Performance Calendar

Company members from Music From the Sole will lead a music and movement workshop at Somerville's Armory. Learn body percussion and tap-inspired moves from Music From the Sole choreographer Noe Kains, dancer/choreographer Leonardo Sandoval, and bassist/composer Gregory Richardson. The event is free and open to all, with no dance experience or special equipment required. 

From 2022/23: Harpist Charles Overton returns to Celebrity Series alongside violinist Lucia Lin for the world premiere of the latest installment of Lin's In Tandem commissioning and performance project that aims to break down color barriers in classical music and create opportunities for young fans and young musicians to encounter contemporary music that speaks to them.

Music From The Sole is a tap dance and live music company that celebrates tap’s connections to Afro-Brazilian music and dance, and other influences across the African Diaspora. The company strives to bring tap dance and its lineage to the broadest possible audience. I Didn’t Come to Stay, a work for eight dancers and a five-piece band, earned a spot on the New York Times’ Best Dance Performances of 2022 list. It explores tap’s diasporic lineage and connections to house, samba, Brazilian funk, and jazz. 

Music From The Sole is a tap dance and live music company that celebrates tap’s connections to Afro-Brazilian music and dance, and other influences across the African Diaspora. The company strives to bring tap dance and its lineage to the broadest possible audience. I Didn’t Come to Stay, a work for eight dancers and a five-piece band, earned a spot on the New York Times’ Best Dance Performances of 2022 list. It explores tap’s diasporic lineage and connections to house, samba, Brazilian funk, and jazz. 

Music From The Sole is a tap dance and live music company that celebrates tap’s connections to Afro-Brazilian music and dance, and other influences across the African Diaspora. The company strives to bring tap dance and its lineage to the broadest possible audience. I Didn’t Come to Stay, a work for eight dancers and a five-piece band, earned a spot on the New York Times’ Best Dance Performances of 2022 list. It explores tap’s diasporic lineage and connections to house, samba, Brazilian funk, and jazz. 

Music From The Sole is a tap dance and live music company that celebrates tap’s connections to Afro-Brazilian music and dance, and other influences across the African Diaspora. The company strives to bring tap dance and its lineage to the broadest possible audience. I Didn’t Come to Stay, a work for eight dancers and a five-piece band, earned a spot on the New York Times’ Best Dance Performances of 2022 list. It explores tap’s diasporic lineage and connections to house, samba, Brazilian funk, and jazz. 

Evoking potent symbolism of the crow as a messenger between life and death, transcending space and time, Ashwini Ramaswamy explores memory, dislocation, ancestry, and more in Let the Crows Come.

“Super-cool, multi-talented and dauntlessly adventurous American countertenor” (The Telegraph) Anthony Roth Costanzo returns to Boston with pianist Bryan Wagorn. Costanzo’s recital, a new program that spans the Italian Baroque to the present day, promises dramatic commitment and incisive characterizations; “very few singers can bring such high-caliber acting to a concert appearance,” wrote Opera News. 

Evoking potent symbolism of the crow as a messenger between life and death, transcending space and time, Ashwini Ramaswamy explores memory, dislocation, ancestry, and more in Let the Crows Come.

French pianist Hélène Grimaud enjoys a busy and varied career on the world’s concert stages as an orchestral soloist, a chamber music partner, and a solo recitalist. Her combination of sheer strength and power tempered by her interpretive subtlety and technical control makes her an impressive pianist in any setting. 

Grimaud’s Boston-area recital debut shows off her expressive skills and technical control: the many moods and the brilliant variations heard in Beethoven’s Piano Sonata No. 30, the colors and soulfulness of Brahms’ late piano works, the pyrotechnics of Busoni’s transcription of Bach’s Chaconne.