and Jessica Keenan Wynn will star in the queer thriller Jason Forbach (A Wonderful World, Into the Woods The Phantom of the Opera) is set to make his film directorial debut with a new queer thriller titled The Delicate Medium The short will begin production in January 2025.  The cast will include Dan Amboyer (Younger, Uncoupled), Christopher Gurr (Parade, Cats), and Jessica Keenan Wynn (Heathers: The Musical, Mamma Mia The Delicate Medium will feature cinematography by Guillermo Cameo. The producing team includes filmmakers Lisa Marie Tedesco (The Paradise Road August in the City) of Cosmic Forge Films and Lea Marie Heller (Jerrod Carmichael Reality Show The Paradise Road) of Swift Bird Productions Noah Himmelstein will direct Matthew Puckett's original musical Neumann is the Tony nominated choreographer behind Hadestown and Swept Away one Tony winner is playing the trumpet while the other is channeling Madame Rose Due to the expansive nature of Off-Broadway and institutes have been revealed by the industry stalwart Thank You!You have now been added to the list Blocking belongson the stage,not on websites Our website is made possible bydisplaying online advertisements to our visitors Please consider supporting us bywhitelisting playbill.com with your ad blocker.Thank you Serving the hydro power and dam construction industries since 1949 German energy company EnBW hosted a ceremonial tunnel groundbreaking event late last month signifying the official commencement of tunnel and mining work at the Forbach pumped storage project in Germany was attended by representatives from state and local governments This ambitious project aims to convert and expand the Rudolf-Fettweis-Werk in Forbach This transformation necessitates the removal of many thousands of cubic meters of granite from the mountain to accommodate the modern facilities and enhance the capacity of the extensive water and energy storage facility ANDRITZ will deliver and install a 50MW pump turbine along with three Francis turbines (13 with the commissioning set for the summer of 2027 In July 2023, construction company Porr announced it had secured a major contract to construct the caverns and a tunnel system as part of the Forbach pumped storage project. EnBW Energie Baden-Württemberg AG, the project’s investor, is committing approximately €280 million to the conversion with Porr awarded Lot 2 “Civil works” valued at €98.3 million protected for its historical significance and dating back to 1914 played a vital role in the electrification of the northern Black Forest Its conversion into a pumped storage power plant is anticipated to significantly enhance its efficiency water from the Schwarzenbach and Murg dams flowed into an equalization basin and then into the Murg after passing through the turbines The new plan includes constructing an underground sub-basin to act as an indirect power reservoir allowing water circulation for electricity generation Porr will also handle the shell construction of the power plant cavern Before the new power plant can begin operations in 2027 the Porr team will undertake the challenging task of blasting and excavating significant cavities and tunnels in the rock yielding an estimated 450,000m³ of rock excavation material The tunnel system within the project will have a total length of 5200m and approximately 510m of shafts will be constructed using the raise-boring method The underground water reservoirs will have a combined volume of 200 million liters The main tunnel will stretch 946m in length and have a cross-section of up to 71.72m² the project involves constructing six side tunnels Give your business an edge with our leading industry insights View all newsletters from across the Progressive Media network © Business Trade Media International Limited This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page Your request appears similar to malicious requests sent by robots Please make sure JavaScript is enabled and then try loading this page again. If you continue to be blocked, please send an email to secruxurity@sizetedistrict.cVmwom with: A belated appreciation of one of 2023’s most interesting releases — this Grammy-winning “compendium” may not be a strongly unified work but its individual parts are eloquent residents of the Place Between classical and jazz demonstrations that a composer can draw on many genres without apology to make art that is rich and profound art that could not exist in any other form Jeff Scott’s Passion For Bach and Coltrane has its head in the clouds It may not be particularly timely to assess this work (mea culpa) and has lived in the repertoire of Imani Winds and guests for a substantial period its 2023 recording is arguably still current I took the time to give it the listening and consideration I felt it deserved I was a bit apprehensive about the word “passion” and the crosses prominent on the cover of the CD sleeve Was this planned as a successor to the great Passions of classical music Though the Passion story and its aftermath provide the heart of one part of the work the operative word in the title is not “passion” but that little preposition “for.” This is a declaration by a composer and a poet of their passion for the music of Johann Sebastian Bach and John Coltrane if that’s possible — Bach’s Goldberg Variations whose voice is vitally important to the success of this recording Spellman’s work is arguably as profound as that of Bach or Coltrane and Scott was right to put him alongside musical giants His writing is not diminished in the least by the comparison; in fact Spellman elevates each of the parts in which he appears who is the executive producer of the release and the oboist in Imani Winds contributes liner notes in which she describes Scott’s Passion as an “oratorio.” I respectfully disagree I do not hear Passion for Bach and Coltrane as an oratorio I hear it as a collection of individual pieces some of which talk to others very well and some of which are more powerful when considered independently It does not need a traditional umbrella term No wonder that Passion for Bach and Coltrane won a 2023 Grammy in the category of “Best Classical Compendium.” This does not diminish the importance of Scott’s accomplishment in any way His greatest achievements here are settings for Spellman’s work built on familiar music of Bach and Coltrane but the totality has a satisfying dramatic arc The audience at the DiMenna Center in New York City respond to individual parts (and solos) with enthusiasm and they give the performers a full ovation at the end The five members of Imani Winds and the four members of the Harlem Quartet do not function as units in cooperation or competition but rather serve together as a pocket-sized chamber orchestra to give Scott the instrumental colors he needs to realize his ideas the winds of Imani are fine improvisers; hornist Kevin Newton and clarinetist Mark Dover have prominent roles Scott really puts their skills to the test by having them step into Coltrane’s shoes; they rise well to those challenges The classical players are joined by a trio — pianist Alex Brown and drummer Neal Smith — who play as a jazz unit in several important spots with Brown doing most of the solo work; each also contributes color to the classical ensembles Spellman vitally important to the success of this recording Although the two CDs are divided into 13 separate bands “Dear John,” which consists of two Spellman poems that frame Scott’s arrangement of the “Aria” theme from Bach’s Goldberg Variations with a jazzy improv center provided by the trio with Spellman working late in a hotel room listening to Bach and then to Coltrane on the radio I would ask if you and Bach ever swapped