May 8, 2019

By Nancy Plum

A 40-year history is commendable for any performing organization, and Princeton Pro Musica, which presented its first concert in the spring of 1980 and has only had two music directors in four decades, celebrated this milestone this past weekend with a festive concert at the Princeton University Chapel. Pro Musica’s decades-long musical roots provided bookends to Saturday afternoon’s performance of the music of George Frideric Handel as founder Frances Fowler Slade led the 100-voice chorus in the opening and closing works on the program. Current Artistic Director Ryan James Brandau conducted the chorus and an accompanying chamber orchestra in several of Handel’s lesser-known but equally as appealing pieces, recreating a concert atmosphere which could have taken place in Handel’s time in a space which well suited the performers and repertoire.

Slade retired from Pro Musica in 2012, but many of the current singers performed under her direction for a number of years. Slade took the podium to lead the chorus and orchestra in two “Coronation” anthems of Handel, a composer whose music Pro Musica performed every year since its founding. Slade maintained a lively tempo in both pieces, keeping a crisp conducting style and encouraging the blocks of sound for which the chorus has been known. The University Chapel can be a cavernous space for a large chorus, and the choral sound that seemed to work best for Pro Musica included the ensemble’s trademark expansive homophonic passages. In both “Zadok the Priest” and “The King Shall Rejoice,” Slade guided the chorus well through the Baroque lilt in the music, demonstrating that even in retirement, she is still looking for precise endings and phrasing. more

May 1, 2019

By Nancy Plum

Los Angeles Philharmonic Music Director Gustavo Dudamel, who has been in residence at Princeton University for this academic year, finished his year-long stay on the campus with a jammed-packed week of multicultural events featuring performing talent both local and international. In a residency centered on “Uniting our World through Music,” Dudamel focused the April activities on exploring art and nature, with particular emphasis on art, politics, and society. The final week of April, which concluded Dudamel’s residency, featured a film screening, performance by international chamber musicians, conversational lecture on The Artist in Society, concerts of El Sistema-based instrumental ensembles, and a culminating event of Dudamel leading the Princeton University Orchestra and Glee Club in two performances reaching more than 2,500 people. Demanding the same expectations of Princeton University musicians as he would the LA Philharmonic professionals, Dudamel set a very high musical bar for the close of the academic year. more

April 10, 2019

By Nancy Plum

Boheme Opera NJ is marking its 30th anniversary this season, and the regional opera company is not celebrating quietly. In this past weekend’s productions at the College of New Jersey’s Kendall Mainstage Theater, Boheme Opera NJ took on a blockbuster from a master of Italian dramatic opera in Giuseppe Verdi’s monumental Aida. An opera in four acts (the last two are often combined), Verdi’s 1871 Aida was a departure for the composer in that there were no show-stopping arias of vocal fireworks for superstar singers; rather, the technical demands were evenly spread among all performers. The principal singers assembled by Boheme Opera NJ for Friday night’s performance (the production was repeated Sunday afternoon) consistently demonstrated their mastery of Verdi’s rich harmonic score and musical drama. Against a simple set leaving much of the locale depiction to a digital backdrop, the performers in this production were able to easily captivate the audience throughout the poignant story.

The timeframe of Aida is deliberately vague and open to interpretation, described only as during the “Old Kingdom of Egypt” (covering a good four centuries), and  Boheme Opera NJ placed the story “during the reign of the Pharaohs,” with virtual set artist J. Matthew Root’s digital scenery showing settings of Luxor in Upper Egypt and inner tombs of pyramids while the opening orchestral prelude was played. The orchestra assembled in the pit, and led by Artistic Director and Conductor Joseph Pucciatti, began the opera to the digital accompaniment of the Nile River flowing by as lean violins and graceful wind solos moved the tempo along as smoothly as the Nile. more

March 27, 2019

By Nancy Plum

New Jersey Symphony Orchestra launched into spring this past weekend with a performance at Richardson Auditorium that was three-fold — presenting an audience favorite, a monumental cello concerto, and a work showing Music Director Xian Zhang’s development of the ensemble since taking the NJSO helm. Friday night’s concert of “Zhang Conducts Schubert and Dvorák” was heavy on concerto soloists, and their collective technical abilities were well appreciated by the Richardson audience. 

