Concert for the Cure

An Evening to Remember

Music can cure the sole and inspire courage, determination and committment




Sir Simon Rattle

 

Jordan Hall - New England Conservatory

 

 

Julie Scolnik





Marc-André Hamelin



Last night Paula & I attended the Concert for the Cure entitled "Rhythms of Hope" at Jordan Hall.  This concert sponsored by the Susan G. Komen for the Cure Massachusetts was spurred on by Julie Scolnik, a breast cancer survivor and flautist with the Boston Symphony Orchestra.  As Julie explained, it was music that enabled her to get through surgery, chemotherapy and radiation.  On the eve of her final radiation therapy 5 years ago, she played in a concert that included Franck's violin Sonata.  This initial performance has evolved into a fabulous fundraising event. 

We came away so moved from this event.  To envision, some 70 local performers, a world-class painist and one of the top 5 conductors in the world was something to behold.  As we learned, Sir Simon Rattle had developed a friendship with Julie Scolnik, when he served as guest conductor for the BSO.  Through this friendship, the maestro agreed to come to Boston on his day off to rehearse with the performers and conduct a 2 hour concert before returning to New York at the Metropolitan Opera where he is making his debut conducting Pelléas et Mélisande by Claude Debussy starring his wife, the Czech mezzo-soprano, Magdalena Kožená. 

It was evident that these time constraints would promote a concert without intermission.  The pianist Marc-André Hamelin played the Mozart Piano Concert in G, K. 453 in a refined, but elegant way.  His mastery of the keybord allowed musicality without theatrics.  The piece was executed to perfection and warmly received by the audience.    As a prelude to the second pice the Adagietto from Gustav Mahler's Symphony No 5., Ms. Scolnick greeted the audience with a brief but poignant speech articulating her thoughts on music and her journey to recovery from treatment of breast cancer.  She payed special note to Beth Israel Hospital and her loving family and friends.  She told us of her sitting in the chemo chair listening to her IPod to get through each treatment cycle.  This Adagietto is full of hope and joy as the string section takes you to ultimate resolution of the thematic journey.  My wife, Paula thought it was reminiscent of a film score.

The program concluded with a truly astonishing performance of the Johannes Brahms Symphony No. 2, conducted without score.  Rattle was instrumental in bringing these volunteer musicians to an incredible level of playing.  You had to be there to witness the emotion of a rousing standing ovation and cheering from the audience as the piece concluded.  Simon Rattle was singing to the music and was obviously pleased by the result.  He reminded me of Leonard Bernstein.  Rattle graciously acknowldeged all of the soloists to enormous applause.  To think of the pride of these musicians in gathering together for a common cause was exceptionally heartening.  I can not think of a better way of spending an evening than sharing in the common goal of supporting research, providing support and care for patients as well as contributing to finding a cure.

Credit must be shared selflessly by all.  It was truly a spectacular eveing filled with Joy, Love & Hope. 





A Tribute to Robert Schumann by the BSO - Nov. 18, 2010

Kurt Mazur

                                    Nelson Friere

Paula and I spent a wonderful evening with past and present AstraZeneca colleagues at Symphony Hall engrossed in a wonderful concert commenorating the 200th anniversary of Robert Schumann's birth.  This exceeded all expectations as we were taken on a journey by the veteran conductor, Kurt Masur.  Dressed in a European silk shirt with round collar, this vsionary of the central European repetoire opened the concert with the familar Symphony No. 1 in B-Flat, Opus 38 "Spring".  One heard yearnings of new growth and renewal in this vivacious music.  Although we have seen Maestro Masur who celebrated his 80th birthday in 2007 many times throughout the years, it is clear that he still enjoys his interaction with musicians despite some incipient frailty.  He conducted without baton or score and brought subtle dynamics and impeccable musicianship to the audience. 

I must share this small excerpt from the Maestro's website to give you a glimpse into this astonishing conductor who has led many European orchestras.

"As a child I discovered the joy of music making. Whether singing songs, playing tunes on the piano, or singing along with my sisters and friends, music always made me feel at home. I also discovered that music making helped me overcome loneliness and sadness, but also brought me joy and happiness in the special moments of my life. To date I have enjoyed the same kind of happiness building up programs for audiences that are different all over the world but are united in a "love affair" with music".

