Podcasts about Ravinia Festival

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

Episode OverviewIn this episode of The Chicagoland Guide, host Aaron Masliansky sits down with Jeff Haydon, President & CEO of the iconic Ravinia Festival in Highland Park — America's oldest outdoor music festival.Jeff shares how Ravinia began as a railroad amusement park over a century ago and evolved into one of the nation's leading cultural institutions. The conversation covers Ravinia's deep roots in the community, its role as a good neighbor in Highland Park, and its vision for the future through the Setting the Stage campaign — a $75 million renovation of its 36-acre campus to be completed by 2029. HighlightsThe fascinating history behind Ravinia's founding and evolution.How Ravinia collaborates with Highland Park to manage traffic, sustainability, and neighborhood harmony.Reopening after the pandemic and reshaping audience experiences.The Reach Teach Play® education program — bringing music to 120+ schools across Chicagoland.Jazz legend Kurt Elling's role as Jazz Advisor and the creation of the Breaking Barriers Festival with Marin Alsop.Details on the Setting the Stages campaign to renovate Ravinia's stages, pavilion, and guest experience. About the GuestJeff Haydon has over 30 years of arts management experience and has led Ravinia since 2020. Under his leadership, the organization has secured major funding, expanded educational initiatives, and continued its mission to make world-class music accessible to all.Learn more: ravinia.org About the HostAaron Masliansky is a Realtor at Compass and host of The Chicagoland Guide, showcasing the people and places that make the region a great place to live. As a trusted local expert, Aaron helps clients navigate real estate across Chicago and the North Shore — guiding home buyers and sellers through every step of their journey.Explore more episodes and connect with Aaron at thechicagolandguide.com. Thank you for listening to The Chicagoland Guide!For more insights into the best places to live, work, and explore in Chicagoland, visit thechicagolandguide.com. Connect with us on social media for more updates and behind-the-scenes content. If you have any questions or want to share your own Chicagoland stories, feel free to reach out! Don't forget to subscribe and leave a review if you enjoyed this episode.

Steven Blier is the co-founder and artistic director of the New York Festival of Song, and has served asprogrammer/translator/pianist/arranger of more than 150 of its programs.He has been a recital collaborator with some of the great singers of our time, including Renée Fleming and Cecilia Bartoli. He has recorded on the Koch, New World, Nonesuch, Albany, and RCA labels, and he won a Grammy Award in 1990. He was also nominated for Grammy Awards in 1999 and 1989.  Most recently, he issued six new albums on NYFOS Records, including Schubert/Beatles with Theo Hoffman and Julia Bullock.Blier has been on the faculty of the Juilliard School since 1993, and has given master classes around the U.S. in song repertoire. A longtime feature writer for Opera News Magazine, he has been guest faculty/recitalist at the Wolf Trap Opera, Santa Fe Opera, the Steans Institute at the Ravinia Festival, and San Francisco Opera. He holds a BA degree from Yale University, summa cum laude, Phi Beta Kappa.

Gregg Field-is an amazing musician, producer and arranger. He has had such an interesting life, playing with Count Bassie at 19, and Frank Sinatra to name a few. Known for his ability as 1s class drummer, he is also an arranger. His work on the Mancini 100th anniversary album and PBS special is also award winning.Henry Mancini's 100th anniversary was celebrated with various events and releases throughout 2024. A major celebration took place at the Hollywood Bowl, with a concert featuring his daughter Monica Mancini, (Gregg's lovely wife),Michael Bublé, Cynthia Erivo, and others. Additionally, a special album, "The Henry Mancini 100th Sessions: Henry Has Company," was released, featuring collaborations with artists like Lizzo, Herbie Hancock, and Quincy Jones. Other events include a concert at the Ravinia Festival, a performance at the Royal Albert Hall in London, and a special event at the Library of Congress. All of which Gregg spearheaded and served as producer. He is a multi Grammy and Emmy award winner, and sits on the USC Thornton Schoool of Music board. He is a champion of all music creators and continues to produce great artists .

