The Michigan State University Opera Theater made a grand statement over the weekend, by mounting a production of the new opera by acclaimed composer Ricky Ian Gordon, "Grapes of Wrath".
Steinbeck's classic novel is the searing story of a poor Oklahoma family during the dust-bowl Depression period of the 30s, as they trek to California to find work, stay alive and remain a family unit.
This emotional and monumental story is perfect for an opera. Gordon's work (written for the Minnesota Opera) is almost four hours long and paints with the large musical brush used by Verdi, Puccini, Wagner and others.
Director Melanie Helton should be given kudos for attemping this challenging, contemporary music with her students. The music is filled with rich chords layered with close and tight harmonies. It takes a while to adjust your ear to understand the music language, but as the opera continues and the story unfolds, the music becomes ever more listenable, moving and powerful.
In general, however, the tempos rarely get beyond the ballad-style that is the majority of the opera. There were a few up-beat scenes, like the barker-like car salesmen and the cute restaurant sequence, but they were few and far between. The first act especially was slow with little stage action and there were many sleepers in the audience.
Zachary Campbell designed a stunning three-story set, with a wonderfully conceived truck that took the entire Joad clan out West. But the huge set was placed very close to the front of the stage, giving the actors little room to play their scenes. Also, that impressive truck was stuck inside the set, limiting its visual effectiveness.
But the singers (chorus and soloists - about 45 in number) were all excellent and sang this evocative piece with great conviction. Katie Ross was superb as Ma Joad, and Joshua Baum made a real impression as Jim Casey, the defrocked preacher (There were double casts during the weekend).
Everyone in America knows the story of Grapes of Wrath and they know that it is a dark story with little sunshine for the audience to enjoy. Gordon (with librettist Michael Korie) wrote a great opera that challenges the singers as well as the audience, but pacing and lighting could have improved the flow of the piece. Despite those problems, this was a production that MSU and Melanie Helton can be proud of. It packed an emotional punch and told a rich story. For sure, it was an unforgettable educational experience for the students.
Comments on the arts scene in and around Lansing, Michigan and beyond
Tuesday, April 5, 2011
DSO Update
On April 4th, an announcement was made that the Detroit Symphony Orchestra and its musicians reached a tentative agreement, likely ending a six-month strike.
The agreement did not happen soon enough to save the ailing orchestra, however. After the previous breakdown of talks in January, the entire percussion section quit - some left for other orchestras, some just left. The DSO also lost principal flutist and Ann Arbor native Philip Dikeman who became a professor at Vanderbilt University in Nashville.
It takes great musicians to make great orchestras, and the loss of these valuable musicians is critical to its quality. Orchestras take great care and many years to choose its musicians. And then it takes even more years for the established ensemble to wrap itself around the new player.
Mark Stryker, from the Detroit Free Press, wrote, "The strike has taken an enormous tool. The DSO has lost millions in ticket income. Subscriptions have fallen to their lowest level in decades and it could take years to woo back audiences - and donors. The strike has also cost each musician at least $55,000."
What is the future of the Detroit Symphony? There are too many factors in play to give a good answer. We only have further questions:
In the current economic climate, can suffering Detroit support an orchestra of this reputation?
With less music taught in schools, is there still an audience for great acoustic symphonic music?
Should orchestras look at themselves more objectively - the style of the concerts, the music that is programmed, and the pay of the administrators and musicians - to make their survival more assured?
Are there more creative ways to finance orchestras?
One thing is clear: The once-proud Detroit Symphony Orchestra has been dealt a severe blow. Their future is still uncertain.
The agreement did not happen soon enough to save the ailing orchestra, however. After the previous breakdown of talks in January, the entire percussion section quit - some left for other orchestras, some just left. The DSO also lost principal flutist and Ann Arbor native Philip Dikeman who became a professor at Vanderbilt University in Nashville.
It takes great musicians to make great orchestras, and the loss of these valuable musicians is critical to its quality. Orchestras take great care and many years to choose its musicians. And then it takes even more years for the established ensemble to wrap itself around the new player.
Mark Stryker, from the Detroit Free Press, wrote, "The strike has taken an enormous tool. The DSO has lost millions in ticket income. Subscriptions have fallen to their lowest level in decades and it could take years to woo back audiences - and donors. The strike has also cost each musician at least $55,000."
What is the future of the Detroit Symphony? There are too many factors in play to give a good answer. We only have further questions:
In the current economic climate, can suffering Detroit support an orchestra of this reputation?
With less music taught in schools, is there still an audience for great acoustic symphonic music?
Should orchestras look at themselves more objectively - the style of the concerts, the music that is programmed, and the pay of the administrators and musicians - to make their survival more assured?
Are there more creative ways to finance orchestras?
One thing is clear: The once-proud Detroit Symphony Orchestra has been dealt a severe blow. Their future is still uncertain.
Sunday, February 13, 2011
Great Stravinsky!
On February 5th, guest conductor Raphael Jimenez did an outstanding job leading the Michigan State University Symphony Orchestra in a program of 20th century music.
Although Jimenez (associate conductor of the orchestra) and his student musicians were very good with the works of Bartok and Debussy, they were astounding with the challenging Stravinsky ballet, "Petrushka". Jimenez, who conducts with no score, was riveted to each musician - cuing each entrance, cajoling each musical phrase, and generating lots of energy.
