MUSAIC, a musical meeting house for the world

It’s a place where, a few keystrokes away, you can find cellist Yo-Yo Ma offering insights about the structure and interpretation of Bach’s “Suite No. 5 in C minor” for unaccompanied cello; have a former principal flutist at the Boston Symphony Orchestra give you some pointers on practicing scales; or just simply listen to a performance of Steve Reich’s modern classic “Music for 18 Musicians.”

In fact, MUSAIC, an online community of classical musicians and video library curated by the New World Symphony, is that, and more.


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‘Romeo & Juliet,’ outside the box and under the stars

As much a block party on a mild May evening in Miami as a reinterpretation of classic Shakespeare, the performance of “Romeo & Juliet Outside the Box” on the plaza of the YoungArts’ Biscayne Boulevard campus Friday delivered what its creators, playwright, actor and director Tarell Alvin McCraney and filmmaker Andrew Hevia had promised: an experience. Theater purists may scoff at the idea at their own peril.


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Miami Herald


An Argentine classic: Astor Piazzolla and the evolution of tango

As a budding composer, New Tango master Astor Piazzolla didn’t much care for tango. He wanted to be a classical musician.

But he would go on to achieve international fame and grudging recognition of the tango Old Guard for his New Tango. It was near the end of his life, and especially after his death in 1992, that Piazzolla’s music entered the contemporary classical music repertoire.

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Lil’ Buck and the art of jookin’

The question to dancer and choreographer Charles “Lil’ Buck” Riley laid out what many in the room had been wondering: “How do you do this? Are you Superman?”

 “I’m really glad you asked. The cat’s out of the box,” Riley deadpanned, without missing a beat. “I came here from Saturn …”  Then you see him dance, and you have to wonder.


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See No Evil. Cry for Argentina

I had a flash of people chasing after me, grabbing me. I imagined insults, punches, kicks. It was 1976, I was 22 again, the cops and the military had life and death powers over me and this place was a police garage but also El Olimpo, The Olympus, one of the clandestine concentration camps in Buenos Aires, a place of torture and death.

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New Jazz Frontiers

Program Notes

“Jazz is dead” is one of the evergreens in jazz literature. Yet for all the challenges, real and perceived facing jazz in the cultural mar-
ketplace, the real story for the past few decades has been the triumph of jazz.

Notas sobre el programa

“El jazz ha muerto” es un clásico imperecedero en la literatura del jazz. Pero a pesar de todos los desafíos, reales e imaginados, que el jazz enfrenta a diario en el mercado de la cultura, la verdadera historia en lasúltimas décadas es “El triunfo del jazz.”





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Nota completa


Isabel Allende
Latin America’s Sheherazade

Her answers and gestures add up to intriguing paradoxes: a no-nonsense romantic, a tough survivor with manicured nails, a hopeful cynic, a feminist in high heels, a writer who writes to remember but, on a whim or a dare, would just as soon reinvent her memories. "I've always told stories," she says with a wave of her hand. "They used to call me a liar. Now that I write books, they call me a narrator."

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The Internacional Review

Jazz With An Accent: Drummin’ Back Out Into the World

Maestro Mario Bauzá — trumpeter, saxophonist and music director of Machito and His Afro- Cubans, direct link between Dizzy Gillespie and Chano Pozo and a key figure in blending jazz and Afro-Cuban rhythms — scoffed at the label Latin Jazz.





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The art of consensus

It's a late Friday morning at Britto Central on Lincoln Road and a casually elegant couple is being led around the gallery by an attendant, price list in hand.
In the small office in the back of the gallery, the phone rings nonstop.

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