June 23, 2016

Calendar

Sep
24
Mon
Sasol New Signatures Art Competition 2018 @ Pretoria Art Museum
Sep 24 @ 8:00 am – Oct 4 @ 5:00 pm

Sasol New Signatures Art Competition 2018
Open to the public: 30 August to 7 October

The Sasol New Signatures Art Competition is presented annually in collaboration with the Association of Arts Pretoria.   As the longest running art competition in South Africa, the Sasol New Signatures Art Competition – now in its 29th year – has been a platform for promoting emerging artists and their work to the art-loving public at large.

 

For more information on the competition and exhibition visit www.sasolnewsignatures.co.za | www.artsassociationpta.co.za or contact Nandi Hilliard at the Association of Arts Pretoria. 012 346 3100/083 288 5117

Enquiries at the Pretoria Art Museum: Hannelie du Plessis – 012 358 6748 or hanneliedp@tshwane.gov.za

“Sometimes it’s the smallest things that have the greatest effect. From the invisible molecules that make up the paint adorning a canvas, to the undiscovered artist who captivates audiences with a unique and inspiring masterpiece – this is your time to be noticed.”

Art plays an important part in the cultural fabric of our nation and competitions serve to encourage greater creativity across age, gender and education, as well as to acknowledge the wealth of talent that we have in our country.

We recognize that art is one of the most fundamental expressions of human behaviour, and Sasol has thus been assembling a collection of contemporary South African art since the 1960’s.

The collection came about through the efforts of former Sasol Chairman, Johannes Stegmann, who worked tirelessly to assemble a collection that gives enjoyment, inspires, enriches, and occasionally perplexes.  His influence began a period of many years where talented young South Africans were given the opportunity to excel in the visual and performing arts.

According to Stegmann,”What touches the spirit of man more than art?  From the earliest times, it was literature, music and the visual arts which distinguished man from other beings.  Art is a mystery which communicates through languages which cannot easily be translated into words.  Art is also often controversial, especially when it is contemporary. “

The Sasol New Signatures competition has been a platform for promoting emerging artists and their work to the art loving public at large.  Many of the works now have a proud place in the Sasol art collection.

Visiting Hours and Admission Fees:

Tuesday to Sunday:
10:00 to 17:00
Closed on Mondays and Public Holidays
Admission:
Adults: R 22,00
Pensioners: R11,00
Learners: R 5,00
Pre-booked guided tours for Children:
Pre-booked guided tours for Adults:
Admission + R15,00 per person (R20,00)
Admission + R15,00 per person (R37,00)

Physical address:

Pretoria Art Museum
Cnr Schoeman and Wessels Str
Arcadia Park
Arcadia
Pretoria
Republic of South Africa

Postal address:PO Box 40925
Arcadia
0007
Pretoria
Republic of South Africa
Antique and Collectables Fair @ Voortrekker Monument
Sep 24 @ 9:00 am – 3:00 pm
Antique and Collectables Fair
Maandag 24 September vanaf 09:00 tot 15:00 

The market takes place on the roof of the large amphitheatre. It starts at 09:00 and ends at 15:00.  Exhibitors at the market have to pass a selection process and they are awarded permanent stalls.

For bookings and enquiries contact: Geraldine Paulsen at (Tel) (012) 326-6770 or marketing@vtm.org.za; Office hours – Monday to Friday from 08:00 to 16:00.

Erfenisfees @ Voortrekker Monument
Sep 24 @ 9:00 am – 3:00 pm

Erfenisdag, 24 September, word hierdie jaar by die Voortrekkermonument gevier met ‘n Erfenisfees, die 80-jarige bestaan van die Voortrekkermonument en die laaste Antiek- en versamelaarsmark vir 2018. Die Antiekmark sal oudergewoonte op die dak van die groot amfiteater plaasvind en die erfenisfees op die piekniekterrein. Beide die mark en die erfenisfees duur van 09:00 tot 15:00 en toegang is R30 per motor.

Die erfenisfees gaan ‘n heerlike gesinsdag vol interessante aktiwiteite en kultuurdemonstrasies wees. Ons gaan brood in die tradisionele bakoond bak, koffie brand, kerse giet, botter maak en swepe vleg. Die Trekboervereniging bied weer ‘n tipiese Voortrekkeruitstalling met  kakebeenwaens en pioniersgoedere op die “ou werf” naby die bakoondterrein aan, asook demonstrasies van smeewerk en voorlaaier skiet. Naas allerlei snuisterye, handwerk, en boekkraampies, sal heerlike potjiekoskos, ingelegde produkte en tuisgemaakte happies  te koop aangebied word. Kanon Susanna sal om 12.00 vreedsaam bulder.

Karin Preller Exhibition. Association of Arts Pretoria @ Association of Arts Pretoria
Sep 24 @ 9:00 am – Oct 4 @ 6:00 pm

Karin Preller Exhibition. Association of Arts Pretoria
21 September to 10 October

 

ASSOCIATION OF ARTS PRETORIA

Where art comes alive. Welcome to our Association. This is the prime platform for you to catch up on happenings in the art-world. We get excited by promoting young artists and revelling in the work of more established ones. Our regular exhibitions showcase classic and contemporary pieces, creating a space for the enjoyment of art and a cross-pollination of creative thought. As mavericks, we like to shake things up and break the mould (while having great respect for traditionalists). We exhibit only the finest and often thought-provoking works.

BECOME A MEMBER
Join the Association of Arts – Pretoria as a member today. You don’t have to be an art expert or artist – as long as you love the visual arts. Celebrate with us as we blaze trails for new and established artists.

173 Mackie Street, Nieuw Muckleneuk
Pretoria, South Africa
artspta@mweb.co.za
http://www.artsassociationpta.co.za
Heritage Exhibition @ Brooklyn Theatre
Sep 24 @ 4:00 pm – Oct 4 @ 5:00 pm

The CANSA art gallery @ Brookyn theatre will host a group art exhibition this year. The opening will be on Heritage day 24 September 2018 at 16h00. As we are celebrating Heritage day or artist are from all walks of Life.

As part of the exhibition we will have the Pretoria Weavers guild exhibiting work that has been hand spun and woven. (attachment 2) the guild is currently involved in collecting as much information as we can about Textile Weaving in Southern Africa so that this knowledge can be consolidated and conserved.

We would particularly like to find out where about weaving schools and cooperatives and weavings in Churches and Buildings where members of the public could view them. 

Azael Langa grew up in an artistic family, At first he did not adhere to being an artist until he won his first art competition in grade 6. After his primary years he daye whent to an art High school and it was there where he realized that, that was exactly what he wanted to be – an artist.  Artists’ statement : To me art is not a day job or career, but it is a lifestyle. My art is about socio-political activism and going about the subject I show the exploitation of the average joe; the corruption of the elite and bringing to the surface that which is of sight like they say “out of sight out of mind” it is also about taking the intangible events, circumstances and becoming a mediator to the public.

 

 

 

 

 

 

 

 

 

 

 

 

 

Ntwanano Shilubana:

Nano is currently completing a Film course at Open Window Institute. I do freelance photography and videography. As an artist, my work explores emotional response through the use of color & various pop culture references.(for examples don’t be afraid to check my Instagram :@nanotheimac2.0) Also currently working on a variety of short projects including: short films, music projects, and clothing design, for/with other up & coming artists in & around Pretoria to Jo’burg.

 

 

Jaques v d Westhuizen (3de attachment)

Jacques van der Westhuizen wins this year’s top accolade in the SASSDA art category. Van der Westhuizen is an emerging South African artist who specialises in medium to large scale unique three dimensional stainless steel sculptures, for all audiences.

The sculptures are completely hand shaped and made with hand shaping tools and take a great amount of time and love to create. It has taken 31 years to master the art of manipulating stainless steel. He says: “The process is an intense visual and mental challenge as it requires me to manipulate stainless steel into awkward shapes and forms by hand. I have achieved this level of craftsmanship because Passion is Fashion!” 

Michael Heyns and Marthinus Höll

Michael and Marthinus both live in Pretoria and have made names in the art world over the past 45 years. Both studied art at university and have become household names all over South Africa. They are both still very active in the work palce but also give class and very involved in community development.

Sep
25
Tue
Etienne Labuschagne Art Exhibition Alliance Francaise @ Alliance Française de Pretoria
Sep 25 @ 9:00 am – Oct 4 @ 7:00 pm

On the 22nd September 2018 the Alliance Francaise De Pretoria, 99 Rivier st Sunnyside Pretoria will host the opening of an art exhibition by Etienne Labuschagne. He is a Pretoria based painter who paints in oils,water colours and mixed media. He paints mostly in an impressionist style and is inspired by the effect of light.He has exhibited in Pretoria on 5 occasions over the past 15 years.His artworks are in private collections all over the world,most notably in the USA,Canada,Australia,the Netherlands and Korea.In recent times he has been influenced by Monet in particular and has produced several water lily themed artworks.

Also on this day we will have a live performance by Roland Buchanan and a weaving exhibition by MARNUK weaving studio. We looking forward to a festive day and invite the public to join us on this day to enjoy art, song and the joy of life. We will als ohave a exhibition by the Cancer Association of South Africa (CANSA)

Mondays to Thursdays 09h00-19h00
Fridays and Saturdays 09h00-12h00
Closed Sundays and Public Holidays.

Address: 99 Rivier St, Sunnyside, Pretoria, 0132

Roland Buchanan:

I believe I was born to sing. My mother was an opera singer and I am sure I heard her magnificent voice even before I was born……. however, my voice was very slow to mature and I had to wait for half a lifetime before my singing started to sound true…I became a professional flautist as it was the closest I could get to the singing voice ….I also ran my own opera company living my dream through other singers. Over the years, as I stood in the sidelight of my own projects it was sometimes too much too bear,  but I never stopped believing, and slowly but surely I developed, until finally, my turn came. It would not have been possible if I had not met Kiewiet Pali who is my vocal coach, he is the man responsible for teaching me fine singing, and I cannot thank him enough for his guidance. I named this show  “Crossover” not just because it is my favorite music genre, but also because I have finally crossed over from instrumentalist to vocalist. I would urge anybody to follow their dreams, and believe in miracles…….and most of all to never doubt yourself.

Marnuk Weaving studio:

The weaving studio is based north of Pretoria and teach people from the art of weaving. The weaving studio is part of the Gaufestival and will also be at the art exhibition at Brooklyn Theatre for the duration of the festival.

ABOUT CANSA (editor’s notes)

CANSA offers a unique integrated service to the public and to all people affected by cancer. CANSA is a leading role-player in cancer research (more than R12 million spent annually) and the scientific findings and knowledge gained from our research are used to realign our health programmes, as well as strengthen our watchdog role to the greater benefit of the public.  Our health programmes comprise health and education campaigns; CANSA Care Centres that offer a wide range of care and support services to those affected by cancer; stoma and other clinical support and organisational management; medical equipment hire, as well as a toll-free line to offer information and support.  We also supply patient care and support in the form of 11 CANSA Care Homes in the main metropolitan areas for out-of-town cancer patients; a Wellness Centre based in Polokwane; and CANSA-TLC lodging for parents and guardians of children undergoing cancer treatment.