The is clearly a conductor who is loves his orchestra as well as the audience.  We watched as he took the time to single out solists for their efforts.  He smiled as if to say paternalistic appreciation for a debt of gratitude.  His gestures and nuances are phenomenal for a conductor his age.  There were many in the audience who gave him a standing ovation eraly in the evening.  It is clear that he is adored by his fans.

The highlight of the evening was most definately the Piano Concerto in A minor, Opus 54 played by the Brazilain borne pianist, Nelson Friere.  He played with much finess and musicianship that one was taken away on a journey in this piece.  His cadenza was full of counterpoint and intrigue without flagrant movements or embellishments.  Masur looked to him for guidance.  The orchestra was well matched in both its timing to support and not overpower the soloist.  This performance was being recorded and will sit well within the current interpretations.  I reflect on many soloists including Lang Lang, Alfred Brendel, Radu Lupu, Martha Argerich, Gina Bachauer, Christian Zimmerman, Murray Perahia, Maurizzio Pollini and Dubravka Tomsic, Russel Sherman Mitsuko Uchida and countless others that we have seen throughout the years and I marveled at the solid and yet exciting performance of this artist.  He played with confidence and yet without the percussive tactics of Lang Lang, yet rose to the level of expressivity of Brendel or Tomsic, two of my favorites.  According both Friere and Masur received an adulatory standing ovation that continued on for minutes.  Only in this piece did Masur resort to a score and set of half-framed reading glasses.

The evening closed with a rousing Symphony No 4 in D mior, Opus 120.  This was full of contrast and counterpoint.  Masur's gestures served to extract every nuance out of the music and the performers.  Masur knows this music well as witnessed by his ability to bring this music to audience and let them be part of the performance.  Sitting in the 3rd row, we were able to see his articulations guide the quality musicians to vivid performance.  Masur is no stranger to Boston and it is apparent that he has a following.  He appears to be modest man who acknowledges parts of the orchestra for their exceptional talent and efforts.  He again received a standing ovation and took his humble bows from the floor rather than on the podium.  This is a man content with his life who tries to educate through music.

It is not often that I attend concerts with familar music and come home full of joy and fulfillment, but last night exceeded my expectations.  Masur is tribute to all conductors as a model for setting aside his ego to engulf us in a common language that ttranscends all cultures.

As a final treat, Nelson Friere was signing CD's in the lobby.  He is modest, somehat uncomfortable with English, but radiates warmth and humbleness.  His Shumann CD was

a treat for my library.  I also own and adore his duet CD with Martha Agerich recorded live from Salzburg playing the Variations on a theme by Haydn Opus 56b among other pieces. 

It was a joy this morning listening to his Schumann CD and reflecting when my daughter played from Kinderszenen Op.15.  as a student with her teacher Inger Ross.  It is with great joy and pride that she will be married next year.

Music transforms the soul and serves as a common bond uniting both people and generations.  I am very forunate to have Paula and many wonderful friends and colleagues to share and partake in these special and memorable performances.  As I get older, I find that my tastes narrow and I become more knowledgeable and critical, but this was indeed a special evening.

Richard Tucker Gala (James Valenti 2010 winner)

On Sunday evening November 14th, 2010, we were delighted and priviledged to attend the 25th Richard Tucker Gala at Avery Fisher Hall. The foundation offers a $30,000 scholarship each year to an aspiring artist. This was a sold-out performance which was without intermission. Marco Armiliato conducted members of the Metropolitan Opera Orchestra and New York Choral Society. After opening comments by Barry Tucker, Richard's son, the concert began with only 2 disappointments: Mariusz Kwiecen and Zeljko Lucic were both ill and could not attend. There was a suprise replacement by Susan Graham who had met Marco on the street and asked if she could attend. Marco said of course and joked with the audience that he did not need to consult with the Tucker Foundation.


As some of the reviews have indicated, Anna is a tough act to follow. Indeed dressed in a stunning royal blue gown that showed off her curvaceous assets, she again ruled the stage. In her first aria "Heia in den Bergen" from Die Csarasfurstin ( Kalman's "The Gypsy Princess), along with the chorus, she simply seductively danced and swayed her hips to the beat of the music while thrilling the audience with her voice. She was having the time of her life. In her second aria "Toi Vous... N'est-ce plus ma main" from Manon (Saint-Sulpice scene) she was on fire! Singing with Marcello Giordani, they embraced and even kissed passionately at the end of the aria! She simply stole the show.