Stravinsky's music never stopped moving. Although written almost 100 years ago, "Petrushka" still is exciting and magical. Like a painter, Stravinsky uses the instruments to bring every possible color combination to the music.
Jimenez was a joy to watch. His face was communicating his joy in the music and his body swung with the rhythms as if he were about to sweep one of the violinists off her chair to join him in a dance.
This "Petrushka" was one of the finest performances I have every heard from the MSU Symphony Orchestra.
Although Jimenez (associate conductor of the orchestra) and his student musicians were very good with the works of Bartok and Debussy, they were astounding with the challenging Stravinsky ballet, "Petrushka". Jimenez, who conducts with no score, was riveted to each musician - cuing each entrance, cajoling each musical phrase, and generating lots of energy.
Stravinsky's music never stopped moving. Although written almost 100 years ago, "Petrushka" still is exciting and magical. Like a painter, Stravinsky uses the instruments to bring every possible color combination to the music.
Jimenez was a joy to watch. His face was communicating his joy in the music and his body swung with the rhythms as if he were about to sweep one of the violinists off her chair to join him in a dance.
This "Petrushka" was one of the finest performances I have every heard from the MSU Symphony Orchestra.
It's All About The Actors
As a theater critic I am always wrestling with the question: who/what is responsible for the quality of a performance? The director, the production value (sets, lighting, special effects), or the play itself?
I found the answer to that age old question when I was recently visiting Dallas, a city that has a new appreciation of its arts institutions. Despite the poor financial health of many of the US's arts institutions, Dallas is busy building a huge art complex in the city's downtown area.
The newest addition (Nasher Sculpture Center, Meyerson Symphony Hall and other small theaters are already there) is the stunning Winspear Opera House, named for the donors, Margot and Bill Winspear. They donated $42 mil that made the project possible.
The 2200-seat hall is bit big, but the horseshoe shape makes everybody close to the action and the acoustics seem excellent (although I heard an amplified show). It's a gorgeous facility and the stage is high tech in every way.
When I was there I saw the roadshow for the Mel Brooks musical "Young Frankenstein". What was interesting is that I saw the exact same company with the exact same show in Lansing one year before.
The only difference between the Dallas and Lansing version were a few of the lead roles. But that one change made a huge difference in the performance.
In Lansing, Roger Bart played Young Frankenstein, and Shuler Hensley was the monster. The Dallas production starred Christopher Ryan and Dave Schoonover in those parts.
The Dallas production was excellent - the direction was the same and the production was exactly the same. Even the actors were excellent. On the whole, I liked it very much, but something was missing - it didn't have that spark of personality and humor that jumps of the stage in a great production.
I remember very clearly the unique comic acting of Roger Bart in the lead role: Small understated actions, quirky expressions, quick and targeted reactions to other actors. And when it came to dancing, he was smooth and effortless.
And playing off Bart, Shuler Hensley was an outrageous monster. He was loud, large and very funny. He was hysterical during the "Puttin' on the Ritz" scene at the end.
If you hadn't seen Bart and Hensley in those roles, you would have been more than happy with Ryan and Schoonover as Frankenstein and his human invention. But what I witnessed that evening was the difference between good acting and superb acting. It is the stuff that makes a very good performance an exceptional one. It's the actors.
I witnessed a similar experience when I saw the roadshow of the Lincoln Center hit production of "South Pacific". I also saw the original cast (same director, similar sets) on a PBS special presentation. When Paulo Szot sang "You've Got To Be Taught" he did so with intense conviction and emotion. You sat up to take notice. Much different than the 'only good' roadshow acting and singing.
Great performers make great productions.
I found the answer to that age old question when I was recently visiting Dallas, a city that has a new appreciation of its arts institutions. Despite the poor financial health of many of the US's arts institutions, Dallas is busy building a huge art complex in the city's downtown area.
The newest addition (Nasher Sculpture Center, Meyerson Symphony Hall and other small theaters are already there) is the stunning Winspear Opera House, named for the donors, Margot and Bill Winspear. They donated $42 mil that made the project possible.
The 2200-seat hall is bit big, but the horseshoe shape makes everybody close to the action and the acoustics seem excellent (although I heard an amplified show). It's a gorgeous facility and the stage is high tech in every way.
When I was there I saw the roadshow for the Mel Brooks musical "Young Frankenstein". What was interesting is that I saw the exact same company with the exact same show in Lansing one year before.
The only difference between the Dallas and Lansing version were a few of the lead roles. But that one change made a huge difference in the performance.
In Lansing, Roger Bart played Young Frankenstein, and Shuler Hensley was the monster. The Dallas production starred Christopher Ryan and Dave Schoonover in those parts.
The Dallas production was excellent - the direction was the same and the production was exactly the same. Even the actors were excellent. On the whole, I liked it very much, but something was missing - it didn't have that spark of personality and humor that jumps of the stage in a great production.
I remember very clearly the unique comic acting of Roger Bart in the lead role: Small understated actions, quirky expressions, quick and targeted reactions to other actors. And when it came to dancing, he was smooth and effortless.
And playing off Bart, Shuler Hensley was an outrageous monster. He was loud, large and very funny. He was hysterical during the "Puttin' on the Ritz" scene at the end.
If you hadn't seen Bart and Hensley in those roles, you would have been more than happy with Ryan and Schoonover as Frankenstein and his human invention. But what I witnessed that evening was the difference between good acting and superb acting. It is the stuff that makes a very good performance an exceptional one. It's the actors.
