Category Archives: Arts and Music

UC San Diego Jazz Camp

8232Since its inception 15 years ago, UC San Diego Jazz Camp has stayed focused on a single goal: ensuring the continued vitality of jazz music by identifying, instructing, and nurturing new talent. The camp accepts students ranging in age from 14 to adult, and from a variety of educational or vocational backgrounds. Prior to attending the camp, students attend placement auditions based upon which they are assigned to one of two proficiency levels, intermediate and advanced. Most of the camp’s instruction is designed for one of these levels.

The camp’s faculty is made up of internationally renowned musicians who are experts in a variety of jazz stylings, from be-bop to contemporary open-form. The rigorous and immersive curriculum covers a broad range of topics and techniques, including Jazz Improvisation, Listening to Jazz, Master Classes, and individual lessons. There is a particular emphasis on jazz as a performance-oriented art form through participation in small ensembles and informal jam sessions, and attendance at faculty concerts.

The week’s activities culminate in a finale concert in which all students perform as a member of an ensemble under the supervision of a faculty member. Concert sets feature an assortment of instrumental combinations and an eclectic repertoire that includes standards as well as new compositions by faculty and students. Each student gains valuable performance experience and an opportunity to shine in front of a supportive and appreciative audience. In turn, audience members have the opportunity to witness some fine young musicians at the start of their career and older musicians embarking on a new chapter.

Watch UC San Diego Jazz Camp 2017 and explore the archive.

facebooktwittergoogle_plus

Trans Media Makers

8232Transgender issues have been represented on film for some time and have an enormous impact on society because it is through media that most Americans learn about transgender people. This series from the Carsey-Wolf Center at UCSB looks at contemporary media work in television, feature documentaries, and fiction films that explore the dreams, challenges, successes and everyday lives of trans people. These unapologetic films challenge the often rigid binary view of the world.

Take a look at these fascinating discussions:

Raising Zoey
The film follows 13-year-old Zoey and her family as they navigate Zoey’s transition from boy to girl, highlighting the legal battles they wage against discrimination in Zoey’s public school. This Q&A session with the film’s director Dante Alencastre is moderated by Abigail Salazar of UCSB’s Resource Center for Sexual & Gender Diversity.

Transparent
The critically-acclaimed comedy-drama series debuted in 2014. It strives to demystify the trans experience and make it visible. Amy Villarejo, professor of performing and media arts at Cornell University, joins Patrice Petro, professor of film and media studies at UCSB, for a discussion of transgender emergence, Jewish identity and queerness within this TV series.

Free CeCe
The documentary confronts the culture of violence surrounding transwomen of color. CeCe McDonald survived a brutal attack, only to be incarcerated for defending her life. A Q&A session featuring director Jacqueline (Jac) Gares and CeCe McDonald is moderated by Lal Zimmerman, assistant professor of linguistics at UCSB.

Still Black: A Portrait of Black Transmen
Director Kortney Ryan Ziegler’s documentary centers on the stories of six diverse transmen. This Q&A session with Ziegler is moderated by Jennifer Tyburczy, a professor of feminist studies at UCSB.

Tangerine
The critically acclaimed indie film offers a compelling and unique look trans street culture rarely seen on film. The Los Angeles sex trade story was entirely shot using modified iPhone 5S cameras. This Q&A session with actress and transgender woman Mya Taylor is moderated by professor of film and media studies Patrice Petro.

facebooktwittergoogle_plus

Verdi’s Requiem

8232George Bernard Shaw once remarked that “the English take a creepy sort of pleasure in requiems.” I can’t speak to the truth of this statement, but there’s no denying that requiems are among the most popular works in the orchestral/choral repertoire, in England and elsewhere. Composers as diverse as Haydn, Brahms, Berlioz, Dvořák, Saint-Saëns, Fauré, and Britten have assayed the form, each bringing their own unique sensibilities to the challenge of interpreting a liturgical service in musical terms.

Arguably, the two best-known examples of the requiem are those written by Wolfgang Amadeus Mozart (considered by many to be the template for the genre) and Giuseppe Verdi. Verdi’s Messa da Requiem, which premiered in Milan in 1874, is based on the Roman Catholic funeral mass and scored for four soloists, double (sometimes triple) choir, and orchestra. Verdi composed the piece in memory of poet and novelist Alessandro Manzoni, whom he greatly admired. It consists of seven major sections, within which are several sub-sections of varying and often contrasting moods. In order to heighten the inherent drama and poignancy of the liturgical mass Verdi brought to bear the skills and devices he’d mastered as a composer of operas: expressive orchestration, assertive rhythms, beautiful melodies, vocal pyrotechnics, and dramatic contrasts over an exceptionally wide dynamic range. Indeed, following the Requiem’s premiere many traditionalist critics complained that the music was far too “operatic” in style and not appropriate for the solemn subject matter. Fortunately for us, that view has not prevailed.

Undertaking performance of such a mammoth work, involving 300+ performers on stage, requires both abundant skill and a degree of intrepidity, traits which La Jolla Symphony & Chorus have amply demonstrated in their programming choices. Under the baton of conductor Steven Schick the musicians and vocal soloists render the complexities and subtleties of the piece with both confidence and sensitivity, and if it’s not sacrilegious to say so, the result is thrilling.

