LITTLE WOMEN

Director Greta Gerwig re-engages with Louisa May Alcott’s beloved novel in this fresh and thoughtful adaptation. (Review: Patrick Compton 9/10).

There have been about 20 adaptations of Little Women in various guises over the last 150 years, in the cinema, theatre and even opera house. In the light of this it is fair to ask whether Greta Gerwig’s new film is strictly necessary.

I am no expert on the Little Women industry, but Gerwig’s adaptation seems to me to break new ground. Firstly she splices two timelines together in a mesh of flashbacks so that we experience the characters in their maturity as well as their youth. This runs the risk of confusing the viewer, but I found this approach not only added a sense of depth to the character narrative but also offered the balm of clarity.

Secondly, Gerwig brilliantly engages with the issue of the status of women in the United States during and immediately after the Civil War (the war took place between 1861-5, but the narrative stretches well into the 1870s).

This matter is starkly captured in the first scene when Jo March (Saoirse Ronan), the central character, first presents her work for publication. The bewhiskered publisher insists that whatever she writes, her heroine’s life story must end in love and marriage.

It is Jo’s rebellion against the seeming inevitability of this platitude that forms one of film’s biggest tensions. Given that Alcott never married and that Jo is her alter-ego, the movie attempts to accommodate both the writer’s feminist vision that women can have a greater life ambition (in this case being a productive artist) and the contrasting reality that a book that excludes such a conventional “happy ending” will not make money.

The solution that Gerwig chooses is fascinating. In both the book and the largely faithful film, Jo rejects the passionate marriage proposal of the man everyone wanted her to end up with, Laurie (Timothee Chalamet), and she runs the risk of becoming a literary spinster.

As we all know, however, Jo reluctantly accepts that marriage is an “economic prospect” and marries off her heroine to an academic, but the actor who plays him is not some dry stick but the thoroughly dishy Louis Garrel.

This romantic ending, however, is played in a meta-fictional way, as if the movie is portraying the author’s somewhat reluctant concession to the realities of book publishing at the time. The real ending, Gerwig suggests, comes afterwards in the film’s final shot when we see Jo behind a glass panel watching with growing excitement as her book is bound and embossed. This, we are led to believe, is her proper happy ending.

Aside from these issues, lovers of the novel will find much to engage them in this movie. I was particularly struck by the sense of joy that Gerwig – and of course her stellar cast – bring to the youthful family scenes in Massachusetts as a Unionist family await the return of their father from war duty.

Aside from the exquisite Ronan, who captures Jo’s headstrong character perfectly, Florence Pugh is convincing as the strong, hot-headed Amy, while Emma Watson is just right as the more conventional older sister, Meg. Eliza Scanlen plays the delicate, gentle Beth with a poignant sense of what might have been without the onset of illness.

Jo remarks mournfully at one stage that she is devastated by the fact that her childhood is over and it is a mark of Gerwig’s film that the audience feels this emotion with equal intensity as the girls branch out into the world.

There is plenty more to enjoy. Little Women also works as a marriage comedy and a sibling rivalry drama, while the notion of romance and – yes – happy endings are also given space.

There is even room for another of Meryl Streep’s brilliant cameos as the cantankerous Aunt March while Laura Dern plays Marmie with a gentle strength that envelops her family in a cloud of love.

Little Women is showing at Gateway Mall, Ballito Junction, Midlands Mall, The Pavilion, Suncoast and Watercrest Mall. Patrick Compton

WARRICK FRANK TRIBUTE TO MOHAMED ALLI

(Right: Mohamed Alli)

Actor and radio presenter Warrick Frank pays tribute to the late Mohamed Alli.

It's is with a heavy heart that I post about the loss of yet another pioneer in the South African Indian theatre community. One half of the ever-popular EKMA Productions, Mohamed Alli.

Rest in peace Alli, I am honoured to have had the privilege of being mentored by you and Essop Khan.

I joined EKMA at the start of my career and I am grateful for all that you, Essop and Savy have instilled in me. You all were more than just friends and mentors, you became family over the years.

