behind theNotes

01ROCKPORT MUSIC 37 MAIN STREET, ROCKPORT, MA 01966 T 978.546.7391 F 978.546.8351 W rockportmusic.org

Jazz greats Ramsey Lewis, Branford Marsalis and the lateDave Brubeck drew standing ovations with their familiar styleof straight-ahead jazz.But others, liketrumpeter Chris Bottiand guitarist JohnPizzarelli, played tunesfrom the Great AmericanSongbook—“popular”music from the 1940’sand 1950’s. Botti evencrossed over toclassical, performinghis brass versionof Chopin.

So what exactly is jazz?

Rockport Music’sExecutive Director TonyBeadle says, “Hard tosay, but you know it’sjazz when you hearit….the combination of improvisation, syncopation and swing. Jazz music hasrhythm with a distinct feel that is off the beat, and moves youforward somehow. When a group has players performing soloand it’s never the same thing twice, then you’ve heard them improvise.”

ROCKPORT MUSIC NEWSLETTER : FA L L 2 0 1 3

The music form known as jazz has come a longway from the Roarin’ 1920s—its early years.The homegrown American musical style hasinfluenced generations of famous musicians,some of whom have played at Rockport Music’sShalin Liu Performance Center.

the DISTINCTIVE SOUNDOF ROCKPORT

Jazz in Full Swing at Rockport MusicBY CHRIS BARKER , EDITOR

The standard jazz trio includes piano, bass and drums,but many musical instruments can create the jazz sound,including singers.

Kurt Elling, a Grammy® Award-winning jazz vocalist, can spanfour octaves with his rich baritone voice. The Four Freshmen,stars of 1950’s radio, blend harmonic jazz arrangements withclassic Big Band sounds.

Regina Carter uses the violin—a traditional classical musicinstrument—to create African folk tunes fused with a contemporary twist. Branford Marsalis, of the well-known NewOrleans jazz family, is a Grammy Award-winning saxophonist

and recently performedwith his Quartet’spianist, Joey Calderazzo.The talented duo frequently improvised,giving the audience apeek into theircomfortable friendship.

These performers haveplayed to a heightened interest in jazz at theShalin Liu PerformanceCenter. Strong ticketsales encouragedBeadle to establish anannual jazz festival inaddition to the annualjazz fundraising gala.

Straighten Up and FlyRight, a tribute to Nat

King Cole, was the theme of the recent fourth jazz gala, featuringpianist Ramsey Lewis and guitarist John Pizzarelli. The concertdrew a full house and helped Rockport Music raise money tocontinue its artistic programming and educational outreach to

A TA L E O F T H R E E P I A N I S T S P. 0 3

Jazz in Full Swing at Rockport Music continues on pg. 07

RAMSEY LEWIS AND JOHN PIZZARELLI PERFORM AT THE FOURTH ANNUAL JAZZ ON THE ROCKS CONCERT

FALL 2013 NEWSLETTER 02

a tech rider primerBY TONY BEADLE, EXECUTIVE DIRECTOR

After an artist contract has been signed, there’sanother whole round of technical (hereinafter calledtech) requirements and requests that must be preparedin advance of the artist’s arrival. Welcome to theworld of the tech rider.

The tech rider first and foremost provides the blueprint forwhat happens on the stage. If it’s a string quartet, for example,four chairs and four stands will suffice. On the other hand, ifyou’re John Pizzarelli and Ramsey Lewis, who were here thisfall, you will have a tech requirement for speakers on stage,specific types and brands of microphones, hookups to thehouse sound system, a separate amp for the bass, etc. Thereare drawings to show the specific locations of the equipmenton stage as well as the way to interconnect them. All of this is criticalto the success of the performanceand is negotiated depending on thesize and acoustics of the hall.

Tech riders also contain require-ments for the dressing room, mostnotably the food that is provided between a rehearsal and the show.The requests run the gamut from asimple cheese and cracker plate withsome veggies to asking for a 100%

organic whole plate with some veggies, to asking for a 100%-

organic whole chicken with a medley of organic vegetables,served with a bottle of wine—an oak-barreled Chardonnaypreferred, thank you. The performer who orders the wholechicken may also request an additional meal for the sole vegetarian in the band. It can get complicated.

Requests are common for the sole vegan or gluten-free meal.Yet, as healthy as these artists are trying to be, they are notabove also asking for beer and whiskey on the same list.Mostly we negotiate such items out of the contract, althoughwe want to be as gracious as possible within reasonablefinancial limits. Life on the road can be tough, and expectations

these days go much further than the oldstory of the rock band that demanded allred M&M’s in the dressing room.

