Magenta Sunshine laces danceable rhythms, horn-driven soundscapes, and poetic lyricism into genre-defying arrangements. The sextet’s sound synthesizes well-crafted songwriting into a brass inspired, funky psychedelia suited for hip shakers and wallflowers alike.

Music on Main is the annual Friday evening summer concert series at the Hendersonville Visitor Center. Each week, bring a chair, sit back and enjoy free live music! Every concert showcases a different band performing diverse line-up ranging from pop, oldies, rock, to contemporary music. The family-friendly event offers concessions such as hot dogs, ice cream, pretzels and lemonade for sale. Every Friday evening, the Carolina Mountain Car Club hosts a classic car show in conjunction with Music on Main. The car shows are located in front of the Wells Fargo between Barnwell and Caswell Streets, which will be closed to traffic.

This week, enjoy the music of DeanO and The Dreamers, a dance party band that plays all of your favorite from the 50s, 60s, 70s, 80s & 90s.

In case of inclement weather, the concert will be postponed until 8pm. If the weather does not improve by 8 pm the performance will be canceled.

This Concert Series is sponsored by Burger King, Kathy Watkins of Preferred Realty, Firehouse Subs, Blue Ridge Hospitality and Mast General. This event is hosted by the Henderson County Tourism Development Authority.

While Barber’s style of American Romanticism is lyrical without restraint, Shostakovich’s Symphony No. 5 is complex and issues the perfect invitation to read between the notes of a composition written during an era of political strife and war. Kirill Gerstein brings his ferocious technique, discerning intelligence, and imaginative musical presence to Bartók’s lyrical 3rd Piano Concerto, one of the composer’s very last works.

PERFORMANCE & ARTIST DETAILS
Brevard Music Center Orchestra
Keith Lockhart, conductor
Kirill Gerstein, piano

SAMUEL BARBER Second Essay
BÉLA BARTÓK Piano Concerto No. 3
DMITRI SHOSTAKOVICH Symphony No. 5

Auditorium seating is reserved.  Lawn seating is general admission.

Proud Mary Theatre Company presents the Upstate premiere of the bold new musical comedy Head Over Heels by The Go-Go’s, the Musical Comedy of the Summer for seven performances only June 24-July 2, 2022.

This laugh-out-loud love story is set to the music of the iconic 1980’s all-female rock band The Go-Go’s (2021 Rock and Roll Hall of Fame Inductee), including the hit songs, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Head Over Heels,” and Belinda Carlisle’s “Heaven is a Place on Earth” and “Mad About You.”

Dates: July 11 – 16, 2022
Application: Available now through MyBMC
Cost: A $600 fee covers all housing, meals, classes, materials, and concert tickets. Spots are limited and applications will be reviewed on a rolling basis.

Please note: Proof of COVID-19 vaccination is required for all students, faculty, and summer staff for the 2022 season. Please see our FAQ page for more information.

Program Summary

Brevard Music Center (BMC) presents The Brevard Project: Reimagining the Future of Orchestral Programming, a six-day intensive seminar and think-tank on orchestral programming intended for professionals and influencers in the orchestral field. Presented by Brevard Music Center in partnership with Bard College, the Blair School of Music at Vanderbilt University, the Chicago Sinfonietta, the South Dakota Symphony, the University of Michigan School of Music, and Project Director Joseph Horowitz, The Brevard Project takes place July 11-16, 2022. The central goals of The Brevard Project are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire.

Curriculum

The Brevard Project: Reimagining the Future of Orchestral Programing complements Brevard Music Center’s week-long “Dvořák’s Prophecy” festival from July 11-16 and is inspired by Joseph Horowitz’s acclaimed new book Dvořák’s Prophecy and the Vexed Fate of Black Classical Music. Part think-tank, part seminar, this inaugural Project gathering equips practitioners and scholars alike to begin to answer questions about the dense nexus of culture and race, of historical, political, and moral reckonings surrounding the story of American orchestral music. The central goals of this program are to re-evaluate the artistic mission of the American orchestra and to share the skills needed to curate a more comprehensive, more inclusive American orchestral repertoire. The Brevard Project is designed for conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and engaged orchestra Board members.

Moving forward requires a fresh and closer look at our musical past – and to the lagging formation of an American symphonic canon. A new narrative of American classical music will be proposed that explores timely and topical issues that impact present and future orchestral programming. Why did our repertoire remain so stubbornly Eurocentric? What can we learn from this history? What can be mined from the treasure trove of long-hidden indigenous and Black music that can help to pave the future?

