Eve La Puma '20 majored in TAPS with a minor in music (bassoon performance) and is a highly valued member of the Stanford Arts community. She celebrates her graduation this weekend with the class of 2020 and will be dearly missed.

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Sarah Mergen ‘19 is/was the director and playwright of TheaterLab’s “HAL" (2020). Adapted from Shakespeare’s “Henry IV Parts One & Two,” the futuristic multimedia show would have graced campus last Thursday through Saturday with the misadventures of the timeless rogue Falstaff and his royal mentee Hal.

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"There are at least 200 members of the combined symphony orchestra and chorus, so the March 3rd order to cancel all public events with more than 150 people meant curtains for us," said Stanford Symphony Orchestra Music Director Paul Phillips.

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In advance of the 9th Annual Contemporary A Cappella Recording Awards (CARA) ceremony this Sunday, I spoke with Georgieva about how her music, technology and a cappella background informs the significance of four Stanford CARA nominees this year.

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This piece marks the inaugural installment of a new Arts & Life column “Voices of Cancelled Stanford Shows" (VoCSS). With an acronym that calls to mind the Latin "vox" or voice and the style sheet language CSS, this column is a designated space for students, faculty and members of the greater Stanford community to speak to how the performing arts and the coronavirus pandemic have — and continue to — intersect in their lives.

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The tambourine has the power to expose racial injustice and enact radical social change. Or so Italian percussionist Francesco Turrisi and critically-acclaimed folk artist Rhiannon Giddens argued before a packed crowd of more than 300 people at the Bechtel Conference Center this past Thursday. The two artist-activists came to Stanford under the auspices of the…

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“Lover, when I sing my song / all the trees gonna sing along / and bend their branches down to me / to lay their fruit around my feet” —- Orpheus, “Wedding Song” (Track 4, Hadestown 2019 Original Broadway Cast Album) There are few events more important than the Grammy Awards and the promised eighty-four…

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Major spoilers for “Little Women” ahead. The recent cinematic release of Greta Gerwig’s “Little Women” (2019) is far from the first screen adaptation of Louisa May Alcott’s beloved novel, but is closer than any thus far to realizing the thematic complexity of its titular “Little Women.” Since the book was first published in 1868 to…

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In the final installment of the Music Beat’s top ten albums of the 2010s listicle, Timothy Dai (‘23) reviews Lorde’s sophomore musical opus and Lana del Rey’s latest sad-core hits, Kamilah Arteaga (‘22) reflects on Tame Impala’s lyrical exploration of humanity and Volume 256 Executive Editor Holden Foreman (‘20) reviews the chart-topping queen Billie Eilish:

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In the second installment of the Music Beat’s top ten albums of the 2010s listicle, Timothy Dai ’23 reflects upon the emotional valences of SZA, Kamilah Arteaga ’22 considers the vulnerability of Tyler the Creator and Natalie Francis ’22 reviews the “Truth Hurts” flute-playing, twerk and rap queen Lizzo: No. 4 SZA’s “Ctrl” (2017)  It’s…

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Rather than write stand-alone album reviews of this decade’s greatest hits, the Daily Music beat has come together this quarter to write short but sweet album reviews and collectively created our top ten best albums of the '10s.

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In Santa Clara University’s production of Sarah Ruhl’s "Eurydice" (2003), all Eurydice ever wants to do is think about language and how it opens up new worlds.

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To “pass by catastrophe,” according to urban legend, you must experience a major earthquake or other catastrophic event during your final exam warranting the university registrars to give everyone passing grades. But in the case of the Stanford band, "Pass By Catastrophe," the phrase means exploring making music together and dropping your first extended play (EP) on Oct. 4, amidst the Stanford grind.

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NOTE: A previous version of this article inaccurately reported the identities of Cabaret ensemble members in “Maybe This Time” and “Entr’acte”. Commentary on the live sound design has also been amended. Come hear the music play in the 2019 Theater and Performance Studies (TAPS) Mainstage production of Kander and Ebb’s “Cabaret” (1966), choreographed and directed…

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Aitan Grossman (‘19) became involved with Latinxs in Theater, the Asian-American Theatre Project and Blackstage’s production of Broadway breakout hit “In the Heights” (2008) thanks to a chance conversation over Thanksgiving dinner. When his friend, “In the Heights” producer Dan Holland (‘19), discussed his artistic vision for the show and the need for good music…

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The Harmonics concert “mood” last Friday at Toyon Hall reverberated with the messy range of emotions that define the grind of late winter quarter at Stanford. For its first full a cappella show of the calendar year, the alternative and indie rock group was decked out in its signature black leather and goth makeup. The…

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Perpetual anticipation of actors becoming pianists, cellists and even orchestra players buzzed on campus this past weekend thanks to the Stanford Music Department’s production of Stephen Sondheim’s “A Little Night Music” (1973). Renowned for its complex meters, polyphony and high notes all performed in waltz time, the musical explores the rekindling of past love between…

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When you see “Gaieties” posters strewn about the campus or see zealous cast members crash dorm house meetings in animal onesies, you may not realize that Stanford students write all the music for the show. But for Ayoade Balogun (‘21), composer, and Lexi Kupperman (‘21), lyricist, “Gaieties 2018: Jane Stanford and the Chamber of Secrets”…

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NOTE: A previous version of this article included a comment that inaccurately portrays the a cappella callback process and a spoiler for one group’s initiation process, which have been cut.   You open the door and are immediately drawn in by thunderous applause, every person in the room calling your name and smiling at you. No,…

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