Articles in Press
[Independent] A Symphonic City Lights
January 15, 2015
Santa Barbara Symphony Plays Chaplin Score
When Charlie Chaplin entered the studio in 1928 to begin production on City Lights, silent film was already on the way out, and the greatest star of the silent era knew it. Despite his sense that the heyday of silent comedy was over, Chaplin still had faith that if he made a feature film his way and on his terms, it could succeed. One reason for the Tramp’s confidence was his ability to do it all — he not only starred in films but also could write, produce, and direct. But Chaplin still had more in his creative arsenal, including the ability to score, which is exactly what he did for City Lights, which many still consider to be his greatest cinematic achievement.
[Casa Magazine] Charlie Chaplin’s Masterpiece
January 09, 2015
City Lights will screen as it was originally intended--with full symphony orchestra--when UCSB Arts & Lectures and the Santa Barbara Symphony co-produce a pair of concerts Saturday, January 17th at 8pm and Sunday, January 18th at 3pm at the Granada Theatre.
Chaplin, the comic actor of extraordinary imagination, celebrated film director, and co-founder of United Artists Studio, once won an Academy Award for music composition. In his film City Lights Chaplin developed the art form of the film score as complementary to the on-screen action in a way that accerlated the story and increased the comedy, a unique style that has come to be known as Chaplinesque. Even though Chaplin cound neither read nor write music, he worked with many of Hollywood's best musicians to create some of the first complete & specific scores for film.
[Montecito Journal] Pops music
January 08, 2015
The Granada was bursting at the seams when the Santa Barbara Symphony hosted its annual New Year's Eve Pops concert with pianist Michael Chertock and clarinetist Donald Foster.
As the talented musicians vied with the sounds of popping champagne corks, noise-makers and the rustle of party hats, conductor Bob Bernhardt, making his fourth consecutive appearance, took them through their paces with the two-hour program split equally between Boston Pops works from the time of Arthur Fiedler, who wielded his baton in the Massachusetts city for 50 years, and multi-Oscar winning composer John Williams, winner of 21 Grammy Awards, as well as four Golden Globes.
[Noozhawk] Santa Barbara Symphony to Ring In New Year with Pops Concert
December 30, 2014
The Santa Barbara Symphony's New Year's Eve Pops Concert — from 8:30 to 10:30 p.m. Wednesday in the Granada Theatre — is an island of, maybe not tranquility, but certainly sweetness and mellowness, in the middle of an evening famous for its noise: the eye of the social hurricane that is New Year's Eve.
[Scene Magazine] New Year’s Eve in rhapsodic blue
December 26, 2014
The Santa Barbara Symphony's annual New Year's Eve concert includes Gershwin's great 'Rhapsody in Blue,' with piano virtuoso Michael Chertock
One time each year, and in the waning hours of one year before it yields to the next, the Santa Barbara Symphony has made a habit of going pops. And that's a good thing.
During the rest of the symphony's season, the focus remains on the serious business of concert music and classical traditions, with a few light-hearted touches along the way. But the symphony's now 20-plus-year tradition of putting on the New Year's Eve ritz — early enough to allow for later "Auld Lang Syne-ing" — is the orchestra's way of dipping into the stuff of pops programming, mixed in with sneaky touches of the deeper, more sophisticated stuff for good symphonic measure. Normally staid and proper patrons of the symphonic arts are known to cut loose and misbehave on this night, while the band plays on.
[Independent] Santa Barbara Symphony Rings in New Year
December 24, 2014
Annual Pops Concert Closes Out 2014 with Rhapsody in Blue
Disguised in sparkly New Year’s Eve costumes as crowd-pleasing programs of light fare, the Santa Barbara Symphony’s New Year’s Eve Pops concerts are actually stimulating sources of thought-provoking party music. Taking an approach that’s grounded in the history of the orchestral “Pops” repertoire in America, and of the groundbreaking Boston Pops in particular, Maestro Robert Bernhardt illustrates and emphasizes what’s interesting about a wide range of musical styles, even as he teases the festive audience with goofy puns and witty allusions.