The journal of a Kentucky culture vulture
At the end of this post, see video of Vince DiMartino demonstrating historic horns that will be played at this year’s Great American Brass Band Festival.
DANVILLE — It was trumpet virtuoso Vince DiMartino’s first official day of retirement.
“The Monday after commencement, I drove down to Tennessee and I went to hear a friend’s brass quintet, … the Stiletto Brass Quintet,” DiMartino, 63, says. “I sat in the audience, didn’t have a note to play. I had dinner with Doc Severinsen, who was there, and we just sat there talking about stuff, and it was so great. I drove back to Danville, and the next day I practiced.
“That was my first day of retirement, and it felt really good. There’s always work to do. It’s the perspective that’s changing, not the work.”
After 40 years of teaching, 21 at the University of Kentucky and 19 at Centre College, DiMartino is no longer keeping office hours at a school of music. But he has plenty to keep him busy, including a couple of books about trumpet playing, a few new recordings, music and trumpet organizations he’s involved with, workshops and conferences. Already, friends are calling him about giving master classes and artist residencies at their institutions.
DiMartino hopes to spend a lot of time basking in the sun on his enclosed back porch, but it will have to share him with the rest of the trumpeting world.
This week, one of the events DiMartino helped found, Danville’s Great American Brass Band Festival, will be a big retirement party for the trumpet master.
The 23rd annual event will feature his hero, Severinsen, plus colleagues, many students and his son, Gabriel DiMartino, who has established his own career teaching trumpet at Syracuse University in New York.
“That’s why I’m practicing, so I can keep up with him,” DiMartino says of his son. “It means a lot to have them all here at once and have sort of a celebration of the retirement from this aspect” of his work.
DiMartino came to Kentucky from the prestigious Eastman School of Music in 1972 to teach at UK.
“I was only 23,” he says. “I wasn’t much older than my students. I’m sure some of them came in and said, ‘What’s he doing teaching me?’”
DANVILLE – Was that the future of classical music we saw Friday night at Centre College’s Norton Center for the Arts?
It certainly was a violin recital unlike most of us have ever seen. Classical music has had artists such as Nigel Kennedy challenge the strictures of the genre. But it is still a field where Anne Sophie Mutter wearing strapless gowns passes for edgy.
Hahn-Bin blows way past all of that.
The Korean-born violinist presented a two-hour performance to a sold-out crowd in the 370-seat Weisiger Theatre with numerous gender-blurring costume changes and a vague storyline of romance, mourning, defiance and celebration. The program titled Till Dawn Sunday was made up of four sections featuring music of Mozart, Tcaikovsky, Ravel and many other composers of traditional repertoire along with modern names like Astor Piazzolla, John Williams and Harold Arlen.
Episode One, The Ghost of Your Love is at My Dinner Table, introduced the musicians in masks with a cloud of smoke, Hahn-Bin wearing feathered wings and a feathered hood as he played Vittorio Monti’s Csárdás. In the episode, he wandered the stage, slouching in an cozy chair in exhaustion and sitting at a cafe table stage left with two glasses of wine, one drank from and one not, and a single red rose that seemed to represent the aforementioned Ghost. Through the night, Hahn-Bin appeared in a gold dress, a long kimono-like outfit and finally a street-smart pair of jeans and a tank top, initially under a dark trench coat in which he played a rendition of Somewhere Over the Rainbow that ranks up there with Judy Garland or Israel Kamakawiwoʻole. He did most all of it in 6-inch heels – the man loves his heels.
Through the performance, we could see the young man who favored wandering modern art museums and avant garde fashion houses when not practicing his violin. There is a kinship there with the performance art of Lady Gaga’s shows, though Hahn-Bin is operating at a fraction of her budget and may be well served by engaging a stage director to help him find a few more dramatic options the next time he puts together a show.
Inevitably, because classical music has such a narrowly defined idea of what performances should be, an artist like this gets the question, what are you compensating for? What is it in your work that comes up short, so you have to make up for it with all this flashy stuff?
Friday night’s performance answered, nothing. Fleet and nimble with his fingers and wielding the bow like it was a natural appendage – albeit one that he liberally shredded – Hahn-Bin’s performance was thrilling and evocative, and his musicianship ultimately carried the evening. If you closed your eyes and listened, it was clear this would have been an exhilarating performance even if the violinist was in a regular haircut and formal-wear on a bare stage. His Act I-ending performance of Bela Bartok’s Romanian Folk Dances even seemed calculated to say, I’m going to make your forget I’m a man up here in heavy makeup, a gold dress and six-inch heels by playing the hell out of this piece.