Classroom sessions will be highly interactive, drawing upon first-hand accounts of humanities-infused approaches to programming and community engagement. Topics of exploration include creating a “new paradigm” for American orchestral repertoire, rethinking the concert experience, and redefining the role of the music director. Participants will be challenged to envision programming and organizational initiatives to promote symphonic events grounded in the American experience, past and present.

The Faculty

A remarkable faculty has been assembled for this groundbreaking exercise.
*virtual participant

Joseph Horowitz, Project Director
Leon Botstein, President, Bard College; Music Director, American Symphony; Founder, Bard Festival and The Orchestra Now
Lorenzo Candelaria, Dean, Blair School of Music at Vanderbilt University
Mark Clague, Music Historian, University of Michigan
JoAnn Falletta*, Music Director, Buffalo Philharmonic Orchestra
Christopher Gibbs*, Music Historian, Bard Conservatory; Artistic Co-Director, Bard Festival
Delta David Gier, Music Director, South Dakota Symphony
Blake-Anthony Johnson, CEO, Chicago Sinfonietta
Keith Lockhart*, Artistic Director, Brevard Music Center
Douglas McLennan, Founder/Editor, ArtsJournal
Jason Posnock, Chief Artistic Officer, Brevard Music Center
Jesse Rosen, Former CEO, League of American Orchestras
Larry Tamburri, CEO, Newark School of the Arts (former CEO, Pittsburgh and New Jersey Symphonies)

The Performers

Lara Downes, Pianist, producer, arts advocate
Sidney Outlaw, Baritone/pedagogue, Ithaca College
George Shirley, Tenor/pedagogue, University of Michigan

Enrollment Information

Conductors, artistic administrators, executive directors, community engagement specialists, conservatory students, and Board members are all encouraged to apply for The Brevard Project.

Capacity is limited. A $600 fee covers all housing, meals, classes, materials, and concert tickets for the week. Applications will be reviewed on a rolling basis. Apply now through MyBMC.

Featured Artists: Jude Stuecker (fiber) Erica Bailey (jewelry) Mary Dashiell (clay) Steve Miller (wood) Rex Redd (clay)

“My work focuses on deteriorating architecture. These structures, designed to be huge forces of permanence, are continually being challenged, destroyed and forgotten. I see an inherent honesty in the face of my subject. Among all of the clutter—the shards of wood and layers of rubble—there remains a gentle resolve. As I work, I study these structures incessantly. The buildings, often on the brink of ruin, have something very energized and present trying to escape from their fragmented reality.”  –Seth Clark

This first solo show of Seth’s work at Momentum’s new space features large-scale works from his Barn, Ghost, and Aerial View Series.  The collection also includes some of the artist’s sculptural objects in wood.  Abstract works, which still reference weathered architecture, such as Lath Study and Vinyl Study, round out the exhibition.

Jessie B. Telfair, Freedom Quilt, 1983, cotton with pencil, 74 × 68 inches. Collection American Folk Art Museum, NY, gift of Judith Alexander in loving memory of her sister, Rebecca Alexander, 2004.9.1. © Estate of Jessie. B. Telfair, image Gavin Ashworth.

American Perspectives: Stories from the American Folk Art Museum Collection showcases over 80 stellar works of folk and self-taught art including assemblages, needlework, paintings, pottery, quilts, and sculpture. Organized by the American Folk Art Museum in New York, this exhibition will be on view in the Explore Asheville Exhibition Hall at the Asheville Art Museum from June 18 through September 5, 2022. Everyone has stories to tell from both the private and mutual experiences encountered throughout their lifetime. American folk and self-taught artists capture these stories in powerful visual narratives that offer firsthand testimonies to chapters in the unfolding story of America from its inception to the present. Beautiful, diverse, and truthful; the art illuminates the thoughts and experiences of individuals with an immediacy that is palpable and unique to these expressions. These artworks held meaning in the makers’ worlds filtered through their own perceptions. The artworks are organized into four sections—Founders, Travelers, Philosophers, and Seekers—that respond to such themes as nationhood, freedom, community, imagination, opportunity, and legacy. Evocative visual juxtapositions and accessible contextual information further reveal the vital role that folk art plays as a witness to history, carrier of cultural heritage, and a reflection of the world at large through the eyes, heart, and mind of the artist. “While the Asheville Art Museum exhibits many folk and self-taught artists, most are local to the Southeast,” says Whitney Richardson, associate curator. “American Perspectives adds a national voice to the conversation by adding New England, Midwestern, Southwestern, and West Coast artworks that the Museum could never achieve alone. The amount of creative output from folk and self-taught artists was (and still is) on a national level and this exhibition helps to put that into a clear context. Traveling to Asheville from the collection of the American Folk Art Museum in New York, this exhibition will complement and expand the Museum’s ongoing conversations around American history and storytelling through works of art.” This exhibition has been organized by the American Folk Art Museum, NY, with support provided by Art Bridges. Originally curated for installation at the American Folk Art Museum February 11, 2020–January 3, 2021 by Stacy C. Hollander, independent curator. Tour coordinated by Emelie Gevalt, Curator of Folk Art and Curatorial Chair for Collections, the American Folk Art Museum.