I remember speaking to you about finding yours, Essops and Savys legacy in a matric textbook while I was teaching Grade 12 last year. I will carry you with me the rest of my journey through the wonderful memories we shared.

Rest well my dear friend, till we meet again.

Tribute to Mr Mohamed Alli

On Tuesday February 18, 2020, at 12h54, as I prepared to start my final teaching lesson at school for the day, I received the devastating news from Mohamed Alli’s nephew, Ridwaan Dawood, of Alli’s passing. I was overwhelmed with emotion as Savy Ramsamy and I were on the phone the previous night making arrangements for our next visit to him the coming Thursday. As the final bell rang at school, I quickly rushed to my car to call Savy to inform her of the sad news. She was in shock and disbelief at first but I managed to give her all the details.

Alli (77) was born and grew up in Clairwood, South of Durban and later owned a home in Isipingo Rails, then later moved to Isipingo Beach, which was his current residence.

Alli first started theatre at ML Sultan Technikon while studying towards his diploma in commerce and was cast along with Savy Ramsamy for Muthal Naidoo’s play which was being staged on campus in the late 1960s. He later completed his diploma and ventured out into the arts and met Essop Khan at a social club called 225. The two became friends after they realised that they were the only two Muslims at the club and shared a love for the arts. Their brotherhood grew from there. Alli, Essop and Savy later joined the Shah Theatre Company under the mentorship of Ronnie Govender and worked closely with theatre stalwart, Kessie Govender and Muthal Naidoo. Alli and Savy starred in Kessie Govender’s hit protest play, Stable Expense.

(Essop Khan, Savy Ramsamy & Mohamed Alli)

In 1985, Alli formed one half of the popular comedic duo that was EKMA productions, along with fellow pioneer in arts, Essop Khan. They had much success with their hit plays over their company’ 30 year run in the arts and went on to produce, write, direct and star in over 60 productions. Veteran actress Savy Ramsamy was also an original member of EKMA and was specifically recruited by Khan and Alli. EKMA productions first play Jamal Syndrome, was staged in 1986 at the Aquarius Theatre in Reservoir Hills and ran for two years. Khan and Alli were no strangers to hit plays of that era as they both were the original cast members of the longest-running play in the 1970s, Lahnee’s Pleasure, by Ronnie Govender.

EKMA was synonymous for community theatre as they brought and introduced theatre to the masses, performing an average of 80-100 shows a year across the country. They assisted countless communities, charity organisations, schools, temples, churches, sporting and social bodies with fund-raising initiatives through their shows. They were the only travelling theatre company for many years and gave many young artists a break in the industry. They always nurtured young talent and shared their wealth of knowledge.

I met Mohamed Alli and Essop Khan in 2010 and began work with them in January of 2011. I have so many wonderful memories with them. They became my mentors and guided me through the industry as I had just finished my tertiary education. We travelled all over the country together and spent so much time with one another that we were not just colleagues and friends, we were family. I toured with the company for five years until it was disbanded in 2015, but I still maintained a close relationship with Alli and Essop.

A full-circle moment for myself and Alli came in 2013 with the revival of Kessie Govender’s play Stable Expense, where I got to play the role of “Rama” originally played by Alli in the 80s.

We laughed, we cried, we stressed and worried with each other. No-one understood the life of a travelling artist. We only had each other and we leaned on each other for support through our difficult times. At first, I couldn’t fathom how these three did it for many years before me, but I quickly learnt. EKMA gave me a break at the start of my career when no-one else would. They taught me discipline and hard work within the arts and gave me the tools to create a career.

The loss of Essop Khan (2018) and now the loss of Mohamed Alli weighs heavy on my heart but I have always promised them that I would keep their legacy alive and I would carry them with me through the rest of my journey.