Ninteenth-century composer Robert Schumann’s Konzertstück for Four Horns in F Major had never been performed by the NJSO before this past weekend; this three-movement work placed the entire NJSO horn section front and center to showcase the capabilities and rich variety of colors available from the instrument. Horn players Chris Komer, Andrea Menousek, Lawrence DiBello, and Eric Reed played from the front of the stage, allowing the audience to hear Schumann’s motivic solo writing travel up and down the row of horns. Zhang began the first movement in a lively tempo, with a fanfare in well-tuned thirds from the horn soloists. Throughout the Konzertstück, Zhang kept the orchestral background clean, as horn solos were often answered by the Orchestra. Kathleen Nester’s piccolo playing added a sharply-defined color to the instrumental sound.

The darker second movement romanze was played in a more pensive style, with the four horn soloists providing a chorale-like texture.  Both Orchestra and soloists played uniform crescendi, and Zhang tapered the sections within the movement well. Komer, Menousek, DiBello, and Reed well handled the tricky fast-moving motives in the closing movement, emphasizing the hunting character of Schumann’s writing. The clean runs from the horns were complemented by lyrical melodies from the Orchestra, and the four players interacted well with each other. The trumpet section’s use of rotary trumpets enhanced the classical roots of this piece, adding a mellow color to the brass orchestration. more

March 13, 2019

By Nancy Plum

One musical bright spot after every winter in Princeton is the spring concert of the Princeton University Orchestra, when the ensemble presents winners of its annual Concerto Competition for undergraduate students. As evidenced by the audience reaction in this past weekend’s concert at Richardson Auditorium, this year’s winners have not been squirreled away practicing to the expense of everything else, but are fully participating in the Princeton University experience, with armies of friends who came to support them in their solo performances. Four of this year’s winners performed with the University Orchestra Friday night (the concert was repeated Saturday night), demonstrating musical poise, technical dexterity, and the culmination of their enormous capacity for hard work.  more

March 6, 2019

By Nancy Plum

The Princeton Singers continued its long-standing collaboration with the Princeton University Art Museum this past weekend with a performance tied to the Museum’s current “Family Album” exhibit of 18th-century British painter Thomas Gainsborough. Princeton Singers Artistic Director Steven Sametz led the professional chamber vocal ensemble in a program of British a capella choral music spanning more than six centuries. Performing in varied configurations in the Museum’s medieval gallery, The Singers made full use of the unusual space and complementary acoustics in bringing music of “This Sceptered Isle” to life.

The Princeton Singers’ late Saturday afternoon performance (the concert was repeated later Saturday night) was centered on a five-part work by 16th-century English composer William Byrd. Byrd bridged the Protestant and Catholic music traditions while composing several settings of the Catholic liturgical mass at a time when it was politically dangerous to do so. Sametz built Saturday’s concert around Byrd’s late 16th-century Mass for Four Voices, interspersing secular works of British choral music among the mass movements.

With interesting trivia-laden and informative introductions to each selection, Sametz illustrated his programming concept for this eight-work concert. The chorus opened with a “Pastyme with Good Company,” with music and text likely by King Henry VIII, who apparently had time for composing amidst his many wives. The Singers generated a very bright sound in the space of the gallery, with a joyous and chipper choral tone aided by uniform vowel production among all singers. more

February 27, 2019

By Nancy Plum

The giants of the opera world do not have much time to leave their stages and create innovative and cross-cultural programs for smaller audiences, but two such titans came to McCarter Theatre Center this past weekend to perform a bit of opera, American song, and spirituals — with a whole lot of entertainment. The career of bass-baritone Eric Owens has taken him from the Metropolitan Opera to interactive recitals for incarcerated youth to the maximum-security Attica correctional facility. His roles have ranged from Wagnerian to Aristotle Onassis to the delicate Mozart classics. This season, he has turned his attention in a new direction — a multicity vocal collaboration with tenor Lawrence Brownlee, a master of the 19th-century bel canto style of singing and also a leading performer in opera houses worldwide. Owens and Brownlee have teamed up this year for a recital of solo opera arias, duets, American song, and spirituals, and brought their unique partnership to McCarter Theatre this past Sunday afternoon with a program of Mozart, Donizetti, Verdi, and Bizet, as well as a journey through American music. more

February 13, 2019

By Nancy Plum

Continuing Princeton University Concerts’ 125th Anniversary season, Richardson Chamber Players presented an afternoon of mixed chamber works composed during the inaugural season of the Concerts series. In a Sunday concert at Richardson Auditorium entitled Then and Now, six musicians of the Richardson Chamber Players juxtaposed works composed in 1894 and 1895 with music of today, demonstrating connections among pieces written more than 100 years ago. Most of the works on Sunday afternoon’s program paid tribute to the University Concerts’ inaugural year, with the Eric Nathan’s very contemporary Threads for clarinet, violin, cello, and piano making the compositional leap into the 21st century.