Gillian Laub, Amber and Reggie, Mount Vernon, Georgia, 2011, inkjet print, 40 × 50 inches. © Gillian Laub, courtesy of Benrubi Gallery.

American photographer Gillian Laub (born New York, 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. In Southern Rites, Laub engages her skills as a photographer, filmmaker, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness.

In 2002, Laub was sent on a magazine assignment to Mount Vernon, GA, to document the lives of teenagers in the American South. The town, nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. The Montgomery County residents Laub encountered were warm, polite, protective of their neighbors, and proud of their history. Yet Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside—high school homecomings and proms—were still racially segregated.

Laub continued to photograph Montgomery County over the following decade, returning even in the face of growing—and eventually violent—resistance from community members and local law enforcement. She documented a town held hostage by the racial tensions and inequities that scar much of the nation’s history. In 2009, a few months after Barack Obama’s first inauguration, Laub’s photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of her photographic images served as the catalyst and, for a moment, progress seemed inevitable.

Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man—whose segregated high school homecoming Laub had photographed—was shot and killed by a sixty-two-year-old white man. Laub’s project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront the painful realities of discrimination and structural racism. Laub continued to document the town over the following decade, during which the country re-elected its first African American president and the ubiquity of camera phones gave rise to citizen journalism exposing racially motivated violence. As the Black Lives Matter movement and national protests proliferated, Laub uncovered a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South.

Southern Rites is a specific story about 21st century young people in the American South, yet it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future?

Southern Rites is curated by Maya Benton and organized by the International Center of Photography.

Brighten your walls with with works from Artsville Collective’s upcoming exhibition, “In Living Color: At Home with Paint, Paper and Thread.”  Allow these abstract pieces, in varying sizes and mediums, to light up your life. Collectively, the artwork’s tonal range is of blended neutrals and ventures into spring and fall palettes. Suit your design pleasures with pure color or wabi-sabi textural designs in a range of perspectives from three uniquely talented artists: Betsy Meyer, fibers; Karen Stastny, painting, and Michelle Wise, mixed media. Also showing: the Retro pop art of Daryl Slaton, which can be activated on your phone to reveal an animated story. For a softer approach, consider the mixed media art of Louise Glickman using paint, textiles, and natural plant materials.

Useful and Beautiful: Silvercraft by William Waldo Dodge features a selection of functional silver works by Dodge drawn from the Museum’s Collection. Organized by the Asheville Art Museum and curated by Whitney Richardson, associate curator, this exhibition will be on view in the Debra McClinton Gallery at the Museum from February 23 through October 17, 2022.

William Waldo Dodge Jr. (Washington, DC 1895–1971 Asheville, NC) moved to Asheville in 1924 as a trained architect and a newly skilled silversmith. When he opened for business promoting his handwrought silver tableware, including plates, candlesticks, flatware (spoons, forks, and knives), and serving dishes, he did so in a true Arts and Crafts tradition. The aesthetics of the style were dictated by its philosophy: an artist’s handmade creation should reflect their hard work and skill, and the resulting artwork should highlight the material from which it was made. Dodge’s silver often displayed his hammer marks and inventive techniques, revealing the beauty of these useful household goods.

The Arts and Crafts style of England became popular in the United States in the early 1900s. Asheville was an early adopter of the movement because of the popularity and abundance of Arts and Crafts architecture in neighborhoods like Biltmore Forest, Biltmore Village, and the area around The Grove Park Inn. The title of this exhibition was taken from the famous quotation by one of the founding members of the English Arts and Crafts Movement, William Morris, who said, “have nothing in your house that you do not know to be useful or believe to be beautiful.” Not only did Dodge follow this suggestion; he contributed to American Arts and Crafts silver’s relevancy persisting almost halfway into the 20th century.

