because they would ruin the performance, he said with a scathing emphasis on the last three words. Music is the only place you could do that. Even in sports theres a place for that fat kid who cant run very fast. You might not be on the best team and you might have to sit on the bench, but you still get to be part of it. What were trying to do is create an institution thats not a monastery. A big step toward realizing that dream was purchasing the High Street building in 2001. When we moved in here everyone thought we were crazy, Ginevra Ralph said. But the minute we did, everybody stopped asking all those questions. Why are you doing all these different kinds of music? I dont get it, whats up with the music school. When we bought this building, those questions stopped. And people have fallen in love with hearing live music in this setting. They understand now that its a different experience, sitting in that room and having your bones vibrate when the bass plays, or to be able to sit with your arms around someone, or have the kids lie down. Its not precious, its comfortable.
And while many people think of The Shedd as just the acoustically gorgeous chapel where the big acts perform, it was the music programs and the general mission of The Shedd that motivated Robin and John Jaqua to donate $1 million to help The Shedd Institute for the Arts buy the building from the Ralphs, who currently own it. Now that amazing chapel is called the Jaqua Concert Hall. Shedd is a home for the arts and for education, for senior citizens and summer camps, music and so many different things, said Robin Jaqua, adding that her granddaughter went to one of the summer camps this year. I know its important to get the music back in schools but in the meantime, this has served an important purpose. She also emphasized that she sees The Shedd as an integral piece in revitalizing Eugenes downtown core. But with so many other organizations in town scrambling to make ends meet, the question hanging in the air has been, why so much to one organization? The Hult Centers been here for 10 years and they didnt do it, John Jaqua responded. Neither have any of the others. They dont have the facilities to provide instrumental and group lessons, to put on these kinds of programs. Theres nothing else in town that even comes close to presenting the artists and music that can inspire them [kids and local musicians] to reach the potential in their hopes if they have them. Violin
Virtuoso One of the best things to happen to music in the 20th century was musicians increasing use of the instruments, tunings and styles of the period in which Western classics were written. Building on years of scholarly research in unearthed ancient manuscripts and performance treatises, a group of young instrumentalists discarded decades or even centuries of accreted anachronisms: bloated orchestras appropriate for Tchaikovsky or Mahler that made Baroque and classical music sound clotted and ponderous; industrial age, equal tempered tunings that robbed pre-20th century music of the mood-shifting nuances intended by great composers like Bach or Vivaldi; plodding, overwrought, performance styles that destroyed the delicate, transparent balances among instruments and players and brisk tempos that make pre-Romantic music - heard as its creators intended - sound so appealing, even to listeners who grew up on rock or jazz or pop. Suddenly, hitherto lumbering classics like the Four Seasons and Brandenburg Concertos sounded as lively, fresh and adventurous as they had when they were written. Unfortunately, the first generation of period-instrument performers often lacked the sheer technical skills of the finest virtuosos. And in their admirable desire to strip away inappropriate Romantic excess, they sometimes overcompensated, producing tight-lipped music that sounded too austere, too thin, even too out of tune. Not to engage in cultural stereotyping or anything, but much of the greatest music of the 17th and 18th centuries came from or was inspired by Italy and demanded passionate interpretation. Enter the next generation of historically informed performers, equipped with the latest scholarship that revealed how to play with passion in the style appropriate to the period, which sounded nothing like the angst of Beethoven or Scriabin. And they had the chops to execute those virtuosic moves. Most of all, they restored a crucial element of Baroque practice: improvisation. Not jazz as we know it, but leaving a lot more room for interpretation than the bare-bones scores would indicate. The musician who best embodies those qualities of scholarly knowledge, improvisatory quick-wittedness and virtuosic skills is Andrew Manze, an awesome fiddler whos been compared to jazz violinist Stephan Grappelli for his elegant to ferocious improvising. But I think a better comparison is Jimi Hendrix, not just because they share assertive sound and sheer power, but because they expanded the possibilities of their instruments in a musically (and in Manzes case, historically) appropriate way. Even jazz fans jaws will drop at his melodic and harmonic excursions. Manze has been a leader of two of the most prominent and accomplished period instrument groups, the Amsterdam Baroque Orchestra and Academy of Ancient Music, and now has taken over perhaps the finest: the English Concert, directed since its founding 30 years ago by harpsichordist Trevor Pinnock. They combine the virtues of authentic performance style and robust interpretation that previous generations missed. The ensemble appears at the UOs Beall Concert Hall on Sunday, Oct. 30, and anyone who thinks classical music is too heavy, too boring, too stuffy should join the fans who already know just how rich, energetic, and downright exciting 18th century music can be - when its played the way the composers intended, by musicians who can do it right.
Behind
the Scenes When Kirk Boyd first started Willamette Repertory Theatre nine years ago, he had no idea how hard it would be to run a successful theater that uses equity (paid union) actors in Eugene. Now in its seventh season, Boyd is finally starting to see all the hard work pay off. Last year Willamette Repertory reached its profit goals on every show for the first time in the companys history. I just finished working with a consultant on a long-range plan, he said. Im allowing myself to dream a little bit, which is not something Ive been able to do since I started. Its just been left foot, right foot since the beginning.