[@ 6 min] Alright, this week…We go Inside the Huddle with Elizabeth DeShong, who has entered the She Can Sing Anything stage of her career. Set to return to Chicago next month for Alcina, Haymarket Opera's debut at Ravinia Festival, the American mezzo and bel canto boss reveals The Role She is Dying to Sing. [@ 25 min] And then…they say We Had No Idea…which, to us, means they haven't been listening to Opera Box Score. Yes, Classical Music DOES have a sexual abuse problem, and in other news, Serena Williams is good at tennis. [@ 34 min] Plus, in the ‘Two Minute Drill'…Zachary Woolfe's being booted from the classical music section at the New York Times. And, I mean, we DO need another co-host… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

Ravinia is truly a gem of Chicagoland (Highland Park to be specific) entertainment every summer and has been so for well  over 100 years (it was founded in 1872 and opened in 1904) and remains today the area's oldest venue with incredibly diverse programming you will find anywhere. This season has been no different and you'll […]

Ravinia Festival’s Chief Conductor Marin Alsop joins Bob Sirott to talk about what she’s most proud of in her career and the Chicago Symphony Orchestra’s residency at Ravinia through August 17th. She also shares her experiences working with other women leaders in the industry and why she loves her job as a conductor. To learn […]

2024 Ravinia Festival Opening Night: Celebration of Americana - Broadcast by CSO Association

Erik Soderstrom, Senior Director of Programming at Ravinia, joins WGN’s Steve Dale to highlight this year’s major lineup of performances at Ravinia Festival, including Cynthia Erivo from Wicked. Erik and Steve also detail the history of Ravinia, some of the famous musicians who have appeared on stage, and Metra’s role in getting guests to the […]

Sun-Times City Hall reporter Fran Spielman speaks with Jeffrey Haydon, CEO of the Ravinia Festival, about the upcoming $75 million renovation of Ravinia's 36-acre campus in Highland Park. Haydon explains the decision to shorten the concert season to accommodate construction and shares the challenges and logistics of managing the renovation and the festival. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Eric Soderstrom, Ravinia’s Senior Director of Programming, joins Steve Dale to discuss this year’s festival lineup. Artists for this year include David Foster, Cynthia Erivo, Janelle Monáe, and more! For the full calendar at Ravinia, visit www.ravinia.org.

Marin Alsop is a world-renowned conductor and the first woman to lead major orchestras internationally. The subject of the Emmy-nominated documentary "The Conductor” and formerly Music Director of the Baltimore Symphony Orchestra, she's Chief Conductor of the ORF Vienna Radio Symphony Orchestra and the Ravinia Festival, and Principal Guest Conductor of the Philharmonia Orchestra and the Philadelphia Orchestra. She has recorded 200+ titles and is the only conductor to receive a MacArthur Fellowship.In this episode, we explore:How giving people max autonomy drives performance How to balance elite talent with team cohesionTheories on talent selection to build top teamsThe "no shortcuts" practice philosophy This episode is great for anyone building teams. It offers powerful insights on creating excellence at scale, balancing autonomy with accountability, and fostering self-motivation. Enjoy this episode? Rate it and leave a review. It really helps others find the podcast.Learn more about Kristen and Irrational Labs ⁠here⁠.

