Boston University Mourns the Passing of Marc Johnson Legendary Cellist, School of Music Professor, Former Member of the Pittsburgh Symphony Orchestra and Vermeer Quartet
Boston, MA – Boston University is mourning the passing of Marc Johnson, School of Music Adjunct Professor of Cello. Marc Johnson served on the faculty of the School of Music at Boston University since 2007.
“We will miss him greatly, his warm soul, his kindness, his generous spirit, and his beautiful cello playing,” said Richard Cornell, director ad interim of the School of Music at Boston University College of Fine Arts. “He taught us all so very much with each word and with each musical phrase. He made our lives immensely rich, and we were blessed to have him on our faculty.”
Born to a musical family in Lincoln, Nebraska, Johnson studied under the tutelage of Carol Work, winning several national competitions before being accepted as a scholarship student at the Eastman School of Music where he studied with Ronald Leonard and John Calentano. Johnson continued his studies at Indiana University where he was a student of Janos Starker and Josef Gingold.
Johnson began his professional career while still a student. At the age of eighteen, he became the youngest member of the Rochester Philharmonic Orchestra. He continued to have success in competitions, winning first prize in the prestigious Washington International Competition, among others. Johnson was also a member of the Pittsburgh Symphony Orchestra, and for thirty-five years, Johnson performed as a cellist of the renowned Vermeer Quartet.
A memorial service in memory of Professor Johnson will be held in Autumn 2014.
Boston University College of Fine Arts Named as One of “5 Tried-and-True Acting Colleges” by Backstage Magazine
Boston, MA – The School of Theatre at the College of Fine Arts at Boston University was recently named as one of the “5 Tried-and-True Acting Colleges” in the United States by renowned performing arts magazine, Backstage.
The magazine applauded the School of Theatre for pushing actors “to be part of a play as well as understand the role their play takes on in the larger discussion.” The story lauded the philosophy of Jim Petosa, director of the School of Theatre and a CFA professor of directing and dramatic criticism for “ensuring the actors in his program weigh in the gravitas of their performances, understand the intellectual rigor they present in their characters, and work to contextualize themselves within the human condition, both through individual and collaborative ensemble work.”
“We’re very conscious of the theater as a force for understanding aspects of humanity, whether at a geopolitical level or at a local level,” says Petosa. “We’re not bound to one style or method, but we do tend to stress plays that really have an impact on our understanding of societal phenomenon.”
BU joins the ranks of Carnegie Mellon University, Rutgers University, New York University’s Tisch School of the Arts, and the University of California, Los Angeles, in the Backstage list. For the complete article, visit Backstage magazine:
One year later, BU Symphony Orchestra and Symphonic Chorus dedicate concert to victim LU Lingzi; Healing Boston Arts Reception and commemorating visual arts exhibition
celebrate the spirit of determination that unites Boston — April 7
Boston, MA – On Monday, April 7, at Boston’s Symphony Hall, the College of Fine Arts at Boston University will pay tribute to the victims and first responders of the tragic violence of last year’s Boston Marathon, while recognizing the remarkable efforts to heal the city through art.
Boston Healing Arts Reception and Concert at Symphony Hall
Performed by Boston University Symphony Orchestra and Symphonic Chorus
Conducted by Ann Howard Jones
With Soloist Christopher Hutchinson
Date and Time: Monday, April 7, 8pm
Healing Boston Arts Reception: 6pm
Featuring an exhibition of “Still Running: An Art Marathon for Boston,” curated by Taylor Mortell. Kindly RSVP to Brooke MacKinnon, email@example.com or 617-353-3349.
Concert Program: Hector Berlioz, Grande Messe des Mortes, Op. 5
Location: Symphony Hall (301 Massachusetts Avenue, Boston)
Tickets: $25 General Admission; Student Rush: $10, available at the door, day of performance; One free ticket with BU ID at the door, day of performance, 10am–6pm
Box Office: bso.org or 617-262-1200
Live Webcast: The concert will be webcast live on the School of Music website and will be rebroadcast on the School of Music’s Virtual Concert Hall: bu.edu/cfa/music/virtual-concert-hall.
Among those lost that day was LU Lingzi (GRS ’14), a BU graduate student. Though pursuing a statistics degree, LU also studied piano at CFA because music brought her joy. The Boston University Symphony Orchestra and Symphonic Chorus are dedicating the annual spring concert in LU Lingzi’s memory.