Alli passed away from a severe stroke at his residence on Tuesday February 18, 2020. He is survived by his wife Rehana and four daughters Zaheda, Fathima, Ayesha and Sumaya. – Warrick Frank

LEGENDS OF REGGAE: REVIEW

(Tanner Wareham. Pic by Bev Millar)

“Legends Of Reggae” is a laid-back, joyful party of a show, filled with memorable music. Review by Keith Millar

After the success or their Bob Dylan Tribute show last year the young Tanner Wareham Trio are back at the Rhumbelow Theatre at Tina’s Hotel in Kloof this weekend with a new tribute show - Legends of Reggae.

Wareham is apparently considerably influenced by the reggae style in his own personal music making and this evident in how comfortable he is in performing this genre.

It is gratifying to see the progress the trio has made in the past year and one might say that they are no longer up and coming, but that they have arrived.

Legends Of Reggae is a laid-back, joyful party of a show, filled with memorable music. The full house audience last night loved it and regularly joined in, singing and dancing along with the trio.

It is quite amazing that a genre of music which originated in Jamaica in the 1960’s would have such an impact on music around the world and would influence so many great musicians and bands.

However, there is only one king of reggae. And that is the legendary Bob Marley. Reggae’s most transcendent and iconic figure, Bob Marley, was the first Jamaican artists to achieve international superstardom. He sold over 20 million albums in his short life (he died at 38 from skin cancer).

So it is no surprise that the show is dominated by the music of Marley. The trio performed many of his great hits, including Jamming, No Woman No Cry, One Love, Could You Be Loved, I Wanna Love You, Everything’s Gonna Be Alright, Buffalo Soldier, Looking Into your Big Brown Eyes, Get Up Stand Up and of course his timeless anthem Redemption Song.

There were a few other artists featured. Such as Big Mountain’s Oh Baby I Love You (written by Peter Frampton), UB 40’s Red Red Wine, Sting’s Englishman in New York, Eddy Grant’s I Don’t Want To Dance and Send Me Hope Joanna and Jimmy Cliff’s Reggae Nights.

Tanner Wareham is a talented musician. Other than his excellent vocals he plays both the electric and acoustic guitars, keyboard and makes liberal use of the loop pedal.

(Left: Yesh Naidoo & Reece Cook. Pic by Bev Millar)

He is well supported by the ebullient Duracell bunny Reece Cook, on bass and one of Durban’s leading drummers Yesh Naidoo. Although I am not sure that the mic placing on the kit showed off his efforts to their best.

Legends Of Reggae is a cheerful, upbeat and happy show. It is filled with memorable music - very well performed. The show is well worth the visit to Tina’s in Kloof.

There are still two shows this weekend: tonight (Saturday February 29) at 20h00 and tomorrow (Sunday, March 1) at 14h00. (The theatre venue opens 90 minutes before show for drinks)

Tickets R160 (R140 pensioners and students with a valid student card) and tables seat 8 (R130pp for block bookings of 8 or more). (No alcohol or food may be brought on to the premises). Tickets are cash or EFT only. Secure parking is available. Booking is through Computicket or contact Roland (also for large group booking discounts of 8 or more) on 082 499 8636 or email: roland@stansell.za.net or visit http://events.durbantheatre.com/

(Patrons are welcome to book for dinner or lunch at Tina's Restaurant before the show: Call 031 764 7843 to book)

Tina’s Hotel is situated at 14 Beryldene Road in Kloof. – Keith Millar

KZNPO 3rd SUMMER SEASON CONCERT REVIEW

(Left: Jiracek von Arnim)

(Von Arnim was focused on the long-term goal and saw the full trajectory of the music. At the same time, he was also focused on creating the perfect touch. Each note was a carefully manufactured entity. Review by Dr Martin Goldstein)

The third concert of the KZNPO Summer Season, 2020, which took place on February 27, 2020, was part of a worldwide celebration of the 250th anniversary of Beethoven’s birth. Accordingly, much of the programme was devoted to his compositions. The conductor Yasuo Shinozaki, who opened the season, was called upon again to impart his dynamic touch. The orchestra played two works by Ludwig van Beethoven (1770-1827), firstly his Coriolan Overture, Op 62 in c minor (1807); then his Piano Concerto No 5, Op 73 in E-flat Major, “Emperor” (1809). The concert ended with Symphony No 7, Op 70 in d minor (1885) by Antonín Dvořák (1841-1904).

