Danbury Music Centre’s benefit concert will dazzle audiences by bringing them inside the orchestra!
On Saturday, October 26, 2019 at 6PM, the Danbury Music Centre and the Danbury Symphony Orchestra, in collaboration with InsideOut Concerts, will present their very first immersive concert welcoming audience members on-stage to experience a performance while sitting amongst the musicians. This event, a fund raiser for the Danbury Music Centre, will be hosted and conducted by InsideOut Concerts director David Bernard and will feature Dvořák’s beloved “New World Symphony.”
InsideOut Concerts, Inc. was started to help orchestras develop fully interactive performances, called InsideOut Concerts, that increase audience immersion and adoption of classical music—building audiences and turning new audiences into classical music enthusiasts.
“Hidden deep inside every classical concert—outside the view of the audience–is an incredible show that is as spell binding as the most captivating entertainment produced today,” says David Bernard of InsideOut Concerts. “Sharing the thrilling experience that is usually only available to performers, audiences will not just hear great music, they will be surrounded and enveloped by it. It’s an experience that both immersive and unforgettable!” says Bernard.
“We are thrilled to be working with David Bernard and InsideOut Concerts,” says Danbury Music Centre Executive Director, Barbara Adams Jaeger. “The mission of the Danbury Music Centre is focused on bringing music to our community. By bringing audiences into the full music-making experience, InsideOut Concerts helps us achieve our goals in a new and exciting way!”
“It is so exciting for both our audience and our orchestra to be engaged in this event,” says Danbury Symphony Orchestra Music Director Ariel Rudiakov. “As performers, we have been captivated by the magic of music making for our entire lives. Bringing the audience on-stage to experience this first hand with us is not only amazing for the audience members, but also wonderful for the musicians.”
As with other close-up/immersive productions, InsideOut is a premium event, one which Bernard compared to the effect of IMAX on cinema-goers or Immersive Theatre on audiences.
InsideOut Concerts have been enthusiastically received by both the media and audiences alike. An “experience” rather than a “concert,” every InsideOut event sells out weeks or months in advance. NY1 News entertainment reporter Stephanie Simon attended InsideOut with her colleagues drawn from New York media and cultural institutions. Said Simon, “I loved it for…the fact that I felt like I was one of the orchestra members. It seems the only regret here is that every concert can’t be “inside out.” Reporting for WQXR, James Bennett, II, felt that, “…it’s where you sit that separates InsideOut from other live performances. Here, the conductor’s back isn’t turned to you, nor is the orchestra elevated on a stage on the other side of the room. Instead, the seats are with the players themselves, in the thick of the violins or right next to a harp. And to keep things interesting, the audience regularly rotates to sit with a different section. There’s no separation here, just a mass of pumping hearts joined in a singular musical communion.”
InsideOut Concerts are a new classical music concert format that significantly increase audience development and adoption of classical music. To get a better idea of how InsideOut Events work, please visit www.insideoutconcerts.com
Purchase tickets to this exciting event here
About the Artists
Violist and conductor Ariel Rudiakov is co-founder and Artistic Director of Taconic Music in Manchester, VT, Music Director and conductor of Danbury Symphony Orchestra, CT and Adjunct Faculty at the University of Indianapolis, where he conducts the chamber orchestra and coaches chamber music. Born in Indianapolis, IN and raised in Riverdale, NYC, Mr. Rudiakov comes from a musical family going back three generations. He received his early musical training from his parents, Michael and Judith before attending pre-college at Manhattan School of Music. Mr. Rudiakov holds viola performance degrees from SUNY Purchase (BM) and the University of Illinois at Champaign-Urbana (MM), and was a scholarship student at Yale University’s master’s program where he studied viola with Jessie Levine and chamber music with members of the Tokyo String Quartet. He enjoys a diverse musical life, performing to critical acclaim throughout the U.S. and abroad with many fine musicians including the Shanghai, Jupiter and Indianapolis Quartets, current and former members of the Tokyo, Juilliard and Guarneri quartets, pianists Ruth Laredo, David Deveau, Michael Brown, Andre Michel Schub, and Drew Peterson, among many others. Former member of the New York Piano Quartet and Equinox String Quartet, founding member and president of SONYC (String Orchestra of New York City), Mr. Rudiakov was Artistic Director of the Manchester Music Festival (VT) from 2000 to 2016. Among his recordings are the complete string quartets by Camille Saint-Saens and the piano quintet by Vittorio Giannini (MSR Classics), which Fanfare Magazine described as “utterly superb”. Composers Richard Lane, Philip Lasser and Coleridge Taylor Perkinson have dedicated works to Mr. Rudiakov, who is active in commissioning and recording new music. At the podium, he has collaborated with noted musicians Jaime Laredo, Sharon Robinson, Michael Rudiakov, Bernard Greenhouse, David Deveau, Christopher O’Reilly, and others. Resident and guest conducting positions have included the Adelphi Chamber Orchestra, Metropolitan Symphony, Bergen, and Yonkers Philharmonics, Antara Ensemble, Manchester Chamber Orchestra, Harlem Chamber Players, Sage City Symphony and recording sessions with Dance Theater of Harlem for their World Premiere production of Alexander Glazunov’s ballet Raymonda. Mr. Rudiakov plays a viola made by Geoffrey Ovington in 2000.