“Music was part of her identity, just as LU was part of ours,” explains Benjamín Juárez, Dean of Boston University College of Fine Arts.
On this special evening, the College will host the Healing Boston Arts Reception, honoring the many ties the University has to the tragedy that occurred in Boston last April, applauding the remarkable efforts to heal the city, and celebrating the spirit of determination that unites Boston. The Healing Boston Arts Reception will feature an exhibition of Still Running: An Art Marathon for Boston, curated by Taylor Mortell (CFA ’16), celebrating Taylor’s efforts as well as the many efforts in the BU community to heal the city.
“Still Running: An Art Marathon for Boston is a greater Boston community art project originally created in response to the 2013 Boston Marathon tragedy,” says Taylor Mortell (CFA ’16), who curated the exhibition. “Since then, Still Running has grown into an ongoing series of free community art making events called ‘Art Marathons,’ where all are invited to come experience something new and create art with others to celebrate the city of Boston. The artwork created at our events and donated to Still Running first goes into a series of community art exhibitions in and around the city, and is later given to local hospitals and police stations as a way to give back to local law enforcement and show our appreciation.”
“It has been an incredible learning experience working on Still Running for the last year,” continues Mortell. “We had to learn how to become teaching artists, negotiators, curators, managing directors, and leaders as the project made demands for it. At the beginning, Luca de Gaetano, who co-created the project, and I had no idea what was possible or what we might be able to accomplish with this, and I think the reach it has had has far surpassed anything we could have imagined. We are very lucky.”
“We’ve heard it said that the arts community comes together during times of tragedy,” says Benjamín Juárez, Dean of Boston University College of Fine Arts. “In the days immediately following the Boston Marathon, I witnessed this first-hand. I am proud to honor the great work of our community in healing the city at this memorable event for Boston University and the city of Boston.”
Conducted by Ann Howard Jones, the BU Symphony Orchestra and Symphonic Chorus will perform Hector Berlioz’s Grande Messe des Mortes, Op. 5, a piece known for its complex, large-scale, and often grandiose instrumentations and its ties to Boston’s Symphony Hall. Recorded notably in Boston’s Symphony Hall in 1959, Berlioz’s Requiem is scored for a very large orchestra with offstage brass sections and choral groups placed throughout the venue.\
“Very often art and expression is inspired by what is happening in our world,” says Juárez. “Just as Berlioz was inspired by his world to create this masterpiece, the art created through Taylor’s Still Running project is an expression of the feelings and emotions of those touched by what happened a year ago in Boston. Art is that conduit.”
Boston University College of Fine Arts Center of New Music and the Institute of Contemporary Art/Boston welcome the Arditti Quartet
Concert Scheduled for March 23 at the ICA
Boston, MA – Boston University College of Fine Arts and the Institute of Contemporary Art/Boston (ICA) present the Arditti Quartet, March 23, 2014 at 7pm.
“The Arditti Quartet is the ultimate new music group. Their virtuosity, artistry, commitment and longevity are unrivaled. They haven’t just contributed a page to the history books, they’ve put in whole chapters,” explains Joshua Fineberg, Boston University School of Music Professor and Director of the Boston University Center for New Music.
“In terms of contemporary music performance, the Arditti Quartet is the standard bearer,” said John Andress, ICA Public Programs Manager. “They have worked with and commissioned quartets by the best composers of the last half century, and we are thrilled to present their work as part of the ICA’s leading-edge new music program.”
The Arditti Quartet enjoys a worldwide reputation for their spirited and technically refined interpretations of contemporary and earlier-20th-century music. Hundreds of string quartets and other chamber works have been written for the quartet since its foundation by first violinist Irvine Arditti in 1974, many of which have left a permanent mark on string quartet repertoire and have established a firm place in music history for the Arditti Quartet.
“It is an incredible honor to be able to help bring this seminal group to Boston for their first-ever performance in this city of the repertoire for which they are so justly famous,” continues Fineberg. “I am so pleased that BU’s student performers and composers will get the chance to work with this almost mythic group.”
