Día de Los Muertos
Art, Memory, and Awareness in the Gardens of Cheekwood
Versión en español aquí
Cheekwood Estate & Gardens is celebrating the 25th anniversary of its Día de Los Muertos festival! Since 2000, this grand event has brought the Latino community together in a space where they can reconnect with their roots through dance, art, music, and gastronomy. The project began with a program of activities lasting five hours, but as it gained recognition, it expanded to two full days of celebration. This festival is one of the most anticipated events in the metropolitan area and has encouraged Nashvillians to engage actively with foreign cultural expressions. Visitors from various cultures often wear attire inspired by Día de Los Muertos or have their faces painted by the festival’s artists.
The program offers a rich and varied selection of folkloric music and dance projects, mostly from Mexican traditions. Some featured groups included Danza Azteca Guadalupana, Lirios Folklóricos, and MNPS Ballet Folklorico Dance Group. Another highlight worth mentioning is the participation of public schools, which promote cultural diversity. Alongside dance activities, students also contribute by creating murals and decorating altars. For example, in the Frist Learning Center Great Hall, a colorful exhibition of artworks inspired by Día de Los Muertos showcased a blend of Mexican and Tennessee traditions. Two works that caught my attention in this multicultural fusion were a mural created by Bellevue Middle School, which represented an altar inside a wooden cabinet within a home adorned with picture frames featuring album covers from bands such as The Beatles, Nirvana, and Led Zeppelin. The faces of deceased band members were covered with calavera-style illustrations. The second mural, created by Hendersonville High School, portrayed the faces of Hank Williams, Minnie Pearl, Loretta Lynn, Patsy Cline, and Johnny Cash in a composition that combined elements shared between country and Mexican music, such as guitars.
In the altar exhibition, the schools also gave a significant twist to this tradition. Paragon Mills Elementary recreated the improvised shelter of a homeless person with a reused cardboard sign that read “Housing Now.” The altar was covered with calaca drawings made by children, representing the controversial statistic of people who die while experiencing homelessness in Nashville. Aventura Community School crafted a more authentic and traditional altar to highlight the pillars of its institution, which focus on forming bilingual students in English and Spanish. The Metropolitan Police Department also participated with its Family Intervention Program division, presenting an altar filled with portraits of Latino community members who had lost their lives under various circumstances of violence.
The cultural and Latin American organization Misión ConArte also had a significant presence at this festival. In addition to creating an altar showcasing artworks from its members, they were in charge of the Catrina Parade. The runway was a display of different elements representing Mexican culture. Each model incorporated a special theme into their attire, revealing the richness of their country through the iconography of José Guadalupe Posada’s Calavera Garbancera. Some of the figures included the Quetzalcoatl, the monarch butterfly, traditional Mexican dolls, and the quinceañera. Each outfit was adorned with harmonious and creative details, with meticulous designs on the skirts and three-dimensional structures on the torso or head to create a more striking effect.
After this demonstration, the first three jackets of an artistic project were showcased, aiming to represent the essence of each nation through fashion. The displayed pieces represented Honduras, Mexico, and the United States and were created by artists native to these countries. The jackets were like walking paintings, full of color, genuinely representing the beauty of these territories.
The sense of taste was not left out of this sensory celebration. A gastronomic corridor offered the traditional flavors of Guatemala, Peru, Venezuela, Colombia, Mexico, and Argentina, making it difficult for attendees to choose among so many delights. In this food section, there was also a stage where groups performed classics of salsa, bachata, and cumbia, creating the perfect atmosphere for a complete immersion in the spirit of a festival from any region of Latin America.
A Día de Los Muertos celebration like this is not only about honoring the memory of those who are no longer with us but also remembering who we were, the Latinos, when we lived in our homeland.
Día de Los Muertos
Arte, Memoria y Conciencia en Los Jardines de Cheekwood
English Version Here
¡Cheekwood Estate & Gardens celebra ya su 25° aniversario del festival del Día de Los Muertos! Este gran evento ha reunido a la comunidad latina desde el año 2000 en un espacio donde es posible reencontrarse con sus raíces a través de la danza, el arte, la música y la gastronomía. El proyecto inició con un programa de actividades dentro de un lapso de cinco horas y conforme a la notoriedad que fue ganando, se ha extendido a dos días de celebración. Este festival es uno de los eventos más esperados en el área metropolitana y ha promovido en los nashvillianos el interés de acercarse activamente a expresiones foráneas. Asistentes de varias culturas procuran llevar un atuendo alusivo al Día de Los Muertos o acceden a maquillarse con los artistas del festival.
La programación ofrece una rica y variada oferta de proyectos de música y danza folklórica en su gran mayoría de tradición mexicana. Por mencionar algunos están las agrupaciones Danza Azteca Guadalupana, Lirios Folklóricos y MNPS Ballet Folklorico Dance Group. Este es otro gran evento que hay que destacar, la participación de las escuelas públicas que promueven la diversidad cultural. Junto con las actividades de danza, los estudiantes también participan en la creación de murales y en la decoración de altares. En el Frist Learning Center Great Hall, por ejemplo, se extendió una colorida exhibición de obras artísticas alusivas al Día de Los Muertos, que incorporaron la tradición mexicana y de Tennessee. Dos obras que llamaron mi atención en esta fusión multicultural, fueron el mural creado por Bellevue Middle School que representaba un altar sobre una especie de mueble de madera al interior de una casa, y en el reposaban portarretratos con las portadas de álbumes pertenecientes a bandas como The Beatles, Nirvana y Led Zeppelin. Los rostros de los integrantes que ya fallecieron estaban cubiertos con el dibujo de una calavera. El segundo mural elaborado por Hendersonville High School retrató los rostros de Hank Williams, Minnie Pearl, Loretta Lynn, Patsy Cline y Johnny Cash en una composición que combinaba elementos en común como las guitarras en la música country y mexicana.