My own favorite request in a tech ridercame years ago from none other thanItzhak Perlman, who wanted a 15-foottelephone cord for the phone in his hotelroom. Could he be hanging laundry acrossthe room? I asked him why.

“I need to make many calls,” he explainedwhen he arrived for the concert,“and it ismore comfortable for me to sit on the bedthan in a chair at a table (Perlman walkswith braces).

“Most hotels have the phone next to thebed, but not always, since some hotelchains figured out that sitting on the sideof the mattress wears it out more quickly. I always ask for the long cord.” We skippedthe organic chicken lunch and had burgersand fries that day.

For a complete listing of upcoming events, visit rockportmusic.org

Expectations thesedays go muchfurther than theold story of therock band that demanded all red M&M’s.

SEASON HIGHLIGHT: JAZZ PIANIST KEIKO MATSUI PERFORMS FEBRUARY 21.

SEASON HIGHLIGHT: SWING XING! FEATURING BUCKY PIZZARELLI WITH FRANK VIGNOLA AND VINNY RANIOLA PERFORMDECEMBER 15.

FALL 2013 NEWSLETTER 03

The winter classical series places the piano front and center as three of the world’s mostrenowned and in-demand pianists come to theShalin Liu Performance Center.

Audiences will have an unusual opportunity to sample three playingstyles that are equally distinguishedbut very different. Richard Goodeleads off in November, followed byGarrick Ohlsson and Stephen Houghin February. A concert by any one ofthese great artists is an occasion, sowe are fortunate to have all three.

These performers have sustainedmajor careers that sprang from successful youth competitions, a rareaccomplishment. (Can you name thelast gold medalists of the Cliburn,Tchaikovsky, Naumburg or Chopincompetitions?) Goode won the ClaraHaskil competition in Switzerland atage 30 and Ohlsson won the ChopinCompetition in Warsaw at age 22. Bothare Americans. British-born Houghwon the Naumburg Competition inNew York at 21. How have these artistsmaintained major international careerswhen others have not? All have acommon seriousness of purpose, voracious musical appetites, andsplendid techniques, nourished by an ongoing curiosity about the worldthey inhabit.

Richard GoodeGoode’s solo career developed quite late, following years as amember of the Chamber Music Society of Lincoln Center. Hehad been a favorite collaborator of leading string quartets andsingers, including Benita Valente and Dawn Upshaw. After

recording the complete Beethovensonatas for Nonesuch, he was eagerly sought as a soloist. WhenGoode plays, it seems the composer—whether Beethoven, Chopin, Debussy or Mozart—is speaking directly to you. The native NewYorker now tours the world annually,performing recitals and concerti inthe great concert halls.

Garrick OhlssonOhlsson has perhaps the largestrepertoire of any current pianist—over 80 concerti (most available ona moment’s notice) including thecomplete works of Chopin. He is aspecialist in all areas. His virtuosotechnique is never showy and hecan play new music as well as old.He is in great demand, as conductorslove him. Ohlsson lives in SanFrancisco, having previously spentmany years in New York.

Stephen HoughHough is a multi-faceted musicianand blogger. He not only playsbrilliantly, but he also composes, often including his own works inhis recitals. The recipient of aMacArthur Fellowship, Hough iswidely recorded (Hyperion label),writes on a broad range of topics,and is a painter. Like Goode andOhlsson, the London-based musiciantours internationally and appearswith all of the world’s major orchestras.

All three pianists are frequentsoloists with the Boston SymphonyOrchestra. Now they will all haveperformed recitals here, as Houghmakes his Rockport Music debut this season.

a tale of three pianistsBY DAVID DEVEAU, ARTISTIC DIRECTOR

NOV 24 Richard Goode andSarah Shafer

JAN 11 Borromeo Quartet with Giovale Quartet andDavid Deveau

FEB 2 Garrick Ohlsson

FEB 16 Members of the Handel &Haydn Society

FEB 28 Stephen Hough

MAR 7 Irish Baroque Orchestra

APR13 Andrés Cárdenes andDavid Deveau

RICHARD GOODE

STEPHEN HOUGH

GARRICK OHLSSON

2013-14 Classical Season

FALL 2013 NEWSLETTER 04

David Deveau Artistic Director

Tony BeadleExecutive Director

BOARD OF TRUSTEESJoseph Mueller, ChairAllan H. Cohen, Vice-ChairSusanne Guyer, Vice-ChaIrGarth Greimann,TreasurerMary Malone,Clerk/Secretary

