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February 2015

January 2015

FREE TICKETS: "The Lion" at Lynn Redgrave Theater at Culture Project NYC

The Lion

NOTE: This contest has ended

The Lion, the gripping, autobiographical solo show written and performed by Benjamin Scheuer, will play an extended engagement Off-Broadway from February 3 to March 29th. The run follows an award-winning run at the Edinburgh Fringe Festival and sold-out productions at the Manhattan Theatre Club and London’s St. James Theatre.

Scheuer uses not one or two, but six guitars to tell a story of the redemptive power of music in his life. The show is a NY Times critic's pick and the NY Daily News called it "an irresistible winner...deeply moving."

Enter for your chance to win* courtesy of with FoM by:

1. Email free@feastofmusic.com    -OR-

2. Tweet #FreeTickets @TheLionMusical @feastofmusic  (and don't forget to follow us!)   -OR-

3. Head to our Facebook page and COMMENT on our giveaway post! Note: "Likes" on their own will not be considered valid entries.

*date of attendance is subject to availability.


Prototype Festival: "Sunken Cathedral" by Bora Yoon at La Mama

by Steven Pisano

Rev_B5A5433Bora Yoon; Photo by Cory WeaverPhotos by Cory Weaver/Prototype

If you could videotape and then three-dimensionally play back for an audience one of your recent dreams, it might look like Bora Yoon’s Sunken Cathedral, presented at La Mama last week as part of the ongoing Prototype Festival.

Yoon is fascinated with the subconscious, the hidden side of us that lurks below our everyday awareness yet nonetheless influences who we are in our waking lives. In a voiceover early in the show, Yoon says: “The architecture of the mind is an infinite space.”

Deliberately sharing the same title as a prelude by Claude Debussy (“La cathédrale engloutie”), Sunken Cathedral is not an opera, nor a concert, nor a work of musical theater. It does feature, among other things, a violin, Tibetan bowls, empty tin cans, a metronome (from Yoon’s childhood, we are told), and hand clapping. There is also Yoon’s marvelous ethereal singing, which is worth the price of admission alone.

Accompanying the music were gorgeous surrealist projections featuring the kinetic sculptures of South Korean artist U-Ram Choe. There was also dancing and drumming by Vong Pak, dressed in a Korean folk costume, a long ribbon snaking from the top of his hat (known as a sangmo).

Yoon has described herself as a “sound artist,” and during a Q&A after the Saturday matinee performance, director Glynis Rigsby spoke of how the show was put together over the last several years more like a painting than anything else, arranging colors and shapes in sound.

Continue reading "Prototype Festival: "Sunken Cathedral" by Bora Yoon at La Mama" »


FREE TICKETS: Ensemble ACJW at SubCulture

Ensemble ACJW“The new face of classical music for New York … these performers have the musical goods,” said The New York Times. Ensemble ACJW'S fresh, open minded approach to music heads downtown to one of the East Village's newest performance spaces, SubCulture, next Thursday, January 22nd at 7:30pm. 

The evening will include works by John Adams, Reena Esmail, Arvo Pärt and more. Grab a drink and take it all in with a pair of free tickets courtesy of FoM!

For your chance to win:

1. Email free@feastofmusic.com    -OR-

2. Tweet #FreeTickets #EnsembleACJW @feastofmusic  (and don't forget to follow us!)   -OR-

3. Head to our Facebook page and COMMENT on our giveaway post! Note: "Likes" on their own will not be considered valid entries.


Prototype Festival: Toxic Psalms at St. Ann's Warehouse

by Robert Leeper

Members of Carmina Slovenica; Photo by Cory Weaver
All Photos by Cory Weaver/Prototype Opera
Slovenian vocal ensemble Carmina Slovenica came to St. Ann's Warehouse last week to present the U.S. Premiere of Toxic Psalms. The group of 30 young women - all between the ages of 14 and 21 - was brought to Brooklyn as part of the ongoing Prototype Festival, which in its third year has become a leader in the development new opera and a relentless advocate for the advocacy of contemporary issues.
 
Taking its musical cues from similarly virtuosic vocal groups that synthesize sounds and styles—think Roomful of TeethToxic Psalms strives to expose man's brutality in the name of an idea: “killing for the glory of his 'psalms,'" as Carmina Slovenica director Karmina Šilec writes in the program. Toxic Psalms is a work of fierce dichotomies: it begins in darkness, but as the music expands, so too does the light and space. At the back of the stage, several figures appear on their knees as prisoners might, wearing black dresses designed by Belinda Radulović. Combat boots lined the stage and hung ominously from the ceiling; lemons strewn accross the floor became a potent symbol of stolen purity.

The group makes oblique references to contemporary atrocities in Syria, Russia, Lebanon and the #yesallwomen campaign right here at home, but nothing explicit. Šilec calls the performance a “choregie,” an amalgam of vocalization and theater that together create a contrapuntal work encompassing multiple meanings and interpretations. The music - which includes a Syrian Orthodox hymn, Sarah Hopkins’s “Past Life Melodies,” and works by Slovenian composer Lojze Lebic and American Jacob Cooper, among others - is woven through the design, direction, and choreography, creating a unified whole. 

Continue reading "Prototype Festival: Toxic Psalms at St. Ann's Warehouse" »