“People may live in a place that's very different from us, but they have the same hopes, dreams, fears, and struggles with everyday life that we all do at some level. All the parents want education for their kids. Everyone wants a home, wants good food to eat, loves a good laugh and a good joke, loves to play and be silly together. If you find that out as a young person, you are less likely to quickly judge in a negative way someone who is different from you.”Nationally recognized as a leader in the field of youth choral conductors, Emily Ellsworth enjoys an active schedule as guest conductor and clinician both nationally and abroad. She has conducted all-state choirs and festivals in over 30 states, honor choirs for the Northwest, North Central, Southwest and Western regions of the American Choral Directors Association, and the 2019 national children's honor choir for ACDA's 60th anniversary conference. International appearances include festival choirs in Ireland, England, Hong Kong, Grand Cayman Island, Greece, and presentations for the national association of choral directors in Brazil.Collegiate work most recently includes teaching Conducting III at Elmhurst University, conducting the Elmhurst University Concert Choir, joining the Luther College choral faculty as Visiting Assistant Professor of Music, and conducting the University Singers at Northwestern University. She served as Artistic Director of Anima (Ah-nee-mah)–Glen Ellyn Children's Chorus from 1996–2018. She conducted Anima on several national conferences for both ACDA and Chorus America, led concert tours to six continents, and produced nine CD recordings. Ms. Ellsworth has served as music panelist for the National Endowment for the Arts, and spent 20 years as a professional singer and voice teacher in various college and university settings.Her home base of Chicago has featured Ms. Ellsworth's preparation of dozens of youth and women's ensembles for major musical organizations, including the Chicago Symphony Orchestra, Lyric Opera of Chicago, Berlin Philharmonic, and Ravinia Festival, and many more.Ms. Ellsworth holds vocal performance degrees from Macalester College under Dr. Dale Warland and the University of Southern California, as well as the Artist Teacher Certificate from the Choral Music Experience Choral Teacher Training Institute. Her primary choral mentors are Drs. Dale Warland and Doreen Rao. More information can be found at emilyellsworth.net.To get in touch with Emily, you can find her on Facebook (@emily.ellsworth.50) or visit her website.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Crain's political columnist Greg Hinz  and host Amy Guth unpack the saga of former Illinois House Speaker Michael Madigan's career, trial and verdict.Plus: Mayor Johnson begins housecleaning with aviation, emergency management, police accountability chiefs; Civic Federation says state should extend sales tax to services; Deere shares fall on farm slump as tariffs threaten demand; and Ravinia Festival to undergo a $75 million renovation.

Also in the news: Metra ridership was down during DNC; Foxtrot stores to reopen; Ravinia Brewing Company to pay Ravinia Festival over lawsuit and more.

Also in the news: Metra ridership was down during DNC; Foxtrot stores to reopen; Ravinia Brewing Company to pay Ravinia Festival over lawsuit and more.

Also in the news: Metra ridership was down during DNC; Foxtrot stores to reopen; Ravinia Brewing Company to pay Ravinia Festival over lawsuit and more.

Planetary Radio takes a melodic adventure to the Ravinia Festival in Illinois, USA, for the public premiere of the "Moons Symphony." Mat Kaplan, senior communications advisor at The Planetary Society, speaks with a panel of amazing guests, including members of the Europa Clipper, Dragonfly, and Cassini teams, about the discoveries that inspired the music. Then, Bruce Betts, our chief scientist, marks the end of the 2024 Summer Olympics with a random space fact in What's Up. Discover more at: https://www.planetary.org/planetary-radio/2024-moons-symphony See omnystudio.com/listener for privacy information.

West Loop lost a lot of free parking this summer, which has us talking about the city's infamous parking meter deal. In 2008, City Council voted to privatize Chicago's parking meters for 75 years in return for $1 billion. But in the years since, analysis after analysis has shown the meters were worth much more, and the city lost out on revenues while investors earn a profit as Chicagoans pay some of the highest parking rates in the country. While he was at the Reader, Block Club Chicago reporter and editor Mick Dumke investigated the deal after it first passed. He tells host Jacoby Cochran why Chicago went for it, who challenged it, and how we feel the effects today. Some good news: Chappell Roan's local weightlifters at Lollapalooza If you enjoyed today's interview with Ravinia Festival's Artistic Director, Erik Soderstrom, learn more here. Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this Aug. 5 episode: Ravinia Chicago Association of Realtors Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE 

Mayor Brandon Johnson recently expanded financial assistance for families impacted by gun violence, including for funeral expenses. Meanwhile, a state program that aims to help families pay for burial costs when a child is killed by gun violence is off to a slow start, helping only two families in its first year. We talk with The Trace reporter Rita Oceguera who explains what families go through when a loved one is killed by a gun, why this money is needed, and how families can apply. Some good news: Chicago Public Library If you enjoyed today's interview with Ravinia Festival artistic producer Erik Soderstrom, learn more here. Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this July 8 episode: Paramount Theatre Babbel Chicago Association of Realtors Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

If you're new here, welcome! We've put together a starter pack for you, with episodes and articles to welcome you to the City Cast Chicago community.  The holiday week will keep us busy in Chicago, but what else is happening this month besides Fourth of July? We got you covered with fireworks tips, summer eats, and a festival calendar. For even more tips on how to make the most of July in Chicago, check out Hey Chicago's take on what to do this month.  If you enjoyed today's interview with Revolution Brewing's founder, Josh Deth, learn more here. City Cast Chicago's guide to July is made possible by our awesome sponsor, Ravinia Festival. We're also powered by our members, who enjoy an ad-free version of the show. Find out more about how to become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info here.  Reach us at chicago@citycast.fm.