David Bernard is Music Director of InsideOut Concerts, Inc., dedicated to helping orchestras grow their audiences through immersive events where audiences sit inside the orchestra during concerts. His InsideOut Concerts have been acclaimed by WQXR, Newsday, ClassicalWorld and the Epoch Times, bringing an unsurpassed experience and level of engagement for the audiences of all ages.
Bernard has gained recognition for his dramatic and incisive conducting in the United Stated and in over 20 countries on four continents, serving as Music Director of the Park Avenue Chamber Symphony and the Massapequa Philharmonic, and also as conductor for the Eglevsky Ballet’s critically acclaimed production of The Nutcracker produced each December at Long Island’s Tilles Center of the Performing Arts. As a sought after guest conductor, David Bernard will be making his debut this season with the Dubuque (IA) Symphony, Danbury (CT) Symphony and the Greenwich (CT) Symphony Orchestra, and has appeared as a guest conductor with the Brooklyn Symphony, the Greater Newburgh Symphony Orchestra, the Island Symphony Orchestra, the Litha Symphony, Manhattan School of Music, the New York Symphonic Arts Ensemble, the Putnam Symphony and the South Shore Symphony.
Noted recent performances include a Lincoln Center performance of Stravinsky’s The Rite of Spring (“Conducting from memory, David Bernard led a transcendent performance…vivid…expertly choreographed.”, LucidCulture) and a Carnegie Hall performance of Beethoven’s Ninth Symphony (“taught and dramatic”, superconductor). David Bernard’s recordings have received enthusiastic critical praise. His release of Tchaikovsky’s Pathétique was lauded by Gramophone Magazine as “…an impressively elegant, thoughtful, well balanced and sophisticated Tchaikovsky Pathétique.” Of his Beethoven Symphony No. 9 release, The Arts Desk proclaimed “Scintillating Beethoven…Edge-of-the-seat playing…it’s a winner: dramatic, witty, eloquent and boasting some startling choral work in the last movement.” His complete recorded Beethoven symphony cycle was praised by Fanfare magazine for its “intensity, spontaneity, propulsive rhythm, textural clarity, dynamic control, and well-judged phrasing”. Of his recent premiere recording of new editions of Stravinsky’s The Rite of Spring and The Firebird, The Art Music Lounge proclaimed “this is THE preferred recording of The Rite because of its authenticity as well as the almost startling boldness of approach.”
Devoted to the music of our own time, he has presented world premières of scores by Bruce Adolphe, Chris Caswell, John Mackey, Ted Rosenthal and Jake Runestad, and distinguished concert collaborators have included Anna Lee, Jeffrey Biegel, Carter Brey, David Chan, Catherine Cho, Adrian Daurov, Pedro Díaz, Edith Dowd, Stanley Drucker, Bart Feller, Ryu Goto, Whoopi Goldberg, Sirena Huang, Judith Ingolfsson, Yevgeny Kutik, Anna Lee, Jessica Lee, Kristin Lee, Daniela Liebman, Jon Manasse, Anthony McGill, Spencer Myer, Todd Phillips, Kristin Sampson, Cameron Schutza, Inbal Segev and Michelle Stern.
David Bernard has worked with the Edwin F. Kalmus editorial team, led by Clinton F. Nieweg, retired librarian of the Philadelphia Orchestra, developing new editions of Stravinsky’s “The Rite of Spring” and “The Firebird Suite—1919 Version,” which has been published in 2016. In addition, he has published his own editions of Mozart’s Clarinet Concerto, K. 622, and Schumann’s Symphony No. 2, Op. 61.