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L.A. Phil's Gustavo Dudamel returns to the Bowl for a short concert run

L.A. Phil's Gustavo Dudamel returns to the Bowl for a short concert run

The Los Angeles Philharmonic's departing music director Gustavo Dudamel will return to the Hollywood Bowl next week.
Dudamel, the face of the classical music world in L.A. since his 2009 debut as music director, is in his penultimate season here before departing to lead the New York Philharmonic. Given recent federal travel bans on Venezuelans, he was forced to cancel local dates with his Simón Bolivar Symphony Orchestra in August, and he only had one week planned for conducting during the Bowl's summer season this year.
The season's opening night at the Bowl was 'a relatively somber occasion, which, despite the lovely atmosphere, fit the mood of the times,' as Times critic Mark Swed said.
So this one-week return with an exceptionally diverse bill will be a welcome occasion to see him in the twilight of his tenure in L.A.
On Aug. 5, Dudamel (with pianist Seong-Jin Cho) will lead a program pulled from jazz giant Duke Ellington and French composer Maurice Ravel, including Ellington's 'Harlem' and 'Black, Brown and Beige' and Ravel's Piano Concert for the Left Hand and Piano Concert in G. The pairing will show how American jazz and the Harlem renaissance influenced and expanded possibilities for Ravel and European music of the era.
He'll follow that up on Aug. 7 with Mahler's bombastic Symphony No. 1 'Titan,' with Vilde Frang playing Erich Korngold's violin concerto (a fitting spotlight on a golden-era Hollywood score legend). On Aug. 8-9, Dudamel will conduct John Williams' crowd-favorite 'Jurassic Park' score over a live screening of the summer blockbuster.
Dudamel recently debuted with the L.A. Phil at Coachella, a long-awaited crossover event where the orchestra collaborated with pop stars including Dave Grohl, Zedd, Laufey and LL Cool J. For Los Angeles music fans who want to see Dudamel in the Bowl before he departs after next year's season, these are some of the best chances to do so in 2025.
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43 Items To Transform Your Home Into A Personal Haven
43 Items To Transform Your Home Into A Personal Haven

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time33 minutes ago

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43 Items To Transform Your Home Into A Personal Haven

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‘Jesus Christ Superstar' transcends in starry Hollywood Bowl celebration led by divine Cynthia Erivo
‘Jesus Christ Superstar' transcends in starry Hollywood Bowl celebration led by divine Cynthia Erivo

Los Angeles Times

time2 hours ago

  • Los Angeles Times

‘Jesus Christ Superstar' transcends in starry Hollywood Bowl celebration led by divine Cynthia Erivo

