Symphony News

[Scene Magazine] Taming ‘The Firebird’

February 08, 2013

Esteemed choreographer William Soleau premieres his original choreography for Igor Stravinsky’s eminent ballet ‘The Firebird’

By Joe Hansen, News-Press Correspondent

Today it’s difficult to imagine the world of ballet without Igor Stravinsky.

But prior to the evening of June 25, 1910, Stravinsky was just an unknown 27-year-old composer. That was before “The Firebird.”

The nearly hour-long ballet famously propelled Stravinsky to renown — he would pen “Petrushka” and the Earth-shattering “Rite of Spring” in the next two years — and Stravinsky’s musical genius became a boon for a long list of gifted choreographers who left their stamp on the ballet, beginning with the original choreographer Michel Fokine.

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[Santa Barbara Seasons] SB Symphony and State Street Ballet Present Stravinsky’s Firebird

February 07, 2013

By Chelsea Joy, Santa Barbara Seasons

Even the most expensive pair of headphones will never fully capture the largest crescendo or the most delicate diminuendo— there’s simply nothing quite like witnessing a live production of great classical music, especially with Santa Barbara Symphony. On Saturday and Sunday, February 9 and 10, Santa Barbara Symphony teams up with State Street Ballet for a production of Igor Stravinsky’s Firebird, the orchestral masterpiece which sky-rocketed Stravinsky to international fame more than 100 years ago, at the Granada Theatre. The concert will feature the world premiere of William Soleau’s Firebird choreography under the direction of Rodney Gustafson, and a grand moment for harpist Michelle Temple as she opens with Debussy’s Sacred and Profane Dances for solo harp and string orchestra. The Symphony will follow with Brahms’ memorable Third Symphony, with Firebird as the powerful finale.These concerts mark the 60th Anniversary of Santa Barbara Symphony.

"We reunite with the magnificent talents of the State Street Ballet to bring to life the work that launched Stravinsky’s career,” says Nir Kabaretti, the Symphony’s music and artistic director. “We welcome Santa Barbara to experience the power of dance set to a live orchestra."

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KDB 93.7FM interview with choreographer William Soleau

February 07, 2013

[Noozhawk] Youth Symphony Concert to Feature DP Student Joel Yan as Violin Soloist

January 31, 2013

By Kelly Kapuan, Publicist

Experience the talented young musicians of the Santa Barbara Youth Symphony in the 2013 spring concert.

Under Music Director Andy Radford, violin soloist Joel Yan will perform Scherzo from Symphony No. 7 in D Minor, Opus 70 by Antonín Leopold Dvořák.

The Youth Symphony will also perform Aaron Copland’s Billy at the Rodeo, Franz Joseph Haydn’s Violin Concerto No. 4 in G Major and Russian Easter Festival Overture, Opus 36 by composer Nikolai Rimsky-Korsakov.

The concert will begin at 4 p.m. Sunday, Feb. 17 at First Presbyterian Church.

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[Family Life Magazine] Together Again! SB Symphony & State Street Ballet for Premiere of Firebird

January 31, 2013

By Santa Barbara Family Life

State Street Ballet’s Kate Kadow is a dancer’s image Stravinsky may have had in mind when he wrote The Firebird Suite. Don’t miss a Santa Barbara Symphony/State Street Ballet collaboration of choreographer William Soleau’s fresh take on the ballet at the February symphony concert.

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[Casa Magazine] How Slow the Wind

January 25, 2013

By Daniel Kepl, Casa Magazine

The Santa Barbara Symphony opened it’s 2013 season last weekend at the Granada Theatre with an imaginative program that featured a pair of internationally recognized guest soloists, both good friends of our community, and included two disparate but equally descriptive works for orchestra.

Conductor Nir Kabaretti was in excellent form at Sunday afternoon’s performance, and after a tasteful mini-explication to the audience, began the concert with eleven minutes of neo-Debussy, post-Lou Harrison, and quasi-minimalist, texture-laden earth vibe: Toru Takemitsu’s vaporously impressionistic How Slow the Wind, composed in 1991. The piece was spell binding, replicating the aural experiences we’ve all had while standing quietly in a wind-rustling forest, or pondering the depths of the deep blue sea.

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