Peter Bay (MM ’80, Conducting) has organized and will conduct a production of Bernstein’s MASS: A Theatre Piece for Singers, Players and Dancers. The production, in his home of Austin, Texas, will include 300 cast and crew members, the involvement of all of the major performing arts organizations in Austin, and an opening night Gala event featuring the families of Leonard Bernstein and John F. Kennedy. This collaboration of all the major performing arts organizations in Austin is unprecedented. A project of this magnitude has been a lifelong dream of Bay, and comes at a particularly poignant time, the 100th birthday of Bernstein. This production is presented as a part of Bernstein100Austin, and will take place on June 29 and 30 at the Long Center in Austin.
Peabody was featured in Baltimore Magazine’s Music Issue. The story highlights the classical music institutions in Baltimore that are making music accessible and relevant to new audiences. In the Peabody feature, Dean Fred Bronstein and DMA candidate Yoshi Horiguchi (MM ’17, Double Bass/Pedagogy) are interviewed. It also mentions the Peabody Chamber Opera’s production of Out of Darkness: Two Remain and some of the new classes offered to Conservatory students.
David Faleris (MM ’06, Trombone) has achieved second place in The American Prize in Composition, 2017-18, in the instrumental chamber music division (professional composer), for his work entitled “A Martyred Village.”
Byeong Woo Lee (GPD ’98, Guitar; GPD ’00, Chamber Ensemble) recently performed for Kim Jong Un and Moon Jae In at the Korean Demilitarized Zone during a historical meeting between the two countries. Lee played his solo guitar piece Bird alongside a traditional Korean musician and a boy who sang at the winter Olympics. Also in attendance were 40 representatives from both countries. More…
Faculty artist Michael Hersch (BM ’95, MM ’97, Composition) was featured in The Boston Globe. Hersch’s music will make its Boston premiere on Monday, May 14 at 5:30 pm at the Boston Athenaeum. The article discusses Hersch’s “late blooming” into classical music, and the extreme lengths of his pieces.