Mary M. BarcusPeter D. BellStephen M. BellFrank G. BersonJanice CanePriscilla C. DeckNina D. FieldsteelS. Frank FritschMary-Jo GrenfellMargaretta HausmanWilliam HausmanSteve LindoJeannie McIntyreMichael Pardee

Ruth S. ShaneWilliam E. TaylorRichard TennantPeter WernauMargaret Ziering

TRUSTEES EMERITIJames BarkerThomas BurgerMollie ByrnesPhilip CutterSusan GrayMimi Harper

ROCKPORT MUSICCOUNCILWilliam J. Kneisel,ChairmanPeter A. AndersonGregory R. BoverAndrew CalkinsJ. Robert Cassady, M.D.Richard CaturanoStephanie ConnaughtonDeborah EpsteinSherwin GreenblattLorraine B. HornG. Timothy Johnson

Jan LoeberMichael J. MazziniOlivia ParkerIrving H. PlotkinFrank E. PreviteDavid W. ScudderHinda SimonAndrew SpindlerNaomi R. StonbergBruce D. Sunstein

what’s your passion?BY JO FRANCES MEYER , DIRECTOR OF DEVELOPMENT

We know Rockport Music supporters are passionateabout music, but we also delight in learning aboutwhat kinds of music you love. Trustee Nina Fieldsteel’sdeep love of Early Music has inspired some uniqueconcerts featured in the Rockport Chamber MusicFestivals. Recent noteworthy examples are JordiSavall in 2012 and the Gotham Early Music Scene’sfully-staged production this past summer of ThePlay of Daniel, an 11th century liturgical drama.

Early Music is a passion Nina shared with her late husband,Ira. This passion led her to establish the Ira Fieldsteel EarlyMusic Fund in his honor and memory, and to have the fundsponsor these wonderful performances.

Ira Fieldsteel was a long-time devotee of Early Music and goodfriend of the late Noah Greenberg, who is often credited withsingle-handedly reviving interest in medieval, Renaissance andBaroque music in New York during the mid-20th century. Iraactually sang in Noah’s early choral group. Today, there is a thriving and knowledgeable Early Music fan base withmany outstanding organizations devoted to the performance of Early Music.

Longtime Rockport ChamberMusic Festival attendees Irv andJanet Plotkin (Irv is also a memberof the Rockport Music Council)have contributed to the Ira FieldsteelEarly Music Fund. They areenthusiastic fans of Nina andRockport Music. “The love and enjoyment of Early Music has beena part of our lives since collegedays and we are delighted that theRockport Chamber Music Festival

has incorporated such fine examples into its programming.Thank you Nina! Let’s do more.”

Nina and Ira knew that Noah Greenberg had made a seminalcontribution to the revival of Early Music in the United States,and we know that Nina has made just such a contribution

to Rockport Music. She is alsoquick to acknowledge the supportshe received from Artistic DirectorDavid Deveau: “This really couldnot have been done withoutDavid’s increased interest inprogramming high-level concertssuch as Jordi Savall and The Playof Daniel,” she said.

We thank Nina for sharing herand Ira’s passion with us and forenriching our musical lives.

Just what is early music? Tunes before breakfast? A loosely used term, it generally applies to works written before 1750 (the year Bach died) or the late18th century, from medieval chant to contemporariesof the boy Mozart. Some commentators suggest thatearly music means pieces written before the ideaemerged that there was a standard past canon of musicthat could be dipped into for repeated performances.

(NEW YORK TIMES, DANIEL WAKIN, 9/6/12)

NINA FIELDSTEEL (CENTER) WITH FRIENDS DR. PRISCILLA KAUFF (LEFT) AND MARYRUTH SOLE PRIOR TO THE PLAY OF DANIEL PERFORMANCE IN JUNE.

FALL 2013 NEWSLETTER 05

STUDENTS GILLIAN (LEFT) AND RHIANNONHURST SHARE THE WAYS ROCKPORT MUSIC’S EDUCATION PROGRAMS ENRICH THEIR LIVES.

GALA CO-CHAIR FRANK PREVITE SHARESA LAUGH WITH JAZZ GUITARIST JOHNPIZZARELLI.

ROCKPORT MUSIC TRUSTEE PETER WERNAU AND WIFE THI (LEFT) FIT RIGHT INWITH THE SPEAKEASY NIGHTCLUB THEME WITH NEW FRIENDS JOE ANDHEATHER GASPAR.