A native Eugenean, Boyd started his career here working with the Oregon Repertory Theatre before he was hired by Ashlands Oregon Shakespeare Festival. In his bio, he states that founding Willamette Rep was the fulfillment of a 30-year dream. While the success Boyd dreams of, performing four or five shows a year to a packed hall, may be slower in coming than he hoped, people whove worked with him say that if anybody out there can make it work, its Kirk Boyd. Kimberly Barry, production stage manager for the Oregon Shakespeare Festival, worked with him for many years and watched his steady progression up the ladder of that organization. He went from being a non-union stage manager to being a director at the largest professional Shakespeare theater in America, she said. That progression shows how insightful he is. Hes able to look at the big picture. Hes so creative because hes been an actor, but hes also able to step into the position of director. He does the show part of show business and the business side of show business. Its very rare for someone to have both of those qualities. Boyd is looking forward to the seventh season, commenting that the hardest and most enjoyable part of his job is picking the upcoming plays for each year. For me, its all about balance, new plays with old plays, contemporary issues with time-tested issues, balancing good roles for men with good roles for women. And of course that all has to fit within the framework of the budget. So whats he excited about in upcoming season? Well, Im excited about all of them for one reason or another, he said. I hope that the plays weve chosen this year will generate the kind of word of mouth [Always] Patsy Cline and You Cant Take It With You did last year. We need that support from the community.
A
Stitch for the Stage Actors Cabaret of Eugene is one of the busiest community theaters in the area, producing roughly 14 shows per year, so one might be curious, with all those productions, just how many costumes have they actually accumulated over the years. Well, lets do the math: ACE has been putting on shows for 27 years; 14 shows per year with approximately 20 costumes per show; 280 costumes per year - thats a whopping 7,560 costumes! Joe Zingo, who runs ACE with Jim Roberts, is a former Sheldon High School art and drama teacher. He not only often directs shows at ACE, but also coordinates the costuming for each and every show and says that currently they stock around 3,000 costumes. In the backstage area, several dressing rooms overflow with costumes and accessories including exquisite French gowns and corsets, feathered headdresses and shoes. Its a mishmash of eras in which items are assembled and disassembled, swapped and recycled. Overhead, neatly arranged and labeled on shelves, are boxes upon boxes reaching clear to the ceiling.
Eventually were going to try renting costumes online because every show weve done has been packed, Zingo says. Theyre all boxed; theyre all stored. The only time that I go into those shows is if I need to do the same kind of period, and then Ill cannibalize them, pull the costumes out, use them for the present show, and then stick them back in. Each show presents a unique set of costuming challenges, and though many costumes can be culled from their existing stock, a good portion of them were conceptualized, designed and sewn entirely by Zingo himself. For instance, just for ACEs production of Beauty and the Beast, Zingo sewed an astounding 150 costumes. Equipped with five sewing machines (two sergers and three straight stitch - one of which is his favorite, a rugged and reliable, 25-year-old Sears Kenmore), two commercial, heavy duty irons and several steamers, Zingo has streamlined the sewing process with assembly-line efficiency. When I cut costumes, I usually cut them all at once, and then I sew them all at the same time, he says. I can go from one machine to another to another without changing the thread. I used to have to do that before I had all the machines. Combining his ability to sew with an artists eye, Zingo drafts many of his own patterns. Hes also careful to preserve their collection of authentic period costumes, which can only be used onstage for dramas or comedies without a lot of action and costume changes that could damage the delicate vintage material. The costumes that are ripe, that we cant use anymore, I will meticulously take apart and draft a pattern. He creates his own original designs as well, and has also come up with a few ingenious tailoring inventions, such as a comfortable corset for women or using a baseball cap as a base for a chic headdress. When it comes to fabric, Zingo believes in buying local. Jim [Roberts] and I believe in benefiting our local economy, he says. All of our lumber; everything that we can possibly buy locally, well buy. Unfortunately, because people dont sew as much as they used to, hes found the selection in the local fabric stores lacking. Hence, whenever hes in New York, he goes on a fabric shopping spree. I dont like doing it, he says. But you know when you have a theater that operates through ticket sales, you need to go where the best buy is. It doesnt mean the fabric is any better; it just means you have more options. In addition to buying fabric, Zingo also trolls the local thrift shops for bargains. When you do 14 shows a year and half of those are brand new shows that you have to build costumes for, you are constantly buying. St. Vincent de Paul, Salvation Army, Value Village - we are their best friends. Conversely, ACE gladly returns the favor. We take truckloads of costumes and clothing to Goodwill, he says. We give about eight or nine boxes and we spread them around town. We buy from every place, so we figure, lets return them. Additionally, every two years or so, ACE opens its doors to the public for a colossal costumes and props sale. So, of all of those 7,560 costumes, which ones are Zingos favorites? Hands down, he says, it has to be the French, Louis the 14th costumes from Dangerous Liaisons. I love those. I loved learning how to make them; understanding how to put a human in one of those costumes. Finally, what would live theater be without a few wardrobe malfunctions? According to Zingo, although none has ever eclipsed the magnitude of Janet Jacksons SuperBowl disaster, there was the pregnant actress whose costume had to be let out weekly to accommodate her expanding waistline. But probably the funniest story comes from the recent production of Beauty and the Beast. During a dance number, one of the dancers took a dance step and the whole crotch ripped out of his pants. He had to finish the entire scene that way. You never have a show where there isnt something that you have to fix, he said.
