Minneapolis, Minnesota
Bill George, professor of management practice at Harvard Business School, moderated a "Summit on Leading in Crisis: Personal stories from the trenches," Sept. 17, at the Ted Mann Concert Hall at the University of Minnesota-Minneapolis. The summit's four panel members included John Donahoe, chair and CEO, eBay; David Gergen, CNN commentator and Director, Center for Public Leadership, Harvard Kennedy School; Anne Mulcahy, chair and former CEO, Xerox; and Marilyn Carlson Nelson, chair and former CEO, Carlson Companies.
The panel members have dealt with crises radiating from the White House, offices and boardrooms of global companies, and their own personal lives. Their discussion touches on the causes behind many of the problems our country faces and the ways that courageous leaders can address them.
Twin Cities Public Television (tpt) will initially broadcast an hour-long recording of the panel's discussion three times: Sunday, Dec. 13, tpt2, 4pm; Sunday, Dec. 13, tptMN, 9pm; and Sunday, Dec. 20, tptLIFE, 1pm. Minnesota viewers should check local listings for stations.
A free DVD of the program, Leading in Crisis: Personal Stories, is available from the George Family Foundation, 612-377-3356.-
Showing posts with label Ted Mann Concert Hall. Show all posts
Showing posts with label Ted Mann Concert Hall. Show all posts
Saturday, December 12, 2009
Saturday, September 20, 2008
Review: Minnesota Philharmonic Orchestra
Minneapolis, Minnesota
The Minnesota Philharmonic Orchestra opened its 16th season for an audience of 300 at the Ted Mann Concert Hall in Minneapolis, Sept. 20, with a competent and accomplished rendition of four compositions that are performed rarely on the concert stage.
The music of Bedrich Smetana, represented by Three Dances from The Bartered Bride, was new to me and opened the evening. The full work received its premiere in 1870, its composition marked by the ferment of political turmoil and rising Czech nationalism that permeated the composer's native Bohemia at the time. Three excerpts – Polka, Furiant, and Dance of the Comedians – offered a musical picture of the milieu into which John and Lena Tapper, two of my paternal great grandparents, were born.
Playing from memory, guest pianist Paul Kovacovic displayed full control of the Piano Concerto No. 5 in F Major by Camille Saint-Saëns, composed in Egypt and premiered in Paris in 1896. The motifs of the second movement form the basis of "Egyptian" as the concerto's nickname. To my ear, the upper register piano hammers that were supposed to represent the sounds of chirping crickets were less than tunefully bright. Kovacovic's many domestic and international projects included a collaboration earlier this year with Live Action Set at the Southern Theater.
If her skills as a registered nurse match her facility with the flute, then the patients of Hamsa Isles are well-served at Children's Hospital in Minneapolis. This native of Cleveland and founding member of the orchestra displayed her artistry in Voyage for Flute and String Orchestra, a small gem from 1988 by John Corigliano.
The program closed with the Symphony No. 99 in E-flat Major, an unflashy but solid and satisfying work composed by Franz Joseph Haydn in Vienna in 1793.
Under the direction of Joseph Schlefke since 2001, the Minnesota Philharmonic Orchestra and its 53 members have become an articulate ensemble of individually strong, often exceptional, players, prompting no embarrassment and requiring no apology. The opportunity to see and hear them at the Ted Mann Concert Hall was a welcome change from their traditionally smaller and less formal venues. But.
They hold in their grasp the readiness to kick it up a notch artistically. Their collective posture and stage presence reflects an unwarranted reticence and a lack of visible esprit and conviction. Rather than owning the stage, they appear as shy and uncertain visitors. As the organization's front man and most public face, Schlefke could inspire his troops with a more practiced and self-assured persona. His years of experience and accomplishment should have banished his verbal and physical insecurities long ago.
If it chooses the pursuit, this group is ready to stretch itself into the big-time of higher visibility, greater artistic accomplishment, and heightened public scrutiny and support.