There was indeed a preview of an up and coming coloratura soprano, Angela Meade who sang "Era desso il figlio mio" from Donizetti's Lucrezia Borgia complete with florid embellishments. She had been featured in the film, "The Audition" about the MET's 2007 finalists and a previous winner of an Richard Tucker fellowship. We had seen her previously in Norma at Caramoor and indeed she has an incredible voice with a lot of talent. There were other artists who simply could not sing above the orchestra and chorus or who had wandering pitch, but there was no trace of faltering by Netrebko who was out to conquer all with an impressive performance.

Elina Garanca, a wonderful Latvian mezzo, appeared to gain some weight and did not ultimately make the most of her talents even with a duet with Brandon Jovanovich from Carmen, where the tenor could simply not project and did not connect with each other.

Anna simply dominates the stage and has raised the bar for all artists. She easily gets into the role, sings expressively and makes best use of both her physical attributes and artistic talents. After seeing Don Pasquale and now this gala, we can only wonder what is next.

We went to The Green Room, where celebrities usually meet their fans, but alas Anna had snuck out without greeting any admirers. Marco and other celeberities were there, but many fans were disappointed that Anna had departed.

Don Pasquale at the MET Nov. 6, 2011

The performance of Donizetti's Don Pasquale at the Metropolitan Opera was truly a tour de force and exceeded all of our expecations. The cast was marvelous and uniform throughout.


John Del Carlo, Don Pasquale (has also played in the Barber of Seville)

Anna Netrebko, Norina (a reprise performance for her at the Met)

Matthew Polenzani, Ernesto (a beautiful lyric tenor)

Mariusz Kwiecien, Dr. Malatesta (a handsome match for Norina)

http://link.brightcove.com/services/player/bcpid610237632001?bctid=651976986001
The opera begins with Dr. Malatesta singing a beautiful lyric melody which sets the stage for a comical farce based on love and playing jokes on an old codger. Both Mariusz Kwiecien and Matthew Polenzani were elegant and supportive, but the afternoon was dominated by Norina's antics. Her second scene putting on a pair of stockings on a the edge of the bed is the highlight of the opera showcased in a clip from the dress rehearsal at the MET. Her impish charm and seductive nature is amply paired with a lustrous voice which fills the opera house which hold nearly 4000 patrons. This scene was well choreographed and was a sheer delight to behold. She literally stopped the show with applause. As the curtain closed on the second scene of the first act, Norina did a small tumble onto the divan. As I recall, the earlier production for her in this role, she scaled back this effort, but took the audience by surprise.

As the opera continues in the 2nd act, Norina is on a roll, kicking Don Pasquale in the rear and smashing vases on the floor, destroying Don Pasquale's bed and simply carrying on with much fun as an overblown practical joke, calling Don Pasquale an old codger. The audience broke out in laughter on more than one occasion as the merriment evolved. Unlike most productions at the MET, there were numerous well behaved young children at this performance.

The third act reveals the nature of the joke and Don Pasquale blesses the love between Ernesto, the nephew, and Norina. There is a touching duet between John Del Carlo, Don Pasquale, and Mariusz Kwiecien, Dr. Malatesta, that was repeated at the end of the third act in front of the curtain.

Anna's voice and stature have grown, but she truly ruled the stage with charm, a great sense of humor and uncanny ability to act as an impish young girl. The role of Norina was certainly well suited for her and I was overjoyed to hear improvements in some of her trills, coloratura embellishments and thrilling high notes exemplified at the end of the 3rd act. Anna was clearly enjoying herself immensely, and sang with much confidence and panache. At one point late in the opera she even walked over to the prompter's box and sang from there. The curtain closed to thunderous applause for Anna and her colleagues. It is clear that James Levine is truly a genius, but he is now quite lame and came to the stage using a cane and holding on to other people to steady his balance. He is truly loved by the New York Audience and one could see "Jimmy" throwing a kiss to Anna as the cast took a collective final bow.

Having seen the earlier performance of Don Pasquale at the MET also, I could easily say that this one was filled wiith more humor and antics. Anna hammed it up to rapturous applause, but her real talents lie in an amalgam of acting, sensational looks and a rapturous voice. We loved it so much even havinf traveled from Boston to see it, that we are attending an encore HD performance. All of the nearby theaters were already sold out for the "Live" HD transmission. We will see Anna again at the Richard Tucker Gala at Avery Fisher Hall at Lincoln Center on November 14th.