En la exhibición de altares, las escuelas que participaron le dieron también un giro significativo a esta tradición. Paragon Mills Elementary recreó el improvisado techo de una persona sin hogar con un cartel de cartón reutilizado que decía “Housing Now.” El altar estaba tapizado de dibujos de ‘calacas’ elaborados por los niños y que representaban la controversial estadística de personas que mueren en Nashville por vivir en condición de mendicidad. Aventura Comunity School elaboró un altar con un estilo más auténtico y tradicional para promover los pilares de su institución que se enfocan en la formación de estudiantes competentes en las lenguas del inglés y el español. La Policía Metropolitana también estuvo presente con su división Family Intervention Program, con un altar repleto de retratos de las víctimas de la comunidad latina que han perdido la vida en diferentes circunstancias de violencia.
La organización cultural y latinoamericana Misión ConArte tuvo también una participación importante en este festival. Además de elaborar un altar con las obras de arte de quienes hacen parte de este proyecto, estuvo encargado del desfile de Catrinas. La pasarela fue una exhibición de diferentes elementos que identifican la cultura mexicana. Cada modelo incorporó en su vestido una temática especial que revelaba la riqueza de su país por medio del lenguaje iconográfico del personaje de la Calavera Garbancera de José Guadalupe Posada. El Quetzacoátl, la mariposa monarca, las tradicionales muñecas mexicanas y la quinceañera, fueron algunos de las figuras que desfilaron. Cada traje incorporaba con armonía y creatividad minuciosos detalles en la falda y estructuras en el torso o en la cabeza para darle un toque tridimensional mucho más atractivo. Luego de esta demostración desfilaron las primeras tres chaquetas de un proyecto artístico que busca representar la esencia de cada nación a través de la moda. Las piezas que se pudieron observar pertenecían a Honduras, México y EEUU, y fueron elaboradas por artistas nativos de estos países. Las chaquetas eran cuadros andantes llenos de color representando genuinamente la belleza de estos territorios.
El gusto no quedó fuera de esta celebración sensorial. Un corredor gastronómico ofreció los sabores emblemáticos de Guatemala, Perú, Venezuela, Colombia, México y Argentina, desafiando a los asistentes a elegir entre tantas delicias. En esta sección de comidas se ubicaba también una tarima en la que agrupaciones interpretaron clásicos de la salsa, la bachata y la cumbia, creando el ambiente perfecto para una inmersión total en el espíritu de un festival de cualquier región en Latinoamérica. En una celebración de El Día de los Muertos como esta, no solo se conmemora el recuerdo de quienes ya no están en el plano terrenal, sino el recuerdo de quiénes éramos nosotros, los latinos, cuando vivíamos en nuestro hogar.
From Page to Stage: Literary Characters in Belmont’s Opera Scenes
On Monday November 4th, Belmont University performed their Opera Scenes production in the Massey Concert Hall. It centered around six scenes all from operas based on stories or books. Before the show, director Dr. Savanna Sokolnicki explained the hard work and incredible talent of the students. She also shared the tricky aspects of creating an opera scenes program with the selection of music including vocal accessibility for collegiate students and the best music in opera being represented. Dr. Sokolnicki and music director Daniel Krenz accomplished this very well. The production combined the classic stories we grew up with, the lessons we can gather from them, and the great parts of opera.
The show opened with two students in a library browsing books on two large bookcases (graciously donated to the University by Habitat for Humanity). They began chatting about their favorite stories growing up and took turns choosing books. Each time they opened a book, the scene from that opera began signifying how we are seeing the story play out as they are reading it. I enjoyed how this played with the fourth wall mixing fantasy with real life.
The first story was derived from a novella by Rudolf Těsnohlídek called “The Cunning Little Vixen.” It was adapted into an opera by the Czech composer Leoš Janáček (1854-1928). A young vixen named Sharp-Ears, played by Paige Padgett, entered with an ornate, red fox costume and eye mask provided by Lissa McHugh of BRAVO Theatre. She met a young fox named Gold-Stripe in matching attire, played by Grace Homer, and they fell in love. The chemistry was great between the two, but the highlight of this scene was the music itself. Along with all the text being sung in Czech, there were very complex rhythms and overlapping parts between the two vocal lines. Pianist Laura Benavides acted as a one-woman orchestra with a highly active piano part that she masterfully played. The charming scene continued with the ensemble coming out as many different animals portraying animal life as the two foxes get married. The whole cast posed for a cute animal family photo to end the scene.
