{"id":8158,"date":"2022-03-04T12:41:54","date_gmt":"2022-03-04T18:41:54","guid":{"rendered":"https:\/\/www.dallassymphony.org\/?post_type=dso_prod_season&#038;p=8158"},"modified":"2022-09-28T11:04:06","modified_gmt":"2022-09-28T16:04:06","slug":"don-quixote","status":"publish","type":"dso_prod_season","link":"https:\/\/www.dallassymphony.org\/es\/productions\/don-quixote\/","title":{"rendered":"Don Quijote"},"content":{"rendered":"\n\n\n\n\n<div class=\"richtext m-spacer\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-10\">\n\t\t\t\t\n\n<p><strong>FABIO LUISI<\/strong> conducts<br><strong>JAN VOGLER<\/strong> cello<\/p>\n\n\n\n<p><strong>R. STRAUSS <\/strong><em>Don Quixote<\/em><br><strong>TCHAIKOVSKY<\/strong> Symphony No. 5 in E minor<\/p>\n\n\n\n<p>Embark on a grand musical journey with Strauss\u2019s <em>Don Quixote<\/em>. Cellist Jan Vogler plays the central role of Cervantes\u2019s beloved Don, with other instruments representing various characters throughout including the brass taking a turn as a herd of sheep. The famous viola solo in Don Quixote features DSO\u2019s very own, Meredith Kufchak, Principal Viola.<\/p>\n\n\n\n<p>Luisi then leads Tchaikovsky\u2019s emotionally charged Fifth Symphony, which transports listeners from dark despair to triumphant light. Like many of Tchaikovsky&#8217;s works, it finds him wrestling with fate and self-doubt and finding release in acceptance.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u201cJan Vogler leads radiant performances of Tchaikovsky\u2019s strong works\u201d<\/p><cite>The Strad<\/cite><\/blockquote>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-1024x166.png\" alt=\"\" class=\"wp-image-5688\" width=\"256\" height=\"42\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-1024x166.png 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-300x48.png 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-768x124.png 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_-16x3.png 16w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2021\/03\/TI.Classical.black_.png 1528w\" sizes=\"auto, (max-width: 256px) 100vw, 256px\" \/><\/figure>\n\n\n<div class=\"container\">\n    <div class=\"row\">\n        <div class=\"col-10\">\n            <div class=\"share d-flex align-items-center\">\n                <p class=\"mb-0 serif__light-16\">SHARE<\/p><div data-network=\"facebook\" class=\"st-custom-button facebook\" data-title=&quot;Don Quixote&quot;  data-description=&quot;Embark on a grand musical journey with Strauss\u2019s Don Quixote. Cellist Jan Vogler plays the central role of Cervantes\u2019s beloved Don, with other instruments representing various characters throughout including the brass taking a turn as a herd of sheep. The famous viola solo in Don Quixote features DSO\u2019s very own, Meredith Kufchak, Principal Viola.&quot;  data-message=&quot;Embark on a grand musical journey with Strauss\u2019s Don Quixote. Cellist Jan Vogler plays the central role of Cervantes\u2019s beloved Don, with other instruments representing various characters throughout including the brass taking a turn as a herd of sheep. The famous viola solo in Don Quixote features DSO\u2019s very own, Meredith Kufchak, Principal Viola.\r\n\r\nhttps:\/\/www.dallassymphony.org\/es\/productions\/don-quixote\/&quot; >Facebook<span class=\"count\"><\/span><\/div>            <\/div>\n        <\/div>\n    <\/div>\n\n<\/div>\n\n\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n<\/div>\n\n\n<div class=\"edp-musician-grid m-spacer grad-to-right\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-12\">\n\t\t\t\t<h1><\/h1>\n\t\t\t\t<h2><\/h2>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-lg-6\">\n\t<div class=\"edp__musician-card\">\n\t\t<img loading=\"lazy\" decoding=\"async\" width=\"262\" height=\"262\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-262x262.jpg\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"FABIO LUISI MUSIC DIRECTOR LOUISE W. &amp; EDMUND J. KAHN MUSIC DIRECTORSHIP\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-262x262.jpg 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-300x300.