My only regret was having a dinner appointment in Manhattan with dear friends that precluded us from going to the stage door. I hope all of you will get to see this marvelous performance in the HD transmissions.

Dmitri Hvorostovsky Discs

The incomparable Russian Baritone has recently released 2 discs of Russian romances based upon poems of Pushkin.  Composers including Tschaikovsky, Rachmaninoff, Borodin and many others have set these poems to glorious music.  Many of the pieces have also been recently recorded by Anna Netrebko in a glorious Album "In the Still of the Night" with Daniel Barenboim at the keyboard.  While one can not directly compare Hvorostovsky's studio recording with Estonian pianist Ivara Ilja at the keyboard to that of Netrebko's live recording one must say that these discs hold a special place in the repetoire.  Hvorostovsky has often been called the golden baritone and this is well deserved.  The tone is rich, supple and like dark chocolate and honey.  Dmitri has a large voice with impeccable breath control.  Since one can hear many of the same pieces that Netrebko has recorded, comparison's can be made.  As my wife commented, she thought Netrebko's voice was more varied and exciting.  Certainly, Anna has the edge on emotion, but Dmitri has the edge on consistency, breath control and power.  If one compares the pianists, the edge certainly goes to Barenboim for listening to the vocalist and supporting, rather than sounding like a soloist. 

These are wonderful discs that highlight the enormous capabilities and range of this expressive artist.  His operatic repetoire including his Eugene Onegin with Renee Fleming is iconic of one of the highlights of the Metropolitan Opera.  This artist seems unlimited in his styles of recorded material from the humorous to the impassioned more traditional roles.   These discs are truly a joy in now what appears to be a genre of singers singing in their native languages.  Starting from incredible diction to billowing dynamics, Hvorostovsky seems to be at the top of the pack.  Judging from these discs, the listener will look forward to future recordings and new stylistic goals.  Enjoy and treasure these as expressive romances or the equivalent of folk songs or ballades.

Longwood Symphony Orchestra

Longwood Symphony Orchestra

August 18, 2010

DCR Hatch Memorial Shell

Boston's Esplanade 7:00pm

In the Mood

As everyone knows that Boston is the home to major academic institutions, i.e. Harvard, MIT, Boston University, Boston College, Wellesley College, Tufts and many others.  Likewise it is hotbed of excellence in Medicine and Biotechnology including notables such as Mass General Hospital (MGH), Brigham and Women's, Beth Israel, Deaconness, Dana Farber and companies including Amgen, Pfizer, Novartis, AstraZeneca, Genzyme, Vertex and countless others.  Similarly, it is the seat of world class science, e.g. Whitehead Institute and The Broad, Howard Hughes, etc.  It is therefore not surprising that many of these professionals have banded together to create great music.

Last night the orchestra played at the Hatch Shell, made famous by Arthur Fiedler and the Boston Pops.  It is an impressive venue for free concerts and movies and is packed to several hundred thousand on annual July 4th celebrations.  There are tributory stues of Arthur Fiedler, a Paul Dudley White, MD (notable cardiologist), Harry Ellis Dickson (late director of the Pops and father-in-law to ex-governor Michael Dukakis.    The venue is beautiful and the weather was simply gorgeous.  We had difficulty finding a parking spot on Storrow Drive which is available

for each concert, so we ended up parking on Charles Street in Beacon Hill and attending the 2nd half of the concert.  It was a charming Beethoven's 4th symphony.  It was led by Jonathan McPhee its conductor.  What they lack in talent is more than amply made up for by enthusiasm.  I am not a fan of amplified music which tends to be distorted and leaves the listener straining to hear the quiet passages.  The venue was terrific and the audience received the performance with great applause.  The theme of the program was "In the Mood"  The evening ended with a rousing performance of "In the Mood" made famously popular by Glenn Miller in 1939 in the Big Band Era. 

The orchestra is a Who's Who of medicine, science and academia and should be applauded for bringing great music to the public.  They also play at many local shelters, nursing homes and traditional venues.  Rather than bore the reader with full biography's, I thought that I would list the players who rightly deserve recognotion for their medical, humanitarian and musical contributions.

