�������󳾲�’ Liebeslieder Waltzes, op. 52 and op. 65 with Christine Cornell, soprano; Margaret Dobbins, mezzo-soprano; Patrick Silk, tenor; George Baolin, bass; Jay Simon Abrera, Natasha Gwiceman, William Rayment, piano.

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Using puppetry, masks, and live action, Layer the Walls tells the incredible stories held within each layer of a Lower East Side tenement. Each part has three unique stories that can be viewed in any order.

Part I — Turn of the Century (1870–1909)

Sunday, Jan. 25,�� 2 p.m.
An Irish father builds the ���ճԹ� Bridge, Italian brothers endure the Blizzard of 1888, and Jewish girls face the 1909 Garment Strike.

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Using puppetry, masks, and live action, Layer the Walls tells the incredible stories held within each layer of a Lower East Side tenement. Each part has three unique stories that can be viewed in any order.

Part I — Turn of the Century (1870–1909)

Sunday, Jan. 25,�� 2 p.m.
An Irish father builds the ���ճԹ� Bridge, Italian brothers endure the Blizzard of 1888, and Jewish girls face the 1909 Garment Strike.

The post Grand Pistachio: Layer the Walls appeared first on ���ճԹ�.

Dates:��Jan 9-11, 2026
Runtime:��approximately 1 hour and 45 minutes,��with no intermission.
Late seating policy:��limited late seating is available
Tickets��range from $20-$55

Onstage is a two-story house. From one angle, it’s mucked out after a flood. From another, it’s a new development wrapped in Tyvek. And from another, it’s “Tara” from Gone with the Wind being transformed into an Airbnb. The piano can’t be tuned. Someone is quilting in the corner. Come in.

Co-written by 21 Black-, POC-, and white-identifying artists ranging in age from 29 to 99, RECONSTRUCTING is a new work by internationally-renowned theater collective the TEAM that wrestles with how, in the aftermath of slavery, we might move through history together. Propelled by a quilt-like score, this “complex and combustible project” (Sarah Holdren, Vulture) slips between fact and fiction and performance and ritual to tell a story of historical figures and fictional characters seeking and fleeing intimacy—and us as makers doing the same.

The post Reconstructing by the TEAM appeared first on ���ճԹ�.

Dates:��Jan 9-11, 2026
Runtime:��approximately 1 hour and 45 minutes,��with no intermission.
Late seating policy:��limited late seating is available
Tickets��range from $20-$55

Onstage is a two-story house. From one angle, it’s mucked out after a flood. From another, it’s a new development wrapped in Tyvek. And from another, it’s “Tara” from Gone with the Wind being transformed into an Airbnb. The piano can’t be tuned. Someone is quilting in the corner. Come in.

Co-written by 21 Black-, POC-, and white-identifying artists ranging in age from 29 to 99, RECONSTRUCTING is a new work by internationally-renowned theater collective the TEAM that wrestles with how, in the aftermath of slavery, we might move through history together. Propelled by a quilt-like score, this “complex and combustible project” (Sarah Holdren, Vulture) slips between fact and fiction and performance and ritual to tell a story of historical figures and fictional characters seeking and fleeing intimacy—and us as makers doing the same.

The post Reconstructing by the TEAM appeared first on ���ճԹ�.

Dates:��Jan 9-11, 2026
Runtime:��approximately 1 hour and 45 minutes,��with no intermission.
Late seating policy:��limited late seating is available
Tickets��range from $20-$55

Onstage is a two-story house. From one angle, it’s mucked out after a flood. From another, it’s a new development wrapped in Tyvek. And from another, it’s “Tara” from Gone with the Wind being transformed into an Airbnb. The piano can’t be tuned. Someone is quilting in the corner. Come in.

Co-written by 21 Black-, POC-, and white-identifying artists ranging in age from 29 to 99, RECONSTRUCTING is a new work by internationally-renowned theater collective the TEAM that wrestles with how, in the aftermath of slavery, we might move through history together. Propelled by a quilt-like score, this “complex and combustible project” (Sarah Holdren, Vulture) slips between fact and fiction and performance and ritual to tell a story of historical figures and fictional characters seeking and fleeing intimacy—and us as makers doing the same.

The post Reconstructing by the TEAM appeared first on ���ճԹ�.

Dates:��Jan 9-11, 2026
Runtime:��approximately 1 hour and 45 minutes,��with no intermission.
Late seating policy:��limited late seating is available
Tickets��range from $20-$55

Onstage is a two-story house. From one angle, it’s mucked out after a flood. From another, it’s a new development wrapped in Tyvek. And from another, it’s “Tara” from Gone with the Wind being transformed into an Airbnb. The piano can’t be tuned. Someone is quilting in the corner. Come in.

