Richard paul fink baritone sax

  • Soprano; Ann Frohbieter, organ; Justin White, baritone; Richard Paul Fink, bass-baritone; Elizabeth Wiles, soprano; Claudia Waite, soprano; Omari Williams.
  • Richard Paul Fink made the most of it, from the self-satisfied preening on the airfield to his crotch-grabbing exit, through an opening in.
  • The orchestra includes four saxophones, two pianos, and a synthesizer.
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    titlecomposerartists/ensembleplay"Blue" Gene Tyranny: The Somewhere Songs/The Invention of Memory"Blue" Gene TyrannyLloyd Maines, steel guitar; Luke Winslow-King, resonator guitar; Ariane Lallemand, cello; "Blue" Gene Tyranny, piano; Lev Zhurbin, viola; Alan Johnson, Conductor; Pauline Kim, violin; Conrad Harris, violin; Jay Elfinbein, bass; Steve Elson, saxophone; Thomas Buckner, baritone; Ned Sublette, voice; Ned Sublette Band; Lenny Pickett, saxophone; Stan Harrison, saxophone; Tim Schellenbaum, guitar; Tony Bass, bass; Jimmy Daniel, drums; Peter Gordon'John Harbison: Winter''s Tale'John HarbisonDavid Kravitz, baritone; Janna Baty, mezzo-soprano; Anne Harley, soprano; Matthew Anderson, tenor; Pamela Dellal, mezzo-soprano; Dana Whiteside, bass; Christian Figueroa, tenor; Paul Guttry, bass; Aaron Engebreth, baritone; Jeramie Hammond, bass; Boston Modern Orchestra Project; Gil Rose, ConductorAaron Copland: The Tender L
  • richard paul fink baritone sax
  • Opera Today

    April 30, 2018

    La concordia de’ pianeti: Imperial flattery set to Baroque splendor in Amsterdam

    La concordia de’ pianeti was commissioned to celebrate the name day of Elizabeth Christine of Brunswick-Wolfenbüttel, mother of Empress Maria Theresa and grandmother of Queen Marie Antoinette of France. In November 1723 she and her husband, the Holy Roman Emperor Charles VI, were returning to Vienna from Prague, where they had been crowned monarchs of Bohemia. During a stop in Znojmo, Moravia, Caldara, who was employed by the emperor, conducted the open-air premiere for the imperial couple. La concordia de’ pianeti is more of a secular cantata than a one-act opera. Its plot, such as it is, consists of the god Mercury persuading six other gods that “Elisa”, the empress, possesses qualities equal, or even superior, to theirs, thus deserving deification. Each of the seven gods and goddesses is associated with a heavenly body: Apollo

    When Air Force One landed on the Metropolitan Opera’s stage onsdag på engelska night, carrying Richard M. Nixon and his entourage, it marked the arrival of a modern classic. Twenty-four years after its creation, John Adams’ Nixon in China finally landed at the heart of the music establishment, and the reception it received was a lot less frosty and tense than the one granted the 37th president of the United States back in February of 1972.

    As it reunites the creative team behind the original Houston Grand Opera premiere 24 years ago – director Peter Sellars, set designer Adrianne Lobel, choreographer Mark Morris and the composer, now conducting  – it could have been an opportunity for a fresh take on a modern classic. The curious choice was, instead, to embalm the original vision and bathe it in a nostalgic glow. With each new production, Sellars cements the details of the hyper-realistic sets – elegantly arranged and with striking pops of color, it is true – to the point whe