 Violins

Sherman Jia, Concertmaster
3rd year, HMS, Howard Hughes Research Fellow

Hana Asazuma-Cheng
Music teacher (violin, viola, chamber music)

Catherine Brewster
English Teacher, Commonwealth School

Terry Buchmiller, M.D.
Pediatric Surgery, CHB, Co-Director Advanced Fetal Care Center, CHB

Jennifer Chang, Ph.D.
M.D. - Ph.D. student, HMS

David Chen, M.D.
Internal Medicine, Faulkner Hospital

Jennifer Chu
Freelance science writer

Mark Emerson, Ph.D.
Postdoctoral Fellow, Genetics, HMS

Sumi Fasolo, AIA
Architect, Cambridge Seven Associates

Tamara Goldstein, O.T.
Hebrew Rehabilitation Center

Anand Jagannath, M.S.
Research Technician, Cardiac Surgery, MGH

Elizabeth Henderson
Freelance Technical Editor

Heidi Harbison Kimberly, M.D.
Emergency Medicine, BWH

Anna Legedza, Sc.D.
Principal Biostatistician, Biometrics, Vertex Pharmaceuticals Inc.

Shenkiat Lim
Director of Product Development, Fidelity Investments

Justin Lo
2nd year, HMS

Psyche Loui, Ph.D.
Research Instructor, Neurology, BIDMC, HMS

Spencer McClelland
2nd year, HMS

David Mish
ESL/History Teacher, Cambridge Public Schools

Ramona Nee, J.D.
Weil, Gotshal & Manges LLP

Susan Pauker, M.D.
Associate Professor, HMS; Genetics Chief, Harvard Vanguard Medical Associates; MGH. BWH, Lahey

Chris Richards, Ph.D.
Dept. of Biology doctoral program, Harvard University

Helle Sachse, J.D., Ph.D.
Asst. D.A., Suffolk County

Jenny Smythe, Ph.D.
Physicist, Schlumberger Limited

Ellen Tulchinsky, M.S.P.T.
Physical Therapist, BWH/MGH

Elisha Wachman, M.D.
Pediatrics, Emerson Hospital, BWH

Lisa Wong, M.D.
Milton Pediatrics Associates, HMS, CHB, MGH, BWH, BIDMC



Violas

Michael Cho, M.D.
Research Fellow, Pulmonary and Critical Care Medicine, BIDMC, BWH, MGH

Sarah Cohen
Engineer, Rhythmia Medical

Jon Epstein
Software Engineer, Microsoft

Jennifer Grucza
Senior Software Engineer, Unica

Alistair Kok, D.D.S.
Dentist, Gentle Dental Cambridge

Elizabeth Ogburn
2nd year Ph.D. student, Harvard University

Jane Perera
Speech Therapist, Cotting School

Andrea Spencer, M.D.
MGH/McLean Resident in Psychiatry

Peter Stein, D.C.
Chiropractor, Harvard Vanguard Medical Associates, BU Sargent College

Nicholas Tawa, Jr. , M.D., Ph.D.
Surgical Oncology, BIDMC, HMS

Gwendoline Thornblade, B.D.Sc, M.Sc.D.
Retired Pedodontist

Leah Wilson-Velasco
Director of Operations, Boston Youth Symphony Orchestra


Cellos

Joseph Rovine, D.M.A., principal
Senior Software Engineer, Microsoft

Sylvain Casimir, R.Ph.
Pharmacist

Nancy Chane, R.N., M.S.
Palliative Care Nurse, Tufts Health Plan

Gregory Crist
Interactive Media Designer, iFactory

Mark Cusac
Engineer, CDM

Heidi Greulich, Ph.D.
DFCI, Broad Institute, BWH, HMS

Katherine Hein, M.D.
Plastic Surgeon, MetroWest Medical Center, Newton-Wellesley Hospital

Tai Katzenstein, Ph.D.
Psychology, MGH

Denise Lotufo, P.T., D.P.T., O.C.S.
Harvard, UHS

Martha MacMillin
Cello instructor

Read Pukkila-Worley, M.D.
Infectious Diseases, MGH, HMS

Christopher Reuning
President, Reuning & Son Violins

Susan Z. Robins
President, Muscle Angels, a norbis Innovations Company, LLC

Andreas Schild, Ph.D.
Research Fellow, Center for Human Genetic Research, MGH
Basses

