Classical music boosts listeners’ brain functions and energy levels, which is why every child should ingest a well-rounded harpsichord each morning. Treat your noggin to a mellifluous meal with this GrouponLive deal: for $15, you get one adult ticket for section B seating at a Florida Orchestra concert (a $30 value). Students and teachers are admitted to all concerts for $10. Choose from the following concerts:
- Brahms’s Symphony no. 4. Choose from the following performances:
- Friday, April 13, at 8 p.m. at David A. Straz, Jr. Center for the Performing Arts’ Ferguson Hall
- Saturday, April 14, at 8 p.m. at Mahaffey Theater in St. Petersburg
Sunday, April 15, at 7:30 p.m. at Ruth Eckerd Hall in Clearwater<p>
- Rhythms of Cuba. Choose from the following performances:
- Friday, May 11, at 8 p.m. at David A. Straz, Jr. Center for the Performing Arts’ Carol Morsani Hall
- Saturday, May 12, at 8 p.m. at Mahaffey Theater
Sunday, May 13, at 7:30 p.m. at Ruth Eckerd Hall<p>
- Postcards from Paris. Choose from the following performances:
- Friday, May 18, at 8 p.m. at David A. Straz, Jr. Center for the Performing Arts’ Carol Morsani Hall
- Saturday, May 19, at 8 p.m. at Mahaffey Theater
- Sunday, May 20, at 7:30 p.m. at Ruth Eckerd Hall<p>
Florida Orchestra has delighted ears across the Tampa Bay area for 44 seasons of time-tested masterworks and sprightly pops concerts. Conductor Günther Herbig leads the orchestra’s April 13–15 program and punctures balloons in midair with the baton skills that have placed him atop the podium of nearly every major American symphony. The evening kicks off with Franz Schubert’s Symphony no. 6, featuring a distinctive third-movement scherzo that keeps ears engaged with exciting dynamic contrasts as cooing woodwind lines are broken by explosive outbursts of strings and percussion.
The orchestra’s principal trumpeter, Robert Smith, takes the lead for Hummel’s Trumpet Concerto, written in 1803 to take advantage of the range of notes available to the newly developed keyed trumpet. Playful solos revel in deep scales and chromatic asides, backed by rollicking string harmonies. Johannes Brahms’s fourth and final symphony starts out midway through a phrase, foretelling the sense of unease that will develop throughout the piece. The stark finale builds from a series of variations on a theme by Bach, then eschews the expected upbeat symphonic ending for a dark vision of mortality.
National Symphony Orchestra of Cuba director Enrique Perez Mesa celebrates his homeland’s sounds in the May 11–13 program. Carlos Fariñas’s Penthesilea: Preludio evokes the mythological story of an Amazon’s death at the hands of Achilles with intense percussive rhythms that recall the sounds of battle. Longtime principal timpanist John Bannon dives into James Lewis’s Cubanitis, named after the way Cuban beats wormed their way into his head during a visit to Havana. After a European detour into the tumbling pizzicato of Prokofiev’s Symphony no. 1, Guido López-Gavilán’s Ritmotiv and José Pablo Moncayo’s Huapango present traditional Latin American dances writ large, with complex rhythms, booming, full-orchestra crescendos, and the thunder of dozens of stagehands dancing in the catwalk.
Noted in the New York Times as one of a “new wave of female conductors,” Sarah Hicks leads the orchestra in an upbeat pops concert May 18–20 that transports audiences to the romance of Paris. Can-cans high-step around smoky jazz by Django Reinhardt, nightclub classics by Edith Piaf, and the cheeky hits of Josephine Baker. Kersten Rodau brings her theater-trained pipes to the vocals, backed by accordionist Patrick Harison and Mexican guitarist Gil Gutiérrez.
Florida Orchestra has delighted ears across the Tampa Bay area for 44 seasons filled with time-tested masterworks and sprightly pops concerts. Created in the 1968 merger between the St. Petersburg Symphony and the Tampa Philharmonic, Florida Orchestra ties the two sides of the bay together into one musical tradition. The ensemble has continued its program of outreach ever since, which has recently included cultural exchange programs with Cuba, collaborations with local institutions, and the tradition of allowing one lucky child to sleep inside a tuba during each performance.