Both the left and the right coasts of the US are helping to usher in a new world for symphonic music.
American orchestras have never really been able to make the medium its own. The conductors are almost always European old guys, and the music is heavy on the side of romantic standard classics.
But now, New York and Los Angeles are helping us to embrace the 21st century. Both orchestras have welcomed new conductors this season and I predict they will change the face of American symphonic music forever.
The venerable NY Phil choose to follow aging Lorin Maazel with the 42-year-old, American born, Alan Gilbert. Few people have heard of him although he has built a nice career in Europe. Both his mother and father have played in the Phil so the orchestra felt like he was one of theirs.
The LA Phil went off-shore to shock the work by hiring a fiery conductor of a mere 28 years of age. Gustavo Dudamel has conducted the Simon Bolivar Youth Orchestra in his native Venezuela. If you go to You-Tube, you'll be able to see this intense conductor with his exciting orchestra of kids. They've also cut some CDs that sound like a professional ensemble.
Although both conductors will be a fresh of breath air blowing away the cobwebs of orchestra concerts, my money is on Dudamel for sending a shock wave through the country. He will not only bring a new energy to this never-changing medium, but will also show the US what can be done with youth orchestras. He might bring back public school music education from the near-dead. His opening concert will be on PBS on October 21. Watch for it.
So far the critics have been kind to Gilbert, and absolutely swooning for Dudamel. Let's wait and see how the music world changes in the next few years.
Sunday, October 18, 2009
The Patter Boy
On Saturday, October 10, the newly enlarged Wharton Center (at a cost of $18.5 mil) had its grand opening featuring pianist/singer Michael Feinstein.
First a word about Wharton. The new face of the 27-year-old hall looks beautiful, although most of the additions will not be seen my the majority of the concert going public. The administrative offices are greatly expanded, but so are the backstage areas, dressing rooms, green room and donor entertaining areas. The rest of us get to see the lovely ticket space and the massive gift shop - which are great.
The Great Hall and its lobby have not been changed, and they look a bit shabby next to the opulence of the newly restored areas. I am sure the main concert hall will be refurbished soon.
Now for Feinstein. I felt the publicity for the Feinstein show did give the full story. Anyone who knows Michael Feinstein knows his performing style, and there was nothing from Wharton to expect anything different.
Michael Feinstein always appears by himself, alone with his trusted Steinway grand. He sings the songs of Gershwin and Berlin, et al, in his lovely tenor voice, sitting at the keyboard with his head turned toward the audience.
For this show, dubbed "The Sinatra Project", the perky Feinstein appeared on stage in front of a 17-piece kick-butt big band. I've rarely seen him without the piano on his lap.
This was a different Michael Feinstein. The Wharton concert program made no mention of the band, let alone the brilliant arranger and band leader, Bill Elliot. However, the band was so superb that I was often pulled away from the headliner just to listen to this terrific, highly professional band.
But even though Feinstein was in an unfamiliar space, he always knows how to please an audience. He has the best patter of any performer I know. The crooner tells wonderful, memorable stories and his charming manner makes you think that he sincerely wants to be here to entertain you.
At 52 years old, Feinstein still has a boyish appearence that is engaging and endearing. Also, he has a wonderfully light voice, that gives the Sinatra canon a sincere quality it never had before.
So, it was hard not to be enchanted by the concert, even though it was something that no one really expected.
First a word about Wharton. The new face of the 27-year-old hall looks beautiful, although most of the additions will not be seen my the majority of the concert going public. The administrative offices are greatly expanded, but so are the backstage areas, dressing rooms, green room and donor entertaining areas. The rest of us get to see the lovely ticket space and the massive gift shop - which are great.
The Great Hall and its lobby have not been changed, and they look a bit shabby next to the opulence of the newly restored areas. I am sure the main concert hall will be refurbished soon.
Now for Feinstein. I felt the publicity for the Feinstein show did give the full story. Anyone who knows Michael Feinstein knows his performing style, and there was nothing from Wharton to expect anything different.
Michael Feinstein always appears by himself, alone with his trusted Steinway grand. He sings the songs of Gershwin and Berlin, et al, in his lovely tenor voice, sitting at the keyboard with his head turned toward the audience.
For this show, dubbed "The Sinatra Project", the perky Feinstein appeared on stage in front of a 17-piece kick-butt big band. I've rarely seen him without the piano on his lap.
This was a different Michael Feinstein. The Wharton concert program made no mention of the band, let alone the brilliant arranger and band leader, Bill Elliot. However, the band was so superb that I was often pulled away from the headliner just to listen to this terrific, highly professional band.
