A “Holiday Joy” concert by the Mid-Atlantic Symphony Orchestra, led by maestro Michael Repper, is a lot more than Jolly St. Nick, “Joy to the World” and carols galore. This season, you’ll also hear arias about character assassins and deadly ones, too – both in French – plus an English poetry reading with symphonic sound effects.

We all know what to expect in a holiday-season concert. But Repper, despite his ironic Santa hat, seems determined to give us more. So he brought along an accomplice or two – besides, of course, his usual orchestra cohorts. The show opens as you might expect with a medley of the usual upbeat Christmas-time suspects – from “Winter Wonderland” to “Santa Claus Is Coming to Town.” But you know something is up with that piano at center stage facing the orchestra and no pianist in the program. That role, here and there, is filled by Repper himself, declining to sing as if it might be a crime against humanity.

No, he leaves that role exclusively to guest soloist and up-and-coming opera tenor Jonathan Pierce Rhodes.

The evening’s holiday fare is split more or less evenly between orchestral favorites of the season and classic carols – both sacred and secular. These are sung by Rhodes. Mostly. (The audience is under “mandatory” obligation to sing along at the end.)

A recent graduate of Washington National Opera’s Cafritz Young Artist Program, Rhodes is one of the most recognized new tenor voices in opera, having made his leading-role debut in “Fellow Travelers” by Gregory Spears with San Francisco’s Opera Parallele. He’s also performed with such prestigious companies as Lyric Opera Chicago in Jeanine Tesori and Tazewell Thompson’s “Blue,” and for three summers at the Glimmerglass Festival in Cooperstown, New York, where he played the title role in Leonard Bernstein’s “Candide.”

At MSO’s opening night of “Holiday Joy,” Rhodes delivered an ironically resounding “Silent Night” with a range seemingly from near-soprano to baritone tenor. Switching to opera, he sang Verdi’s most famous aria from “Rigoletto” with such expressive ownership as if it was written just for him nearly a century and a half ago. His connection to Verdi’s greatest hits felt just as apparent in Alfredo’s Aria from “La Traviata.” Yet, somehow, he dug deeper personally into “Deep River,” an African song popularized in 1916 by Henry Burleigh. Rhodes exuded still deeper meaning into how a spiritual can move him and his audience.

Reappearing a few numbers after intermission, Rhodes sang a decidedly un-Bing Crosby “White Christmas.” (Despite the famous title, this song and one other came closest to a Hanukkah reference in that it was written by Irving Berlin, a Jewish refugee. “In the Bleak Midwinter” by Gustav Holst was more hopeful than it sounds, while “O Holy Night,” including verses rarely sung in caroling, reflected an intensity of belief. But my personal holiday favorite, “The Christmas Song,” written by another Jew, Mel Torme, struck me as a stylistic salute to the great Nat King Cole. No one ever sang it better. But Rhodes comes very close. My only quibble with Rhodes’ performance outside the three unamplified arias, is that he sang the rest with a microphone, which put unnecessary distance between him and the audience, however slight that may be. He’s the last person in the room who needs a microphone, so powerful is his natural singing voice.

Thus, my award for best use of a microphone must go to John Sisson for his dramatic reading of “ ‘Twas the Night Before Christmas” to the incidental accompaniment of the orchestra, much in the way such music reflects the emotional energy of a motion picture.
Among other highlights of the orchestral side of the evening was another music-in-movies reference for anyone who remembers the somewhat bawdy film “10.” “The Little Bolero Boy” takes off on “The Little Drummer Boy” and Ravel’s “Bolero” that became a sexual theme in “10.” The unrelenting throb of his orchestral composition builds to a climactic finish as each section of the orchestra gets in on the act. But it’s the repetitive beat of the snare drum, played over and over by Dane Krich, plus a clarinet solo portion by Dennis Strawley, that keep “Little Bolero Boy” marching forward.

A trio of musicians who are not usually lead players throughout any orchestral piece are featured with brassy gusto early on in the concert by trumpeters Josh Carr, Ross McCool and Steven Bailey. They perform starring roles in Leroy Anderson’s irresistibly cheerful “Bugler’s Holiday.”