ROCKPORTMUSIC TRUSTEEFRANK FRITSCHAND WIFE MARYPOSE NEXT TOA CLASSIC 1938FORD COUPEBEFORE ENTERING THERECEPTION.

Photos by Paul Cary Goldberg

DID SOMEONE SAY 1940’S? DRESSED TO THE NINES–GALA CO-CHAIR CINDY TENNANT (CENTER) POSES WITH FRIENDSCATHY MARENGHI (LEFT) AND DEBORAH SCHNEEBELI (RIGHT)IN THE SPIRIT OF THE EVENING.

ROCKPORT MUSIC TRUSTEE SUSANNE GUYER (LEFT) ANDPETER AND KATHY COAKLEY ENJOY A COCKTAIL AT THE“HALF NOTE CLUB” DURING THE 1940’S THEMED PARTY.

PAUL ST. GERMAIN (SEATED LEFT TO RIGHT), JUDY SPURR ANDBETTY ANN ST. GERMAIN, JOIN (STANDING LEFT TO RIGHT) TONYLOBELLO, VALEE BORDINARO, AND GENE AND KATHY SKRABUT,AS THEY REVEL IN THE EVENING’S FESTIVITIES.

ROCKPORT MUSIC COUNCIL MEMBER LORRAINEHORN AND HUSBAND BERNIE TAKE A MOMENT FOR A PHOTO IN FRONT OF THE CLASSIC FORD.

GALA COMMITTEE CHAIRS, RICH AND CINDY TENNANT (FAR LEFT) AND FRANK ANDELLEN PREVITE (CENTER RIGHT,) JOIN THE EVENING’S JAZZ ARTISTS, PIANISTRAMSEY LEWIS (CENTER) AND GUITARIST JOHN PIZZARELLI, BEFORE THE CONCERT.

A LIVELY GROUP OF BIDDERS COMPETE FOR AN AUCTION ITEM!

JAZZO N T H E R O C K S • T A K E 4

ROCKPORT MUSIC TRUSTEE MARY MALONEMAKES A SLY BID FOR AN AUCTION ITEM.

Haiku Poems by Beth Zerilli’s Fourth-Grade ClassConcert, beautifulTalking, describing, neat,

awesomeThe music was fun.

By Emma Fuller

He was amazing!The cello has a great soundIt is cool to play.

By Alexis Berglund

FALL 2013 NEWSLETTER 06

jazz and the black diaspora

BY ED GLEASON, PROFESSOR OF LITERATURE, ST. ANSELM COLLEGE;CONTRIBUTOR, JAZZ JOURNAL

The theme for two of the Rockport Music Educationresidencies this season is jazz migration, which willbegin with the University of New Hampshire Faculty JazzSextet performing November 13 and will culminate witha jazz program by the Berklee World Strings on May 1.

As the Underground Railroad facilitated the movement ofslaves across the Mason-Dixon line into the free North, sojazz music—formed in New Orleans some 40 years after theEmancipation Proclamation —might be thought of as a vehiclewhose sophistication and influence “transported” its practitionersfrom that city up the Mississippi River and into the base ofAmerica’s cultural consciousness.

An unintended consequence of the Department of the Navy’sdecision to purge New Orleans of prostitution by closing down“Storyville” in 1917 was that the decree also meant the end of a musical experiment more or less dependent upon the atmosphere Storyville had created. It was an environment ideally suited for bringing together the dozens of strains of musical types which formed what came to be known—adecade or so later—as jazz. Without a home base, the musicand the musicians were obliged to take to the road, the “road”in this case being the Misissippi River and the steamboats,

which now added jazz and jazzers to the cargo each carried upriver. From Memphis to Kansas City to St. Louis to Davenport—and inevitably, by the early 1920s—to Chicago and New York,jazz began to energize (and, yes, in some cases, terrify) thepopulation who listened to it intently and curiously on recordsand in clubs.

What King Oliver, Fate Marable, Buddy Bolden, and LouisArmstrong could not have expected as they blew their horns inthe gambling rooms of the steamboats was that, virulent asracist attitudes toward them would be even in the North, a degreeof dignity would eventually be accorded them because of theirassociation with a musical form which even the great classicalcomposers—Ravel, Ansermet, Faure, Stravinsky—were hailingas revolutionary. An abhorrent but widespread belief—with itsroots even in the “science” of Thomas Jefferson more than acentury earlier—that blacks were constitutionally incapableof artistic achievement, began to be challenged—at least bythose who took the time to appreciate the immense talent ittook to compose and/or execute the music effectively.

