Liz Durand Streisand’s online platform — which is, in fact, called Broadway Roulette — is basically the Hotwire of theatre: producers, like airlines, may be willing to release discount tickets in order to sell seats, but they don’t want the whole world to know that they’re resorting to cutting prices. So the customer will specify a date and order tickets, but the actual show will be a surprise.
Join us for a special tour of LiveNote® – the interactive performance guide for delivering commentary, translations, program notes, and images to audiences in real-time via mobile devices.
Earlier this year, The Philadelphia Orchestra and InstantEncore announced the release of LiveNote® – the interactive performance guide for delivering commentary, titles, translations, and images to audiences in real-time via mobile devices.
The Philadelphia Orchestra created LiveNote 1.0 in 2014. For the past four seasons, they have successfully used it to engage audiences. And now, LiveNote 2.0 is available to arts organizations around the world!
Join us for a special tour of LiveNote on Wednesday, September 25th at 2PM Eastern / 11AM Pacific.
During this 30-minute webinar:
- We’ll explore how delivering complementary content to audiences during a performance can enhance their experience.
- We’ll show you how easy it is to create real-time content.
- We’ll also give you a live demonstration of how it works.
- And of course, we’ll answer any questions you may have.
Register today at https://attendee.gotowebinar.
Space is limited.
The La Jolla Music Society, which presents touring classical and dance artists in metro San Diego, announced in late July that Florida Grand Opera executive director Susan T. Danis would become the Society’s CEO and lead its move into a new venue. Seven weeks later, following a “defamatory letter” about Danis that was sent to the La Jolla board, and later retracted, by a former FGO staffer, the vindicated Danis decided nevertheless to give up the job in La Jolla and remain at FGO. George Varga explains (as far as possible).
“DiChiera was small of stature and surprisingly soft-spoken for a man who came to have such an enormous impact on Detroit’s cultural landscape. Indeed, the word people used most often to describe him was ‘kind,’ followed quickly by more grandiose words like ‘visionary,’ ‘groundbreaker’ and ‘risk-taker.’ He was all that and more.”
On Monday, the orchestra was at Charles de Gaulle Airport outside Paris, waiting to depart for that evening’s concert in Amsterdam, the final performance of the tour — only to find out that their chartered aircraft had mechanical problems and could not fly. No trains or buses were available for all 110 musicians (not counting staff and patrons) to get to Amsterdam in time: the only option was a 76-seat propeller plane. 76 musicians are not enough to perform Shostakovich’s Fourth Symphony, the main work on the program. Zoë Madonna reports on what happened next.
“This is the latest major commission for the Ghanian-British architect who has completed a bunch of high profile projects for civic and cultural institutions over the years; most notably, the acclaimed Smithsonian National Museum of African American History and Culture in Washington, D.C. He is currently overseeing a number of museum designs including the new home for the Studio Museum in Harlem and the Latvian Museum of Contemporary Art in Riga.”