But the props, the costumes, the movement all seemed to fuel Hahn-Bin, and he showed an uncanny ability to take this diverse repertoire and unite it in his instrument.
In is not a style of performance all artists want to or should emulate. But classical music should make room for it. After all, pop music has its Lady Gagas and its Bruce Springsteens showing numerous approaches to music making. Hahn-Bin’s performance showed that in classical music, theatrics can complement, not compromise virtuosity.
It is not the future of classical music, but it could be a future.
May19Filed under: ballet, books, Central Kentucky Arts News, Classical Music, dance, Music, Musicals, Norton Center for the Arts, Uncategorized; Tagged as: Australian Chamber Orchestra, Dailey and Vincent, Dawn Upshaw, Hahn-Bin, Maria Schneider, Moulin Rouge, Norton Center for the Arts, Royal Winnipeg Ballet, Stanley Jordan, Steven A. Hoffman
DANVILLE — In his first year as director of Centre College’s Norton Center for the Arts, Steven A. Hoffman has noticed what’s around him in the student body.
It’s the iPod generation, as New Yorker magazine music critic Alex Ross once dubbed it: young adults who load wide varieties of music into their MP3 players from rock to classical to hip-hop to county to jazz and traditional music, and they let it all mix together.
The kind of audience that appreciates that variety is reflected in the Norton Center’s 2011-12 season, the first one programmed entirely by Hoffman, who came to Danville in July 2010.
Highlighting the lineup are hip violin virtuoso Hahn-Bin, bluegrass stars Dailey and Vincent, a ballet version of Moulin Rouge from the Royal Winnipeg Ballet, jazz star Stanley Jordan and his trio, and the Australian Chamber Orchestra featuring soprano Dawn Upshaw singing a brand-new work by Maria Schneider.
Hoffman points out that 20 of the 21 acts playing the center’s 1,400-seat Newlin Hall and 350-seat Weisiger Theatre are Norton Center debuts. (A touring version of Fiddler on the Roof will return, and Hoffman says Upshaw has played the center before, but not with that program.)
“I may not have intentionally programmed that many debuts,” Hoffman says. “But I think I was trying to make a statement.
Mar3Filed under: Arts administration, Central Kentucky Arts News, Classical Music, Country music, Current Affairs, Lexington Opera House, Music, Musicals, Norton Center for the Arts, Opera, Rupp Arena, Singletary Center for the Arts, Theater; Tagged as: 42nd Street, Carl Hall, Cats, Chris Isaak, Emmylou Harris, Gustavo Dudamel, Itzhak Perlman, Jason Aldean, Kathy Griffin, Lexington Opera House, Luanne Franklin, Michael Grice, Nadja Salerno-Sonnenberg, Norton Center for the Arts, Porgy and Bess, Rascal Flatts, Rupp Arena, Singletary Center for the Arts, Steve Martin, University of Kentucky Opera Theatre, University of Kentucky Symphony Orchestra, Vienna Philharmonic
The afternoon of Feb. 6, I was standing in line at the Singletary Center for the Arts box office behind a handsomely dressed couple that looked like they had just come from church to see the final performance of the University of Kentucky Opera Theatre’s production of Porgy and Bess.
When it was their turn to be served, the man held out his credit card, and the ticket agent said, “I’m sorry. This performance is sold out.”Metropolitan Opera soprano Angela Brown as Bess in the sold-out Feb. 6 performance of the UK Opera Theatre production of “Porgy and Bess.” Photo by Tim Collins for UK Opera Theatre.
That’s become a more common occurrence at Lexington-area shows recently. Just this weekend, Rupp Arena presents a sold-out performance by country star Jason Aldean Friday night, the Lexington Opera House hosts two sold-out performances by theBeatles tribute show Rain and Saturday night’s concert by violin legend Itzhak Perlman and the University of Kentucky Symphony Orchestra is so sold out even people who know people couldn’t get tickets.
This follows recent sold-out or near sold-out shows at those venues by artists such as pop star Chris Isaak, comedian Kathy Griffin, the touring production of Spamalot! and country stars Rascal Flatts, Rupp’s first non-UK basketball sell-out of 2011.