The Chamber Players began their journey into Then and Now with a work for solo piano as pianist Geoffrey Burleson performed a paraphrase for solo piano of 19th-century French composer Camille Saint-Saëns. Paraphrases were virtuosic solo instrumental works based on popular melodies of the time, in the case of Saint-Saëns’ La mort de Thaïs, music from Jules Massenet’s opera Thaïs. Saint-Saëns set the opera’s “Vision” tableau of Act III, as well as the more well-known “Meditation,” and Burleson began the work with clarity in opening octaves punctuated by rolling arpeggios. Burleson played percussively, creating tension which moved the music along. This paraphrase was more driven than dreamy, although Burleson was effective in stretching the lines in a more pensive second section. Burleson finished the Saint-Saëns piece in majestic style, with virtuosic flourishes from the keyboard.

German composer Richard Strauss composed a generation later than Saint-Saëns, which can be heard in his boundary-pushing harmonics and emotional setting of text. Strauss composed more than 200 songs, and soprano Rochelle Ellis, accompanied by Burleson, presented four of them in thoughtful and unhurried fashion. The four songs performed by Ellis set poetry of varied text and mood, and Ellis well demonstrated Strauss’ picturesque writing with solid control of the vocal lines and animated storytelling. The third song in particular, “Heimliche Aufforderung,” showed an especially free-flowing accompaniment from Burleson and a sensitive ending to the text from Ellis. more

February 6, 2019

By Nancy Plum

Princeton Symphony Orchestra celebrated its 10-year relationship with Music Director Rossen Milanov this past weekend, with concerts paying tribute to the musical leadership which resulted from Milanov’s first concert with the Orchestra. Saturday night’s performance at Richardson Auditorium (the concert was repeated Sunday afternoon) featured Ludwig van Beethoven’s Symphony No. 5 — the work which Milanov conducted in his debut with Princeton Symphony — as well as a Brahms piano concerto within the classical framework.

Johannes Brahms’ 1858 Piano Concerto No. 1 in D minor reflected the composer’s homage to Robert Schumann, who served as a mentor to Brahms, and was originally intended as a sonata for two pianists — Brahms and Schumann’s wife Clara. Featured in this weekend’s performances by the Princeton Symphony was pianist Dominic Cheli, who received his training both at Yale University and Manhattan School of Music and is currently pursuing an artist diploma at the Colburn Conservatory of Music in Los Angeles.   

Like Beethoven’s Symphony No. 5 which followed in the program, Brahms’ Concerto stated the music ferocity from the outset, with an extended orchestral introduction to the piano solo marked by both subdued strings and effective dynamic swells from timpanist Jeremy Levine. In his opening piano solo line, Cheli emerged from the orchestral texture seamlessly with thoughtful and sensitive playing, positioning the piano as a fellow instrument in the orchestra, rather than set off with its own part.    more

January 23, 2019

By Nancy Plum

Since late November, New Jersey Symphony Orchestra has been presenting a Winter Festival throughout New Jersey, with performances depicting how “Music Speaks.” The Orchestra brought the Festival to Richardson Auditorium last Friday night with both a performance of contemporary poetry set to music and a towering 19th-century symphony featuring text drawn from an early 19th-century anthology. In this concert, New Jersey Symphony Orchestra Music Director Xian Zhang conducted a lean first half of chamber instrumental textures and a second half of lush Romantic orchestration tempered with Viennese buoyancy.  