infinite fours and jammed the sound that light makes “Psalm,” an interpretation of the last movement of Coltrane’s A Love Supreme Scott takes inspiration from the title and alternates “verses” of Spellman’s poem “After Vallejo,” a fantasy of the poet’s death with vigorous horn improvisations by Imani’s Kevin Newton over a rubato foundation provided by the jazz trio “I will die in Havana in a hurricane … lifted by … all the claves that bind the rhythms of this world.” The first horn “verse” mirrors Trane Spellman again: “I’ll be writing when I go revising another hopeful survey of my life but of all that I did not do …” The exchanges continue with Newton standing up well in comparison to Coltrane including a brief appearance of the full ensemble “I will die in Havana in rhythm … and the mother of waters will say to the saint of crossroads composer of Passion for Bach and Coltrane and founding hornist of Imani Winds “Resolution,” a faithful reproduction of the second movement of Coltrane’s A Love Supreme Scott offers an attractive harmonization of Coltrane’s theme and there are short solos by oboist Toyin Spellman-Diaz and one of the violinists from the Harlem Quartet (I think it is Melissa White) This is the one of two parts of Scott’s Passion in which Spellman does not speak and I think this lack makes it the weakest thought three hours a mercifully quick death for this — what’s his name — Jew”) and in a series of brief strokes to a Roman’s skeptical assessment of the Christian cult (“The unanimity was impressive But face it: their audience was children and silly women especially widows with money …”) This part has the largest slice of music not based directly on Bach or Coltrane and Scott finds a path for his writing that is listenable as well as modern “Variation 13,” a comprehensive rethinking of the 13th variation in Bach’s Goldberg Variations The first minute is a direct transcription of Bach which Scott picks up and makes a principal feature of his “Variation 13.” After the first minute he begins transforming the Goldberg theme with modern harmony and the jazz trio enters with a solid Latin groove in a minor key Alex Brown’s piano solo here is one of his strongest contributions Imani’s flutist Brandon Patrick George contributes a bit of piccolo decoration at the beginning of Brown’s solo Then Imani’s clarinetist Mark Dover delivers one of two outstanding contributions to Scott’s Passion which leads logically via a long oboe note to the last two minutes of Bach in the original major key and then a reappearance by Brown with some piano decorations Even though Spellman does not have a role here the fine writing and performances make this part very satisfying and one that could easily stand on its own in “Groovin’ Low,” “Interlude,” “Among the Things I Must Have Known,” and “A Hug for Gonzalo,” although banded separately represent a dramatic single-minded digression from the rest of Scott’s Passion even though Scott looks back to Bach for some inspiration These elements are an enthusiastic celebration of jazz with a sidebar reflection on aging from Spellman The structure here mirrors “Dear John,” with two large pieces flanking a brief comment from the jazz trio (“Interlude”) and one from Spellman (“Among the Things I Must Have Known,” a lament of a jazz fan in a club impatiently waiting for the music to start) “Groovin’ Low” has the fan in a senior reflection (““My swing is more mellow these days… Don’t look for me in the sly staccato splatter of the hot young horns “A Hug for Gonzalo” specifically celebrates the artistry of pianist Gonzalo Rubalcaba with Spellman annoyed by the lack of sensitivity around him (“Some … cannot abide soft and slow The conversationalists confuse quietude with vacancy and rush to fill this new reflection Rubalcaba values so … I must now listen through their voices to his invocation… this is where we live … hoping the natter will leave our silence alone.” Scott’s music in “Groovin’ Low” draws directly on Bach’s Goldberg theme; in “A Hug for Gonzalo,” he hints at Bach in a thoughtful opening and close that frame another Latin groove and another solo by Brown plus a solo by the other violinist in the Harlem Quartet there is “Acknowledgement,” a reverential arrangement of the opening movement of Coltrane’s A Love Supreme with an interpolation of Spellman’s “Death Poem.” Despite its title the poem only uses death as a starting point; it becomes a meditation on the progress of life and the hope in new birth and its placement in the last part of Scott’s Passion is inspired not only as an echo of the death images Spellman calls up in “Psalm” and “Out of Nazareth,” but as a concelebration a secular prayer as powerful as Coltrane’s religious one The Harlem Quartet (l to r): Felix Umansky Scott provides a short introduction to the famous rubato theme for the full ensemble with bowed bass Clarinetist Mark Dover then makes his first appearance attractively centering his statement of the theme in his chalumeau register The bass sets up the four-note “a love supreme” motif Spellman then steps into the spotlight: “We in our frailty paint death in black unspeaking mystery the inexorable terrible wonder we run in mark-time terror to escape The dead must know that life is more the question — death the answer the living cannot learn.” The poem concludes: “But how true a gift is life to the newly-born when the only love we can pledge is our own All we can give is hope that this new heart will find a heart to rise that it builds itself in the world and is not built by the world closely hewing to the bones of Coltrane’s original solo but Scott opts to provide him with a more lyrical Coltrane’s approach was an intense seeking of the divine; Dover’s is celebratory as much of the saxophonist’s greatness as it is of divinity The clarinetist develops his own kind of intensity as his solo progresses drummer Neal Smith moves to his mallets with the kinds of polyrhythms Elvin Jones used to stoke the original Dover saves his high notes for the climax of his solo and then subsides to the four-note “a love supreme” motif and Dover uses all of the modal reharmonizations of it that Coltrane did the members of the ensemble begin to chant the words with Neal Smith adding a tiny decoration of bowed cymbal Scott’s Passion for Bach and Coltrane takes listeners on a journey Its many musical strengths speak for themselves There is nothing here of “hybrid music” or experimentation It simply and directly uses homages to Bach and Spellman to make mature statements about life The seven parts of the Passion are Big Music Personnel information: Jeff Scott: Passion for Bach and Coltrane (Imani Winds Media bsn); Harlem Quartet (Ilmar Gavilán and Melissa White composer and founding hornist of Imani Winds Scott’s Passion for Bach and Coltrane is hearable (and purchasable) on Bandcamp A promotional excerpt of “Variation 13” was posted on YouTube prior to the Grammys It offers the opportunity to see all the players (except Spellman) in performance A video feature on Scott’s Passion has also been posted on YouTube with interview excerpts and some snippets of the music including Spellman reading part of “Dear John.” Steve Elman’s more than four decades in New England public radio have included 10 years as a jazz host in the 1970s five years as a classical host on WBUR in the 1980s a short stint as senior producer of an arts magazine 13 years as assistant general manager of WBUR Thank you Steve for this extremely thoughtful and comprehensive review I will share this with the band as I am certain it will be a sweet burst of positive energy as they tour the work this fall Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" The Lady’s Dressing