Kunsuitstalling Tshwane-Suid onderwysdistrik @ Voortrekker Monument
Sep 25 @ 9:00 am – Oct 5 @ 5:00 pm

Kunsuitstalling :

Gallery 20/20

Tshwane-Suid onderwysdistrik
Graad 1-9 leerders (2d & 3D art)
Tuesday 25 September  – Friday 5 October 2018
Opening Saturday 23 September at 10H00

Eeufees Rd, Groenkloof 358-Jr, Pretoria, 0027

 

 

Sep
26
Wed
“TREES ARE LIFE” SCHOOL COMPETITION Prize Giving Gala @ Brooklyn Theatre
Sep 26 @ 12:00 pm – 2:00 pm

“TREES ARE LIFE” SCHOOL COMPETITION 
Prize Giving Gala on Wednesday 26 September 2018 12h00

September is Arbor Day.

The GauFestival Committee, supported by the Department of Agriculture, Forestry and Fisheries, presents the “Trees are Life” competition and invite Gauteng Schools to participate in the various categories, being:

  1. School’s Champion Tree
  2. Tree Art
  3. Tree Essay
  4. Tree Poetry

Various prizes up for grabs:

  • Tree Book by Dentrological Society
  • Money Prize for Champion Tree
  • Sappi prizes of garden goods for planting tree

Rules:

There are two categories for Art, Essay and Poetry, namely Grade 1 to 7 and Grade 8 to 12 and participating schools may submit one entry per category, to the GauFestival Competition. It is suggested that each school have their own internal competition to determine the winner in each category. Each entry must be accompanied by a fully completed nomination form.  It is not compulsory to submit entries in all categories.

      1. School Champion Tree  (Applications downloaded here)

      2. Tree Art:
        Each participating school may submit their winner in each category for the competition. The artwork must be done on A4 (minimum) and any medium may be used (oil, pastel, pencil, etc) and be hand delivered 16 July 2018 to Brooklyn Theatre, Greenlyn Village Centre, c/o Thomas Edison and 13thStreets, Menlopark. Please obtain a signature for the submitted work.


      3. Tree Essay:
        An essay, composition, or story in Afrikaans or English with a maximum of 1500 words, may be submitted.  Please note only one entry per category, per school, will be allowed.


      4. Tree Poetry
        A poem in either Afrikaans or English may be submitted, with a maximum length of one A4 page.  Only one entry per category, per school, will be allowed.


      5. Essays and Poems must be submitted electronically to admin@brooklyntheatre.co.za.

      6. The closing date for all submissions is 16 July 2018. No late entries will be accepted.

      7. The winners will be announced at the Winners Concert at Brooklyn Theatre 26 September 2018 12h00

      8. Enquiries relating to the champion tree competition may be directed to Izak van der Merwe at both the following email addresses, izakvdm@netactive.co.za and izakvdm@daff.co.za.

EDUCATION AFRICA PRESENTS A FAMILY INTERACTIVE CONCERT OF MARIMBA MUSIC
BE PREPARED FOR A FEAST FOR YOUR EARS AND EYES.

Ticket prices:

“Trees are life.” Prize giving Gala Concert
Wednesday 26 September 2018 12h00

Adults – R130 Children – R90

BOOK NOW

Brooklyn Theatre (012 460 6033)
Greenlyn Village Centre
C/o Thomas Edison and 13th Streets
Menlo Park

TRANSPORT TO THEATRE

Uber
GAUTRAIN Time table for SUNDAY concerts at 15:00
DKS is an exclusive chauffeur service. Offering 24 Hour group or individual short or long distance transfers.
Tel : 0861462222 emergency : 0823076193
Email : bookings@dks.co.za
www.dks.co.za

 

Faust Opera Gounod @ State Theatre
Sep 26 @ 6:30 pm – 10:00 pm

FAUST gives the State Theatre audiences a unique opportunity to experience the opulence, elegance and refinement of French Grand Opera. The story of the man who sells his soul for worldly gain has been a powerful influence on composers and writers for centuries. The opera, in five acts composed by Charles Gounod around 1856, features the aging and disillusioned scholar Faust, a tragic figure originally created by the famous German playwright Johann Wolfgang von Goethe. The opera sees Faust calling upon evil and dark forces to assist him in regaining his youth and finding love. Méphistophélès, an iniquitous villain dressed as a dashing nobleman, appears and presents Faust with a deal that he finds impossible to resist when Méphistophélès entices Faust with a vision of the beautiful Marguerite at her spinning wheel. Faust’s sinister pact with Méphistophélès sets a series of events in motion which sees good and evil manifesting in the dark desperation of Faust, the unblemished innocence of Marguerite, the youthful infatuation of Siebel and Valentin’s cruel condemnation of his sister, Marguerite. FAUST has all of the elements which epitomises opera as the finest art form through which real life drama in all its facets find universal expression. The exquisite and delightful vocal writing includes many well-known arias such as Marguerite’s jewel song and Valentin’s famous aria, “Avant de quitter ces lieux” which was immortalised by the legendary Russian baritone, Dmitri Hvorostovsky. FAUST offers the State Theatre audiences an audio-visual spectacle which includes a line-up of dazzling operatic soloists, rich symphonic orchestral accompaniment, sonorous opera chorus and show-stopping corps de ballet.

  • Ticketsales opening soon.
  • More information about the cast to follow.

Wednesday 26 Sept 18:30 – 22:00
Friday 28 Sept 18:30 – 22:00
Sunday 30 Sept 15:00 – 18:00
Thursday 4 Oct 18:30 – 22:00

State Theatre
320 Pretorius St,
Pretoria Central,
Pretoria,
0001
012-392-4000

Love and War @ Theatre on Pointe
Sep 26 @ 7:00 pm – Sep 28 @ 7:00 pm

LOVE & WAR
Isolated Civilians (Contemporary Dance Choreography) 
26 Sept 19:00 and 28 Sept 19:00
Ticketsales through www.ticketspace.co.za
Book now here

Our Production/Play is about the sexual stereotypes towards Homosexuality in the society, the message is brought into life through a choreographed, contemporary story telling narrated through the uses of artforms such as Poetry and Dance. The platform that which GauFestival can provide is massive in a scale that the festival can help our production reach the much needed crowd and audience to not only market further our brand and talent, but to also give us an opportunity to voice our version of tales to the masses.

About the Artist / Company:

Brat, short for Thabang Pete has had the opportunity to working on various dance projects, and working with various dance professionals too.

Passion runs throughout his blood veins as he owns every stage he performs on. A former dance lecture at The University of Technology, his dance students have not only graduated to pursue successful dance careers, the lessons and the impact that he had on them continues to live within them throughout their careers. The following is just a brief of what he has accomplished within just a space of his career

Brat has worked with well-known choreographers during the journey of his career with the likes of Megan Erasmus, Somizi, Sydney Agnew, Timothy Le Roux, Willie Venter, Debra Gush, Jeannette Zaidy and also Joyce Hopane. Performed also at the closing ceremony for the 2010 Fifa world cup in South Africa, dancer for the feathers awards, up close and personal with Kelly Khumalo at the Lyric Theatre (Gold reef City) and the African Leaders4Change awards. Brat also got the privilege to have worked with musicians like Dr Moruti, Lady Zamar, singing legend Yvonne Chaka Chaka, Nigeria’s 2face Idibia, Angola’s top artist C4 Pedro and Zimbabwe’s Jah Prayzah.

Theatre on Pointe:

a 153 seater, air conditioned venue in Hatfield Plaza with on-site technical support and equipped with sound, lighting and AV equipment. The theatre, which is part of the Dance De’Art Dance Centre, boasts a large foyer area with gourmet kiosk and has ample parking. The complex also has 6 rehearsal spaces (dance studios) of various sizes and a costume wardrobe.

Sep
28
Fri
Back to the Future – Contemporary Glass inspired by the Past @ Association of Arts Pretoria
Sep 28 @ 9:00 am – Oct 4 @ 7:00 pm

Back to the Future – Contemporary Glass inspired by the Past
28 September to 18 October

Processed with VSCO with q3 preset

 

ASSOCIATION OF ARTS PRETORIA

Where art comes alive. Welcome to our Association. This is the prime platform for you to catch up on happenings in the art-world. We get excited by promoting young artists and revelling in the work of more established ones. Our regular exhibitions showcase classic and contemporary pieces, creating a space for the enjoyment of art and a cross-pollination of creative thought. As mavericks, we like to shake things up and break the mould (while having great respect for traditionalists). We exhibit only the finest and often thought-provoking works.

BECOME A MEMBER
Join the Association of Arts – Pretoria as a member today. You don’t have to be an art expert or artist – as long as you love the visual arts. Celebrate with us as we blaze trails for new and established artists.

173 Mackie Street, Nieuw Muckleneuk
Pretoria, South Africa

artspta@mweb.co.za
http://www.artsassociationpta.co.za

GPO Vier Letzte Lieder (Richard Strauss) Moldau (Smetana) @ Brooklyn Theatre
Sep 28 @ 7:00 pm – 9:00 pm

OCTOBER (Sponsored by Rupert Music Foundation)
The Moldau (Smetana)
Vier Letzte Lieder (Richard Strauss) – Erica Eloff (soprano)
Alexander Fokkens (Conductor)

CONCERTS
Fri 28 Sept 19:00
Sun 30 Sept 15:00

Block A (Adult) – R310 Block B (Adult) – R260
Block A (Senior) – R260 Block B (Senior)- R210
Block C (Row P, Q, R) – R160

BOOK NOW

Brooklyn Theatre (012 460 6033)
Greenlyn Village Centre
C/o Thomas Edison and 13th Streets
Menlo Park

“… her poise is remarkable in such a young singer – her statuesque bearing does her no harm, … Her voice is bright without being brassy, her phrasing musical and elegant …” – Melanie Eskenazi, Seen & Heard International

Erica Eloff:

Over the last few years, soprano Erica Eloff has steadily built her career on the concert platform to become a sought after soloist and recitalist. Praised in the media for her vocal authority and technical control, and a voice that is bright and well-produced across its range with great power at the top, she is a passionate and deeply musical performer.

Erica’s wide-ranging repertoire includes all of the major choral compositions including several lesser known works. As an active chamber musician and passionate performer of Lieder and contemporary music, Erica has presented world premiers of works by American, Argentinian, English and South African composers, including works specifically written for her by composers James Wilding, Augusto Arias and Hannes Taljaard.

As winner of the London Handel Singing Competition, Erica had the privilege of collaborating with Laurence Cummings and the London Handel Players on several occasions, including performing Handel’s Messiah at St. George’s. Her operatic experience includes the roles of Farnaspe (Adriano in Siria), Flowermaiden (Parsifal), Giovanna (Ernani), Chloë (Gruta de Ninfas), Ottone (Griselda),Galatea (Acis and Galatea), Meleagro (Atalanta), Euridice (Orfeo ed Euridice), Ilia (Idomeneo), Fiordiligi and Despina (Cosi fan tutte), First Lady and the Queen of the Night (Die Zauberflöte), Violetta (La Traviata), Tatyana (Eugene Onegin), Kate Pinkerton (Madama Butterfly), Dido and Belinda (Dido & Aeneas), Frasquita (Carmen), Adéle (Die Fledermaus) and Adina (L’elisir d’amore).