The next book read also involved a fox, but this story was the 1943 novella “The Little Prince” by Antoine de Saint-Exupéry, which was adapted into an opera by Rachel Portman (b. 1960). This scene opens with mischievous piano accompaniment as a group of uncoordinated hunters in safari gear march out in a Rockettes-style line. In this scene, the hunters are attempting to catch a wild fox, played by Claire Tole, but are unsuccessful. This chase sequence felt like a classic Tom and Jerry episode as the hunters fail to catch the fox. The comedic timing and choreography were very charming with the hunters using binoculars to look up in the sky as the fox runs right in front of them. The scene then moves to a young prince, played by Jiana Kevilus, meeting the same wild fox. The fox is enamored by the boy asking if he will tame him because he wants to be a special fox. Jiana’s lovely, bright voice paired with the charismatic, funny interpretation of the fox created a great sense of friendship and love between the two. Along with some impressive coordination and hopscotch choreography, this scene was endearing and reminded us of why we love classic children’s stories.
The transition to the third scene included a new friend walking into the library as the two girls are gabbing about “Little Women” written by Louisa May Alcott. He then proceeds to chime in confusing “Little Women” with “Honey I Shrunk the Kids” in a hilarious exchange between the three. As the dialogue ends, the music for the opera written by Mark Adamo (b. 1962) begins. The four sisters Amy, Jo, Beth, and Meg, played by Izzy Kohler, Angela Stenzel, Megan Calgaro, and Val Haas respectfully, all enter in Civil War era costumes along with Laurie, played by Chase Lowery (who we will see more of later). The scene centers around the sisters making a game out of folding laundry with the slowest person having to answer three personal questions. The modern music itself had very complex four-part harmony with the piano hardly helping the singers. The musicianship was great, especially with the intricate acapella section where the voices truly shined. Angela Stenzel was a standout in this number as Jo with her warm, rich mezzo register leading the sisters.
The next scene that was chosen is one of the most famous scenes in opera history. It is from “Carmen,” originally an 1845 novella by Prosper Mérimée, but made famous by Georges Bizet (1838-1875) and his iconic opera. The scene chosen was the tarot card scene where Roma gypsy Carmen, played by Kat Witkowski, and her two friends Frasquita and Mercedes, played by Anna Cannito and Bridgett Baker, drew tarot cards to see their future. Frasquita and Mercedes saw great futures with love and wealth represented by the joyful, bouncy melodies sung by the two. Carmen, in a gorgeous red Spanish dress, drew death every time as her fate. The sultriness of Carmen’s voice complemented by the active soprano lines of Frasquita and Mercedes made this scene one of the high points of the whole night.
My favorite scene from the night was the selection from Gounod’s “Roméo et Juliette” (1818-1893) based on the Shakespeare play. Benavides opened with a fast, intricate Chopin-like passage as Frere Laurent, Romeo, and Juliette entered on stage played by Skylar Peterson, Javi Castro, and Abby Orr respectively. Frere Laurent married the two young lovers in secrecy as Juliette’s maid Gertrude, played by Claire Tole, stood guard in the church. Javi Castro as Romeo and Abby Orr as Juliette were so incredible to watch. Romeo’s warm tenor voice complemented Juliette’s bell-like tone and created a beautiful blend that truly felt like two becoming one. Their stage presence and chemistry together combined with Benavides’ playing and Krenz’s conducting made this the highlight of the night.
The last two scenes in the show had one common theme interpreted in different ways: witches. The first scene was an adaptation from Shakespeare’s play “Macbeth” by Giuseppe Verdi (1813-1901). The three witches that embody fate and manipulation are played by the female ensemble. The witches enter, moving as one mind and body, dressed head to toe in black with different colored head wraps. The creepy melodies combined with the spooky accompaniment was hypnotizing. Bloody props were thrown into a cauldron while the witches performed synchronized arm movements making this scene both musically and visually incredible.
The last scene took us back to the theme of childhood stories with “Hansel and Gretel” by the Brothers Grimm adapted into an opera by Engelbert Humperdinck (1854-1921). Hansel and Gretel, played by Angela Stenzel and Paige Padgett, first stumbled upon the Witch’s candy-covered house and began to stuff their faces. The comedic timing in this scene was great, especially when the Witch appeared for the first time. Chase Lowery, who played Laurie in the “Little Women” scene, played the Witch as a tenor role and completely stole the scene. He emerged in a sequin-covered two-piece with a bright pink skirt, a white wig, and glittery makeup. His presence was terrifying, but I could not keep my eyes off of him. At the end of the piece, the readers in the library walked out and one picked up a cartoon-sized lollipop, signifying how reality and fantasy are now blurred.
Overall, Belmont University’s School of Music put on a terrific production with so many talented students. The repertoire chosen complemented the vocalists, and it was so much fun to watch. Nowadays, it is more important than ever to have something that makes you escape reality for a bit, and that is exactly what this production accomplished.
Shucked: Corny Fun
Shucked is a 2022 Broadway musical comedy which ran until January this year. Its North American tour began in October and is planned to travel through September of next year. A feature film is also in the works. The plot is simple and familiar: think along the lines of A Bug’s Life and The Music Man. A remote rustic town comes into trouble; their ever-important corn harvest is suddenly drying up, a calamity so sudden and unexpected that it halts the marriage of young Maizy and Beau mid-ceremony. They can’t find a solution, so Maizy decides to leave the town and find help, to her fiance’s disapproval. She travels to exotic and glamorous Tampa and comes across a down-and-out con man (Quinn VanAntwerp) posing as a podiatrist: his sign says “Corn Doctor.” Upon seeing the valuable material her homemade bracelet is made out of, he resolves to go back with her, steal the rest of the valuable stones, and use the money to pay off his debt to a mobster. You can see where the rest of the story will go. However, the unoriginal plot is no issue to the success of the show: it’s a light comedy, not a drama. Anyways, we all love mistakes and redemption, and plots that focus on this remain fresh, just as instant-karma traffic videos provide perennial satisfaction (especially if you live in Antioch). There’s no deep message to the show, but it doesn’t need one because the heart of the show is laughter. I saw the November 6th show at TPAC and the hall was full and the audience was engaged. It was fun to hear belly laughter rolling through the audience after each joke landed.