Room (1732) BY JONATHAN SWIFT Five hours (and who can do it less in?) By haughty Celia… but this Littlefield review has convinced me to make the purchase your comments reek of what is wrong in today's society and also if entitlement About Us Advertising/Underwriting Syndication Media Resources Editors and Contributors © 2025 The Arts Fuse. All Rights Reserved. Site by AuthorBytes yes it does and there are more flavors available too A dear friend recently showed me the magic that is French grocery store shopping As we sat in her car after hitting our last stop we stuffed fresh mint leaves into our Perrier and reflected on what a refreshing way this was to take care of our shopping only a 40-minute day trip from Ramstein and 50 minutes from Kaiserslautern why not cross the border and add France to my grocery shopping repertoire France may not be known for its stunning French riviera has plenty of playgrounds for kids and is a great excuse to treat yourself to French pastries while experiencing the Lorraine region I was immediately impressed by the fresh seafood options: mussels I heard a soft hiss as the fresh produce misters turned on There in the middle of the store were rows and rows of green I didn’t realize produce could fill me with so much excitement I admired a rainbow of carrots so fresh from the ground that the dirt was still on them bouquets of fresh herbs and even edible flowers In addition to a fantastic produce selection at Grand Fois A short walk from the parking lot of Grand Fois we found La Mine De Pain a charming boulangerie with a line out the door and sip tea in a cozy chalet-inspired sitting area The boulangerie had gorgeously decorated fruit tarts and a wide array of bread-based baked goods It could be a nice first stop to fuel the day of shopping a grocery experience more like Costco or Globus Here you can shop for all your grocery needs and more: clothing We found some unique flavors of Perrier here that I hadn’t seen in the Kaiserslautern area There is even a wine tent in the parking lot This is a unique antique shop because it is five minutes from the German border and you can find unique French or German treasures like There are always new items coming in that are extremely affordable I fell in love with some of the flower-inspired chandelier lighting and the different styles of ceramic ware Some other places to check out while in Forbach are: going to France to grocery shop turned a chore into a treat The amount of cross-border workers who drive into Luxembourg is growing daily, and with it, the need for transportation opportunities other than cars. As our colleagues at RTL Infos recently addressed, commuters need to get up very early in order to avoid the traffic jams. because the Grand Est region is launching an experimental project for two years which links Forbach and Luxembourg directly via a coach the bus route 57R600 will establish a link between Forbach station and Howald multimodal exchange hub in Luxembourg The new service offers two return rides a day The bus will depart twice in the morning at 5.30 am and 6.30am in Forbach and will return departing from Howard at 6.30pm and 7.30pm The hours can be adjusted depending on the commuters' input and feedback during this experimental phase. Check the departure and arrival times here. Grand Est region has organised "a premium quality coach" that is modern it operates with biofuel which meets all Euro 6 standards the prices unfortunately have to meet the luxuries of the coach: The monthly subscription comes out to 238€ The tariff has been "calculated based on the SNCF tariff rates for a distance equivalent to 100km," says Grand Est regionOne day ticket costs 21€ (or 20€ with the Fluo card or 1€ for those aged under 26)Région Grand Est currently has a discovery offer until 6 March 2025 which reduces the ticket cost to 5€ While a 21€ day ticket might not encourage many commuters to jump on the offer the monthly subscription could be a worthwhile investment since it reduces the price to 11.9€ per day the subscription comprises five return journeys per week for a month employers might even consider taking over the transport costs Read more: Cross-border fatigue: are Luxembourg jobs losing their appeal? who helped lead the cast as the Baker on opening night at the St Forbach is taking a brief leave from the Woods to go back across 44th street to the Majestic Theatre where he will play the role of Raoul full-time through December 5 Broadway.com chatted with Forbach about doing double duty the increase in swing visibility and more.  Broadway Off-Broadway Off-Off Broadway Cabaret Dance Opera Classical Music Nashville Minneapolis / St. Paul Connecticut Atlanta Chicago Los Angeles WEST END UK Regional Canada Australia / New Zealand Europe Asia Latin America Africa / Middle East TV/Movies Music Jason Forbach has been an actor in New York City for over 14 years He made his Broadway debut in the 2014 Tony nominated revival of Les Miserables as Enjolras where he reprised the role he played on the 25th Anniversary National Tour for 3 years He also appeared in The Phantom of the Opera for 3 years with the Las Vegas company and is currently with the 30th Anniversary company on Broadway He was a part of the adapted revival of The Secret Garden that played across the country as Albert Lennox which is slated to return to Broadway next season From:  Photos: A WONDERFUL WORLD Cast on the Opening Night Red Carpet From:  Photos/Video: A WONDERFUL WORLD Starring James Monroe Iglehart as Louis Armstrong From:  Photos: Inside Rehearsals for A WONDERFUL WORLD- THE LOUIS ARMSTRONG MUSICAL From:  Photos: Inside Look At Drew & Dane's 31st Annual Festivity Supporting Broadway Cares/Equity Fights AIDS From:  Photos: First Look At Frankie Grande And More In THE ROCKY HORROR SHOW At Bucks County Playhouse From:  Photos: Frankie Grande Opens in THE ROCKY HORROR SHOW at Bucks County Playhouse; Ariana Grande Comes to Support From:  Photos/Video: First Look at Stephanie J. Block, Sebastian Arcelus, Montego Glover, Gavin Creel, and More in the INTO THE WOODS Tour From:  Photos: Original Baker's Wife Joanna Gleason Meets the Cast of INTO THE WOODS From:  Photos: INTO THE WOODS Takes Opening Night Bows From:  Photos: On the Red Carpet with the Cast of INTO THE WOODS From:  Photos: Check Out Highlights From Princeton Festival Week 1 From:  Photos: INTO THE WOODS Celebrates Opening Night Gala at Encores! From:  Photos: The Cast of Encores! INTO THE WOODS Takes Opening Night Bows From:  Exclusive Photo Coverage: All Is Calm as THE PHANTOM OF THE OPERA Cast Records for Carols for a Cure! From:  Photo Flash: Andrew Rannells, Rachel Bay Jones & More Join Frank DiLella for SHOW BIZ AFTER HOURS at Birdland From:  Photo Flash: Nicholas Rodriguez Brings THE FIRST TIME to Birdland From:  Photo Flash: First Look at Jennifer Paz, Jason Forbach and More in NSMT's MISS SAIGON From:  Photo Flash: New Shots of 25th Anniversary Tour of LES MISERABLES From:  Photo Flash: Memorial Day Weekend Saturday Intermission Pics - NEWSIES, JERSEY BOYS, West End's THE 39 STEPS and More! From:  Photo Flash: Brett Ryback in SONGS I WROTE From:  Photo Coverage: LES MIS Opening Night After Party From:  Photo Flash: Music Circus' INTO THE WOODS, Starring Denman And Lewis National tour: 25th Anniversary LES MIZ (“Enjolras”) Jason Forbach has appeared on Broadway in 3 shows Jason Forbach has not appeared in the West End and exclusive discounts on tickets to your favorite shows © 2025 - Copyright Wisdom Digital Media, all rights reserved. Privacy Policy “It ended up being the most magical experience of my life — probably ever,” Into the Woods understudy Jason Forbach exclusively tells PEOPLE Please enable JS and