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    Conductor Search

    A frontrunner? Spanish señor wakes up the Symphony's Hans Graf replacement race

    Joel Luks
    Apr 11, 2011 | 1:51 pm
    • Conductor Rafael Frühbeck de Burgos lead a remarkable performance of Mozart"Serenade No. 6 in D Major," Mozart "Flute Concerto No. 2 in D Major andRimsky-Korsakov "Scheherazade."
      Courtesy photo
    • Concertmaster Frank Huang navigated through the colorful Scheherazade solos withunparalleled artistry
    • Principal flutist Aralee Dorough's performance of the Mozart Concerto wasstylistically elegant, poised and playful, and in virtuoso spirit, wrote her owncadenzas.

    "I like to take a nap when I listen to Mozart," a lady behind me announced to her younger companion. "It relaxes me."

    I laughed it off initially, but when she claimed she wasn't interested in hearing the Sibelius Violin Concerto on the Houston Symphony's next classical series program, I knew this misguided soul needed a major infusion of exquisite musical artistry. And we were in the right place, at Jones Hall, waiting for Spaniard Rafael Frühbeck de Burgos to lead the orchestra.

    On tap? Mozart's Serenade No. 6 in D Major, Mozart's Flute Concerto No. 2 featuring principal flutist Aralee Dorough and closing with Rimsky-Korsakov's Scheherazade, the tale of the sexy and manipulative temptress.

    The fashionable dame got a musical spanking. Nothing about the evening's performance was worthy of a snooze as the Houston Symphony, playing with gusto, gave a virile, playful, elegant and memorable show. I laughed, cried, swayed, stood on my feet, whistled and cat called, elated and proud that the musicians showed her up.

    Take that.

    In the Serenade, concertmaster Frank Huang, principal second violinist Jennifer Owen, principal violinist Wayne Brooks and principal bassist David Malone found an equilibrium between impassioned playfulness and classical refinement. I found myself bobbing, doing a happy chair dance to the tuneful melodies.

    Dorough rocked out her concerto, opting for a stylistic approach rather than one focusing on pure technical proficiency. In the spirit of virtuosity, she did write her own cadenzas, all appropriate, beautiful and fitting. She has the kind of sound that shimmers with overtones and fills the hall, without sounding heavy and forced.

    And then there was Scheherazade, where Huang's seductive and colorful solos (I teared up) brought the princess to life and were contrasted by exceptionally colorful wind playing including bionic tongue action courtesy of the flutes and trumpets. As always, I can always count on my favorite bassist Eric Larson for special hairography effects.

    I continue to be baffled at how much and how quickly a conductor can shape the sound of an orchestra. Frühbeck, with a been-there-done-that attitude, is a veteran maestro who knows his craft and pulled a meaningful concert, conducting with confidence, maturity and poise, and without any unnecessary frills.

    Could Frühbeck be the next Houston Symphony music director? As we continue to speculate who that will be, lets remember that the powers that be at the Symphony have stated that all guest conductors could be considered for the prestigious post.

    We have dissected the pros and cons of Thomas Dausgaard, James Gaffigan and Juanjo Mena, now let's turn to Frühbeck as our next casualty.

    Frühbeckis a man of class and distinction, with a rather impressive list of accolades. Starting with the 2011-2012 season, Frühbeck will serve as the creative director of the Cincinnati Symphony Orchestra Masterworks Series and will be the principal conductor of the Danish National Symphony Orchestra in 2012. He frequents with the New York Philharmonic, Philadelphia, Los Angeles, Toronto, Montreal and Chicago orchestras, the National Symphony in D.C. and makes an annual appearance at the Tanglewood Music Festival, the summer home of the Boston Symphony.

    His vast discography includes the complete works of Manuel de Falla and the premiere of Gian Carlo Menotti's opera Goya (Menotti composed the Christmas favorite, Amahl and the Night Visitors).

    The pros:

    • Frühbeck is a seasoned musician. His training and work as a composer is a welcomed addition to his bag of tricks, most likely adding an additional dimension to his interpretive abilities. Composers also tend to embrace new music and approaches — and in the past, the Houston Symphony has been criticized for its traditional programming approach.
    • His artistry is impeccable. He allows the music to push and pull organically, selfishly self-indulgent but always moving forward satisfyingly.
    • His conducting style is clean, precise and direct. His gestures are sufficient, gracious and refined, free of overdramatic and extreme moves. He allows the music to speak for itself and provides ample room for the musicians to add their personal interpretations.

    The cons:

    • Frühbeck is in-demand and I would question whether he would have the time and stamina to devote to contributing to build successful seasons.
    • I may be practicing ageism, but I'd argue that his image may inhibit the general movement to engage younger audiences. However, if quality of music making is the priority, that concern should be dismissed.

    He has my vote. But is he available?

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    Best April Theater

    The 9 best plays, musicals, and operas to see in Houston this month

    Tarra Gaines
    Apr 2, 2026 | 2:00 pm
    National tour of Six
    Photo by Joan Marcus
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    Houston theater companies seem to be feeling a bit nostalgic as they offer up some timeless and contemporary classics shows for audiences this month. Drama gets political, comedy gets historical, and an array of queens, knights, lunching ladies, and barbers sing. Celebrate the classics, and one world premiere, as theater blossoms across the city this month.

    Brother Andrew at A.D. Players (now through April 26)
    The family friendly and spiritual theater company's latest new work is this musical inspired by the New York Times Bestseller, God's Smuggler. The true story follows a young Dutch man who, after a dramatic conversion, takes on a new calling as Brother Andrew and risks his life to smuggle Bibles behind the iron curtain during the cold war. With music and lyrics by Christian rock star Neal Morse, Brother Andrew becomes an inspirational, thrilling musical, and Houston theater goers can be the first to see it.

