Articles in Press

[Montecito Journal] After a decade, Symphony still Nir to Kabaretti’s heart

March 10, 2016

[Independent] S.B. Symphony Celebrates 10 Years of Nir

March 10, 2016

Concert Features Jon Lewis as Trumpet Soloist

In 2006, Nir Kabaretti auditioned to become music director of the Santa Barbara Symphony by conducting Brahms at the Arlington Theatre. The hiring committee clearly liked what it heard, as the young man, then residing in Italy got the job. On Saturday-Sunday, March 12-13, audiences at the Granada Theatre will hear the Symphony No. 2 of Johannes Brahms again, when the orchestra celebrates entering its second decade under Kabaretti’s baton by revisiting the work that landed him his spot. A lot has changed since 2006, both for the maestro and for the S.B. Symphony, and when I spoke with him last week about the upcoming concert and the decade of work that it commemorates, he was justifiably proud of what he and the organization have accomplished in that time, and profoundly grateful for the opportunity to become a part of Santa Barbara’s extraordinarily robust culture.

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[Noozhawk] Santa Barbara Symphony to Celebrate 10 Years of Maestro Nir Kabaretti

March 10, 2016

Anniversaries are always important, and 10th anniversaries are 10 times as important and well worth celebrating.

This season marks the 10th year of Nir Kabaretti’s gentle, inspiring hand on the tiller of the Santa Barbara Symphony, and he and his marvelous ensemble will mark the occasion with a brace of concerts this weekend at 8 p.m. Saturday, March 12, and 3 p.m. Sunday, March 13, both in The Granada Theater. 

The celebratory program will consist of the Overture to Richard Wagner’s “comic” opera Die Meistersinger von Nürnberg (1867), Johann Nepomuk Hummel’s Trumpet Concerto in E Major (1803) (with Symphony’s first chair trumpeter, Jon Lewis, as soloist) and Johannes Brahms’s Symphony No. 2 in D Major, Op. 73 (1877).

Maestro Kabaretti explains his choices as follows: 

“Brahms’s Symphony No. 2 was the very first work I conducted in Santa Barbara, as it was one of my audition pieces in 2006 at the Arlington Theatre, and the Die Meistersinger Overture was the piece that launched my tenure as music director of the Santa Barbara Symphony,” said Maestro Kabaretti. “I am especially looking forward to performing the Brahms again, this time with the many musicians who have joined our orchestra over the last 10 years, and in our musical home, The Granada Theatre. For this festive concert I wanted to have a soloist from our orchestra, so I’m very happy that Jon Lewis will play the Hummel Trumpet Concerto.”

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[Noozhawk] Santa Barbara Symphony to Salute Russian Artistic Giants

February 10, 2016

February's concerts by the Santa Barbara Symphony — at 8 p.m. Saturday, Feb. 13, and 3 p.m. Sunday, Feb. 14, in The Granada Theatre — will feature two guest artists but only one composer.

Maestro Nir Kabaretti will yield the podium (temporarily) to British conductor James Judd, and the talented young Canadian pianist Ian Parker will solo in the event's concerted work.

The composer is Sergei Rachmaninov, a selection that more or less guarantees that everyone in the auditorium at the beginning of the concert will be there at the end of it.

Judd will lead the Symphony in two of Rachmaninov's most gorgeous and tuneful works (which is saying a lot!). We'll hear the Rhapsody on a Theme of Paganini, Op. 43 (1934) with Parker and the Symphonic Dances, Op. 45 (1940).

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[Bravo California] An interview with British conductor James Judd

February 08, 2016

By Daniel Kepl, Bravo California
Link to article

Daniel Kepl interviews conductor James Judd for CASA Magazine on the eve of his debut with the Santa Barbara Symphony conducting an all-Rachmaninoff program with Canadian pianist Ian Parker on Saturday, February 13 at 8pm and Sunday, February 14 at 3pm in the Granada Theatre, downtown Santa Barbara.

[Independent] Bartók, Carrara, Handel, Gabrieli

January 26, 2016

This outstanding concert by the Santa Barbara Symphony demonstrated the organization’s international reach and commitment to developing new music. It also displayed the realistic, aspirational side of modernism as practiced by the Hungarian composer Béla Bartók, and how it has been reinterpreted by the young Italian Christian Carrara. Within the context of the composer’s redemptive vision for music, which he felt was capable of expressing the “highest emotions” in the service of a “great reality,” Bartók’s Concerto for Orchestra (1943), which occupied the second half of this program, represents a kind of personal microcosm, of that concept, as the commission came at a time when Bartók work was neglected, and his completion of it resulted in a revival of interest in his music.

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