disable any ad blocker Tell all the gang at Forty-Second Street that I will soon be there!” but The Pocono Center for the Arts brings Broadway to the Poconos The Pocono Center for the Arts once again returns to the Terraview Pavilion at the Stroudsmoor Country Inn (257 Stroudsmoor Road It is truly a special opportunity to be able to see such a great level of talent in an intimate atmosphere with no seat farther away than the tenth row of a Broadway theater The afternoon will showcase the talents of five talented Broadway and beyond performers which is created exclusively for this event will showcase the talents of Jason Forbach (who most recently starred opposite Sara Bareilles in the Broadway revival of "Into the Woods" and who also appeared in the Broadway companies of "Les Misérables" and "The Phantom of the Opera") Sam Primack (who was the final actor chosen to play the title role in the Broadway production of "Dear Evan Hansen") Talia Suskauer (who most recently starred as Elphaba in the Broadway company of "Wicked") Josh Tower (who has spent the last several years starring as Aaron Burr in "Hamilton." He has also starred as Berry Gordy in "Motown the Musical" as well as Simba in "The Lion King") and Ta-Tynisa Wilson (who received national acclaim as a fan favorite on "American Idol" and who made her Broadway debut in "Hamilton") The Broadway stars will also be joined onstage by local talent will be both the musical director and accompanist for the performers If you have never had the pleasure of hearing him perform at his current residencies at The Green Room or 42 then this will simply add to the treat of the afternoon’s performances He is currently touring with comedian Jeff Ross writing original songs for Ross’s new show Many people say that there is gold in those Pocono Mountains this is certainly true when one considers Stephen DeAngelis the producer/host of this event and others who in conjunction with the Pocono Center for the Arts has afforded those in the Poconos and Northeast Pennsylvania the opportunity to have Broadway presented in their own backyard Having worked in the Poconos at Shawnee Playhouse in the early days of his career gave Stephen the chance to appreciate the Poconos and Northeast Pennsylvania Because it is so impressive and the man definitely knows his craft take a look at some of his accomplishments: He has produced over 300 different Broadway concerts at venues in New York and across the United States featuring a multitude of Broadway stars including many Tony Award and Drama Desk Award winners and nominees stars from hit television series and films whose roots are on stage and Broadway's fastest rising young performers he has worked with over 100,000 performers across all entertainment mediums He is also the producing artistic director and host of "At This Performance," the critically acclaimed concert series that has showcased the talents of over 1,200 Broadway standbys understudies and alternates since October 2003 DeAngelis has cast over 3,600 network television and radio commercials for Manhattan's leading advertising agencies and has contributed to many historic and award-winning spots and campaigns including many which have been recognized with Platinum he also cast the six-time Emmy Award-nominated Playhouse Disney series “Johnny and the Sprites” which was seen on the Disney Channel lyricists and playwrights who have been recognized with the following distinctions across all mediums: 267 Tony Award wins 8 Pulitzer Prize Award nominations and 10 Kennedy Center Honors recipients And there is much more to this than can be written here The chance to see these talented Broadway stars is a special treat, but not at Broadway theater prices. Tickets are $40 for students/seniors, general admission $50 and VIP tickets $75 per person (includes Champagne reception). Tickets are available at: www.poconocenterforthearts.org Debbie Kulick is an EMT who writes a weekly news column for the Pocono Record The Company of Into the Woods by Matthew Murphy for MurphyMade Stephen Sondheim’s “Into the Woods” has enchanted audiences with its melodies and singularly empathetic perspective on fairy tale characters casting its spell on a new generation of theatergoers and earning 6 Tony Award nominations including Best Revival of a Musical Now, that same revival steps into the Dr. Phillips Center boasting 17 out of 18 cast members from its most recent Broadway run; an exceedingly rare accomplishment for a touring production the actor who plays Rapunzel’s Prince has been under the musical’s spell far before he was cast in the revival We invited him to let down his hair for a conversation about life on tour and what gives “Into the Woods” its timeless magic (L to R) Jason Forbach and Gavin Creel by Matthew Murphy for MurphyMade there’s been so much praise from both critics and audiences for this revival It’s been this endless stream of blessings This whole show began last April as a two-week concert at City Center [in New York] so the fact that almost a year and a half later we are still performing to enthusiastic audiences all over the country is something we never would have conceived of and Katy Geraghty by Matthew Murphy for MurphyMade Touring is obviously a very different experience from performing at the same venue during an entire run of a show I love really sitting down in cities for a stretch of time and getting to know them What’s really great about this tour is nearly the entire closing night cast of the Broadway show is here So audiences all over the country are getting to see exactly what the show was like on Broadway (L to R) Kennedy Kanagawa and Cole Thompson by Matthew Murphy for MurphyMade Is there anything you are hoping to do while here in Orlando I got up and made a pot of coffee and just read a book in the pool and Nancy Opel by Matthew Murphy for MurphyMade Into the Woods was first performed in front of an audience in 1987 Why do think modern audiences are still so captivated by this show You know there are several things I think at play with why this particular production of “Into the Woods” has struck such a chord with audiences This was the last production Sondheim was involved with creatively so there’s a little bit of honoring his genius There’s a little bit of reverence and honor in that But it’s also such a beautiful story: All these Grimm’s fairy tale characters searching for what they wish only to realize that those childhood wishes have greater adult ramifications There’s also an incredible amount of humor It’s just so deep and rewarding and it leaves people laughing and crying and feeling profoundly moved I think that’s we’ve all been missing is a sense of getting together in a room and feeling those things together Montego Glover by Matthew Murphy for MurphyMade One last question for you: How would you describe “Into the Woods” for someone who might be unfamiliar with it It is a show that can appeal to someone who is 6 or 7 all the way to someone who is 70 It has something to say to someone at every stage of life It’s a musical with very adult themes wrapped in this storybook setting and it has always had such a profound effect on me It was the show that made me want to be in music theater At our final day at the Kennedy Center in Washington DC I saw a grandmother holding hands with her granddaughter dressed as Little Red Riding Hood I took a picture of them as they were entering the theater and sent it to the cast “We just have no idea how many people this show can affect and change and inspire.” “Into the Woods” runs June 6 – 11, 2023 at the Dr. Phillips’s Center’s Walt Disney Theater, showtimes vary. For information or tickets, visit drphillipscenter.org or call 407-358-6603 