Shucked is absolutely full of corny puns (that’s deliberate) and one-liners. So many one-liners. Some of them are completely off topic: one character, Peanut (Mike Nappi) will halt the dialogue to deliver random, unrelated jokes to the audience. At first the number of asides and one-liners from everyone felt distracting and unnecessary, but the sheer volume of jokes means that enough land that you laugh and hope for more. Some are delightfully witty: “Marriage is simply two people coming together to solve problems they didn’t have before.” Some are unexpected, “No Grandpa, a grave mistake was burying Grandma on a slope,” and some are plain weird, “I just passed a huge squirrel, which is odd, because I don’t remember eating one.” If you like the Marx brothers, Mel Brooks, or Airplane! then you’ll probably enjoy the humor.
The characters are likable enough, each growing in their own way. My favorite characters are the two storytellers (played by Maya Lagerstam and Tyler Joseph Ellis), who are a delightful use of live theater’s flexible artificiality. They narrate the show and even adopt roles to interact with the characters. Both actors are charming and work well as a comedy duo. Another great role is Lulu, played by Miki Abraham with a great worldly-wise attitude and sensuality that somehow blends easily with her kindness and love for remote Cob County.
The music isn’t amazing, but Brandy Clark and Shane McAnally’s lyrics are hilarious. Most of the songs are upbeat and fun Broadway ensemble numbers. Danielle Wade as Maizy has a strong voice and leads in many of them, “Travelin’ Song” being my favorite of hers. The two songs that left the greatest impression on my husband and I were “Somebody Will,” and “Independently Owned.” The first song feels like a familiar country breakup song (Beau is reacting to his break up with Maizy), showing off Jake Odmark’s superb Broadway voice. The second song is sung by Lulu, displaying her independent spirit. Abraham’s voice is fabulous and the catchy song has gotten stuck in my head. The choreography mainly focuses on the comedy elements of the show (such as a corncob kickline) and is good. Everyone is well cast.
The set is fun and wonky: an askew wooden frame frames the stage, with a backdrop of corn seen through the wide slats of a leaning barn. Rustic barrels, beams of wood, walls, and wood flooring are all a warm brown. This color choice prevents the stage from feeling drab or rustically depressing. The set never moves and location changes are primarily shown by moving barrels, corn, or other props around.
I’d recommend seeing the show. It’s a lot of fun. Just bear two things in mind: with all the corn puns and references, whiskey is quite prominent, and you’ll be wanting a glass of bourbon by the time you leave. And while most of the innuendo will go over kids’ heads, there are a few jokes that could lead to conversations you don’t plan on having in a crowded public place (including one emphatic line of dialogue with the word “orgasm”).
Shucked is at TPAC until November 10th. The remaining shows are almost sold out. For tickets and more information, see Shucked | TPAC®, and for more information about their North American tour, see Shucked.
Upcoming: What the Constitution Means to Me
Women in Theatre (WIT) Nashville and the Darkhorse Theater proudly present Heidi Schreck’s award-winning Broadway hit and 2019 Pulitzer Prize finalist, What the Constitution Means to Me.
Inspired by real events, a young Heidi wins constitutional debate contests around the country to earn college tuition. However, as an adult she discovers how debate topics become personal when life and its consequences get messy. Surprising, poignant, and achingly human, the play traces the profound relationship between four generations of women, the founding document that shaped their lives, and how it continues to influence future generations.
WIT Artistic Director Stephanie Dillard states, “This show is not only funny, timely, and insightful—it’s essential. In a period of deep national division and daily threats to women’s rights, this play brings a human perspective to the document we hold dear and questions the idea that we are all ‘created equal,’ while using humor and hope to remind us that there are still reasons to have faith in the future of America.”
What the Constitution Means to Me will be at the Darkhorse Theater November 8-16. For tickets and more information see Women In Theatre Nashville.
Intimacy at the Schermerhorn
Foote and Coleridge-Taylor Quintets
The Nashville Symphony presented a Chamber Music Series this season to provide more intimate and informal concerts for the audience in Music City. The musicians would speak between each piece, providing information about the composer and pieces being performed. At the end of the concert, they also offered an exciting Q&A session to learn more about the musicians.
On Tuesday evening, October 29, they showcased the “Late Romantics Quintet.” They presented “Nocturne and Scherzo, Movements I and II” by Arthur Foote and “Quintet in F-Sharp Minor, Op. 10” by Samuel Coleridge-Taylor. Musicians who performed included Anna Lisa Hoepfinger (violin), Johna Smith (violin), Daniel Reinker (viola), Keith Nicholas (cello), Leslie Fagan (flute), and Katherine Kohler (clarinet).
