Latest news with #CarnegieHall
New York Times
8 hours ago
- Entertainment
- New York Times
How the ‘Italian Fairy' Spends Her Day Teaching Children to Sing
Simona Rodano is dressed as a fairy, her petite white wings studded with sparkles. In this costume, Ms. Rodano, 53, has played the role of the Italian Fairy for years, bringing multilingual musical programs to students in kindergarten through 12th grade. 'Language,' she said, 'is a source and resource of dialogue and communication that connects different people, cultures and traditions, planting seeds for a better world.' Ms. Rodano, a singer and entertainer who has performed at Carnegie Hall, starred in a five-day-a-week variety television show in her native Italy, where she also recorded albums and had roles in numerous stage productions. After her 12-year run on TV ended in 2010, Ms. Rodano settled in Astoria, Queens. She began teaching Italian to Manhattan toddlers, and one father gave her the fairy nickname. 'For me, every day as the Italian Fairy is a performance,' Ms. Rodano said. 'I don't do it for the applause. I do it to inspire and uplift people. That's what drives me.' She lives in Astoria with her cat, Stellina, and her husband, Luigi Rosa, 53, who is an assistant vice president at Amtrak. Want all of The Times? Subscribe.
CBS News
2 days ago
- CBS News
Video shows man taking oboe from Boston apartment building lobby
A musician said she's desperate to find her oboe after the prized instrument was stolen from her apartment building's lobby in Boston's Allston neighborhood. The thief entered the apartment building and made off with LEGO sets, decor, and the musician's prized instrument. The theft was caught on surveillance footage, and the Boston Police are trying to track it down. Marley Peterson has been playing her oboe for 16 years, including two performances at the famous Carnegie Hall. During her high school years her band took part in competitions in the United States and Canada. "Lots of people have pets and things they hold onto, and it's like I had my oboe. It's like who would steal an oboe?" questioned Peterson. Oboe stolen from building lobby She is moving out-of-state in three weeks, and was bringing some of her belongings to the car. She said left the oboe and some other items in the lobby of the building while she went to the car briefly. Marley put a note on the stuff letting people know that they were moving out, and not to touch it. Surveillance video shows a man in an orange hat getting into the Commonwealth Avenue building, and making his way to her things. "It's a man. I can't really see his face or hat. He walks right in and beelines straight to my stuff, and starts rummaging through it all," detailed Peterson, "Picks up the oboe case, opens the case and examines it, so he knows it's an instrument, and he took other bags with him too." Peterson reported the incident to the police and showed them the video. Police reports estimate the total theft to be in the neighborhood of $1,400 worth of items, including the oboe. Doors lock automatically The doors to the building lock automatically, no one can get in without a key, however their building has three sections and the keys work on all building sections. "On the video it's very clear that no one let him in, so he enters by himself. There have been notices with his photo on all of the entrances," tells Peterson, who has also been doing her own detective work. "First step I went to the U-Haul near me and asked them to gather any video footage they have. I went to the convenience store around the corner. I asked my manager to get videos from both lobbies for the whole day, to see if this guy comes in and out, so I have been doing my own little detective work." If you believe you know who took the instrument, you are urged to contact the police. Peterson only has three more weeks to find it before she moves away.