Crme
de la Crme Dance A-Laska Dance Ballet Fantastique: Mosaico de Danza BREAK! The Urban Funk Spectacular Dance Theatre of Oregon: LCCs Fall Collage Dance Concert En Masse Arts Ensemble: Domain Eugene Ballet Company: Giselle The Nutcracker Phenomenon Hip Hop: Explode! White Bird Series, Portland ZAPP Dance: S.U.R.G.E. II MUSIC This overview of the fall music scene focuses on major institutions like the symphony, UO, The Shedd and so on. For information on other perform-ances in clubs and elsewhere, check EWs calendar and music columns every week. Eugene Concert Choir & Eugene Opera Eugene Symphony Oregon Mozart Players The Shedd Jazz and bluegrass fans, as well as anyone who values progressive acoustic music, will want to hear banjo virtuosa Alison Brown on Oct. 27. Like Bela Fleck, the former Union Station member proves that a traditional instrument doesnt have to stay mired in traditional tunes. And Japanese performance artists/parallel-world electricians/noisemakers Maywa Denki should really catch the ears of the towns most adventurous listeners on Nov. 18. University of Oregon Guest artist William Chapman Nyahos Nov. 15 piano recital features music of the African diaspora; his recent CD includes composers from Jamaica, Nigeria, Ghana, Britain, Egypt, and - oh yeah - the USA. Piano fans might also go for Emily Whites Oct. 9 recital. Several dynamic duos look promising: the saxophone and piano pair of Otis and Haruko Murphy on Oct. 13, the harp and flute duo of Laura Zaerr and Nancy Andrew playing otherworldly music on Oct. 25, and the cello and piano twosome of Steve Pologe and David Riley on Nov. 20. If you want a good overview of the UOs premier music groups, check out the Spirit of Oregon concert at the Hult Center on Nov. 13.
Theater Actors Cabaret of Eugene Corvallis Community Theatre Cottage Theatre Lane Community College Theatre Lord Leebrick UOs Robinson Theatre Very Little Theatre Willamette Repertory Theatre
One
Night Only Eugene, The Worlds Greatest City for the Arts and Outdoors, seems to have a whole lot of inner-tubing and disk golf in the summer months, and sure, music is pretty easy to come by, as are galleries and a few museums. But dance? One can almost imagine tumbleweeds whisking across any of the stages in town during these dry and dusty dance-free days. Note to companies, producers and city planners: How bout some dance in the parks next year? Ill bring the guacamole. But take heart: Rain is on its way in the thunderous performance by one of the Northwest regions hottest young companies, A-Laska Dance. Hailing from Portland, A-Laska brings parched dance fans a tall drink with choreography by Polish-born Agnieszka Laska and music by New Zealander flutist Tessa Brinckman. Their collaborative dance-theater efforts have been heralded throughout the west as irreverent, ambitious and mythological. Walking the line between modern and classical, their work is at once rooted in indigenous music, Polish folk skits and formal theater. Joining A-Laska Dance on stage are Brinckman and one member of her performance group, East West Continuo. As movement plays out, guest cellist Adam Esbensen offers Bachs dazzling Suite No. 6. Koto-player Mitsuki Dazais accompanies on her Japanese harp with Tomas Svobodas delicate Autumn. Brinckman herself, on alto, C flute and piccolo, fleshes out the performance with Jack Gabels Through a Gentle Rain. Its a simple pleasure, pairing live music and dance, but it happens all too infrequently, especially in the age of canned music. But doesnt memorable performance sometimes demand the wonderment of the real? Some of the best theater Ive seen takes the simplest form: People making, presenting and watching new art unfold. Performances are one night only, Oct. 26, at the WOW Hall with two
shows, back-to-back at 7 and 8:30. Tickets are $10 general seating,
available at the door.
Spectacle
For The Ages The stereotypes surrounding opera are many, and most of the time downright laughable. The lead soprano must be obese and have blonde braids. At least 12 people in the audience have to fall asleep during the performance. Someones eyeglasses are bound to shatter from the rogue high note. But at least one of the stereotypes is accurate: The operas breathtaking set design and scenery will more often than not be the highlight of many a concert-goers night.