So, is the sell out back? Is a recovering economy starting to show up at the box office?
Well yes and no, venue directors say.
Yes, things do seem to be better than they were in the depths of the great recession in 2008 and ‘09. They also see other factors from a string of very popular acts to a pure desire on consumers’ parts to go have fun to ticket prices coming back to earth.
Mar3Filed under: Central Kentucky Arts News, Classical Music, Lexington Philharmonic, Music, Norton Center for the Arts; Tagged as: Centre College, Chamber Music Festival of the Bluegrass, Chamber Music Society of Lincoln Center, David Finckel, Ida Kavafian, Inon Barnatan, Jose Franch-Ballester, Lexington Philharmonic, Memorial Day weekend, Norton Center for the Arts, Orion String Quartet, Patrick Castillo, Shaker Village of Pleasant Hill, Wu Han
The Chamber Music Festival of the Bluegrass, which has become an annual Memorial Day weekend event at the Shaker Village of Pleasant Hill, is back on for 2011.
In previous seasons, the festival had been announced as part of the season at Centre College’s Norton Center for the Arts. But this season, the center has bowed out of participation in the event which will be presented exclusively by Shaker Village. As in the past, the festival will feature musicians from the Chamber Music Society of Lincoln Center and be directed by the society’s David Finckel and Wu Han.
This year’s festival will feature four concerts: 11 a.m. performances in the Meeting House May 28 and 29 and 5 p.m. concerts in the Meadow View Barn those afternoons. There will also be pre-concert lectures by composer Patrick Castillo at 3 p.m. each day.
The musicians this year will be the Orion String Quartet, which was featured at the 2008 festival, and violin and violist Ida Kavafian, clarinetist Jose Franch-Ballester and pianist Inon Barnatan, who was a soloist with the Lexington Philharmonic in November.
Admission to the festival ranges from individual concert tickets to festival, accommodation and meal packages. Visit shakervillageky.org or call 1-800-734-5611, Ext. 1545 for more information and reservations.
Feb1Filed under: Central Kentucky Arts News, Classical Music, Country music, Eastern Kentucky University, Music, Musicals, Norton Center for the Arts, Theater, UK; Tagged as: Center for the Performing Arts at Eastern Kentucky Univ, Centre College, Debra Hoskins, George Foreman, Katherine Eckstrand, Lexington Opera House, Luanne Franklin, Michael Grice, Norton Center for the Arts, Singletary Center for the Arts, Steven A. Hoffman
I am not aware of any historic rivalry between Centre College and Eastern Kentucky University. But it seems like one fired up on Monday morning, when EKU announced Debra Hoskins, the former assistant director at Centre’s Norton Center for the Arts, will run the new Center for the Performing Arts at Eastern Kentucky University.
Here’s the backstory on this move: Hoskins served for nearly two decades as the program and public relations director at the Norton Center before being promoted to assistant director late in her tenure. Over those years, she worked closely with center director George Foreman to bring an astonishing list of performers to the small liberal arts college in the small Kentucky town of Danville. The guest list included the Boston Pops, Kathleen Battle, Dolly Parton and many, many more.
In 2009, Foreman accepted a position as the director of the performing arts centers at the University of Georgia. Hoskins threw her hat in the ring for the director’s job at the Norton Center, but officials chose to bring in Steven A. Hoffman, a well traveled venue director whose last gig was the National Steinbeck Center in Salinas, Calif.
Despite his credentials, many of Hoskins’ ardent supporters saw this as an insult to a woman who, just days before Hoffman’s appointment was announced, had announced she had booked the Vienna Philharmonic Orchestra and Gustavo Dudamel for an unprecedented concert at the Norton Center last September.
Hoskins stayed on for a while, but departed the Norton Center in December saying it was time to move on.
Turns out, she moved about 35 miles east.
At the same time Hoskins was leaving Centre, the original director of EKU’s center, Katherine Eckstrand, announced she was leaving to tend to family medical issues in Ohio, opening the door for Hoskins to lead the new facility at what happens to be her alma mater.
Do we have to spell out the forming rivalry out anymore?
Well, at Monday morning’s announcement, some university and public officials did. Madison County judge executive Kent Clark couldn’t help but invoke the word “stupid” in describing Centre’s decision to let Hoskins go.