Surely, it was a “Holiday Joy” for those three as well as for the rest of us enjoying or playing in this seasonal symphonic celebration at Chesapeake College.

‘HOLIDAY JOY’ CONCERTS

Opening night:Thursday, Dec. 5, Todd Hall Performing Arts Center, Chesapeake College. For more “Holiday Joy,” see one of these reprise performances: 7 p.m. Saturday, Dec. 7 at Cape Henlopen High in Lewes, Delaware, and 3 p.m. Sunday, Dec. 8 at Ocean City Performing Arts Center. Or check out the MSO Holiday Brass Quintet concerts Dec. 20 in Ocean Pines, Dec. 21 in Rehoboth Beach, or Dec. 22 in Easton. midatlanticsymphony.org

Steve Parks is a retired New York arts critic now living in Easton.

Each year, December is a busy time for the Mid-Shore-based Celtic band Harp and Soul. For more than a decade, it has played to sellout crowds at the Mainstay in Rock Hall, and now they have added a special appearance on Wednesday night at the Stolz Room for the third and last of the Spy Nights series in Easton with their special brand of soulful and timeless melodies.

Since this is the first appearance in Talbot County for Harp and Soul, we asked group member and harp player Meredith Davies Hadaway to give us a sneak preview of their performance and a short introduction to the Celetic tradition in music and why audiences have craved it for centuries.

This video is approximately two minutes in length. For tickets, please go here.

The Mainstay

$20
Sunday 12/8
4:00 pm

(410) 639-9133

[email protected]

This December, the Academy Art Museum invites you to relive the glamour and innovation of the Jazz Age at the Bugatti Exhibition Preview Gala Reception. Held on December 5, 2024, from 6 to 8 pm, this black-tie-optional affair offers an unforgettable evening of refinement, artistry, and celebration.

Your night begins with a red-carpet welcome, where a photo opportunity ensures you can capture this moment of timeless elegance. Inside, indulge in signature cocktails inspired by Bugatti’s era of innovation and enjoy hors d’oeuvres crafted to reflect the exquisite artistry of the exhibition.

As a gala guest, you’ll be among the first to experience Bugatti: Reaching for Perfection. This exclusive preview, with timed entry, offers a rare and intimate look at Bugatti’s masterpieces of design and engineering. From the aerodynamic lines of the Bugatti Type 35 to the unparalleled craftsmanship of the marque’s other iconic creations, the exhibition celebrates the visionary artistry that has defined the Bugatti name for generations.

The evening will also feature a live performance by Hill Chamber Music, whose elegant repertoire provides the perfect accompaniment to the gala’s sophisticated ambiance. As the trio performs, the museum’s atmosphere will evoke an era when style, precision, and creativity reigned supreme.

The Bugatti Exhibition Preview Gala Reception is not just an event—it’s a celebration of the extraordinary. Much like Bugatti’s legacy, the evening is a testament to the fusion of art, design, and innovation that continues to inspire.

Tickets for this exclusive event are limited. Reserve yours today and join the Academy Art Museum in unveiling the timeless allure of Bugatti while supporting the museum’s mission to bring world-class art and design to our community.

For more information and tickets, visit academyartmuseum.org/events/bugatti-preview-gala.

On November 30, the Stage @ OCC at the Oxford Community Center will host an evening with celebrated jazz trumpeter, vocalist, and composer Bria Skonberg. Known for her signature blend of New Orleans-inspired jazz, innovative compositions, and a warm stage presence, Skonberg’s performance at the OCC promises a unique, up-close experience where her expressive trumpet and soulful vocals will bring the room to life.

In a recent conversation, Skonberg shared insights into her musical journey, her passion for jazz, and what fans can expect from her upcoming show.

Skonberg’s road to jazz began in her hometown of Chilliwack, British Columbia, a small town that wasn’t exactly known for its jazz scene—that is, except for the Chilliwack Happy Times Jazz Festival that ran for over 20 years and focused on great, classic American, New Orleans roots of jazz. “I’m the product of a great public-school band program,” she said, “and the Festival did a really good job of incorporating the youth.” This introduction to jazz’s roots helped form Skonberg’s musical style. 