I witnessed a similar experience when I saw the roadshow of the Lincoln Center hit production of "South Pacific". I also saw the original cast (same director, similar sets) on a PBS special presentation. When Paulo Szot sang "You've Got To Be Taught" he did so with intense conviction and emotion. You sat up to take notice. Much different than the 'only good' roadshow acting and singing.
Great performers make great productions.
Saturday, February 5, 2011
Ordinary Days
After Chad Badgero's directing triumph with the challenging "Caroline or Change" at Riverwalk Theater early in the season, he scores again with "Ordinary Days" through his own Peppermint Creek Theatre Company.
There was magic in the air as we stood in line on a cold night at Creole Gallery in Lansing's Old Town waiting for tickets for "Ordinary Days". The small but charming venue was totally sold out (word of mouth is still the best advertiser) and everyone was excited about seeing the show.
"Days" is a small musical with four characters and a piano. It's the story of four young people trying to make it in the Big Apple, but are all going through their own problems of finding their path in life and love. Badgero also designed the imaginative set, with a modernistic New York skyline depicted in colorful dots.
Written by Adam Gwon, Days is a marvelously entertaining play (entirely sung). The music is Sondheim lite with some Avenue Q thrown in and the lyrics are urbane, witty, and human with wonderful rhymes. Badgero gets a high level of energy from his four fine actors (Joseph Quick, Leah Gerstel, Rusty Broughton and Amanda Whitehead). The songs are difficult, but each and every actor spits out every word with conviction and somehow nails the angular melodies.
Leah Gerstel impresses with her acting that really shows how her troubled character changes through the story. Amanda Whitehead sings the climactic song towards the end of the show that leaves the entire audience crying.
Although the venue is small (92 seats), each actor was miked and the sound mix was just right. Edric Haleen played keyboard and I am sure prepared the singers as well, excellently. Too bad the show closes tonight, it is a winner.
There was magic in the air as we stood in line on a cold night at Creole Gallery in Lansing's Old Town waiting for tickets for "Ordinary Days". The small but charming venue was totally sold out (word of mouth is still the best advertiser) and everyone was excited about seeing the show.
"Days" is a small musical with four characters and a piano. It's the story of four young people trying to make it in the Big Apple, but are all going through their own problems of finding their path in life and love. Badgero also designed the imaginative set, with a modernistic New York skyline depicted in colorful dots.
Written by Adam Gwon, Days is a marvelously entertaining play (entirely sung). The music is Sondheim lite with some Avenue Q thrown in and the lyrics are urbane, witty, and human with wonderful rhymes. Badgero gets a high level of energy from his four fine actors (Joseph Quick, Leah Gerstel, Rusty Broughton and Amanda Whitehead). The songs are difficult, but each and every actor spits out every word with conviction and somehow nails the angular melodies.
Leah Gerstel impresses with her acting that really shows how her troubled character changes through the story. Amanda Whitehead sings the climactic song towards the end of the show that leaves the entire audience crying.
Although the venue is small (92 seats), each actor was miked and the sound mix was just right. Edric Haleen played keyboard and I am sure prepared the singers as well, excellently. Too bad the show closes tonight, it is a winner.
Corktown at Purple Rose
The Purple Rose Theater in Chelsea is celebrating its 20th season by presenting four original plays by Michigan playwrights.
Now on stage until March 5 is Corktown by Michael Brian Ogden, a bloody, violent and funny modern mob tale. Instead of the Italian mafiosos we love so much, Ogden introduces us to a modern Irish crime story which takes place in the tough Irish neighborhood of Detroit - Corktown.
In this story, the modern hitmen are Army veterans of the Iraq war. They're tough, brutal and workaday murderers - following orders to perform misery on people they don't even know. One of them, Joey, is beginning to second guess his chosen profession. His partner Laurence (acted by playwright Ogden) doesn't understand his anxieties but loves him like a brother nonethless.
The action takes place in a modern apartment designed by Bartley Bauer, and is amazingly realistic. A full kitchen (with running water), living room and bathroom with all of the amenities adorn the stage.
There's a lot to like in this play. The language and story are gritty but also funny. Don't take the kiddies to this one. There's blood (gallons of it) and dead bodies everywhere.
The big hole in the plot is the unlikely romance that develops between Joey (wonderfully played by Matthew David) and a woman who he was supposed to kill but amazingly comes back to life (Stacie Hadgikosti) in his apartment. A relationship ensues and although the dialogue is entertaining and the acting superb, it just does not ring true and the flaw weakens the entire play.
Guy Sanville has the directing honors here and he is excellent at choreographing the very realistic fight and murder scenes. There's plenty of high energy and aggression on the stage. The actors go for it full throttle.
The directing is tight and the acting is all top drawer so, despite the plot weakness, you will likely still have an evening of fun entertainment at Corktown.
Now on stage until March 5 is Corktown by Michael Brian Ogden, a bloody, violent and funny modern mob tale. Instead of the Italian mafiosos we love so much, Ogden introduces us to a modern Irish crime story which takes place in the tough Irish neighborhood of Detroit - Corktown.
In this story, the modern hitmen are Army veterans of the Iraq war. They're tough, brutal and workaday murderers - following orders to perform misery on people they don't even know. One of them, Joey, is beginning to second guess his chosen profession. His partner Laurence (acted by playwright Ogden) doesn't understand his anxieties but loves him like a brother nonethless.
