Long Beach Symphony Presents: Bach & Mahler

Terrace Theater

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In a Nutshell

Soprano Elissa Johnson gives voice to works from Barber and Mahler, while Bach’s orchestral suite showcases his sweeter side

The Fine Print

Promotional value expires Mar 6, 2016. Limit 8/person. Reservation required by end of day on 3/4. Redeem on 3/5 for a ticket at venue box office. Refundable only on day of purchase. Must reserve together to sit together. Discount reflects Ticketmaster's current ticket prices, which may change. ADA seating cannot be guaranteed; contact box office prior to purchase for availability. Ticket value includes all fees. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.

The Deal

  • $35 for one ticket for seating in rows 21–26 of the orchestra, rows 1–10 of the level-three side loge, or row 9 or 10 of the level-three rear-center loge (up to $59.70 value)
  • Click here to view the seating chart

The Program

Conductor Gemma New (New Jersey Symphony Orchestra) leads the Long Beach Symphony through an eclectic program that includes two dynamic solos for soprano Elissa Johnston—both of which have her voicing the perspective of a child. The first child, in Barber’s piece, will present a portrait of the American South before WWII, whereas the second child, in Mahler’s symphony, will present a vision of heaven.

  • Bach—Overture to Orchestral Suite No. 4: While most German orchestral suites have both a frivolous air and a heavy French influence, Bach didn’t bow to the trends of the time. Although still light and charming, his fourth (and final) orchestral suite creates an air of warmth and sweetness, with elements of Vivaldi’s speedy complexity laced throughout. In contrast to his other more serious works, however, these pieces are meant to be enjoyed, not closely studied.
  • Barber—Knoxville: Summer of 1915: Written in the aftermath of the Second World War, Barber’s stirring piece—complete with text from James Agee’s Pulitzer-winning book, A Death in the Family—evokes a painful nostalgia, a longing for a simpler world where parents rocked on porches, garden hoses gurgled quietly in yards, and the biggest disturbance in the air was the spark that follows a streetcar “like a small malignant spirit set to dog its tracks.”
  • Mahler—Symphony No. 4: A reserved first movement flits between pastoral swells and playful trills before the second descends into a danse macabre, led by an eerily tuned solo violin representing the German personification of death. The piece concludes swiftly and lyrically as a soprano takes the role of a child describing a feast in Heaven, which oddly is not a 24-hour buffet.

Long Beach Symphony

A community institution for over 80 years, the Long Beach Symphony has entertained generations of audiences. The Symphony produces six full symphonic classical concerts throughout the year at the Long Beach Perform­ing Arts Center Terrace Theater and five more eclectic POPS! concert events in the Long Beach Arena, entertaining more than 32,000 residents throughout the season. Outside of their concert events, the Symphony also provides over 24,000 local school children with access to music at their schools, libraries, and community centers, as well as ensembles and concert field trips for every LBUSD 2nd-5th grader in the public school sys­tem. Because music should be above all things accessible, Long Beach Symphony also offers free concerts at smaller venues and fun instrument petting zoos in spaces all over the City of Long Beach, like Cesar Chavez Park, Rainbow Harbor Lagoon, City Parking Ga­rage, and Homeland Cultural Center.


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