Contributed by arts and humanities producer John Menier

Watch Verdi’s Requiem.

facebooktwittergoogle_plus

Oliver Stone on Conversations with History

8232Years ago (I won’t say how many) I was sitting on the steps of a Cinemobile truck parked near a film set (I won’t say which one), practicing “hurry up and wait.” I was chatting with a grip, a veteran of countless productions with decades in the business. At one point he sighed, looked off in the distance, and said, “Just once I’d like to work on a picture that’s about something real.” Even at that tender age I understood that desire; it’s what compelled me to become a documentarian, while my fellow film students aspired to be Spielberg or De Palma.

I recently recalled that encounter while watching an episode of Conversations with History featuring filmmaker Oliver Stone, and realized that my enthusiasm for factual filmmaking also informed my interest in Stone’s work. Beginning with his sophomore film, “Salvador,” and throughout his career, Stone has incorporated elements of documentary style in heightened narratives that are often based on real people and historical events. In his pursuit of what he’s termed “emotional truth,” as opposed to literal truth, Stone has never shied away from controversy. Stone’s detractors – and they are legion – accuse him of being “undisciplined’ and “reckless” in dealing with facts, labeling him as a “propagandist” and an “amateurish would-be historian.” In fairness Stone has never claimed to be either objective or an historian in the academic sense (though his films are heavily researched); rather, he has stated that his goal is not to provide definitive accounts but to spark debate while hopefully entertaining his audience. In this he has often succeeded, and even those self-same detractors can’t deny his prowess as a filmmaker.

Stone’s work in documentary and docudrama is just one of the many topics discussed in a wide-ranging interview with “Conversations” host Harry Kreisler. Of particular interest is Stone’s discourse on the changes that have overtaken him since his last appearance on the program some twenty years earlier. He’s an older artist who’s fallen out of favor in Hollywood, and his once-prodigious output has slowed as a consequence, but Stone remains committed to his beliefs and fearless in expressing his viewpoint.

One of the consistent themes in Oliver Stone’s work is a determination to explore the complexities of character, and in this interview Stone himself emerges as a complicated figure – by turns insightful, dogmatic, worldly, parochial, passionate, and analytical; at times exasperating, but, like his films, never dull.

Browse this program and others on Conversations with History.

facebooktwittergoogle_plus

Meeting Flicka (The Incomparable Frederica von Stade)

8232A confession: I’ve been interviewing celebrities of varying renown or infamy for more years than I care to admit, and thought that I’d long ago ceased to be star-struck. Yet, when I first met celebrated mezzo-soprano Frederica von Stade (known affectionately by family, colleagues and fans as “Flicka,”), I alternately gushed and stammered like a schoolboy. I doubtless made a fool of myself, but Flicka was much too gracious to point this out; instead, she immediately put me at ease.

Why was I uncharacteristically giddy? Consider that the phrases “living legend” and “national treasure” are nearly as abused and overused as the term “genius,” and may denote nothing more than exceptional longevity. Occasionally, though – just every so often – an artist comes along who is fully deserving of these accolades, by dint of both their creative achievements and an inspirational personality. Flicka is one such artist, and great fun to be around, besides.

As well as being an iconic performer in traditional operas (both her Cherubino and Octavian are considered definitive), Flicka is known for encouraging modern American composers, and one of her most fruitful and enduring creative partnerships has been with composer Jake Heggie. She was an early champion of Heggie’s work and he has written both song cycles and opera roles for her, most notably in “Dead Man Walking” and “Three Decembers.” Their most recent collaboration is “Great Scott,” which had its West Coast premiere at San Diego Opera in May 2016. During her sojourn in San Diego Flicka sat down with SDO General Director David Bennett under the auspices of the Osher Lifelong Learning Institute at UC San Diego, for a wide-ranging conversation about her life and career. As one audience member noted, Flicka proved to be as far from the popular image of the temperamental artist as one can be, displaying an easy charm and a modesty that belies her status as one of the music world’s most beloved stars.

This shouldn’t come as a surprise to anyone familiar with her resumé, which includes stints on “Prairie Home Companion” and appearances with Carol Burnett, as well as singing at the White House, the Winter Olympics, and with Monty Python’s Eric Idle, where she appeared as a Valkyrie in a winged helmet for a duet rendition of “Always Look on the Bright Side of Life.” Not the sort of thing one would expect from a more, shall we say, conventional diva. In the course of her long career Flicka has proven to be an immensely effective advocate for the arts and arts education, and an enthusiastic popularizer of opera and art song. She continues to work to further the careers of talented young singers and composers.

I was star-struck so you don’t have to be. Watch Flicka’s conversation with David Bennett and I think you’ll learn, as I did, that all of the exceptional things said about her – about her talent, her integrity, her generosity, and her sweetness – are true.

Watch A Conversation with Frederica von Stade.

——-

Contributed by Producer, John Menier

facebooktwittergoogle_plus