The action takes place in a modern apartment designed by Bartley Bauer, and is amazingly realistic. A full kitchen (with running water), living room and bathroom with all of the amenities adorn the stage.
There's a lot to like in this play. The language and story are gritty but also funny. Don't take the kiddies to this one. There's blood (gallons of it) and dead bodies everywhere.
The big hole in the plot is the unlikely romance that develops between Joey (wonderfully played by Matthew David) and a woman who he was supposed to kill but amazingly comes back to life (Stacie Hadgikosti) in his apartment. A relationship ensues and although the dialogue is entertaining and the acting superb, it just does not ring true and the flaw weakens the entire play.
Guy Sanville has the directing honors here and he is excellent at choreographing the very realistic fight and murder scenes. There's plenty of high energy and aggression on the stage. The actors go for it full throttle.
The directing is tight and the acting is all top drawer so, despite the plot weakness, you will likely still have an evening of fun entertainment at Corktown.
Sunday, January 9, 2011
LSO And Muffitt Continue to Impress
One of the reasons for Music Director Timothy Muffitt's continued success with the Lansing Symphony is his imaginative and thoughtful programming. Muffitt has the rare ability to put together a concert with pieces that complement each other while giving the audience and evening of variety and interest.
On Saturday's (1/8/11) concert, dubbed "Exotic Sketches", Muffitt gave us music by Rossini, two harp showpieces - one by Argentinian composer Ginastera and another by the impressionist Debussy. He ended the program with the blockbuster Pines of Rome by Respighi. It made for an concert of surprises and excitement.
Of course the most unique aspect of the evening were the two harp pieces, featuring virtuoso harpist Yolanda Kondonassis. I would wager that fewer that 5% of the audience has ever heard a harp concerto.
And Kondonassis was the perfect person to introduce this elegant and lovely instrument to Lansing audiences. A long limbed and confident woman, Kondonassis showed us the difference between a soloist and a player. She is a true soloist - dramatic and confident who takes control of the stage and performs with flair and rubato. The four-movement Ginastera was a smorgasbord of sounds and rhythms. The orchestra was on the edge of their seat, making the most of the Latin personality of the music while the harp blended and contrasted with unusual groupings of instruments.
The audience was mesmerized as Kondonassis worked her magic on her golden harp - beautiful glissandi, snappy plucking and every other effect the instrument is capable of giving.
The short Debussy piece was more of what the audience expected from the harp, which seems be an instrument created for impressionist music. Yes, we've all heard a harp glissando before, but I have never heard it with so many inflections and colors as I heard on Saturday.
For the concert opener, Muffitt gave us the tried and true Rossini overture, La Gazza Ladra. Always a crowd pleaser, the Rossini was played with a clean and fresh style, with great work by the woodwinds. The opening snare drum roll was different - Muffitt had two snare drummers standing on either side of the orchestra creating an antiphonal effect. It added some intrigue to a piece that is familiar to everyone.
But the real fireworks was saved for the end of the concert - the rousing Pines of Rome. Respighi pulled out all of the stops for this piece, especially the huge and majestic Pines of the Appian Way movement. Respighi wanted a big sound for the orchestra and he got it.
He scored it for full orchestra and then some: for good measure, he added piano, harp, organ, contra bassoon, euphonium, bass clarinet and extra brass players stationed in the audience. Muffitt conducted without a score a brought out the full sonic glory of the Lansing Symphony.
There were some wonderful individual solo parts, especially an absolutely liquid and lovely clarinet solo by Emmanuel Toledo and an ethereal English horn solo by LSO veteran, Gretchen Morse.
But what everyone remembers about the Pine of Rome was the over-the-top ending, and the orchestra and Maestro Muffitt give was what we wanted. I could swear that my seat was vibrating or maybe it was Wharton Center's entire floor.
On Saturday's (1/8/11) concert, dubbed "Exotic Sketches", Muffitt gave us music by Rossini, two harp showpieces - one by Argentinian composer Ginastera and another by the impressionist Debussy. He ended the program with the blockbuster Pines of Rome by Respighi. It made for an concert of surprises and excitement.
Of course the most unique aspect of the evening were the two harp pieces, featuring virtuoso harpist Yolanda Kondonassis. I would wager that fewer that 5% of the audience has ever heard a harp concerto.
And Kondonassis was the perfect person to introduce this elegant and lovely instrument to Lansing audiences. A long limbed and confident woman, Kondonassis showed us the difference between a soloist and a player. She is a true soloist - dramatic and confident who takes control of the stage and performs with flair and rubato. The four-movement Ginastera was a smorgasbord of sounds and rhythms. The orchestra was on the edge of their seat, making the most of the Latin personality of the music while the harp blended and contrasted with unusual groupings of instruments.
The audience was mesmerized as Kondonassis worked her magic on her golden harp - beautiful glissandi, snappy plucking and every other effect the instrument is capable of giving.
The short Debussy piece was more of what the audience expected from the harp, which seems be an instrument created for impressionist music. Yes, we've all heard a harp glissando before, but I have never heard it with so many inflections and colors as I heard on Saturday.
For the concert opener, Muffitt gave us the tried and true Rossini overture, La Gazza Ladra. Always a crowd pleaser, the Rossini was played with a clean and fresh style, with great work by the woodwinds. The opening snare drum roll was different - Muffitt had two snare drummers standing on either side of the orchestra creating an antiphonal effect. It added some intrigue to a piece that is familiar to everyone.
