Thursday, April 30 at 8pm in the Bezanson Recital Hall
General Admission: $12; Students: $7
“Violinist-composer Jason Kao Hwang, has brought a vast array of sonic wonders to his latest genre-straddling work, Burning Bridge,” writes The Washington Post. “Hwang has his finger firmly on the racing pulse of the 21st century, where everything is interconnected and boundaries of time and geography seem hopelessly quaint. If there’s a war cry for music of the new millennium, it might well be: Burn the bridges – there’s no going back.”
Jason Kao Hwang’s website
With the Hogshead Horns and Creme Tangerine Strings
Saturday, April 25, 8 p.m., Fine Arts Center Concert Hall
Performing “Abbey Road” and more!
$60, $55, $20; Five College, GCC and 17 & under $20, $15, $10
$75 non-disounted ticket includes premium seating and Meet & Greet Reception
The Fab Faux have been spoken of as “the greatest Beatles cover band — without the wigs,” by Rolling Stone senior editor, David Fricke, who wrote, “the Faux invigorate the artistry of even the Beatles’ most intricate studio masterpieces with top chops and Beatlemaniac glee. Approaching the songs with the intent of playing them live as accurately in musical reading and in spirit as possible, they will perform Abbey Road in its entirety, The Faux’s breathtaking performances tend to dispel all concert-goers’ previous notions of a Beatles tribute act. All five principals contribute vocals, making the Faux’s soaring harmonies as resonant as their multi-instrumental chops that are further enhanced by the four-piece Hogshead Horns (with Blues Brothers, Blood, Sweat & Tears and SNL band alums) and the Creme Tangerine Strings.
Join us as we celebrate the close of this season and offer a preview of the next season @ the FAC! Enjoy a pre-show dessert party on the plaza with free desserts, live entertainment and a cash bar. Tent opens at 6:30 p.m.
Thursday, April 16, 7:30 p.m., Fine Arts Center Concert Hall
$42, $38, $15; Five College, GCC and 17 & under $15, $12, $10
Stephen Petronio’s Locomotor / Non Locomotor is an evening-length, full-company work in two parts featuring an original score by electronic hip-hop pioneer Clams Casino. Locomotor explores extreme locomotive states, casting Petronio’s virtuoso company in a careening mix of action forward and backward through time and space, while Non Locomotor begins from the spine and its ability to initiate torque and torsion, sending movement surging throughout the body. “There’s a visceral thrill to Stephen Petronio’s choreography that is unlike anything offered by other contemporary choreographers…” —The New York Times
Audience members are invited to a pre-show talk by Five College Dance professor Constance Valis Hill at the University Museum of Contemporary Art (lower level of FAC) at 6:30 p.m. and to stay for a post-performance talk with Stephen Petronio immediately following the performance.
Tuesday, April 7, 7:30 pm, Fine Arts Center Concert Hall
$25, $20, $15; Five College, GCC and 17 & under $10
A new triumphal musical collaboration bringing together 15 musicians from 11 countries along the Nile river basin -Egypt to Sudan this concert is a unique phenomenon to be experienced aurally and visually. Music so infectious, that it will get you jumping on your feet, clapping and dancing to the incredible rhythms. Experience a powerful pan-Nile percussion section that drives this orchestra of Ethiopian masenko , saxophone, Egyptian ney, oud, violin, sisimiya and tanbur and Ugandan adungu , bass guitar and six vocalists singing in 11 different languages. Empowering this concert is the mission to inspire and educate Nile citizens to work and collaborate together to boost the sustainability of the ecosystem.
Funded through New England Foundation for the Arts Expeditions Fund
Thursday, April 2, 8 p.m., Bezanson Recital Hall
General Admission: $10; $5 students
“Woodwind/saxophone ace Ned Rothenberg has a formidable reputation as an innovator,” writes Tzadik Records. “Specifically, Rothenberg has been celebrated for his circular-breathing techniques, as well as his experiments with overtone manipulation and polyphony. He also shares the restless eclecticism of colleagues like John Zorn and Anthony Braxton. What renders Rothenberg more approachable and, in the end, more significant than many of his peers is the serenity at the heart of his fiercest playing.”