In celebration of their 40th anniversary, the Arditti Quartet will perform at the ICA the repertoire for which they are so rightly famous. All written for and premiered by the Arditti, the pieces on this program highlight the sonic invention of Helmut Lachenmann, the intense virtuosity of Brian Ferneyhough, the technological reimagining and transformation of Joshua Fineberg, and the spirituality of the late Jonathan Harvey. Through adventurous programming such as this, brought to life with incredible passion and virtuosity, the Arditti Quartet continues to reshape the future of the string quartet.
Boston University and the ICA present the Arditti Quartet
Date and Time: Sunday, March 23, 2014 at 7 PM
Brian Ferneyhough Dum Transissets I-IV
Jonathan Harvey Quartet No. 2
Joshua Fineberg La Quintina
Location: The Institute of Contemporary Art (ICA) Boston
Tickets: $10 ICA members and students; $20 nonmembers
Box Office: www.icaboston.org
The 2013–14 performance season at the ICA is presented with support from The Robert E. Davoli and Eileen L. McDonagh Charitable Foundation and Ellen Poss.
ABOUT THE ICA
An influential forum for multi-disciplinary arts, the Institute of Contemporary Art has been at the leading edge of art in Boston for 75 years. Like its iconic building on Boston’s waterfront, the ICA offers new ways of engaging with the world around us. Its exhibitions and programs provide access to contemporary art, artists, and the creative process, inviting audiences of all ages and backgrounds to participate in the excitement of new art and ideas. The ICA, located at 100 Northern Avenue, is open Tuesday and Wednesday, 10 am – 5 pm; Thursday and Friday, 10 am – 9 pm; and Saturday and Sunday, 10 am – 5 pm. Admission is $15 adults, $13 seniors and $10 students, and free for members and children 17 and under. State Street Corporation Free Admission for Youth at the ICA is generously supported by the State Street Corporation. Free admission for families at ICA Play Dates (2 adults + children 12 and under) on last Saturday of the month. For more information, call 617-478-3100 or visit our Web site at www.icaboston.org.
ABOUT BOSTON UNIVERSITY CENTER FOR NEW MUSIC
The Boston University Center for New Music, located at the heart of a thriving music school, enhances the presence of cutting-edge music within the curriculum while encouraging awareness of new music within the BU arts community. To widen the conversation among the greater university, the Center hosts lectures, demonstrations, and performances that are open to the public, providing a forum for broader interdisciplinary involvement. To that end, the Center also hosts several institutional collaborations, including its partnership with the Boston-based contemporary music sinfonietta [sound icon], and selected concerts presented at off-campus venues.
The Center is honored to host a number of artists-in-residence for its second season. Lauded composer Joan Tower will take residence three times during the year. Other residencies include variety of visiting artists and ensembles, include Austrian composer Olga Neuwirth, pianist Marilyn Nonken, CEPROMUSIC ensemble and the Arditti Quartet, who will all be performing and working with students. The Boston-based, new music sinfonietta, [sound icon] will also hold two concerts this season at the university. The Boston University School of Music at the College of Fine Arts is proud to offer this slate of events that place innovation and creation as cornerstones of the musical experience for the BU community.
Boston University College of Fine Arts School of Music Presents Boston University Symphony Orchestra and Symphonic Chorus at Symphony Hall
Conducted by Ann Howard Jones, BU to perform Hector Berlioz’s Grande Messe des mortes, Op. 5 at Boston’s Symphony Hall — Monday, April 7, 2014
Boston, MA – On Monday, April 7, 2014, the School of Music at the College of Fine Arts (CFA) at Boston University will perform Hector Berlioz’s Grande Messe des mortes, Op. 5, a piece known for its complex, large-scale, and often grandiose instrumentation and for its ties to Boston’s Symphony Hall.
Recorded notably in Boston’s Symphony Hall in 1959, Berlioz’s Requiem is scored for a very large orchestra with offstage brass sections and choral groups placed throughout the venue.
“This is truly a 3-D experience,” explains Benjamín Juárez, Dean of Boston University College of Fine Arts. “The orchestra and choral sections are to the front, to the sides, to the back, creating an enveloping sound. Not only is it an incredible experience for BU student musicians, it’s a visual and listening opportunity that shouldn’t be missed.”
The concert will be webcast live on the School of Music website and will be rebroadcast on the School of Music’s Virtual Concert Hall: bu.edu/cfa/music/virtual-concert-hall.