Martha Davis, J.D., principal
Professor, Northeastern University School of Law

Jack Dennerlein, Ph.D.
Associate Professor, Environmental Health, HSPH

Karyn Wang


Flutes

Tobi-Ann Kocher
Flute Instructor

Daniela Krause, M.D., Ph.D.
Clinical Pathology and The Center for Regenerative Medicine at MGH

Cindy Moore
Music, Framingham Public Schools

Oboe

Michael Barnett
4th year, HMS

Hilary Cipullo

William Kates, M.D.
Psychiatry, BIDMC, HMS

Thomas Sheldon, M.D.
Assistant Professor Dartmouth Medical School; Director, Radiation Oncology Concord Hospital


Clarinet

Jeffrey Berman, M.D.
Pulmonary and Critical Care, BMC, BUSM

Mark C. Gebhardt, M.D., Ph.D.
Prof. of Orthopaedic Surgery, HMS, Orthopaedic Surgeon-in-Chief, BIDMC, CH Orthopedic Surgery

Tammy Avery Gibson
Cephalon Pharmaceuticals

Paul Silver
President, Handyman Heroes

Bassoon

Stephen Wright, M.D.
Chief of Medicine, Faulkner, BWH, TUSM, HMS

French Horn

Vanessa Gardner
Concerts Manager, MIT

John Hecker, AIA
Carr Lynch and Sandell, Architects

Trumpets
Leonard Zon, M.D.
Heme/Onc CHB, DFCI, HMS

Wolfram Goessling, M.D., Ph.D.
Genetics and Gastroenterology, BWH; Heme/Onc, DFCI; HST; HMS


Trombone

Peter Cook
Computer Engineer

Paul Salinas
Shire Human Genetic Therapies

Timpani

Jeremy Lang
Operations Manager, Elysium Digital LLC

Percussion

Tom Sandora, M.D.
Pediatric Infectious Disease, CHB, HMS

Longwood Opera

Boston is of course a city filled with institutions of higher learning and abundant musical avenues.  The Longwood Opera fills a unique niche giving amature singers a place to showcase their talent, charisma and a place just to have fun.

The Longwood opera may have taken its name from famous Longwood Medical Area intersected by Brookline and Longwood Avenues.  (There is also a very notable Longwood Symphony led by Charles Ansbacher, a local icon).  For a nominal charge, one can sit in the Christ Episcopal Church in Needham and hear several hours of varied music.  J Scott Brumit is largely responsible for this marvelous effort along with Jeffery Brody, the music director.

Since the summer is quite warm and the church is not air conditioned, there are electric fans and complimentary fans passed out each week.  Each week, there is a diffferent theme, but you never leave disappointed.  Refreshments (lemonade & water) are served along with M&M selections during intermission.  We have attended for many years and it is easy to say that the standards are improving steadily.  Most of the efforts by the performers are quite nobel and genuine, while a few are somewhat less that satisfying.  Much of the repetoire is well known, but selections by Humperdinck, Barber, Baby Doe and others are frequently interspersed.  At times you wish the singing would never stop. e.g. Puccini. The schedule for 2010 is presented below.

July 6 : An Evening of Opera

July 13: Broadway Melodies

July 20: An Evening of Opera Scenes

July 27: Presenting Rising Stars

August 3: Opera Meets Broadway

August 10: An Evening of Gilbert & Sullivan
August 17: More Operatic Scenes
August 24: More Broadway Melodies
August 31: A Gala Night of Opera

As you can see, they also did a very abridged version of "The Ring" sung in English. 

Hats off to all of the performers and volunteers at the Longwood Opera as we always leave with a warm feeling of good camaraderie.  We have conversed with several performers and indeed made friends of parents of the performers.  On a somewhat humourous aside, the women usually dress much better than the men.  You realy have to admire the dedication of the performers to rehearse, prepare and deliver the goods.  As we have begin to know some of the performers, one can only truly appreciate their dedication.  Opera is far from dead and these individuals as mentors and performers will keep Opera alive.  They even have a tee short which is emblazened with Opera for All.  In years past, they have sold records, tapes and CD's that were given by donation.  Tickets available at the doors are a very good value, parking is available across the street.  Bring your hearts, ears and soul and you will be more than amply entertained.