Before the first piece started, Anna Lisa Hoepfinger spoke a little about Arthur Foote and the piece about to be performed. Arthur Foote was part of the Boston Six, and Hoepfinger brought up a performance that they did of Amy Beach’s piece, since she was also part of the Boston Six, suggesting influences of Beach in Foote’s piece. Hoepfinger also stated that “Norturno” could be performed as a stand-alone, but they decided to perform both movements. This piece featured flute, so Leslie Fagan completed the group as the fifth musician on stage. The first movement is titled “Nocturno” or “Night Music,” and when they started this movement, the blend between each instrument was luscious, with the flute peaking over the strings when given the melody. Fagan’s playing was almost mesmerizing as she flowed between phrases and kept such a delicate and sweet tone. Then we entered the Scherzo, the next movement in this piece. The musicians captured its characteristics with very light and cheerful playing. I was impressed with how closely they matched articulations as each tried to bring out these characteristics.
The next piece, “Quintet in F-Sharp Minor, Op. 10,” was by British composer Samuel Coleridge-Taylor. He composed this piece at nineteen years old and included a bit of African spiritual influences within the rhythms. The first movement, titled “allegro-energico” held a folk-like melody that Kohler on clarinet, played beautifully. Her tone was very full and warm with the cellist, Nicholas, who brought a gorgeous and resonant tone that was maintained into the second movement. Hoepfinger also did an amazing job with her electric playing as she glided her bow through the melodic lines. While listening and watching them perform this movement, it was evident how lively it felt among these performers and throughout the audience as they progressed through it. It was a great introduction to the piece.
The second movement, “Larghetto affecttuoso,” was another incredible movement. This movement sounded very familiar to me, and it was by surprise that Coleridge-Taylor drew much inspiration from Antonín Dvořák, so some may believe it sounded similar to Dvořák’s New World Symphony. It was lyrical and graceful as it pushes and pulls the audience into enchantment. When Kohler played within the higher register, she still brought a very light and delicate sound, almost glass-like. The blend between the cellist, and violist, Nicholas and Reinker, expressed a darker tone that complimented the warmness of the clarinet. There was such gorgeous playing among all the performers.
The following two movements: “III. Scherzo. Allegro Leggiero” and “IV. Finale. Allegro” were also very lovely to listen to. The Scherzo was started off by mainly the cello with its resonant down bows. It led the audience into the main melodic theme that the clarinet took over with her clean and rich sound. The violinists, Hoepfinger and Smith both had moments with Nicholas’ cello where they traded the melody back and forth to add on to the playful nature of the first section of this movement. The movement later led into a sing-song melodic part that the clarinetist did a wonderful job with in her melodious lines, moving quite beautifully between phrases. It sounded dreamlike and romantic as the theme of the quintet suggests. It then ends on the same rhythmic section that it started with returning back to the main theme, but with added energy.
The finale was very dramatic. The main theme of this movement starts off with an intense build up of the melodic line with an increase in dynamics and heavier articulations. This folk-like melody echos throughout each instrument, starting with clarinet and trading off to the violins later to the cello and viola. Near the end of this movement, a repeat of the theme from movement two came through. Parts of the blend between the clarinet and strings made it almost sound like the music was singing to the audience. It demonstrated great contrast between the heavier sounding folk-like theme and the melodious singing. As it finished, there were lots of syncopated rhythms lengthening that tension and then releasing it as it moves into quarter and whole notes at the end.
Their entire performance of the two pieces was outstanding. They allowed the pieces to be filled with life and created a night filled with an exciting and captivating energy. Especially with Coleridge-Taylor’s piece, I am obsessed with his compositions and how he utilizes these folk melodies. It was a fantastic night and I hope everyone can come listen to more music from their chamber series. You will leave learning more about the composers and more about the musicians performing these pieces. Thank you so much to the Nashville Symphony for inviting us to come listen to their chamber group!
Nashville Symphony
Another Fantastic Night Coming to the Schermerhorn
This upcoming weekend the Nashville symphony will be performing the next addition of their Classical Series featuring Rachmaninoff’s Second Piano Concerto. Recovering from the psychological damage and toll of the infamous premiere of his First Symphony, Rachmaninoff spent over three years before composing his next piece. Finally, between 1900 and 1901 he set pen to paper and wrote his Second Piano Concerto in C minor. The Nashville Symphony will be recreating the renowned and astounding debut the Concerto had in November 1901. Featuring conductor Michael Francis and the world-famous Natasha Paremski on piano, this performance will not be one to miss.
Alongside the concerto the Nashville Symphony will be playing Carlos Simon’s “The Block” and Antonin Dvorak’s Slavonic Dances Op. 72. The Block is a modern orchestral study on the artwork of Harlem renaissance painter Romare Bearden. The piece reflects on Bearden’s artistic renderings of African American culture in cities and in the rural United States. Dvorak’s Slavonic Dances are a collection of 16 pieces reflecting and celebrating Slavic culture, very similar to Brahms’ Hungarian Dances. They were originally composed for four hand piano but soon orchestrated for full orchestra due to a request from Dvorak’s publisher. Opus 72 includes the second half written in 1886 and has several movements based on traditional dances such as the Dumka (originally a Ukrainian genre appropriated by Slavic composers). The key difference between the Slavonic Dances and Hungarian Dances is that Brahms’ makes use of complete Hungarian folk melodies. Dvorak wrote new melodies and made use of rhythms based on Slavic folk songs. Both the Slavonic Dances and “The Block” will be fine additions to the Piano Concerto.