Boston University Symphony Orchestra & Symphonic Chorus at Symphony Hall
Conducted by Ann Howard Jones
With Soloist Christopher Hutchinson
Date and Time: Monday, April 7, 2014 8PM
Grande Messe des mortes, Op. 5 Hector Berlioz
Location: Symphony Hall (301 Massachusetts Avenue, Boston)
Tickets: $25 General Admission; Student Rush: $10, available at the door, day of performance; One free ticket with BU ID at the door, day of performance, 10am–6pm.
Box Office: bostonsymphonyhall.org or 1-888-266-1200
Live Webcast: The concert will be webcast live on this page, as well as the School of Music’s Virtual Concert Hall
The School of Visual Arts’ new Studio Visit series invites MFA candidates at CFA to open up their studio spaces and share insights on their creative process. The series starts with Italian-born, Glasgow-trained painter Giovanni Giacoia (MFA 14). Giovanni draws on art history and a slew of personal references to create subtly humorous and imaginative canvases.
Tell us a little about yourself.
I am originally from Basilicata, in Southern Italy. I moved to England and then Scotland in my late twenties; I lived there for almost twelve years. I started studying art when I was 30, I got my BA in Painting and Printmaking from The Glasgow School of Art (in my third year I also spent a semester studying in Brittany, France thanks to an Erasmus scholarship). After I completed my degree I was in Florence, Italy for 4 months with the John Kinross Scholarship awarded by the Royal Scottish Academy. Having returned from Florence I worked first at the David Dale studios, then at the Glasgow Independent studios, both in Glasgow, Scotland. I kept working as a practicing artist; I had shows and residencies in Glasgow and the UK. I was part of the 54th Venice Biennale, Biennale nel Mondo. I also worked part-time in a museum until I moved to Boston two years ago (in 2012) to study for an MFA in Painting at Boston University.
What is a typical day like for you?
I live in Cambridge, not far away from Harvard Square. I walk every day from my apartment to my studio at the 808 Fuller Building. It takes me 30 minutes. I walk by the river, on Memorial Drive. This journey is very important for me; I gather ideas, I think, I stop and take pictures, I listen to music, and I meditate. I certainly believe that motion is emotion: I couldn’t imagine having a studio in my apartment, it wouldn’t work for me. Once I get to the studio, I make myself a cup of coffee, I sit and look at my work, I write down the thoughts that come up and I make a few quick sketches, very often with a ball point pen. This takes normally between half an hour to an hour. I then put my earphones on and I play some music. I then start painting. My routine is also divided between my studio practice and teaching in printmaking and painting. While at BU I have worked as a teaching assistant in drawing, painting and printmaking.
Tell us about your work.
I consider my work to be the record of my personal experience of events in life. Each painting acts as a thought experiment, which reflects the experience of its own creation. There is a subtle link and shift from imagination to formal invention, which I believe can only take place through the motion of the hand on the canvas.
Willem De Kooning once said that flesh is the reason why oil painting was invented. I really like the idea that paint itself acts as a skin. I like the fact that mistakes and pentimenti act as scars and wrong turns. I like that the final painting becomes a document of its internal existence; it becomes the meeting point of the private and the public; it becomes the meeting point of the internal invisible thoughts of the artist and its visible exterior; public and private are all trapped between the visceral layers of paint.
If I were to sum up I could certainly say that my most recent work is informed by three main ideas: my private narrative; my interactions and reflections on history and history of art; and humor. Formally, this is translated into an investigation of the relationships between line and color.
Is there a particular work of art or artist you find yourself obsessing over?
I recently have looked obsessively at the work of Raoul de Keyser, Thomas Nozkowski and Norbert Schwontkowski.
Do you ever get “stuck” with your studio practice? If so, how do you work through it?
In a way I believe I get stuck with my studio work every day. I need the feeling of fear, tension and excitement to get my work started. I like to go to the studio not having a precise idea of what I am going to do. I don’t want to paint an idea, I want to paint a painting where I can find authenticity. It is a big challenge but it is what keeps me going as a painter. I normally start with a vague feeling or idea that develops as I go along. However, if ‘stuck’ means a sort of creative crisis then I always go back to sketching and making collages, and produce as many as possible to force things out. Most of the time something good happens after a long period of working; the mind stops thinking and my hands start acting out thoughts.
How are your studies at BU helping to guide you through your work and career?