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-1024x1024.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-150x150.jpg 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-768x768.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-1536x1536.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-12x12.jpg 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-350x350.jpg 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1-445x445.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/12\/Fabio-Luisi-1600-x-1600-1.jpg 1600w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>Fabio Luisi<\/h4>\n\n\t\t\t<p>Music Director<\/p>\n<p>Louise W. &amp; Edmund J. Kahn Music Directorship<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/fabio-luisi\/\">Read More<\/a>\n            \t\t<\/div>\n\t<\/div>\n<\/div><div class=\"col-lg-6\">\n\t<div class=\"edp__musician-card\">\n\t\t<img loading=\"lazy\" decoding=\"async\" width=\"262\" height=\"262\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler-262x262.jpg\" class=\"attachment-262x262 size-262x262 wp-post-image\" alt=\"Jan Vogler\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler-262x262.jpg 262w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler-300x300.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler-1024x1024.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler-150x150.jpg 150w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler-768x768.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler-12x12.jpg 12w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler-350x350.jpg 350w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler-445x445.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/02\/Jan-Vogler.jpg 1200w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/>\t\t<div class=\"content__wrapper\">\n\t\t\t<h4>Jan Vogler<\/h4>\n\n\t\t\t<p>Cello<\/p>\n\n                            <a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/people\/jan-vogler\/\">Read More<\/a>\n            \t\t<\/div>\n\t<\/div>\n<\/div>\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n\n<div style=\"height:1px\" aria-hidden=\"true\" id=\"program\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"dso__accordion m-spacer\">\n    <div class=\"container\">\n        <div class=\"row\">\n            <div class=\"col-lg-12\">\n                <div class=\"accordion__intro-wrapper\">\n                    <h1>Program Notes<\/h1>\n                    <p>by Ren\u00e9 Spencer Saller<\/p>\n                <\/div>\n            <\/div>\n        <\/div>\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-md-10 offset-md-1\">\n\t\t\t\t<div class=\"accordion\" id=\"accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t\t\t\t<div class=\"card\">\n\t<button id=\"headingeb83b70f40b761cf2e1efe5a1adf9685\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapseeb83b70f40b761cf2e1efe5a1adf9685\" aria-expanded=\"false\" aria-controls=\"collapseeb83b70f40b761cf2e1efe5a1adf9685\">\n\t\tRichard Strauss (1864\u20131949): Don Quixote\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapseeb83b70f40b761cf2e1efe5a1adf9685\" class=\"collapse\" aria-labelledby=\"headingeb83b70f40b761cf2e1efe5a1adf9685\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>Richard Strauss was a busy conductor and a prolific composer who always found<br \/>\ntime to read. From early adolescence until his death at 85, he read widely and<br \/>\ndeeply: Nietzsche, Wilde, Sophocles, Schopenhauer, Goethe and other major<br \/>\nthinkers inspired many of his greatest works. For <em>Don Quixote<\/em> Strauss translated<br \/>\nMiguel de Cervantes&#8217;s eternally modern 17th-century novel into a series of<br \/>\nsymphonic flash cards. Each of Strauss&#8217;s theme-and-variation movements covers a<br \/>\nspecific plot point and enriches our understanding of the book&#8217;s central<br \/>\nrelationship: that of the titular hero and his sweet-tempered squire.