Ryan Burrow has the business news of the day with the Wintrust Business Minute. The Ravinia Festival Association, the music organization which operates the concert and entertainment venue in Highland Park, has updated its federal lawsuit against Ravinia Brewing company.  The festival claims the brewing company is falsely implying a relationship. Ravinia Festival has also […]

Do museum stores actually make any money? What are they really for? Can a store act like an exhibition? What does “cap rate” mean? How big should a museum store be? What percentage of visitors go into one, and how many of them buy something? Why should you get an expert to design your store, and what happens when you don't?David Franke (museum store architect) joins host Jonathan Alger (Managing Partner, C&G Partners) to discover what's “Beyond ‘Exit Through the Gift Shop'”.Along the way: rubber snakes, oysters, onions, and Mona Lisa ashtrays.Talking Points:1.  An oyster living in a birds nest.2.  New store in a new museum or a renovation to an existing one. Where, oh where to begin?3.  The peeling of the onion.4.  Getting the balance just right.5.  Don't forget that long range strategy to ensure you don't fall victim to your own success.How to Listen:Apple Podcastshttps://podcasts.apple.com/us/podcast/making-the-museum/id1674901311  Spotifyhttps://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G  Everywherehttps://makingthemuseum.transistor.fm/  Guest Bio:With over four decades of experience as an architect, David Franke's focus is now exclusively on store design and planning for museum and cultural institutions around the world. Museum stores include two at the King Abdulaziz Center for World Culture in Dhahran, Saudi Arabia; the Fort Worth Museum of Science and History and the Museum of the American Cowgirl, the US Botanic Garden in DC, Frank Lloyd Wright's Taliesin West in Arizona; the Grounds for Sculpture in New Jersey, three retail projects for the State Preservation Board in Austin, and the Ravinia Festival in Highland Park Illinois. David has also served on councils and boards for the Mercer Museum and Fonthill Castle, Historical Society of Pennsylvania's Building and Facilities Committee and the Pennsylvania Ballet. He is a participant in the International Museum Construction Congress, the California Association of Museums, Texas Association of Museums, American Association of Museums and Mid-Atlantic Association of Museums, where has co-presented sessions on the design of museum retail.About MtM: Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. This podcast is a project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.com Show Links:David's website: https://www.davidfrankeconsulting.comDavid by Email: DavidFrankeRA@Gmail.com David by Phone: +1 (215) 498-4384David on LinkedIn: https://www.linkedin.com/in/david-franke-ra-21a4539/ MtM Show Contact:https://www.makingthemuseum.com/contact  https://www.linkedin.com/in/jonathanalger  alger@cgpartnersllc.com  https://www.cgpartnersllc.com  Newsletter:Liked the show? Try the newsletter. Making the Museum is also a one-minute email on exhibition planning and design for museum leaders, exhibition teams and visitor experience professionals. Subscribe here: https://www.makingthemuseum.com 

Also in the news: Illinois National Guard got hero's sendoff as they prepared to ship out to Middle East; New Microsoft facility to open in LaPorte County; Ravinia Festival trying to combat the cicada noise and more.

Also in the news: Illinois National Guard got hero's sendoff as they prepared to ship out to Middle East; New Microsoft facility to open in LaPorte County; Ravinia Festival trying to combat the cicada noise and more.

Also in the news: Illinois National Guard got hero's sendoff as they prepared to ship out to Middle East; New Microsoft facility to open in LaPorte County; Ravinia Festival trying to combat the cicada noise and more.

The Chicago Bears unveiled their plans for a new stadium, tickets to Ravinia Festival's 2024 summer concert series are on sale now, Post Malone is working on a movie set in Medieval Times.

President & CEO Ravinia Festival Jeffrey P. Haydon joins the Steve Cochran Show to offer an exclusive preview of the exciting surprises awaiting attendees at this year's festival. Tickets are set to go on sale tomorrow at 8 AM, listeners can visit https://ravinia.org/Online/default.asp for more information and to secure their spot at the event.  See omnystudio.com/listener for privacy information.

