If you are not on the guest list for the events involving Pope Francis in Washington later this month, the Kennedy Center is offering a musical consolation prize.
A couple of years ago, a New York-based ensemble with the loaded name loadbang — and the unlikely combination of baritone vocalist, bass clarinet, trumpet and trombone — gave an intriguing concert in Baltimore as part of the Evolution Contemporary Music Series.
W.C. Handy's bluesy "Chantez Les Bas" segues, somehow, into the slow movement from Brahms' Violin Concerto. Debussy's "Clair de Lune," lushly transformed by a string quartet, a subtle drummer and a man sweetly singing about masks and moonlight, conjures up images of an unusually sophisticated nightclub.
Maybe it was something in the water — or maybe just that it was finally safe to drink after years of a dicey supply system. Whatever the cause, something sure started affecting a lot of culturally minded folks a century ago in Baltimore.
Marin Alsop, who has collaborated with the Peabody Institute on various projects since becoming music director of the Baltimore Symphony Orchestra, will now have an official post at the conservatory.
When Rep Stage decided to devote the entire 2015-2016 season to works by contemporary female playwrights, the company's co-producing artistic director, Suzanne Beal, sought to make a statement with the first work. Her choice: Paula Vogel's "The Baltimore Waltz," opening this weekend.
Of all the gin joints in the world...