Epstein Secrets

ion events which combine rehearsal, performance and commentary by Woetzel and special guests. Recent UpClose performances have included: "UpClose: Stravinsky by Balanchine," an examination of the legendary collaboration between George Balanchine and Igor Stravinsky, co-hosted by Woetzel and New York Cit

s one of the most successful and admired creative artist/executives in the entertainment world. His 1995 recording, Qs Jook Joint, again showcased Quincy's ability to mold the unique talents of an eclectic group of singers and musicians, in what resulted in a retrospective of his broad and diverse ca

y every medium, including records, live performance, movies and television. Celebrating more than 6o years performing and being involved in music, Quincy's creative magic has spanned over six decades, beginning with the musk of the post- swing era and continuing through today's high-technology, inter

ion of the be bop and hip hop musical traditions; while his 1993 recording of the critically acclaimed Miles and Quincy Live At Montreux, featured Quincy conducting Miles Davis' live performance of the historic Gil Evans arrangements from the Miles Ahead, Porgy and Bess and Sketches of Spain sessions

r the role constituted a propaganda victory against Israel. In 1982, the Boston Symphony Orchestra hired Redgrave to narrate several performances of Stravinsky’s opera-oratorio “Oedipus Rex”. There is some dispute over whether she was hired entirely because of her unquestionable acting ability or also becaus

m in the dormitory that was home to them all. I shared that view. Then everything changed. Days before the scheduled showing, two women residents of Quincy House, not satisfied to protest and picket, called the local District Attorney’s office and asked the police to prevent the showing of Deep Throat an

lly every medium, including records, live performance, movies and television. Celebrating more than 60 years performing and being involved in music, Quincy’s creative magic has spanned over six decades, beginning with the music of the post- swing era and continuing through today’s high-technology, intern

l has choreographed a number of ballets for New York City Ballet, among other companies. For New York City Ballet, he choreographed Ebony Concerto to Stravinsky, and Glazounov Pas de Deux to the composer’s Les Ruses d’Amour. Woetzel also choreographed the “Polovtsian Dances” for New York City Opera’s producti