Sun-Times City Hall reporter Fran Spielman is joined by Ravinia Festival president and CEO Jeffrey Haydon to discuss the guests and musical performers expected in Highland Park this summer. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

There have been 10 confirmed measles cases reported at the Pilsen migrant shelter on Halsted Ave. City and state officials are working to isolate individuals and notify those who have been exposed to the virus. Borderless Magazine's Katrina Pham and Block Club Chicago's Jamie Nesbitt Golden join host Jacoby Cochran to break down the latest. Plus, we discuss the Illinois Supreme Court's decision not to hear a challenge to the Bring Chicago home referendum, a landmark apartment complex in Bronzeville, and the latest grand openings at Shop L1 in Washington Park. Note: At the time this conversation was recorded, there were eight measles cases confirmed at the shelter. Health officials reported two more cases Thursday night. Good News: Karaoke and Coffee at Rizal Center Pitchfork and Ravinia Festival lineups announced Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about our sponsors: Read and Run Chicago: The Cora Tozzi Historical Mystery Series in Lemont Chicago Department of Business Affairs and Consumer Protection Entrepreneur Certificate Program Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE Learn more about your ad choices. Visit megaphone.fm/adchoices

Erik Soderstrom, Senior Artistic Producer, Ravinia Festival, joins John Williams to talk about the programming for the 2024 season!

Erik Soderstrom, Senior Artistic Producer, Ravinia Festival, joins John Williams to talk about the programming for the 2024 season!

Erik Soderstrom, Senior Artistic Producer for Ravinia, joins Lisa Dent to talk about who’s on the performance schedule for this year’s highly anticipated Ravinia Festival in suburban Highland Park. Follow The Lisa Dent Show on Twitter:Follow @LisaDentSpeaksFollow @SteveBertrand Follow @kpowell720 Follow @maryvandeveldeFollow @LaurenLapka

Erik Soderstrom, Senior Artistic Producer, Ravinia Festival, joins John Williams to talk about the programming for the 2024 season!

#connorclark #jeffhubler #raviniabrewing #ravinia #raviniafestival #JeffreyPHaydon #jeffhaydon #jeffreyhaydon #GBR #GoBigRed #petejansons #joeweiss #lakeforestpodcast #lakeforestillinois #highlandpark Dive into the captivating world of sports broadcasting with Connor Clark, a passionate voice in sports media from Lake Forest High School to the University of Nebraska-Lincoln. In this exclusive interview, Connor shares his inspiring journey, from calling over 70 high school games to becoming a notable figure in college sports broadcasting and his professional work with ESPN Lincoln and the Big Ten Network Plus. Join us as Pete Jansons, Joe Weiss and Jeff Hoobler discuss the intriguing legal battle between Ravinia Brewing Company and Ravinia Festival over trademark issues, shedding light on the challenges local businesses face against larger entities.

#lakeforestpodcast #lakeforestillinois #petejansons #joeweiss Strap in for an episode of the Lake Forest Podcast that's as colorful and dynamic as the topics it covers! Hosts Pete Jansons and Joe Weiss are here to stir the pot on everything from local controversies to global insights, all with a side of humor and sharp analysis.

In episode 101 at Ravinia Brewing, we made it past our centennial mark and dove into some legal brew-haha between Ravinia Brewing and Ravinia Festival. We also chewed on Congress taking petty swipes at Pete Buttigieg and the ongoing saga of Trump's legal battles. Plus, a fun detour into Chicago's political theatre, with a progressive push for housing funding and an alderman's physical scuffle over a vote. Our beer picks? Pumpkin alt and more!

Erik Soderstrom, Senior Artistic Producer of the Ravinia Festival, joins Steve Dale to talk about the plentiful family events and performing acts at Ravinia and special offerings to benefit attendees of Highland Park’s three month long festival.

In the second hour, Dan Bernstein and Laurence Holmes were joined by Ron Hughley of SportsRadio 610 in Houston to discuss the Bears' choice to not pursue four-time Pro Bowl offensive tackle Orlando Brown Jr. in free agency. Brown signed a four-year deal with the Bengals worth up to $64 million. Hughley also discussed his Kansas basketball fandom and more. Later during the High Noon segment, Holmes explained why he's excited about the Ravinia Festival this year.