Erica’s engagements for the 2017-18 season sees her reprise the title role of Floria Tosca at the Schlossfestspiele Schwerin (G. Puccini Tosca), as well as return to the role of The Queen of the Night (W.A. Mozart Die Zauberfloete) for Theater Lübeck. She continues her collaboration with Opera Settecento for various concerts, as well as joining The Hanover Band for their Christmas Messiah tour throughout the UK. For up to date information about the various chamber music recitals and concerts she participates in throughout the year, please visit her calender.

When not performing vocal pyrotechnics or occupying herself with music and all things musical, Erica runs a busy family shuttle service as part of her duties as Elastagirl, and spends a lot of time cooking, cleaning and listening to her children singing, rhyming, arguing and relaying all sorts of random facts.

Everyone loves a winner. And, from the moment she began her final recital at the start of this year’s Handel Singing Competition, the South African soprano Erica Eloff looked and sounded the part… and I can’t wait to hear her again… She really inhabited each aria – and at the end was radiant with laughter as though she’d enjoyed every minute. We certainly did …” – Hilary Finch, The Times

Alexander Fokkens’ extensive experience, both local and international, his professionalism , and his intense passion for music have led him to become one of the most sought-after conductors in South Africa.

Committed to ensuring that performances under his baton are of the very highest calibre and level of musicality ,  Alexander’s artistic integrity , personality and energy on the podium , and his excellent rapport with musicians and singers alike , have made him popular with performers and audiences everywhere .

Since returning from the USA in 2005, Alexander has been involved in many different areas of classical music in South Africa , and he currently holds a number of posts .

In 2011 , he was appointed Artistic Director and CEO of the Free State Symphony Orchestra as well as Conductor of the Free State Youth Symphony Orchestra. He has been Music Director of the Symphony Choir of Cape Town since 2005 and holds the positions of General Music Director of the Swakopmund Musikwoche in Namibia  (since 2010) and Musical Advisor to the Namibian National Symphony Orchestra (since 2013).

Alexander is committed to the education of young musicians and one of his undeniable strengths is that of  discovering , inspiring , mentoring and developing  young musical talent  .  Under his expert guidance, students in youth orchestras such as the Fargo Moorhead Area Youth Symphony in the USA (2001-2003), Aberdeen University/Civic Symphony (1999-2005) and Cape Philharmonic Youth Orchestra (2006-2012) have excelled , and these orchestras have risen to new levels of performance.

He has been involved for many years with the University of Cape Town Orchestras , both before and after his time in the USA. He is currently the Music Director and Conductor of the University of Cape Town String Ensemble  and Symphonic Band (2009 to present) ,  and is Resident Conductor of the University of Cape Town Symphony Orchestra (2006 to present).

His vision and unwavering dedication to the delivery of memorable performances have seen Alexander  become an acclaimed  guest conductor, both here and in the USA .  Amongst others, he has conducted the Latien Weed Honours Orchestra in South Dakota, The Grinnell Symphony Orchestra in Iowa, The Cape Philharmonic Orchestra, the KwaZulu-Natal Philharmonic Orchestra, Cape Town Opera, JMI Orchestra, the Black Tie Opera Company, Eastern Cape Philharmonic Orchestra, South African National Youth Concert Orchestra, Free State Symphony Orchestra and Youth Orchestra  , and the Chamber Orchestra of South Africa.  He made his European debut in 2006 , conducting Joplin’s Treemonisha in La Turbie, France and in 2016 made his debut at the Royal Festival Hall, Southbank, London as well as The Welsh Millennium Centre ( Cardiff ), The Bois Gais Theatre ( Dublin, Ireland ), the Mayflower Theatre ( Southampton, UK ), The Hippodrome Theatre ( Birmingham, UK ) and The Lowry Theatre ( Salford, UK ) conducting the production of The Mandela Trilogy.

Many soloists have enjoyed appearing with Alexander , and some of those  who have played or sung under his baton include John Owings, Curt Thompson, Pretty Yende, Koos Kombuis, Tumi Molekane, Leslie Howard, Anmari van der Westhuizen, Anton Nel, Pieter Schoeman and Samson Diamond, to name  but a few.

Graduating from the University of Cape Town in 1998 with a BMus in Orchestral Studies (Double Bass) , Alexander  then went to America and furthered his studies at Texas Christian University ,  where he obtained his Masters in Double Bass performance and completed 3 years of Additional Studies in Theory and Conducting.  He has studied with world- renowned conductors such as Omri Hadari, Gerard Korsten and German Gutierrez  , and has participated in Master Classes with Henry Charles Smith, William LaRue Jones, Jorge Mester, Joann Falletta, Leslie B Dunner and Ron Spiegelman.

Appearances in the near future include performances with the Free State Symphony Orchestra, Eastern Cape Philharmonic, Symphony Choir of Cape Town, and presentations in the USA where he will be resident from January until March 2017.

Alexander lives in Cape Town with his wife, pianist Margaret Foxcroft, and their four children.

RICHARD STRAUSS (1864 – 1949)
Vier Letzte Lieder

Some great artists – Mozart or Schubert for example – seem destined to die young, leaving a bitter aftertaste of promise unfulfilled. Others – such as Sibelius – burn out, sinking into a bleak creative silence with the approach of later middle age. But there are those who continue to blossom into old age – Richard Strauss was one of these. Strauss’s last years, however, were overshadowed by the appalling devastation of his homeland during the Second World War. His 15th opera, Capriccio, was finished in August 1941, and he knew it would be his last, telling his colleague Clemens Krauss: ‘Isn’t this D flat major the best conclusion to my theatrical life- work?’. In 1943 the theatre that had hosted the premières of so many of his operas – the Nationaltheater in Munich – was destroyed by Allied bombs, followed shortly afterwards by other treasured cultural monuments. In the spring of 1945 Strauss’s horror at the tragic whirlwind Germany was reaping found expression in the Metamorphosen for 23 solo strings; and after the collapse of the Third Reich, he and his wife went into voluntary exile in Switzerland, where he had to undergo the humiliation of appearing before a denazification tribunal (he had unwittingly allowed himself to become a puppet of the Nazi government in the early 1930s, when he was briefly appointed Director of the Reichsmusikkammer, and then hastily removed from office when he refused to forego his collaboration with the Jewish librettist Stefan Zweig).

In the early summer of 1948 the 84-year-old composer heard that his reputation had been cleared, and he was free to return home to Garmisch. But by now his health was failing, and he was forced to stay in Switzerland to undergo an operation. During that summer he worked on four orchestral songs, which were to be his swansongs. The first, Im Abendrot (At Gloaming), to a text by Eichendorff, was finished on 6 May; and the remaining three – all to words by Hermann Hesse – between 18 July and 20 September. The last song – appropriately enough – was entitled September. Strauss never set pen to paper again. In August 1949 his heart began to fail, and he died peacefully on 8 September, telling his daughter-in-law, Alice: ‘Dying is just as I composed it in Tod und Verklärung’.

Strauss never heard the Four Last Songs, which were first performed in the Royal Albert Hall by Kirsten Flagstad and the Philharmonia Orchestra under Wilhelm Furtwängler on 22 May 1950. Later the same year they were published in the order dictated by Universal Edition’s editor, Dr Ernst Roth (to whom Im Abendrot is dedicated) and in which they are most often sung today, beginning with Frühling (Spring) and ending with Im Abendrot. Over the past 64 years they have achieved iconic status among music-lovers and they have been performed and recorded by the greatest sopranos of the age, including Elisabeth Schwarzkopf, Jessye Norman, Lucia Popp, Gundula Janowitz and Karita Mattila. The beauty of the poems is matched by incomparable orchestration – rich, glowing, but sufficiently restrained to support and enfold the voice. In the Four Last Songs, Strauss bade farewell to

his three great musical loves: the soprano voice, the violin and the horn. The horn melody that introduces the coda of September and the luminous violin that ushers in the third verse of Beim Schlafengehen (Going to Sleep) rank among the greatest orchestral solos of all time. All four songs are irradiated from within by the imagery of the setting sun and the awareness of approaching death, but there is nothing here of the bleak despair of Schubert’s late songs. Strauss and his life’s companion – his beloved wife Pauline whose voice inspired many of his greatest works – go hand in hand gently into the twilight, choosing not to ‘rage against the dying of the light’. Frühling is an ecstatic setting of one of Hesse’s most romantic poems, praising the beauties of spring; while in September, the sun, like the ageing composer, longs to close ‘its great, wearied eyes’. Beim Schlafengehen (setting a poem written during the First World War while Hesse was undergoing an emotional crisis) expresses the weary soul’s desire to live forever in the ‘magic circle of night’. Finally, Im Abendrot depicts an elderly couple who have come through life’s joys and sorrows together. Now, with tired eyes, they gaze at the sunset, while overhead two larks – portrayed by gentle flute trills – rise into the darkening sky. ‘Is this perhaps Death?’ they ask, to an echo of the ‘transfiguration’ theme from Tod und Verklärung.

© Wendy Thompson

Bedřich Smetana (1824‐1884)
The Moldau

Throughout the nineteenth century, feelings of nationalism swept across much of Europe. People hungered not only for political freedom but also for cultural experiences that would reflect their ethnic heritage. Nowhere were these sentiments stronger than in Bohemia, the birthplace of Smetana. (Although Bohemia is now the Czech Republic, it was part of the Austro‐Hungarian Empire in the early 1800s.)

Like many of his countrymen, Smetana grew up in the shadow of Germanic culture and politics. His family spoke German, he was first inspired musically by the Viennese masters, and as a young man he is even reported to have said, “With God’s help and grace I shall one day . . . be a Mozart in composition.”

Upon finishing school, Smetana moved to Prague, where he began earning a modest living as a piano teacher and composer. After participating in the unsuccessful Revolution of 1848, Smetana felt uncomfortable with the growing rift between Germans and Czechs in Bohemia, and as a result, accepted a teaching position in Sweden. Following the defeat of the Austrians by Napoleon III in 1859, however, the composer returned to Prague once again. With the Austrians gone, the climate was more favorable for Czech musicians, and Smetana now had a clear vision for his life and work. He changed his given name from Friedrich or Frédéric to Bedřch and began to consciously write works that reflect his ethnic heritage.

In 1874 the composer described one of his recent travels: “Today I took an excursion to the St. John Rapids where I sailed in a boat through huge waves . . . . The view of the landscape was both beautiful and grand.” Smetana’s trip inspired his famous symphonic poem The Moldau, which depicts Bohemia’s main river as it flows through the countryside. Part of a cycle of six symphonic poems entitled Má Vlast (My Country), this orchestral work was written in three weeks shortly after Smetana became deaf, but its fresh, optimistic mood gives no hint of the composer’s anguish and despair.