Composer and Minnesota native Maria Schneider has been credited with revitalizing the big band sound in the 21st century, as well as fusing the jazz and classical worlds. Schneider’s 2013 Winter Morning Walks, a setting of nine poems by Iowa poet Ted Kooser, has received a Grammy for Best Classical Composition, and has been championed by soprano Dawn Upshaw, for whom it was composed.  In Friday night’s performance of this work, Schneider combined three musicians from her own jazz orchestra with strings from the NJSO to accompany Upshaw in conveying Kooser’s descriptive Americana poems. Upshaw and some of the instrumentalists were amplified, which took away a bit from the soprano’s acoustic resonance, but Upshaw used the amplification well to convey the text through the hall. more

January 16, 2019

By Nancy Plum

In the second installment of his year-long residency through Princeton University Concerts, Los Angeles Philharmonic Music Director Gustavo Dudamel returned to Princeton last week for several days of music-making, panel discussions, and educational activities focusing on the theme “Music and Faith.” Bracketed by a master class with the El Sistema-inspired Trenton Music Makers Orchestra and panel discussions on music education and music’s role in social change, the keynote concert last Monday night in Richardson Auditorium featured musicians from the Los Angeles Philharmonic. Violinists Bing Wang and Rebecca Reale, violist Teng Li, cellist Ben Hong, and clarinetist Boris Allakhverdyan, joined by Princeton University pianist and faculty member Juri Seo, presented a concert featuring music of 20th-century Estonian composer Arvo Pärt, a world premiere of a piece by Seo, and a solid gold standard from the master of chamber music — Wolfgang Amadeus Mozart.   more

December 19, 2018

By Nancy Plum

New Jersey Symphony Orchestra returned to Richardson Auditorium last Friday night for its annual presentation of George Frideric Handel’s immortal holiday classic Messiah. Led by conductor Patrick Dupré Quigley, 35 members of New Jersey Symphony, along with four vocal soloists and the Montclair State University Singers, presented an interpretation of Handel’s complex work which, although numbers were cut here and there, still conveyed the story well.   

With so few instrumentalists, expertly supported by harpsichordist Aya Hamada and portatif organist John Miller as continuo players, the performance was consistently light and precise. A vocal quartet comprised of soprano Margot Rood, countertenor Reginald Mobley, tenor Steven Soph, and bass Charles Wesley Evans provided much of the work’s drama through arias and recitatives, with Quigley’s tempi moving the music along quickly.  more

December 5, 2018

By Nancy Plum

Venezuela-born conducting wunderkind Gustavo Dudamel is known to audiences in the United States primarily as music director of the Los Angeles Philharmonic, a position he has held for 10 years. However, Dudamel’s reach and effect on musical performance and education worldwide has been much more, and Princeton is now part of this impact through an artist-in-residency collaboration between Dudamel and Princeton University Concerts, as part of the University Concerts’ 125th Anniversary year-long celebration. In a three-part residency entitled “Uniting Our World Through Music,” beginning this past weekend and continuing into the spring of 2019, Dudamel will be in residency at the University, coaching both campus and off-campus ensembles, conducting the University Orchestra and Glee Cub, and participating in panel discussions on the impact of music on social change. The first of these concerts took place this past Saturday night and Sunday afternoon in Richardson Auditorium. more

November 21, 2018

By Nancy Plum

Princeton Symphony Orchestra explored three unique composers this past weekend in a Sunday afternoon concert in Richardson Auditorium. Bookending Niccolò Paganini’s monumental Violin Concerto No. 1 in D Major, Op. 6 were two 20th-century works written only two years apart. In a concert featuring musical surprises and ear-catching effects, Princeton Symphony Orchestra, together with an exciting and very contemporary violin soloist, performed to a spellbound audience in Richardson.  

Leoš Janáček’s 1926 Sinfonietta, as arranged by Erwin Stein, reflected the composer’s fascination with military bands and showed Janáček’s imagination in scoring each of the five movements for a different group of instruments. Led by Music Director Rossen Milanov, the musicians of Princeton Symphony played Janáček’s largest purely orchestral work cleanly and precisely. An effective pair of horns opened the first movement fanfare, together with exacting timpani and a quartet of trumpets. A Gypsy feel marked the second movement, which recalled Janáček’s hometown of Brno in what is now the Czech Republic, and elegant solos were heard form flutist Niles Watson, oboist Lillian Copeland, and later English horn player Lauren Williams. Throughout the five-movement work, Milanov kept the five musical vignettes flowing seamlessly, well capturing an atmosphere of Eastern Europe in the early part of the 20th century. more