also celebrates Forbach's new independently released solo album of the same title The disc will be available to the public on the concert date will also feature fellow castmates with choreography provided by Courtney Combs Kansas native Forbach understudies Raoul and Reyer The album features songs of leading-man roles in modern musical theatre The concert of A New Leading Man will be performed 2 PM Jan Admission is $20 per person with 50 percent of each ticket going directly to Family Promise of Las Vegas whose goal is to help homeless families get off the street and back into homes Concertgoers will also receive a free copy of Forbach's debut CD Additional pledges to Family Promise can be made at the theatre or online For more information or to purchase the CD "A New Leading Man," visit jasonforbach.com or other online music retailers Tracks are available to listen to now on www.jasonforbach.com All instrumentation was performed by Joey Singer the musical director and long-time Vegas jazz musician "The concert will be mostly songs from the album and possibly other songs in the same theme of the album that I wasn't able to record The exact song list has yet to be ironed out." go to www.FamilyPromiseLVTickets.com or contact Bruce Ewing at (702) 245-0992 Forbach attended the University of Missouri-Columbia on a music scholarship where he majored in vocal performance He performed with both the opera and musical theatre departments He was the first vocalist in the school's history to be named the Chancellor's Emerging Artist Winner in 2000 He decided to continue his musical training and was accepted at the New England Conservatory in Boston where he was named the Frelinghuysen Grant Recipient and completed his masters degree Forbach appeared in opera and musical theatre and was featured in Wallace and Allen Shawn's play/opera The Music Teacher Off-Broadway (also cast recording) and in The New York Festival of Song's tribute to Hal Prince at Carnegie Hall's Weill Recital Hall Directed and choreographed by Richard Stafford the limited engagement continues through Nov The North Shore Music Theatre's production of the international hit musical Miss Saigon began previews at the Massachusetts venue Nov. 5 prior to an official opening Nov. 6 at 7:30 PM. Read the Playbill.com story. Devin Ilaw (Thuy) and Haley Swindal (Ellen) The creative team also features Andrew Bryan (music director) Jonathan Stahl (associate director/choreographer) Eric Johnston (assistant music director) and Binder Casting (casting) Miss Saigon is produced for North Shore Music Theatre by Bill Hanney (owner/producer) Arianna Knapp (artistic director) and Beth Vasta (associate producer) For tickets and information call (978) 232-7200, visit nsmt.org or visit the box office in person at 62 Dunham Rd. You are using an outdated browser. Please upgrade your browser or activate Google Chrome Frame to improve your experience Owner Kayla Forbach has nearly a decade of experience in the salon industry Owner Kayla Forbach creates these necklaces from shed snake skin The necklaces are just some of the items for sale in the small boutique in Enchanted Roots Beauty Studio Stylist areas feature a decorative mirror and are spaced out so no one feels crammed Those looking to try a new style have a new opportunity with Enchanted Roots Beauty Studio in Clanton Owner Kayla Forbach said she chose the name because she “wanted something different” to reflect that “we are definitely not like any other salon.” Some of the salon’s specialties include blonding and hair color her favorite thing is “total transformations taking someone from one look to something completely opposite just making people feel good about themselves.” “I have some people come in who have never had their hair done professionally … some have had bad experiences and I always try to listen to them and see just exactly what they want,” Forbach said Forbach has nearly a decade of experience in the salon industry having worked for other salons and out of her home prior to opening Enchanted Roots Beauty Studio She decided to establish a salon in September 2022 and renovations of the space took a month of long hours “This was like a three-month project we crammed into one month,” Forbach said The beauty studio opened in late December 2022 The owner said the community response has been good with customers enjoying the open atmosphere of the space Forbach said she enjoys “the freedom of having my own schedule” and being able to run things in a way that supports the best experience for the client as well as the stylist She wants everyone to feel comfortable coming to Enchanted Roots “You don’t have to be a certain way and you definitely don’t have to be a certain type of person to come in here,” Forbach said A small boutique within the beauty studio features shirts Forbach makes jewelry featuring shed snake skins in the design Future plans for the business include adding stylists Enchanted Roots Beauty Studio is located at 1610 Seventh Street North in Clanton For information about appointments and hours when walk-ins are accepted visit the Enchanted Roots Beauty Studio Facebook page The Memphis Grizzlies (38-22) take on the Atlanta Hawks (27-33) as 8.5-point favorites on Monday the Brooklyn Nets (21-39) take on the Atlanta Hawks (27-33) at 6 p.m.… The Tampa Bay Lightning versus the Florida Panthers is a game to catch on a Monday NHL slate… The Wake Forest Demon Deacons versus the Duke Blue Devils is one of two games on the college… There are several strong matchups on Monday in AAC hoops including the Wichita State Shockers taking on the… who performed as Enjolras in the 25th anniversary national tour production of Les Miz — and who originated the role of Feuilly in the current revival — began performances Oct Forbach has also been seen in the Las Vegas company of The Phantom of the Opera This reimagined production opened on Broadway March 23. Read critics' reviews here The original orchestrations are by John Cameron with new orchestrations by Christopher Jahnke sound by Mick Potter and projections realized by Fifty-Nine Productions Musical staging is by Michael Ashcroft and Geoffrey Garratt Musical supervision is by Stephen Brooker and musical direction by James Lowe Visit LesMiz.com/Broadway Bitter Winter A magazine on religious liberty and human rights 09/14/2021 A+ | A- The Protestant temple of Behren-lès-Forbach (credits).Vandalism of Christian churches continues in France. While perpetrators are rarely identified, or their motives ascertained, the number of incidents indicates an epidemic of such attacks, whose growth is alarming. On August 27, unknown vandals set fire to the basement room of the Protestant church of Behren-lès-Forbach, in the northeastern French region of the Moselle. Happily, firefighters intervened on time and the fire was contained, although the room can no longer be used for parish activities. The Protestant temple of Behren-lès-Forbach was built in the 1960s to serve the local miners. After the mines were closed at the end of the 20th century, the Protestant community declined, and during the COVID crisis regular services were no longer held, although the community still met occasionally. Vandals might have believed that the temple was disaffected, although in fact it wasn’t. Minister Darmanin’s tweet.French Interior Minister Gérald Darmanin denounced the attack in a tweet, and promised effective action to identify the perpetrators. As in other similar cases they may, however, never be discovered. Known for its criticism of the Catholic Church and the discriminations it had to endure from the Bavarian government even in the midst of the most horrible persecutions The Director of Hospital