But even though Feinstein was in an unfamiliar space, he always knows how to please an audience. He has the best patter of any performer I know. The crooner tells wonderful, memorable stories and his charming manner makes you think that he sincerely wants to be here to entertain you.
At 52 years old, Feinstein still has a boyish appearence that is engaging and endearing. Also, he has a wonderfully light voice, that gives the Sinatra canon a sincere quality it never had before.
So, it was hard not to be enchanted by the concert, even though it was something that no one really expected.
Monday, August 31, 2009
Brouhaha @ Boarshead
When Lansing's theater community was all atwitter earlier in the summer because Boarshead Theater let popular artistic director Kristine Thatcher go, a little noticed event was occurring in Grand Rapids.
On June 17th, Opera Grand Rapids broke ground for a $2 million opera center. The new building will sport 14,000 sq ft. for rehearsals, practice rooms, costume shops and storage facilities. It will be named the Betty Van Andel Opera Center.
Boarshead decision makers have taken the brunt of much criticism for the Thatcher decision, demonstrated by the many letters-to-the-editor sent to the Lansing State Journal as well as the City Pulse. Irate long time subscribers have shown their pique by refusing to re up for the 2009-10 season. John Dale Smith, executive director, has unfairly been singled out as the bad guy by many.
In speaking to board members, it appears that the release of Thatcher from her contract was a financial decision only. With benefits, she cost the theater company approximately $77,000 per year, a princely sum for an arts organization under sever financial pressure.
The issue at Boarshead is not Thatcher, but Lansing's difficulty in supporting its arts organizations. And the outcry over Thatcher's dismissal was more emotional than objective.
We remember Kristie Thatcher as the cute ingenue who starred in musicals, comedies, and dramas throughout Lansing. As a young adult she left for Chicago and continued her acting career and become a playwright of note. To our delight, Kristie decided to come back to her home town to be the artistic director at Boarshead. Everyone was thrilled.
Although cutting Thatcher loose was probably the correct financial decision to make, the board obviously did not understand the strong support and affection the charismatic personalty has in Lansing.
Now back to our western Michigan neighbors: The Van Andels gave $1 million as the lead gift for the Grand Rapids opera building (Lansing doesn't have a local opera) and the community responded by raising the other $4 million and surpassed its goal by $75,000.
Sadly, Lansing has no sugar daddies who can cough up million dollar gifts like the Van Andels - although Lansing always manages to find money for a baseball stadium, a new city market and other developments. Michigan's capitol city has no performing arts center or a suitable building for its only professional theater. Midland, a much smaller city, has had a lovely arts facility for several decades.
In contrast, Boarshead sits on a lonely corner on the south end of downtown Lansing, across from the bus station and the State Journal. There are no restaurants , coffee shops or gathering places nearby for patrons to socialize after the plays. Boarshead's building used to be a car dealership and was purchased by the city in hopes that it could become a parking lot some day.
Clearly, downtown Lansing is not a friendly place for the arts. The Lansing Symphony performs on the MSU campus in East Lansing, and the Lansing Concert Band plays in various venues throughout Ingham county (as well as Dart Auditorium at LCC) but without a more substantial arts presence in Lansing it seems like the award-winning Boarshead will always be fighting for survival. Lansing remains the only state capitol I am aware of that does not have a performing arts center near downtown.
The Boarshead Thatcher problem is not a Boarshead problem, it's a Lansing arts problem. If Mayor Virg Bernero wants to build a world class capitol city, he must see the importance of an arts center downtown with two performance spaces - a theater, and a 1000-1200 seat auditorium.
Ironically, to attract new students in the era of "schools of choice", area high schools are adding beautiful auditoria throughout the Lansing area. If high schools can build these impressive houses of music and art, why can't the city of Lansing?
On June 17th, Opera Grand Rapids broke ground for a $2 million opera center. The new building will sport 14,000 sq ft. for rehearsals, practice rooms, costume shops and storage facilities. It will be named the Betty Van Andel Opera Center.
Boarshead decision makers have taken the brunt of much criticism for the Thatcher decision, demonstrated by the many letters-to-the-editor sent to the Lansing State Journal as well as the City Pulse. Irate long time subscribers have shown their pique by refusing to re up for the 2009-10 season. John Dale Smith, executive director, has unfairly been singled out as the bad guy by many.
In speaking to board members, it appears that the release of Thatcher from her contract was a financial decision only. With benefits, she cost the theater company approximately $77,000 per year, a princely sum for an arts organization under sever financial pressure.
The issue at Boarshead is not Thatcher, but Lansing's difficulty in supporting its arts organizations. And the outcry over Thatcher's dismissal was more emotional than objective.