<\/p>\n<p>Strauss may have been, as his detractors insist, a godless, apolitical, opportunistic<br \/>\naesthete, but he wasn&#8217;t shallow. Frequently misunderstood as bombastic and self-<br \/>\naggrandizing, his autobiographical tone poem <em>Ein Heldenleben<\/em> (A Hero&#8217;s Life)<br \/>\nglistens with irony, especially when heard alongside Don Quixote, as Strauss<br \/>\nintended. Together they make up a musical diptych: the delusional old knight tilts at<br \/>\nwindmills; the quixotic composer swats at his critics. Both figures are equally<br \/>\nsublime and ridiculous.<\/p>\n<p>By the time Strauss completed <em>Don Quixote: Fantastic variations on a theme of<\/em><br \/>\n<em>knightly character<\/em>, in December 1897, he was a confident practitioner of program<br \/>\nmusic, or, as he preferred to call his compositions from this period, tone poems. This<br \/>\nextraordinary run began in 1886, with <em>Aus Italien<\/em>, and included up to that point<br \/>\nMacbeth (1887), <em>Don Juan<\/em> (1889), <em>Tod und Verkl\u00e4rung<\/em> (1889), <em>Till Eulenspiegel<\/em><br \/>\n(1895) and <em>Also sprach Zarathustra<\/em> (1896). Despite the dismal reception of his first<br \/>\nopera, the 33-year-old composer worked tirelessly as both a composer and a touring<br \/>\nconductor and pianist. He was deeply devoted to his wife, the temperamental<br \/>\nsoprano Pauline de Ahna, and their little son, Franz Alexander. For Strauss, who<br \/>\nlived for his art and his family, this was happiness.<\/p>\n<p>In the words of his creator, Cervantes, <em>Don Quixote<\/em> is a man who, &#8220;through his little<br \/>\nsleep and much reading, &#8230;dried up his brains in such sort as he lost wholly his<br \/>\njudgment. His fantasy was filled with those things that he read, of enchantments,<br \/>\nquarrels, battles, challenges, wounds, wooings, loves, tempests, and other<br \/>\nimpossible follies.&#8221;<\/p>\n<p>To call him insane is irrelevant. He&#8217;s the novel&#8217;s hero and its moral center, an avatar<br \/>\nof the creative imagination. <em>Don Quixote<\/em> the novel is about a character who is<br \/>\npossessed by chivalric romances, but it&#8217;s also about the rules of fictive engagement.<br \/>\nJust as Cervantes&#8217; novel is about the pleasures and perils of reading\u2014which it to say<br \/>\nthat it&#8217;s about nothing so much as itself\u2014Strauss&#8217;s tone poem is about the creative<br \/>\npossibilities of listening, music as a collaborative act.<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nStrauss&#8217;s seventh tone poem consists of ten brilliantly orchestrated variations<br \/>\nprefaced by an introduction and theme and succeeded by a finale. Strauss didn&#8217;t<br \/>\nconceive of <em>Don Quixote<\/em> as a concerto, but he did give a starring role to the cello,<br \/>\nwhich represents Don Quixote, and juicy solo parts for viola and oboe (as Sancho<br \/>\nPanza and the hero&#8217;s beloved Dulcinea, respectively).<\/p>\n<p>Rather than attempt to summarize Cervantes&#8217;s intricate two-volume meta-fiction,<br \/>\nStrauss condenses the story to a dozen representative scenes. In the whimsical,<br \/>\nquesting introduction, he uses muted instruments and odd dissonances to suggest<br \/>\nthe grip that fiction exerts on the old gentleman of La Mancha. After presenting<br \/>\nthree themes associated with the eponymous hero, Strauss moves on to the<br \/>\npragmatic peasant Sancho Panza, whom he limns with bass clarinet and tenor tuba<br \/>\nbefore letting a chatty viola take over. As in the novel, the collision between the<br \/>\nhigh-minded ideals of Don Quixote and the earthy comedy of Sancho Panza equals<br \/>\npure comedy gold.