For her own part, Hoskins did not express any animosity toward her former employer. Read the rest of this entry »
Jan2Filed under: Actors Guild of Lexington, Balagula Theatre, Classical Music, Downtown Arts Center, Eastern Kentucky University, LexArts, Lexington Philharmonic, Music, Norton Center for the Arts, Opera, Singletary Center for the Arts, Theater, Transylvania University, UK; Tagged as: Actors Guild of Lexington, Aloha, Boston Pops Orchestra, Downtown Arts Center, Eastern Kentucky University performing arts center, Eric Seale, Everett McCorvey, Itzhak Perlman, Joe Cannon Artz, Lexington Philharmonic Orchestra, Lyric Theatre, Naomi Iizuka, Norton Center for the Arts, Porgy and Bess, ProjectSEE Theatre, Rupp Arena, Say the Pretty Girls, Scott Terrell, Singletary Center for the Arts, Steven A. Hoffman, Transylvania University Theatre, UK Symphony Orchestra, University of Kentucky Opera Theatre, University of Kentucky Symphony Orchestra
Dec27Filed under: Actors Guild of Lexington, Alltech FEI World Equestrian Games, Art Museum at the University of Kentucky, Arts administration, Bluegrass Community and Technical College, Central Kentucky Arts News, Christmas music, Classical Music, Country music, Downtown Arts Center, Film, Horsemania, Kentucky Theatre, Laura Bell Bundy, LexArts, Lexington Art League, Lexington Children's Theatre, Lexington Opera House, Lexington Philharmonic, Lexington Singers, Music, Musicals, Norton Center for the Arts, Opera, Secretariat, Singletary Center for the Arts, UBS Chamber Music Festival of Lexington, UK, Visual arts; Tagged as: Actors Guild of Lexington, Allison Kaiser, Alltech FEI World Equestrian Games, Alltech Fortnight Festival, Balagula Theatre, Blake Shelton, Debra Hoskins, Eric Seale, Gustavo Dudamel, Haiti, Institute 193, John Lithgow, La Bohème, Laura Bell Bundy, Lexington Art League, Lexington Chamber Chorale, Lexington Children’s Theatre, Lexington Philharmonic Orchestra, Lexington Singers, Marvin Hamlisch, Ouanamithe, Phillip March Jones, ProjectSEE Theartre, Rolling Stones, Scott Terrell, Southeastern Theatre Conference, Spotlight Lexington Festival, Stephanie Pevec, Steven A. Hoffman, The Chieftains, Thoroughbred Community Theatre, Tony Bennett, Trombone Shorty, U2, UK Symphony Orchestra, Vienna Philharmonic Orchestra
Lexington’s 2010 year in arts could not have been weirder if you took the city and plopped it in the middle of Florida. Between some major changes at area arts institutions and the unprecedented wave of local and national arts activity prompted by the Alltech FEI World Equestrian Games, it was a year unlike any we have had or will probably see again.
■ While we did not get U2 or the Rolling Stones as WEG organizers had originally hoped, the games did fill up theaters, and in many cases, theater seats during the two weeks and three weekends of the games. Topping the bill was the Vienna Philharmonic Orchestra under the baton of superstar conductor Gustavo Dudamel at the Norton Center for the Arts. It was a booking that was deemed impossible by New York agents and drew national attention, all made possible by the persistence of for Norton Center assistant managing director Debra Hoskins who smoothed the road with bourbon and chocolate.
The event itself was an unforgettable evening for the audience and a great experience for area musicians and others who got to interact with one of the world’s great orchestras and shining stars.
Other great performances brought in by the Games were an evening with Marvin Hamlisch and the UK Symphony Orchestra, which had a great fortnight playing for the opening ceremonies and a production of La Boheme as well; Blake Shelton, Trombone Shorty and Laura Bell Bundy at the Spotlight Lexington Festival downtown and performances by Tony Bennett, John Lithgow and the Chieftains.
There is talk of extending both the Spotlight and Alltech Fortnight festivals, which presented the bulk of the entertainment, into the future. But we probably won’t see this level of activity again unless the games come back.
The Games also brought a number of high profile art exhibits to the area including a retrospective of the horse in American art at the Art Museum at the University of Kentucky and the Gift from the Desert look at Arabian horses at the International Museum of the Horse.
