Francis Poulenc Concert

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Opéra National de Lorraine, France
Orchestre Symphonique et Lyrique de Nancy, France
October, 20th,  at 3:00pm
Ingrid Perruche, soprano
Armando Noguera, baryton
Emmanuel Reibel, speaker
Mélisse Brunet, conducting

2013-14: what’s new?

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2013-2014, it is:
– New Music Director of the Campus Philharmonia Orchestra of the University of Michigan, MI
– The Cleveland Orchestra Chorus: Lyric Diction coach
– Re-invited by the Orchestre Symphonique et Lyrique de Nancy, France
– Re-invited by the Orchestre d’Auvergne, France
– Début with the Orchestre Lyrique de Région Avignon Provence, France
– Début with the Orchestre of the Opéra de Rouen Haute Normandie, France
Programs soon on the website!

Concert with the Symphonic and Lyric Orchestra of Nancy

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Nancy is a beautiful city, 175 miles at the east of Paris, France where plays the great orchestra “Orchestre Symphonique et Lyrique de Nancy“.
They have beautiful programs and I am very delighted to be part of the 2013-14 season.
Concert on October the 20th, at 3:00pm

Guest conductor of the Heights Chamber Orchestra

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Delighted to be invited for the second time with the HCO!

Sunday November 18th, 2012
Program:
Mozart, Haffner Symphony
De Falla, El Amor Brujo, orchestral suite
Offenbach, Orpheus in the Underworld, overture arrangement Carl Binder

Christ Episcopal Church (3445 Warrensville Center Rd., Shaker Heights, OH) @ 7:30 P.M.

With the Baltimore Symphony Orchestra

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In Baltimore
During the workshop with the BSO, Baltimore, MD.

With the Baltimore Symphony Orchestra

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With Gustav Meier

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During the workshop, with Gustav Meier.

With Marin Alsop

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During the workshop, with Marin Alsop.

Baltimore Symphony Orchestra workshop

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With Marin Alsop and some musicians of the Baltimore Symphony Orchestra during the 2012’s workshop.

Review : concert of March 25th, 2012

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Review
 by Mike Telin in clevelandclassical.com :

CIM New Music Ensemble: Music of Steven Stucky at Mixon Hall (March 25, 2012)

“Of Ad Parnassum (1998) Stucky writes: “My composition is not so much a translation of pictorial elements from [Paul] Klee’s Ad Parnnassum (1932) as an attempt to think through some of it’s basic principles in my own, purely musical terms.” Scored for flute, clarinet, violin, cello, piano and percussion it is, like Klee’s painting, a composition of thematic arches with sprinklings of colorful accents throughout. The piece was given an assured performance by the ensemble, with every member charging in and quickly retreating after placing those colorful accents on the musical canvas. Conductor Melisse Brunet kept an attentive eye on the procedings.”