In many ways The Moldau is the epitome of quintessential Romanticism. There is a beautiful melody, and the entire work is filled with such programmatic associations as drama, nationalism, and nature. In the preface to the score the composer penned the following:

The composition depicts the course of the river, beginning from its two small sources, one cold the other warm, the joining of both streams into one, then the flow of the Moldau through forests and across meadows, through the countryside where merry feasts are celebrated, water nymphs dance in the moonlight; on nearby rocks can be seen the outline of ruined castles, proudly soaring into the sky. The Moldau swirls through the St. John Rapids and flows in a broad stream toward Prague. It passes Vyšehrad [where an ancient royal castle once stood], and finally the river disappears in the distance as it flows majestically into the Elbe.

Smetana realized that the music for such a program would not fit within the confines of a “true” symphony. As a result, he turned to the newer, more flexible genre—the symphonic poem. The Moldau is thus in one movement, not several, and there is no sonata form in which contrasting themes are developed through tonal exploration and presented again toward the end. Instead, new thematic material occurs in each scene of the story. In the hands of a lesser composer, the result might have been a mere series of vignettes. With Smetana, however, all the sections “flow” (pun intended) seamlessly from one to the other, and a truly magnificent river theme periodically recurs, melding together the various parts to create a unified composition.

Smetana takes advantage of the expanded orchestra of the nineteenth century. He uses relatively new instruments, such as the triangle, cymbals, and harp, for “magical” moments in the moonlight, while the lower brasses and shrill piccolo add excitement to the passage through the rapids.

Toward the end of the work, a feeling of triumph emerges as the music changes from minor to major. We realize that the Moldau is not just a river. It’s a symbol of nationalist yearnings that can instill immense pride but sometimes stir audiences to violent political demonstrations. It’s no wonder that when the Nazis occupied Bohemia during World War II, performances of Smetana’s The Moldau (as well as the remainder of Má Vlast) were banned in Prague, the composer’s home city.

Ironically, scholars have traced the “river theme” back to a Swedish folk song, one that Smetana probably heard during his one‐year teaching stint in Sweden. After the symphonic poem became well known, this melody appeared in a collection of Eastern Romanian songs and was later fitted to the words of Tikvatenu (“Our Hope”). The resulting hymn was Hatikvah, which was eventually adopted by the First Zionist Congress and became the national anthem of the State of Israel in 1948. According to Richard Taruskin:

The Moldau theme, with its Czech manifestations, can thus be looked upon as a stage in the history of a melody as it passed from Swedish origins to its Israeli destination. But of course, even this characterization is misleading. There are no origins and no destinations in such histories, only stages.

© Dr. La Wanda J. Blakeney

Love and War @ Theatre on Pointe
Sep 28 @ 7:00 pm – Sep 30 @ 7:00 pm

LOVE & WAR
Isolated Civilians (Contemporary Dance Choreography) 
26 Sept 19:00 and 28 Sept 19:00
Ticketsales through www.ticketspace.co.za
Book now here

Our Production/Play is about the sexual stereotypes towards Homosexuality in the society, the message is brought into life through a choreographed, contemporary story telling narrated through the uses of artforms such as Poetry and Dance. The platform that which GauFestival can provide is massive in a scale that the festival can help our production reach the much needed crowd and audience to not only market further our brand and talent, but to also give us an opportunity to voice our version of tales to the masses.

About the Artist / Company:

Brat, short for Thabang Pete has had the opportunity to working on various dance projects, and working with various dance professionals too.

Passion runs throughout his blood veins as he owns every stage he performs on. A former dance lecture at The University of Technology, his dance students have not only graduated to pursue successful dance careers, the lessons and the impact that he had on them continues to live within them throughout their careers. The following is just a brief of what he has accomplished within just a space of his career

Brat has worked with well-known choreographers during the journey of his career with the likes of Megan Erasmus, Somizi, Sydney Agnew, Timothy Le Roux, Willie Venter, Debra Gush, Jeannette Zaidy and also Joyce Hopane. Performed also at the closing ceremony for the 2010 Fifa world cup in South Africa, dancer for the feathers awards, up close and personal with Kelly Khumalo at the Lyric Theatre (Gold reef City) and the African Leaders4Change awards. Brat also got the privilege to have worked with musicians like Dr Moruti, Lady Zamar, singing legend Yvonne Chaka Chaka, Nigeria’s 2face Idibia, Angola’s top artist C4 Pedro and Zimbabwe’s Jah Prayzah.

Theatre on Pointe:

a 153 seater, air conditioned venue in Hatfield Plaza with on-site technical support and equipped with sound, lighting and AV equipment. The theatre, which is part of the Dance De’Art Dance Centre, boasts a large foyer area with gourmet kiosk and has ample parking. The complex also has 6 rehearsal spaces (dance studios) of various sizes and a costume wardrobe.

Sep
29
Sat
Hansie & Grietjie @ Pierneef Teater
Sep 29 @ 10:00 am – 11:00 am

HANSIE EN GRIETJIE BELOWE HOPE SOET GENOT VIR JONK EN OUD!
Saterdag, 29 September 10:00
Bespreek by 012 329 0709 of info@pierneefteater.co.za

Pretoria, Maart 2018– Hansie en Grietjie is op die planke by die Gaufestival op Saterdag, 29 September vir ‘n vertoning vol genot, lag en natuurlik al die geliefde karakters van die bekende feëverhaal.

“Wat ‘n uitstekende produksie! Die kinders het elke sekonde geniet, en die grootmense, glo dit of nie, nog meer!” – Karina Nel. Hoof van Altewys Kleuterskool. 

Stel die kinders weer bloot aan die klassieke storie van Hansie & Grietjie met ‘n TWIST! Kyk weer na hierdie storie van ‘n boetie en sussie wat saamstaan teen die nare snoepietannie.

Die produksie het ook groot sukses behaal in ‘n 2017 toer na kleuterskole in Gauteng.

“Ons produksies poog altyd eerstens om die kinders aktief betrokke te kry, te laat lag en hul verbeeldings te gebruik. Natuurlik verskuil daar ook baie belangrike morele lesse in elkeen van die verhale wat ons na die verhoog bring.” – Sanette Olivier. Uitvoerende Hoof van Jo Christal Akademie (Pty) Ltd.

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PIERNEEFTEATER

Hansie en Grietjie
Jo Christal Produksies
Die kaartjiepryse is R65 vir volwassenes en R55 vir kinders.
Bespreek by 012 329 0709 of info@pierneefteater.co.za

AirFlair in Concert @ Brooklyn Theatre
Sep 29 @ 11:00 am – 12:00 pm

AirFlair in Concert
Something old, something borrowed, something blue
GauFestival – 29 September 11:00

The Airflair Wind Quintet was established in 2014 and unites five leading musicians from Pretoria and its surrounding regions.  Its members all occupy principal positions within the Gauteng Philharmonic and each has a reputation of astounding musicianship which collectively results in Airflair’s status.  Since its inception Airflair has shared it’s enthusiasm for chamber music with audiences around Gauteng and each member’s contribution stems from extensive individual chamber-, solo-, and orchestral experience.

The quintet’s usual repertoire ranges from standard classical- to romantic works (Nielsen Quintet, Danzi Quintet), including arrangements of some well-known orchestral works (Moussorgsky’s Night on Bald Mountain, Stravinsky’s Pulcinella Suite) and commissioned South African composer Niel van der Watt to compose a new work for them in 2015 (Scenes from Romeo and Juliette).  This work was premiered in 2016 to wide acclaim and has become an audience favourite partly because of the narrative component that tells the tale of Romeo and Juliette.  They are actively enjoying and performing quintet music in the vibrant music scene of Gauteng.

In this performance – Something Old, Something Borrowed, Something Blue – French Impressionism, German Romanticism, and American Groove is showcased via a diverse selection of music of Ibert, Klughardt, and Gershwin.

Program

Ibert, J. – Trois piece breve

Klughardt, A. – Wind Quintet op. 79

Gershwin, G. – Rhapsody in blue, arranged for wind quintet

www.gaufestival.com

Ticket sales:
Saturday 29 September 11:00

R130 pp Adults
R80   pp Students/Childrens

BOOK NOW

Brooklyn Theatre (012 460 6033)
Greenlyn Village Centre
C/o Thomas Edison and 13th Streets
Menlo Park

TRANSPORT TO THEATRE

1UBER
2GAUTRAIN Time table for SUNDAY concerts at 15:00
3DKS is an exclusive chauffeur service. Offering 24 Hour group or individual short or long distance transfers.
4Tel : 0861462222 emergency : 0823076193
5Email : bookings@dks.co.za
6www.dks.co.za

Laetitia de Lange (Flute) completed her BMus degree (Cum Laude) at the University of Pretoria. During her studies she went to America to work with a renowned flute maker of the Vermont Guild of Flute Making to learn flute repair. After her BMus she completed a degree in Jewellery Manufacture (Cum Laude) to learn the necessary fine metal skills needed for instrumental repairs. She returned to America in 2011 to the  Vermont Guild of Flute Making to also complete a flute head joint making course. Laetitia currently teaches privately, as well as at Reddam House Waterfall, Crawford College Pretoria and Waterkloof High School Pretoria. She is an active orchestral and chamber musician and has performed with various prominent orchestras across Gauteng. She is currently busy with her MMus degree at the University of Pretoria specialising in chamber music.  She is part of the AirFlair woodwind quintet and is currently the principal flute of the Gauteng Philharmonic Orchestra.

Dr. Johan Ferreira (Oboe) is currently principal oboist of the Gauteng Philharmonic, based in Pretoria.  He has been invited to the Wakkerstroom Music Festival in 2014, making a return appearance in 2017. He freelances on a regular basis with the KZNPO and JPO respectively as adhoc member of their oboe sections. He has attended masterclasses by some of the leading oboists in the world and holds an LRSM from the Royal Schools of Music in oboe performance. In 2017 he completed a Decoda Institute of South Africa fellowship together with the affiliate ensemble of Decoda hailing from New York, USA. Johan is an MMus student in oboe performance at the University of the Witwatersrand, teaches at the University of Pretoria, and regularly performs in and around South Africa.

Jaco van Staden (Horn) is currently the principal horn player of the Gauteng Philharmonic Orchestra, Head of Music at the Mamelodi Magnet School, and part-time lecturer in French Horn at the University of Pretoria. He was formerly the Head of Brass at St John’s College, JHB. Apart from his regular activities as horn player and teacher, he is very passionate about chamber music and is a member of the woodwind quintet, Airflair. Jaco was invited to participate at the 2017 DISA chamber music conference in partnership with DECODA. Since 2008 he is part of the MIAGI orchestra and performed at numerous International tours with the Miagi and New Skool orchestras as principal horn. These tours included international music festivals, between 2009 and 2014, such as the Young Euro Classic Festival, Schleswig-Holstein Music Festival and the Ludwigsburger Schlossfestspiele, and had performances in the Berlin Philharmonie, Konzerthaus Berlin, Laeiszhalle Hamburg, the Concertgebouw Amsterdam, and the Royal Palace in Stockholm.