Indian Express
5 days ago
- Entertainment
- Indian Express
‘I don't play to teach, I play to share joy': Pandit Hariprasad Chaurasia on six-decade journey with the flute
For over six decades, Pandit Hariprasad Chaurasia has carried the soul of Indian classical music through the delicate breath of the bansuri, the bamboo flute. A recipient of the Padma Bhushan (1992) and Padma Vibhushan (2000), Chaurasia has not only not only redefined the soundscape of Indian classical music but also taken the humble flute to global concert halls and film studios alike. His story begins in Allahabad, where a young Chaurasia trained as a wrestler to please his father while secretly pursuing music. That secret blossomed into a lifelong devotion, leading to sharing the stage with legends at Carnegie Hall, Royal Albert Hall, and the Kremlin. His journey is as extraordinary as his music. Though I come from a classical background, I'm thankful to have worked in films and collaborated with legends like Lata Mangeshkar and Kishore Kumar, as well as explored fusion music with artists such as George Harrison from The Beatles, said Chaurasia. Chaurasia's melodies have become part of Hindi cinema's most enduring soundtracks – Silsila (1981), Chandni (1989), and Lamhe (1991) – while his global collaborations with artists like John McLaughlin and Zakir Hussain have brought Indian ragas into conversation with jazz and world music. In this exclusive conversation with the maestro reflects on his unorthodox path, the spiritual essence of the flute, and the importance of surrendering to one's calling. Q. Your father wanted you to become a wrestler, but you chose the flute. Was that a rebellion, a calling, or fate? Pandit Hariprasad Chaurasia: It was all God's plan. I never aimed to become a musician. I trained as a wrestler to make my father happy, but deep inside, I was drawn to music. I quietly followed that path and eventually gave myself completely to the flute. Maybe the strength I built through wrestling helps me play even today. Now I travel with my flute and let it speak. People may not always know my name, just like they remember Lord Krishna's flute more than his name, but for me, it's about giving voice to the flute. Q. How do you connect with people through your music, and what do you try to express? Pandit Hariprasad Chaurasia: I don't perform to teach or preach. I play to share joy and emotion. I observe people, learn from them, and try to spread happiness through music. I'm not promoting myself, just trying to share the beauty of music with others. Q. Your children have chosen different paths. Do you hope your musical legacy continues through your grandchildren? Pandit Hariprasad Chaurasia: It all depends on God's blessing. Talent and interest must come naturally. If they are meant to carry it forward, I would be happy. But it should come from within, it can't be forced. Q. What's your daily routine like? How do you keep your music sharp with age? Pandit Hariprasad Chaurasia: As we get older, we need to put in more effort. I still practise every day and stay in touch with other musicians to keep learning. My day begins and ends with music. Even if I don't have the flute in my hands, I'm thinking about it. The flute is my best friend, I just try to spend time with her every day. Pandit Hariprasad Chaurasia: It's a very special experience. An artist's life has many emotions and stories. It feels good to share that journey with people through music. Q. You've composed for many films. Is there a recording session that stands out to you? Pandit Hariprasad Chaurasia: Though I come from a classical background, I'm thankful to have worked in films and with legends like Lata Mangeshkar and Kishore Kumar. I've also done fusion and worked with artists like George Harrison from The Beatles. Every session has been meaningful, but I feel most connected to devotional and spiritual compositions – they stay in my heart. Q. Have you worked with Pakistani artists? Are there any musicians today you'd like to collaborate with? Pandit Hariprasad Chaurasia: I've visited Pakistan three times. People there deeply love music. I've met and shared recordings with many artists. Even if we don't meet often, we stay in touch and keep learning from each other. Q. What does success mean to you, and what advice would you give young people who want to follow your path? Pandit Hariprasad Chaurasia: To me, success is being connected with God. When young people play music with sincerity and focus, they connect with their breath and their soul. That brings peace. Success comes from dedication, love for your art, and surrender. If one truly enjoys what they do and gives their heart to it, everything else will follow. Cherry Gupta is an Assistant Manager - Content at The Indian Express. She is responsible for crafting compelling narratives, uncovering the latest news and developments, and driving engaging content based on data and trends to boost website traffic and audience engagement. One can connect with her on LinkedIn or by mail at ... Read More
