Venue
Dates
Duration
Approximate 120 mins (Intermission Included)Conductor
Presenter
Cai Jindong joined the Stanford University faculty in 2004 as the first holder of the Gretchen B. Kimball Director of Orchestral Studies' Chair and Associate Professor of Music in Performance. He is Music Director and Conductor of the Stanford Symphony Orchestra, the Stanford Philharmonia Orchestra, and the Stanford New Ensemble. He is also the Artistic Director of the Stanford Pan-Asian Music Festival, which he founded in 2005. Professor Cai has led the Stanford Symphony Orchestra on three international tours – to Australia and New Zealand in 2005, China in 2008 as part of Beijing Olympic Cultural Festival, and central Europe in 2013 as part of the Beethoven Project. Since 2010, Maestro Cai serves as the Principal Guest Conductor of the Mongolia State Academic Theater of Opera and Ballet.
Born in Beijing, Mr. Cai received his early musical training in China, where he learned to play the violin and the piano. He came to the United States for his graduate studies at the New England Conservatory and the College-Conservatory of Music in Cincinnati. In 1989, he was selected to study with famed conductor Leonard Bernstein at the Tanglewood Music Center, and won the Conducting Fellowship Award at the Aspen Music Festival in 1990 and 1992.
Before coming to Stanford, Professor Cai served on the faculties at the Louisiana State University, the University of Arizona, the College-Conservatory of Music at the University of Cincinnati, and the University of California at Berkeley. He held assistant conducting positions with the Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, and the Cincinnati Chamber Orchestra, working closely with conductors Jesus Lopez-Cobos, Erich Kunzel, and Keith Lockhart.
Professor Cai has received much critical acclaim for his orchestral and opera performances. In 1992, his operatic conducting debut took place at Lincoln Center's Mozart Bicentennial Festival in New York, when he appeared as a last minute substitute for the world premiere of a new production of Mozart's Zaide. The New York Times described the performance as 'one of the more compelling theatrical experiences so far offered in the festival.' Professor Cai has since conducted Mozart's Don Giovanni, The Magic Flute, The Marriage of Figaro, Puccini's La Boheme, La Rodine, Madame Butterfly, Bizet's Carmen, Rossini's Barber of Seville, Britton's A Mid-summer Night's Dream, deFalla's La Vida Breve, Johann Strauss' Fledermaus, Massenet's Cendrillon, Lehar's The Merry Widow, and Verdi's Aida.
Professor Cai has guest conducted the Arkansas Symphony, the Cincinnati Chamber Orchestra and the Cincinnati Symphony, the Louisiana Philharmonic Orchestra in New Orleans, the Lexington Philharmonic, the Northwest Chamber Orchestra in Seattle, and the Tucson Symphony Orchestra among others. He maintains strong ties to his homeland and conducted several top orchestras in China including the China National Broadcasting Symphony, the National Opera and Ballet Theater of China, the Shanghai Symphony and the Shanghai Philharmonic Orchestras, the Guangzhou Symphony, the Tianjin Symphony, the Wuhan Orchestra, and the Sichuan Philharmonic Orchestra.
In 2007, Professor Cai won the ASCAP Award for Adventurous Programming of Contemporary Music with the Stanford Symphony Orchestra. It is the third time he has won the award. Mr. Cai has recorded for Centaur, Innova, and Vienna Modern Masters labels. His recording with the Cincinnati Philharmonia Orchestra, which contains music by William Grant Still and other African-American composers, was reviewed as 'a startling album, both for its professionalism and its sonic excellence' and is widely broadcast on National Public Radio
As observers, participants and creators of the musical culture of Beijing, the BSO has evolved in parallel with the pace of China's Reform and Opening-up. Thus, the BSO has grown and matured hand-in-hand with modern Beijing. With its high professional standards combined with a deep passion for the art of music, the BSO has become a pacemaker for the rise and development of serious music in China.