Jazz music, it could be argued, gave black musicians—and, by extension, black people generally—a kind of cultural legitimacy.The musical “diaspora”—from New Orleans and eventually toNew York City (and its new home in Harlem)—certainly doesn’tmatch in scope or effect, the political impulse initiated by Dr.King in the ‘60s and ‘70s, but in many ways the acceptance ofjazz by white Americans had an estimable social usefulness for the Civil Rights movement.

Boston Symphony Orchestra cellist Owen Young presentedtwo programs for fourth and fifth-graders at Rockport Music Elementary School in September. Young played music by Bachand demonstrated the different sounds of the cello and the varioustechniques used in playing it. He presented the programs whilein town for a solo appearance with the Cape Ann Symphony, as part of a collaboration between the symphony and RockportMusic. Some fourth-graders were asked to write a haiku about theexperience, as an interdisciplinary activity.

Elementary Students Explore the Cello!

Drawing by John Cahill

Drawing by William Couchon

The 2012–13 season at the Shalin Liu Performance Center was incredibly successful, with 30,000 tickets sold to 175 events,including our celebrated Rockport Chamber Music Festival andour second annual Rockport Music Jazz Festival. The audience response to our growth has been truly gratifying.

Looking BackIn 2008, the Rockport Music Board of Trustees made a bold decision to build theShalin Liu Performance Center with support from an organization that grew around a summer chamber music festival.

The PresentThe leap from the earlier days when the Festival performed in a rented space, sellingabout 5,000 tickets per year, has been a transformation. Now we offer a broad array of musical genres year-round in our own world-class venue. Our education programsalone reach 9,000 children and adults every year.

Looking to the FutureOur Board and staff have just finished a new strategic plan, honing the artistic,educational and community vision that will guide Rockport Music on its trajectory of artistic growth.

This artistic growth should broaden our reach and reputation regionally and nationally.We plan to expand the Rockport Chamber Music Festival, possibly adding a chambermusic competition and artist residencies. We hope to make the Rockport Music JazzFestival one of the premier festivals in the Northeast. Education and Outreachprograms are set to thrive and nurture future audiences.

The opening of the Shalin Liu Performance Center in 2010 enabled us to scale newartistic heights but we also need to scale new financial heights to sustain our organization.A capital base for hall maintenance and repairs, operational needs, and future artis-tic growth is a key priority to continued year-round operations for future generations.

As we set the course for Rockport Music’s future, we are fortunate to have extraordinaryresources. Our Board of Trustees, professional staff, Rockport Music Council advisors and volunteers are committed to the task.

Joseph Mueller, Chairman, Board of Trustees

Letter from the Chairman

Jazz in Full Swing at Rockport Music continued from pg. 01

USHERS – THE FRONTOF HOUSE TEAMThere are 237 dedicated ushers at the Shalin LiuPerformance Center, volunteers who collectivelyare the faces of Rockport Music.

Ushers are the first faces guests see as they arrive,greeting them, scanning tickets and then helpingthem to their seats. Upstairs, volunteers serve refreshments during intermission. So much goesinto making each event a rousing success and allthe ushers are quick to cite the incredible TEAMmentality that makes it work.

“We are blessed to be able to call on the talents of current and former educators, researchers, hospice care aides, restaurateurs, artists and more,who all blend their unique perspectives to ensureguests leave the magical hall with smiles on theirfaces,” says Jeremy Farmer, volunteer coordinator.

Millicent Bruce, house manager, says, “I've been aRockport Music volunteer for 14 years and valuethe friendships and the privilege of serving in sucha world class organization that provides so muchpleasure to so many.”

Linda Teahen, team captain, says, “When you arepart of this gem, you can't help but be proud of belonging, helping to make it succeed in whatevervolunteer position you are in.”

THE HOUSE MANAGEMENT TEAM OF GAIL REHM (LEFT)AND BARBARA ARNOLD WELCOME GUESTS TO THE SHALINLIU PERFORMANCE CENTER.

MEMBERS OF THE FRONT OF HOUSE TEAM—KATHY HEINZE(LEFT) AND DODIE CARVALHO—SHARE A LAUGH PRIOR TO ACONCERT.

enrich many lives.

There were 17 jazz concerts this year at the Shalin Liu Performance Center, a sharprise from the five held the year it opened in 2010. Revenue from all non-classicalmusic—the newcomers to Rockport Music—has grown 56 percent in just the last year.

