A Note on the Enchantment of the Beverly Hills International Music Festival – Canyon News Beverly Hills

I recently had the distinct pleasure of attending two extraordinary concerts produced by the Beverly Hills International Music Festival at the Greystone Mansion in Beverly Hills, ably helmed by its new director, classical soprano Veronica Bell, who, from her first step in this role, proved herself a visionary not afraid of raising the bar. These events gifted us with an auditory feast and a profound, emotive experience that seamlessly wove history, remembrance, and exceptional artistry.
The first concert on April 24th was a deeply moving tribute featuring the Shell Piano Trio with pianist, the founder of the trio Shushana Hakobyan, violinist Lilit Zakaryan, and cellist Katya Janpoladyan, with the guest artist, soprano Marine Chahinian. This performance was dedicated to the 80th anniversary of the liberation of the Buchenwald concentration camp and coincided with the Armenian Genocide Remembrance Day. Such a weighty theme was handled with sensitivity and grace, making every note resonate with significance.

The program showcased masterpieces by Jewish and Armenian composers alongside the world premiere of a composition by the esteemed composer Professor Deon Nielsen Price. This was no ordinary concert; it felt like a solemn yet celebratory gathering, a reminder of resilience through the lens of music. The Beverly Hills Mayor, Ms. Sharona Nazarian, was in attendance and graced the audience with a heartfelt speech, praising the Festival and the artists’ meaningful contributions to the community and historical consciousness. Everyone who attended this concert could not help but feel the connection to the spirit of shared humanity that binds us all, regardless of who we are and where we come from.
Then, on April 25th came the second concert, a vibrant contrast that breathed new life into the classical music scene: the Sords-Walt-Durkovic Trio, led by charismatic Andrew Sords on violin, profound and masterful cellist John Walz, and virtuoso-pianist Tim Durkovic. For the second half of the concert, the trio was joined by two exceptional musicians and brilliant soloists in their own right, violinist Esther Kim and Erik Rynearson on viola. The program, brimming with the romantic fervor of J. Brahms, the passionate lyricism of S. Rachmaninoff, and the jubilant spirit of A. Dvořák was a tour de force that rendered the audience completely spellbound.
To say that the applause was thunderous would be an understatement; I think I might still be recovering from the seismic waves of appreciation that erupted from the crowd! The ovation seemed to stretch forever, a testament to the musicians’ magnetic performance and their palpable connection with the audience. It was as if every listener had collectively agreed to postpone reality just a bit longer to bask in this musical rapture.
Veronica Bell’s deft curation of these concerts not only showcased the talented artists but also demonstrated her commitment to fostering a cultural dialogue that bridges epochs and communities. It is through such poignant programming that we remember our past while celebrating the artistry of today—a balance finely tuned in every note played and sung.
In conclusion, the Beverly Hills International Music Festival proves to be not just a platform for music but a powerful stage for collective memory and artistic excellence. If you find yourself in the area for their future performances, I strongly recommend grabbing a seat—just hold onto your applause; you’ll need it for every exquisite moment that follows!
Find out more about the Festival and its future concerts and educational programs at www.bhimf.com
Karen Davidson-Merrill, DGI

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