“It has been over 15 years since the Museum exhibited its collection of William Waldo Dodge silver and I am looking forward to displaying it in the new space with some new acquisitions added,” said Whitney Richardson, associate curator. Learn more at ashevilleart.org.

Bizet’s smoldering drama Carmen is one of the most popular operas of all time. With some of opera’s most iconic melodies, this tale of seduction and obsession promises to thrill both the seasoned opera lover and the opera-curious!

PERFORMANCE & ARTIST DETAILS
Janiec Opera Company of the Brevard Music Center
Brevard Festival Orchestra
Conductor, Joseph Mechavich

GEORGES BIZET Carmen

Sung in French with English supertitles

Auditorium seating is reserved.

With each player having a unique approach to their instrument, the performances are nothing short of inspiring, if not mind-melting. For lovers of funky jazz and virtuosic musicianship, this group delivers on all fronts.

ADAM CHASE

https://adamchasemusic.com

Drummer, Adam Chase, is an acclaimed music director and drummer that has built a name for himself by putting together a variety of Funky and Jazzy All-Star projects. Adam’s unique approach to drum reflects his unique personality and his visionary approach to performance. Chase has worked with an uncanny amount of acclaimed musicians including Fred Wesley, Clyde Stubblefield, John Medeski, MonoNeon, George Porter Jr. (The Meters), Adam Deitch (Lettuce), Aron Magner (Disco Biscuits), Scott Metzger (JRad), Craig Robinson, Antwaun Stanley, Shaun Martin (Snarky Puppy), Domi Degalle, Dennis Chambers, Marcus King, Isaiah Sharkey (John Mayer), Robert Walter (Greyboy Allstars), Jeff Sipe, Claude Coleman Jr. (Ween) and many others.

FELIX PASTORIUS

https://felixpastorius.com

Bassist, Felix Pastorius bears the name of his father, whose reputation often proceeds him. While the lineage is intriguing for most, the dedication to the mastery of the bass guitar is more notable than his last name when it comes to the musician that is Felix Pastorius. Having toured with the YellowJackets as a teenager and traveling the world with groups including Jeff Coffin’s Mu’tet, Cindy Blackman Santana Group, Hipster Assassins and Aesop Rocky, Pastorius has continued to prove to be able to do anything imaginable on the bass guitar. From the most complex explorations to the tastiest pocket grooves. Pastorius alone is worth the cost of admission.

$10 tickets/$12 DOS

Proud Mary Theatre Company presents the Upstate premiere of the bold new musical comedy Head Over Heels by The Go-Go’s, the Musical Comedy of the Summer for seven performances only June 24-July 2, 2022.

This laugh-out-loud love story is set to the music of the iconic 1980’s all-female rock band The Go-Go’s (2021 Rock and Roll Hall of Fame Inductee), including the hit songs, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Head Over Heels,” and Belinda Carlisle’s “Heaven is a Place on Earth” and “Mad About You.”

Bring your instruments, families, friends, lawn chairs and blankets and join us for good times at the Bascom Lamar Lunsford Stage. In 2022 Shindig on the Green, which features a stage show and informal jam sessions around the park, continues at its original location — formerly known as City County Plaza, now transformed into the new Pack Square Park. Locals and visitors alike come together downtown “along about sundown,” or at 7:00pm for those who wear a watch, until 10:00p.m. Concessions are available. Come experience the beautiful music and dance traditions of Southern Appalachia on a summer evening in the mountains.

Eats and Treats: Concessions are provided by The Hop Ice Cream Cafe, and there are plenty of other establishments nearby for food and drinks.

Parking: Parking is available in marked and metered spaces throughout downtown Asheville (free after 6pm) and the city’s municipal decks (evening rates vary). Very convenient to Shindig, Buncombe County’s Charlotte Street Parking Deck is directly across College Street from Pack Square Park and the Buncombe County Courthouse. Parking for buses is available at the Asheville Public Works Building parking lot at 161 S. Charlotte Street. This lot is vacant on Saturday nights. It is recommended that passengers unload at Pack Square Park before the bus is parked in the lot.

Dogs or Other Pets: Please leave your pets at home (unless it’s a service animal). The City of Asheville restricts pets from being present at outdoor special events. Pets, even the best behaved ones, are not allowed at Pack Square Park during Shindig.

Public Transit: There is a major transfer point on College St. for public transit. Check www.ridetheart.com for maps and schedules.. Route E1 provides Saturday evening service to and from the ART Station.