We remember Kristie Thatcher as the cute ingenue who starred in musicals, comedies, and dramas throughout Lansing. As a young adult she left for Chicago and continued her acting career and become a playwright of note. To our delight, Kristie decided to come back to her home town to be the artistic director at Boarshead. Everyone was thrilled.
Although cutting Thatcher loose was probably the correct financial decision to make, the board obviously did not understand the strong support and affection the charismatic personalty has in Lansing.
Now back to our western Michigan neighbors: The Van Andels gave $1 million as the lead gift for the Grand Rapids opera building (Lansing doesn't have a local opera) and the community responded by raising the other $4 million and surpassed its goal by $75,000.
Sadly, Lansing has no sugar daddies who can cough up million dollar gifts like the Van Andels - although Lansing always manages to find money for a baseball stadium, a new city market and other developments. Michigan's capitol city has no performing arts center or a suitable building for its only professional theater. Midland, a much smaller city, has had a lovely arts facility for several decades.
In contrast, Boarshead sits on a lonely corner on the south end of downtown Lansing, across from the bus station and the State Journal. There are no restaurants , coffee shops or gathering places nearby for patrons to socialize after the plays. Boarshead's building used to be a car dealership and was purchased by the city in hopes that it could become a parking lot some day.
Clearly, downtown Lansing is not a friendly place for the arts. The Lansing Symphony performs on the MSU campus in East Lansing, and the Lansing Concert Band plays in various venues throughout Ingham county (as well as Dart Auditorium at LCC) but without a more substantial arts presence in Lansing it seems like the award-winning Boarshead will always be fighting for survival. Lansing remains the only state capitol I am aware of that does not have a performing arts center near downtown.
The Boarshead Thatcher problem is not a Boarshead problem, it's a Lansing arts problem. If Mayor Virg Bernero wants to build a world class capitol city, he must see the importance of an arts center downtown with two performance spaces - a theater, and a 1000-1200 seat auditorium.
Ironically, to attract new students in the era of "schools of choice", area high schools are adding beautiful auditoria throughout the Lansing area. If high schools can build these impressive houses of music and art, why can't the city of Lansing?
Tuesday, March 24, 2009
Chamber Heaven
We don't have enough chamber music in Lansing
The only two outlets for small instrumental ensembles seem to be the Lansing Symphony Chamber Concerts and Michigan State University School of Music's faculty and student concerts.
Maybe because of chamber music's infrequency here is why March 20th's concert at the music school's auditorium seemed like such a miraculous gift.
The program was part of the 12th annual Cello Plus weekend, organized by MSU cello professor Suren Bagratuni.
There were concerts on Wednesday, Friday and Sunday, but regretfully I only attended
Friday's concert. On this particular evening, Bagratuni only programmed two chamber works: the rarely heard String Quintet Op 111 in G major by Brahms and the famous Souvenir de Florence, a string sextet, but Tchaikovsky.
We must begin by talking about the extraordinary musicians - none of whom were born in the US. Sitting in the first violin chair throughout evening was Ilya Kaler, a brilliant Russian who has been compared to Heifitz both in style and perfection and I must that that the comparison is apt.
Literally on second fiddle was a 27-year-old graduate student (Walter Verdehr, teacher), Carlota Amargos Rubio, a strong impressive violinist who kept up this crowd of strong, dominant players. Two superb violists were Yizhak Schotten, viola professor at U of M and MSU's new plum in the string faculty, violist Yuri Gandelsman who served as principal viola in the Israel Philharmonic. Rounding out the group was Suren Bagratuni, virtuoso cellist and his student, Victor Coo (Tchaikovsky only).
The Brahms is a forceful and heavy piece that challenges the mind and the heart. These strong players displayed wondrous technique and musicianship. With just one more instrument than a string quartet (a viola), it was amazing how the music sounded so totally different, almost like a full orchestra. The orchestration was dense and although they played superbly, the ensemble was sometimes overly gruff and aggressive. It was almost like the world-class string players were trying to out-do one another.
But everything came together in the ravishing Souvenir de Florence. This beautifully romantic work was played with spectacular technique but also with great warmth and delicacy. Violist Gandelsman stunned the audience with his full and sensuous tone. Kaler, who was impressive through the concert, was astounding in this piece. Often, The Souvenir can sound sugary and sweet, but in the hands of these musicians, the music transcended the slurpy factor. The true, dark Russian soul of the Tchaikovsky came through.
