Air Force Falcons at Dallas Baptist Patriots Baseball
Event on 2018-03-03 14:00:00
at Dallas Baptist University – Horner Ballpark
3000 Mountain Creek Parkway
Dallas, United States
Air Force Falcons at Dallas Baptist Patriots Baseball
Event on 2018-03-03 14:00:00
at Dallas Baptist University – Horner Ballpark
3000 Mountain Creek Parkway
Dallas, United States
Check out these radio station images:
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Image by varfolomeev
Old office of radio station "Echo of Moscow"
Image by U.S. Pacific Fleet
SUBIC BAY, Philippines (June 27, 2014) The U.S. 7th Fleet band “Orient Express” plays live on Philippine radio station K-LITE 96.7 FM in support of Cooperation Afloat Readiness and Training (CARAT) Philippines 2014. In its 20th year, CARAT is an annual, bilateral exercise series with the U.S. Navy, U.S. Marine Corps and the armed forces of nine partner nations including, Bangladesh, Brunei, Cambodia, Indonesia, Malaysia, the Philippines, Singapore, Thailand and Timor-Leste. U.S. Navy photo by Mass Communication Specialist 1st Class Jerry Jimenez/Released)
Image by ceesjwfoto (Cees Wouda)
At the north coast of Gaspasie Peninsula internet communication is a rare thing. Mind you, this is at the location where Guglielmo Marconi installed more than one hundred years ago one of the first and most important radio stations for communication with Europe and with ships on the Atlantic Ocean. Also our GSM phone whas dead for a couple of days.
PARKING: American Airlines Center – Dallas Stars v Ottawa
Event on 2018-03-05 19:30:00
at American Airlines Center
2500 Victory Avenue
Dallas, United States
PARKING: American Airlines Center – Dallas Stars v Toronto
Event on 2018-01-25 19:30:00
at American Airlines Center
2500 Victory Avenue
Dallas, United States
KISS OFF 2017 NYE PARTY AT BAR LOUIE – DALLAS, TX
Event on 2017-12-31 20:00:00
We saved the biggest party of the year, for the very last night of the year. Tell 2017 to “KISS OFF” and make a clean break with a dirty martini with New Year’s Eve at Bar Louie! The music will be pumping, bottles will be popping, taps will be flowing and the scratch kitchen will be jamming until last call… So you don’t have to end your night until we do. Limited tickets available… get yours now! Questions? Give us a call (469) 248-1760. Here’s the deal… NYE Offers, dates, times, prices, details and availability subject to change and may vary by location. See Server for details. All federal, state and local laws apply. Applicable sales tax included in ticket price. No refunds. No cash value. We serve responsibly, you should drink responsibly. Can you dig it? We knew that you could. Copyright © 2017 BL Restaurant Operations, LLC.All Rights Reserved.
at Bar Louie
(469) 248-1760 , 8166 Park Lane
Dallas, United States
The COCOLUXE 4th Annual Grey On Gray Holiday Affair
Event on 2017-12-23 21:00:00
T h e C o C o LUXE[ The 4th Annual Grey On Gray Holiday Affair] CAUSE?///Join us for our 4th year as we partner with ACE's DRIVEfor Children to collect toys and electronics for theChild Life Dept. at Children's Medical Center (Dallas).We are asking for donations of the following items:stuffed animals, portable DVD players, iPads, handheldgaming devices, coloring books + non-toxic crayons,movies & kid blankets.The electronics (new or used) will be for the hospitalto keep and share between all children. All other itemswill be given to the children to keep. A percentageof the proceeds will be used to buy additional items.#AcesDrive VIBE?/// Join us for a night of holiday decadence where tasteful leisure and revelry fuse to create the perfect haven for savvy socialites, creatives, tastemakers, influencers, fashion mavens & those that take the city into the future while giving to a worthy cause. "Celebrate & donate!" ATTIRE?/// Gray On Grey Holiday chic | Cocktail Attire SOUNDS?/// DJ Phife + DJ M*Knight EXPECTATIONS?/// • Chic lounge bar • People watching • Atmospheric sounds • Sophisticated debauchery • Progressive professionals • Dancing | Smiles | New Connections | Flirting • Ladies and Men dressed appropriately for the occasion. ———————————————————————————– ———————————————————————————– SPECIAL FEATURES/// Holiday Hors D'oeuvres 9:00pm – 10:00pm Door prizes + VIP Gift Bags WHEN?/// DEC. 23, 2016 | Saturday 9:00 p.m. – 1:30 a.m. 1033 Young St. Dallas, TX 75202 TICKETS • TABLES • RSVP/// http://TheCOCOLUXE4.eventbrite.com 469-704-9460 • 214-458-5202 ———————————————————————————– ———————————————————————————– Hosted by:George Artis II, Damien Haltom, Rod Deloach,J. Andreus Lilly, Michael Cooper & Tess Salazar The CoCoLUXE has been a staple in Dallas nightlife since its origination in 2009. Created to bring higher levels of social interaction to D/FW, "a tasteful evening of leisure and revelry" has always been its aim as it reignited urbane experiences in exclusive destinations for the urban professional.