<\/p>\n<p>Strauss&#8217;s genius for pictorialism enlivens every movement, beginning with the<br \/>\nscurrying, lurching, tumbling first variation, wherein Don Quixote unwisely decides<br \/>\nto attack a group of giants (actually windmills, as Sancho tries to tell him). Listen for<br \/>\nthe windmills&#8217; creaking blades (cello strings against the wood side of the bow); the<br \/>\nsnorts and gasps of the hero&#8217;s elderly horse (brass); the old knight&#8217;s humiliating fall<br \/>\n(harp glissandi); the unceremonious thump of his body as it hits the ground<br \/>\n(timpani). In the second variation, a queasy pastorale, flutter-tongued brass imitates<br \/>\nthe bleating sheep that the hero mistakes for invading armies. In the seventh a Duke<br \/>\nand Duchess trick the knight and squire into believing that they&#8217;re mounted on<br \/>\nflying steeds. A whooshing wind machine\u2014state-of-the-art technology in 1897\u2014<br \/>\njoins strident horns, sibilant winds, and rumbling timpani in fostering this delusion.<br \/>\nWe&#8217;re in Don Quixote&#8217;s head but also outside it. A resolute pedal D reminds us that<br \/>\nthey&#8217;re two blindfolded guys on hobby-horses who never leave the ground while<br \/>\nactual aristocrats laugh\u2014at, not with, them.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><div class=\"card\">\n\t<button id=\"headingf6cc4810bcbc4546a3cb3cce9186b043\" class=\"dso__accordion-toggle\" type=\"button\" data-toggle=\"collapse\" data-target=\"#collapsef6cc4810bcbc4546a3cb3cce9186b043\" aria-expanded=\"false\" aria-controls=\"collapsef6cc4810bcbc4546a3cb3cce9186b043\">\n\t\tPyotr Il&#8217;yich Tchaikovsky (1840\u20131893): Symphony No. 5\t\t<span class=\"plus-sign\">\n            <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"25\" height=\"25\" viewbox=\"0 0 25 25\">\n                <g transform=\"translate(211.054 -145.186) rotate(135)\"><rect width=\"25\" height=\"3\" transform=\"translate(242.001 36.678) rotate(-45)\"\/><rect width=\"25\" height=\"3\" transform=\"translate(244.12 19) rotate(45)\"\/><\/g>\n            <\/svg>\n        <\/span>\n\t<\/button>\n\n\t<div id=\"collapsef6cc4810bcbc4546a3cb3cce9186b043\" class=\"collapse\" aria-labelledby=\"headingf6cc4810bcbc4546a3cb3cce9186b043\" data-parent=\"#accordion-d41d8cd98f00b204e9800998ecf8427e\">\n\t\t<div class=\"card-body\">\n\t\t\t<p>His fateful Fifth Symphony confronts the Beethovenian implications of its number<br \/>\nhead on. Its structure invites us to feel good, or at least better. Completed in 1888,<br \/>\nthe four-movement symphony follows the \u201cper aspera ad astra\u201d\u2014\u201cthrough<br \/>\nhardships to the stars\u201d \u2014 model that Beethoven had famously used in his own Fifth<br \/>\nSymphony: from minor to Major, from dark to light (or at least somewhat lighter),<br \/>\nfrom sorrow to celebration (of a qualified sort). Most commentators identify<br \/>\nTchaikovsky&#8217;s main theme as a musical representation of fate; the composer<br \/>\nexplicitly says so in a programmatic outline that he drafted during the early stages<br \/>\nof composition and later abandoned. Regardless of what it symbolizes, the theme is<br \/>\ntirelessly reiterated, revised and transformed. Through its many changes the<br \/>\nsymphony reveals its secret self.<\/p>\n<p>Chronically depressed and sexually repressed, Tchaikovsky was tormented by<br \/>\ndoubt, and he allowed other people&#8217;s opinions to ravage his self-esteem. A decade<br \/>\nhad elapsed since his Fourth Symphony (1878), and although his star had risen<br \/>\nduring that time, thanks to his opera <em>Eugene Onegin<\/em>, the 1812 <em>Overture<\/em>, and other<br \/>\nhits, he feared that he was creatively bankrupt. In a letter to his main patron, he<br \/>\nadmitted, \u201cI want so much to show not only to others, but to myself, that I still<br \/>\nhaven\u2019t expired&#8230; I don\u2019t know whether I wrote to you that I had decided to write a<br \/>\nsymphony. At first it was fairly difficult; now inspiration seems to have deserted me<br \/>\ncompletely.\u201d At another point, he confessed that he had to \u201csqueeze it from my<br \/>\ndulled brain.\u201d<\/p>\n<p>Despite these difficulties, he was initially pleased with his Fifth Symphony. But when<br \/>\ncritics and colleagues (even an otherwise supportive Johannes Brahms) advanced<br \/>\nany form of criticism, he wrote, \u201cNeither [Brahms] nor the players liked the Finale,<br \/>\nwhich I also think rather horrible.