The ensemble playing was masterful The melodic lines were passed from one play to next with playfulness and sensitivity. The audience sprang to its feet when the music ended and would not let the musicians leave the stage. They were brought back for five or six ovations. Everyone in the auditorium knew that they had hears something very special that night.
The only two outlets for small instrumental ensembles seem to be the Lansing Symphony Chamber Concerts and Michigan State University School of Music's faculty and student concerts.
Maybe because of chamber music's infrequency here is why March 20th's concert at the music school's auditorium seemed like such a miraculous gift.
The program was part of the 12th annual Cello Plus weekend, organized by MSU cello professor Suren Bagratuni.
There were concerts on Wednesday, Friday and Sunday, but regretfully I only attended
Friday's concert. On this particular evening, Bagratuni only programmed two chamber works: the rarely heard String Quintet Op 111 in G major by Brahms and the famous Souvenir de Florence, a string sextet, but Tchaikovsky.
We must begin by talking about the extraordinary musicians - none of whom were born in the US. Sitting in the first violin chair throughout evening was Ilya Kaler, a brilliant Russian who has been compared to Heifitz both in style and perfection and I must that that the comparison is apt.
Literally on second fiddle was a 27-year-old graduate student (Walter Verdehr, teacher), Carlota Amargos Rubio, a strong impressive violinist who kept up this crowd of strong, dominant players. Two superb violists were Yizhak Schotten, viola professor at U of M and MSU's new plum in the string faculty, violist Yuri Gandelsman who served as principal viola in the Israel Philharmonic. Rounding out the group was Suren Bagratuni, virtuoso cellist and his student, Victor Coo (Tchaikovsky only).
The Brahms is a forceful and heavy piece that challenges the mind and the heart. These strong players displayed wondrous technique and musicianship. With just one more instrument than a string quartet (a viola), it was amazing how the music sounded so totally different, almost like a full orchestra. The orchestration was dense and although they played superbly, the ensemble was sometimes overly gruff and aggressive. It was almost like the world-class string players were trying to out-do one another.
But everything came together in the ravishing Souvenir de Florence. This beautifully romantic work was played with spectacular technique but also with great warmth and delicacy. Violist Gandelsman stunned the audience with his full and sensuous tone. Kaler, who was impressive through the concert, was astounding in this piece. Often, The Souvenir can sound sugary and sweet, but in the hands of these musicians, the music transcended the slurpy factor. The true, dark Russian soul of the Tchaikovsky came through.
The ensemble playing was masterful The melodic lines were passed from one play to next with playfulness and sensitivity. The audience sprang to its feet when the music ended and would not let the musicians leave the stage. They were brought back for five or six ovations. Everyone in the auditorium knew that they had hears something very special that night.
Tuesday, August 5, 2008
Musicals, etc.
MAMMA MIA
Movies come from a myriad of different sources: plays, novels, TV shows, even comic books – each one requiring a careful melding of style and venue. But the most difficult transformation seems to be from the Broadway musical to the silver screen. Especially today. With modern technology, audiences expect to see total reality on the screen. Musicals are steeped in fantasy, not reality.
The latest attempt of that renovation is “Mamma Mia”, a pastiche of a musical with a story slapped together from the songs of the 70’s musical sensation, ABBA. The stage show is phenomenally successful, so they made a movie starring Meryl Streep, Pierce Brosnan, Stellan Skarsgard and others.
ABBA’s music is fun, danceable and utterly joyful. But as the kids would say, “It’s SOOO 70’s”. Before you hand over your money to see “Mamma Mia”, you should be somewhat aware of ABBA’s music and be prepared for its simplicity and predictability.
That said, the "Mamma Mia" movie will likely delight you. The setting is a gloriously beautiful Greek Island and has a goofily funny plot. A 20-year-old woman (Amanda Seyfield) is getting married and she invites three men, any of whom COULD be her father. Her mom (Meryl Streep) owns a small inn on the island and was a free-wheeling hippy 21 years before.
The movie is fun, fun, fun and totally mindless. Meryl Streep, that actress who wowed us in “Kramer vs. Kramer”, “Sophie’s Choice”, “The Devil Wears Prada” and dozens of others, shows here that she has no limits. Meryl Streep takes over her role and the entire film. Her voice, which teased us in “Postcards From the Edge” and “Prairie Home Companion” is terrific and her acting puts everyone else to shame.
Pierce Brosnan is a fine actor and proves those skills here, but his singing is average at best. Seyfield, is lovely to look at and her voice has warmth and emotion. The other folks who round out this excellent cast is Julie Walters (remember “Educating Rita”?) and Christine Baranski who team up with Streep to be the three amigos. The three middle-age women sing and dance up a storm and have great chemistry.