Even if youre not a Rossini connoisseur, or havent the slightest idea who Rossini might be, you can still enjoy a night at the opera due to the spectacle. Historically, opera was first performed as a kind of highly commissioned talent show for royalty and people of high status. But even if the singers were the most talented in the land, and the composer one of the most revered, if the costumes and scenery werent up to par, the opera was generally considered a failure. As opera moved out of sterile palaces and started to gain popularity among middle class citizens, the vocal and compositional elements of opera began to edge their way into a more permanent indicator of a particular operas value. But one thing still remained the same: The costumes and set design had to be lavish and aesthetically superb. Fast-forward to the present time and place. Its evident that Eugene residents like their dose of cultural music; for a city of our size to have a successful symphony, ballet and opera is, sadly, a rare occurrence. This season, the Eugene Opera is staging two performances: Rossinis classic The Barber of Seville and Humperdinks morbidly fascinating Hansel and Gretel. And although the vocal and compositional elements are important to putting on a good show, the folks running the show at the Eugene Opera realize the importance of set and scenery in making the productions truly successful. The Barber of Seville will be the first opera of the season, and Production Manager Jim Bradford says that the design process for the sets started over the summer. Although actual construction on pieces of the set wont begin until a few months before the show, the designs are in the works up to a year beforehand. For The Barber of Seville, Bradford says the Eugene Opera is planning to rent much of the set and scenery - such as Italian Renaissance style paintings - from a company based out of New York. Artistic Director and Conductor Robert Ashens says that its standard for some operas to rent or borrow sets for a portion of the season. For Barber were going to rent some of the set, but that means that other material goods like props come from local resources, Ashens says. He added that things like glasses or a chandelier for a ballroom scene could even be taken from a friends home if they have the right stage look. For the production of Hansel and Gretel, the Eugene Opera is bringing in renowned designer Don Carson to take charge of the set and scenery plans. As artistic director, I get an idea about what would be interesting to see onstage, Ashens says, and then I contact Don Carson and see what he can do with it. The scenery and staging of Hansel and Gretel will be more modern and fanciful than the traditional beauty of The Barber of Seville. Ashens and Carson plan to draw on the folklore of the fairy tale, while giving the characters and props more of a psychological significance than implied in the simple childrens story. In one of the scenes Hansel is locked in the witchs cage so he fattens up, Ashens explains. But we [Ashens and Carson] got to thinking How about every time you see the cage its not something that is rolled across the stage, but elevated from the ground? What does the padlock look like? The gingerbread people, the door of the house, the cage, the oven, all have a subliminal representation. Ashens also says that instead of outfitting the witch as the often seen green monster with a gnarly face, the witch will be costumed as a plump and sickly-sweet grandmother type who lures the children in with her supposed kindness. To me, thats even scarier, Ashens says. Although the two productions will have very different types of scenery, expect a stunning visual experience at both productions. As for the vocal and compositional elements, well, it goes without saying theyll be splendid. But if youre one of those 12 who might fall asleep, or one who expects to see a buxom blonde belting out some serious ear-splitters, maybe youd better pick up a copy of Opera For Dummies just in case. Calendar Dance All That! Dance Company 688-1523 www.allthatdancecompany.com Jan. 21 Tea With Tights Dance Theatre of Oregon 689-5189 www.dtodance.org Sept. 24 The Steadfast Tin Soldier, others (Tillamook, Ore.) Oct. 26 Arts Northwest Booking Conference (Hult Center) Oct. 27 & 28 LCC Fall Collage Dance Concert (Performance Hall, LCC) Dec. 4 The Twelve Days of Christmas with Eugene Concert Choir (Hult Center) Feb. 10 & 11 SOS Cabaret Exhibit 2b (Lord Leebrick Theatre) DIVA www.divanow.org Oct. 21 & 22 En Masse Arts Ensemble: Domain Elsinore Theatre, Salem 503-375-3574 www.elsinoretheatre.com Nov. 5 Rainbow Dance Theatre Nov. 21 Csrds: Tango of the East Nov. 25 Eugene