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February 2018

March 2018

Meredith Monk's "Cellular Songs" at the Brooklyn Academy of Music

(All photos by Steven Pisano.)

A new work by Meredith Monk is always a cause for celebration. Her performances, which always feature a magical combination of singing, dancing, and visuals, never fail to provoke the mind, even as they entertain. Always more interested in the textures of the voice as instrument, rather than simply a conveyance to sing a song, Monk has long been one of the most extraordinary vocalists of the last 50 years.

Monk's new work, Cellular Songs, is playing at the Harvey Theater at BAM through this weekend. Cellular Songs is sparer than the last work Monk presented at BAM: the brilliant On Behalf of Nature, which played three seasons ago. That work was a rich whirlwind of colors in the sets and in the costumes, and was brimming with Monk's trademark chant-like singing.  

In Cellular Songs, Monk sings with less force than she has in the past, but even in her mid-70s now, she can still entice your ears in a way only she can. If you've only heard her on recordings or in videos, you've missed the special experience it is to hear her sing in person.

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Ticket Giveaway: Bernstein's 'A Quiet Place' at Kaye Playhouse


In the centennial year of the celebrated conductor, pianist, and composer Leonard Bernstein, there are plenty of options for celebration. Feast of Music is giving away THREE PAIRS of tickets to Bernstein's only opera, A Quiet Place. Next Tuesday's performance will be by the Curtis Opera Theater at the

Kaye Playhouse at 8 pm.Here's how to enter:

1. Email    -OR-

2. Retweet our post with the hashtag #freetickets    -OR-

3. Head to our Facebook page and COMMENT on our giveaway post! 

Good luck!

"Africa Now!" at the Apollo Theater

by Steven Pisano

(All photos by Steven Pisano.)

DJ Black Coffee at Africa Now! at the Apollo TheaterThe sixth annual "Africa Now!" concert co-sponsored by the World Music Institute and the Apollo Theater was focused more on the electronic side of African music. The featured act in the first half brought together legendary drummer Tony Allen and techno wiz Jeff Mills, supported by keyboardist Jean-Philippe Dary. The Nigerian-born Allen is widely credited with establishing Afrobeat music back in the 1970s as part of Fela Kuti's band Africa '70. Paired with the Detroit-born Mills, the resulting set was a long improvisational groove that was at turns jazzy, Afrobeat, and techno - and always dreamy. A vibrant light show helped to engage the audience, since the musicians barely moved.

The second half of the show spotlighted the night's big draw, the internationally acclaimed DJ and record producer Black Coffee (Nkosinathi Innocent Maphumulo) from South Africa. The Apollo instantly changed from concert hall to dance club, with the entire house rising up from their seats and dancing. Basically it was house music with a South African flavor.

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Ian Hobson Paints Musical Colors with Debussy and Ravel at SubCulture

by Nick Stubblefield


When SubCulture announced in July 2015 that they were “re-structuring their business model” and cancelling the majority of their lineup, many faithful concert-goers fretted about losing this intimate, inviting venue for good. Luckily, over two years later, it’s still here - though indeed the business model has changed.  Now there are far fewer artists on the calendar, with more focus on residencies and concert series.

When I stopped in Wednesday night to hear pianist Ian Hobson perform part six of his eight-part concert series of Debussy and Ravel pieces for piano, I figured he must know his way around the instrument quite well. After all, the now highly-selective venue booked him for eight programs. And my hunch was correct: Hobson, a native Englishman, channeled every ounce of impressionistic beauty in selections from two of France’s beloved composers.

Hobson opened his set with a series of four Debussy works. Berceuse heroique entered like a slow funeral march, gradually building momentum until the climax. Valse and Mazurka are more sprightly numbers, so Hobson’s fingers lightly danced and frolicked across the keys, whereas the Nocturne was grander, darker, requiring a heavier hand.

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