Lizet Smith (Clarinet) teaches clarinet at Pretoria Boys High School and is also part time clarinet lecturer at the University of Pretoria. She is the principal clarinet for the Gauteng Philharmonic Orchestra and does freelance work for the Gauteng Opera orchestra. She released a clarinet and piano compact disc with Annalien Ball in 2007. She also features on a CD of works by Niel van der Watt. Stefans Grové dedicated two clarinet works to Lizet.

Esther Watkinson (Bassoon) hails from Canada and has been active in the South African music scene for more than 20 years. She studied bassoon performance in Ottawa and shortly thereafter took up an orchestral post in the then National Symphony Orchestra of SA. Currently Esther performs as the principal bassoon of the Gauteng Philharmonic and with the wind quintet AirFlair.

Market@TheSheds @ 012 Capital
Sep 29 @ 11:00 am – 8:00 pm

Market @ the Sheds
29 September at 11:00–20:00

Set in a trendy multi-space precinct of 012central, Market @ the Sheds is a monthly gathering spot where people from all walks of life can experience the true colours of the capital! Local fashionistas, art lovers, foodies, tourists, trendsetters and socialites of all ages find themselves indulging in delicious street foods and craft cocktails, whilst collectible designer goods spread curiosity, and the smell of hand-made leather adds to the spice of it all!

#marketatthesheds #capitalcollective #discoverthetruecoloursofthecapital #foodie #music #live #entertainment #design #fashion #art#lovemyhood #events #ptown

SANDF Combined military bands Picnic Concert 2018 @ Fort Schanskop
Sep 29 @ 7:00 pm – 9:00 pm

SANDF Combined military bands PICNIC CONCERT 2018

Saturday 29 September FROM 17:00
Concert starts promptly at 19:00 until 21:00
Fort Schanskop
Voortrekker Monument

CASH purchase on the concert date only.

Book Now

Come and enjoy a picnic concert at Fort Schanskop with the combined military bands of the SA Army, SA Air force, SA Military Health Services and SAP. Directed by Major Andrew Strugnell, Music Director of the National Ceremonial Guard band.

Fort Schanskop at the Voortrekkermonument has a concrete amphi-theatre. You are welcome to bring cushions. There is also a flat area where you can use a picnic blanket, or collapsible chairs. You are welcome to bring a picnic basket. No alcohol. There are food stalls and a cash bar on the premises.

The programme includes popular marches, songs and famous pieces for wind band performed in a picnic atmosphere under the stars at Fort Schanskop at the Voortrekker Monument in Pretoria.

Seating is on the grass under a huge thorn tree or on the amphitheatre stairs. The concert will take place between 19:00 and 21:00 and a shuttle bus service(available from 17:00 will be available between the parking area and the Fort before and after the concert. Food stalls and a cash bar will be provided from 17:00. You may also bring your own picnic basket without any alcoholic drinks.

Ticket Prices

Saturday 29 September FROM 17:00
Concert starts promptly at 19:00 until 21:00

Adults R150.00
Seniors: R120.00
Children: R 80.00

CASH purchase on the concert date only.

Book Now

Address:
Voortrekker Monument, Eeufees Road,
Groenkloof 358-Jr, Pretoria, 0027, South Africa

Tot die Dood Ons Skei (Jo Christal Produksies) @ Pierneef Teater
Sep 29 @ 7:00 pm – 9:00 pm

Tot die Dood Ons Skei – 29 September 19:00 (Jo Christal Produksies)

As die sirkel van die psige ‘n kraak in het, vloei die bloed daaruit. Dit is die agtergrond van die tweeling se speelplek wat hulle met uitbundigheid gebruik om hulle dors na wraak te voed. Maar ‘n wiel is in die vatsoen van ‘n sirkel, en die wiel mag dalk net draai…

‘n Psigo-Drama met Sanette Olivier, Tiaan Lubbe en Lian Sachse.

Teks en Regie: Sanette Olivier.
(Ouderdomsbeperking: 16VL)

R100 Volw. /R80 Stud.  Geen onder 16s.

Besprekings by die Pierneefteater: 012-329-0709 / info@pierneefteater.co.za
Die pers word ook vriendelik uitgenooi om die vertonings by te woon.

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Vir meer inligting, of vir onderhoude, kontak vir 083 7811 445 of projekte@jochristal.co.za.

Sep
30
Sun
Mariam Batsashvili Piano Recital @ Brooklyn Theatre
Sep 30 @ 11:00 am – 12:00 pm

Mariam Batsashvili Piano Recital
Sunday 30 September 11:00

Oh, what a wonderful, majestic beginning. Mariam Batsashvili began Tchaikovsky’s Piano Concerto No. 1 in B minor powerfully – but not with violence, rather with grandeur. (…) The young pianist has a superbly clear attack, and technically speaking plays perfectly, without being interested in perfection or making a show of it. No, she is interested in something quite different: in maintaining intimate contact with the accompanying orchestra, for example, not only with her playing, but also physically, with looks and gestures. She understands music making as concert-giving in the best sense – together.

Süddeutsche Zeitung, Egbert Tholl, 13.5.2017

Book Now Sunday 30 September 11:00

Block A (Adult) – R170 Block B (Adult) – R150
Block A (Senior) – R150 Block B (Senior)- R130
Children/Students/Learners R120

Brooklyn Theatre (012-460-6033)
Greenlyn Village Centre
C/o Thomas Edison and 13th Streets
Menlo Park
www.brooklyntheatre.co.za

At just 24 years old, Mariam Batsashvili already ranks among the most promising young pianists of her generation. She gained international recognition at the 10th Franz Liszt Piano Competition in Utrecht 2014, where she won First Prize as well as the Junior Jury Award and the Press Prize. “Winner Batsashvili turns every phrase into something special”, headlined Dutch newspaper NRC Handelsblad, and the international Jury called her a “complete artist” with a “tremendous touch” and “sincere emotion”.

Following this success, she gained her first experiences with leading symphony orchestras, including the Dutch Radio Philharmonic Orchestra under the baton of James Gaffigan in the Concertgebouw Amsterdam (Liszt Piano Concerto No. 1), the Rotterdam Philharmonic Orchestra under Rafael Payare (Tchaikovsky Piano Concerto No. 1) and the Brussels Philharmonic Orchestra (Saint-Saëns Piano Concerto No. 2). Mariam has also given recitals in more than 30 countries – among these China, South Korea, Indonesia, Brazil, the United States, South Africa, France, Spain, Norway, the Baltic countries, Benelux and Germany.  She has been the guest of many international festivals, such as the Beethovenfest Bonn, Pianofortissimo Festival Bologna and the Delft Chamber Music Festival.

Mariam Batsashvili has just been announced as a BBC New Generation Artist and will perform at major festivals and concert venues across the UK as part of the BBC Radio 3 New Generation Artists scheme. She was nominated by the European Concert Hall Organisation (ECHO) as ‘Rising Star’ for the 2016/17 season, and performed in the most significant concert halls throughout Europe, including the Philharmonies of Paris, Cologne and Luxembourg, the Vienna Musikverein, the Palais des Beaux-Arts in Brussels, the Müpa Budapest, L’Auditori in Barcelona, the Stockholm Concert Hall, the Southbank Centre in London, the Elbphilharmonie Hamburg, and returned to the Concertgebouw Amsterdam. She was enthusiastically received at London’s Wigmore Hall and gave her debut at the Piano City festival in Milan. She performed Tchaikovsky’s Piano Concerto No. 1 with the Wurttemberg Philharmonic Orchestra Reutlingen under Norichika Iimori in Munich’s Herkulessaal, and Clara Schumann’s Piano Concerto with the Orchestre Dijon Bourgogne under Gábor Takács-Nagy.

The pianist’s 2017/18 season is also peppered with exciting debuts. As well as giving performances at the Philharmonic halls of St Petersburg and Berlin, she will appear at the Tonhalle Zurich and London’s Wigmore Hall. In September, she will make her debut at the Piano aux Jacobins festival in Toulouse. She will perform Mozart’s Piano Concerto No. 23 K 488 with the MDR Symphony Orchestra, the Orchestre National de Belgique and the Wurttemberg Chamber Orchestra Heilbronn. Her touring schedule sees her appearing in countries including Mexico and the USA, and at the Rheingau Musikfestival she will give her first performance of Bach’s Goldberg Variations.

Born 1993 in Tbilisi, Georgia, Mariam Batsashvili first studied with Natalia Natsvlishvili at the E. Mikeladze Central Music School in her hometown, before continuing at the Hochschule für Musik Franz Liszt in Weimar with Professor Grigory Gruzman. In 2011 she won First Prize at the International Franz Liszt Competition for Young Pianists in Weimar, and received the prestigious Arturo Benedetti Michelangeli Award in 2015. Mariam Batsashvili is a scholarship holder of the Deutsche Stiftung Musikleben. She has been an official Yamaha Artist since 2017.

GPO Vier Letzte Lieder (Richard Strauss) Moldau (Smetana) @ Brooklyn Theatre
Sep 30 @ 3:00 pm – 5:00 pm

OCTOBER (Sponsored by Rupert Music Foundation)
The Moldau (Smetana)
Vier Letzte Lieder (Richard Strauss) – Erica Eloff (soprano)
Alexander Fokkens (Conductor)

CONCERTS
Fri 28 Sept 19:00
Sun 30 Sept 15:00

Block A (Adult) – R310 Block B (Adult) – R260
Block A (Senior) – R260 Block B (Senior)- R210
Block C (Row P, Q, R) – R160

BOOK NOW

Brooklyn Theatre (012 460 6033)
Greenlyn Village Centre
C/o Thomas Edison and 13th Streets
Menlo Park

“… her poise is remarkable in such a young singer – her statuesque bearing does her no harm, … Her voice is bright without being brassy, her phrasing musical and elegant …” – Melanie Eskenazi, Seen & Heard International

Erica Eloff:

Over the last few years, soprano Erica Eloff has steadily built her career on the concert platform to become a sought after soloist and recitalist. Praised in the media for her vocal authority and technical control, and a voice that is bright and well-produced across its range with great power at the top, she is a passionate and deeply musical performer.

Erica’s wide-ranging repertoire includes all of the major choral compositions including several lesser known works. As an active chamber musician and passionate performer of Lieder and contemporary music, Erica has presented world premiers of works by American, Argentinian, English and South African composers, including works specifically written for her by composers James Wilding, Augusto Arias and Hannes Taljaard.