Overall these will be a couple of very exciting nights at the Schermerhorn this weekend. Performances are on Friday, November 8th and Saturday, November Ninth, both at 7:30 pm. Tickets are starting at $29 and seats are still available so hurry and get some before they run out. Tickets can be purchased at https://www.nashvillesymphony.org/18484! To learn more about other upcoming symphony performances, chamber performances and other related news be sure to check out our calendar and all things at https://www.nashvillesymphony.org/.
At the Frist
Myths to Manga
On Thursday, October 24th, I was able to attend the opening of Journey Through Japan: Myths to Manga at the Frist Art Museum. It is divided into four main sections: Sky, Sea, Forest, and City. Each section shows how folk tales or myths have shaped art and culture in Japan. The exhibition presents over 150 historic and contemporary objects, ranging from animated movies, origami, and ukiyo-e woodblock prints to dolls, robots, and youth fashion. This exhibit was created to be family friendly and there are lots of fun things for children of all ages to enjoy; there’s an origami station, books, taiko drums, and supplies to make your own manga comic.
by Katsushika Hokusai (1760 – 1849);
Japanese; 19th century.
Woodblock print.
In the first section, Sky, one of the folk stories is about the moon. Similar to the way Americans might say the moon is made of cheese, the Japanese talk about the rabbit that lives on the moon. According to folklore, the ruler of heaven visits earth disguised as a beggar and asks three animals to help him. When he gets to the rabbit, who has nothing to share, the rabbit offers up himself as food. To honor the rabbit, he is elevated to the moon. The moon is still found in popular tales today, like Sailor Moon: a manga about five schoolgirls who use their super powers to defend the solar system.
The second section, Sea, has a print of one of the most well-known works of Katsushika Hokusai, Under the Wave off Kanagawa or The Great Wave. There is also a woodblock print from an unidentified artist entitled The monster catfish causing chaos. In Japanese myths, a giant catfish, Namazu, causes earthquakes and tsunamis by thrashing his tail. Today, an image of a catfish has been used for disaster prevention mascots.
The third section, Forest, tells us stories of humans interacting with wildlife and the need to live in harmony with nature. In the fable of the tongue-cut sparrow, a kind woodcutter befriends a hurt sparrow. One day, the sparrow mistakenly eats the woodcutter’s wife’s laundry starch, so he cuts out his tongue. The woodcutter is worried about the sparrow and goes searching for him in the forest. When he finds him, the sparrow is touched by his kindness and offers him the choice between a small box and a large box. He chooses the small box and it’s full of treasure. His greedy wife goes to find the sparrow and take the large box which turns out to be full of demons or serpents depending on which version of the tale you hear. The exhibit shows clips from Studio Ghibli films: My Neighbor Totoro and The Tale of the Princess Kaguya. My Neighbor Totoro explores the relationship between two young girls and a large forest spirit. They are kind to him and he helps them in return. The Tale of the Princess Kaguya is an adaptation of “The Tale of the Bamboo Cutter,” a 10th-century Japanese tale. A bamboo cutter finds a girl in a bamboo shoot and later finds gold and fine cloth. Believing her to be divine royalty, he raises her and forces her to act like a noble. It is later revealed that she was once a resident on the moon who wanted to experience mortal life. The film ends with her going back to the moon. In these movies we are shown the sacred quality of nature and celestial beings.
In the final section, City, there is an emphasis on the contrast between old and new. In cities like Kyoto, Osaka, and Tokyo, old family homes sit alongside new skyscrapers. According to Japanese folklore, Yōkai (shape-shifting, supernatural beings that include creatures, demons, and spirits) come out at night to cause mischief and mayhem. They can be friendly and playful but they can also be cruel, so it’s best to stay on your guard! These spirits inspire anime, videos games and even fashion accessories. Perhaps the most well known example is Pokémon. Pokémon is a Japanese media franchise consisting of video games, animated series and films, a trading card game, and most recently, the smart phone game: Pokémon Go.
The exhibit will be in the upper galleries until February 16th, 2025. There is a lot more to experience, so bring the whole family and check it out!
Nashville Sonido Latino: Noviembre 2024
Hola a todos y bienvenidos de nuevo a esta columna habitual aquí en Music City Review. Aquí, lo actualizaremos con los eventos latinos más imperdibles que suceden en Music City, para que pueda estar seguro de ver todos sus favoritos y descubrir otros nuevos a lo largo del camino. ¡Sal y apoya a tus músicos locales y haz que Music City siga prosperando! Siempre buscamos promover buena música que quizás no reciba la atención que merece. ¿Tiene algún evento que cree que debería incluirse en el próximo número? Envíeme un correo electrónico a: editor@musiccityreview.com Si desea suscribirse a esta guía, click here!
Click here for an English Version of this Guide: www.musiccityreview.com/3hr4
El Día de los Muertos
November 2, 2024 @ 9:00 am to 5:00 pm at cheekwood
Vive la experiencia de esta hermosa celebración que integra memoria, arte y tradición. En este festival podrás apreciar hermosos altares a la vez disfrutar de deliciosa comida internacional y música latinoamericana.
The Krazy Hour
November 2, 2024 @ 7:30 pm to 8:00 pm at Plaza Mariachi
En una boda o en unos “quince” no puede faltar “la hora loca”, ese momento donde el protocolo pasa a segundo plano, y todos los asistentes se congregan en un carnaval de música y jolgorio. The Krazy Hour es un proyecto que eleva el significado de esta tradición a otro nivel, brindando una experiencia de diversión sin precedentes.
