cooking, couples, dance, food, HIV-AIDSSep 8th, 2005 | No Comments
For more than 20 years, he’s been a star in the most elite realm of classical ballet. But his name is more like ESPN.
Jock Soto was a mere 16 years old in 1981 when Peter Martins, director of the New York City Ballet, plucked him out of the company’s school. Just four years later Soto was promoted to the troupe’s top tier of dancers.
“At that time I was the youngest principal. I was in shock. It was hard to live up...
GLTB performers, gym, HIV-AIDS, pianoMar 15th, 2005 | Comments Off
“I’m the type, if I see something I tackle it,” says classical pianist Anthony de Mare. And he’s not just speaking figuratively.
The pianist, who makes his Carnegie Hall debut on March 15, is known for throwing his bulked-up body fully into his music making. In “Playin’ Myself,” his 2001 show that toured the U.S. and abroad, de Mare recited poetry, sang and even tap danced – all while playing the piano....
couples, Gay Composers, HIV-AIDS, jazzMar 1st, 2005 | No Comments
“Whitman and his universal message of love and tolerance and embracing real freedom needs to be heard,” says the gay jazz pianist and composer Fred Hersch, discussing his new recording “Leaves of Grass” (Palmetto).
The disc features musical settings of the great gay poet Walt Whitman and coincides with the 150th anniversary of the first publication of the landmark collection “Leaves of Grass.”
“Just as Whitman...
Albany NY, classical, couples, Gay Composers, HIV-AIDSOct 7th, 2004 | 1 Comment

With typical brevity and wit, Joseph Fennimore has already composed his own epitaph: “Often wrong. Never in doubt.”
It speaks well to the contradictions and apparent folly of Fennimore’s livelihood. In a society where high art is little valued, he’s a driven and earnest composer who refers to his pieces as “ditties.” Also a virtuoso pianist who studied with the legendary teacher Rosina Lhevinne – as did...
classical, couples, Gay Composers, HIV-AIDS, opera, orchestralAug 24th, 2003 | No Comments
The increasing longevity of humans has advantages for composers. Because the music world gets obsessed with birthdays and anniversaries, composers who make it to age 70 and beyond can expect tribute concerts at least every five years, and heightened attention to their music in general. Performers and audiences are led to think, “There’s a living master in our midst we best pay attention.”
Two who fit that bill are...