The MFA program at BU has been very important for me. It has helped me to take ownership of my work and given me a framework of reference for it. The first year has been more a year of experimentation; I felt lost and overwhelmed, a sort of creative chaos, all in a good way. I received invaluable critical feedback from different well-respected visiting artists. I feel really privileged to have studied and learned from great mentors such as John Walker and Dana Frankfort. I really feel well equipped to pursue a career in the arts, perhaps teaching. The opportunity to work as a teaching assistant in drawing, painting and printmaking classes has been priceless.
What have been some of the challenges you’ve faced since coming to BU?
I guess getting used to a different city and living in a different country and culture. However, it has been exciting. I believe the greatest challenge has been the abandoning of the ideas and conventions I had in my head about painting and art in general. The program at BU has certainly challenged me and made me think a lot and differently about things.
What has been the most interesting/surprising part of the program so far?
As part of the program we have to take a class outside the College of Fine Arts. I took an American Independent Film Movement class with Professor Ray Carney. It has been really important for me to attend that class and in some ways I think the subjects and the ideas explored in the class have fed into my work. Also, I have been working as a Teaching Assistant for Professor Gideon Bok, and I believe I have learned a great deal from his teaching methods.
Has the city of Boston had an impact on your work? What is the best part of studying in this city?
It is hard to say and I am not sure. I believe you see the effects that a place has had on you once you are away from it or after some years. It takes time to access it. I am certainly enjoying studying and living in Boston; there is a great opportunity to exchange ideas because of all the different colleges. The best part for me has been being part of the MFA community at BU—we are thirty people in total between first and second years and we spend a great deal of time together. Being so close to the Harvard Film Archive and having free access to the Museum of Fine Arts have also been very important.
What are your interests outside of the studio?
I enjoy cooking, going to gigs and concerts, practicing yoga. I also like walking aimlessly in cities and getting lost.
Do you have a website/online portfolio?
My website is giovannigiacoia.com
Oscar-winning screenwriter Horton Foote’s play comes to the Calderwood Pavilion at the BCA, February 21 – March 1
Boston, MA – Boston University College of Fine Arts School of Theatre presents The Traveling Lady, a play that chronicles the challenges of a family in a small Texas town. Staged at the Calderwood Pavilion at the BCA, Wimberly Theatre, The Traveling Lady runs February 21 – March 1, 2014.
THE TRAVELING LADY
Horton Foote, playwright
Sidney Friedman, director
A woman and her daughter arrive in a small Texas town on the hunt for their husband and father, a supposed recent parolee.
Boston University Theatre, 264 Huntington Avenue, Boston
Friday, February 21 & Saturday, February 22, 8pm
Sunday, February 23, 7pm
Tuesday, February 25, 7:30pm (ASL Interpreted and Talk-Back)
Wednesday, February 26, 7:30pm (ASL Interpreted)
Thursday, February 27, 7:30pm (Talk-Back)
Friday, February 28 & Saturday, March 1, 8pm
Written by playwright Horton Foote, the Oscar-winning screenwriter of To Kill a Mockingbird and Tender Mercies, and author of The Trip to Bountiful, The Traveling Lady contains all the markings of family, struggle, challenge, and choices that Foote often explores in his works.
“Most of Horton Foote’s plays are about families: their formation, their struggle to survive, and sometimes their dissolution. Life challenges his characters and their families with terrible blows,” explains the play’s director, Sidney Friedman. “In The Traveling Lady, too, most of the characters face substantial losses; each family is threatened. Some implode. Others find the resilience, the determination, and–most of all–the love to persevere, even in some cases to flourish in spite of life’s adversities.”
Dramaturg & Assistant Director, Robert Lucchesi explains that “the characters in The Traveling Lady confront the effects of alcoholism, poverty, and broken families,” but that Foote’s plays “aren’t about single social issues; instead they are about the people struggling with them.” He quotes Foote himself, “’I don’t really take positions, but I certainly think that openness about anything is better than not facing things. We are more open now, certainly, but we haven’t shed entirely our desire to face away from some pretty harsh truths.’”
Tickets now on sale: $12 general admission; $10 BU Alumni, WGBH and WBUR members, Huntington Subscribers, senior citizens students; $6 CFA Membership; one free ticket with BU ID at the door, subject to availability. Box Office: bostontheatrescene.com or 617.933.8600.