    Six presented by Broadway at the Hobby Center (April 7-12)
    Let’s sing out “Yas, Queens!” as six divas take the Hobby stage once more to have (and belt) it out over who had a worst marriage to the king of bad husbands, Henry VIII. With those marriage outcomes being: divorced, beheaded, died, divorced, beheaded, survived, they’ve got a lot to sing about. Coincidentally resembling some of the hottest pop stars of our age, the 16th century royals: Catherine, Anne, Jane, Anna, Katherine with aK, and the second Catherine with a C (Henry had a type for names), finally get to tell their own side of the story in this theatrical concert extravaganza. Six is one of those rare musicals that after many years is still going strong on Broadway, but you don’t have book a flight to seek an audiences with the queens, as Broadway at Hobby brings them back to Houston.

    Company from Garden Theatre (April 10-19)
    Garden continues to celebrate its fifth season by remounting some of its audience's favorite shows, and the final musical of the season is no exception. Stephen Sondheim’s exploration of New York marriages through the eyes of a single and singular man, Bobby, also gave us Sondheim fans some of our most adored songs, like “Ladies Who Lunch” and “Being Alive.” Through a series of dinner parties, first dates, and candid conversations, Bobby explores the highs, lows, and absurdities of modern relationships, gaining insight into marriage, commitment, and his own persistent bachelorhood. Garden Theatre’s founding artistic director Logan Vaden, plays Bobby, alongside a cast of Garden regulars.

    The Designated Mourner from Catastrophic Theatre (April 10-25)
    Because of scheduling and production issues, Catastrophic made some changes to its announced season and brought back this contemporary political classic by American playwright and actor Wallace Shawn. Unfolding in a series of monologues and short scenes, three characters, a husband, wife, and her father, talk us through a labyrinthine tale spanning the years before, during, and after a populist uprising in an unnamed country. Now teetering on the edge of authoritarianism, the government has targeted artists and intellectuals for imprisonment and execution. Catastrophic co-founder Jason Nodler, who will direct, says the power of Designated Mourner is that it pushes audiences to reflect on their own beliefs and ideals if confronted by such circumstances. Previous productions have left audiences thinking and questioning long after the final lines.

    Spamalot presented by Theatre Under the Stars (April 15-26)
    Clap your coconut shells together as the revival of the smash Broadway hit clops into Houston. As the original description so honestly stated, Spamalot is lovingly ripped from the film classic, Monty Python and the Holy Grail, but fans know the musical definitely expands on the film.

    Follow King Arthur and his nights of the Round Table on a set of meandering adventures through ancient England, a land full of flying cows, killer rabbits, French taunters, dancing girls, shrubbery, and watery lake tarts dispensing swords. While this revival garnered critical acclaim on Broadway for its new design and staging, the original book, lyrics, and music by Python member Eric Idle still remain, so expect to sing along with knightly songs like “Always Look on the Bright Side of Life,” “The Song That Goes Like This,” and “Find Your Grail.”

    Othello from Classical Theatre Company (April 16-May 2)
    The Houston theater company that specializes in bringing new perspectives to theatrical masterpieces describes its 18th season as “sad plays for sad days.” In keeping with that theme, it brings the always complex and provocative Othello to the DeLuxe stage.

    The play follows the heroic Moorish general in the Venetian army, Othello, whose life is destroyed by his insidious and conniving ensign, Iago. Calling Othello his favorite Shakespeare play, company founder John Johnston finds many parallels between the play and our current political landscape, especially Othello’s blight and Iago’s ability to manipulate others using fear and racism as a wedge.

    Messiah from Houston Grand Opera (April 17-May 3)
    As the music rises to the heavens, the Wortham stage will be filled with images reminiscent of fantastic dreams in this rare staging of Handel’s Messiah, arranged by Mozart, as a full operatic production. Though classical music lovers likely are more accustomed to hearing Handel’s Messiah as a holiday tradition in concert halls, Wilson’s acclaimed production becomes a surreal, transformative experience.

    Performed by the HGO Orchestra and Chorus alongside soprano Ying Fang, countertenor Aryeh Nussbaum Cohen, tenor Benjamin Bliss, and bass-baritone Nicholas Newtona, as well as internationally celebrated dancer Alexis Fousekis, this Messiah production will be one audiences will not soon forget.

    Fences at Alley Theatre (April 17-May 10)
    It’s been some time since the Alley produced a work by August Wilson, one of the great American playwrights of the late 20th century, but this Pulitzer and Tony winner is certainly a momentous one to welcome Wilson’s work back to the Hubbard stage. Fences tells the story of a former baseball player, Troy Maxson, who struggles with the realities of life and the pursuit of happiness. The play explores themes of racial prejudice and unfulfilled dreams, while depicting the challenges of parenthood and the strength and bonds of family when they are tested.

    The Barber of Seville from Houston Grand Opera (April 24-May 10)
    One of the most beloved comic operas, Rossini’s The Barber of Seville gets a colorful and exhilarating new staging created and directed by Joan Font, founding director of the Barcelona-based company Comediants. The opera follows the story of the dashing Count Almaviva, who is captivated by the mysterious Rosina but thwarted in his pursuit by her pompous old guardian, Dr. Bartolo. In order to get close to the cloistered beauty, Almaviva enlists the help of the scheming barber Figaro and his clever tricks, leading to a series of elaborate disguises, intercepted letters, and outrageous mix-ups before true love triumphs at last.

    National tour of Six
    Photo by Joan Marcus

    Broadway at the Hobby Center presents Six.

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