World at War August September 2022

Using diary entries, interviews and first-hand accounts, this vivid narrative brings to life the struggle in the air over the island of Guadalcanal between August 20 and November 15, 1942.

Debussy’s “Iberism” was made to glide, in the fashion of a synecdoche, towards a clear and declared “Guitarism”. However, the Frenchman’s explicit citations of and allusions to the guitar would suffice to support such theses. If Segovia’s most cherished vision saw the guitar as a “miniature orchestra”, Debussy overturned it. In some cases, he treated the orchestra itself as a “great guitar”. In Matin d’un jour de fête, from Ibéria, he makes his request of imitation explicit, through the indication of “quasi chitarra” asking the violinists to hold the instrument under their arms. The same premise applies to the articulation and interpretation of the piano prelude La sérénade interrompue.

Beth Hart emerged in the 2010s as a formidable singer and songwriter on the contemporary blues scene. Her rise to stardom was a long time coming. Hart first made inroads as a contestant on Star Search in 1993 and had a brief period where she was pushed as a possible adult alternative act, landing a slot on the 1996 Lollapalooza tour. A series of bad business breaks and personal troubles kept her on the margins throughout the 2000s, but in 2011, she teamed up with blues guitar hero Joe Bonamassa for Don't Explain and the collaboration rejuvenated her career.

Beth Hart emerged in the 2010s as a formidable singer and songwriter on the contemporary blues scene. Her rise to stardom was a long time coming. Hart first made inroads as a contestant on Star Search in 1993 and had a brief period where she was pushed as a possible adult alternative act, landing a slot on the 1996 Lollapalooza tour. A series of bad business breaks and personal troubles kept her on the margins throughout the 2000s, but in 2011, she teamed up with blues guitar hero Joe Bonamassa for Don't Explain and the collaboration rejuvenated her career.

When Leonard Bernstein was asked by Jacqueline Kennedy Onassis to compose the inaugural work for the opening of The John F. Kennedy Center for the Performing Arts in Washington, D.C., he wrote: “The Mass is also an extremely dramatic event in itself—it even suggests a theater work.” Premiered on September 8, 1971, with additional words by Stephen Schwartz of Godspell fame, Mass is a remarkable, visionary work with a kaleidoscope of musical styles that touches on themes of political protest, existential crisis and religious faith lost and found.