The Minnesota Philharmonic Orchestra's 2008-2009 season continues: Dec. 5-6, 7:30pm, Hopkins High School Auditorium, Minnetonka; Mar. 14, 7:30pm, Hamline University, St. Paul; and May 30, 7:30pm, Hamline University, St. Paul. www.mnphil.org
The Minnesota Philharmonic Orchestra opened its 16th season for an audience of 300 at the Ted Mann Concert Hall in Minneapolis, Sept. 20, with a competent and accomplished rendition of four compositions that are performed rarely on the concert stage.
The music of Bedrich Smetana, represented by Three Dances from The Bartered Bride, was new to me and opened the evening. The full work received its premiere in 1870, its composition marked by the ferment of political turmoil and rising Czech nationalism that permeated the composer's native Bohemia at the time. Three excerpts – Polka, Furiant, and Dance of the Comedians – offered a musical picture of the milieu into which John and Lena Tapper, two of my paternal great grandparents, were born.
Playing from memory, guest pianist Paul Kovacovic displayed full control of the Piano Concerto No. 5 in F Major by Camille Saint-Saëns, composed in Egypt and premiered in Paris in 1896. The motifs of the second movement form the basis of "Egyptian" as the concerto's nickname. To my ear, the upper register piano hammers that were supposed to represent the sounds of chirping crickets were less than tunefully bright. Kovacovic's many domestic and international projects included a collaboration earlier this year with Live Action Set at the Southern Theater.
If her skills as a registered nurse match her facility with the flute, then the patients of Hamsa Isles are well-served at Children's Hospital in Minneapolis. This native of Cleveland and founding member of the orchestra displayed her artistry in Voyage for Flute and String Orchestra, a small gem from 1988 by John Corigliano.
The program closed with the Symphony No. 99 in E-flat Major, an unflashy but solid and satisfying work composed by Franz Joseph Haydn in Vienna in 1793.
Under the direction of Joseph Schlefke since 2001, the Minnesota Philharmonic Orchestra and its 53 members have become an articulate ensemble of individually strong, often exceptional, players, prompting no embarrassment and requiring no apology. The opportunity to see and hear them at the Ted Mann Concert Hall was a welcome change from their traditionally smaller and less formal venues. But.
They hold in their grasp the readiness to kick it up a notch artistically. Their collective posture and stage presence reflects an unwarranted reticence and a lack of visible esprit and conviction. Rather than owning the stage, they appear as shy and uncertain visitors. As the organization's front man and most public face, Schlefke could inspire his troops with a more practiced and self-assured persona. His years of experience and accomplishment should have banished his verbal and physical insecurities long ago.
If it chooses the pursuit, this group is ready to stretch itself into the big-time of higher visibility, greater artistic accomplishment, and heightened public scrutiny and support.
The Minnesota Philharmonic Orchestra's 2008-2009 season continues: Dec. 5-6, 7:30pm, Hopkins High School Auditorium, Minnetonka; Mar. 14, 7:30pm, Hamline University, St. Paul; and May 30, 7:30pm, Hamline University, St. Paul. www.mnphil.org
Tuesday, July 1, 2008
A touching time to be alive
Minneapolis, Minnesota
Last Friday, my friend G and I attended "Love Is A Many Splendored Thing," the summer concert of the Twin Cities Gay Men's Chorus. It was a lovely and splendored evening at Ted Mann Concert Hall on the University of Minnesota's West Bank campus. Going to and from, all of the electric power was "out" in the nearby 7-Corners neighborhood, including at the Southern Theater where TU Dance had to cancel a performance and re-schedule it for Sunday. The Southern is within a stone's throw of where the I-35 bridge collapsed and is being rebuilt, so traffic in the best of times is a mess. With no stoplights, no traffic cops, and no street lights, it was a wild and woolly time.
Saturday morning, G and I spent three hours working at the Obama booth at the Pride Festival in Loring Park. Steady, non-stop visitors the whole time. After our shift, we walked over to St. Mark's Cathedral where my partner, James, and colleagues were wrestling to keep the 70-foot rainbow banner attached in one piece to the bell tower. They won the battle on Saturday, but on Sunday the whole thing ripped in two.
