Stephen Sondheim Tickets

Upcoming Events and Tickets
Feb 8
2025
Sat 8:00
Stephen Sondheim
Ahmanson Theatre -
Los Angeles, CA
Feb 15
2025
Sat 2:00
Stephen Sondheim
Ahmanson Theatre -
Los Angeles, CA
Feb 15
2025
Sat 8:00
Stephen Sondheim
Ahmanson Theatre -
Los Angeles, CA
Feb 21
2025
Fri 8:00
Stephen Sondheim
Ahmanson Theatre -
Los Angeles, CA
Feb 23
2025
Sun 1:00
Stephen Sondheim
Ahmanson Theatre -
Los Angeles, CA
Mar 1
2025
Sat 2:00
Stephen Sondheim
Ahmanson Theatre -
Los Angeles, CA
Mar 1
2025
Sat 8:00
Stephen Sondheim
Ahmanson Theatre -
Los Angeles, CA
Mar 8
2025
Sat 2:00
Stephen Sondheim
Ahmanson Theatre -
Los Angeles, CA
Mar 9
2025
Sun 1:00
Stephen Sondheim
Ahmanson Theatre -
Los Angeles, CA

Stephen Sondheim Ticket Additional info

Theater lovers do we have an production for you! The modern production of Stephen Sondheim is making its way to your location and you will not want to fail to see this brilliant display as it has received some first-rate reviews. Tickets to these fascinating performances will not last , so do not lose out on getting the seats you want. CheapTicketsASAP.com has you covered for all of your theater ticket desires, so aim your browser there to find tickets that fit your hectic schedule.

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music

Stephen Sondheim is one of the most acclaimed and influential composers in the world of musical theatre. Known for his complex, witty and character-driven scores, he has written some of the most enduring works in the genre, including "Sweeney Todd," "Into the Woods" and "Company." But while his music draws on an incredibly diverse range of styles and influences, ranging from jazz to pop to cabaret to opera, one of the most significant relationships he has had throughout his career has been with classical music.

From an early age, Sondheim was exposed to a wide variety of classical works. As a child, he attended concerts with his parents, who were both musically inclined. He studied piano and composition with some of New York's finest teachers, including Milton Babbitt and Oscar Hammerstein II. And he was a regular attendee at the Metropolitan Opera, where he developed a deep appreciation for the work of Wagner, Strauss, Mozart and Verdi.

This exposure to the world of classical music had a profound influence on Sondheim's development as a composer. Throughout his career, he has shown a remarkable ability to draw on the techniques and traditions of classical music in order to create works that are both musically sophisticated and emotionally resonant. Many of his scores feature intricate harmonic structures, elaborate counterpoint, and a use of form and structure that is reminiscent of the great composers of the past.

Perhaps the most obvious example of this relationship can be found in "Sweeney Todd," which is often described as Sondheim's operatic masterpiece. Drawing on the traditions of grand opera, it features sweeping melodies, soaring choral passages, and a dramatic intensity that is rare in the world of musical theatre. Similarly, "A Little Night Music" incorporates elements of 18th century classical music, particularly the compositions of Mozart and Haydn, into its score in order to give it a sense of refinement and elegance.

But it's not just in his more "serious" works that Sondheim has drawn on the classical canon. Even in shows like "Company," which is often cited for its jazz-influenced score, there are moments of pure classical beauty. The opening number, "Company," features a complex fugal structure that is reminiscent of Bach, while the song "Sorry-Grateful" draws on the techniques of counterpoint to create a bittersweet duet between two characters.

Ultimately, what makes Sondheim's relationship with classical music so compelling is not just the fact that he has drawn on its techniques and traditions throughout his career, but the way in which he has used these elements to create something entirely new and original. By blending the worlds of musical theatre and classical music, he has created a unique style that is wholly his own, one that has had an indelible impact on both genres.

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