Beethoven’s Coriolan Overture was an overture to Heinrich Joseph von Collin’s tragedy by that name. The fact that it is in C minor is not incidental. It was a key which he reserved for full-length works of great pathos and turbulent drama.

The orchestra’s performance of it was brisk and crisp with a fast tempo. Throughout, there was a restlessness which Shinozaki managed to keep going. The recurring two-note motifs created much excitement together with the compelling tremolos in the upper strings.

Beethoven completed his fifth piano concerto just before the French invasion of Vienna in 1809 and dedicated the work to Archduke Rudolph. The political climate of the time no doubt played its part in compelling Beethoven to actualise the futility of heroism. This might be suggested by the opening chords of the first movement which seems to celebrate victory before the battle has begun. And yet, the slow movement contains one of the most beautiful melodies Beethoven ever wrote.

The orchestra’s rendition of the work showcased the talent of a suitably chosen pianist, Jiracek von Arnim, who is noted for his interpretations of Beethoven. Since 2011, he has been the Artistic Director and Chairman of the “International Beethoven Piano Competition Vienna”. He is certainly a fitting performer to honour the two-hundred-and-fiftieth anniversary of the composer’s birth.

In the Allegro, von Arnim displayed his disciplined technique. His playing was characterized by a polished, light touch. There was good rhythmic coordination between the brass and the upper strings. Von Arnim was unpretentious and worked sympathetically with the orchestra to create the right ambience. He was focused on the long-term goal and saw the full trajectory of the music. At the same time, he was also focused on creating the perfect touch. Each note was a carefully manufactured entity. In the Adagio un poco mosso, von Arnim really pulled back. Shinozaki worked with him and the orchestra to conjure up an ethereal beauty. The finale, Rondo: Allegro, was marked by a joyful, dance-like character. Von Arnim displayed impressive, agile scale work. The upper strings matched this with a similar drive and coordination. For his encore, von Arnim performed a work by Schubert with a famous folk melody. Once again, his playing was characterized by a lovely soft touch and notable agility.

Dvořák’s seventh symphony was conceived during a period when his music became more subtle and nuanced than in his first Slavonic period, which drew on elements of Slavonic folklore. Nevertheless, nationalistic elements remain, notably in the 15th-century hymn tune used in the seventh symphony. This period in his career is infused with a dramatic quality with stark, expressive contrasts.

This sentiment was certainly felt in the orchestra’s rendition of the work. The Allegro maestoso was marked by dynamic contrasts throughout. It was dark and brooding in the beginning. Later on, it was splendid and regal or bustling and jolly. The brass rendered an awe-inspiring performance. There were well-coordinated part entrances between the strings and the rest of the orchestra. In the Poco adagio, there was a delicate blossoming sound with finely inter-woven melodies. Again, the contrasts were stark with sudden moments of majesty and grotesque opulence. In the Scherzo: Vivace – poco meno mosso, there was a new freshness with a joyful mood and a sense of optimism and dynamic drive.  In the Finale: Allegro, there was a sense of reminiscence pitted against more glaring contrasts. The mood throughout the work and throughout the concert was one of formal dynamism. – Dr Martin Goldstein

The final concert of the Summer Season will take place next Thursday (March 5, 2020) in the Durban City Hall at 19h30. Booking is through Computicket. To link direct to the KZN Philharmonic’s website click on the orchestra’s banner advert on the top of the page or visit kznphil.org.za

BE MY DATE FOR YABI

The Young Authors Book Initiative (YABI) will hold a fundraising performance of Be My Date in Howick today. 

This hilarious one-man show is about love, primary school crushes, proposals and the men's conference.!

YABI gives learners writing skills and an opportunity to contribute towards a published book.

The performance will take place on February 28, 2020, at 19h00 at Ubuntu Nest, 28A Hyslop Road, Greendale Park, Howick.