November 14, 2018

By Nancy Plum

Anyone who came to the Richardson Chamber Players performance on Sunday afternoon at Richardson Auditorium learned a great deal about unusual instruments and composers. The ensemble took the audience on a musical journey from throughout the Americas to Brooklyn, New York Sunday afternoon with a concert of 20th-century works of composers both known and unknown from Argentina, Brazil, Cuba, Paraguay, and Mexico, and of course, Brooklyn.  The concert, which included a large number of players, was designed to explore music from South and Central America and the Caribbean from composers who in some cases had huge repertories of pieces which were largely unknown. more

November 7, 2018

By Nancy Plum

New Jersey Symphony Orchestra opened its 2018-19 Princeton concert series this past Friday night at Richardson Auditorium. Led by guest conductor Christoph König, the Orchestra launched a season focused on the theme Music Speaks! — performances inspired by poetry, stories, and fantasy. Friday night’s concert in particular presented an outstanding violin soloist in a work not often heard. more

October 31, 2018

By Nancy Plum

The Princeton University Music Department prides itself on training solid vocal and instrumental musicians. Both the University Orchestra and Glee Club tour overseas periodically, no doubt connecting with similar musical organizations internationally, and one of the most foremost European musical training institutions paid a visit to Princeton last week at the invitation of the University Orchestra. Based in Milan, Italy, the Accademia Teatro Alla Scala offers a full range of performing art onstage and backstage training, including an orchestra, which has been on tour this month in the United States. Last Tuesday night, the Accademia Teatro Alla Scala Orchestra presented a concert in Richardson Auditorium focused on a “Dialogue through Music” between Italy and the United States. Featuring music of 19th-century Italian composers or those connected to Italy, last Tuesday night’s performance enthralled the Richardson audience with fresh and youthful instrumental playing.   more

October 24, 2018

By Nancy Plum

The Princeton University Orchestra, never an ensemble to sneak quietly into the concert season, announced its arrival in the new academic year this past weekend with flair and a strong musical statement. In concerts presented Saturday night and Sunday afternoon at Richardson Auditorium, the Orchestra joined the ongoing tribute celebration to American composer Leonard Bernstein, and also started the year off with one of the most challenging works of the Romantic symphonic repertory. Conducted by Ruth Ochs (filling in this past weekend for Orchestra Music Director Michael Pratt), the University Orchestra showed itself more than up to its demanding season ahead. more

October 17, 2018

“DETROIT ‘67”: Performances are underway for “Detroit ‘67.” Directed by Jade King Carroll, the play runs through October 28 at McCarter’s Matthews Theatre. Chelle (Myxolydia Tyler, left) is upset by a series of risky choices made by her younger brother Lank (Johnny Ramey). Photo by T. Charles Erickson

By Donald H. Sanborn III

The music of Motown underscores Detroit ’67, a drama whose action begins just before the Detroit Riot, or Great Rebellion. It focuses on an African American woman’s determination to provide security for her family; and her passionate younger brother’s wish to start a new life, and blur racial boundaries.  more

October 10, 2018

Organist Stephen Buzard will lead a master class on Tuesday, October 16 at 2:30 p.m. and participate in the Sacred Music Lab at 6:30 p.m., in Bristol Chapel on the campus of Westminster Choir College of Rider University in Princeton. Sacred Music Lab is a worship service led by Westminster’s Sacred Music students and is open to the public. Admission is free. He will also present a recital in the Princeton University Chapel on Monday, October 15 at 8 p.m. more

October 3, 2018

By Nancy Plum

There is a lot of Leonard Bernstein in concert halls these days; in commemoration of the 100th anniversary of the iconic composer’s birth, performers worldwide are participating in Bernstein at 100, a two-year global celebration. Princeton Symphony Orchestra joined the party this past weekend at Richardson Auditorium by devoting the opening concert of the 2018-19 season to music of the American legend. A clear sign of growth and success, Princeton Symphony Orchestra has expanded its classical series to two performances of several of the classical concerts this season. Saturday night’s performance (the concert was repeated Sunday afternoon) brought several of Bernstein’s more popular works to life, featuring two stellar solo performers. more

September 26, 2018

By Nancy Plum

Bobby McFerrin is a vocal visionary, stretching the capabilities of the human voice to new heights and palettes of sound. Through his recordings, live improvisational concerts, conducting engagements, and his innovative professional ensemble Voicestra, McFerrin has shown that he is so much more than his signature musical command “Don’t Worry, Be Happy.” As part of Princeton University Concerts’ 2018-19 season, McFerrin brought his unique brand of musical performance to Richardson Auditorium last Friday night in a joint concert with the Princeton University Glee Cub and the vocal ensemble Gimme5. The informality of the evening was set when the members of the Glee Club took the stage dressed in everyday collegiate attire, however the quality of this concert was anything but casual.