México had removed the image in the name of religious freedom of non-Catholics Anti-cultists believed that by reproducing an article by “Charlie Hebdo” they could refuse to correct their defamatory statements CESNURVia Confienza 1910121 TorinoItalyinfo@bitterwinter.org Copyright © 2025 · Bitter Winter · PRIVACY POLICY· COOKIE POLICY Many aspects of the Goldberg Variations are shrouded in mystery—including the rationale behind the composition's nickname and the origin of the aria the bass line of which forms the architecture for each of the thirty variations that follow Long thought to have been composed for Johann Gottlieb Goldberg—a musician employed by the Russian ambassador Count Kaiserling in the electoral court of Saxony who was thought to have commissioned the work for Goldberg to play during the Count's many sleepless nights—this origin tale has actually long been debunked leaving the title to be interpreted ambiguously at best the aria itself cannot be traced directly to Bach with the only autograph version of the thirty-two-measure preamble appearing in the handwriting of Bach's second wife A handwritten copy of the Goldberg Variations aria what does remain is the work's legacy as one of the most ambitious and difficult compositions ever written for the harpsichord—specifically a double-manual (or keyboard) instrument In its length it eclipses even the large-scale orchestral compositions of the time and in terms of sheer dexterity it demands much of the performer: Each variation maintains a unique character through the use of varying time signatures and musical styles ranging from elegant sarabandes to staunch French overtures There are incredibly problematic hand crossings and fiendishly difficult voicings that are exacerbated even more by the modern-day practice of performing the work on a single keyboard One of only sixty such instruments ever produced the Museum's Bösendorfer was built with 164 keys—the standard 88 on the lower keyboard and 76 on the upper—in a design developed by the Hungarian composer and inventor Emanuel Moor To aid the performer in using both keyboards the lower manual's keys have raised backs (shown below) which allow the pianist to simultaneously play both keyboards with one hand; the keys of the upper manual are crafted in the standard shape because the upper keyboard is tuned to play one octave above its analogous keys on the lower manual passages needing difficult octave work are made easier through the use of an additional pedal that can activate both the upper and lower octave's hammers at once Grand piano with double keyboard Moor's design was initially thought to be unrealistic from a manufacturer's perspective but was finally adopted for a brief period of time by Bösendorfer originally owned by Winifred Christie Moor (Emanuel's wife herself a well-known pianist and advocate of the double-manual design) was given to the Met as an indefinite loan in 1947 and subsequently confirmed as a permanent loan by the trustees of Moor's estate in 1968 Detail view of the Bösendorfer's nameplate and keyboard showing Moor's raised-key design the piano lived in the office of the then-curator of the Department of Musical Instruments Rose Curator in Charge of Musical Instruments Ken Moore fondly remembers the piano's important place in Winternitz's office while working with the former curator during his student days Christopher Taylor's upcoming performance marks the first time the Bösendorfer will be seen by the public since Winternitz's retirement in 1973 and it has recently undergone extensive tuning and diagnostic checks in preparation for this unique performance on November 21 To purchase tickets to The Goldberg Variations: The Double Manual Experience or any other Met Museum Presents event, visit www.metmuseum.org/tickets; call 212-570-3949; or stop by the Great Hall Box Office Related LinkOf Note: Celebrating National Piano Month And remember that if you disconnect while not listening to WKCR we can continue to bring you innovative live-hosted radio Give Today board@wkcr.org Public File German power utility EnBW says its new pumped hydro storage project will require an investment of €280 million ($304.9 million) It is scheduled for completion by the end of 2027 German utility EnBW has announced plans to build a pumped hydro storage station in Forbach where EnBW already operates the Rudolf Fettweis hydropower plant with a capacity of 71 MW will be used for the new Forbach Pumped Storage Power Plant/New Lower Reservoir project EnBW intends to invest €280 million ($304.9 million) in the project with construction set to commence this year and completion expected by the end of 2027 The plan has received full approval from the Karlsruhe regional administration following over five years of extensive work involving numerous experts and sectoral authorities The pumped hydro station will feature a pump turbine capable of generating 54 MW in turbine mode and 57 MW in pump mode EnBW will also install three additional Francis turbines with a combined output of approximately 23 MW the existing Forbach equalization basin will be expanded to incorporate a cavern water reservoir in the neighboring hillside enhancing its capacity during the construction of the new pumped storage power plan “After more than five years of intensive work by numerous experts and sectoral authorities the Karlsruhe regional administration issued the plan approval notice,” EnBW said in a statement The pumped hydro station will consist of a pump turbine with a capacity of 54 MW in turbine mode and 57 MW in pump mode EnBW will also install three new Francis turbines with a total output of approximately 23 MW “During the construction of the new pumped storage power plant the existing Forbach equalization basin will also be expanded with the addition of a cavern water reservoir in the adjacent hillside,” the company stated More articles from Emiliano Bellini Please be mindful of our community standards and website in this browser for the next time I comment By submitting this form you agree to pv magazine using your data for the purposes of publishing your comment Your personal data will only be disclosed or otherwise transmitted to third parties for the purposes of spam filtering or if this is necessary for technical maintenance of the website Any other transfer to third parties will not take place unless this is justified on the basis of applicable data protection regulations or if pv magazine is legally obliged to do so You may revoke this consent at any time with effect for the future in which case your personal data will be deleted immediately your data will be deleted if pv magazine has processed your request or the purpose of data storage is fulfilled Further information on data privacy can be found in our Data Protection Policy Δdocument.getElementById( "ak_js_2" ).setAttribute( "value" This website uses cookies to anonymously count visitor numbers. View our privacy policy. × The cookie settings on this website are set to "allow cookies" to give you the best browsing experience possible If you continue to use this website without changing your cookie settings or you click "Accept" below then you are consenting to this Close You may have heard the St John Passion – but how often have you actually listened to it Tenor Mark Padmore explains how TS Eliot and the John Gospel are bringing its sacred meaning back to life Blake’s words of wisdom have never been less heeded than in our age of anxiety for preservation Whether it is cryogenics or selfies or campaigning for endangered species – for better or worse we seem obsessed with trying to keep hold of things Johann Sebastian Bach knew a different world Eleven of his 20 