In the 1990s, the BSO underwent significant reform and development under the direction of its Principal Conductor and Music Director, Maestro Tan Lihua. Under Maestro Tan, the BSO maintains an energetic, high-level and creative schedule, performing annually from ninety to one hundred performances, at home and abroad.
Today, the BSO's roster of guest conductors, and soloists include first-class maestros such as Mstislav Rostropovich, Evgeny Svetlanov, Christoph Eschenbach, Lawrence Foster, Thomas Sanderling, Leif Segerstam; piano virtuosos such as Lazar Berman, Justus Frantz, Jean-Yves Thibaudet, Tzimon Barto, Lang Lang; violin masters such as Vadim Repin, Sara Chang, Midori Goto, Kristof Barati, Sergej Krylov; the cello master Jullian LIoyd Webber; viola master Yuri Bashmet; trumpet virtuoso Gábor Boldoczki; and vocalists such as Placido Domingo, José Carreras and Jennifer Larmore.
Maestro Christoph Eschenbach was very impressed when, for the first time, he worked with BSO in 2012. Maestro Eschenbach stated: "The BSO is an orchestra of exceptional high professional quality. Their high level of musical understanding, their range, and the quality of their performance made a deep impression on me."
Over the past decade, the BSO has made international achievements at a level unattainable by most domestic orchestras. In 2001, the BSO established its leadership role by becoming the first Chinese orchestra to go worldwide when it embarked upon its premiere international tour. The BSO has since been invited to perform in many countries, including Germany, Austria, the Czech Republic, Croatia, Italy, Poland, Hungary, Turkey, Serbia, South Slovenia, and South Korea. In the years 2001, 2003, 2006, 2009 and 2012, the BSO completed six highly successful European tours. Critics throughout Europe spoke highly and wrote well of these tours. In Germany, for example, the Suddentsche Zeitung praised the both excellence of the BSO’s performance as well as Maestro Tan's conducting.
The BSO also assumes an important responsibility in developing and promoting Chinese symphonic music. For example, new works by Wang Xilin, Bao Yuankai, Huang Anlun, Xu Zhenmin, Guo Wen Jing, and Zhou Long have all been premiered and performed by the BSO. By supporting contemporary Chinese composers, the BSO has contributed to the support and development of over two hundred works in the Chinese symphonic repertoire: works that have been presented not only in China, but also worldwide. The BSO has pioneered a relationship with the prestigious EMI recording company, having released eight new and impressive CDs worldwide since 2007.
The BSO maintains a deep commitment to music education and the popularization of classical and symphonic music. The BSO's outreach programs to universities, schools, communities, and factories have reached out to enlighten, educate and inform more than a combined audience of over million new listeners during the past twenty years.
Box officeNorth Gate of NCPA, No. 2 West Chang'an Avenue, Xicheng District, Beijing, China
Tickets collection hours9:30-19:30 (CST) on performance day
9:30-18:00 (CST) for days without performance
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Booking hours9:30-18:00 (CST) Monday to Friday
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Dedicated to the staging of epic operas, ballets and dance dramas, the golden Opera House is considered the centerpiece of the NCPA. Its main tone is golden color, which looks glamorous and splendid. In the auditorium are the stalls and three higher levels of balconies, which can seat an audience of 2,207, including the venue of SRO. It is equipped with a modern stage that can be moved up/down/backward/forward or rotated, a ballet stage that can slant, and a rising orchestra pit for the triple winds orchestra. All the cutting-edge staging mechanism provides artists with enormous possibilities of creative performance.
Dedicated to the staging of epic operas, ballets and dance dramas, the golden Opera House is considered the centerpiece of the NCPA. Its main tone is golden color, which looks glamorous and splendid. In the auditorium are the stalls and three higher levels of balconies, which can seat an audience of 2,207, including the venue of SRO. It is equipped with a modern stage that can be moved up/down/backward/forward or rotated, a ballet stage that can slant, and a rising orchestra pit for the triple winds orchestra. All the cutting-edge staging mechanism provides artists with enormous possibilities of creative performance.