Chief of Marketing and Communications at Ravinia Elizabeth Fildes joins Lisa Dent to talk about this year’s concert lineup at Ravinia Festival. Some of the artists include Santana, Carrie Underwood, John Fogerty, Boyz II Men, and more! Tickets go on sale Monday, May 1st. Follow The Lisa Dent Show on Twitter:Follow @LisaDentSpeaksFollow @SteveBertrand Follow @kpowell720 […]

Ramsey Lewis, the iconic jazz pianist and composer who went on to become a musical legend and Chicago's gift to the world, died this week at the age of 87. On Thursday, his son joined Welz Kauffman, former president and CEO of the Ravinia Festival in Highland Park, to pay tribute to the man whose musical achievements and educational legacy will be difficult to duplicate. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Synopsis Each summer, music lovers congregate about 25 miles north of downtown Chicago for the annual Ravinia Festival, the oldest outdoor music festival in America, and since 1936 the summer home of the Chicago Symphony. But on today's date in 2013, Ravinia was the venue for world-premiere performances of several new art songs, including “Twilight Butterfly,” by the American composer Augusta Read Thomas, a setting of a poetic text written by the composer herself. “The poetic is always in my music”, explained Thomas. “In writing ‘Twilight Butterfly' … I began with a mental picture … [of] someone, viewing a butterfly fluttering on a deep summer evening beneath the twilight moon. This imagery became so specific that writing my own lyrics was almost inescapable.” Now even at their most poetic, composers must keep practical considerations in mind, as Thomas explained: "Beyond the evocative, impressionist nature of the piece … I sought to provide a comfortable performance environment for the singer. My lyrics integrate words whose open vowel sounds suit the voice ... The piano gives the singer pitches at every entrance … [and] rubato indications allow the singer delicate rhythmic and interpretive flexibility.” Music Played in Today's Program Augusta Read Thomas (b. 1964) –Twilight Butterfly (Yvonne Redman, soprano; Julie Gunn, piano) Nimbus 6306

Also in the news: Family of Park Ridge boy seek criminal charges against Chicago cop; Ex-Ald. Patrick Daley Thompson sentenced to 4 months in federal prison for bank fraud; Brookfield police arrest woman who allegedly called in threats Brookfield zoo guests; Ravinia Festival cancels all concerts and shows through July 10 in the wake of Highland Park shooting; and much more. 

Also in the news: Family of Park Ridge boy seek criminal charges against Chicago cop; Ex-Ald. Patrick Daley Thompson sentenced to 4 months in federal prison for bank fraud; Brookfield police arrest woman who allegedly called in threats Brookfield zoo guests; Ravinia Festival cancels all concerts and shows through July 10 in the wake of Highland Park shooting; and much more. 