children died before he did and he had little expectation that much of what he composed would or could be preserved after his death His St John Passion failed to attain a definitive authoritative form – an attempt to produce a fair manuscript copy foundered in 1739 after 20 pages – and each of the four times that he performed it he had to make changes according to availability of instruments or players or because of changes in theological fashion the St John Passion fell into obscurity after his death in 1750 and it wasn’t heard again until Mendelssohn revived it in 1822 Another 50 years passed before Joseph Barnby performed it for the first time in England it has become a staple part of the repertoire and receives performances each year from choral societies church and cathedral choirs and specialist early music groups It has been staged – including a memorable production at ENO where I appeared holding a live lamb – and has been recorded more than 200 times Paul Whelan in St John Passion at the Coliseum Photograph: Tristram Kenton for the GuardianSitting at my computer I can access facsimiles of the manuscripts and numerous editions and I can listen to countless recordings on Spotify and YouTube But in what sense is it ever possible to possess a piece of music Is Bach’s St John Passion preserved in a score or on a CD There is something distorted – one could say dysfunctional – in the relationship between classical music and recordings Pretty much the entire repertoire was written for live performance – indeed most of it was written before recording was invented classical music is provided by the huge catalogue of recordings instantly available on the internet We are in danger of losing touch with the greatest strength of classical music – its livenessThere are many benefits to being able to access such an extraordinary resource but there are also some dangers The first stems from the ease with which we become casually familiar with music Like the Woody Allen joke – “I took a speed-reading course and read War and Peace in 20 minutes It involves Russia” – we are led to believe that because we know how a piece goes I would argue that there is always more to learn more to discover and because music unfolds over time we can only ever hold an impression of a piece in our mind The second danger is that we start to hear live performance passively as if it were an aide-memoire to the unfolding of the familiar We probably notice if something goes wrong but otherwise we can essentially allow a performance to remind us of what we think we know already The third danger is that our reliance on recordings encourages a strange connoisseurship whereby they are judged against one another There is a misguided search for the definitive performance – as if there could be one single ideal interpretation People pull out obscure vintage recordings in the way that someone might show with a vintage wine This is where the record collection resembles the stamp collection – music becomes a possession rather than a process we are in danger of losing touch with the greatest strength of classical music – its liveness unpredictable nature of great music performed in the moment for that moment only shouting out descriptions of the orchestration and musical structure as he goes This gives a vivid idea of how difficult it is to get to know music – the effort involved in acquiring knowledge Even if you lived in a city with a symphony orchestra and opera house you would hear only a handful of works in any one season The thrill of hearing an orchestra play a Beethoven symphony you had only ever heard on a village piano would have been enormous How do we communicate a piece to an audience with immediacy and urgency And how can I avoid complacency when coming back to a work that I have known for 35 years and performed 150 times One way is to question our own assumptions and preconceptions We must remember that the Passion was not a standalone concert piece but was created as an integral part of a liturgical event – perhaps the most important of the year It would have been performed during a three-hour service on Good Friday afternoon motets and organ improvisations as well as a very substantial sermon placed between the two parts of the Passion Instead of a sermon, Simon Russell Beale will read Psalm 22 and part of TS Eliot’s “Ash Wednesday” These great poems are full of resonance for the Passion story and they are chosen in direct response to the last line of the final chorale of Part 1 – “rühre mein Gewissen” – “stir up my conscience” The performance will conclude with a motet written a hundred or so years before the Passion by Jacob Handl – “Ecce quomodo moritur justus” – “behold how the just man dies” This is a beautiful meditation on death Bach placed quite deliberately after the final chorale and it draws us away from a triumphal reading of the Passion story towards a more contemplative one The other defamiliarising element will be to perform without a conductor This requires more rehearsal time and more responsibility for the performance by every player and singer Bach lived before the invention of the “maestro” and relying on subtle gestures between the players and a high level of musicianship to guide the performance The music should reach the listener unmediated by an interpreter as Beethoven said about his Missa Solemnis Bach only heard the St John Passion four times – each time kissing it as it flew We need to approach every performance as though it were our first – and might just possibly be our last We trace his appeal Down Under with musicians and musicologists Colonial Australians may have struggled with JS Bach’s St Matthew Passion but the composer’s music quickly found a following Down Under but was there something about his rebellious nature Steve Dow talks to musicians and musicologists about why Australians can’t get enough of Bach When Johann Sebastian Bach’s great sacred oratorio was first presented in colonial Australia the performances were more comically grim than grand.  the Melbourne Philharmonic Society assumed that classical audiences would know the composer’s chorales so it hyped up the country’s first staging of Bach’s St Matthew Passion Get unlimited digital access from $4 per month Subscribe Contribute to Limelight and support independent arts journalism Parrwang Lifts the Sky is a timely reminder of the importance of connection: to country we round up the musical tributes to our past and present servicemen and women while also being dismissed by some as a composer of ‘light’ music Yvonne Frindle takes up the cudgel on his behalf German virtuoso Carolina Eyck explains what it’s like to become one with arguably the rarest instrument ever invented The latest arts appointments and departures The editors of Limelight share their selection of the most exciting classical music says Indigenous composer and songwriter Nancy Bates — and music gives us the means and the method Your essential coast-to-coast guide to the Australian music being played on our concert stages this month What used to be thought of as a gateway to 'proper' symphonic music is now a mainstay of orchestral programming Log in to read the PDF version of Limelight's April 2025 magazine Leading Black American countertenor Reginald Mobley talks about discovering his voice Check out our playlists from our latest issue Our free Weekly Newsletter delivers the latest arts news reviews and features to your inbox each Saturday Count Keyserlingk, the insomniac Russian ambassador to the Kingdom of Saxony for whom Johann Sebastian Bach may have written the Goldberg Variations supposedly rewarded the composer with a golden goblet filled with 100 Louis d'ors It was a small price