Podcast appearances and mentions of carlos izcaray

Carlos Izcaray nos cuenta sobre su trayectoria para llegar a ser el Director de la orquesta de Alabama: desde su infancia en Venezuela, en el colegio Emil Friedman, hasta los niveles más altos de la música clásica. Hablamos de la vocación para ser músico, lo increíblemente competitivo del medio, los estudios y concursos que hay que ganar. También conversamos sobre el confinamiento por Coronavirus en los Estados Unidos, los planes de abrir los negocios nuevamente y los paquetes de estímulo propuestos por Trump. Carlos nos cuenta cómo llegó a conocer a Max Richter y montar sus Cuatro Estaciones, las experiencias dirigiendo Ópera, su paso por el Sistema de Venezuela con Dudamel y Abreu, la música actual y mucho más. Un episodio impelable para los melómanos. https://www.carlosizcaray.com Geometric unity: https://www.youtube.com/watch?v=GmqhQmP8jMg Música: Shoes and Socks Off, Emerald Park.

El carismático y multifacético violinsta venezolano conversó en el episodio 31 de damaso2.0 sobre su cuarta producción discográfica pero primera como solista en homenaje a Ernest Chausson (París 20 de enero de 1855), en un disco que asegura que dejará huella para los seguidores de la música clásica tanto en EEUU, América Latina y Europa.   Simón Gollo disfruta de una exitosa carrera internacional como solista, camarista y director de orquesta, siendo a su vez un comprometido artista discográfico, director artístico y pedagogo.   Simón Gollo ha sido recibido y aclamado en innumerables escenarios en Europa, Asia y en todas las regiones del continente americano. Su larga trayectoria lo ha llevado a prestigiosas salas como el Carnegie Hall (Nueva York), Cadogan Hall (Londres), 92nd Street Y’sKaufmannConcert Hall (Nueva York),NationalGallery of Art (Washington DC), Bolívar Hall (Londres), Teatro Teresa Carreño (Caracas), Auditorio Blas Galindo (México, DF), Auditorio Manuel de Falla, (Granada), y el Teatro Mayor (Bogotá),y para notablesorganizaciones como el BBC Proms Festival, laPhiladelphiaChamberMusicSocietyy laChamberMusicSociety of Detroit.Ha compartido escenario con reconocidos artistas de la escena internacional, entre los que se encuentran; AlessioBax, Ricardo Morales, DmitriBerlinsky, MoniqueDuphil, Edicson Ruiz, Paul Rosenthal, John Novacek, AlissaMargulis, Jakob Koranyi, Miguel da Silva (miembro del YsaÿeQuartet) Richard Young (miembro del VermeerQuartet), Randolph Kelly y el Cuarteto Latinoamericano.   Como solista ha interpretado grandes conciertos del repertorio con prestigiosas orquestas entre las que se destacan la Orquesta Sinfónica de Venezuela, Filarmónica de Bogotá, Orquesta Sinfónica de Salta (Argentina), Central Ohio Symphony (EEUU), ChamberOrchestra of San Antonio (EEUU) y Orquesta de Caxias do Sul (Brasil), colaborando con reconocidos directores como Conrad Van Alphen, Theodor Kuchar, y Carlos Izcaray. Fue becario de la Fundación Cisneros para asistir al Aspen Music Festival donde recibió clases de los célebres maestros Alex Kerr y NaokoTanaka. Su educación musical la recibe en Suiza bajo la tutela de sus mentores Anne Bauer, GyulaStuller, GaborTakacs y Patrick Genet.   Durante siete temporadas (2012-2019), Simón Gollo fue miembro del Dalí StringQuartet y de La Catrina Quartet, cuartetos especializados en música latinoamericana con quienes cosechó exitosas temporadas dentro y fuera de los Estados Unidos. Su discografía junto a la La Catrina Quartetesta disponible bajo los sellos Summit Records y RYCYProductions, Inc., incluyendo una producción nominada a los premios Grammy Latinos.Su pasión por las orquestas de cámara lo llevaron a pertenecer a la Orchestra of St. Luke’s en Nueva York interpretando roles principales enimportantes festivales, giras y conciertos con otras orquestas de cámara como la CamerataNordica (Suecia), Post ClassicalEnsemble, (Washington DC), Dallas ChamberSymphony, y ClassicalMusicInstituteChamberOrchestra (San Antonio). En enero del 2020, se presenta como concertino invitado de la Orquesta Ciudad de Granada en España, bajo la batuta del maestro, MichałNesterowicz. Actualmente, Simón Gollo es miembro permanente del Reverón Piano Trio y primer violín invitado del Cuarteto Q-Arte con los que ha realizado giras y conciertos en Colombia y Europa.   Simón Gollo es un connotado pedagogo que mantiene una constante actividad en la enseñanza del violín y la música de cámara. Ha formado parte del profesorado del Summit Music Festival en Nueva York y colabora regularmente como profesor sustituto de la maestraNaokoTanaka en la división de precollege de la JuilliardSchool of Music. Durante 6 años, fue profesor del internacionalmente reconocido y aclamado programa "El Sistema" y de la Escuela Mozarteum de Caracas. Actualmente es profesor titular en la New MexicoStateUniversity (NMSU) --- Support this podcast: https://anchor.fm/du00e1maso-jimenez/support