Cynthia Erivo, a noted theatrical divinity, redeemed the title of 'Jesus Christ Superstar' at the Hollywood Bowl last weekend in a magnetic, heaven-sent performance that established God the Savior as a queer Black woman, as many of us suspected might be the case all along. Divine dispensation allowed me to catch the final performance of this revival of Andrew Lloyd Webber and Tim Rice's 1971 breakout musical. I returned from vacation just in time to join the pilgrimaging hordes carting cumbersome picnic baskets and enough wine for a few dozen Sicilian weddings. The vast number of attendees caused bottlenecks at entry points, prompting one wag to crack, 'What is this, the Second Coming?' The headliners, Erivo as Jesus and Adam Lambert as Judas, certainly have sizable fan bases. But so too does the subject of this Greatest Story Ever Told, a messiah whose following has few equals in the history of the world. Suffice it to say, it was a supercharged evening, comparable more to a rock concert than one of the Bowl's forays into the musical theater past. The hard-charging exuberance was appropriate for a production that went back to the concept album roots of a rock opera that, like other countercultural musicals of the period — such as 'Hair' and 'Godspell' — preached peace and love while rebelling against oppression and conformity. 'Jesus Christ Superstar' reminds us that Lloyd Webber wasn't always a symbol of the bourgeois establishment. Yes, the composer behind 'Cats,' 'The Phantom of the Opera' and 'Sunset Boulevard' had an early revolutionary streak, challenging authority and testing social taboos. What made 'Jesus Christ Superstar' controversial wasn't simply the depiction of Jesus of Nazareth as a man with vulnerabilities and doubts. It was the blast of guitars and vocal shrieks that accompanied the telling of his last days and crucifixion in a manner more akin to the Who's 'Tommy' than the church organ interludes of a traditional Sunday service. Director and choreographer Sergio Trujillo leaned into the concert nature of 'Jesus Christ Superstar.' The metallic scaffolding staging, the mythic scale of projections and the rhythmic flow of cast members, moving from one musical number to the next, freed the production from literal illustration. The religious meaning of the story was communicated through the intensity of the performances. Erivo and Lambert are incapable of ever giving less than 100% when translating emotion into song. But the human drama was most evident in the handling of duets, the musical give and take that showcases the richness of all that lies between lyrics. The conflict between Erivo's all-seeing, all-feeling Jesus and Lambert's competitive yet remorseful Judas was thrillingly brought to life in their different yet wholly compatible musical styles. In 'Strange Thing Mystifying' and 'The Last Supper,' Lambert, a Freddie Mercury style-rocker, and Erivo, a musical theater phenomenon who can pierce the heavens with her mighty voice, revealed a Judas who can't account for all his actions and a Jesus who understands the larger destiny that is both sorrowfully and triumphantly unfolding. Phillipa Soo's Mary Magdalene brought a probing, tentative and profound intimacy in her adoration of Erivo's Jesus. In her exquisite rendition of 'I Don't Know How to Love Him,' the tenderness between Mary Magdalene and Jesus, at once earthy and ethereal, deepened the expressive range of the love between them. Soo, best known for her graceful lead performance in 'Hamilton,' provided sublime support in a cast that had considerable Broadway depth. Raúl Esparza, who I can still hear singing 'Being Alive' from the 2006 Broadway revival of 'Company,' played Pontius Pilate with lip-smacking villainy. Josh Gad, who missed Friday's performance because of illness but was in sharp comic form Sunday, turned King Herod into a Miami-style mobster, dressed in a gold lamé getup that would be just perfect for New Year's Day brunch at Mar-a-Lago. The acting company distinguished itself primarily through its galvanic singing. Music director and conductor Stephen Oremus maintained the production's high musical standards, bringing out the extensive palette of a rock score with quicksilver moods. One could feel Erivo, a generous performer who understands that listening can be as powerful as belting, building up trust in her less experienced musical theater cast mates. The way she registered Lambert's bravura moments bolstered not only his confidence in his non-singing moments but also the miracle of her own fully realized performance. Ultimately, Jesus' spiritual journey is a solitary one. In 'Gethsemane,' the path of suffering becomes clear, and Ervio's transcendence was all the more worshiped by the audience for being painfully achieved. Unmistakably modern yet incontestably timeless, abstract yet never disembodied and pure of heart yet alive to the natural shocks that flesh is heir to, this portrayal of Jesus with piercings, acrylic nails and tattoos met us in an ecumenical place, where all are welcome in their bodily realities and immortal longings. Lloyd Webber is undergoing a renaissance at the moment. Fearlessly inventive director Jamie Lloyd has given new impressions of 'Sunset Blvd.,' which won the Tony for best musical revival this year, and 'Evita,' which is currently the talk of London's West End. Trujillo's production of 'Jesus Christ Superstar' deserves not just a longer life but more time for the actors to investigate their momentous relationships with one another. The drama that occurs when Erivo's Jesus and Soo's Mary Magdalene interact should provide the model for all the cast members to lay bare their messy human conflicts. 'Jesus Christ Superstar' depends as much upon its interpersonal drama as its rock god swagger — as Erivo, in a Bowl performance that won't soon be forgotten, proved once and for all.

Cynthia Erivo And Adam Lambert's Jesus Christ Superstar Needs To Tour
Cynthia Erivo And Adam Lambert's Jesus Christ Superstar Needs To Tour