Michael Maliakel, lead actor of the Broadway show Aladdin, joins Jerry on the podcast to share his story of growing up South Asian in New Jersey where "never allowed himself to dream of being on Broadway" to how following his passions and dreams to find his way to one of the biggest stages on Broadway.  Meet MichaelMichael Maliakel (Aladdin) made his Broadway debut as Aladdin on Broadway in September 2021. He recently toured the country in the 25th anniversary production of The Phantom of the Opera. His stage credits include the national tour of The Phantom of the Opera (Raoul u/s), Anything Can Happen: The Songs of Maury Yeston in New York, Other World at the Bucks County Playhouse; Mira Nair's Monsoon Wedding at Berkeley Rep; She Loves Me at PlayMakers Rep; and Bernstein's MASS at the Ravinia Festival. He also appeared on “Bull” (CBS) and “FBI” (CBS). "Big thanks to my family, Michael Kirsten, HCKR, & the Tara Rubin team. Sarah – all my love. Look ma, we made it! Representation matters."(Source: Broadway.com)Connect with MichaelInstagram: https://www.instagram.com/michaelmaliakel/Web: https://aladdinthemusical.com/About Aladdin:Aladdin opened on Broadway to critical acclaim at the New Amsterdam Theatre on March 20, 2014 and quickly established itself as one of the biggest new blockbusters in recent years, breaking 14 New Amsterdam Theatre house records. Worldwide it has welcomed more than 10 million people and grossed over $1 billion. By the end of 2021, it will be playing in Holland, Germany and Mexico, in addition to Broadway.Aladdin, adapted from the animated Disney film and centuries-old folktales including “One Thousand and One Nights,” is brought to fresh theatrical life in this bold new musical. Aladdin's journey sweeps audiences into an exciting world of daring adventure, classic comedy and timeless romance. This new production features a full score, including the five cherished songs from the Academy Award-winning soundtrack and more written especially for the stage.The animated film Aladdin was released by Disney in 1992 and was a critical and box office smash, becoming the highest-grossing film of the year. The film won the Oscar for Best Original Score and introduced the hit song “A Whole New World,” which won the second of the film's two Academy Awards as Best Original Song. The Peabo Bryson/Regina Belle recording of the tune soared to #1 on the Billboard Hot 100 chart.// Support Dear Asian Americans:Merch: https://www.bonfire.com/store/dearasianamericans/Buy Me a Coffee: https://www.buymeacoffee.com/jerrywonLearn more about DAA Creator and Host Jerry Won:LinkedIn: https://www.linkedin.com/in/jerrywon/Instagram: https://www.instagram.com/jerryjwon/// Listen to Dear Asian Americans on all major platforms:Transistor.fm: http://www.dearasianamericans.comApple: https://apple.dearasianamericans.comSpotify: https://spotify.dearasianamericans.comStitcher: https://stitcher.dearasianamericans.comGoogle: https://google.dearasianamericans.com  Follow us on Instagram: http://www.instagram.com/dearasianamericans Like us on Facebook: http://www.facebook.com/dearasianamericans Subscribe to our YouTube: http://www.youtube.com/dearasianamericans // Join the Asian Podcast Network:Web: https://asianpodcastnetwork.com/Facebook Group: https://www.facebook.com/groups/asianpodcastnetwork/Instagram: https://www.instagram.com/asianpodcastnetwork/Dear Asian Americans is produced by Just Like Media:Web: http://www.justlikemedia.comInstagram.com: http://www.instagram.com/justlikemedia

Ravinia Festival is back! Ravinia Festival President and CEO Jeffrey Haydon announces this year's Ravinia Festival lineup with Bruce and Judy. According to a new study, Chicago does not have the best pizza. Bruce and Judy debate the best pizza in the world. The principal of St. Nicholas Cathedral School, Anna Cirrily, tells Bruce and Judy how they are preparing to welcome Ukrainian refugees. The top 10 baby names list came out. Judy wishes she could have named one of her children a different name. Finally, newsman Nick Gale answers all of your home improvement problems.

In this Masters of Storytelling bonus episode, Maya talks to Edward Hodge, Vice President and Creative Director at BRC, about themes discussed in Maya's interview with Emmy award-winning pianist and composer Kris Bowers (Episode 3).   Edward's what some people call a 'technical wizard'. The man with the magic wand, he's often responsible for bringing our shows to life using integrated technical systems, projection mapping, and special effects.    For more information about BRC: https://bit.ly/3B4RDKB   For more information about Edward Hodge: https://bit.ly/3JhtAvt     For more information about the Music Box Experience Center at Ravinia Festival: https://bit.ly/3u0aOCj    For more information about the Las Vegas Raiders Allegiant Stadium Tours: https://bit.ly/3IgdjFw    Follow BRC on Instagram: https://bit.ly/3a9OJsu 