■ Scott Terrell was hired as the Lexington Philharmonic Orchestra’s new music director in 2009, but this is the year we really started to see his vision for the orchestra unfold, and its reverberations in the community. Unveiling the orchestra’s 2010-11 season, he showed he was willing to break traditions and initiate new collaborations. He presented Messiah is a smaller format than years past and brought groups including local school and college choirs into the Philharmonic fold for performances that broke the orchestral concert mold. He also instituted a new style of concert preview with the Kicked Back Classics event at the Downtown Arts Center in November.
The moves have not come without some friction, which change often produces. There was unhappiness over the Lexington Singers not being part of the Messiah this year, as Terrell wanted to go with a smaller chorus and the Singers did not want to downsize. Enter the Lexington Chamber Chorale as a new collaborator and the Singers presenting their own Messiah in a holiday arts season whose calendar was largely rewritten this year. Precipitated by the changes, the Singers are asserting themselves more as an entity in their own right, un-tethered to the Philharmonic calendar.
How all of this will settle remains to be seen. But it is clear this will be a new Philharmonic under Terrell’s baton.
The orchestra also got a new executive director as Allison Kaiser came over from the same post at the Lexington Art League and Stephanie Pevec took over that post.
■ This was the year without Actors Guild of Lexington. Long regarded as Lexington’s flagship theater for adult audiences, financial troubles and management departures in 2009 all but shuttered the company this year except for one production, a concert version of The Who’s Tommy at Buster’s Billiards and Backroom and the new Moondance at Midnight Pass amphitheater. That said, theater thrived in the area with first rate productions by the Lexington Children’s Theatre and area college and community groups and emergence of some new organizations such as ProjectSEE Theartre and productions out of the Thoroughbred Community Theatre in Midway. And there were successes such as Balagula Theatre’s strong showing in the Southeastern Theatre Conference Convention here in Lexington. Actors Guild has announced a lineup of shows for 2011 under the guidance of new artistic director Eric Seale, but the group will be joining an active theater scene.
Some other big stories of the year that is now almost done were:
■ Centre College’s Norton Center for the Arts tapped Steven A. Hoffman as its new director, following the departure of longtime director George Foreman to the University of Georgia. With this month’s departure of assistant managing director Debra Hoskins, there has been a complete turnover in management at the Norton Center. This will be a story to watch in 2011.
■ Alltech launched a project sending University of Kentucky voice students to Ouanamithe, Haiti, to launch a music program and form a children’s choir. The choir came to Central Kentucky and made several appearances during the World Equestrian Games.
■ The Southeastern Theatre Conference, the nation’s largest regional theater convention, came to Lexington for the first time in more than 20 years, and by all accounts, it went wonderfully.
■ Secretariat brought some Hollywood glamour back to the Bluegrass, including a gala premier at the Kentucky Theatre attended by star Diane Lane and many others.
■ Lexington native Laura Bell Bundy launched a country music career with her Mercury Nashville debut Achin’ and Shakin’.
■ Horse Mania returned to the streets of Lexington, 10 years after the original edition in 2000.
■ Michael Tick was named the new dean of the University of Kentucky’s College of Fine Arts.
■ The Pioneer Playhouse in Danville suffered massive flooding during rainstorms in early May, but recovered and went on to a successful season thanks to an army of volunteers.
■ Phillip March Jones’ Institute 193 emerged as a major force in creating and presenting visual arts in Central Kentucky.
■ Among world premiers in Lexington this year were Aleks Merilo’s Blur in the Rear View and Bringing It Home: Voices of Student Veterans, by UK Theatre, Beth Kander’s See Jane Quit by Bluegrass Community and Technical College Theatre, Roger Zare’s Geometries by the Chamber Music Festival of Lexington, Frank X Walker’s I Dedicate This Ride at Lexington Children’s Theatre, and the regional premier of Brian Hampton’s The Jungle Fun Room by Studio Players.
Nov12Filed under: Classical Music, Music, Norton Center for the Arts, Rupp Arena, Uncategorized; Tagged as: 'Classical' Symphony, BBC Concert Orchestra, Boston Pops, Igor Stravinsky, Ilya Yakushev, Jim Carey, Keith Lockhart, Mily Alexeyevich Balakirev, Norton Center for the Arts, Rite of Spring Suite, Sergei Prokofiev, Sergei Rachmaninoff, Utah Symphony Orchestra
DANVILLE – Going to see Keith Lockhart conduct a traditional classical music concert is like going to see Jim Carey in a drama*.
