John Adams capitalizes on the rhythmic vitality of Minimalism for late-Romantic orchestral harmonies and colors * He brought contemporary history to opera with his post-modern theatrical works Nixon in China (1987), The Death of Klinghoffer (1991), and Doctor Atomic (2005) * He has tackled urgent social issues with passion and empathy, both in his operas and in such works as I Was Looking at the Ceiling and then I Saw the Sky, El Dorado and The Wound-Dresser * His works are preferred by choreographers, with multiple ballet versions of Fearful Symmetries * Winner of the Grawemeyer Award in 1995 by Violin Concerto * Series of recordings with the Nonesuch label * A recent survey places him as the most frequently performed living American composer of orchestral music
Works by John Adams include:
Short Ride in a Fast Machine (1986) for orchestra
Violin Concerto (1993)
Son of Chamber Symphony (2007) for chamber orchestra
El Niño (1999-2000) for soprano, mezzo soprano, baritone, three tenors, choir, optional children's choir and orchestra.
The Gospel According to the Other Mary (2011) for orchestra, choir and soloists
John Adams is represented as a conductor by Jane Brown of Harrison Parrott.
Visit the John Adams website at www.earbox.com.
Looking Ahead: This spring, Adams conducts multiple performances of his recent piano concerto Must the Devil Have All the Good Tunes? across Europe and in the US, featuring new piano soloists: Vikingur Olafsson in Paris and Amsterdam, and Jeremy Denk in St. Louis and Seattle. In Amsterdam, Adams also conducts the European premiere of his new orchestral work I Still Dance.
The San Francisco Symphony and Michael Tilson Thomas tour I Still Dance to Carnegie Hall in New York and Royal Festival Hall in London.
The Studio de l'Opéra de Lyon premieres a new production of I was looking at the ceiling and then I saw the sky directed by Macha Makeieff and conducted by Philippe Forget on February 13 in Lyon. Joana Carneiro conducts the premiere of a new production of Nixon in China with the Scottish Opera on February 18 in Glasgow.
"Whenever serious art loses track of its roots in the vernacular, then it begins to atrophy." — John Adams