at WXYZ Bar + Aloft Hotel Lobby & Lounge
1033 Young Street
Dallas, United States
Some cool radio station images:
365 Days Project, Day 13
Image by Ovais_92
The lady driving her Cadillac sighs; her husband wanted a divorce, because she had been unfaithful to him. She knew he’d probably have some paperwork drawn up by the lawyer by the time she got home, and it would mean losing the car, the house, the cabin near the river, and all the social events she usually went to. She’s trying to think of a way out, but she’s trapped, because she did something wrong-not once, but twice-and there was no going back now. If she stopped to think about it, though, she probably would have done it again, given the chance. Maybe she could move in with him.. If she told him she was pregnant..
The senior citizen in the red Chevrolet smiles when he remembers it’s almost his eightieth birthday. His sons were lawyers and bankers, so they took care of him and his wife. They had raised them right, and it made him feel like there was nothing better they could have done in their lifetime. He was determined to enjoy his days until they ended, so he was taking his wife on a cruise to France.
The girl in the green Toyota Corolla texts her friend quickly. She’s on her way home after school ended at 4pm; she’s looking forward to changing into her pajamas and going back to sleep. She’s usually on her iPhone all day, either texting, playing a game, or on Facebook. Her phone vibrates again, and she decides to ignore it when she sees who the text was from. A friend of hers liked her, and knew that she wasn’t interested in a relationship, but he had told her he would wait for her. She wanted to let him down easy, but she rarely ever thought of him, so she hadn’t asked her girlfriends what they thought she should do.
The boy in the silver Toyota Corolla sings along with the music, strumming an imaginary guitar with one hand.
‘Cause if one day you wake up and find that you’re missing me,
And your heart starts to wonder where on this earth I could be,
Thinking maybe you’ll come back here to the place that we’d meet,
And you’ll see me waiting for you on the corner of the street’
It was his day off, so he had gone to buy a new string for his guitar, and he was a few minutes away from home. He had work the next day, but it wasn’t work for him, because he worked in the best place he could-a radio station-so it was doing what he loved, all day long.
Everyone is waiting for the green arrow. They’re all looking at the same image. But their minds are focused on something else altogether. A different perspective from each angle.
Lyrics: The Script: The Man Who Can’t Be Moved
Fogos em Montreal / Fireworks at Montreal
Image by Marcio Cabral de Moura
Festival Internacional de Fogos de Montreal
L’International des Feux Loto-Québec, also known as the Montreal Fireworks Festival, is a major international fireworks competition. (It was formerly known as Le Mondial SAQ, and l’International Benson & Hedges.) It has been held yearly in La Ronde over the Dolphins lake, since 1985, and is named after its main sponsor, Loto-Québec. The display is hailed as the best and largest fireworks festival in the world. It hosts an estimated 3 million each year, with approximately 6,000 fireworks set off during each show.
Each summer, eight or nine pyrotechnical companies from different countries present a 30-minute long pyromusical show, competing for the Gold, Silver and Bronze Jupiters or trophies.
For the 20th anniversary in 2004, eight of the previous top competitors (all of whom had won the Gold Jupiter) were invited to fight for the unique Platinum Jupiter in June and July 2004, which was won in the end by the German company WECO.
The competition takes the form of a series of biweekly fireworks shows usually beginning in late June and ending in late July. The fireworks are synchronized to music which is also broadcast over a provincial radio station (RockDétente in 2005, Rythme FM 2006-onwards). Spectators can purchase tickets to have reserved seats in La Ronde: they can buy them on site, on-line or through the Admission group to obtain an exceptional view of the lower altitude display and the whole perspective. However, tens of thousands to hundreds of thousands of people watch the fireworks for free from nearby locations.
