Can children learn to play a musical instrument as easily as they learn their mother tongue? According to Japanese violinist Shinichi Suzuki (1898-1998), this is not only possible, but is in fact the best way for a child to learn music. Patricia Pasmanter is a cello teacher and the President of the Suzuki Association of Buenos Aires, organizer of the Suzuki Festival of Buenos Aires, which takes place September 15 – 23, 2007.

Patricia talked with KadmusArts about the Buenos Aires Association, the activities of the Festival, the Suzuki Association of the Americas, and also discussed the Suzuki method and how it came to be used in Latin America.

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Es posible que un niño aprenda a tocar un instrumento con la misma facilidad que aprende a hablar su lengua materna? Según el violinista japonés Shinichi Suzuki (1898-1998), no solo es posible, sino que es la mejor manera de aprender música. Patricia Pasmanter es profesora de cello y Presidenta de la Asociación Suzuki de Buenos Aires, entidad que organiza el Festival Suzuki de Buenos Aires, que se lleva a cabo del 15 al 23 de septiembre de 2007.

Patricia habló con KadmusArts sobre la Asociación de Buenos Aires, las actividades del Festival, y la Asociación Suzuki de las Américas, y también nos contó qué es el método Suzuki y como llegó a aplicarse en Latinoamérica.

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Soprano Alison Pearce has a distinguished international career in oratorio, opera and recital. She has performed with the world’s leading conductors and orchestras at major venues and festivals, as well as broadcasting for radio and television. Her major leading operatic roles include those in Tosca, Nabucco, I Lombardi, Fidelio, and Ariadne auf Naxos, as well as Elsa in Lohengrin and Elizabeth in Tannhäuser. Her recordings include the BBC’s 20th Century Britannia at the Opera series, as well as commercial recordings with Hyperion, Helios, and other labels. Her services to Polish culture have earned her the recognition of the Polish people, who have honored her with the Karol Szymanowski Medal. She is also a professor in the vocal department of the Royal Academy of Music and the artistic director of a European Summer School for singers.

Alison speaks with us about the importance of selecting music you enjoy for musical training, teaching master classes for businessmen, and learning to sing in Polish.

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Sherry Kramer’s plays have been produced extensively in the United States and abroad, and include Things That Break, What A Man Weighs, and The Wall of Water. She is a recipient of grants from the National Endowment for the Arts and the New York Foundation for the Arts, as well as a McKnight Fellowship. She has received the Weissberger Playwriting Award and a New York Drama League Award. Her one-person play When Something Wonderful Ends: A History, A One Woman, One Barbie Play was performed at the 2007 Humana Festival.

In this podcast Sherry talks with us about being a playwright turned performance artist, the importance of not preaching to the choir, and the translation of When Something Wonderful Ends into Japanese.

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Alice Tuan is a playwright based in Los Angeles. She is the author of monologues, plays and screenplays, including the hypertext play Coastline, and the short plays F.E.T.C.H. and Coco Puffs, which were both presented at the Humana Festival in 2002. Humana commissioned Tuan to work with Whit MacLaughlin (featured in an earlier podcast) and New Paradise Laboratories to develop BATCH: An American Bachelor/ette Party Spectacle, which premiered at the 2007 festival.

In this podcast Tuan extolls the benefits of winging it and then writing it down, and how the process of creating BATCH was a lot like a marriage.

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