In this episode, Carlos answers the question "What is an orchestra's role in serving the community it is in?" In my journey to find out why musicians think classical music is relevant and important, Carlos' answer provides some important insight and wisdom as to why a community should care about having a symphony orchestra as part of it's culture.Mastering engineer - Brandon JochumCarlos' bio -Carlos Izcaray is Music Director of the Alabama Symphony Orchestra and of the American Youth Symphony. Praised by the international press as inspiring, spirited and conducting with nuanced sensitivity, he has appeared with numerous ensembles across five continents and is now firmly established as one of the leading conductors of his generation. Throughout his career Izcaray has shown special interest and prowess in tackling some of the most complex scores in the symphonic repertoire, while also championing a historically informed approach.On the symphonic platform he is leading ensembles such as the Pacific, St. Louis, North Carolina, Grand Rapids and Kitchener-Waterloo Symphonies, Los Angeles Chamber Orchestra, Chamber Orchestra of San Antonio, Fort Worth Symphony Orchestra, Orchester der Komischen Oper Berlin, Malmö Symfoniorkester, Filarmonica Arturo Toscanini, Orquestra Sinfónica do Porto Casa da Música, Orquesta Filarmónica de Bogotá, Orchestra Regionale dell’Emilia-Romagna, Orchestre de Chambre de Lausanne, Macedonian Philharmonic, Orquestra Sinfônica da Bahia, Kwazulu-Natal Philharmonic, National Symphony Orchestra of Colombia, Venezuela Symphony Orchestra, and Orquesta Sinfónica Municipal de Caracas, among others. Izcaray’s latest recording, ‘Through the Lens of Time’, featuring Max Richter’s Recomposed: Vivaldi’s Four Seasons with the City of Birmingham Symphony Orchestra and violinist Francisco Fullana, was released in March 2018 on the Orchid Classics label, and has garnered widespread attention and praise.Izcaray is equally at home with opera repertoire, receiving rave reviews for his performances at the Opera Theatre of Saint Louis, Utah Opera, Opera Omaha, International Opera Festival Alejandro Granda in Peru, and in particular at the Wexford Festival Opera, where he has led many productions since the opening of Ireland’s National Opera House. His 2010 performances of Virginia by Mercadante won the Best Opera prize at the Irish Theatre Awards.A strong believer of supporting the younger generations, Izcaray has worked extensively with the world’s top talents and leading music institutions, including his country’s own El Sistema. In 2014 he led a tour of the Filarmónica Joven de Colombia, and he has additionally worked with the Fundación Batuta, Neojiba in Brazil, London Schools Symphony Orchestra, and Cambridge University Music Society, where he has also taught conducting workshops. Following a project at the Interlochen Center for the Arts in summer 2015 he returned there for a performance with the World Youth Symphony Orchestra in 2017. Building on his passion for music education, he became the Music Director of the American Youth Symphony in autumn 2016.A distinguished instrumentalist himself, Izcaray has featured as concert soloist and chamber musician worldwide, and served as Principal Cello and Artistic President of the Venezuela Symphony Orchestra prior to dedicating his career fully to the podium. Increasingly active as a composer, Izcaray’s orchestral work Cota Mil was premiered by the Orquesta Sinfónica Municipal de Caracas. April 2018 saw the premiere of his Strike Fugaz by the American Youth Symphony, commissioned in association with the Human Rights Watch to commemorate, and celebrate, the campaign for worldwide social justice, equality and freedom - a cause for which Izcaray is a proud and committed advocate. Izcaray’s Cello Concerto receSupport the show (https://thatsnotspit.com/support/)

Here is part two of my interview with Carlos Izcaray, music director of the Alabama Symphony orchestra. In this episode, he talks about how he was diagnosed with Hodgkins Lymphoma, and what it was like continuing to work and live life while going through chemotherapy. After that, we go into a pretty in depth discussion on the current state of life in Venezuela. It's hard to listen to a lot of what he talked about. This is a must listen episode! Support the show (https://thatsnotspit.com/support/)