Tickets R100 booked through 079 755 2254 (only 25 seats available)

WISH YOU WERE HERE

Rhumbelow Theatre in Durban will present Wish You Were Here - the music of Pink Floyd from March 6 to 8, 2020.

Wish You Were Here pays tribute to some of the music of the Great Pink Floyd, mostly from the album of that name and Dark Side Of The Moon.

Some well-known extremely talented members from select Durban bands bring you this delightful nostalgia: Ross Tapson (lead guitar and lead vocals); Neil Ford (bass guitar); Steve Squire (second guitar and vocals); Dulcie Erasmus (keyboards); Grant Halliday (drums); Johan van der Molen (saxophonist) with Tiffany Sheppard and Belinda Devoren on backing vocals.

They will entertain you leaving you exhilarated at their talent - the next best thing to seeing the actual Pink Floyd.

The group has many shows under its belt in and around Durban as well as a quick Cape Town trip. These performances have invariably resulted in standing ovations and encores, so be sure not to wish you had been there...

Wish You Were Here runs from March 6 to 8 with performances on Friday and Saturday at 20h00 and Sunday at 14h00. The venue opens 90 minutes before show for picnic dinner.

Tickets R160 (R140 pensioners and students with a valid student card and R130 pp for tables of eight or more).

Take along food picnic baskets. Braais will be available and food is available to purchase at the venue. There is limited secure parking and booking is essential. A cash bar is available (no alcohol may be brought on to the premises). Rhumbelow Durban is situated at 42 Cunningham Road off Bartle Road in Umbilo.

Booking is through Computicket or contact Roland on 082 499 8636, email roland@stansell.za.net (also for group booking discounts of 20 or more) or visit http://events.durbantheatre.com

This show will also run at Rhumbelow PMB  - the Allan Wilson Shellhole – on March 28 & 29, 2020.

AYANDA SIKADE AT ALLIANCE FRANCAISE

(Ayanda Sikade)

iSupport Creative Business presents master drummer Ayanda Sikade performing with his trio at Alliance Française on February 28, 2020. Doors for the event open at 18h00 and tickets are R100 each and can be booked at Alliance Française .

Despite being alumni at the University of KwaZulu-Natal, it has been many years since Sikade performed in Durban. Just over a year ago, the drummer released his debut album titled Movements, but only now has he managed to find a gap to present his music to the Durban audiences. His compositions and live performances draw inspiration from masters like John Coltrane and Zim Nqawana, who was his mentor for many years.

His trio is all about exploring new soundscapes by introduction an African context within an American jazz approach. “We like to do this by composing music with a strong cultural and spiritual background of our great ancestors, but with a modern twist that represents our diversity in the new South Africa,” says Sikade. The performance promises to have elements of freedom and the strong rhythmical essence fans expect from this drummer.

Born in 1981, Sikade’s career goes back a long time, since at the tender age of 10, he was already a jazz band drummer for the band Vuka Jazz in East London, where he was born. In 1996 he attended the Grahamstown Youth Jazz Festival, where he was selected to represent South African Youth Jazz in Sweden, even though the trip never came to pass. He met Darius Brubeck in 1999 at the Grahamstown Youth Festival and Darius invited Ayanda to join the jazz programme at the University of KwaZulu-Natal.

Sikade was again selected to represent South African students at IAJE(International Association for Jazz Educators)in Long Beach California US. In 2004, he won the prestigious SAMRO Overseas Scholarship. Over the years, Sikade has worked with some of the most accomplished jazz musicians in South Africa and abroad. Namely Feya Faku, Bheki Mseleku, Robbie Jansen, Barney Rachabane and Darius Brubeck. One of the most impactful moments in his career is working with the International acclaimed saxophonist the late Zim Ngqawana with whom he has recorded two albums (Live in Basel Switzerland and Live in Heildiberg in Germany). Sikade has also worked with Simphiwe Dana and recorded a DvD that is called Siphiwe Dana Live at the Lyric Theatre in 2010.