As winner of the London Handel Singing Competition, Erica had the privilege of collaborating with Laurence Cummings and the London Handel Players on several occasions, including performing Handel’s Messiah at St. George’s. Her operatic experience includes the roles of Farnaspe (Adriano in Siria), Flowermaiden (Parsifal), Giovanna (Ernani), Chloë (Gruta de Ninfas), Ottone (Griselda),Galatea (Acis and Galatea), Meleagro (Atalanta), Euridice (Orfeo ed Euridice), Ilia (Idomeneo), Fiordiligi and Despina (Cosi fan tutte), First Lady and the Queen of the Night (Die Zauberflöte), Violetta (La Traviata), Tatyana (Eugene Onegin), Kate Pinkerton (Madama Butterfly), Dido and Belinda (Dido & Aeneas), Frasquita (Carmen), Adéle (Die Fledermaus) and Adina (L’elisir d’amore).

Erica’s engagements for the 2017-18 season sees her reprise the title role of Floria Tosca at the Schlossfestspiele Schwerin (G. Puccini Tosca), as well as return to the role of The Queen of the Night (W.A. Mozart Die Zauberfloete) for Theater Lübeck. She continues her collaboration with Opera Settecento for various concerts, as well as joining The Hanover Band for their Christmas Messiah tour throughout the UK. For up to date information about the various chamber music recitals and concerts she participates in throughout the year, please visit her calender.

When not performing vocal pyrotechnics or occupying herself with music and all things musical, Erica runs a busy family shuttle service as part of her duties as Elastagirl, and spends a lot of time cooking, cleaning and listening to her children singing, rhyming, arguing and relaying all sorts of random facts.

Everyone loves a winner. And, from the moment she began her final recital at the start of this year’s Handel Singing Competition, the South African soprano Erica Eloff looked and sounded the part… and I can’t wait to hear her again… She really inhabited each aria – and at the end was radiant with laughter as though she’d enjoyed every minute. We certainly did …” – Hilary Finch, The Times

Alexander Fokkens’ extensive experience, both local and international, his professionalism , and his intense passion for music have led him to become one of the most sought-after conductors in South Africa.

Committed to ensuring that performances under his baton are of the very highest calibre and level of musicality ,  Alexander’s artistic integrity , personality and energy on the podium , and his excellent rapport with musicians and singers alike , have made him popular with performers and audiences everywhere .

Since returning from the USA in 2005, Alexander has been involved in many different areas of classical music in South Africa , and he currently holds a number of posts .

In 2011 , he was appointed Artistic Director and CEO of the Free State Symphony Orchestra as well as Conductor of the Free State Youth Symphony Orchestra. He has been Music Director of the Symphony Choir of Cape Town since 2005 and holds the positions of General Music Director of the Swakopmund Musikwoche in Namibia  (since 2010) and Musical Advisor to the Namibian National Symphony Orchestra (since 2013).

Alexander is committed to the education of young musicians and one of his undeniable strengths is that of  discovering , inspiring , mentoring and developing  young musical talent  .  Under his expert guidance, students in youth orchestras such as the Fargo Moorhead Area Youth Symphony in the USA (2001-2003), Aberdeen University/Civic Symphony (1999-2005) and Cape Philharmonic Youth Orchestra (2006-2012) have excelled , and these orchestras have risen to new levels of performance.

He has been involved for many years with the University of Cape Town Orchestras , both before and after his time in the USA. He is currently the Music Director and Conductor of the University of Cape Town String Ensemble  and Symphonic Band (2009 to present) ,  and is Resident Conductor of the University of Cape Town Symphony Orchestra (2006 to present).

His vision and unwavering dedication to the delivery of memorable performances have seen Alexander  become an acclaimed  guest conductor, both here and in the USA .  Amongst others, he has conducted the Latien Weed Honours Orchestra in South Dakota, The Grinnell Symphony Orchestra in Iowa, The Cape Philharmonic Orchestra, the KwaZulu-Natal Philharmonic Orchestra, Cape Town Opera, JMI Orchestra, the Black Tie Opera Company, Eastern Cape Philharmonic Orchestra, South African National Youth Concert Orchestra, Free State Symphony Orchestra and Youth Orchestra  , and the Chamber Orchestra of South Africa.  He made his European debut in 2006 , conducting Joplin’s Treemonisha in La Turbie, France and in 2016 made his debut at the Royal Festival Hall, Southbank, London as well as The Welsh Millennium Centre ( Cardiff ), The Bois Gais Theatre ( Dublin, Ireland ), the Mayflower Theatre ( Southampton, UK ), The Hippodrome Theatre ( Birmingham, UK ) and The Lowry Theatre ( Salford, UK ) conducting the production of The Mandela Trilogy.

Many soloists have enjoyed appearing with Alexander , and some of those  who have played or sung under his baton include John Owings, Curt Thompson, Pretty Yende, Koos Kombuis, Tumi Molekane, Leslie Howard, Anmari van der Westhuizen, Anton Nel, Pieter Schoeman and Samson Diamond, to name  but a few.

Graduating from the University of Cape Town in 1998 with a BMus in Orchestral Studies (Double Bass) , Alexander  then went to America and furthered his studies at Texas Christian University ,  where he obtained his Masters in Double Bass performance and completed 3 years of Additional Studies in Theory and Conducting.  He has studied with world- renowned conductors such as Omri Hadari, Gerard Korsten and German Gutierrez  , and has participated in Master Classes with Henry Charles Smith, William LaRue Jones, Jorge Mester, Joann Falletta, Leslie B Dunner and Ron Spiegelman.

Appearances in the near future include performances with the Free State Symphony Orchestra, Eastern Cape Philharmonic, Symphony Choir of Cape Town, and presentations in the USA where he will be resident from January until March 2017.

Alexander lives in Cape Town with his wife, pianist Margaret Foxcroft, and their four children.

RICHARD STRAUSS (1864 – 1949)
Vier Letzte Lieder

Some great artists – Mozart or Schubert for example – seem destined to die young, leaving a bitter aftertaste of promise unfulfilled. Others – such as Sibelius – burn out, sinking into a bleak creative silence with the approach of later middle age. But there are those who continue to blossom into old age – Richard Strauss was one of these. Strauss’s last years, however, were overshadowed by the appalling devastation of his homeland during the Second World War. His 15th opera, Capriccio, was finished in August 1941, and he knew it would be his last, telling his colleague Clemens Krauss: ‘Isn’t this D flat major the best conclusion to my theatrical life- work?’. In 1943 the theatre that had hosted the premières of so many of his operas – the Nationaltheater in Munich – was destroyed by Allied bombs, followed shortly afterwards by other treasured cultural monuments. In the spring of 1945 Strauss’s horror at the tragic whirlwind Germany was reaping found expression in the Metamorphosen for 23 solo strings; and after the collapse of the Third Reich, he and his wife went into voluntary exile in Switzerland, where he had to undergo the humiliation of appearing before a denazification tribunal (he had unwittingly allowed himself to become a puppet of the Nazi government in the early 1930s, when he was briefly appointed Director of the Reichsmusikkammer, and then hastily removed from office when he refused to forego his collaboration with the Jewish librettist Stefan Zweig).

In the early summer of 1948 the 84-year-old composer heard that his reputation had been cleared, and he was free to return home to Garmisch. But by now his health was failing, and he was forced to stay in Switzerland to undergo an operation. During that summer he worked on four orchestral songs, which were to be his swansongs. The first, Im Abendrot (At Gloaming), to a text by Eichendorff, was finished on 6 May; and the remaining three – all to words by Hermann Hesse – between 18 July and 20 September. The last song – appropriately enough – was entitled September. Strauss never set pen to paper again. In August 1949 his heart began to fail, and he died peacefully on 8 September, telling his daughter-in-law, Alice: ‘Dying is just as I composed it in Tod und Verklärung’.

Strauss never heard the Four Last Songs, which were first performed in the Royal Albert Hall by Kirsten Flagstad and the Philharmonia Orchestra under Wilhelm Furtwängler on 22 May 1950. Later the same year they were published in the order dictated by Universal Edition’s editor, Dr Ernst Roth (to whom Im Abendrot is dedicated) and in which they are most often sung today, beginning with Frühling (Spring) and ending with Im Abendrot. Over the past 64 years they have achieved iconic status among music-lovers and they have been performed and recorded by the greatest sopranos of the age, including Elisabeth Schwarzkopf, Jessye Norman, Lucia Popp, Gundula Janowitz and Karita Mattila. The beauty of the poems is matched by incomparable orchestration – rich, glowing, but sufficiently restrained to support and enfold the voice. In the Four Last Songs, Strauss bade farewell to

his three great musical loves: the soprano voice, the violin and the horn. The horn melody that introduces the coda of September and the luminous violin that ushers in the third verse of Beim Schlafengehen (Going to Sleep) rank among the greatest orchestral solos of all time. All four songs are irradiated from within by the imagery of the setting sun and the awareness of approaching death, but there is nothing here of the bleak despair of Schubert’s late songs. Strauss and his life’s companion – his beloved wife Pauline whose voice inspired many of his greatest works – go hand in hand gently into the twilight, choosing not to ‘rage against the dying of the light’. Frühling is an ecstatic setting of one of Hesse’s most romantic poems, praising the beauties of spring; while in September, the sun, like the ageing composer, longs to close ‘its great, wearied eyes’. Beim Schlafengehen (setting a poem written during the First World War while Hesse was undergoing an emotional crisis) expresses the weary soul’s desire to live forever in the ‘magic circle of night’. Finally, Im Abendrot depicts an elderly couple who have come through life’s joys and sorrows together. Now, with tired eyes, they gaze at the sunset, while overhead two larks – portrayed by gentle flute trills – rise into the darkening sky. ‘Is this perhaps Death?’ they ask, to an echo of the ‘transfiguration’ theme from Tod und Verklärung.

© Wendy Thompson

Bedřich Smetana (1824‐1884)
The Moldau

Throughout the nineteenth century, feelings of nationalism swept across much of Europe. People hungered not only for political freedom but also for cultural experiences that would reflect their ethnic heritage. Nowhere were these sentiments stronger than in Bohemia, the birthplace of Smetana. (Although Bohemia is now the Czech Republic, it was part of the Austro‐Hungarian Empire in the early 1800s.)

Like many of his countrymen, Smetana grew up in the shadow of Germanic culture and politics. His family spoke German, he was first inspired musically by the Viennese masters, and as a young man he is even reported to have said, “With God’s help and grace I shall one day . . . be a Mozart in composition.”

Upon finishing school, Smetana moved to Prague, where he began earning a modest living as a piano teacher and composer. After participating in the unsuccessful Revolution of 1848, Smetana felt uncomfortable with the growing rift between Germans and Czechs in Bohemia, and as a result, accepted a teaching position in Sweden. Following the defeat of the Austrians by Napoleon III in 1859, however, the composer returned to Prague once again. With the Austrians gone, the climate was more favorable for Czech musicians, and Smetana now had a clear vision for his life and work. He changed his given name from Friedrich or Frédéric to Bedřch and began to consciously write works that reflect his ethnic heritage.

In 1874 the composer described one of his recent travels: “Today I took an excursion to the St. John Rapids where I sailed in a boat through huge waves . . . . The view of the landscape was both beautiful and grand.” Smetana’s trip inspired his famous symphonic poem The Moldau, which depicts Bohemia’s main river as it flows through the countryside. Part of a cycle of six symphonic poems entitled Má Vlast (My Country), this orchestral work was written in three weeks shortly after Smetana became deaf, but its fresh, optimistic mood gives no hint of the composer’s anguish and despair.