Andris Nelsons leads Mahler’s Symphony No. 3 featuring mezzo-soprano Susan Graham
Event on 2018-01-19 13:30:00
The outstanding American mezzo Susan Graham joins Andris Nelsons, the BSO, and the women of the Tanglewood Festival Chorus for Mahler's Third Symphony, which, along with his Symphony No. 2, exemplifies the composer's ambitious expansion of the symphonic genre. This is the second of Mahler's trio of "Wunderhorn" symphonies (Nos. 2-4) employing text from the folk-poetry collection Des Knaben Wunderhorn. The six-movement symphony is divided into two parts. Part I is a massive, 30-plus-minute opening movement representing a Bacchic procession celebrating the arrival of summer. Part II (movements 2 through 6) is a series of character pieces representing the responses of, in turn, wild flowers, animals of the forest, mankind itself, angels, and the spirit of love. View biography in full page >
In 2017-18, his fourth season as the BSO's Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in twelve wide-ranging subscription programs at Symphony Hall, repeating three of them at New York's Carnegie Hall in March. Also this season, in November, he and the orchestra tour Japan together for the first time, playing concerts in Nagoya, Osaka, Kawasaki, and Tokyo. In addition, in February 2018 Maestro Nelsons becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will bring both orchestras together for a unique multi-dimensional alliance; under his direction, the BSO celebrates its first "Leipzig Week in Boston" that same month. In the summer of 2015, following his first season as music director, Andris Nelsons' contract with the Boston Symphony Orchestra was extended through the 2021-22 season. Following the 2015 Tanglewood season, he and the BSO undertook a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany, Austria, and Luxembourg, took place in May 2016.
The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His first CD with the BSO-live recordings of Wagner's Tannhäuser Overture and Sibelius's Symphony No. 2-was released in November 2014 on BSO Classics. April 2017 brought the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting, recorded live at Symphony Hall in November 2016. In an ongoing, multi-year collaboration with Deutsche Grammophon initiated in 2014-15, he and the BSO are making live recordings of Shostakovich's complete symphonies, the opera Lady Macbeth of Mtsensk, and other works by the composer. The first release in this series (the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk) won the 2016 Grammy Award for Best Orchestral Performance and Gramophone Magazine's Orchestral Award. The second release (symphonies 5, 8, and 9, plus excerpts from Shostakovich's 1932 incidental music to Hamlet) won the 2017 Grammy for Best Orchestral Performance. Also for Deutsche Grammophon, Andris Nelsons is recording the Bruckner symphonies with the Gewandhausorchester Leipzig and the Beethoven symphonies with the Vienna Philharmonic.
In 2017-18, Andris Nelsons is artist-in-residence at the Konzerthaus Dortmund and continues his regular collaboration with the Vienna Philharmonic, leading that orchestra on tour to China. He also maintains regular collaborations with the Royal Concertgebouw Orchestra of Amsterdam, the Berlin Philharmonic, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. Maestro Nelsons has also been a regular guest at the Bayreuth Festival and at the Royal Opera House, Covent Garden, where he conducts a new David Alden production of Lohengrin this season.
Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled "Andris Nelsons: Genius on Fire." View biography in full page >
Susan Graham – hailed as "an artist to treasure" by the New York Times – rose to the highest echelon of international performers within just a few years of her professional debut, mastering an astonishing range of repertoire and genres along the way. Her operatic roles span four centuries, from Monteverdi's Poppea to Sister Helen Prejean in Jake Heggie's Dead Man Walking, which was written especially for her. She won a Grammy Award for her collection of Ives songs, and her recital repertoire is so broad that 14 composers from Purcell to Sondheim are represented on her most recent Onyx album, Virgins, Vixens & Viragos. This distinctly American artist has also been recognized throughout her career as one of the foremost exponents of French vocal music. Although a native of Texas, she was awarded the French government's prestigious "Chevalier de la Légion d'Honneur," both for her popularity as a performer in France and in honor of her commitment to French music.