Sikade was invited to collaborate with Jan Galega a Swiss jazz maestro to play in a theatre piece that was written and directed by the respected writer in Germany, Jorg Lure, in Berlin in 2010 from June to July. He is the drummer for Banz Oester and the The Rainmakers, which have released their New Album Banz Oester and The Rainmakers Live @ Bird’s Eye Switzerland.

Joining Ayanda Sikade on stage will be two great musicians in their own right, namely pianist Sibusiso Mash Mashiloane and Leon Scharnick on alto saxophone.

The concert takes place tomorrow (Friday February 28, 2020) at 19h00 (doors open at 18h00). Tickets R100. Bookings: info.afdbn@alliance.org.za or 031 312 9582

Alliance Française de Durban is situated at 22 Sutton Crescent, Morningside, Durban

ACT AWARDS 2020 WINNERS ANNOUNCED

(Front row: Lifetime Achievement Awardees: Avhashoni Mainganye, Neville Letard, Thoko Ntshinga, Prof. Njabulo Ndebele, Prof. Angelo Gobbato & Caroline Smart.

Second row: ACT ImpAct Awardees: Winner Jefferson Tshabalala with Phelelani Ndakrokra, Slindile Mthembu, Wezile Mgibe and Neo Mahlangu.

Image © John Hogg/Arts & Culture Trust)

Since 1998, the ACT Awards have been bestowed upon individuals and organisations that have made a significant contribution to cultural life in South Africa. In that time, the awards have become ACT’s flagship event. The Arts & Culture Trust (ACT) Awards are held annually to recognise and celebrate excellence in South African arts, culture and heritage.

In spite of the tough economic challenges that faced South Africa in the year 2019, the arts and culture sector of South Africa continued to produce work of a high calibre. With the 2020 instalment of the awards held at River Meadow Manor, a boutique hotel and venue in Irene, Pretoria, the awards continued to honour those that have created a lasting legacy within the arts through the Lifetime Achievement Awards and to recognize those young artists who not only walk in those footsteps of the old but are creating a lasting impression of their own as ImpACT Award Finalists for Young Professionals.

With the overarching sentiment from the Lifetime Achievement Awards Recipients being that artists need to see themselves not only as artists but also as businesses, the ImpACT Award Finalists certainly left with a few words of wisdom to inspire them to be the next generation of possible Lifetime Achievement Award Recipients.

2020 ACT Lifetime Achievement Award Winners

Caroline Smart – Arts Advocacy: Sponsored by the City of Johannesburg

Neville Letard – Dance: Sponsored by the Arts & Culture Trust

Prof. Njabulo Ndebele – Literature: Sponsored by the Dramatic Artistic and Literary Rights Organisation

Prof. Angelo Gobbato – Music: Sponsored by the Southern African Music Rights Organisation

Thoko Ntshinga – Theatre: Sponsored by the Arts & Culture Trust

Avhashoni Mainganye – Visual Art sponsored by Nedbank

2020 ACT ImpAct Award Winner

Jefferson Tshabalala – Sponsored by Sun International

Jefferson Bobs Tshabalala is the founder and co-owner of the Johannesburg based live-arts production house, Kiri Pink Nob Arts (Pty) Ltd. This company produces multidisciplinary productions. Having gone through the famed “struggling artist” stage and experiencing the hardships that come along with pursuing their passion, Tshabalala wanted to change the narrative for those who would follow him.

Tshabalala has been an educator at Wits University and The Market Theatre Lab. Sharing his skills and experience is something he is intent on doing because of his love for the art, even more, his love for people continues to move him forward.

The ImpACT Award Finalists also consisted of the following:

Neo Mahlangu

Wezile Mgibe

Phelelani Ndakrokra

Slindile Mthembu

The 2020 ACT Awards were hosted by The Arts & Culture Trust and supported by the City of Johannesburg, DALRO, SAMRO, Nedbank, Sun International, Ngwenya Glass and River Meadow Manor.

