Alan Sherrod
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Drawing from a career background in music, motion pictures, and theatre, Alan Sherrod has been writing about Knoxville's diverse art and music scene since 2007 — first as the classical/new music writer for the alternative weekly Metro Pulse, then later in the same capacity for the Knoxville Mercury. After the closure of Metro Pulse in 2014 by its parent company, Sherrod created ARTS KNOXVILLE to provide a home for Knoxville arts journalism. In August, 2017, he expanded ARTS KNOXVILLE into the site it is today — a site dedicated to continuing the arts journalism legacy of those alternative weeklies. In addition to covering Knoxville's arts scene, he has also contributed music content to the Nashville Scene and other arts and entertainment publications around the U.S, including the website, Classical Journal. Mr. Sherrod was a recipient of a 2010 Fellowship from the National Endowment for the Arts — the Arts Journalism Institute in Classical Music and Opera — under the auspices of the Columbia University Graduate School of Journalism. In 2019, Sherrod was inducted into the East Tennessee Writers Hall of Fame.

On the Wall … Off the Wall: November 15 – 30, Part 1

As the pleasant days of autumn give way to suggestions of winter, it is inevitable that we unconsciously adjust our arts-attending behavior. Coats, umbrellas, and scarves enter the equation and consideration for the availability of warm beverages often affects our…

Knoxville Symphony Orchestra Among Additions to Big Ears 2023

The 10th edition of the internationally acclaimed Big Ears is on tap for 2023 and additions to the program lineup announced today suggest that the festival is celebrating the milestone by taking an important direction in reflecting new music. Partnering…

Review: Knoxville Symphony Orchestra Salutes Veterans Day

BY ALAN SHERROD   Seizing on the opportunity of November 11th and Veterans Day coinciding with its Masterworks concert schedule for November, the Knoxville Symphony Orchestra and Maestro Aram Demirjian chose to honor the occasion with a program entitled “Service…

Review: Knoxville Opera’s Effervescent ‘The Merry Widow’

BY ALAN SHERROD   There was a lot to grab one’s attention last Friday evening at Knoxville Opera’s production of the Franz Lehar operetta, The Merry Widow. History buffs got a peek at the influence operetta has had on our…

Yikes! More To Do This Weekend-Momentum Dance Lab, KJO’s NXT GEN, Knoxville Choral Society

In addition to the First Friday gallery crawl this weekend and the events listed previously – “On the Wall…Off the Wall: Art, Music, and Theatre This Week“, there is more to dive into and enjoy. Momentum Dance Lab: “On The…

On the Wall…Off the Wall: Art, Music, and Theatre This Week

Last Week for… •  Adaptive Radiation by Hannah Benitez at Clarence Brown Theatre’s Lab Theatre – Ends Sunday, November 6 — Tickets and Information Read the Arts Knoxville review •  Radcliffe Bailey: Passages at Knoxville Museum of Art – Ends Sunday,…

Preview: Knoxville Opera Courts ‘The Merry Widow’

Summoning its audience back to the familiar venue of the Tennessee Theatre this weekend, Knoxville Opera offers up a work that is the perfect example of Viennese operetta, Die lustige Witwe, or The Merry Widow, with music by Franz Lehár.…

Review: Amadeus Chamber Ensemble’s “Verdi in the Cathedral”

Filling an important niche in the Knoxville classical music scene, the Amadeus Chamber Ensemble continued its participation in the Cathedral Concert Series this past Sunday afternoon with a program entitled “Verdi in the Cathedral.” The Cathedral Concert Series is a…

Review: ‘Adaptive Radiation’ in CBT’s Lab Theatre

BY ALAN SHERROD   Adaptive Radiation — a process in evolutionary biology in which organisms diversify from an ancestral species into a range of new forms, brought about by a change in the environment that makes new and different resources…

Review: Marble City Opera’s ‘Heartbreak Express’

BY ALAN SHERROD   Not a premiere, but close to it—Marble City Opera boarded the Heartbreak Express this past weekend with three performances of the one-act opera—score by George Lam and libretto by John Clum. These performances were the first…

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