The dancing is unremarkable and unsophisticated but suits the setting fine and jumps forth with good humor. They often use chunky island women to dance in the chorus which gives the entire affair a realistic look. The music is mixed well and doesn’t sound overly loud, as some movie musicals do.
However, it is Meryl Streep’s movie (along with the breathtaking views of the Mediterranean). She’s marvelous and displays, once again, that she’s the greatest actress on the planet.
PANHANDLE SLIM & THE OKLAHOMA KID
The Purple Rose Theater in Chelsea has a giant hit on its hands, with the newest Jeff Daniel’s offering: “Panhandle Slim & The Oklahoma Kid”. It’s been extended to the middle of September.
But I’m not sure what the fuss is all about. The play takes place in 1894. We see a man drag another man on stage, hog tied and bleeding profusely from a stomach shotgun wound. This poor guy’s about to die. He’s Panhandle Slim (Tom Whalen).
Then, in gallops The Oklahoma Kid (John Seibert) – all smiles, happy and bubbly. Oh yes, his horse is invisible. One more thing. He doesn’t wear a gun, but travels everywhere with a guitar.
Mr. Slim is the definition of a slime ball. He has lived a horrible life of killing people senselessly and robbing banks and has no regrets.
What ensues is a musical morality tale, with Mr. Kid convincing Mr. Slim that love and goodness lead to a happy life and after-life. What makes the play interesting and unique is that it is almost a musical.
The Kid takes his guitar everywhere and sings six songs to the rascal, Slim (and sometimes with Slim). The songs are written by Daniels and they are good – cowboy-type songs with clever lyrics and sung with very nice voices.
This 90-minute play, about life, death and love, could have been written by Mitch Albom, a man who makes his living writing plays and books about such topics.
The acting in PS/OK is superb and it’s hard to believe how Whalen can act the entire play tied up in that awful, impossible position. And he sings quite well, too.
Director Guy Sanville does an excellent job of pulling so much from such limited material. Dennis Crawley’s set of a desert landscape is amazingly effective, and Daniels’ direction of the musical numbers adds much to the play.
In fact, one could say that Daniels’ message here is how important the curative power of music is to living a happy, love-filled life.
Movies come from a myriad of different sources: plays, novels, TV shows, even comic books – each one requiring a careful melding of style and venue. But the most difficult transformation seems to be from the Broadway musical to the silver screen. Especially today. With modern technology, audiences expect to see total reality on the screen. Musicals are steeped in fantasy, not reality.
The latest attempt of that renovation is “Mamma Mia”, a pastiche of a musical with a story slapped together from the songs of the 70’s musical sensation, ABBA. The stage show is phenomenally successful, so they made a movie starring Meryl Streep, Pierce Brosnan, Stellan Skarsgard and others.
ABBA’s music is fun, danceable and utterly joyful. But as the kids would say, “It’s SOOO 70’s”. Before you hand over your money to see “Mamma Mia”, you should be somewhat aware of ABBA’s music and be prepared for its simplicity and predictability.
That said, the "Mamma Mia" movie will likely delight you. The setting is a gloriously beautiful Greek Island and has a goofily funny plot. A 20-year-old woman (Amanda Seyfield) is getting married and she invites three men, any of whom COULD be her father. Her mom (Meryl Streep) owns a small inn on the island and was a free-wheeling hippy 21 years before.
The movie is fun, fun, fun and totally mindless. Meryl Streep, that actress who wowed us in “Kramer vs. Kramer”, “Sophie’s Choice”, “The Devil Wears Prada” and dozens of others, shows here that she has no limits. Meryl Streep takes over her role and the entire film. Her voice, which teased us in “Postcards From the Edge” and “Prairie Home Companion” is terrific and her acting puts everyone else to shame.
Pierce Brosnan is a fine actor and proves those skills here, but his singing is average at best. Seyfield, is lovely to look at and her voice has warmth and emotion. The other folks who round out this excellent cast is Julie Walters (remember “Educating Rita”?) and Christine Baranski who team up with Streep to be the three amigos. The three middle-age women sing and dance up a storm and have great chemistry.
The dancing is unremarkable and unsophisticated but suits the setting fine and jumps forth with good humor. They often use chunky island women to dance in the chorus which gives the entire affair a realistic look. The music is mixed well and doesn’t sound overly loud, as some movie musicals do.
However, it is Meryl Streep’s movie (along with the breathtaking views of the Mediterranean). She’s marvelous and displays, once again, that she’s the greatest actress on the planet.