To launch the 2017-18 season, Ms. Graham will reprise her star turn in the title role of Susan Stroman's production of Lehár's The Merry Widow at the MET, then she joins Nathan Gunn for Bernstein's Trouble in Tahiti at Lyric Opera of Chicago, in a special concert to mark the composer's 100th birthday. To conclude the operatic season, she returns to Opera Theatre of Saint Louis opposite James Morris in Marc Blitzstein's 1948 opera Regina. At the Boston Symphony, she joins Charles Dutoit for Berlioz's La Damnation de Faust and Andris Nelsons for Mahler's Third Symphony, which is also the vehicle for her summer collaborations at the Tanglewood Festival and later on tour in Europe. Besides reuniting with Dutoit for Ravel's Shéhérazade at the San Francisco Symphony, she headlines a gala concert to celebrate Tulsa Opera's 70th anniversary. She also gives solo recitals at Emory University and Washington University, and rounds out the season with a night of cabaret at the Park Avenue Armory in New York.
Last season, Graham partnered with Renée Fleming for the San Francisco Symphony's opening-night gala, and joined Anna Netrebko, Plácido Domingo, and a host of other stars to celebrate the Metropolitan Opera's five decades at Lincoln Center. Having created the role of Sister Helen Prejean in the world premiere production of Dead Man Walking at San Francisco Opera, she reprised her role in Washington National Opera's revival of the piece. She returned to Santa Fe Opera as Prince Orlofsky in a new production of Johann Strauss II's Die Fledermaus, and reprised her signature portrayal of Dido in Berlioz's Les Troyens at the Lyric Opera of Chicago. Concert highlights included selections from Mahler's Des Knaben Wunderhornat Carnegie Hall and Canteloube's Chants d'Auvergne with the Philadelphia Orchestra, as well as a star-studded Der Rosenkavalier at the Boston Symphony. She gave U.S. recitals of "Frauenliebe und -leben Variations," her program inspired by the Schumann song cycle, and expanded her discography with Nonesuch Records' DVD/Blu-ray release of William Kentridge's new treatment of Berg's Lulu, which captured her role debut as Countess Geschwitz at the Met.
Graham's earliest operatic successes were in such trouser roles as Cherubino in Mozart's Le nozze di Figaro. Her technical expertise soon brought mastery of Mozart's more virtuosic roles, like Sesto in La clemenza di Tito, Idamante in Idomeneo and Cecilio in Lucio Silla, as well as the title roles of Handel's Ariodante and Xerxes. She went on to triumph in two iconic Richard Strauss mezzo roles, Octavian in Der Rosenkavalier and the Composer in Ariadne auf Naxos. These brought her to prominence on all the world's major opera stages, including the Met, Lyric Opera of Chicago, San Francisco Opera, Covent Garden, Paris Opera, La Scala, Bavarian State Opera, Vienna State Opera and the Salzburg Festival, among many others. She performed the leading ladies in the MET world premieres of John Harbison's The Great Gatsby and Tobias Picker's An American Tragedy, and made her Dallas Opera debut as Tina in a new production of The Aspern Papers by Dominick Argento. As Houston Grand Opera's Lynn Wyatt Great Artist, she starred as Prince Orlofsky in the company's first staging of Die Fledermaus in 30 years, before heading an all-star cast as Sycorax in the Met's Baroque pastiche The Enchanted Island and making her rapturously received musical theater debut in a new production of Rodgers & Hammerstein's The King and I at the Théâtre du Châtelet in Paris.
It was in an early Lyon production of Berlioz's Béatrice et Bénédict that Graham scored particular raves from the international press, and a triumph in the title role of Massenet's Chérubin at Covent Garden sealed her operatic stardom. Further invitations to collaborate on French music were forthcoming from many preeminent conductors, including Sir Colin Davis, Charles Dutoit, James Levine and Seiji Ozawa. New productions of Gluck's Iphigénie en Tauride, Berlioz's La damnation de Faust and Massenet's Werther were mounted for the mezzo in New York, London, Paris, Chicago, San Francisco and beyond. She recently made title role debuts in Offenbach's comic masterpieces La belle Hélène and The Grand Duchess of Gerolstein at Santa Fe Opera, as well as proving herself the standout star of the Met's star-studded revival of Les Troyens, which was broadcast live to cinema audiences worldwide in the company's celebrated "Live in HD" series. Graham's affinity for French repertoire has not been limited to the opera stage, having also served as the foundation for her extensive concert and recital career. Such great cantatas and symphonic song cycles as Berlioz's La mort de Cléopâtreand Les nuits d'été, Ravel's Shéhérazade and Chausson's Poème de l'amour et de la mer provide opportunities for collaborations with the world's leading orchestras, and she makes regular appearances with the New York Philharmonic, Boston Symphony, Orchestre de Paris and London Symphony Orchestra.