\u201d Not a month later, however, the Fifth was back in<br \/>\nits creator\u2019s good graces: \u201cThe Fifth Symphony was beautifully played and I have<br \/>\nstarted to love it again\u2014I was beginning to develop an exaggerated negative<br \/>\nopinion about it.\u201d<\/p>\n<p><strong>Crisis of Confidence<\/strong><br \/>\nTchaikovsky suffered from chronic self-loathing. He was deeply conflicted: a<br \/>\nconventionally religious man who couldn&#8217;t repress his homosexuality, no matter<br \/>\nhow hard he tried to conform. He channeled his frustrations into his work, but like<br \/>\nmost relentless perfectionists, he was seldom satisfied. He tried to kill himself at<br \/>\nleast once, and some research suggests that his sudden death, at age 53, about five<br \/>\nyears after finishing his Fifth Symphony, might have been a form of suicide. Other<br \/>\nTchaikovsky scholars maintain that the composer was just another casualty of<br \/>\ncholera: one unfortunate pathogen consumer among millions whose beverage<br \/>\nhadn&#8217;t been adequately boiled.<\/p>\n<p><strong>A Closer Listen<\/strong><br \/>\nThe so-called fate theme first appears in the opening measures as a mournful lament<br \/>\nsung by the clarinet. In the second movement, in the afterglow of an achingly pretty<br \/>\nhorn and winds interlude, it barges in rudely aloft harsh brass blurts. (The orchestra<br \/>\nstops short for a moment, as if in shocked silence.) The third movement, an off-kilter<br \/>\nscherzo, staggers gamely, like a woozy prima ballerina; the theme sneaks back<br \/>\ntoward the end, an ominous afterthought muttered by the winds. In the finale the<br \/>\ntheme blazes out in a major mode and ignites a fever-dream march.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div>\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n    <div class=\"featured-concerts grad-to-left m-spacer\">\n        <div class=\"container-fluid\">\n            <div class=\"row\">\n                <div class=\"col-md-7 col-7 offset-md-1\">\n                    <h1 class=\"serif__elight-58-italic\">You may also be interested in<\/h1>\n                <\/div>\n                <div class=\"col-md-4 col-5\">\n                    <div class=\"controls__wrapper\">\n                        <div class=\"slideshow__controls d-none d-lg-block\">\n                            <button class=\"controls__prev\"  data-button-id=\"a51ae3cb033825c55b0de637cd594c9b\">\n                                <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" enable-background=\"new 0 0 24 24\" height=\"24\" viewbox=\"0 0 24 24\" width=\"24\">\n                                    <g><rect fill=\"none\" height=\"24\" width=\"24\"\/><path d=\"M12,4c4.41,0,8,3.59,8,8s-3.59,8-8,8s-8-3.59-8-8S7.59,4,12,4 M12,2C6.48,2,2,6.48,2,12c0,5.52,4.48,10,10,10 c5.52,0,10-4.48,10-10C22,6.48,17.52,2,12,2L12,2z M13,12l0-4h-2l0,4H8l4,4l4-4H13z\"\/><\/g>\n                                <\/svg>\n                            <\/button>\n                            <button class=\"controls__next\" data-button-id=\"a51ae3cb033825c55b0de637cd594c9b\">\n                                <svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" enable-background=\"new 0 0 24 24\" height=\"24\" viewbox=\"0 0 24 24\" width=\"24\">\n                                    <g><rect fill=\"none\" height=\"24\" width=\"24\"\/><path d=\"M12,4c4.41,0,8,3.59,8,8s-3.59,8-8,8s-8-3.59-8-8S7.59,4,12,4 M12,2C6.48,2,2,6.48,2,12c0,5.52,4.48,10,10,10 c5.52,0,10-4.48,10-10C22,6.48,17.52,2,12,2L12,2z M13,12l0-4h-2l0,4H8l4,4l4-4H13z\"\/><\/g>\n                                <\/svg>\n                            <\/button>\n                        <\/div>\n\n\t                                        <\/div>\n                <\/div>\n            <\/div>\n            <div class=\"row\">\n                <div class=\"col-md-11 offset-md-1\">\n                    <div class=\"slideshow\">\n                        <div class=\"dso__slides\" data-button-id=\"a51ae3cb033825c55b0de637cd594c9b\">\n                            <div class=\"concert__card\" style=\"margin-right: 15px\">\n    <a href=\"https:\/\/www.dallassymphony.org\/es\/productions\/tchaikovsky-violin-concerto\/\">\n        <div class=\"img__wrapper\">\n\t        <img loading=\"lazy\" decoding=\"async\" width=\"388\" height=\"218\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-388x218.jpg\" class=\"attachment-388x218 size-388x218 wp-post-image\" alt=\"Randall Goosby\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-388x218.jpg 388w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-300x169.