Boston University to Entertain on Red Sox “Truck Day” The BU Pep Band to perform at Fenway Park on Saturday, February 8
Boston, MA – Boston University Pep Band will be providing the entertainment this Saturday, February 8 for “Truck Day” at Fenway Park. As the Red Sox equipment truck prepares for its journey to spring training in Florida, the BU Pep Band will perform for the fans celebrating the start of the new baseball season.
“The BU Pep Band is very excited to perform at Fenway Park this Saturday morning. We were just there for “Frozen Fenway” on January 11th, and our last time performing there was for “College Night at Fenway Park” in May 2012,” says Aaron Goldberg, Director of Athletic Bands, Boston University.
The live music begins at 9am on Saturday and will continue as the truck exits Fenway Park, rolls down Yawkey Way, and embarks for Florida.
Goldberg adds, “This is going to be a fun performance and a great opportunity for this high-energy ensemble!”
Founded in 1839, Boston University is an internationally recognized private research university with more than 30,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multi-disciplinary centers and institutes which are central to the school’s research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intellectual activity.
Boston University Art Gallery at the Stone Gallery presents Making Connections: The Art & Life of Herbert Gentry January 31 – March 30, 2014
Boston, MA – Boston University Art Gallery at the Stone Gallery (BUAG) is proud to present Making Connections: The Art & Life of Herbert Gentry, an exhibition curated by Ph.D. candidate Rachel Tolano, a Jan and Warren Adelson Fellow in American Art.
Making Connections: The Art & Life of Herbert Gentry
Dates and Events: Friday, January 31 – Sunday, March 30, 2014
Opening Reception: Thursday, January 30, 6–8pm
Location: Boston University Art Gallery at the Stone Gallery (855 Commonwealth Ave)
Exhibition and Gallery Events are Free and Open to the Public
Making Connections focuses on the transatlantic career of the American abstract painter, Herbert Gentry (1919-2003), who was raised in Harlem and spent his career shuttling between his home bases in Paris, Scandinavia, and New York, relying on the Euro-American café culture to help facilitate social relationships and a sense of community wherever he happened to be. Gentry was one of many peripatetic, sociable members of the avant-garde who was less interested in national ties and more concerned with personal bonds shared with fellow world citizens. The web-like entanglements of abstract, expressive figures and faces in Gentry’s art visually convey the networks of connections forged throughout his life.
This exhibition includes dozens of Gentry’s semi-figural abstract paintings and a few select paintings, prints, and sculptures by the artist’s closest friends and colleagues, such as Romare Bearden, Beauford Delaney, Ed Clark, Harold Cousins, Kosta Alex, Corneille, and Karel Appel. Items from Gentry’s personal archive will also be featured.
In addition, Making Connections has planned a dynamic and ambitious schedule of events to discuss the international, cross-cultural connections that informed Gentry’s semi-figural abstract style.
Making Connections: The Art & Life of Herbert Gentry
Schedule of Events
Wednesday, February 5, 6pm
Making Connections Lecture: Dr. Nikki A. Greene
Assistant Professor of Art, Wellesley College
Dr. Nikki Greene received her Ph.D. from the University of Delaware in 2010. Her research has included examining African American and African identities, the body, feminism, and music–particularly jazz–in modern and contemporary art. She held the Barra Foundation Fellowship in the Center for American Art at the Philadelphia Museum of Art where she catalogued the African American art collections. In January of 2013, Dr. Greene gave a series of lectures on African Art at the Alle School of Fine Arts and Design at Addis Ababa University in Ethiopia.
Wednesday, February 26, 4pm
Guided Tour of Making Connections by exhibition curator and Ph.D. Candidate, Rachel Tolano
Wednesday, March 26, 6pm
Making Connections Lecture: Dr. Karen Kurczynski
Assistant Professor of Art History at UMass Amherst
Karen Kurczynski teaches modern and contemporary art history at the University of Massachusetts, Amherst. She is the author of a forthcoming monograph on Asger Jorn based on her Ph.D. dissertation (Institute of Fine Arts, New York University, 2005), and co-curator of an exhibition on Jorn’s dialogues with other artists at the Museum Jorn in Denmark for the centennial of his birth in 2014. Her writing on modern and contemporary art, politics, and the Situationist International has appeared in Art Papers, Artforum, BlackFlash, October, Rutgers Art Review, Res, Women’s Art Journal, and Third Text.