Though she initially began playing piano, she was drawn to the trumpet partially because her father had played it back in high school, and they happened to have one at home. She remembers being intrigued by its unique sound and appearance, describing how it looked “cool” and could produce “funny, interesting sounds.” Skonberg’s curiosity eventually grew into a passion for the trumpet, and although she acknowledges that it’s a challenging instrument, her fascination kept her going. “I think if you know how hard trumpet is, you won’t do it,” she says. “But by the time you’ve fallen in love with it and gotten obsessed with it, it’s too late to turn back.”

Now, that connection and obsession are almost inseparable from her identity as a musician. “The trumpet is fire you can articulate. You can have really bright, brassy sounds. And you can make it serene at the same time,” she says. It also allows her to express emotions beyond words. “I think all musical instruments are just extensions of our voices. But what’s beautiful is that you can communicate things when you don’t necessarily have the words for them, and that can go a long way these days.”

Skonberg’s music feels almost effortless as she combines her trumpet playing with her vocals, allowing her to explore a wide range of expression. “I love a beautiful melody that I can play on my trumpet and sing it as well,” she says. This dual approach lets her create a sound that balances lyrical beauty with gritty, grounded tones—something she plans to showcase at OCC, where she’ll perform a mix of her compositions and reimagined jazz standards.

In addition to performing, Skonberg has a deep commitment to music education. She grew up in a family of educators, and though her parents weren’t music teachers, their influence instilled in her a respect for learning and teaching. “Jazz is like a pay-it-forward art form. It gets passed down for generations. And so it’s just a joy and an honor when I get the chance to work with students and give it back,” she says. For young musicians, particularly those drawn to challenging instruments like the trumpet, she offers this advice: “Commit to the journey. You’re not going to get better overnight, necessarily, but you just want to be a little bit better than you were the day before.”

Skonberg sees the role of a jazz educator as someone who can introduce students to the foundational artists who shaped the genre. She makes a point to share the breadth of Louis Armstrong’s music with her students, emphasizing the six decades of his recordings. “I think that a lot of music education overlooks or speeds past the foundational roots of the music,” she says, explaining why she encourages her students to dive deeply into the music of jazz pioneers. Her music reflects this respect for tradition, especially her latest album, which draws heavily from New Orleans jazz and showcases her love for its percussive, joyful energy.

The songs on Bria Skonberg’s new album, What it Means, carry a sense of hope and resilience, reflecting her recent life experiences and the challenges of recent years. Among the album’s playful surprises is her cover of Sonny and Cher’s “The Beat Goes On,” a familiar tune with a jazz twist. “Many people know that song, but I put it over this hard bop ‘Sidewinder’ groove, which is really fun,” she says. By weaving together familiar songs with inventive arrangements, Skonberg creates moments that appeal to new listeners and offer “Easter eggs” for jazz fans alike.

This approach shines in intimate venues like The Stage @ OCC, where Skonberg can connect more closely with her audience. “I love when I can look into the eyes of audience members and see people,” she says. “With music, we’re storytelling, and I like to narrate my sets with some stories and share some things about myself.” Her storytelling makes each performance unique as she adjusts her set in response to the audience. “In an intimate space, I can watch and gauge listeners’ reactions, and that entertains me as well.”

One of the most personal pieces in her setlist is her arrangement of John Lennon’s “Beautiful Boy,” which she blends with Count Basie’s “Little Darlin’” as a tribute to her journey into motherhood. Skonberg says, “It’s like a lullaby for parents because parenthood is so hard, it’s such a challenge… but by that point, you’re just so full of love that the responsibility is welcomed.” Becoming a mother, she said, has expanded her emotional range and allowed her to connect with audiences on a deeper level, adding another dimension to her music.