PANHANDLE SLIM & THE OKLAHOMA KID
The Purple Rose Theater in Chelsea has a giant hit on its hands, with the newest Jeff Daniel’s offering: “Panhandle Slim & The Oklahoma Kid”. It’s been extended to the middle of September.
But I’m not sure what the fuss is all about. The play takes place in 1894. We see a man drag another man on stage, hog tied and bleeding profusely from a stomach shotgun wound. This poor guy’s about to die. He’s Panhandle Slim (Tom Whalen).
Then, in gallops The Oklahoma Kid (John Seibert) – all smiles, happy and bubbly. Oh yes, his horse is invisible. One more thing. He doesn’t wear a gun, but travels everywhere with a guitar.
Mr. Slim is the definition of a slime ball. He has lived a horrible life of killing people senselessly and robbing banks and has no regrets.
What ensues is a musical morality tale, with Mr. Kid convincing Mr. Slim that love and goodness lead to a happy life and after-life. What makes the play interesting and unique is that it is almost a musical.
The Kid takes his guitar everywhere and sings six songs to the rascal, Slim (and sometimes with Slim). The songs are written by Daniels and they are good – cowboy-type songs with clever lyrics and sung with very nice voices.
This 90-minute play, about life, death and love, could have been written by Mitch Albom, a man who makes his living writing plays and books about such topics.
The acting in PS/OK is superb and it’s hard to believe how Whalen can act the entire play tied up in that awful, impossible position. And he sings quite well, too.
Director Guy Sanville does an excellent job of pulling so much from such limited material. Dennis Crawley’s set of a desert landscape is amazingly effective, and Daniels’ direction of the musical numbers adds much to the play.
In fact, one could say that Daniels’ message here is how important the curative power of music is to living a happy, love-filled life.
Tuesday, May 27, 2008
MOT's "Traviata" at Wharton
Lansing is blessed with a wonderful symphony orchestra, several fine choirs, a host of excellent theater companies (professional and amateur), ballet and even community bands. But what the city has struggled with over the years is creating and maintaining an opera company.
Under Melanie Helton’s leadership, Michigan State University has grown a fine opera department which presents very good student opera performances, but the Lansing community has never been able to put the money together along with resources and talent to sustain a company of its own.
Lansing opera lovers have had to listen to the FM radio on Saturday afternoon, drive to Detroit or Chicago, or take a chance with the traveling shows that came to Wharton Center – with uneven quality.
But for the last couple of years, Wharton’s Executive Director Mike Brand, tried to fill the void. He has brought in Detroit’s Michigan Opera Theater to the Great Hall for a one-show-only production each season. The MOT is a superb company that is housed in an extraordinary, new (well, ten years old) opera house across from Comerica Park.
The Lansing productions are not “road shows”, then, but rather the complete opera (soloists, chorus, full orchestra and sets) that was just performed on the Detroit Opera House stage. They tear down the set and rebuild it on the Wharton stage. The addition of the MOT/Wharton shows has been a welcome success in Lansing.
This year (5/22/08), the MOT brought one of the opera world’s most beloved works, Verdi’s “La Traviata”, to town. Just having seen two sumptuous NY MET operas on the movie screen (“Daughter of the Regiment” and “La Boheme” – see previous posting) I was interested to see if an old fashioned stage opera still holds up.
My answer is an unequivocal, “Yes”. The movie screen operas, a new innovation in the opera world, have great sound, acting, voices, sets and backstage goodies, but nothing compares to the real thing.
As in all theater productions, one must see the entire stage at one time to understand the drama of the story – even though “La Traviata” admittedly does not have much stage action. To hear real unamplified voices blending with a real orchestra is a magical experience.
The Lansing MOT production had its minor flaws, but overall was ravishing and beautifully sung.
When we first met Erin Wall as Violetta, the courtesan and toast of Paris night life, her voice as a bit harsh and lacked subtlety. But as the opera continued, Ms. Wall got better and more confident. By the end of the evening, the audience was taken away by her huge, rich sound that also had darkness, depth and beauty. Her low range was slightly weak, but her coloratura flourishes as well as her lyrical passages were stunning and exciting.
Mark Panuccio, as Alfredo, had a lovely tenor voice, but didn’t quite have the ease and phrasing as Ms. Wall. His acting was natural and believable as the destroyed lover of Violetta.
One of the most interesting characters in “Traviata” is Germont, Alfredo’s father. Because of Violetta’s low status in society, he finds it imperative to convince her to leave Alfredo, but is conflicted and torn by this decision. As Germont, Luis Ledesma adds little depth to this tragic person. His diction was difficult to understand and his acting stiff.