In many ways The Moldau is the epitome of quintessential Romanticism. There is a beautiful melody, and the entire work is filled with such programmatic associations as drama, nationalism, and nature. In the preface to the score the composer penned the following:

The composition depicts the course of the river, beginning from its two small sources, one cold the other warm, the joining of both streams into one, then the flow of the Moldau through forests and across meadows, through the countryside where merry feasts are celebrated, water nymphs dance in the moonlight; on nearby rocks can be seen the outline of ruined castles, proudly soaring into the sky. The Moldau swirls through the St. John Rapids and flows in a broad stream toward Prague. It passes Vyšehrad [where an ancient royal castle once stood], and finally the river disappears in the distance as it flows majestically into the Elbe.

Smetana realized that the music for such a program would not fit within the confines of a “true” symphony. As a result, he turned to the newer, more flexible genre—the symphonic poem. The Moldau is thus in one movement, not several, and there is no sonata form in which contrasting themes are developed through tonal exploration and presented again toward the end. Instead, new thematic material occurs in each scene of the story. In the hands of a lesser composer, the result might have been a mere series of vignettes. With Smetana, however, all the sections “flow” (pun intended) seamlessly from one to the other, and a truly magnificent river theme periodically recurs, melding together the various parts to create a unified composition.

Smetana takes advantage of the expanded orchestra of the nineteenth century. He uses relatively new instruments, such as the triangle, cymbals, and harp, for “magical” moments in the moonlight, while the lower brasses and shrill piccolo add excitement to the passage through the rapids.

Toward the end of the work, a feeling of triumph emerges as the music changes from minor to major. We realize that the Moldau is not just a river. It’s a symbol of nationalist yearnings that can instill immense pride but sometimes stir audiences to violent political demonstrations. It’s no wonder that when the Nazis occupied Bohemia during World War II, performances of Smetana’s The Moldau (as well as the remainder of Má Vlast) were banned in Prague, the composer’s home city.

Ironically, scholars have traced the “river theme” back to a Swedish folk song, one that Smetana probably heard during his one‐year teaching stint in Sweden. After the symphonic poem became well known, this melody appeared in a collection of Eastern Romanian songs and was later fitted to the words of Tikvatenu (“Our Hope”). The resulting hymn was Hatikvah, which was eventually adopted by the First Zionist Congress and became the national anthem of the State of Israel in 1948. According to Richard Taruskin:

The Moldau theme, with its Czech manifestations, can thus be looked upon as a stage in the history of a melody as it passed from Swedish origins to its Israeli destination. But of course, even this characterization is misleading. There are no origins and no destinations in such histories, only stages.

© Dr. La Wanda J. Blakeney

Oct
1
Mon
Mosadi Kakapa @ Theatre on Pointe
Oct 1 @ 8:00 pm – Oct 3 @ 8:00 pm

Mosadi Kakapa
Thapelo Sistaboss Pule
Mon. 1 Oct 20:00
Wed. 3 Oct 20:00
Ticketsales through www.ticketspace.co.za
Book now here

“Raise your feast woman and lead the way”

Mosadi Kakapa is a musical poetry project inspired by poems written by Thapelo Sistaboss Pule. Miss Pule wants to publish a book called Mosadi Kakapa, which is a collection of her poems, so the musical poetry came as a marketing strategy. The plan is to have a duo, which is a book and a recorded album, if you don’t want to read you can listen to the music. The musical poetry project fusses poetry with afro jazz music. Unexpected the project is being received very well and is now exposing Sistaboss to bookings to events. Currently Sistaboss performs live with a band and the future plan is to get in studio and record a full album with ten tracks. Mosadi Kakapa talks about challenges women goes through in life and how they fight to stay strong and positive against all odds. It also talks about how we as women sometimes pull each other down than to help each other through our struggles. Other tracks touch the issues of domestic violence, rape and culture. It’s an edutainment package that leaves the audience entertained and eye opened at the same time.

Theatre on Pointe:

a 153 seater, air conditioned venue in Hatfield Plaza with on-site technical support and equipped with sound, lighting and AV equipment. The theatre, which is part of the Dance De’Art Dance Centre, boasts a large foyer area with gourmet kiosk and has ample parking. The complex also has 6 rehearsal spaces (dance studios) of various sizes and a costume wardrobe.

Theatre on Pointe
1122 Burnett Street
Hatfield Plaza Pretoria
South Africa

Oct
3
Wed
MAGONJATJIE @ Pierneef Teater
Oct 3 @ 10:00 am – 11:30 am

MAGONJATJIE

Wo 3 Okt  2018
10h00
012 329 0709 of info@pierneefteater.co.za

R70 volwassenes / R60 kinders

Magonjatjie kom sing liedjies oor die bos, oor maatjies en oor dinosourusse! Magonjatjie weet baie van dinosourusse – van die lang nek Apatosourus tot die stekelrige Stegosourus! Hy bring ook ‘n storie saam oor maatjies maak. Kom kyk self en kom leer sommer meer oor die pre-historiese gediertes waarvan daar nou nog net bene en stories oor is.

In die eerste helfte van die vertoning gesels Magonjatjie oor die dinosourusse en hoe hulle geleef het: die grotes en die vettes, díe met dorings en díe met tande; en hy leer vir die maatjies ‘n paar indrukwekkende name. Hy gebruik ’n “skyfievertoning” om die gediertes op ’n kreatiewe en amusante wyse aan die kinders voor te stel.

Tydens die tweede helfte gee Magonjatjie die verhoog oor aan twee dinosourusse wat die storie uitbeeld van hoe dit gekom het dat hulle beste maatjies geword het. Swaaiswaai en Doefvoet wou mekaar aanvanklik net seermaak…of ten minste opvreet, maar toe beland hulle saam in ’n moeilike situasie en van daardie dag af doen hulle alles saam.

Magonjatjie leer vir die gehoor ’n klomp liedjies wat hy self geskryf het, onder andere “Vliegiemakietie”, “Doefvoet” en “Ek soek ’n dinosourus”.

Rhineland-Palatinate Youth Orchestra from Germany @ Brooklyn Theatre
Oct 3 @ 7:00 pm – 9:00 pm

Rhineland-Palatinate Youth Orchestra
Wednesday 3 October 19:00

The Rhineland-Palatinate Youth Orchestra was founded in 1973 and is one of the best ensembles of its kind in Germany. In addition to performing regularly in Rhineland-Palatinate, the orchestra travels abroad from time to time to perform and find new audiences. The Orchestra sees itself not only as an ambassador for Rhineland-Palatinate but also as a group that represents the role of music in extracurricular programs for young people in Germany. Past tours have seen the orchestra performing in Israel, Greece, Spain, Mexico, the United States and China.

At the initiative of Peter Stieber, President of the Landesmusikrat (State Music Council), and Prof. Dr. Ivo Meinhold-Heerlein, who chairs the LJO-Förderkreis (the LJO Sponsors’ Circle) and regularly spends time in South Africa as an honorary professor at the University of Cape Town, the idea arose to bring the LJO to South Africaagain, 20 years after its successful debut tour of the country. The project has been in planning for over a year, and its contours have now taken concrete shape. Performances have been arranged in both South Africa and Botswana. The orchestra will be touring in Johannesburg, Pretoria, Gaborone, Cape Town and Stellenbosch and performing at both nations’ great concert halls.

The first part of the concert represents a connection between Germany/Europe and South Africa. »Ingoma« was written by the South African composer Hendrik Hofmeyr in 1998. His work incorporates versions of Thula, babana and Uqongqothwane. After that, the South African pianist Megan-Geoffrey Prins will play Rachmaninoff Piano Concerto No. 2 together with the youth orchestra which integrates also some other young South African musicians. The second part will be formed by Ludwig van Beethoven’s third Symphony, also called Eroica. Conductor will be Albert Horne who was born in South Africa and works currently at the State Theatre Wiesbaden, Germany.

Concert dates:

  • Tue, 2 Oct 2018, Johannesburg, Linder Auditorium
  • Wed, 3 Oct 2018, 19:00, Pretoria/Tshwane, Brooklyn Theatre
  • Sat, 6 Oct 2018, 20:00, Gaborone, Maitisong Theatre
  • Thu, 11 Oct 2018, Cape Town, City Hall
  • Fri, 12 Oct 2018, Stellenbosch, Endler Hall

Press material can be found at www.ljo-rp.de. Please contact us via email at ljo@lmr-rp.de for all enquiries regarding press, including images or video clips for your publication, logos, press releases and requests for press tickets.

 

 

 

 

 

 

 

 

 

 

 

 

Wed 3 October 19:00

Block A (Adult) – R310 Block B (Adult) – R260
Block A (Senior) – R260 Block B (Senior)- R210
Block C (Row P, Q, R) – R160

BOOK NOW

Brooklyn Theatre (012-460-6033)
Greenlyn Village Centre
C/o Thomas Edison and 13th Streets
Menlo Park
www.brooklyntheatre.co.za

 Megan-Geoffrey Prins, Piano 

Megan-Geoffrey Prins, from Riversdale, South Africa, is a Doctor of Musical Arts candidate at the Cleveland Institute of Music. He recently completed the Master of Music program as a piano student of Antonio Pompa-Baldi at the same institution. Praised for his technical prowess, imaginative interpretation, and keen sensitivity, Prins has received numerous awards from competitions in South Africa and abroad, including first prizes at the UNISA 120th Anniversary Competition, the inaugural Stellenbosch International Chamber Music Festival Competition, the 5th UNISA National Piano Competition, the 2016 Muziq Instrumen-tal Competition, and the 2017 SAMRO Overseas Scholarships Competition. In 2012, Prins re-ceived the Sadie Zellen Piano Prize from the Cleveland Institute of Music and in 2017 he was awarded the Maurice and Judith Kaplow Prize for Uncommon Creativity.

Prins made his concerto debut at the age of 11. By the age of 14, he had performed concerti with all the major orchestras in South Africa including the Cape Town Philharmonic Orches-tra, the Kwa-Zulu Natal Philharmonic Orchestra, the Johannesburg Philharmonic Orchestra, and the University of Stellenbosch Symphony Orchestra. In recent years, Prins has traveled to South Africa, the USA, Italy, France, Switzerland, and Mozambique for solo performances. Prins is an active chamber musician. He frequently collaborates with artists in the CIM community and for the Stars in the Classics concert series in Cleveland, OH. He served on the faculty of the Stellenbosch International Chamber Music Festival in 2016 and 2017. While studying in the USA, Prins returns to South Africa annually for concert performances, teach-ing engagements, and community outreach. Prins is currently raising funds to complete his last year of doctoral study at the Cleveland Institute of Music. For more information, please visit www.megangeoffreyprins.com. 