Co-written by 21 Black-, POC-, and white-identifying artists ranging in age from 29 to 99, RECONSTRUCTING is a new work by internationally-renowned theater collective the TEAM that wrestles with how, in the aftermath of slavery, we might move through history together. Propelled by a quilt-like score, this “complex and combustible project” (Sarah Holdren, Vulture) slips between fact and fiction and performance and ritual to tell a story of historical figures and fictional characters seeking and fleeing intimacy—and us as makers doing the same.

The post Reconstructing by the TEAM appeared first on ���ճԹ�.

Dates:��Jan 9-11, 2026
Runtime:��approximately 1 hour and 45 minutes,��with no intermission.
Late seating policy:��limited late seating is available
Tickets��range from $20-$55

Onstage is a two-story house. From one angle, it’s mucked out after a flood. From another, it’s a new development wrapped in Tyvek. And from another, it’s “Tara” from Gone with the Wind being transformed into an Airbnb. The piano can’t be tuned. Someone is quilting in the corner. Come in.

Co-written by 21 Black-, POC-, and white-identifying artists ranging in age from 29 to 99, RECONSTRUCTING is a new work by internationally-renowned theater collective the TEAM that wrestles with how, in the aftermath of slavery, we might move through history together. Propelled by a quilt-like score, this “complex and combustible project” (Sarah Holdren, Vulture) slips between fact and fiction and performance and ritual to tell a story of historical figures and fictional characters seeking and fleeing intimacy—and us as makers doing the same.

The post Reconstructing by the TEAM appeared first on ���ճԹ�.

Born in Berdyansk, Ukraine, Voskresensky emigrated to the United States in 2022 in response to the Russian invasion of Ukraine and is currently an artist-in-residence at the Juilliard School in New York. Since his arrival in the United States, he has seen overwhelming support and interest from the media and the music community.

Watch Voskresensky discuss leaving Russia after invasion of Ukraine .

Voskresensky won first prizes at the Van Cliburn and Schumann international competitions, among others, and has appeared as a soloist with some of the world’s finest orchestras. The longtime head of the piano faculty at the prestigious Moscow Conservatory, his alma mater, his students have won 120 top prizes at the world’s major international competitions.

Voskresensky’s recent and future engagements include concerts and master classes at the Aspen, PianoTexas, and Northern Lights festivals, Eastman School of Music, Oberlin Conservatory, University of Georgia, University of Washington, and abroad at the Royal College of Music in London, Barcelona Conservatory, Amsterdam Conservatory, and Hamburg Hochschule of Music.

��You can read more about his illustrious career .

Master class with Mikhail Voskresensky
When: Dec. 6, 6–8 p.m.
Where: Leonard & Claire Tow Center for the Performing Arts, Don Buchwald Theater
This event is free and open to the public.

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During this season, they will be ensemble-in-residence at the conservatory, where they will perform on November 28 in the Don Buchwald Theater in the Leonard & Claire Tow Center for the Performing Arts, as well as record new original works of conservatory composers and give a masterclass. In addition to ���ճԹ�, they will be visiting Rice University, the University of Michigan, Temple University, East Carolina University, and Longy School of Music.

Individually, Mills recently received the Achievement Award from the Chamber Music Center of New York, presented by Fred Sherry (cellist/former Artistic director of the Chamber Music Society of Lincoln Center) on April 23, 2023. During the 2022-23 season, he was invited to judge the concerto competitions at the New England Conservatory and the Mannes School of Music.

For Aizawa, during the 2022-23 season, she was invited to judge at the Fischoff National Chamber Music Competition and the University of Michigan. She will also give a masterclass lecture with chamber music coaching at the Colburn School in Los Angeles in November 2023.

Some other Horszowski Trio notable news:��

• In the 2022-23 season, the trio gave the world premiere of works composed for the Horszowski Trio written by Derek Bermel, Paul Chihara, David Fulmer, and Kenji Bunch;
• The trio will give the world premiere of Stewart Goodyear’s work commissioned by the Gardner Museum in Boston on February 4, 2024;
• In the 2022-23 season, they performed and gave a class at many schools including Yale School of Music (CT), Northwestern University (IL), Eastman School of Music (NY), Princeton University (NJ), Bard College (NY), University of Buffalo (NY), and Boise State University (ID);
• In 2023, the “Horszowski Trio Prize” was created by the Fischoff National Chamber Music Competition to award piano trio winners.

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