Looking ahead, Skonberg is focused on keeping jazz alive through innovation and authentic self-expression. “That’s what keeps music fresh and unique; it is just being able to create off of real-world experiences,” she says. For Skonberg, each show, including her upcoming performance at THE Stage @ OCC, is a chance to connect through shared emotions and collective memories. “If I have a room of people for 90 minutes, and I can remind them that we all experience the same emotions, then I’ve done my part.”

Bria Skonberg’s performance at the Oxford Community Center on November 30 celebrates jazz, community, and connection. Her signature trumpet sound, soulful voice, and genuine love for sharing music will make this a night to remember. As Bria said, “It’s all about coming together and celebrating life through music. If not now, then when?” Tickets are available at http://oxfordcc.org, and Skonberg invites everyone to stay after the show to say hello and pick up a signed CD or vinyl. For those wanting a longer experience with the artist, VIP tickets are available and include a meet and greet, dessert and bubbly, front cabaret seating, and two drink tickets. 

Marcelo Antinori’s career path is anything but conventional. With a background in economics and decades of global experience in social and economic development, the Brazilian-born author has traded spreadsheets for storytelling, drawing on the places and people he’s encountered worldwide. His latest novel, The Seagull and the Spy, a sequel to The Condor’s Riddle, brings his characters into new adventures while preserving the spirit of the first novel.

Author Marcelo Antinori

Although Antinori currently resides in France, he maintains strong ties to Maryland’s Eastern Shore, where he also keeps a residence and works with local publisher Secant Publishing. This connection to Maryland is part of the larger fabric of his international life, which has profoundly shaped his writing. “Traveling through different countries and getting to know their cultures has broadened my understanding of people and places,” he says. 

In The Condor’s Riddle, Antinori introduced readers to a cast of eccentrics, expatriates, and marginal figures struggling to survive amid international intrigue, drug cartels, and the looming presence of Chinese and American embassies. Central to the story was the mystery of El Dorado and the fabled city’s protection by generations of Indigenous people. The novel brought to life a magical world populated by a French archivist with a photographic memory, a Chinese exotic dancer, a remorseful German terrorist, and a blind Indigenous child with an extraordinary gift of perception.

Diverse these characters may be, but what is more surprising is what Antinori says about them, “Believe it or not, they all exist.” While the characters in his books are often exaggerated or fictionalized, they are inspired by real people he’s encountered in his travels. “I have a passion for those who don’t fit the mold, for people who are a little bit weird or live on the margins of society,” he says. “They’re the ones who end up doing the most interesting things.”

These characters intrigued Antinori so much that he wasn’t quite ready to let them go. “When you finish a book, sometimes the characters are still alive in your head. You want to keep playing with them, seeing what they’ll do next,” he said. This time, Antinori introduced a fresh plot involving an abandoned apartment with a mysterious past. “The idea came to me in a dream,” he says. “I had no idea what the story would be, but I started playing with the characters again. The thing is, when you know your characters well enough, you can put them in any situation—like a market or a confrontation—and just see what happens.”

The process of writing for Antinori is playful, even experimental. “Sometimes you develop a story, and it’s boring,” he says. “So I usually invent something completely absurd at this moment. Sometimes I create an accident, sometimes someone dies, and I have to reconstruct the story with this unexpected event.” To Antinori, that’s part of the fun. 

Another aspect is the author’s ability to mix actual historical elements with fiction. In The Seagull and the Spy, a Hungarian character who once played violin for Hitler becomes entangled with Che Guevara’s German mistress, a story that pulls from real historical figures but stretches into the realm of imagination. “Only about 10% of what I write is not true,” Antinori says, quoting the Brazilian poet Manuel de Barros. “The rest, I invented.”

Invented or not, Antinori’s fascination with diverse characters stems from his multicultural upbringing. Born in Brazil to an Italian family, he has worked extensively throughout Latin America, Africa, and Asia, “My characters are international,” he says, “because I feel I am international.” 

But if you’re expecting a particular message or deep commentary, Antinori’s goal is more straightforward: he just wants to entertain. “I want to tell a good story,” he says. “I’m not interested in making profound statements. Everything that needed to be said has already been said. I’m here to entertain. I don’t like to be considered an artist. I’m an entertainer. He is acutely aware that his work stands apart from more serious literary pursuits, but he doesn’t mind. “I think readers today are looking for something to relax with,” he says. “And if my stories can offer that escape, then I’ve done my job.”