Forbes
20-06-2025
- Entertainment
- Forbes
Melissa Errico To Perform Stephen Sondheim's Music In NY And London
Tony Award-nominated performer Melissa Errico is bringing her talents and the music of the incomparable Stephen Sondheim to top stages in New York and London this summer. NEW YORK, NY - OCTOBER 01: Melissa Errico performs onstage during Broadway's Best Comes Together To Salute Chita Rivera At Touch The Sky, A Benefit To Build NY's First Shane's Inspiration Inclusive Playground For Kids Of All Abilities at Zankel Hall, Carnegie Hall on October 1, 2018 in New York City. (Photo byfor Shane's Inspiration) Getty Images for Shane's Inspiration Tonight and tomorrow night (June 20 and 21) she will sing songs written by Stephen Sondheim at 54 Below, the Broadway supper club, while she will perform a 'Sondheim in the City' program at Cadogan Hall in London on July 12, her debut in that hall. 54 Below said her shows there would present 'a sparkling evening of (Sondheim's) sublime songs side by side with engaging stories of his craft and life. Errico's admiration for her friend and teacher — she refers to his wisdom and inspiration as 'life-saving, sheer joy, giving us all creative courage' — is always evident. This…engagement is a preview of her upcoming concert hall debut in London.' Errico, 54 Below continued, 'worked with Stephen Sondheim on productions of Sunday in the Park with George , John Doyle's hit production of Passion , and Do I Hear A Waltz? at City Center. She played the Baker's Wife in a concert run of Into the Woods . She has sung Sondheim on PBS, 'Finishing The Hat' for Poetry In America and on her own filmed solo special. She sang and spoke at a tribute to him in her Carnegie Hall debut in 2022 with The New York Pops. She has made two all-Sondheim albums, with a third on the way.' The June 21 54 Below performance, which will be livestreamed, will feature Tony Award winner Len Cariou, the Sweeney in the original 1979 Broadway production of Sweeney Todd . In an interview with this week, Errico said Cariou would tell the story of how Sondheim's legendary song, 'Send in the Clowns' from Sweeney Todd —immortalized by Judy Collins—got written. Errico's July 12 performance at Cadogan Hall, 'Sondheim in the City,' will feature Olivier Award-winner Julian Ovenden, accompanied by Tedd Firth on piano and a trio from Ronnie Scott's Jazz Club. Errico will perform classics from Sondheim's Company, Merrily We Roll Along and Anyone Can Whistle , among other shows, and tell stories about her own work with him. Melissa Errico and Stephen Sondheim Bruce Glikas Asked what her favorite Sondheim musical and song are, Errico told this 'alters all the time. But I can never get past the beauties of Sunday In the Park and A Little Night Music and their big, ambivalent arias: 'Children and Art' — which I got to sing to him on his ninetieth birthday—and, of course, 'Send In the Clowns', which I'll be singing this week. Those two will always have a place in my heart and on my set list.' Asked what the message of Sondheim's music is for listeners today, she said, 'it's both to accept ambivalence and embrace pluralism. All of our lives, and particularly all of our loves, are always all mixed up – that's the moral of 'Sorry, Grateful' and 'Good Thing Going' and 'Moments In The Woods.' The course of true love (and marriage) never runs smooth, and we wouldn't recognize it if it did. But he also tells us to embrace the sheer variety of New York , and in that way of the world. That's the moral of 'Sunday' from Sunday In The Park and 'Move On' and 'Children and Art.' (I know, they're set in Paris, but Sondheim's Paris is another version of New York.) They tell us that we not only have to accept but embrace and celebrate all the complexities of life, and all the many kinds of people in the park – the ones we share the world with.'