The Arts & Culture Trust (ACT) is South Africa’s premier independent arts funding and development agency. The primary aim of ACT is to increase the amount of funding available for arts and culture initiatives and to apply these funds to innovative, sustainable projects that make a meaningful contribution to society. Through structured funding programmes, ACT provides support for all expressions of arts and culture, including literature, music, visual art, theatre and dance, and the support extends to festivals, community arts initiatives, arts management, arts education and arts administration. Follow ACT on Twitter at https://twitter.com or like the trust’s Facebook page at https://www.facebook.com/TheArtsandCultureTrust/.

ACDC VS DEEP PURPLE TRIBUTE SHOW

(Jason Oosthuizen, Ryan Howell, Louie Cronje & Jow Feldtman)

Rhumbelow Theatre – PMB - at The Allan Wilson Shellhole will host the ACDC vs Deep Purple Tribute Show on February 28, 2020, at 20h00.

From the creator that brought South Africa Guns N' Roses & Friends Tribute, Led Zeppelin Tribute, Bryan Adams Tribute and Bob Marley & Lenny Kravitz Tribute, Jason Oosthuizen presents ACDC vs Deep Purple Tribute Show.

The amazing line-up that will be performing the best of these two bands will include Jason Oosthuizen from Van Coke Kartel & Oooth, Ryan Howell from The Monroes, Jow Feldman from the Narrow and Louie Cronje, the latest edition on the lead guitar.

AC/DC and Deep Purple are two of Jason Oosthuizen's favourite Rock n Roll bands from the 60's and 70's and this show will bring you the ultimate night of rock n roll with some of their greatest hits.

Venue opens 90 minutes before show for picnic. Tickets R160 (R140 pensioners, students with a valid student card). Bring food picnic baskets and a bar is available (no alcohol may be brought on to the premises). There is limited secure parking.

Booking is through Computicket or contact Roland on 031 205 7602 or 082 499 8636, email roland@stansell.za.net or visit www.rhumbelow.za.net

The Allan Wilson Shellhole is situated at 5 Durban Road in Pietermaritzburg.

A BOUQUET OF BEETHOVEN ENDS KZNPO’S 2020 SUMMER SEASON

(Conductor Yasuo Shinozaki)

Beethoven lovers are in for a treat for the final two weeks of the KZNPO Summer Symphony Season taking place on Thursday evenings in the Durban City Hall, with multiple Beethoven pieces on the programme.

The KZNPO joins orchestras around the world in celebrating Ludwig van Beethoven’s 250th birth anniversary this year (1770 – 1827). Globally there will be concerts, operas, festivals, exhibitions and performances celebrating one of Germany’s most famous citizens.  In Germany alone around 1000 events are planned

Perennial favourite Japanese maestro Yasuo Shinozaki returns for the third concert of the season on February 27, when Beethoven’s Coriolan Overture and his magnificent Emperor Concerto, played by German pianist Jan Jiracek von Arnim, can be heard in the first half of the evening, followed by a performance of Dvorák’s immensely rewarding Symphony No 7.

(Conductor Arjan Tien)

The Netherlands born conductor Arjan Tien makes a popular return to round off the season on March 5, with two more Beethoven favourites, the Leonore Overture No 1 and the Triple Concerto, played by pianist, Malcolm Nay, violinist Tai Murray and cellist Aristide du Plessis. The evening closes with a performance of Bizet’s delightful Symphony in C.

The KwaZulu-Natal Philharmonic Orchestra 2020 Summer Season runs in the Durban City Hall every Thursday between February 13 and March 5, each concert starting at 19h30. The season continues to espouse the proud tradition of the Orchestra’s World Symphony Series (WSS), which launched in Durban 24 years ago.

Season tickets for the KZN Philharmonic’s World Symphony Series 2020 Summer Season are available through Computicket. Call 0861 915 8000 or book online at www.computicket.com.

For more information click on the orchestra’s advert at the top of this page or visit http://kznphil.org.za/, email bookings@kznphil.org.za or call 031-369 9438 (office hours).