As for what’s next, Antinori is already at work on several new projects, including a novel set in Paris and another based on his travels in Japan. He also hopes to continue working with Salisbury-based publisher Ron Sauder from Secant Publishing, with whom he’s had great success. “Ron and I met many years ago, and he’s been fantastic. He takes the time to edit thoroughly, which is crucial for me since English isn’t my first language.”

Although he currently resides in France, Antinori maintains a solid connection to the Eastern Shore of Maryland, where he hopes to return regularly. “The quiet beauty of the Eastern Shore is inspiring in its own way,” he says, noting the contrast between Maryland’s peaceful landscapes and his novels’ vibrant, often chaotic settings.

He’s already planning a visit in January, including a possible book signing at the Easton Public Library. As he returns to the place that’s become one of his many homes, Marcelo Antinori’s journey as a novelist continues to unfold—one story at a time, one unexpected and playful twist after another.

Scott Sullivan, November featured artist – permission to use photo Kathy Bosin

We are excited to welcome November featured Talbot County artists Joan Cranor, Marianne Kost, and Scott Sullivan, to the new TRA Gallery located at 41E Dover Street in downtown Easton, directly across from the Avalon Theatre. TRA Gallery provides free exhibit space for independent artists, offering the public an intimate and unique opportunity to visit, engage with, and purchase artwork from these talented local artists. The gallery is open Thursday through Sunday. 

Joan Cranor was a Talbot County art teacher for 38 years and she continues mentoring children within venues such as the Talbot County Fair, and programs sponsored by the St. Michaels Art League (SMAL). Her watercolor work is boldly executed, using strong lines and colors to create a sense of movement. In addition to SMAL, she is a signature member of the Baltimore Watercolor Society and the Working Artist forum. She recently won the Martha Hudson Award for best watercolor in 2023.

Scott Sullivan, with a degree in graphic design, was an art director at advertising agencies in Connecticut and New York City. His clients in Washington D.C. include the Washington Post, Chesapeake Bay Magazine, Barnes and Noble, McGraw-Hill, Electronic Data Systems, Hewlett Packard and the National Zoo. As a resident of St. Michaels, Scott’s recent work include graphic design as well as traditional oil and watercolor painting, often representative of local wildlife. He is a skilled portrait artist.  

Marianne Kost is a graduate of the University of Michigan and has studied in various ateliers as well as with master artists. She enjoys traveling in lake country, both Michigan, the Eastern shore, and abroad and works from her journal sketches, photographs, and plein air to capture favorite locations. Marianne works in both watercolor and oil and draws from the two techniques to combine the expressive possibilities of each.   

TRA Gallery artists are selected by a committee represented by members of the community. Talbot Arts board members, Stephen Walker, an artist and retired arts educator, and Damika Baker-Wilson, a non-profit museum and cultural institutions development executive and senior fundraising consultant, are managing the application and committee review process. For more information and to apply, visit https://www.talbotarts.org/resources-1.

Talbot Arts is committed to supporting the arts sector and distributing funds equitably through grants and services to enrich the quality of life and enhance the economic vitality of all citizens in Talbot County. This year, the arts council will distribute $ 185,000 in grants for arts organizations and those providing arts programs, classroom-based arts education, and middle and high school summer arts scholarships for gifted and talented students. Other services include producing “Arts in Action,” a weekly radio program on WHCP, to promote the arts in Talbot County and providing access to resources to help the arts community grow and thrive. The TRA Gallery is the arts council’s latest initiative to support the arts community. 

For more information about Talbot Arts programs, contact  [email protected]. 

Like many artists, Erdmann “Oerdy” Hummel is a man whose life and art are deeply intertwined. But his story is also a journey through politics and personal resilience that many don’t get to nor would want to experience. To hear him speak is to get caught up in the intensity of his past, the present of an artist committed to his craft, and a future of hope.  It’s to be invited on a trip from East Germany’s Communist regime to one of international acclaim as an artist and a journalist. 