Ballet Company: The Nutcracker Eugene Ballet Company 485-3992 www.eugeneballet.org Tickets: 682-5000 Performances at the Hult Center Oct. 8 & 9 Giselle Dec. 16-18 The Nutcracker Feb. 25 & 26 The Princess and the Pea May 6 & 7 Performances with Pink Martini Florence Events Center 997-1994 www.eventcenter.org Oct. 28 Body Vox Hult Center 682-5000 www.hultcenter.org Oct. 15 Ballet Fantastique: Mosaico de Danza Nov. 12 Phenomenon Hip Hop Company: Explode! Nov. 18 & 19 ZAPP Dance: S.U.R.G.E. II Nov. 29 BREAK! The Urban Funk Spectacular Jan. 22 Martha Graham Dance Company Lane Community College Dance Department www.lanecc.edu Tickets: 463-5202 Performances at Performance Hall Oct. 28 & 29 Fall Collage Dance Concert Jan. 27 & 28 Collaborations May 20 & 22 The Works Student Dance Concert May 11-13 Spring Dance Concert Musical Feet 485-2938 www.musicalfeet.com Jan. 28 Winter Showcase (Agate Auditorium) April 8 Spring Showcase (Agate Auditorium) June 17 & 18 Final Student Concerts (Hult Center) Oregon Coast Ballet Company Tickets: 265-ARTS Performances at the Newport Performing Arts Center Dec. 16-18 The Little Nutcracker UO Dance Department dance.uoregon.edu Performances at Dougherty Dance Theatre Nov. 11 & 12 Gabriel Masson and Linda K. Johnson Nov. 30 Dance Quarterly Dec. 2 Fall Term Loft WOW Hall 687-2746 www.wowhall.org Oct. 26 A-Laska Dance MUSIC Chamber Music Corvallis www.violins.org Tickets: 757-0902 Performances at LaSells Stewart Center, OSU Oct. 10 Quartetto Gelato Nov. 2 Vienna Piano Trio Jan. 11 Pacifica Quartet Berlin Feb. 21 Debussy Quartet March 8 Szymanowski Quartet April 5 Peabody Piano Trio Corvallis/OSU Symphony Orchestra 758-3052 www.symphony.peak.org Performances at LaSells Stewart Center, OSU Oct. 13 Mozart, Overture to The Marriage of Figaro; Beethoven, Piano Concerto No. 4 (with Andreas Klein, pianist); Schumann, Symphony No. 3 Nov. 20 Rossini, Overture to The Barber of Seville; Rachmaninoff, Piano Concert No. 1 (with Alexander Tutunov, pianist); Dvorak, Symphony No. 9: The New World Dec. 4 Holiday Favorites, with OSU Choirs Feb. 12 Smetana, Overture to The Bartered Bride; Brahms, Piano Concert No. 1 (with Craig Sheppard, pianist); Shostakovitch, Symphony No. 9 March 10 Verdi, Overture to Nabucco; Schumann, Piano Concerto (with Rachelle McCabe, pianist); Sibelius, Symphony No. 2 May 23 Nielsen, Overture to Act III Saul and David; Greig, Piano Concerto (with Per Tengstrand, pianist); Brahms, Symphony No. 1 Corvallis Youth Symphony Association 752-9343 www.cysassoc.org Dec. 11 Winter Concert (LaSells Stewart Center) Feb. 4 CYSA with Pink Martini (CH2M Hill Alumni Center) April 30 Young Artists Concert (LaSells Stewart Center) Aug. 15 Mondays at Monteith Concert (Monteith RiverPark, Albany) Elsinore Theatre, Salem 503-375-3574 www.elsinoretheatre.com Oct. 11 Roberta Flack Oct. 16 Rob Richards & Ralph Wolf Nov. 13 Riders in the Sky Nov. 19 Festival Chorale Oregon: Great Opera Choruses Nov. 26 Michael Allen Harrison with Julianne Johnson Dec. 2 The Trail Band Christmas Dec. 15 Sprague High School Choir Holiday Concert Dec. 24 Tuba Christmas March 16 The Celtic Tenors March 26 Lew Williams May 20 Festival Chorale Oregon: An Evening with Cole Porter & Gershwin Eugene Concert Choir 687-6865 www.eugeneconcertchoir.org Tickets: 682-5000 Performances at the Hult Center unless noted Oct. 29 & 30 Haydn Lord Nelson Mass Dec. 4 An Old-Fashioned Christmas Feb. 25 Contemporary Sounds March 11 Misa Gaia with the Paul Winter Consort April 8 Renaissance and Romance (The Shedd) April 22 Dona Nobis Pacem Eugene Opera 485-3985 www.eugeneopera.com Tickets: 682-5000 Performances at the Hult Center unless noted Oct. 21 Belle Voci Competition and Concert (Beall Hall, UO) Oct. 23 Belle Voci Competition and Concert Dec. 30 & 31 Barber of Seville Feb. 3 & 4 Hansel & Gretel Eugene Symphonic Band www.eugenesymphonicband.org Performances at Beall Hall unless noted Nov. 1 Fall Concert Feb. 6 Winter Concert March 11 Oregon Adult Band Festival (Performing Arts Center, LCC) May 8 Spring Concert July 4 Independence Day Concert (Washburne Park) Eugene Symphony www.eugenesymphony.org Tickets: 682-500 Performances at the Hult Center Sept. 22 Opening Night: Debussy, Prelude to an Afternoon of a Faun; Rachmaninov, Rhapsody on a Theme of Paganini; Mussorgsky, Pictures at an Exhibition Oct. 20 Webern, Variations for Orchestra; Walton, Viola Concerto (with Nokuthula Ngwenyama, viola); Holst, The Planets Nov. 17 Winter Dreams, with pianist and guest conductor Ignat Solzhenitsyn: Mozart, Overture to La Clemensa di Tito and Piano Concerto No. 19; Tchaikovsky, Symphony No. 1, Winter Dreams Jan. 19 Glass, Facades, from Glassworks; Mozart, Violin Concerto No. 5 (with