But these blemishes did not take away from MOT’s by and large superlative production. The opera had a lovely flow to it, the orchestra was a joy to hear, and of course Verdi’s sensuous, flowing and lush melodies make for some of the most beautiful music ever composed.
One hopes that the San Francisco and Metropolitan opera company’s movie-house operas, as excellent as they are, will not detract from appreciating real singers, on a real stage, singing their hearts out for you.
Thank you Wharton and MOT for bringing real opera to Lansing.
Under Melanie Helton’s leadership, Michigan State University has grown a fine opera department which presents very good student opera performances, but the Lansing community has never been able to put the money together along with resources and talent to sustain a company of its own.
Lansing opera lovers have had to listen to the FM radio on Saturday afternoon, drive to Detroit or Chicago, or take a chance with the traveling shows that came to Wharton Center – with uneven quality.
But for the last couple of years, Wharton’s Executive Director Mike Brand, tried to fill the void. He has brought in Detroit’s Michigan Opera Theater to the Great Hall for a one-show-only production each season. The MOT is a superb company that is housed in an extraordinary, new (well, ten years old) opera house across from Comerica Park.
The Lansing productions are not “road shows”, then, but rather the complete opera (soloists, chorus, full orchestra and sets) that was just performed on the Detroit Opera House stage. They tear down the set and rebuild it on the Wharton stage. The addition of the MOT/Wharton shows has been a welcome success in Lansing.
This year (5/22/08), the MOT brought one of the opera world’s most beloved works, Verdi’s “La Traviata”, to town. Just having seen two sumptuous NY MET operas on the movie screen (“Daughter of the Regiment” and “La Boheme” – see previous posting) I was interested to see if an old fashioned stage opera still holds up.
My answer is an unequivocal, “Yes”. The movie screen operas, a new innovation in the opera world, have great sound, acting, voices, sets and backstage goodies, but nothing compares to the real thing.
As in all theater productions, one must see the entire stage at one time to understand the drama of the story – even though “La Traviata” admittedly does not have much stage action. To hear real unamplified voices blending with a real orchestra is a magical experience.
The Lansing MOT production had its minor flaws, but overall was ravishing and beautifully sung.
When we first met Erin Wall as Violetta, the courtesan and toast of Paris night life, her voice as a bit harsh and lacked subtlety. But as the opera continued, Ms. Wall got better and more confident. By the end of the evening, the audience was taken away by her huge, rich sound that also had darkness, depth and beauty. Her low range was slightly weak, but her coloratura flourishes as well as her lyrical passages were stunning and exciting.
Mark Panuccio, as Alfredo, had a lovely tenor voice, but didn’t quite have the ease and phrasing as Ms. Wall. His acting was natural and believable as the destroyed lover of Violetta.
One of the most interesting characters in “Traviata” is Germont, Alfredo’s father. Because of Violetta’s low status in society, he finds it imperative to convince her to leave Alfredo, but is conflicted and torn by this decision. As Germont, Luis Ledesma adds little depth to this tragic person. His diction was difficult to understand and his acting stiff.
But these blemishes did not take away from MOT’s by and large superlative production. The opera had a lovely flow to it, the orchestra was a joy to hear, and of course Verdi’s sensuous, flowing and lush melodies make for some of the most beautiful music ever composed.
One hopes that the San Francisco and Metropolitan opera company’s movie-house operas, as excellent as they are, will not detract from appreciating real singers, on a real stage, singing their hearts out for you.
Thank you Wharton and MOT for bringing real opera to Lansing.
Sunday, May 18, 2008
Muffit's Surprise
For the Lansing Symphony’s final offering of the 07-08 season, music director Timothy Muffitt programmed a concert that had some unexpected surprises.
Since most orchestra concert goers have a great fear of “modern” music, conductors usually sandwich the dreaded work between two beloved favorites, so season subscribers can’t escape the concert hall. During the intermission, the bemused listeners will say that the new piece was “interesting” or maybe even “lively”. Certainly by the end of the concert most folks will have forgotten it completely – which is OK because it’s likely they’ll never hear it again anyway.
But Maestro Muffitt did something different this time. He placed the new work, David Maslanka’s “In Lonely Fields” at the very beginning. Gutsy move, I’d say.
But in reality it was a well calculated move. Muffitt knew he had a winner here.
Maslanka, a man who has a special affinity for the breadth of sound of percussion instruments, surrounded the abbreviated orchestra with seven percussionists. A marimba player and vibraphone player were in the front of the ensemble, and five other players with various mallets, African and traditional percussion instruments spread across the back of the stage.