Sunday morning found James tuning up and marching in the Pride Parade through downtown Minneapolis with the Minnesota Freedom Band. I marched with 100+ others in the Obama contingent. The mayor of Minneapolis led our group down Hennepin Avenue where we handed out 15,000 "Obama Pride" stickers before they ran out. The enthusiasm and cheering that went up all along the route as our banners -- and a life-size cutout of Barack -- proceeded ahead of us was amazing. It was very easy to rev the crowd into chants, "Yes we can!" People reached for stickers with such enthusiasm -- leaning forward to be touched.
Being touched. That's what politics and the arts are all about. And religion, too.
Later Sunday afternoon, James and I attended Mass at St. Mark's along with nearly 100 others from the Pride Festival. A special part of the service was the touch of affirmation and the laying on of hands given to those who chose to go forward.
We ended the day at an evening bar-b-que fundraiser for Zenon Dance Company. The troupe will perform four times next week at Dance Theater Workshop in New York City. I managed this group for five years once upon a time, something like 20 years ago. We wish them well.
I have been touched by quite a few dance performances in the last three months: Ragamala Music & Dance Theatre, Minnesota Dance Theatre, Minnesota Ballet, James Sewell Ballet, Ananya Dance Theatre, Zenon, and a combo of Ballet of the Dolls/Live Action Set/Zorongo Flamenco Dance Theatre. Also touching were theater performances by Open Eye Figure Theatre and Theatre de la Jeune Lune.
Last Friday, my friend G and I attended "Love Is A Many Splendored Thing," the summer concert of the Twin Cities Gay Men's Chorus. It was a lovely and splendored evening at Ted Mann Concert Hall on the University of Minnesota's West Bank campus. Going to and from, all of the electric power was "out" in the nearby 7-Corners neighborhood, including at the Southern Theater where TU Dance had to cancel a performance and re-schedule it for Sunday. The Southern is within a stone's throw of where the I-35 bridge collapsed and is being rebuilt, so traffic in the best of times is a mess. With no stoplights, no traffic cops, and no street lights, it was a wild and woolly time.
Saturday morning, G and I spent three hours working at the Obama booth at the Pride Festival in Loring Park. Steady, non-stop visitors the whole time. After our shift, we walked over to St. Mark's Cathedral where my partner, James, and colleagues were wrestling to keep the 70-foot rainbow banner attached in one piece to the bell tower. They won the battle on Saturday, but on Sunday the whole thing ripped in two.
Sunday morning found James tuning up and marching in the Pride Parade through downtown Minneapolis with the Minnesota Freedom Band. I marched with 100+ others in the Obama contingent. The mayor of Minneapolis led our group down Hennepin Avenue where we handed out 15,000 "Obama Pride" stickers before they ran out. The enthusiasm and cheering that went up all along the route as our banners -- and a life-size cutout of Barack -- proceeded ahead of us was amazing. It was very easy to rev the crowd into chants, "Yes we can!" People reached for stickers with such enthusiasm -- leaning forward to be touched.
Being touched. That's what politics and the arts are all about. And religion, too.
Later Sunday afternoon, James and I attended Mass at St. Mark's along with nearly 100 others from the Pride Festival. A special part of the service was the touch of affirmation and the laying on of hands given to those who chose to go forward.
We ended the day at an evening bar-b-que fundraiser for Zenon Dance Company. The troupe will perform four times next week at Dance Theater Workshop in New York City. I managed this group for five years once upon a time, something like 20 years ago. We wish them well.
I have been touched by quite a few dance performances in the last three months: Ragamala Music & Dance Theatre, Minnesota Dance Theatre, Minnesota Ballet, James Sewell Ballet, Ananya Dance Theatre, Zenon, and a combo of Ballet of the Dolls/Live Action Set/Zorongo Flamenco Dance Theatre. Also touching were theater performances by Open Eye Figure Theatre and Theatre de la Jeune Lune.
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