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-1024x576.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-768x432.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-1536x864.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-18x10.jpg 18w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-540x303.jpg 540w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-666x375.jpg 666w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1-735x413.jpg 735w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Randall-Goosby-1600x900-1.jpg 1600w\" sizes=\"auto, (max-width: 388px) 100vw, 388px\" \/>        <\/div>\n        <div class=\"content__wrapper\">\n            <h4 class=\"serif__light-22\">\n                Tchaikovsky Violin Concerto            <\/h4>\n            <p class=\"serif__light-16-italic\">enero 27 &#8211; 29, 2023<\/p>\n            <p class=\"sans-cond__med-14\">Learn more &#038; buy tickets<\/p>\n        <\/div>\n    <\/a>\n<\/div>\n\n<div class=\"concert__card\" style=\"margin-right: 15px\">\n    <a href=\"https:\/\/www.dallassymphony.org\/es\/?post_type=dso_prod_season&amp;p=8197\">\n        <div class=\"img__wrapper\">\n\t        <img loading=\"lazy\" decoding=\"async\" width=\"388\" height=\"218\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-388x218.jpg\" class=\"attachment-388x218 size-388x218 wp-post-image\" alt=\"Gemma New\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-388x218.jpg 388w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-300x169.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-1024x576.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-768x432.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-1536x864.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-18x10.jpg 18w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-540x303.jpg 540w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-666x375.jpg 666w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1-735x413.jpg 735w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2022\/03\/Gemma-New-1600x900-1.jpg 1600w\" sizes=\"auto, (max-width: 388px) 100vw, 388px\" \/>        <\/div>\n        <div class=\"content__wrapper\">\n            <h4 class=\"serif__light-22\">\n                The Rite of Spring            <\/h4>\n            <p class=\"serif__light-16-italic\">abril 20 &#8211; 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El violonchelista Jan Vogler interpreta el papel central del amado Don de Cervantes, con otros instrumentos que representan a varios personajes, incluyendo los metales que se convierten en un reba\u00f1o de ovejas. El famoso solo de viola de Don Quijote est\u00e1 protagonizado por la propia Meredith Kufchak, viola principal de la DSO.<\/p>","protected":false},"featured_media":9961,"template":"","dso_concert_series":[31],"class_list":["post-8158","dso_prod_season","type-dso_prod_season","status-publish","has-post-thumbnail","hentry","dso_concert_series-classical"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_prod_season\/8158","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_prod_season"}],"about":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/types\/dso_prod_season"}],"version-history":[{"count":0,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_prod_season\/8158\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media\/9961"}],"wp:attachment":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media?parent=8158"}],"wp:term":[{"taxonomy":"dso_concert_series","embeddable":true,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_concert_series?post=8158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}