What resulted was a positively wonderful work of dazzling beauty, deep emotion and evocative sounds of the earth. Graciously, Muffitt had all seven drummers come out to the front of the stage at the beginning of the work for a bow, as if they were piano soloists. In fact, watching them make their magic with literally dozens of shakers, bangers and such was a delight. But the real joy was hearing the lovely blending of the orchestra with the percussion instruments.
Maslanka wrote the work in memory of a Central Michigan University percussionist who died from an auto accident at age 24. His parents commissioned the work and Maslanka gave them the most heartfelt memorial one can image.
After the Maslanka, the LSO played one of the most popular and familiar pieces in the classical repertoire, Incidental Music to “Peer Gynt” by Edvard Grieg. And here was the surprise.
Although we all know the Grieg from music appreciation classes to Saturday morning cartoons, it sounded hopelessly simple and uninteresting next to the invigorating Maslanka. As I sat listening to the movie-music sounding “Peer Gynt”, my mind kept on going back to the new and refreshing piece before. So, during the intermission, instead of discussing the hackneyed “Peer Gynt” most people were talking about the exciting Maslanka, a work I’d love to hear it again.
Muffitt concluded the evening with the ravishing Sibelius Symphony No. 2, his most popular symphony. Muffitt gave the work his rapt attention to detail and intensity – two elements of his conducting style that he has displayed to the Lansing audiences amply since he took over the helm of the orchestra last year.
The symphony is one with great heroic themes and sounds that bring out the vast Finnish landscape. Sibelius makes the most of pairing the low brass with the low strings to produce deep grandiose chords. The orchestra came up to Muffitt’s demands, for the most part. All the soloists were excellent, but at times I would have wanted to hear a violin section that was twice as large to give those Sibelius chords the heft they required.
All in all, Muffitt and his musicians brought forth a sincere and passionate reading of this work which seems to straddle the 19th and 20th century.
Since most orchestra concert goers have a great fear of “modern” music, conductors usually sandwich the dreaded work between two beloved favorites, so season subscribers can’t escape the concert hall. During the intermission, the bemused listeners will say that the new piece was “interesting” or maybe even “lively”. Certainly by the end of the concert most folks will have forgotten it completely – which is OK because it’s likely they’ll never hear it again anyway.
But Maestro Muffitt did something different this time. He placed the new work, David Maslanka’s “In Lonely Fields” at the very beginning. Gutsy move, I’d say.
But in reality it was a well calculated move. Muffitt knew he had a winner here.
Maslanka, a man who has a special affinity for the breadth of sound of percussion instruments, surrounded the abbreviated orchestra with seven percussionists. A marimba player and vibraphone player were in the front of the ensemble, and five other players with various mallets, African and traditional percussion instruments spread across the back of the stage.
What resulted was a positively wonderful work of dazzling beauty, deep emotion and evocative sounds of the earth. Graciously, Muffitt had all seven drummers come out to the front of the stage at the beginning of the work for a bow, as if they were piano soloists. In fact, watching them make their magic with literally dozens of shakers, bangers and such was a delight. But the real joy was hearing the lovely blending of the orchestra with the percussion instruments.
Maslanka wrote the work in memory of a Central Michigan University percussionist who died from an auto accident at age 24. His parents commissioned the work and Maslanka gave them the most heartfelt memorial one can image.
After the Maslanka, the LSO played one of the most popular and familiar pieces in the classical repertoire, Incidental Music to “Peer Gynt” by Edvard Grieg. And here was the surprise.
Although we all know the Grieg from music appreciation classes to Saturday morning cartoons, it sounded hopelessly simple and uninteresting next to the invigorating Maslanka. As I sat listening to the movie-music sounding “Peer Gynt”, my mind kept on going back to the new and refreshing piece before. So, during the intermission, instead of discussing the hackneyed “Peer Gynt” most people were talking about the exciting Maslanka, a work I’d love to hear it again.
Muffitt concluded the evening with the ravishing Sibelius Symphony No. 2, his most popular symphony. Muffitt gave the work his rapt attention to detail and intensity – two elements of his conducting style that he has displayed to the Lansing audiences amply since he took over the helm of the orchestra last year.
The symphony is one with great heroic themes and sounds that bring out the vast Finnish landscape. Sibelius makes the most of pairing the low brass with the low strings to produce deep grandiose chords. The orchestra came up to Muffitt’s demands, for the most part. All the soloists were excellent, but at times I would have wanted to hear a violin section that was twice as large to give those Sibelius chords the heft they required.
All in all, Muffitt and his musicians brought forth a sincere and passionate reading of this work which seems to straddle the 19th and 20th century.
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