Martin Chalifour, violin), Turkish; Stravinsky, The Rite of Spring Feb. 9 Haydn, Symphony No. 100, Military; Brahms, A German Requiem (with the Eugene Symphony Chorus) March 16 American Legends: Bernstein, Three Dance Episodes from On the Town; Gershwin, Concerto in F; Copland, Suite from Billy the Kid; Gershwin, Rhapsody in Blue (with Kevin Cole, piano) April 27 With Carlos Miguel Prieto, guest conductor: Beethoven, Egmont Overture; Schubert, Symphony No. 5; Revueltas, Suite from Redes; Liszt, Les Prludes May 18 Season Finale: Raise the Roof: Michael Daugherty, featured composer-in-residence, Raise the Roof, Route 66 and Red Cape Tango, Desi; Shostakovich, Symphony No. 1 Special events for subscribers: Oct. 17 Itzhak Perlman 40th Anniversary Celebration Dec. 10 Handels Messiah Dec. 22 Yuletide Celebration Florence Events Center 997-1994 www.eventcenter.org Sept. 30 Flo-Tones Concert Oct. 7 Emerald City Jazz Kings: Taint What You Do (Its the Way Howcha Do It) - Black Dance Bands of the 1930s and 1940s Nov. 18 Marc Olivia Dec. 4 Oregon Coast Chamber Orchestra Dec. 11 Community Chorus Christmas Concert Dec. 16 Misty River Christmas Concert Jan. 20-22 Winter Folk Festival Jan. 21 Randy Sparks and the Minstrels Jan. 22 John Denver Tribute Concert Jan. 25 Cantabile Feb. 15 George Winston Feb. 17 Jeri Fleming Trio March 10 Emerald City Jazz Kings: Days of Wine and Roses: Songwriters After the Rock Revolution March 17 David Kaplan May 12 Emerald City Jazz Kings: Harry and Hoagy: What a Pair! Heart of the Valley Childrens Choir, Corvallis www.hvcchoir.com Performances at LaSells Stewart Center, OSU, unless noted Sept. 24 Fall Festival (Presbyterian Church) Dec. 6 Festival of Lights (First Presbyterian Church) Dec. 10 Holiday Concert March 12 Spring Concert June 4 Elizabeth Powell Scholarship Concert Hult Center www.hultcenter.org Tickets: 682-5000 oct. 12 Anne Murray nov. 14 Bonnie Raitt Jan. 28 Leahy! March 22 Nrityagram April 15 Harlem Gospel Choir Lane Community College www.lanecc.edu Tickets: 463-5202 Performances at Performance Hall unless noted Oct. 14 Music Faculty Concert Nov. 20 Lane Chamber Orchestra (Newman Center) Nov. 22 Lane Symphonic Band Nov. 29 Concert & Chamber Choirs & Spectrum Vocal Jazz Dec. 2 Lane Jazz Band & Spectrum Vocal Jazz Jan. 14 Music Faculty Concert (Blue Door Theatre) Jan. 20 & 21 Oregon Jazz Festival Concerts March 9 Lane Symphonic Band March 14 Chamber & Concert Choirs March 17 Spectrum & Jazz Band March 19 Lane Chamber Orchestra (Newman Center) May 9 Faculty Jazz Concert (Blue Door Theatre) May 16 & 18 Vocal Jazz Invitationals May 31 Lane Jazz Band & Guests June 1 Lane Symphonic Band June 4 Lane Chamber Orchestra (Newman Center) June 6 Choirs & Spectrum Vocal Jazz June 9 Jazz Combos (Blue Door Theatre) LaSells Stewart Center, Corvallis 737-2402 oregonstate.edu/lasells/events.html Oct. 8 Emerald City Jazz Kings: Taint What You Do (Its the Way Howcha Do It) - Black Dance Bands of the 1930s and 1940s Oct. 15 United Way Benefit Concert with Reggie Houston, Charmaine Neville and Amasa Miller March 11 Emerald City Jazz Kings: Days of Wine and Roses: Songwriters After the Rock Revolution May 20 Emerald City Jazz Kings: Harry and Hoagy: What a Pair! Linn-Benton Concert Band, Albany www.linnbentonconcertband.org Nov. 19 Fall Veterans Day Concert (Lebanon Elks Lodge) March 19 Mozart and Friends Concert (Russell Tripp Performance Center, LBCC) May 25 Memorial Day Patriotic Concert Preview (Capital Manor, Salem) May 28 Memorial Day Patrotic Concert (Majestic Theatre, Corvallis) July 2 Joint concert with Monmouth-Independence Town Band (Monmouth Main Street Park)
Newport Performing Arts Center 265-ARTS www.coastarts.org Sept. 23 & 24 Culture Shock Festival Sept. 25 Opera Recital with Kathleen Lacey Oct. 1 William Jenks Oct. 2 Teresa Walters Oct. 8 Kim Angelis & Josef Oct. 14 Bill Mays Trio Nov. 1 An Evening with Cole Porter, featuring Glen Rose Nov. 11 Danny OFlaherty Nov. 12 Bay Music Association Guest Performance Nov. 22 Battlefield Band Dec. 9 Central Coast Chorale Dec. 11 Chie Nagatani Dec. 20 Pink Martini Dec. 31 & Jan. 1 Misty River & Pieces of Eight Jan. 15 Mika Sunago & Rody Ortega Newport Symphony Orchestra 265-ARTS www.baymusic.org Performances at Newport Performing Arts Center Oct. 15 Fall Fireworks: Rossini, Overture to La Gazza Ladra; Schmann, Symphony No. 3, Rhenish; Tchaikovsky, Piano Concerto No. 1 Dec. 10 December Drama: Elgar, Serenade for Strings; Mendelssohn, Violin Concerto; Dvorak, Symphony No. 8 Jan. 28 Wolfies Birthday: Mozart, Overture to The Marriage of Figaro; Mozart, Clarinet Concerto; Beethoven, Symphony No. 7 April 15 Evening at Pops: Nicolai, Overture to The Merry Wives of Windsor; Wagner, Excerpts