But the real fireworks was saved for the end of the concert - the rousing Pines of Rome. Respighi pulled out all of the stops for this piece, especially the huge and majestic Pines of the Appian Way movement. Respighi wanted a big sound for the orchestra and he got it.
He scored it for full orchestra and then some: for good measure, he added piano, harp, organ, contra bassoon, euphonium, bass clarinet and extra brass players stationed in the audience. Muffitt conducted without a score a brought out the full sonic glory of the Lansing Symphony.
There were some wonderful individual solo parts, especially an absolutely liquid and lovely clarinet solo by Emmanuel Toledo and an ethereal English horn solo by LSO veteran, Gretchen Morse.
But what everyone remembers about the Pine of Rome was the over-the-top ending, and the orchestra and Maestro Muffitt give was what we wanted. I could swear that my seat was vibrating or maybe it was Wharton Center's entire floor.
Wednesday, December 1, 2010
The Fate of America's Orchestras?
Everyone predicted that the current labor and financial issues facing the Detroit Symphony Orchestra would translate into a long strike. However, it is still sad news as the DSO management recently cancelled more concerts as the latest round of talks ended in failure. And now the strike is eight weeks long. No end in sight.
The eyes of the entire American orchestra world are fixed on Detroit. One management consultant who specializes in orchestras claims, "They know that they may be next. Cleveland and Indianapolis are both in trouble". In fact Louisville is near to bankruptcy now.
The problems in Detroit are not unique to Detroit, although they are magnified. The severe economic problems in Michigan and especially in Detroit are causing a lack of audiences and a lack of funds. They are now facing a $9 million budget shortfall.
However, when the laid off auto worker is pounding the pavement looking for work, I am sure he has little sympathy for classical musicians who make about $104,000 per year right out of school. DSO's management is asking them to take a pay cut of almost 30% plus some major changes in work rules.
While some observers are concerned that the highly praised Detroit Symphony will lose its status as America's 10th best orchestra, others have darker thoughts. Will the DSO survive? The motor city's population has drastically dropped and the once mighty auto industry is only now starting to come to life again.
Can Detroit, a shadow of its former self, support an orchestra at the level of the DSO? Do they even want to?
As the world conjures the future of this great orchestra, I think that we must all look very seriously at the future of ALL great orchestras. And the US has many.
Over the years drastic changes have occured in music performance - Ipods, sophisticated amplification, hi-tech lighting, video screens, less formality,etc. But, for some reason orchestras find it very difficult to change. The orchestra players of the 18th century would find little difference between them and an orchestra of 2010.
They both sit on a stage with no amplification, stagnant lighting, rigid audience rules and they even wear the same clothing - black tails. And the worst thing is, the music programs are the same. Most orchestras play the music their audiences want- rarely a work written after 1920.
Can this stodgy, unchanging organization stay alive in today's world?
Fewer kids are taught acoustic music in schools and are so busy multitasking with computers, cell phones and ipods, that the chore of listening to a 45 minutes piece of music is a real challenge.
America has never fully accepted having public money pay for the arts (although they have no problem with governments building sports stadiums). And now, more then ever, the populace is fighting against elitism which symphony orchestras and art museums are.
However, all great cities have great arts institutions. When those metropolitan areas lack the funding to continue those institutions, will they still be great cities? That question is being tested right now.
The Michigan State legislature is currently considering some tax programs to rescue not only the DSO but also the venerable Detroit Institute of the Arts. Although this is a good use of public money, I still question the long-standing model of a major symphony orchestra.
Not all orchestras are the same. A regional orchestra such as the Lansing Symphony, has a far different operating structure. All the musicians have other full time jobs and are paid on a fee-for-service basis. The conductor and a few staff members are full time employees but the musicians are not.
The players rehearse for one week prior to each concert. Now, the budget of the Lansing Symphony is far less than the DSO (app. $900,000 vs. $29 million)but the sound and quality of the two orchestras are not even comparable. But maybe the DSO is a Cadillac orchestra for a family whose budget should have a Chevy instead.
If orchestras begin changing the way they approach their audiences, public support may change; such as: Going out into the neighborhoods, playing in shopping areas, using better production techniques, different clothes, working with school children, use enhanced video screens, have more creative music programming, speak to and engage the audiences more, have the soloists within the ensemble stand up for their special moment (like a jazz band), etc.
What is the future for the American symphony orchestra? Frankly I don't know. I am a traditionalist and love the huge and glorious sound of a great symphonic ensemble. But, I have a degree in music, still perform my French horn and few people are like me.
If the Detroit Symphony is going to survive, they should "re-engineer the corporation" - be creative and re-think the entire mission.
The eyes of the entire American orchestra world are fixed on Detroit. One management consultant who specializes in orchestras claims, "They know that they may be next. Cleveland and Indianapolis are both in trouble". In fact Louisville is near to bankruptcy now.
The problems in Detroit are not unique to Detroit, although they are magnified. The severe economic problems in Michigan and especially in Detroit are causing a lack of audiences and a lack of funds. They are now facing a $9 million budget shortfall.
However, when the laid off auto worker is pounding the pavement looking for work, I am sure he has little sympathy for classical musicians who make about $104,000 per year right out of school. DSO's management is asking them to take a pay cut of almost 30% plus some major changes in work rules.