Oerdy’s latest works feature zebras with vibrant, colorful stripes. For him, these zebras are symbols of individuality and joie de vivre, a spirited representation of life’s complexities and the beauty of embracing them, a far cry from the black-and-white thinking he grew up fighting against. 

Reflecting on his choice of subject, Oerdy says, “I love zebras. They are a symbol of freedom to me. Each of these animals is different. Their stripes are individual. Also, zebras are herd animals like humans, and there are many secrets about these zebras.”

It’s a message that resonates deeply with Susan Schauer John, owner of the Zebra Gallery. “I met Oerdy earlier this year through Richard Marks and Amy Haines, who invited him to do a show at the Out of the Fire Restaurant. I immediately fell in love with the work and, of course, the meaning of the work. It’s a 100% fit with the Zebra Gallery and our mission.”

Oerdy’s life story is as striking as his art. Growing up in East Germany, he learned early on that art could be a powerful tool for self-expression and defiance. After multiple attempts to escape the Communist regime, he finally found freedom when the Berlin Wall came down. He then pursued a career in journalism, reporting from some of the world’s most dangerous crisis zones, including Afghanistan, Iraq, and Gaza. Even while documenting these intense experiences, Oerdy never stopped painting. “My personal history is deeply embedded in my art,” he said. “When I was in prison, I thought about freedom and how to get it, and what would I do for my own freedom. Art became a means of resistance, a way to say things that couldn’t be spoken aloud.”

It’s a sentiment that Schauer John understands well. “What I love about Oerdy’s work is that it’s not just beautiful—it’s meaningful. He uses materials like aluminum cans he’s collected at war zones worldwide. That’s amazing, and the symbolism involved in that speaks volumes. I particularly love his style and his work, but more importantly, the meaning behind it, and for me, that richness matters.”

In one of his pieces, a zebra is painted in the yellow and blue of the Ukrainian flag, its body pressing through a wall marred by symbols of oppression. Oerdy explains, “I painted this piece after Russia invaded Ukraine. The zebra, with its yellow and blue stripes, is a symbol of hope breaking through darkness.” It also rejects the black-and-white mindset he associates with authoritarian regimes. “Colors give me hope. The world isn’t black and white. The world is colorful.”

For Schauer John, Oerdy’s art is a profound example of how creativity can bridge cultural divides and speak to universal themes. “Art has this incredible ability to connect us. No matter where we come from, we all understand loss, hope, and resilience,” she says. “What I’d like people to take away from seeing his work is a sense that art is a way to reflect and appreciate all that is around us and all that we’re capable of and how we all share this life on the planet. I think there’s a language in art, whether a painting or a sculpture, that transcends language differences, and I think art brings us together in that way.”

Oerdy’s admiration for American culture is another thread woven throughout his life and work. Growing up under the shadow of the Berlin Wall, he was captivated by American jazz, pop art, and films. “American culture showed me what freedom looked like,” he says. “

When asked what he hopes to leave behind, Oerdy is humble. “I don’t think about that too much. I just enjoy creating art.” Schauer John, however, has no doubt about the lasting impact of his work. “It’s an honor to host an international artist like Oerdy,” she says. “Now, when we’re feeling somewhat divided, it’s important to have perspective, and I think Oerdy brings that, having grown up in East Berlin and gone through what he’s gone through, to be here now is really a sentiment to appreciate what we have. ” 

Through the end of the month, Oerdy’s works are on display at the Zebra Gallery in Easton as part of the Evolutionary Art and Artists series. But Schauer John says that she will continue to exhibit Oerdy’s work and encourage visitors to look beyond the black and white, to experience his journey of courage, creativity, and the belief in the power of art to break down barriers—both literal and metaphorical and to dare to see the world in vivid color.

The Zebra Gallery is located at 5 N. Harrison St. in Easton, MD.
Hours:  Thurs – Sat. 11 – 5 pm,  Sun. 11-4 pm