Monica Ellis from Imani Winds joins the Soundweavers team to chat about their ensemble's origin and the gradual development of their mission over their first several years. She shared about Imani's really interesting experience with having "in-house" composers in the ensemble. We chat about the evolution of their recording process and how they have sought out new ensemble members. And, we speak about the ensemble's new gig as faculty members at the Curtis Institute of Music. Celebrating over two decades of music making, the Grammy nominated Imani Winds has led both a revolution and evolution of the wind quintet through their dynamic playing, adventurous programming, imaginative collaborations and outreach endeavors that have inspired audiences of all ages and backgrounds. The ensemble's playlist embraces traditional chamber music repertoire, and as a 21st century group, Imani Winds is devoutly committed to expanding the wind quintet repertoire by commissioning music from new voices that reflect historical events and the times in which we currently live. Present and future season performances include a Jessie Montgomery composition inspired by her great-grandfather's migration from the American south to the north, as well as socially conscious music by Andy Akiho, designed to be performed both on the concert stage and in front of immigrant detention centers throughout the country. Imani Winds regularly performs in prominent international concert venues, including Carnegie Hall, Lincoln Center, the Kennedy Center, Walt Disney Hall and the Kimmel Center. Their touring schedule has taken them throughout the Asian continent, Brazil, Australia, England, New Zealand and across Europe. Their national and international presence include performances at chamber music series in Boston, New York, Washington D.C., San Francisco, Philadelphia and Houston. Festival performances include Chamber Music Northwest, the Santa Fe Chamber Music Festival, the Ravinia Festival, Chautauqua, Banff Centre and Angel Fire. Imani Winds' travels through the jazz world are highlighted by their association with saxophonist and composer Wayne Shorter, woodwind artist and composer Paquito D'Rivera and pianist and composer Jason Moran. Their ambitious project, "Josephine Baker: A Life of Le Jazz Hot!" featured chanteuse René Marie in performances that brought the house down in New York, Pittsburgh, San Francisco, Los Angeles and St. Louis. In 2016, Imani Winds received their greatest accolade in their 20 years of music making: a permanent presence in the classical music section of the Smithsonian's National Museum of African American History and Culture in Washington DC. The transcript for this episode can be found here. For more information about Imani Winds, please visit their website, Apple Music, Spotify, SoundCloud, Facebook, Twitter, Instagram, and YouTube.

(S3, EP 5) In this week's episode, I spoke with my old friend Tereza Lee back in July. Tereza is a mother of 3, professional pianist, and a long-time immigration rights activist. Tereza was one of the pioneers of the DREAM movement in the early 2000's when her then-undocumented status inspired US-IL Senator Dick Durbin to sponsor the first DREAM Act proposal in 2001. In this interview, Tereza shared her experiences growing up undocumented, and how her music teacher inspired her to share her story to Senator Durbin. She reminisces back on the struggles of the undocumented movement, but also hopes for this current generation of DACA / undocumented activists. She recently received her doctorate, and talked about her research of Czech composer Antonín Dvořák and his mentorship of Harry Burleigh, one of the earliest African American composers as well as his work with Black and Indigenous music students. We talked about her experiences living in NYC during this Covid-19 era. Hope you get to listen in, and hear her powerful journey! -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Special thanks to my sponsor, Lawrence and Argyle, a Viet-American owned merchandise line representing immigrant empowerment. Get yourself a pin, hoodie or t-shirt and show off your immigrant pride. Visit them at www.lawrenceandargyle.com or on Instagram @lawrenceandargyle or on their Facebook page -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Bio -- Tereza Lee is a pianist “whose touch is exceptionally clear” (—Chicago Sun-Times), who is also a prominent advocate for immigrant rights. She began her performing career at the age of 11, as the pianist at her family's church. At 16, she became the first student from an inner-city school to win first prize in the Chicago Symphony Orchestra Youth Concerto Competition, and performed with the C.S.O. She has gone on to perform as a soloist at Weill Hall at Carnegie Hall, Steinway Hall, Barge Music, Lincoln Center and the Ravinia Festival in Chicago. She has premiered works by Aaron Jay Kernis, Augusta Read Thomas, Ned Rorem, Josephine Lee, and Kenneth Frazelle. Tereza's role in helping to inspire Senator Dick Durbin of Illinois to introduce the DREAM Act has been documented in The New York Times, PBS, NPR, USA Today, The Economist, NY1, and WNYC. She has been engaged in activism especially on immigration issues, supporting the New York State Liberty Act, the New York State DREAM Act, Greenlight NY and Driver's License For All Campaigns. Tereza recently completed her Doctor of Musical Arts Degree from the Manhattan School of Music. --- Support this podcast: https://anchor.fm/banhmichronicles/support

Ethan plays some songs that he hopes to play in October at the Ravinia Festival in Chicago. Songs include CHICAGO (Fred Fisher), STRUTTIN WITH SOME BBQ (Lil Hardin Armstrong) and Al Capone's favorite song: ROSES OF PICARDY (Wood/Weatherly). He and Kate make an unconvincing sales pitch for the Carolina Shout Podcast Club.