Graham's distinguished discography features all the works described above, as well as a series of lauded solo albums, including Un frisson français, a program of French song recorded with pianist Malcolm Martineau for Onyx; C'est ça la vie, c'est ça l'amour!, an album of 20th-century operetta rarities on Erato; and La Belle Époque, an award-winning collection of songs by Reynaldo Hahn with pianist Roger Vignoles, from Sony Classical. Among the mezzo's numerous honors are Musical America's Vocalist of the Year and an Opera News Award; Gramophone magazine has dubbed her "America's favorite mezzo." View biography in full page >
Tanglewood Festival Chorus
James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus
John Oliver, Founder and Conductor Laureate
This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances of Mahler's Symphony No. 3 (January 18-20) and Schumann's Nachtlied and Neujahrslied (February 8-10) under BSO Music Director Andris Nelsons; Grieg's incidental music to Peer Gynt under BSO Associate Conductor Ken-David Masur (October 19-24); Berlioz's The Damnation of Faust (October 26-28) and Ravel's complete Daphnis et Chloé (February 15-17) under Charles Dutoit, and Leonard Bernstein's Symphony No. 3, Kaddish, under Giancarlo Guerrero (March 15-17). Members of the chorus also participated in this season's all-Bernstein program on Opening Night. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of the 2014 Tanglewood season. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center. In February 2017, having prepared the chorus for that month's BSO performances of Bach's B minor Mass led by Andris Nelsons, the British-born James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Choral Director.
Though first established for performances at the BSO's summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO's subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occasions. The TFC made its debut in April 1970, in a BSO performance of Beethoven's Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz's La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith's An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble's 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC's 40th anniversary; and, with James Levine conducting, Ravel's complete Daphnis and Chlo?? (a 2009 Grammy-winner for Best Orchestral Performance), Brahms's German Requiem, and William Bolcom's Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the BSO, TFC members have performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan, and sang Verdi's Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy's funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can be heard on the soundtracks of Clint Eastwood's Mystic River, John Sayles's Silver City, and Steven Spielberg's Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike. View biography in full page >
James Burton was appointed Conductor of the Tanglewood Festival Chorus, and to the new position of BSO Choral Director, in February 2017. Born in London, Mr. Burton began his training at the Choir of Westminster Abbey, where he became head chorister. He was a choral scholar at St. John's College, Cambridge, and holds a master's degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. He has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata; in early 2016 he made his debut with the Orquestra Sinfònica Nacional with concerts in the Palacio de Bellas Artes in Mexico City. Opera credits include Don Giovanni and La bohème at English National Opera, Così fan tutte at English Touring Opera, The Magic Flute at Garsington, and Gianni Schicchi and Suor Angelica at the Prague Summer Nights Festival. He has served on the music staff of the Metropolitan Opera, Opéra de Paris, English National Opera, Opera Rara, and Garsington Opera, where he was honored with the Leonard Ingrams Award in 2008. He has also conducted in London's West End and led a UK tour of Bernstein's Wonderful Town in 2012. His extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wroc?aw Philharmonic, and the BBC Singers, with whom he performed at the Dubai Opera house in its inaugural season earlier this year. From 2002 to 2009 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. He returned to Manchester in 2014, preparing the choirs for a Grammy-nominated recording under Sir Mark Elder of Vaughan Williams's Sea Symphony. From 2002 to 2017 he was music director of the chamber choir Schola Cantorum of Oxford, touring all over the world and recording with Hyperion Records. He collaborates regularly with leading young musicians and in 2017 appeared as guest director of the National Youth Choir of Japan and the Princeton University Glee Club, as well as the Genesis Sixteen. He teaches conducting, and has given master classes at the Royal Academy of Music and the Royal Welsh College of Music. In 2011 he founded a conducting scholarship with Schola Cantorum of Oxford. His compositions and arrangements have been performed internationally, and his orchestral arrangements for Arlo Guthrie have been performed by the Boston Pops, by many other leading U.S. orchestras, and at the Kennedy Center and Carnegie Hall. His commissions have included the music for the 2010 World Equestrian Games opening ceremony, a setting for chorus and orchestra of Thomas Hardy's The Convergence of the Twain commemorating the 100th anniversary of the Titanic disaster, and a recent Christmas carol premiered by the Choir of St. John's College, Cambridge, live on BBC Radio 3. His choral works are published by Edition Peters. As BSO Choral Director and Conductor of the Tanglewood Festival Chorus, James Burton occupies the Alan J. and Suzanne W. Dworsky Chair, endowed in perpetuity.