The National
18-06-2025
- Entertainment
- The National
National Youth Orchestra becomes first from UAE to perform at Carnegie Hall
In the minutes leading up to the biggest performance of her young life, Renee Youssef, 14, will ensure she and her fellow National Youth Orchestra of Dubai members are in perfect pitch. More than leading any final tuning adjustments, the Egyptian-Lebanese violinist will project calmness and confidence. She'll strike the kind of posture that rallies the ensemble – that has earned a rare chance to perform at New York City's famed Carnegie Hall on Friday – with quiet assurance. 'It is an important role and one that I am grateful for and take seriously,' Youssef tells The National. 'It is about trying to make sure we are all ready and prepared, so when the show starts and they see the first stroke of my bow, they know we are all in this together.' The performance, regarded as the first by a UAE orchestra at the historic venue, marks the latest achievement of the NYO. Founded in 2018 with just four students, the ensemble has grown to include five orchestras comprising 200 musicians aged between five and 18. Entry and seating positions are determined by audition, with members taking part in a rigorous 37-week season punctuated by weekly rehearsals. 'What we all built together is a system,' co-founder Amira Fouad says. 'It's not just an orchestra anymore. It's a philosophy, a movement, an idea and a mission. 'And that's why people are saying this isn't just about playing. It's not just about going to rehearsal. It's about learning how to be independent, how to show up, how to take responsibility, how to lead. It started with an instrument, perhaps a cello at an audition, and now we're here at Carnegie Hall.' Fouad knows it sounds almost too good to be true. When the official email invitation was sent to her in May, on the back of the company's annual season closing concert at Dubai Opera, she initially binned it. 'Listen, I deleted it because I was sure it was some sort of scam,' Fouad says. 'When you get an email saying: 'Congratulations, your orchestra has been selected to perform at Carnegie Hall', you assume it's not genuine. It wasn't until they followed up and scheduled a Zoom meeting that I realised this was actually happening.' The proposal was for the orchestra to take part in the Viennese Masters Invitational, with the NYO joining fellow youth ensembles from the US, including the South Carolina Philharmonic Youth Orchestra and Utah's Mountain View High School Chamber Orchestra. The next 10 months saw the NYO undergoing intensive preparation, both on stage and behind the scenes, to bring more than 100 people to New York. Families and staff largely self-funded the journey, with Dubai Culture also providing scholarships for select members. That financial reality only served to strengthen the resolve of all involved, Fouad notes. 'It felt like one big family project – the parents, the volunteers and our team all doing their part,' she says. 'It really brought us together in a different way, because everyone understood this wasn't just a trip, but a huge commitment. The fact that people still went ahead with it shows how much belief there is in what we're doing.' The commitment was evident when The National visited the final rehearsals at Dubai's Nord Anglia International School at the weekend. Emirati, Egyptian, Lebanese, Indian and Japanese students were fine-tuning works by composers including Beethoven and Mozart in preparation for Carnegie Hall. That harmony extends beyond the stage, with students exchanging tips and experiences on a regular basis. 'I honestly feel like I've grown up here,' says Palestinian Zein Khawaja who, at 17, has already spent seven years with the orchestra. 'What I love is that it doesn't feel like we're in separate groups. We all talk to each other and learn so much from different people because there are so many nationalities here – and that's really interesting.' That sense of collectiveness is by design, Fouad notes, with constant rehearsals fostering a cohesiveness built on discipline and mutual accountability. 'These are life skills, which they're taught from the moment they join the prep orchestra,' Fouad says. 'They might show up with their cello and a teddy bear, but it starts there – being independent, being responsible. We don't wait until they're 17 to deliver that message. It's embedded in everything we do. You show up. You prepare. You listen. You work with others. That's what it means to be part of an orchestra – and part of a community.' US conductor and educator Jonathan Barrett, who joined the NYO in 2022 after teaching in schools across Abu Dhabi and Dubai, is helping shape that mindset. 'The word maestro actually means teacher,' he says. 'And the lessons you teach go deeper than music itself. You're trying to instil values – self-control, focus, discipline – so they can overcome challenges. 'The music is hard. Very hard. But if they learn to persist, listen and work together, they'll realise those same qualities apply to everything else in life. So, yes, we're preparing for concerts but, really, we're preparing people.' Khawaja is looking forward to carrying those life lessons with her as she eventually moves on from the orchestra for university. 'For me, music is an escape – something I turn to when I'm stressed,' she says. 'I don't want it to become my whole life, because then I'd lose that feeling. I plan to study architecture, but I'll definitely keep playing the violin. It's a part of who I am. Even if it's just in my room, I know I'll always come back to it.' Whether or not each member pursues music in the long term, the NYO's performance at Carnegie Hall will continue building the ensemble's legacy – and leave a lasting mark on each performer. The kind that comes from taking on a monumental challenge and, together, seeing it through.