While some observers are concerned that the highly praised Detroit Symphony will lose its status as America's 10th best orchestra, others have darker thoughts. Will the DSO survive? The motor city's population has drastically dropped and the once mighty auto industry is only now starting to come to life again.
Can Detroit, a shadow of its former self, support an orchestra at the level of the DSO? Do they even want to?
As the world conjures the future of this great orchestra, I think that we must all look very seriously at the future of ALL great orchestras. And the US has many.
Over the years drastic changes have occured in music performance - Ipods, sophisticated amplification, hi-tech lighting, video screens, less formality,etc. But, for some reason orchestras find it very difficult to change. The orchestra players of the 18th century would find little difference between them and an orchestra of 2010.
They both sit on a stage with no amplification, stagnant lighting, rigid audience rules and they even wear the same clothing - black tails. And the worst thing is, the music programs are the same. Most orchestras play the music their audiences want- rarely a work written after 1920.
Can this stodgy, unchanging organization stay alive in today's world?
Fewer kids are taught acoustic music in schools and are so busy multitasking with computers, cell phones and ipods, that the chore of listening to a 45 minutes piece of music is a real challenge.
America has never fully accepted having public money pay for the arts (although they have no problem with governments building sports stadiums). And now, more then ever, the populace is fighting against elitism which symphony orchestras and art museums are.
However, all great cities have great arts institutions. When those metropolitan areas lack the funding to continue those institutions, will they still be great cities? That question is being tested right now.
The Michigan State legislature is currently considering some tax programs to rescue not only the DSO but also the venerable Detroit Institute of the Arts. Although this is a good use of public money, I still question the long-standing model of a major symphony orchestra.
Not all orchestras are the same. A regional orchestra such as the Lansing Symphony, has a far different operating structure. All the musicians have other full time jobs and are paid on a fee-for-service basis. The conductor and a few staff members are full time employees but the musicians are not.
The players rehearse for one week prior to each concert. Now, the budget of the Lansing Symphony is far less than the DSO (app. $900,000 vs. $29 million)but the sound and quality of the two orchestras are not even comparable. But maybe the DSO is a Cadillac orchestra for a family whose budget should have a Chevy instead.
If orchestras begin changing the way they approach their audiences, public support may change; such as: Going out into the neighborhoods, playing in shopping areas, using better production techniques, different clothes, working with school children, use enhanced video screens, have more creative music programming, speak to and engage the audiences more, have the soloists within the ensemble stand up for their special moment (like a jazz band), etc.
What is the future for the American symphony orchestra? Frankly I don't know. I am a traditionalist and love the huge and glorious sound of a great symphonic ensemble. But, I have a degree in music, still perform my French horn and few people are like me.
If the Detroit Symphony is going to survive, they should "re-engineer the corporation" - be creative and re-think the entire mission.
Tuesday, November 9, 2010
Mary's Magic at Wharton
Those of us of a certain age remember when the movie Mary Poppins burst forth into American culture (1964). The great talent and charisma of Julie Andrews and Dick Van Dyke along with the mind-blowing high tech effect of combining live action with animation was astounding back then.
I am surprised that it took this long to convert that great screen success to a Broadway musical. But Disney along with Cameron Mackintosh finally did it. And they were successful.
Now playing at East Lansing's Wharton Center until November 21, Poppins beguiles with magic galore, great talent and charm.
The stage production keeps most of our movie memories intact (although I wish they could have found a way to add the delightful Ed Wynn "I love to Laugh" scene, when he and Van Dyke float to the ceiling in non-stop chuckles). We still revel in the beloved songs of "A Spoonful of Sugar, "Supercali...", etc, but there are also some additions: a bad nanny has been inserted, as well as a magical Caribbean sorcerer.
But all in all, this is a fun-loving and endearing production that features a set that is constantly changing and surprising, without wasting a minute.
Caroline Sheen as the mysterious nanny called Mary, displays a light and lovely voice, but best of all manages to telegraph a wonderful twinkle in her eye that says, "don't take me too seriously". As Bert the lovable chimney sweep, Nicolas Droman is like an old-fashioned English music hall chap - tap dancing with glee and mugging through every scene.
But I was particularly infatuated with 9-year-old Cade Canon Ball as Michael Banks. His voice is pitch-perfect and he captures the audience with his comic acting and dancing.
The other star of the show is the production itself. The sets and special effects are complex, creative and masterful but don't take away from the story or the talent on the stage. Disney at its best!
As by current Broadway standards, the show flies along at a breakneck speed. At times it was a problem. I would have liked a bit more time spent (and slower tempos) with "Feed The Birds" and "Let's Go Fly A Kite".
Some new songs are added and they are almost as good as the original spectacular score by brothers Richard and Robert Sherman.
Without question, the best part of the evening was watching the excited faces of the all the kids in the audience who were entranced by the whole spectacle - especially when Mary Poppins was flying. Yes, it was true theater magic.
I am surprised that it took this long to convert that great screen success to a Broadway musical. But Disney along with Cameron Mackintosh finally did it. And they were successful.
Now playing at East Lansing's Wharton Center until November 21, Poppins beguiles with magic galore, great talent and charm.