A catalog will accompany Making Connections, complete with color plates, a foreword by Patricia Hills, Boston University Professor of Art History, and essays by Rachel Tolano and Mary Anne Rose Gentry, Ed.D., executor of the Herbert Gentry estate.
Please visit bu.edu/art for the most updated event details.
About Boston University Art Gallery at the Stone Gallery (BUAG)
Boston University Art Gallery at the Stone Gallery is located at 855 Commonwealth Avenue, inside the College of Fine Arts. The gallery is located on the Boston University campus (BU West T stop on the “B” Green Line). Gallery hours are Tuesday–Friday from 11am–5pm, and Saturday and Sunday from 1–5pm (closed Mondays and holidays). For more information, visit bu.edu/art.
Boston University College of Fine Arts Soprano named Second Place Winner 2014 by The Metropolitan Opera BU School of Music and BU Opera Institute student, Katrina Galka, wins at the New England Regional National Council Auditions
Boston, MA – Boston University College of Fine Arts alumna and soprano, Katrina Galka, was awarded Second Place Winner 2014 in the New England Regional Metropolitan Opera National Council Auditions on Sunday, January 26, 2014 at Jordan Hall.
Sponsored by the Metropolitan Opera, the National Council Auditions Program, is designed to “find exceptionally talented opera singers and to assist them in their development, to discover new talent for the Metropolitan Opera, and to search for possible participants in the Young Artist Development Program of the Met.”
Galka earned a B.M. degree from Southern Methodist University, where she attended with a full academic scholarship, and a M.M. degree from Boston University, where she is now in her first year at Boston University Opera Institute. Studying under Penelope Bitzas, Associate Professor of Music, Voice, at Boston University, Galka has performed in several BU Opera Institute productions including the roles of “Diana” in Jonathan Dove’s Siren Song, “Mrs. Julian” in Owen Wingrave, “Servilia” in La clemenza di Tito, “Aurore” in Massenet’s Le portrait de Manon and “Carolina” in Domenico Cimarosa’s Il matrimonio segreto.
“Katrina’s beautiful voice and compelling artistry poise her for a stellar career,” remarks Bitzas.
Applicants of the New England Council Auditions “must have a voice with operatic potential; exceptional quality, range, projection, charisma, communication and natural beauty,” and be “prepared to sing five operatic arias in the original languages and keys and in more than one language and contrasting styles.”
Last summer Galka made her professional debut with Opera Theatre of Saint Louis as a Gerdine Young Artist. While there she played the role of “Isabel” in The Pirates of Penzance while also covering the role of “Mabel.” This upcoming summer she will return to OTSL as a Gerdine Young Artist, Festival Artist singing the role of “Papagena” in The Magic Flute and covering “Sister Constance” in The Dialogues of the Carmelites. Among Galka’s competition experience includes being a 2013 Regional finalist in the Metropolitan National Council Auditions (New England region) and second place in the 2012 Heida Hermanns International Voice Competition.
Following this most recent win, Galka will next be featured in the role of “Rosalba” in BU Opera Institute’s production of Florencia en el Amazonas. Loosely inspired by Gabriel García Márquez’s Love in the Time of Cholera, the Daniel Catán opera follows the story of Florencia Grimaldi, an aging opera singer who embarks upon a steamboat journey down the Amazon River. As the journey progresses, the boat is beset by pink rain, foul waters, and the threat of a cholera epidemic. As Florencia and her fellow travelers are carried deeper into the jungle, they experience various revelations, until finally the diva’s spirit is transformed into a vast, emerald butterfly. Directed by William Lumpkin, the production runs February 20-23, 2014 at the Boston University Theatre.
“Katrina is a spectacular talent on her way to an extraordinary career,” says Lumpkin, Artistic Director of Boston University Opera Institute and Opera Programs.
TICKETS TO FLORENCIA EN EL AMAZONAS
Tickets now on sale: $20 general admission; $15 BU Alumni, WGBH members, Huntington Subscribers, senior citizens; $10 CFA Membership; $5 Students with valid ID; two free tickets with BU ID at the door, subject to availability. Box Office: bostontheatrescene.com or 617.933.8600.