Forbes

time2 hours ago

  • Forbes

Cynthia Erivo And Adam Lambert's Jesus Christ Superstar Needs To Tour

Cynthia Erivo (Jesus) and Adam Lambert (Judas), Jesus Christ Superstar at the Hollywood Bowl gave a sold-out crowd the son of God for an era accustomed to Gaga theatrics. Farah Sosa This won't be pleasant to hear but if you missed Jesus Christ Superstar at the Hollywood Bowl this past weekend, you really lost out on seeing one of the great and memorable stage extravaganzas that Los Angeles has witnessed in recent years. For three nights on a Bowl set as dramatic and luminous as a tabernacle vision, the musical by Andrew Lloyd Webber and Tim Rice found life in a new form that at times felt like a full-blown conversion. With the Mercurial (and by that, I mean Freddie) Adam Lambert as Judas, an otherworldly Cynthia Erivo as Jesus (bold casting that outperformed even scriptural expectations) and a supporting cast that included no less than Phillipa Soo from the original Hamilton cast as Mary Magdalene and Josh Gad ( Book of Mormon , Frozen ) as Herod, the 55-year-old Broadway classic suddenly felt as if the heavens themselves had a hand in the production. Okay, let me walk that back a little. It was a fantastic show. But it wasn't so much an update of the original 1970s rock opera as a one-of-a-kind arena-style blowout that let us see what these charismatic powerhouse belters could do with this vintage material. It's the son of God for an era accustomed to Gaga theatrics. You want the Passion of Christ? We'll give you Passion like you've never seen. If you missed the Hollywood Bowl production of Superstar this weekend, you missed a revelation on stage. Farah Sosa Of course, spectacle was part of the JCS program from the beginning. The show originated in 1970 when up-and-coming composer Andrew Lloyd Webber and lyricist Tim Rice teamed up to record a concept album that retold the last week of Jesus's life through rock music, an audacious conceit that pushed the LP to the top of the Billboard charts. The following year, Jesus Christ Superstar premiered on Broadway and in London's West End to mixed reactions. ' Superstar seemed to me less than super,' The New York Times critic Clive Barnes wrote in reviewing the original. In 1973 Norman Jewison's film brought the story to cinemas, complete with Carpenters'–style production values and standout performances by singer Yvonne Elliman and others. Through the '80s and '90s it enjoyed frequent revivals—most notably a 1996 West End run and a 2000 U.S. tour—before a critically acclaimed 2012 Broadway revival reintroduced it to a new generation. Since then it's been mounted everywhere from regional stages to international tours, spawned a live TV concert in 2018 and continues to resonate since the themes of fame, betrayal, and political theater haven't exactly gone out of fashion. Under the stars at the Hollywood Bowl, the gospel-tinged guitars and driving riffs were familiar from the album (you could see people of a certain age mouthing along to every single word). But director and choreographer Sergio Trujillo made sure this version never felt like a throwback. From the first strains of 'Heaven on Their Minds,' Judas's betrayal unfolded against a shifting backdrop of LED panels and pulsing lights, while the orchestra—directed by Stephen Oremus—loosed the score behind a digital curtain, from delicate flute solos in 'Damned for All Time' to full-throated electric roars in the title number. Erivo's Gethsemane: A standing ovation that offsets the controversy There's been some online hand-waving around the 'controversy' of casting a queer Black woman to play the Messiah, but please—Erivo as J.C. wowed audiences as dramatically here as in The Color Purple on Broadway or even on screen with Wicked . Her stirring, affecting wails and torch-ery on 'What's the Buzz,' 'Everything's Alright' and 'The Temple' had a capacity crowd of 17,500 riveted, and that was before the three-minute, mid-act standing ovation Erivo got in the second half for 'Gethsemane (I Only Want to Say).' People everywhere had tears streaming right along with Erivo's. Lambert, meanwhile, reveled in Judas's arc from swagger to ruin, balancing streetwise regret with near-mythic torment. Could any other contemporary singer — aside from perhaps Gaga herself — bring the same combination of goth-rock swagger, heartbreak and glittery stoke to lines like: 'You have set them all on fire / They think they've found the new Messiah / And they'll hurt you when they find they're wrong!' I think not. Josh Gad recovered from COVID in time to make the last two performances as King Herod. John Stamos filled in on Friday night, to mixed reviews Elisabeth Asher Why Jesus Christ Superstar deserves an even bigger stage It's not to say the show was perfect. People are still sniveling about poor John Stamos stepping in at the last minute on Friday night as Herod to 'speak sing' the part for Gad, who was out that night with COVID (Gad appeared to be making up for lost time on Sunday with Vegas-style over-the-top kitsch as the ruler of Galilee). And the choreography wasn't exactly on the same epic level as the vocals. But here's my real gripe: Jesus Christ Superstar only got three nights. This thing could storm Broadway, crisscross the country or pitch an actual revival-tent tour and still pack the house for years. Don't lose Erivo or Lambert, that's for sure. But cut it loose from the Bowl and you'd have a transfiguring phenomenon on your hands—one that would keep the faithful and the curious coming back from now 'til kingdom come.

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