Nashville Latin Fusion
November 2, 2024 @ 8:30 pm to 10:00 pm at Plaza Mariachi
Este proyecto del pianista cubano Melvin Macías, integra el estilo del jazz afrocubano con baladas y otros géneros latinoamericanos. La música de Nashville Latin Fusion refleja la experiencia y la versatilidad de la carrera musical de su fundador que no solo ha experimentado con las músicas de su región, sino incluso del mundo de los musicales.
Los Rodríguez de Tres Linares
November 3, 2024 @ 4:00 pm to 5:30 pm
Desde Nuevo león, la cuna de la música norteña, Los Rodríguez de Tres Linares saciarán a su público con un abanico de géneros desde corridos y zapateados hasta cumbias y boleros. Será una tarde de celebración y baile intensos al mejor ritmo de la tradición neoleonés.
Joan Sebastian Tribute
November 3, 2024 @ 8:00 pm to 9:00 pm at Plaza Mariachi
Un emotivo tributo en honor al gran Joan Sebastian, una leyenda de la música mexicana que ha permanecido en el corazón de sus seguidores. Ven a revivir sus inolvidables éxitos, aquellos temas que han acompañado momentos inolvidables de amor y desolación, interpretados con la pasión que merece. Celebremos el talento y el legado de este icónico cantautor, cuya música sigue resonando y emocionando como el primer día.
Los Alegres del Barranco
November 8, 2024 @ 9:00 pm at Plaza Mariachi
Que la semana de trabajo concluya con una larga y variada celebración del género regional mexicano con los reconocidos artistas Los Alegres del Barranco, El Rabbanito, y el Grupo Viada. Será toda una experiencia del estilo tradicional y moderno de esta música que identifica a tantas generaciones mexicanas.
Giovanni Rodríguez Duo
November 9, 2024 @ 4:00 pm to 5:30 pm at Plaza Mariachi
Al caer la noche se despierta el sol caribeño con el repique de las congas. Giovanni Rodríguez, un artista integral de sangre dominicana y radicado en Nashville, es el director de este proyecto que cuenta también con destacados músicos en la escena musical de la ciudad. Para este evento, el recinto dispone de una pista de baile para vibrar con los ritmos coloridos de la salsa, la bachata y el jazz latino.
Marrocko
November 9, 2024 @ 5:30 pm to 7:00 pm at Plaza Mariachi
Este dueto originario de la ciudad de Cali (Colombia) posee un estilo vanguardista en el que se fusionan el pop y el rock latino con los matices del folk indie. El guitarrista y productor Alex Zúñiga y el vocalista Guile Gadel reflejan en sus composiciones la frescura característica del rock en español y su lírica contemporánea. Dentro de sus producciones la banda cuenta con un álbum titulado “Mar de Rock” en el que sus canciones se alternan entre letras románticas y de introspección. La propuesta de Marrocko ha cautivado al público de la ciudad con presentaciones en el Nashville Shores Waterpark Latino Fest 2023 y el entretiempo del equipo local Nashville SC con un solo de guitarra que impregnó de energía a las barras presentes.
Tropical Fusion Latin Band
November 9, 2024 @ 9:00 pm to 10:00 pm at Plaza Mariachi
Tropical Fusion Latin Band es la gozadera tropical comprimida en un maravilloso ensamble integrado por músicos de diferentes nacionalidades. En sus siete años de carrera, esta es una de las bandas más representativas en la interpretación de géneros como salsa, bachata, son, jazz y cumbia, a lo largo del territorio sureño.
Salserín
November 9, 2024 @ 10:30 pm at Plaza Mariachi
¡A gritar como una adolescente del 2000! Esta noche estará impregnada de nostalgia y pura salsa con uno de los grupos más esperados, Salserín! Ven a bailar y a recordar aquellos éxitos que marcaron a toda una generación millenial, interpretados con la energía y el sabor que hicieron famoso a este grupo juvenil. Revivamos juntos esas canciones que nos hicieron vibrar y enamorarnos.
Jenni Rivera Tribute
November 10, 2024 @ 8:00 pm to 9:00 pm at Plaza Mariachi
Un homenaje especial a la inolvidable Jenni Rivera, la ‘Diva de la Banda,’ cuya música y voz siguen inspirando a millones. Mónica Reyna nos hará recordar sus éxitos, esos temas intensos y llenos de fuerza que capturan sus vivencias y su inquebrantable espíritu.
Arrasador Banda Tenaz
November 10, 2024 @ 9:30 pm to 11:00 pm at Plaza Mariachi
La música de banda parece ser la protagonista este mes. En esta oportunidad la Arrasadora Banda Tenaz, será quién encienda la rumba para los amantes de los ritmos norteños. La agrupación está conformada de jóvenes de raíces mexicanas que residen en Nashville y que encontraron en la tambora sinaloense la oportunidad de ofrecer un estilo diferente en una ciudad que se identifica principalmente con la música country.
Coming soon!
Nashville Sonido Latino, November 2024
Hello, all, and welcome back to this regular column here at Music City Review. Here, we will update you with the most can’t-miss Latino events happening in Music City, so you can be sure to catch all your favorites, as well as discover new ones along the way. Get out there and support your local musicians and keep Music City thriving! We are always looking to promote great music that may not get the attention it deserves. Have an event you think should be included in the next issue? Email me at: editor@musiccityreview.com If you wish to subscribe to this guide, click here!