from Die Meistersinger; Debussy/Leyden, Clair de Lune; Richard Strauss, Waltzes from Der Rosenkaalier; and more Oregon Mozart Players 345-6648 www.oregonmozartplayers.org Tickets: 682-5000 Performances at the Hult Center followed by Beall Hall unless noted Oct. 1 & 2 The Nationalists, with Lisa Leonard, piano: Mozart, Overture and Janissary March from Abduction from the Seraglio; Shostakovich, Piano Concerto No. 1; Britten, Suite on English Folk Tunes, Op. 90; Copland, Music for the Theatre Nov. 5 & 6 Music About Music, with Ronald Leonardo, cello: Ravel, Le Tombeau de Couperin, Op. 31; Tchaikovsky, Variations on a Rococo Theme, Op. 33; Mozart, Symphony in D Major, K.248b, Little Haffner Dec. 12 & 13 Candlelight Concert - Baroque for the Holidays: Handel, Concerto Grosso Op. 6 #5; Bach, Brandenburg Concert #2; Telemann, Don Quichotte; Vivaldi, Concerto for Two Trumpets in C Major RV.537 and Bassoon Concerto in C Major RV.472 (First Christian Church) Jan. 27 Happy Birthday to Wolfgang, with Ricardo Morales, clarinet, Lauren Flanigan, soprano and the Eugene Concert Choir. All Mozart program. (Hult Center) March 4 & 5 Serenade for Strings, with Fritz Gearhart, violin: Mozart, Serenade, K.525 Eine kleine Nachtmusik; Danielpour, Apparitions; Bernstein, Serenade (Hult Center) May 6 & 7 Viva Espaa! with Sharon Isbin, guitar: Mozart, Overture to Don Giovanni; Rodrigo, Fantasia para un gentihombre; Falla, Suite from El amor brujo Rose Garden, Portland www.rosequarter.com Dec. 12 Andr Rieu Salem Chamber Orchestra www.open.org/~scomusic Performances at Hudson Hall, Willamette University Oct. 8 & 9 Inaugural Concert Celebration Nov. 19 & 20 Paris Lights Feb. 26 Gift of Music Family Concert April 29 & 30 Mozart 250th Birthday Celebration Salem Community Concert Association www.salemcommunityconcerts.org Tickets: 503-315-2116 Performances at the Elsinore Theater Nov. 3 Quattrocelli Jan. 15 The Coats March 7 Christiana Pegoraro April 8 Manhattan Rhythm Kings May 19 OSU Chamber Choir Salem Concert Band www.scb.org Tickets: 503-375-0845 Performances at the Elsinore Theatre Nov. 6 Music of Faith Dec. 18 Winter Holiday Concert March 5 In the Steps of Sousa May 7 Songs of the American West Salem Pops Orchestra www.open.org/slmpops Performances at the Elsinore Theatre Nov. 12 Salem Does Americana Dec. 3 Holidays with the Pops featuring the Willamette Girlchoir March 4 Pops Goes the Pops May 13 Pops Extravaganza Latina Shedd Institute Info: 687-6526 Tickets: 434-7000 Performances at the Jacqua Concert Hall at the Shedd unless noted Sept. 24 Rickie Lee Jones Oct. 6 & 9 Emerald City Jazz Kings: Taint What You Do (Its the Way Howcha Do It) - Black Dance Bands of the 1930s and 1940s Oct. 25 Dave Douglas & Keystone Oct. 27 Alison Brown Nov. 9 Ian Tyson Nov. 11 Ken Peplowski with the Emerald City Jazz Kings Nov. 18 Maywa Denki Dec. 2 Iris DeMent Jan. 26 Alasdair Fraser & Natalie Haas Feb. 4 Chick Corea & Touchstone Feb. 15 Philip Glass Feb. 19 Blind Boys of Alabama March 2 & 5 Emerald City Jazz Kings: Days of Wine and Roses: Songwriters After the Rock Revolution March 7 Oak Ridge Boys (Hult Center) March 11 Hapa April 4 Kathy Mattea April 6 Luciana Souza & Romero Lubambo April 25 Ladysmith Black Mambazo May 11 & 14 Emerald City Jazz Kings: Harry and Hoagy: What a Pair! May 17 Mark OConnors Appalachia Waltz Trio UO Music music.uoregon.edu Performances at Beall Hall Oct. 6 Mozart Piano Quartet Oct. 9 Emily White, piano Oct. 13 Otis Murphy, saxophone, and Haruko Murphy, piano Oct. 24 Jazz Arrangers Concert Oct. 25 Laura Zaerr, harp, and Nancy Andrew, flute Oct. 30 Andrew Manze, violin, and the English Concert Oct. 31 University Symphony Nov. 8 Ronald Leonard, cello, and the Oregon String Quartet Nov. 9 Oregon Composers Forum Nov. 10 Octubafest Nov. 15 William Chapman Nyaho, piano Nov. 16 Poetry in Song Nov. 20 Steven Pologe, cello, and David Riley, piano Nov. 21 Wayne Bennett, clarinet Nov. 28 Oregon Percussion Ensemble Nov. 29 Oregon Wind Ensemble Nov. 30 University Symphony Dec. 1 Holiday Choral Concert Dec. 2 Oregon Jazz Ensemble and Jazz Lab Bands Dec. 3 Harp Class Recital Dec. 4 University Gospel Ensembles Performances elsewhere: Oct. 11 Sam Pilafian, tuba (198 Music) Oct. 12 Sam Pilfian, tuba, and Mike Denny, jazz guitar (198 Music) Oct. 14 Faculty Jazz Concert (178 Music) Oct. 22 Festival of Bands (Autzen Stadium) Nov. 7 Jazz Lab Bands I & II (178 Music) Nov. 11 The Jazz Caf (178 Music) Nov. 13 The Spirit of Oregon: Music Takes Flight with many UO ensembles (Hult Center) Nov. 18 Collegium Musicum (Collier House) Nov. 19 Future Music Oregon (198 Music) Nov. 20 The Jazz Caf (178 Music) Nov. 29 Collegium Musicum (Collier House) Dec. 4 University