In the world of orchestral music, Lockhart has made his name at the top of the pops – the Boston Pops, to be precise. In that field, his credentials are unassailable. But (let’s all do a little professorial chin stroking here and speak through our noses) can he conduct “serious” music? In that question is the misguided presumption that pops is all little three-chord ditties, akin to the perception that any class clown can be a brilliant comic actor.
Classical music has a better track record of letting rock stars write symphonies and concertos than letting established pops conductors pick up the baton to lead a symphony or concerto.
But Lockhart has been defying that prejudice for more than a decade, spending 11 years conducting the Utah Symphony Orchestra. He left that gig last year, and Thursday night he came to Danville’s Norton Center for the Arts with his new band, the BBC Concert Orchestra, and showed that he has some serious “serious music” chops.
This was a red-meat classical concert of Russian music giving us Sergei Prokofiev’s ‘Classical’ Symphony and Igor Stravinsky’s The Firebird Suite in the first half and Sergei Rachmaninoff’s Piano Concerto No. 2 with soloist Ilya Yakushev after intermission.
Like any good actor, Lockhart made us forget his was a “pops guy” soon after the the downbeat.
After the incidental opener of Mily Alexeyevich Balakirev’s Overture on Russian Themes. Lockhart and the BBC dove into Prokofiev’s familiar short symphony, showing an immediate mastery and creativity with dynamics that gave the simple-sounding work brilliant color. And the concert built, next with the Firebird, ushered in with a subtle a bass introduction as you could hear and still hear it.
Movie music is a mainstay of the Pops repertoire, and Lockhart’s interpretation was cinematic, giving Stravinsky’s work a bold pop.
The Maestro built this program with a showman’s sensibility, saving the best for last with Yakushev’s passionate embrace of the Rach Second. Usually, it is preferable to be seated where you can watch a piano soloist’s hands. But it was a pleasure to be facing Yakushev and witnessing how absorbed he was, not only in the piano challenge the composer presented him, but also in the work the orchestra was doing behind him.
And this orchestra worked.
Though the Concert Orchestra is the smallest of the BBC’s ensembles, we are talking London here, where many fantastic musicians reside hoping to find employment in the plethora of ensembles based there. Lockhart sculpted the performance, but this was also an easily malleable group. Given the program, the winds and brass had many chances to shine and took advantage of them, particularly flutist Ilena Ruhemann, who was the star of the Classical Symphony.
While many of his predecessors were not allowed to move between the classical and pops world, with orchestras from the New York Philharmonic to our own Lexington Phil moving more readily between genres, the time is right for a superstar conductor like Lockhart who is comfortable in front of any orchestra.
Lockhart will be bringing his star back to the Bluegrass in October with his signature group, the Boston Pops. But when we see them in Rupp Arena Oct. 15, those of us who were in the Norton Center Thursday night will know what a complete musician he is.
* Jim Carey was brilliant in Eternal Sunshine of the Spotless Mind.
Click the play button to hear our chat with Gustavo Dudamel backstage at the Norton Center for the Arts after the rehearsal of his concert with the Vienna Philharmonic Orchestra. The first question was posed by Chris Floyd of Centre College, who asked Dudamel about his favorite pieces to conduct.
Dudamel addressed the question of why he was coming to a small Kentucky town, posed most loudly by the Los Angeles Times, saying, “Music can go everywhere, and here is a beautiful place with very nice people, and it’s amazing to come here to give music and receive energy. Because today we were playing this rehearsal for young people, and for them, it was amazing to see the Vienna Philharmonic playing this amazing repertoire for them, and then they gave their energy to us. So, music is for everybody.”
He also recalled how much he enjoyed hearing some bluegrass music performed by Kentucky Blue at Taylor Made Farm Sunday night.
“You cannot imagine, they told me, ‘If you do not go, we will leave you here,’” Dudamel said, referring to the musicians in the Vienna Philharmonic, who were ready to get to their hotel Sunday night. “Even the bluegrass musicians were like, ‘OK Maestro, we have to go because we have to rest for a concert tomorrow, and I was saying, ‘One more! One more!’
“It’s the soul of the place. Music, art is the soul of the places that you visit.”
About Rich Copley & Copious Notes
Raised by opera-loving parents in a rock ’n’ roll world, Rich Copley has parlayed his broad interests into his career writing about arts and entertainment. Since 1998, he has covered performing arts, film and faith-based popular culture for the Lexington Herald-Leader, the daily newspaper in Lexington, Ky. MORE | E-mail Rich