The musicians performed less than 10 musical selections within the 90-minute concert, but each was a creative unfolding of sound and vocal color, undulating in dynamics and timbre as singers were added and subtracted from the musical palette. Princeton University Concerts wisely chose to begin its 125th anniversary season with singing, as more people participate in singing than any other performance medium, and the crowd-unifying elements of Bobby McFerrin will no doubt pique the interest of new attendees for later events. more

PRAISE THE LORD, I’VE BEEN SAVED: Louis Zamperini was persuaded by his wife to attend a revival meeting led by Billy Graham, where the preacher’s message transformed Louis’s life and alleviated his PTSD.

By Kam Williams

The movie Unbroken (2014) portrayed the ordeals undergone by the Olympian athlete and Air Force bombardier Louis Zamperini in a Japanese POW camp during World War II. Directed by Angelina Jolie, the biopic was adapted  by the Coen brothers from Laura Hillenbrand’s bestseller of the same name.

The sequel, Unbroken: Path to Redemption, is also based on Hillenbrand’s book, but unfortunately the creative team is not as outstanding as that of the earlier film. The cast has also been changed, with Samuel Hunt now starring as Louis.

Unbroken 2 picks up where the first film left off. The original closed with Louis kissing the ground upon landing back in the states after he was liberated from the POW camp, thereby implying that he lived “happily ever after.”

True, he did meet and marry Cynthia Applewhite (Merritt Patterson) and the happy couple moved to California to start a family. However, Louis becomes haunted by flashbacks to the torture he underwent during World War II at the hands of Corporal Mutsuhiro “The Bird” Watanabe (David Sakurai), a sadistic guard at Sugamo prison.

Unfortunately, Louis is suffering from PTSD (post-traumatic stress disorder) and he has become angry, abusive, and an alcoholic. In desperation his wife persuades him to attend a Billy Graham Christian revival meeting (in which Billy Graham is portrayed by his grandson, Reverend Will Graham).

The charismatic Baptist preacher’s plea to “just reach out and take the hand of Jesus, and every problem will be washed away,” resonates with Louis. When Louis falls to his knees, it is clear that he has been saved. The closing credits show scenes of Louis being featured at subsequent evangelical revival meetings.

Very Good (HH½). Rated PG-13 for mature themes and disturbing images. Running time: 98 minutes. Production Studio: Universal 1440 Entertainment/Matt Baer Films.Studio: Pure Flix Entertainment.

September 19, 2018

Papa Leroux (George Agalias, right) proposes to Rubenesque heiress Daisy Tillou (actually “dead” artist Jean-Francois Millet disguised as his own sister — both played by Nick Pecht) in “Is He Dead?,” a “new comedy” by Mark Twain, adapted by David Ives. The production by ActorsNET performs weekends September 28 through October 14 at The Heritage Center Theatre, 635 North Delmorr Avenue, Morrisville, Pa. Show times are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $20 for adults, $17 for seniors 62 and up, $15 for WHYY members and students, and $10 for children age 12 and under. To reserve, call (215) 295 3694, email actorsnet@aol.com, or visit www.brownpapertickets.com.

George Street Playhouse’s Educational Touring Theatre, courtesy of support from The Horizon Foundation for New Jersey and RWJBarnabas Health, will premiere a new musical about the opioid crisis and its impact on teens and families. Developed in response to the devastating impact prescription opioid misuse, heroin, and fentanyl have had on communities throughout New Jersey, Anytown will premiere on September 25 at George Street Playhouse as part of a special Spotlight Conference on Opioid Abuse. 

The Spotlight Conference will feature a keynote address from New Jersey State Attorney General Gurbir Grewal along with workshops for educators, school administrators, and public health professionals conducted by experts in the field from RWJBarnabas Health’s Institute for Prevention and Recovery.  more