Percussion Ensemble (198 Music) Theater Actors Cabaret of Eugene 683-4368 www.actorscabaret.org Performances at ACE theater and the Hult Center Sept. 23-Oct. 8 Urinetown Sept. 24-Oct. 9 Youth Academy: Cinderella Oct. 21-31 The Rocky Horror Show Nov. 11-Dec. 17 A Christmas Carol Jan. 27-Feb. 27 I Love You, Youre Perfect, Now Change May 19-June 17 Girls and Poise July 7-Aug. 5 Evita Aug. 10-26 First Annual Childrens Theater Festival Albany Civic Theater 928-4603 www.albanycivic.org Sept. 23-Oct. 8 The Seven Year Itch Oct. 22 The Big Night (annual awards show) Oct. 28-Nov. 5 Rope Nov. 25-Dec. 17 Rosencrantz & Guildenstern Are Dead Jan. 13-Feb. 4 Seussical Feb. 24-March 11 The Underpants March 31-April 15 Enchanted April May 5-20 The Miser June 9-24 On Golden Pond July 14-22 Gross Indecency: The Three Trials of Oscar Wilde Aug. 18-Sept. 9 Into the Woods Corvallis Community Theatre www.corvalliscommunitytheater.org Tickets: 738-SHOW Performances at the Majestic Theatre Nov. 4-13 Blithe Spirit Dec. 30-Jan. 8 Bullshot Crummond March 10-19 Pygmalion May 11-28 Jesus Christ Superstar Aug. 11-27 Passion Cottage Theatre, Cottage Grove 942-8001 www.cottagetheatre.org Tickets: 942-9195 Oct. 7-29 Sugar Dec. 2-17 A My Name is Alice Feb. 3-18 The Diary of Anne Frank March 30-April 22 1776 June 9-24 Parallel Lives Aug. 11-26 Ruthless Elsinore Theatre, Salem 503-375-3574 www.elsinoretheatre.com Oct. 27 The Stinky Cheese Man and Other Fair(l)y (Stoopid) Tales Flinns Living History Institute Playhouse, Albany www.flinns.com Tickets: 928-5008 Sept. 23-Oct. 1 Who Squealed on the Blind Pig? Oct. 21-Nov. 5 Shine on Scio Moon Dec. 2-10 An Oregon Pioneer Christmas Story Hult Center www.hultcenter.org Tickets: 682-5000 Oct. 25 L.A. Theatre Works: The Great Tennesse Monkey Trial Oct. 29 Dallas Childrens Theater: The Stinky Cheese Man and Other Fair(l)y (Stoopid) Tales Jan. 10-15 Mamma Mia! Feb. 11-12 42nd Street April 4-6 Oklahoma! Lane Community College www.lanecc.edu Tickets: 463-5202 Performances at the Blue Door Theatre unless noted Sept. 16-Oct. 8 Noises Off (Performance Hall) Feb. 3-18 The Good Doctor April 14-May 6 Much Ado About Nothing May 26-June 3 Spring Inspirations Last Resort Players Performances at Florence Events Center Nov. 4-13 Lil Abner Lord Leebrick Theatre www.lordleebrick.com Tickets: 465-1506 Sept. 23-Oct. 16 Assassins Nov. 11-Dec. 3 Fully Committed Jan. 13-Feb. 4 Betrayal March 17-April 8 Suddenly Last Summer May 12-June 3 Sex Habits of American Women Newport Performing Arts Center 265-ARTS www.coastarts.org Oct. 21-Nov. 6 Porthole Players: The Music Man Nov. 18-Dec. 4 Red Octopus Theatre Company: Chicago Oregon Shakespeare Festival www.osfashland.org Tickets: 482-4331 At the Angus Bowmer Theatre: Through Oct. 29 Room Service; The Belles Stratagem Through Oct. 30 Richard III; Napoli Milionaria! At the New Theatre: Through Oct. 30 Ma Raineys Black Bottom; Gibraltar At the Elizabethan Stage: Through Oct. 7 The Tragical History of Doctor Faustus Through Oct. 8 Loves Labors Lost Through Oct. 9 Twelfth Night OSU Theatre, Corvallis 737-2853 oregonstate.edu/dept/theatre Performances at Withycombe Lab & Main Stage Theatres Sept. 22-25 Complete Works of Shakespeare Sept. 30 & Oct. 1 Steel Magnolias Oct. 14 & 15 Treehouses Oct. 30 American Gothic Nov. 10-19 The World We Live In/The Insect Comedy Jan. 25-29 Woyzek Feb. 9-18 Antigone April 27-30 Opera Workshop/One-Act American Operas May 11-20 Silent Woman June 7-10 Student One-Act Festival Pentacle Theatre, Salem 503-485-4300 www.pentacletheatre.org Oct. 7-29 Bus Stop Nov. 18-Dec. 10 Holiday Memories Jan. 27-Feb. 18 The Curious Savage March 10-April 1 Misery April 21-May 13 Inherit the Wind June 2-24 The Musical Comedy Murders of 1940 July 14-Aug. 5 Whos Afraid of Virginia Woolf? University Theatre darkwing.uoregon.edu/~theatre/ Tickets: 346-4363 Performances at the Robinson Theatre Nov. 11-26 Rumors March 3-18 After Mrs. Rochester May 19-June 3 A Midsummer Nights Dream Performances at the Arena Theatre Oct. 26-Nov. 5 A Piece of My Heart Feb. 8-18 The Night Thoreau Spent in Jail April 26-May 6 The Baltimore Waltz Upstart Crow Studios 688-7103 Feb. 3-5 Snow White (Willamette Powers Auditorium) Very Little Theatre 344-7751 www.thevlt.com Oct. 21-Nov. 12 Lend Me a Tenor Jan. 20-Feb. 11 Amadeus March 24-April 15 Woman in Mind June 2-24 The Visit August 4-26 Picasso at the Lapin Agile Willamette Repertory Theatre 343-9903 willrep.org Tickets: 682-5000 Performances at the Hult Center Oct. 3 Ashland Salutes Willamette Rep Nov. 23-Dec. 11 Chaps - A Jingle Jangle Christmas Jan. 25-Feb. 12 Cyrano March 29-April 16 All in the Timing May 19-21 Readings in Rep
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