The stage production keeps most of our movie memories intact (although I wish they could have found a way to add the delightful Ed Wynn "I love to Laugh" scene, when he and Van Dyke float to the ceiling in non-stop chuckles). We still revel in the beloved songs of "A Spoonful of Sugar, "Supercali...", etc, but there are also some additions: a bad nanny has been inserted, as well as a magical Caribbean sorcerer.
But all in all, this is a fun-loving and endearing production that features a set that is constantly changing and surprising, without wasting a minute.
Caroline Sheen as the mysterious nanny called Mary, displays a light and lovely voice, but best of all manages to telegraph a wonderful twinkle in her eye that says, "don't take me too seriously". As Bert the lovable chimney sweep, Nicolas Droman is like an old-fashioned English music hall chap - tap dancing with glee and mugging through every scene.
But I was particularly infatuated with 9-year-old Cade Canon Ball as Michael Banks. His voice is pitch-perfect and he captures the audience with his comic acting and dancing.
The other star of the show is the production itself. The sets and special effects are complex, creative and masterful but don't take away from the story or the talent on the stage. Disney at its best!
As by current Broadway standards, the show flies along at a breakneck speed. At times it was a problem. I would have liked a bit more time spent (and slower tempos) with "Feed The Birds" and "Let's Go Fly A Kite".
Some new songs are added and they are almost as good as the original spectacular score by brothers Richard and Robert Sherman.
Without question, the best part of the evening was watching the excited faces of the all the kids in the audience who were entranced by the whole spectacle - especially when Mary Poppins was flying. Yes, it was true theater magic.
Tuesday, September 14, 2010
Muffitt's Triple
Timothy Muffitt began the Lansing Symphony’s season opening concert Saturday night with an old chestnut, Overture to Donna Diana by Reznicek. This used to be standard concert fare but is now rarely heard. The overture was a joy. It was spirited and Muffitt’s very fast tempo left the audience (and orchestra, I suspect) breathless. It was a bit ragged at times, but that didn’t diminish the fun the piece communicated. What a rousing way to begin the season!
The excitement for the evening, however, was the homecoming of Lansing wunderkind cellist, Tanya Ell. A graduate of Okemos High School, the 32-year-old Ell now plays with the Cleveland Orchestra. She formed a piano trio with two musical friends (Diana Cohen, violin and Renana Gutman, piano) and the Trio Terzetto made a CD and has many gigs. They were the featured artists in the LSO performing of the Beethoven Triple Concerto in C Major.
Ell was impressive when she displayed her wonderful and intense cello tone. Each individual member of the trio had a time to show “her stuff” during the Beethoven and the entire ensemble was tight and expressive. Cohen’s violin playing was vibrant and Gutman’s piano skills were strong and musical. She acted as the catalyst between the orchestra and the soloists.
The piece itself, however, was unimpressive. Maybe three instruments are too clumsy to be the soloists for a concerto, or maybe Beethoven had gone back to an earlier model of the orchestra simply playing oom-pa-pas for the accompaniment. Also, Wharton Center (at least from the balcony) was not kind in showing the clarity of the ensemble. Toward the end of the piece, I wanted to just hear the fine Trio Terzetto without the orchestra.
The program ended with the sublime Brahms Symphony No 2, and in comparison to the Beethoven it was even more emotional and expressive than I remember. In addition to the long melodic lines, Muffitt also strengthened the inner voices which added texture to the work.
The low strings were warm and dark in those unforgettable Brahms’ chords. Muffitt had hornist Janine Gabory take a special bow at the end, but I feel flutist Richard Sherman and oboist Jan Eberle should have stood also.
The overall sound of the LSO was confident and balanced and Muffitt led them through a highly nuanced reading of the Brahms. Everything pointed to another great Lansing Symphony season.
The excitement for the evening, however, was the homecoming of Lansing wunderkind cellist, Tanya Ell. A graduate of Okemos High School, the 32-year-old Ell now plays with the Cleveland Orchestra. She formed a piano trio with two musical friends (Diana Cohen, violin and Renana Gutman, piano) and the Trio Terzetto made a CD and has many gigs. They were the featured artists in the LSO performing of the Beethoven Triple Concerto in C Major.
Ell was impressive when she displayed her wonderful and intense cello tone. Each individual member of the trio had a time to show “her stuff” during the Beethoven and the entire ensemble was tight and expressive. Cohen’s violin playing was vibrant and Gutman’s piano skills were strong and musical. She acted as the catalyst between the orchestra and the soloists.
The piece itself, however, was unimpressive. Maybe three instruments are too clumsy to be the soloists for a concerto, or maybe Beethoven had gone back to an earlier model of the orchestra simply playing oom-pa-pas for the accompaniment. Also, Wharton Center (at least from the balcony) was not kind in showing the clarity of the ensemble. Toward the end of the piece, I wanted to just hear the fine Trio Terzetto without the orchestra.
The program ended with the sublime Brahms Symphony No 2, and in comparison to the Beethoven it was even more emotional and expressive than I remember. In addition to the long melodic lines, Muffitt also strengthened the inner voices which added texture to the work.
The low strings were warm and dark in those unforgettable Brahms’ chords. Muffitt had hornist Janine Gabory take a special bow at the end, but I feel flutist Richard Sherman and oboist Jan Eberle should have stood also.
The overall sound of the LSO was confident and balanced and Muffitt led them through a highly nuanced reading of the Brahms. Everything pointed to another great Lansing Symphony season.
