Four Miami Symphony Orchestra Concerts at South Miami-Dade Cultural Arts Center (Up to Half Off)

South Miami-Dade Cultural Arts Center

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In a Nutshell

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Themed evenings animate pieces from Mozart, Haydn, Wagner, and Copland, including a special love-soaked Valentine’s event

The Fine Print

Expires Apr 7th, 2013. Limit 5/person. Valid only for option purchased. Redeem starting day of show for a ticket at venue Box Office. Must show valid ID matching name on Groupon at South Miami-Dade Cultural Arts Center. Must provide first and last name at checkout, which Groupon will provide to facilitate redemption of voucher. Refundable only on day of purchase. Must redeem together to sit together. Discount reflects The Miami Symphony Orchestra's current ticket prices-price may differ on day of the event. Doors open 1hr before showtime. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.

Conductors got their name by both guiding orchestras and wielding copper batons that deflect lightning away from the brass section. Behold an electrifying performance with this GrouponLive deal to see four concerts by The Miami Symphony Orchestra at the South Miami-Dade Cultural Arts Center. Choose from the following seating options:

  • For $32, you get one ticket for seating in section D (up to a $64 value).
  • For $56, you get one ticket for seating in section C (up to a $112 value).
  • For $88, you get one ticket for seating in section B (up to a $176 value).
  • For $104, you get one ticket for seating in section A (up to a $208 value).

Doors open one hour before each concert. The four-concert package is valid for all of the following shows in the 2012–2013 season:

“Divertimento” (Sunday, November 11, at 4 p.m.)

This season’s first performance within the South Miami-Dade Cultural Arts Center’s futuristic cube takes a step back in time. “Divertimento” opens with Silvestre Revueltas’ Ocho x Radio (1933), which incorporates maraca-tinged mariachi and swaps between variations as fast as an indecisive auctioneer ordering takeout. Schoenberg’s Chamber Symphony no. 1 (1906) follows, written before the composer’s revolutionary 12-tone technique had been established. The evening then ends with two delicate works from the 18th century: Mozart’s Divertimento in D major, metronomic and slightly melancholy, and Haydn’s Cello Concerto no. 1, an instantly recognizable masterwork that tends toward exultation.

“A Valentine Preview” (Sunday, February 10, at 4 p.m.)

Love is in the air in early February, but this concert explores the more treacherous paths those that follow their heart may tumble down. Janácek’s Jealousy starts on a dark revelatory blast before alternating passionately between dripping sweetness and frenetic anger. “Prelude and Liebestod” from Wagner’s Tristan and Isolde encompasses the brooding overture to the tragic love story as well as an orchestral version of the soprano’s swan song. Lastly, Elgar’s Enigma Variations closes on a more positive note while retaining its inherent perplexity. The work seamlessly weaves 14 personalities, including those of himself and his wife, into variations on a strongly enunciated central theme.

“Aranjuez for Harp!” (Saturday, March 2, at 8 p.m.)

Ravel’s serenely meditative Mother Goose Suite prepares the audience for the bucolic grandeur of Rodrigo’s Concierto de Aranjuez with harpist Kristi Shade. Inspired by Philip II’s gardens at the palace at Aranjuez, Rodrigo’s work was originally written for the guitar, but takes on a rich, ethereal quality under the fingers of the principal harpist for the Chamber Orchestra of New York. Lushly layered and surging at a never-slowing pace, the work recalls gentle rolling hills, minor-key birdsong, and ceaselessly burbling fountains. Mendelssohn’s Symphony no. 4 in A major (aka the Italian), is similarly pastoral, becalmed with a more sweeping tempo and a brightened tone.

“An Appalachian Spring” (Sunday, April 7, at 4 p.m.)

Copland’s classic Appalachian Spring opens the show at this early April concert, evoking gentle sheets of rain over newly greening mountains with drawn out, densely layered tonal waves. Soloists Nuno Antunes (clarinet) and Adrian Morejon (bassoon) weave a complicated knot of melodies with the help of the orchestra. The Lisbon-born Antunes has worked with philharmonics from New York to Mexico and founded the The Gene Project, a New York–based clarinet-bassoon-harp trio of which Morejon is also a member (along with Shade from the concert in March). Mozart’s stately Symphony no. 35 in D major closes the season at South Miami-Dade with pomp aplenty.

The Miami Symphony Orchestra

Since 1989, The Miami Symphony Orchestra has mimicked Miami’s cultural diversity with concerts and events that act as a melting pot of musical influences. Music director Eduardo Marturet, a Venezuelan composer and conductor, helms many of the concerts, encouraging the musicians to unleash their inner Beethovens or Bachs—former members of the ’80s hair-metal band Skid Row.

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