In this episode, I have a conversation with Carlos Izcaray, music director of the Alabama Symphony Orchestra. It was a wonderful opportunity to get to speak with him and cover his life from his earliest musical memories to being named music director of our orchestra in Birmingham, Alabama. He gave me so much great content, we actually ran out of time, and so we had to make this part 1 of a two part interview.Mastering enginner - Brandon JochumSupport the show (https://thatsnotspit.com/support/)

Igor Stravinsky no solo es considerado el mejor compositor del siglo XX, sino que su música cambió el movimiento, el ritmo y el tempo del ballet, catapultándolo a una nueva era. Carolina Vegas charló con el maestro Juan Antonio Cuellar sobre la importancia de las obras del ruso y cómo cambió la danza.Créditos música: Filarmónica Joven de ColombiaPetrushka, dirigida por el director invitado Carlos Izcaray, para la gira de 2014 en Bogotá. Pereira, Cali y Popayán. La Consagración de la primavera, fue dirigida por Andrés Orozco Estrada en la gira Europa 2017 junio en Berlín Alemania.YouTube.

As the Los Angeles Philharmonic arrives in New York to give a pair of concerts on March 16 and 17 at Lincoln Center, its music director, Gustavo Dudamel, faces an increasingly difficult political situation back in his native Venezuela. It’s been a month since violent clashes between opposition demonstrators and government forces in Venezuela first grabbed global headlines. Protests rage on with no sign of ending. Dudamel himself has been pressured to speak out on the situation, notably by a fellow Venezuelan musician, pianist Gabriela Montero. Montero and others have said that Dudamel should use his global stature – and exercise his ethical responsibility as an artist – to take a stronger stand against what they see as a repressive government. But others argue that Dudamel can’t afford to get involved in partisan politics because of his close ties to El Sistema, Venezuela’s vast, state-funded national music education system. Tricia Tunstall, author of Changing Lives: Gustavo Dudamel, El Sistema, and the Transformative Power of Music, says that El Sistema’s mission has always been “to stay out of partisan politics and to continue in the work that is their highest priority, which is to work with hundreds of thousands of Venezuelan children, giving them safe haven, musical training and an environment where they can learn to be productive citizens.” El Sistema was founded in 1975 by Jose Antonio Abreu, a musician and economist, and it has flourished under eight different governments while aiming to keep many impoverished kids on the straight and narrow. “Yes, they are funded by the government but [Abreu] does not identify the Sistema with any political program and that is why the Sistema has been able to flourish, survive and grow from eleven kids in 1975 to almost 600,000 kids in 2014,” Tunstall added. Mark Swed, the classical music critic of the Los Angeles Times, interviewed Dudamel after the conductor led a controversial concert in Venezuela on February 12, the same day that three people died in anti-government protests there. Dudamel told him that he was unaware of the nearby protests, and insists that he’s firmly opposed to any violence from either side of the conflict. “Ultimately, we have no idea how Dudamel, maestro Abreu and others are functioning in El Sistema,” Swed said. “Abreu’s way of working has always been to try and influence the politics subtly from the inside. The second he takes a public stand, he can’t do that anymore.” Meanwhile, other musicians are taking a firm political position, albeit from a distance. Venezuelan conductor Carlos Izcaray is organizing a “Concert for Peace and Liberty” in Berlin this Sunday, which will feature a number of fellow expats including Gabriela Montero. Izcaray says that the goal of the concert is to raise awareness for victims of political violence, including several musicians who he says have been “detained, beaten, tortured and threatened by the national police.” Izcaray says he doesn’t hold any bad feelings towards Dudamel or other Venezuelan musicians who aren’t speaking out, noting that being a musician in Venezuela means usually relying on the government for support. “I’m pretty confident a lot of this has to do with fear of losing support for the institution, maybe they’ll cut their funding or be fired.” He adds: “As far as artists go, we do have to defend each other.” Listen to the full podcast above and tell us what you think below: what is the responsibility of artists in times of political unrest? Should art and politics remain separate or do creative people have a duty to speak out? Photos: 1) People shout slogans as they protest against the government of Venezuelan President Nicolás Maduro in front of riot policemen outside the Cuban embassy in Caracas on February 25, 2014 (Juan Barreto/AFP/Getty Images) 2) Gustavo Dudamel, Jose Antonio Abreu and Venezuelan president Nicholas Madura.