 Albert Horne, Conductor 

South African-born Albert Horne studied at the Guildhall School of Music and Drama in Lon-don. He worked as Chorus Master and conductor at Cape Town Opera in South Africa from 2007 to 2014, and under his leadership their chorus was voted “Best Opera Chorus of the Year” at the 2013 International Opera Awards in London. In 2012 he was Chorus Master for concert performances of Gershwin’s “Porgy and Bess” at the Philharmonie in Berlin, with Sir Simon Rattle and the Berliner Philharmoniker. He has conducted the Munich Symphony Orchestra, Orchestra Victoria (Melbourne), Orchestre Pasdeloup in Paris, as well orchestras in Malmö, Tel Aviv, Bordeaux, London (ENO) and Cardiff. Albert Horne has been Chorus Master and Conductor at the State Theatre of Wiesbaden since the start of the 2014/2015 season, where he has conducted “Candide”, “Madama Butterly”, “Boris Godunov”, “La Bohème”, “Pe-ter Grimes” and a Symphony Concert, as well as the world premiere of Søren Nils Eichberg’s opera “Schönerland”.

From the first moments of the relatively well-known overture, Albert Horne signalled that premium quality would be served here…Wiesbaden’s “Candide” goes well beyond the usual operetta routine. – FRANKFURTER RUNDSCHAU

Mosadi Kakapa @ Theatre on Pointe
Oct 3 @ 8:00 pm – Oct 5 @ 8:00 pm

Mosadi Kakapa
Thapelo Sistaboss Pule
Mon. 1 Oct 20:00
Wed. 3 Oct 20:00
Ticketsales through www.ticketspace.co.za
Book now here

“Raise your feast woman and lead the way”

Mosadi Kakapa is a musical poetry project inspired by poems written by Thapelo Sistaboss Pule. Miss Pule wants to publish a book called Mosadi Kakapa, which is a collection of her poems, so the musical poetry came as a marketing strategy. The plan is to have a duo, which is a book and a recorded album, if you don’t want to read you can listen to the music. The musical poetry project fusses poetry with afro jazz music. Unexpected the project is being received very well and is now exposing Sistaboss to bookings to events. Currently Sistaboss performs live with a band and the future plan is to get in studio and record a full album with ten tracks. Mosadi Kakapa talks about challenges women goes through in life and how they fight to stay strong and positive against all odds. It also talks about how we as women sometimes pull each other down than to help each other through our struggles. Other tracks touch the issues of domestic violence, rape and culture. It’s an edutainment package that leaves the audience entertained and eye opened at the same time.

Theatre on Pointe:

a 153 seater, air conditioned venue in Hatfield Plaza with on-site technical support and equipped with sound, lighting and AV equipment. The theatre, which is part of the Dance De’Art Dance Centre, boasts a large foyer area with gourmet kiosk and has ample parking. The complex also has 6 rehearsal spaces (dance studios) of various sizes and a costume wardrobe.

Theatre on Pointe
1122 Burnett Street
Hatfield Plaza Pretoria
South Africa

Oct
4
Thu
Veldmuis en Stadsmuis  (WeeKIDZ Produksies) @ Pierneef Teater
Oct 4 @ 10:00 am – 11:00 am

Veldmuis en Stadsmuis  (WeeKIDZ Produksies)
Pierneefteater
Donderdag 4 Oktober 2018

Hoe sê hulle nou weer…Oos wes, tuis bes? Ja! Dis wat hulle sê. En hulle is heeltemal reg. Ons muis-nefies Jaco en Albertus gaan dit ook binnekort uitvind en ook sommer ‘n les of twee oor waardering, nederigheid en verdraagsaamheid leer.

Kom kuier saam met Jaco Muishuizen, en sy nefie Albertus von Muisenhof en kyk hoe besef die tweetjies dat die gras nie altyd groener is aan die ander kant van die draad nie.  Hulle kom ook agter dat dit baie baie belangrik is om dankbaar te wees vir wat jy het.

Moet nie hierdie gesinsvermaak misloop nie!

(012)329-0709 of info@pierneefteater.co.za
R65 volwassenes / R55 kinders

Jungle Book by ACT Studios @ Theatre on Pointe
Oct 4 @ 3:00 pm – Oct 5 @ 6:00 pm

The Jungle Book by Rudyard Kipling 
adapted by Kathryn Schultz Miller
Thursday 4October 15:00
Friday 5 October 18:00

Ticketsales through www.ticketspace.co.za
Book now here

An adaptation of the Rudyard Kipling book taken on by a cast of children, a full scale production performed by children for children.

ACT Studios creates shows performed by children for children. Jungle Book is a story about a young boy Mowgli who has been raised by a family of wolves since birth. He must now leave the only home he’s ever known when the fearsome tiger Shere Khan unleashes his mighty roar. Guided by a no-nonsense panther Bagheera and a free-spirited bear Ballou, the young boy meets an array of jungle animals, including a slithery python and a smooth-talking ape. Along the way, Mowgli learns valuable life lessons as his epic journey of self-discovery leads to fun and adventure.

ACT Studios was stared 26 years ago by Deborah Nel.  It has over 1 000 registered drama students at various schools in the Tshwane/Midrand area. For the past few years we have produced shows at the Atterbury theatre.  In 2016, we produced Miranda and the Magic Sponge, in 2017 we produced The Wonderful Wizard of Oz and this year we are looking forward to producing an adapted version of The Jungle Book.

Theatre on Pointe:

a 153 seater, air conditioned venue in Hatfield Plaza with on-site technical support and equipped with sound, lighting and AV equipment. The theatre, which is part of the Dance De’Art Dance Centre, boasts a large foyer area with gourmet kiosk and has ample parking. The complex also has 6 rehearsal spaces (dance studios) of various sizes and a costume wardrobe.

Theatre on Pointe
1122 Burnett Street
Hatfield Plaza Pretoria
South Africa

THE SPANISH GUITAR – MIGUEL TRAPAGA @ Brooklyn Theatre
Oct 4 @ 6:00 pm – 7:00 pm

THE SPANISH GUITAR – MIGUEL TRAPAGA
Thursday 4 October 19:00

Miguel Trapaga will perform a classical guitar recital as part of the
Gauteng International Arts Festival 2018

Book Now

Block A (Adult) – R170 Block B (Adult) – R150
Block A (Senior) – R150 Block B (Senior)- R130
Children/Students/Learners R120

Brooklyn Theatre (012 460 6033)
Greenlyn Village Centre
C/o Thomas Edison and 13th Streets
Menlo Park

FIRST PART
Manuel de Falla (1876 – 1946)

Homenaje a Debussy
Romance del pescador *
Canción del Fuego Fatuo * 

Federico Moreno-Torroba (1891 – 1982)

Sonatina

Allegro moderato
Andante
Allegro

Joaquín Turina (1882 – 1949)

Sonata para guitarra op. 61
Allegro
Andante
Allegro vivo

SECOND PART

Joaquín Rodrigo (1901 – 1999)

Invocación y Danza
(Homenaje a Manuel de Falla)

Regino Sáinz de la Maza (1896 – 1981)

Rondeña
Idilio
Zapateado

Dionisio Aguado (1784 – 1849)
Fandango Variado op. 16

MIGUEL TRAPAGA

Miguel Trápaga was born in Cantabria (Spain). He studied at the Ataúlfo Argenta Conservatory (Santander) and at Royal Conservatory Of Music of Madrid (Real Conservatorio Superior de Música) with Javier Canduela and Demetrio Ballesteros, respectively. He also received lessons from José Tomás, Miguel Angel Girollet, Manuel Estévez, José Luis Rodrigo, David Russell, Leo Brouwer and Gerardo Arriaga.

He has been awarded scholarships from the Marcelino Botín Foundation, Jeunesses Musicales (Madrid)  and the La Caixa Foundation (Barcelona). Mr. Trápaga has won prizes in the following competitions: Arturo Sanzano Competition, 1988; Premio Extraordinario Fin de Carrera (graduated with top honors) from the Real Conservatorio Superior de Música de Madrid, 1990; Concurso Permanente de Juventudes Musicales de España, 1992; XVIth Andrés Segovia International Guitar Competition, Palma de Mallorca, 1993; Third Great Lakes Competition, Oberlin, Ohio (USA), 1994; and the XII International Solo Guitar Competition, Guitar Foundation of America, Quebec (Canada), 1994.

He has performed in broadcasts for Spanish National Radio, Antena 2 of Portugal, ABC of Australia and the BBC among others. He has recorded the CD “Anthology of composers in Cantabria” released by the Marcelino Botin Foundation, and has contributed to a double CD containing Federico Moreno Torroba´s guitar music. His recordings with works of the Cuban composer Leo Brouwer and with the violinist Alexandre Detisov containing works for violin and guitar of Mauro Giuliani, have been released by the Opera Tres record label. His last CD was recorded for Naxos label with Concierto de Aranjuez by Joaquín Rodrrigo and the first recording of Concierto de Benicassim by Leo Brouwer, with the conductor Óliver Díaz and orchestra Real Filharmonía de Galicia.

Currently a teacher at the Real Conservatorio de Música de Madrid, Mr. Trápaga has offered master classes in Spain and abroad (The Canary Islands International Guitar Festival, Panama City University, Frederic Chopin Academy in Warsaw, Mahidol University in Bangkok, Massey University in Wellington, Kukulkan Guitar Festival in Mexico, Melbourne University, Sibelius Academy in Helsinki…).

He has performed in the main concert halls and theatres in Spain -Palau de la Música de Valencia, Gran Teatro de Cordoba, Teatro Monumental, Teatro de la Maestranza, Palacio de Festivales de Cantabria, Auditorio de Zaragoza …- and abroad –the Forbidden City Music Hall in Beijing, Victoria Concert Hall in Singapore, Pushkin Museum in Moscow, National Concert Hall in Taiwan, National Theatre in Panama, Playhouse in Canberra, Centro Cultural do Banco de Brasil (Brasilia), Cecilia Meireles (Río de Janeiro), Nairobi National Museum, Ateneu Rumano (Bucharest), Lysenko Hall (Kiev), Teresa Carreño (Caracas), Teatro Nacional Adela Reta, SODRE (Montevideo), Bangkok, La Habana, Dublin, Santiago de Chile, Sydney, Warsaw, Slovakia, Portugal, Mexico, Kuwait, Cameroon, Philippines, Nicaragua, South Africa, and has toured Brazil, Peru, Japan, New Zealand, Indonesia, Germany, Canada, United States…-. He has performed with the Moscow String Quartet, the mezzo-soprano Lola Casariego, the conductors Leo Brouwer, Theodore Kuchar, Óliver Díaz, Igor Palkin…, and (among others) with the Villa de Madrid Chamber Orchestra, Sesi Fundarte Chamber Orchestra (Porto Alegre, Brazil), National Philarmonic of Ukraine, Thailand Philarmonic Orchestra, Gijón Symphony Orchestra, Seville Symphony Orchestra, ORCAM, Madrid Symphony Orchestra, Euskadi Symphony Orchestra, Canberra Symphony Orchestra, Ukrainian National Orchestra and Simon Bolivar Symphony Orchestra of Venezuela.

* Transcription: Miguel Llobet