Carl Gustin, of Gloucester, came to his first Rockport Music concert to hear DaveBrubeck, impressed that such a jazz legend was playing in Rockport. He called theperformance “exceptional,” and continues to attend other concerts and broadcasts. He said, “The organization’s ability to draw and expand audiences through the varietyof programming is terrific.”

Beadle is not surprised that Rockport Music is building an audience for non-classicalprogramming, especially jazz.

“I am pleased with the ongoing interest and response of our patrons to jazz programminghere. Jazz fans are passionate and when you give them great artists in a superbperforming space, they’re going to come.”

FALL 2013 NEWSLETTER 07

08ROCKPORT MUSIC 37 MAIN STREET, ROCKPORT, MA 01966 T 978.546.7391 F 978.546.8351 W rockportmusic.org

NON-PROFITU.S. POSTAGE

PAIDROCKPORT, MAPERMIT NO. 7

37 MAIN STREETROCKPORTMASSACHUSETTS 01966

Editor: Chris Barker Contributing Editor: Karen Herlitz

THURS., NOVEMBER 14, 7 PMNational Theatre HD Broadcast | Hamlet

FRI., NOVEMBER 15, 8 PMFreddy Cole Quartet

SAT., NOVEMBER 16, 8 PMJonathan Edwards

SUN., NOVEMBER 24, 3 PM Richard Goode, piano& Sarah Shafer, soprano

TUES., NOVEMBER 26, 7 PMNational Theatre HD Broadcast 50 Years on Stage

TUES., DECEMBER 3, 7 PMNational Theatre HD Broadcast | Habit of Art

SAT., DECEMBER 7, 8 PMNutopians: Songs of John Lennon

SUN., DECEMBER 8, 3 & 7 PMCape Ann Big Band Holiday Show

SAT., DECEMBER 14, 12:55 PMMet Live in HD | Falstaff

SUN., DECEMBER 15, 3 PMSwing Xing! featuring Bucky Pizzarelli

MON., DECEMBER 16, 4:30 & 8 PMA Christmas Celtic Sojourn

SAT., DECEMBER 21, 7 PMHoliday Community Sing-Along FREE

SAT., JANUARY 11, 8 PM Borromeo String Quartetwith Giovale String Quartet & David Deveau, piano

FRI., JANUARY 17, 8 PMMarc Cohn

SAT., JANUARY 25, 8 PM Maceo Parker

THURS., JANUARY 30, 7 PMNational Theatre HD Broadcast | Coriolanus

FRI., JANUARY 31, 8 PMDar Williams

SUN., FEBRUARY 2, 3 PM Garrick Ohlsson, piano

THURS., FEBRUARY 6, 7 PMClassical Jam FREE

FRI., FEBRUARY 7, 8 PMInternational Guitar NightBrian Gore | Pino Forastiere | Quique SinesiMike Dawes

SAT., FEBRUARY 8, 12:55 PMMet Live in HD | Dvorák’s Rusalka

SAT., FEBRUARY 15, 8 PMRockapella

SUN., FEBRUARY 16, 3 PMMembers of the Handel & Haydn Society

FRI., FEBRUARY 21, 8 PM Keiko Matsui, jazz piano

THURS., FEBRUARY 27, 7 PM National Theatre HD Broadcast |War Horse

FRI., FEBRUARY 28, 8 PM Stephen Hough, piano

SAT., MARCH 1, 12 PMMet Live in HD | Borodin’s Prince Igor

FRI., MARCH 7, 8 PM Irish Baroque OrchestraMonica Huggett, artistic director

SAT., MARCH 15, 12:55 PMMet Live in HD |Massenet’s Werther

SAT., MARCH 15, 8 PMRed Molly

THURS., MARCH 27, 7 PMGhostlight Chorus FREE

SAT., APRIL 5, 12:55 PMMet Live in HD | Puccini’s La Bohème

SAT., APRIL 12, 8 PM Deborah Henson-Conant

SUN., APRIL 13, 3 PM Andrés Cárdenes, violin &David Deveau, piano

SAT., APRIL 26, 12:55 PMMet Live in HD |Mozart’s Così fan tutte

THURS., MAY 1, 7 PMBerklee World Strings FREE

SAT., MAY 10, 12:55 PMMet Live in HD | Rossini’s La Cenerentola

SAT., MAY 17, 8 PMCheryl Wheeler & Ellis Paul

:: The 2013-14 Winter Season at Rockport Music ::

NOVEMBER

DECEMBER

JANUARY

JANUAR

Y

FEBRUARY

MARCH

APRIL

MAY