The theater season’s biggest news has been the opening of the Playhouse in the Park’s new mainstage, Moe and Jack’s Place – The Rouse Theatre. You’re too late for the March 16 grand opening. But you’re NOT too late for…
This is the sort of season we have come to expect from Langrée; robust, occasionally quirky or challenging, but filled with countless musical riches, both old – Beethoven’s 7th anyone? – and new, including numerous premieres and collaborations.
Perhaps it was inevitable that Moe and Jack Rouse’s names would assume the place of honor when the Playhouse in the Park opens its new mainstage theater on March 11.
Nate Bachhuber is one of a new breed of artistic planners in the world of classical music. He and a group of other orchestra-related people are responsible for programming entire Cincinnati Symphony seasons, a task previously left to music directors. Find out what’s changed and why…
To many people – most, perhaps – “art song” suggests a rarefied art form that is beyond the reach of all but the most elite music-lovers. At one time, the stereotype may have been deserved.
It was 2010, and Tom Schiff thought that what Cincinnati really needed was a photography biennial. A huge one, one that had the potential to put Cincinnati on the map of international photography and lens-based hotspots.
No surprise here. “Hamilton,” Lin Manuel Miranda’s edgy, hip-hop-infused bio-musical of one of our Founding Fathers, was as immense a hit during its first visit to Cincinnati as it had been on Broadway.
With music director Eckart Preu leading the way, it feels like you’re following Alice through the looking glass. You know there will be surprises, some of them quite extraordinary. But you have no idea exactly what those surprises will be.
Art of the Piano has been in a state of evolution since it began, but not because anything was wrong or needed fixing.
Finally. It has taken two years, but in July we will get to see and hear Cincinnati Opera’s world premiere production of “Fierce,” with a score by William Menefield and libretto by Sheila Williams.
