Lebanon Opera House

Events

March 2026

03/12/2026, 07:30 PM EDT

The Celtic Tenors

The Celtic Tenors have established themselves as the most successful classical crossover artists ever to emerge from Ireland. In 2000, following an impromptu audition at EMI in London, the Celtic Tenors were signed on the spot to an international record deal, a highly unusual event that was the talk of the music industry.The Celtic Tenors' fifth album is due for release pre Christmas. Recorded in the Hollywood Hills, this new album is a collection of songs from North America, by songwriters including Stephen Foster and Bob Dylan. Essentially a roots album with rich harmony driven songs, Celtic Tenors, Daryl, James and Matthew were privileged to work with the Grammy-winning team of Steve Lindsey, Dillon O'Brien and Dave Way.The Celtic Tenors continue to "re-invent the whole tenor idiom" (Phil Coulter - composer of "Remember Me"), by pioneering a new style of 'cool' never before seen on the classical stage and by breaking the traditional stuffy tenor mould.While each of The Celtic Tenors have been influenced by the musical traditions from their own individual parts of Ireland, Daryl, James and Matthew show great flexibility in melding their voices to suit the appropriate classical, folk, Irish and pop genres. The "Echo Award" in Germany for "Classical without Boundaries" was presented to The Celtic Tenors in recognition of this fact.With a total album sales worldwide, including compilations, of over one million, and a full international touring schedule, the Celtic Tenors have topped the charts in the USA, Canada, Germany, the UK and Ireland.The Celtic Tenors' live show is an experience overflowing with vitality and variety from start to finish. The unique voices, charm and wit of Daryl, James and Matthew, combined with talented young Musical Director Colm Henry, combine an emotive journey with a thoroughly uplifting experience. Equally at home performing to large festival crowds or intimate concert halls and theatres, and whether backed by a live band, symphony orchestra, solo piano, or even acapella, their voices and personalities always shine through alongside their undeniable celtic charm.Catch the Celtic Tenors in concert, enjoy their eclectic mix of classical, folk, Irish and pop.

03/14/2026, 05:30 PM EDT

Yasmin Williams

Yasmin Williams sits on her leather couch, her guitar stretched across her lap horizontally with its strings turned to the sky. She taps on the fretboard with her left hand as her right hand plucks a kalimba placed on the guitar’s body. Her feet, clad in tap shoes, keep rhythm on a mic’d wooden board placed under her. Even with all limbs in play, it’s mind boggling that the melodic and percussive sounds that emerge are made by just one musician, playing in real time. With her ambidextrous and pedidextrous, multi-instrumental techniques of her own making and influences ranging from video games to West African griots subverting the predominantly white male canon of fingerstyle guitar, Yasmin Williams is truly a guitarist for the new century. So too is her stunning sophomore release, Urban Driftwood, an album for and of these times. Though the record is instrumental, its songs follow a narrative arc of 2020, illustrating both a personal journey and a national reckoning, through Williams’ evocative, lyrical compositions. A native of northern Virginia, Williams, now 24, began playing electric guitar in 8th grade, after she beat the video game Guitar Hero 2 on expert level. Initially inspired by Jimi Hendrix and other shredders she was familiar with through the game, she quickly moved on to acoustic guitar, finding that it allowed her to combine fingerstyle techniques with the lap-tapping she had developed through Guitar Hero, as well as perform as a solo artist. By 10th grade, she had released an EP of songs of her own composition. Deriving no lineage from “American primitive” and rejecting the problematic connotations of the term, Williams’ influences include the smooth jazz and R&B she listened to growing up, Hendrix and Nirvana, go-go and hip-hop. Her love for the band Earth, Wind and Fire prompted her to incorporate the kalimba into her songwriting, and more recently, she’s drawn inspiration from other Black women guitarists such as Elizabeth Cotten, Sister Rosetta Tharpe, and Algia Mae Hinton. On Urban Driftwood, Williams references the music of West African griots through the inclusion of kora (which she recently learned) and by featuring the hand drumming of 150th generation djeli of the Kouyate family, Amadou Kouyate, on the title track. Since its release in January 2021, Urban Driftwood has been praised by numerous publications such as Pitchfork, Rolling Stone, The Wasington Post, NPR Music, No Depression, Paste Magazine, and many others. Williams will be touring in support of Urban Driftwood throughout 2021.

03/14/2026, 07:30 PM EDT

Yasmin Williams

Yasmin Williams sits on her leather couch, her guitar stretched across her lap horizontally with its strings turned to the sky. She taps on the fretboard with her left hand as her right hand plucks a kalimba placed on the guitar’s body. Her feet, clad in tap shoes, keep rhythm on a mic’d wooden board placed under her. Even with all limbs in play, it’s mind boggling that the melodic and percussive sounds that emerge are made by just one musician, playing in real time. With her ambidextrous and pedidextrous, multi-instrumental techniques of her own making and influences ranging from video games to West African griots subverting the predominantly white male canon of fingerstyle guitar, Yasmin Williams is truly a guitarist for the new century. So too is her stunning sophomore release, Urban Driftwood, an album for and of these times. Though the record is instrumental, its songs follow a narrative arc of 2020, illustrating both a personal journey and a national reckoning, through Williams’ evocative, lyrical compositions. A native of northern Virginia, Williams, now 24, began playing electric guitar in 8th grade, after she beat the video game Guitar Hero 2 on expert level. Initially inspired by Jimi Hendrix and other shredders she was familiar with through the game, she quickly moved on to acoustic guitar, finding that it allowed her to combine fingerstyle techniques with the lap-tapping she had developed through Guitar Hero, as well as perform as a solo artist. By 10th grade, she had released an EP of songs of her own composition. Deriving no lineage from “American primitive” and rejecting the problematic connotations of the term, Williams’ influences include the smooth jazz and R&B she listened to growing up, Hendrix and Nirvana, go-go and hip-hop. Her love for the band Earth, Wind and Fire prompted her to incorporate the kalimba into her songwriting, and more recently, she’s drawn inspiration from other Black women guitarists such as Elizabeth Cotten, Sister Rosetta Tharpe, and Algia Mae Hinton. On Urban Driftwood, Williams references the music of West African griots through the inclusion of kora (which she recently learned) and by featuring the hand drumming of 150th generation djeli of the Kouyate family, Amadou Kouyate, on the title track. Since its release in January 2021, Urban Driftwood has been praised by numerous publications such as Pitchfork, Rolling Stone, The Wasington Post, NPR Music, No Depression, Paste Magazine, and many others. Williams will be touring in support of Urban Driftwood throughout 2021.