Haga clic aquí para obtener una versión en español de esta guía: www.musiccityreview.com/isty
El Día de los Muertos
November 2, 2024 @ 9:00 am to 5:00 pm at cheekwood
Experience this beautiful celebration that integrates memory, art, and tradition. At this festival, you will be able to admire stunning altars while enjoying delicious international food and Latin American music.
The Krazy Hour
November 2, 2024 @ 7:30 pm to 8:00 pm at Plaza Mariachi
At a wedding or a quinceañera, “la hora loca” is a must, that moment where protocol takes a backseat and all attendees gather in a carnival of music and revelry. The Krazy Hour is a project that elevates the meaning of this tradition to another level, providing an unprecedented fun experience.
Nashville Latin Fusion
November 2, 2024 @ 8:30 pm to 10:00 pm at Plaza Mariachi
Cuban pianist Melvin Macías’s project integrates Afro-Cuban jazz with ballads and other Latin American genres. The music of Nashville Latin Fusion reflects the experience and versatility of the musical career of its founder, who has not only experimented with the music of his region but even with different worlds, such as musicals.
Los Rodríguez de Tres Linares
November 3, 2024 @ 4:00 pm to 5:30 pm
From Nuevo León, the cradle of norteño music, Los Rodríguez de Tres Linares will satisfy their audience with a range of genres from corridos and zapateados to cumbias and boleros. It will be an afternoon of celebration and intense dancing to the best rhythms of neolonés tradition.
Joan Sebastian Tribute
November 3, 2024 @ 8:00 pm to 9:00 pm at Plaza Mariachi
An emotional tribute in honor of the great Joan Sebastian, a legend of Mexican music who has remained in the hearts of his fans. Relive his unforgettable hits, those songs that have accompanied timeless moments of love and heartache, performed with the passion they deserve. Let’s celebrate the talent and legacy of this iconic singer-songwriter, whose music continues to resonate and move us as it did on the very first day.
Giovanni Rodríguez & 12 Manos
November 4, 2024 @ 9:00 pm to 11:30 pm at Rudy’s Jazz Room
Cada lunes del mes en Rudy’s Jazz Room al caer la noche se despierta el sol caribeño con el repique de las congas. Giovanni Rodríguez, un artista integral de sangre dominicana y radicado en Nashville, es el director de este proyecto que cuenta también con destacados músicos en la escena musical de la ciudad. Para este evento, el recinto dispone de una pista de baile para vibrar con los ritmos coloridos de la salsa, la bachata y el jazz latino.
Los Alegres del Barranco
November 8, 2024 @ 9:00 pm at Plaza Mariachi
Let the work week conclude with a long and varied celebration of Mexican regional music featuring renowned artists Los Alegres del Barranco, El Rabbanito, and Grupo Viada. It will be an experience showcasing both the traditional and modern styles of this music that resonates with so many Mexican generations.
Giovanni Rodríguez Duo
November 9, 2024 @ 4:00 pm to 5:30 pm at Plaza Mariachi
The Caribbean sun comes alive with the vibrant beats of the congas. Giovanni Rodríguez, a versatile artist with Dominican roots now based in Nashville, leads this project alongside some of the city’s top musicians. The venue offers a dance floor for this event, where you can move to the colorful rhythms of salsa, bachata, and Latin jazz.
Marrocko
November 9, 2024 @ 5:30 pm to 7:00 pm at Plaza Mariachi
This duo from Cali, Colombia, brings a cutting-edge style that fuses Latin pop and rock with indie folk nuances. Guitarist and producer Alex Zúñiga, alongside vocalist Guile Gadel, infuse their compositions with the freshness of Spanish-language rock and contemporary lyrics. Their album “Mar de Rock” alternates between romantic and introspective themes. Marrocko has captivated Nashville audiences with performances at the Nashville Shores Waterpark Latino Fest 2023 and a high-energy guitar solo during a halftime show for Nashville, SC.
Tropical Fusion Latin Band
November 9, 2024 @ 9:00 pm to 10:00 pm at Plaza Mariachi
Tropical Fusion Latin Band is tropical joy compressed into a wonderful ensemble made up of musicians from different nationalities. In their seven years of career, this is one of the most representative bands in performing genres like salsa, bachata, son, jazz, and cumbia throughout the southern region.
Salserín
November 9, 2024 @ 10:30 pm at Plaza Mariachi
Get ready to scream like a 2000s teenager! Tonight will be filled with nostalgia and pure salsa with one of the most anticipated groups, Salserín! Come dance and remember those hits that marked an entire millennial generation, performed with the energy and flavor that made this youth band famous. Let’s relive together those songs that made us feel alive and fall in love.
Jenni Rivera Tribute
November 10, 2024 @ 8:00 pm to 9:00 pm at Plaza Mariachi
A special tribute to the unforgettable Jenni Rivera, the “Diva de la Banda,” whose music and voice inspire millions. Mónica Reyna will take us back through her greatest hits, those powerful, intense songs that capture her life experiences and unbreakable spirit.
Arrasador Banda Tenaz
November 10, 2024 @ 9:30 pm to 11:00 pm at Plaza Mariachi
Banda music seems to be the protagonist this month. This time, Arrasadora Banda Tenaz will ignite the party for lovers of norteño rhythms. The group is composed of young people of Mexican descent living in Nashville, who found in the tambora sinaloense an opportunity to offer a different style in a city primarily identified with country music.