Monday, May 10, 2010
My Soggy Weekend in Nashville
My friends in Nashville had been imploring me to come visit their beloved Nashville Symphony in its new hall, the spectacular Schermerhorn Symphony Center, for years.
As luck would have it, the weekend that I took them up on their offer was the weekend of the largest flood in Nashville's recent history. Despite 36 hours of torrential rains and another 36 hours of living with no electricity, it was a surprisingly memorable weekend on many levels.
Nashville is a beautiful city, nestled amongst green hills, horse farms, and - yes - rivers. Many folks think that Nashville is the home of country music ONLY. Let me firmly say: that is not the truth! The mid-south city calls itself Music City for a reason. The symphony orchestra is impressive and there is chamber music, jazz, ragtime and of course country music galore. It seems like everybody within the city limits makes music in some fashion.
The town is justifiably proud of its four-year old concert hall. Named for the orchestra's recently deceased, long-time conductor, the $120 million (paid off) Schermerhorn Center is a neo-classical building with a stunning interior. It opened in 2006 to rave reviews from across the country for its acoustics and technical innovations. The 1800-seat main hall is a "shoe-box" design which is known for excellent acoustics.
Similar to the Dallas Meyerson Symphony Hall, the orchestra sits out in the audience, with about 200 seats behind the orchestra and in front of the 3500-pipe organ.
While most modern halls make a daring architectural statement, the new Schermerhorn is staid, classic and understated - and in a way the designers took a chance. Most donors want to see a bang for their buck and 120 million is quite a lot of bucks - especially since the orchestra only has a budget of (give or take) $12 million (by contrast, Detroit is $29 mil.).
But the fact that the hall was built and paid for shows a great commitment to the arts by the city of Nashville and reveals the substantial financial health of the community.
The interior of the hall is open, sunny (yes there are windows that allow natural light to creep in) and comfortable. And let's not forget about the acoustics. The music sounds immediate, live and the notes pop out at the audience. Although the sound is balanced and warm, it may be a bit too resonant - I would have to hear more music in there to say for sure.
The concert I heard featured the orchestra's new conductor, the energetic Giancarlo Guerrero conducting a program of Chopin and Mahler.
The Piano Concerto No. 2 of Chopin featured young pianist Ingrid Fliter, playing fluidly and with passion. I was quite disappointed in the music however, as the orchestra had little material to communicate with the soloist. It did not compare with the great concertos of Brahms or Beethoven. Guerrero did not seem to be engaged either. The timpanist's (positioned directed opposite the conductor and hard to miss) playing lacked definition and tone quality.
Following the concerto, the stage's elevator stealthy lowered the $130 thousand Hamburg Steinway grand to the lower level, making the orchestra set up for the Mahler easy.
After intermission, the orchestra was superb as they performed the demanding Symphony No. 5 by Mahler. Challenging the ensemble at every level, the Mahler was exciting and dramatic. It revealed a confident brass section, but a relatively weak violin section. This is Guerrero's first year. I am certain changes will be made.
Mahler's music is raucous, romantic, Klezmerish, and soloistic. Guerrero brought forth grand musical gestures and great passion.
As we left the concert, exiting into the non-stop rain, we went to our friends' house which is perched on a hill. Another couple joined us for dessert, leaving afterward to return to their house. 30 minutes later they rang the doorbell saying that the roads were under water - could they sleep over?
So for the next two days, three couples shared one house with no electricity, heat, air-conditioning, TV, Internet, or land-line phones. The grocery store located nearby was being run on generators, so dozens of people were sitting on their lawn chairs on the outside of the store, using the outside outlets to plug in powerstrips and give juice to their laptops and charge their phones.
Sadly we heard that the two gorgeous grand pianos and the organ console stored in the basement of the Schermerhorn Center were destroyed by the flood waters. The hall was closed until further notice.
Meanwhile back at the house, the three couples found ways to amuse ourselves. We were forced to connect - to talk with each other without interruption, take walks, read, play music and play cards. We had no choice but to relax. The gas stove and propane grill provided food and we all got to know each other again, for the first time.
When the lights burst open after 35 hours of darkness, we made a pact to get together next year, on the first weekend of May, to have three days of quiet and peace.
It was a weekend I won't soon forget.
As luck would have it, the weekend that I took them up on their offer was the weekend of the largest flood in Nashville's recent history. Despite 36 hours of torrential rains and another 36 hours of living with no electricity, it was a surprisingly memorable weekend on many levels.
Nashville is a beautiful city, nestled amongst green hills, horse farms, and - yes - rivers. Many folks think that Nashville is the home of country music ONLY. Let me firmly say: that is not the truth! The mid-south city calls itself Music City for a reason. The symphony orchestra is impressive and there is chamber music, jazz, ragtime and of course country music galore. It seems like everybody within the city limits makes music in some fashion.
The town is justifiably proud of its four-year old concert hall. Named for the orchestra's recently deceased, long-time conductor, the $120 million (paid off) Schermerhorn Center is a neo-classical building with a stunning interior. It opened in 2006 to rave reviews from across the country for its acoustics and technical innovations. The 1800-seat main hall is a "shoe-box" design which is known for excellent acoustics.
Similar to the Dallas Meyerson Symphony Hall, the orchestra sits out in the audience, with about 200 seats behind the orchestra and in front of the 3500-pipe organ.
While most modern halls make a daring architectural statement, the new Schermerhorn is staid, classic and understated - and in a way the designers took a chance. