News / Events
- Mark Harvey and Aardvark on the Artery
- Prof. Patricia Tang’s research on Aby Ngana Diop
- Evan Ziporyn featured in Boston Globe
- MIT Women’s Chorale, welcomes new singers
- Theater Arts Open House
- Tour de SHASS
- Jay Scheib in the New Yorker
- Keeril Makan work reviewed at Tanglewood
- A New England Emmy Award for Awakening: Evoking the Arab Spring Through Music
- Anna Kohler in I am Bleeding All Over the Place
- The Harvard vs MIT Musical – We’ll Get it Right
- Levitan Award Recipients in Music
Patricia Tang, Associate Professor of Music contributed to the re-release of a recording by Senegalese griot Aby Ngana Diop referenced in this Vogue article. The recording was also reviewed in Rolling Stone magazine.
The CD release is part of Brian Shimkovitz’s Awesome Tapes from Africa project to catalogue and re-release cassette-based music from Africa.
“…Professor at MIT, Patricia Tang, had done research on Aby’s music and written a book about Senegalese drumming. She connected me with some of Aby’s family members living in Vermont, of all places, who, after about a year, were able to get me in touch with Aby’s eldest daughter in Dakar. With the help of Aby’s grandson Lamine Diop, who is a college student, we made arrangements to release her album for the first time outside Senegal. Professor Tang wrote wonderful liner notes for the CD so we can finally share more about Aby with the world, and let everyone know why she stands out in a country filled with renowned artists..” MORE
HERE is the Rolling Stone Magazine review.
MIT Women’s Chorale, welcoming new singers
Time: 7:15p–9:30pm, Wednesdays, starting Sept 10 ( except our second rehearsal ONLY will be on a Thursday, Sept 18)
The Chorale welcomes women from throughout the MIT community as we prepare for our December 6th holiday concert, which will include a spirited mass by Michael Haydn, music of Bach and Giordano, a Hannukah piece written especially for us by our music director, Kevin Galie, and an amusing piece by a local musician who is an MIT alum.
New members may join at any of the first three rehearsals, Sept 10, 18, or 24. No audition is required, although new members are encouraged to come at 7 pm on their first night so that we may place you into the appropriate vocal part with a simple range check. For further information please see our website:
For more information, contact:
Sis de Bordenave
Photo: Sara Nelson
seeking new voices
Meridian Singers, directed by Todd Beckham, an a cappella concert chorus open to all in the MIT community, is seeking new members for our fall season, singing music from medieval times to present day.
Rehearsals: noon to 1 PM Tuesdays, beginning September 9, 2014. Most rehearsals, beyond the first two of the season, will be in room 13-1143.
Prospective singers should contact us to make arrangements to meet with our conductor and learn the location of the first two rehearsals by contacting us at:
You are invited to the Theater Arts Open House
Tuesday, September 2 from 7-9pm in E33.
“The Maids” Is a Pile of Fake Flowers
By Hilton Als
“It’s a measure of Cate Blanchett and Isabelle Huppert’s willingness to stay open and grow as stage performers that they even agreed to appear in the director Benedict Andrews’s version of Jean Genet’s “The Maids.” Andrews, who worked on a new translation of the 1947 play with the writer Andrew Upton, is the kind of director actors are often drawn to—flashy “bad boy” handlers on the prowl for cultural relevance. (Andrews is the director behind the current London revival of “A Streetcar Named Desire,” starring the underrated, fascinating Gillian Armstrong.) But Andrews’s edge is borrowed; we’ve already seen his use of video cameras, stylized choreography, soundtracks featuring popular “underground” music, clear glass walls, overstuffed sets, and so on, first in the work of the avant-garde Flemish director Ivo van Hove and then in shows staged by the American director Jay Scheib. These are theatre artists of note, with an interest in how classic material does and does not play in the contemporary world. Unlike van Hove and Scheib, though, Andrews is in thrall to the machinery of culture—stars and sets and the like—and his enthusiasm stops short of where it should really count: the script itself.”
…a concert that also featured Keeril Makan’s “2” (1998), a dazzling duet for violin (Jordan Koransky) and percussion (Joseph Kelly) that began with stark unison attacks. Gradually morphing in pitch, color and speed, the muscular yet subtle work ended in a blaze of noise, alternating groans and screeches, with Mr. Koransky making high static, and Mr. Kelly bowing the edge of a metal sheet.
Sound dominated Saturday’s concert, beginning with Keeril Makan’s extraordinary, arresting “2,” a 1998 violin-percussion duo of grim, glinting ecstasy, the rites superbly performed by Jordan Koransky and Joseph Kelly.
The 30-minute documentary centered on the world premiere of “Awakening,” a composition by visiting artist Jamshied Sharifi ’83. The music was performed by students in the MIT Wind Ensemble, led by Frederick E. Harris Jr., director of wind and jazz ensembles for MIT Music and Theater Arts.
Read the MIT News Story HERE
Watch the video HERE
Presented as part of “Brooke O’Harra: I am Bleeding All Over the Place: Studies in directing or nine encounters between me and you” (May 16–24) and the spring R&D Season: VOICE.
O’Harra’s “I am Bleeding All Over the Place…” is a protracted performance in the form of a series of studies on directing. The New Museum presents the first three of nine studies that comprise this two-year project. Each iteration takes a variety of forms: Some will be clearly scripted, scored, and rehearsed to perfection, while others will be developed or literally “written” in front of an audience. This examination of the director’s role through different encounters argues that bodies are never neutral. “I am Bleeding All Over the Place” proposes a kind of theater where each person operates as both reader and maker, and where the potency of a performance happens in the experiential, emotional, and phenomenological gaps produced by the encounter of bodies. Each study assumes the form of a public encounter.
“It’s personal.” is the third study in O’Harra’s ongoing project “I am Bleeding All Over the Place.” For this study, O’Harra invites John Jesurun to join her in directing and presenting the project texts (written by O’Harra, Kosmas, Courtney, and Schreck). Both directors will present rehearsed scenes using the same performers (who include Blackwell, Davis, Husiak, Kohler, and Caitlin McDonough-Thayer) and texts (from the earlier encounters). The event will be framed by a filmed conversation with legendary downtown writer and director Jeff Weiss.
A complete list of programs organized as part of, or in conjunction with, “Brooke O’Harra: I am Bleeding All Over the Place: Studies in directing or nine encounters between me and you” includes:
ABOUT THE ARTIST/DIRECTOR
Brooke O’Harra is a freelance director. She is also Cofounder (with composer Brendan Connelly) of the Theater of a Two-headed Calf and has developed and directed all of their productions. Her most recent Two-headed Calf production, the opera project “You My Mother,” had two runs in NYC, one in 2012 at La Mama ETC and one in 2013 at the River to River Festival. O’Harra also directed, wrote for, and performed in the Dyke Division of Two-headed Calf’s live lesbian soap opera “ROOM FOR CREAM.” O’Harra is currently working on several projects: two performance projects with her partner Sharon Hayes—“Times Passes” (the Performing Garage, NYC) and “Act Two” (Stedelijk Museum, Amsterdam); a new musical with Lisa D’Amour and Connelly using Jack Spicer’s “Billy the Kid” poem; and “I am Bleeding All Over the Place: Studies in Directing, or Nine Encounters Between Me and You” at the New Museum. She is an Assistant Professor at Bates College.