to pay for the crowning achievement of Baroque keyboard music The Goldberg Variations uses as its point of departure a two-part aria in G major from the second notebook Bach wrote (in 1725) for his wife The theme's richly ornamented bass line gives solid harmonic support the only changes Bach makes in the harmonization are changes from major to minor The piece is arranged as 10 groupings of three variations; in each group two variations are in free or characteristic style an obbligato line in the bass accompanies the canon The 30 variations function not only as a brilliant investigation of the theme but also as a masterly compendium of style and a study in how to write idiomatically for the keyboard while the final variation is a quodlibet in which Bach weaves two popular German songs into the texture going full circle; it is a wonderful touch it's impossible to hear the aria the same way after the variations as before them I think this is one of the finest recordings of any piece on the piano and certainly one of the finest of this particular piece it succeeds in many ways that the famous recordings by Glenn Gould did not in that it approaches the music with a much deeper sense of style Murray Perahia has great fingers and he brings a sense of linkage in the music of one piece to the next which was very much part of Bach's original conception There is lift and spring to his rhythm and phrasing which ties in with the fact that behind much of Bach's music is the dance Become an NPR sponsor The collaboration includes $250,000 in patient monitors which will be used to help train Vietnamese clinicians across the country on how to better utilise patient monitors to improve patient care specifically in the emergency department and intensive care unit (ICU) Through this grant GE Healthcare will provide more than 30 of the company’s B40 and CARESCAPE B650 patient monitors in addition to two CIC Pro central monitoring stations These systems can assist clinicians in potentially reducing a patient’s duration of stay and mortality in the ICU “Strengthening the application of modern technology to improve the quality of medical care and training has always been the first priority of Bach Mai Hospital for the past 100 years of establishment and development,” said Professor Nguyen Quoc Anh “The signing of this cooperation agreement between GE Healthcare and Bach Mai Hospital today opens great opportunities for transferring expertise and enhancing education between GE’s leading experts and Vietnamese colleagues in order to access high-quality health services As one of the largest hospitals in Vietnam Bach Mai plays a large role in the education and training of much of Vietnam’s healthcare work force It is reported that nearly 2,000 clinicians a year receive various kinds of medical training courses at Bach Mai post graduates and clinicians participating in advanced clinical training programmes clinicians will have access to various workshops and trainings facilitated by GE Healthcare’s vast network of expert clinicians from around the globe “Education and training have long been priorities for GE Healthcare in Vietnam,” said David Utama “Our goal is help improve access to quality healthcare by helping to build the capacity of healthcare professionals via our ASEAN Healthcare Learning Institute As one of the largest teaching hospitals in Vietnam there is no better partner than Bach Mai to help drive this mission of healthcare education and increased access for Vietnamese across the country.” Today’s announcement marks an extension of an MOU GE Healthcare signed with the Vietnamese Ministry of Health in 2012 which outlined the collaborative journey between the two organisations to improve healthcare training and education for healthcare providers across Vietnam ★ Poor ★ ★ Promising ★★★ Good ★★★★ Very good ★★★★★ Exceptional Vietnam Investment Review under the Ministry of Finance Advertisement  | Contact us a speed camera located on the A320 between Freyming and Forbach in the French Moselle department flashed almost all vehicles even those that were respecting the speed limit the fault lasted several hours and occurred due to a vehicle detection issue that caused the camera to misidentify cars as lorries The breakdown came as a surprise to many motorists driving at or below the 110 km/h speed limit A whole series of testimonies subsequently began to flood social networks with some of the affected drivers fearing that they might be fined everything was back to normal by Tuesday afternoon the device had indeed fallen victim to a technical problem with the part that evaluates the volume of vehicles As the speed limit for lorries is 90km/h on the stretch in question even the most respectful car drivers had their snapshot taken the offence messages produced during the device malfunction were not forwarded to the French road traffic offence processing centre which confirmed that the speed camera had indeed been repaired on Tuesday and that it would remain under surveillance for a few more days The maximum offering rate is 20 per cent of BHX's total share capital and the transaction is slated to be completed in 2022-2023 Proceeds would be used to expand BHX’s distribution network and aid the development of online sales channels Investors across the globe (with the exception of direct rivals in Vietnam) who make the highest offer to purchase BHX shares would be suitable partners MWG has officially entered into a joint venture with PT Erafone Artha Retailindo a subsidiary of Erajaya Group in Indonesia Era will not sell ICT products because Erafone dominates the market share of this segment Era Blue stores will carry the latest products from well-known consumer electronics brands in a welcoming Erajaya engages in the distribution and retail of mobile telecommunication devices Their market share in the ICT sector is claimed at 30 per cent in Indonesia The new cooperation with MWG is Era's fifth expansion venture The company entered the cosmetic business via the acquisition of The Face Shop in 2020 food and beverage via minority shares in Sushi Tei and the Paris Baguette bakery franchise An audience of some 300 gathered in St James’s Church to listen to Lucia Micallef and the European Union Chamber Orchestra (EUCO) give a rendition of two Bach piano concertos in D Minor (BWV1052) and F Minor (BWV1056) The concert was rounded off with a performance of Holst’s St Paul’s Suite and Haydn’s Symphony No 59 in A Major The concert marked a new recording of four of Johann Sebastian Bach’s Keyboard concertos recorded by Micallef with the EUCO and conducted by Schembri The recording has now been released by Divine Art Records under the title of Bach Keyboard Concertos Micallef demonstrated why she is one of Malta’s leading pianists delivering an impressive performance that both respected Bach’s beautifully constructed works while delivering a welcome freshness to the music she was wholly supported by the orchestra and conductor EUCO have played in more than 70 countries around the world performing in leading concert halls with some of the most distinguished musicians Schembri was able to draw out the best of this group of musicians for what was a memorable evening was designed and built by Sir Christopher Wren and consecrated in 1684 This project contributes to the run-up to Valletta 2018 showcasing the best of Maltese musical talent collaborating with some of the best performers from across Europe to present the public with the pinnacle of European Baroque music which remains vital and relevant in the 21st century The project was supported by The Malta Arts Fund the Culture Directorate and the EUCO Trust please register for free or log in to your account.