Going to a concert can deepen your admiration for the musicians, especially during the drummer's 20-minute bottle-feeding of a baby goat. Strengthen your musical bond with this GrouponLive deal to see Symphonic Blues on Saturday, April 20, at 8 p.m., with an option to add Brahms 4 All on Friday, May 3, at 8 p.m., both presented by The Miami Symphony Orchestra at the Adrienne Arsht Center for the Performing Arts. Choose from the following concert and seating options:
- For $20, you get one section-D ticket to Symphonic Blues (a $34 value).
- For $40, you get one section-C ticket to Symphonic Blues (a $69 value).
- For $50, you get one section-B ticket to Symphonic Blues (a $103 value).
- For $60, you get one section-A ticket to Symphonic Blues (a $119 value).
- For $35, you get one section-D ticket to both concerts (a $68 value).
- For $60, you get one section-C ticket to both concerts (a $138 value).
- For $80, you get one section-B ticket to both concerts (a $206 value).
- For $100, you get one section-A ticket to both concerts (a $238 value).
Doors open at 7 p.m.
Works by George Gershwin, Ravel, Hindemith, and William Russo flourish under the baton of conductor Eduardo Marturet. An award-winning duo of featured soloists, pianist Monique Duphil and harmonica and piano player Corky Siegel, anchor the orchestra throughout the evening. Gershwin's tone poem Cuban Overture opens with busy, bustling chords. A Latin ambience soon tints the piece, which frequently switches moods and spins into dizzyingly frenetic melodies. Siegel's internationally praised blues harmonica and piano plinking shine in Street Music by jazz artist William Russo. Soloing, Siegel emits dynamic twangs at top speed before strings start to punctuate his vibrating melody with whispered gossip. Then the orchestra takes over, its strings and restrained horns effecting a swift change of scene from the bluegrass-reminiscent tunes that opened the work.
Brahms 4 All
Brahms’ Piano Concerto No. 1 in D begins with gusto: the roar of a timpani colors boastfully accelerating string sounds before pianist Philippe Entremont enters, armed with the confidence of a musician who first played Carnegie Hall at the age of 18. His melodies crawl and climb like ivy over the orchestra's swelling chords and ominous harmonies. Overlapping melodies in Brahms' last symphony, Symphony No. 4 in E Minor, coalesce into solid blocks of sound before the orchestra teases individual tunes apart from each other, crafting a summery atmosphere around the thunder of intermittent orchestral blasts.
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.
“Always a wonderful experience”