at Symphony Hall
334 Massachusetts Ave
Boston, United States
Event on 2017-12-29 22:00:00
"It's the stuff you dream about," says Troy Cartwright of his whirlwind year. The young Dallas native began to see a lifetime of hard work pay off in spades in 2015, as he signed with Sunfire Entertainment, released a critically acclaimed debut album, cracked the top 25 on the Texas Music Chart, and shared bills with Hayes Carll, Randy Rogers, Turnpike Troubadours, Green River Ordinance, and more. "This is all I wanted to do since I was 14," he reflects, "and now I'm doing it."With so much momentum on his side, it's no surprise that Cartwright titled his new release 'Don't Fade.' It's a note-to-self that he more than lives up to on the EP, bringing together the heartfelt vulnerability of Ryan Adams and the arena-ready anthems of Eric Church into an infectious, genre-blurring masterpiece. The tracks showcase Cartwright's considerable growth, both as a writer and performer, while honing in on the sharp lyrics and soulful delivery that earned his self-titled debut widespread praise in Texas and beyond. The Dallas Observer called that record "one of the very best of 2015," while the Fort Worth Star Telegram raved that "theres an ease and a polishbelying Cartwrights relative youth," and Red Dirt Nation said that it "stirs what makes us all feel young and poignantly reminds us how fragile we all are when it comes to love, heartbreak and home." For Cartwright, though, it was only just the prelude.
at STONEY’S ROCKIN’ COUNTRY
9151 South Las Vegas Boulevard #300
Las Vegas, United States
The Dangerous Summer
Event on 2018-02-14 19:00:00
with Microwave, The Band Camino
A funny thing happened when The Dangerous Summer walked away in 2014: People kept listening. In fact, the legend of the Ellicott City, Maryland-based bandsigned by Hopeless Records during their senior year of high school in 2007only grew larger in their absence. Fans inked vocalist/bassist AJ Perdomos words on their skin. Bands cribbed their names from Dangerous Summer song titles. They never broke in the mainstream, but to a rabid underground audience, The Dangerous Summer were a phenomenon.Now, newly reformed and reunited with Hopeless Records, the bandPerdomo, guitarist Matt Kennedy and drummer Ben Catoare ready to begin their second chapter with the release of their fourth full-length album in 2018, produced by James Paul Wisner (Underoath, Dashboard Confessional, Paramore).In all of our minds, we thought this was never going to happen again, Perdomo says. There was a point in my life where I thought I was never going to play another Dangerous Summer song again. But the easiest thing in the world is writing music and playing music together. Its second nature. It feels right again.The bands forthcoming album, their first in four years, looks to build on an already accomplished discography. The Dangerous Summers first three albums2009s Reach For The Sun, 2011s War Paint and 2013s Golden Recordwere more than just critically acclaimed: They were collections of visceral, textured alternative rock that shook audiences to their core with an unrivaled musical heft and lyrical honesty. They were songs that demanded your attention, as catchy as they were introspectively vulnerable.Were taking elements of what people always loved about the band and trying to push the limits and push things forward, Perdomo explains, noting that the bands new music is more uplifting and upbeat than the stark, bleak Golden Record, which came at a time of both personal and professional turmoil for the group. On Reach For The Sun, we had a lot of inspiring songs, he says. I feel like right now we need to pull out of this dark veil before we do anything else in our story. Were pulling out of the darkness, and its really inspiring and uplifting.So, as The Dangerous Summer approach the next stage of their career, they do so with an overwhelming optimism thats never been stronger. This isnt a rehash: Its a band acknowledging their past with eyes turned squarely toward the future. Most importantly, its a reunion led by the music instead of the ancillary trappings of the industry. In their time away, Perdomo, Kennedy and Cato had plenty of time to figure out who and where they wanted to be, and theyve all returned to the same place.No one owes us anything, says Perdomo, who became a father during the bands hiatus. We have to prove ourselves again. Were giving our entire selves to this. We were always just grinding so hard because we needed to do it for a living, just trying to get by. Were not going to be grinding out 100-day tours; we conquered that. We finally got to the point where we dont need thiswe want it.
at Urban Lounge
241 South 500 East
Salt Lake City, United States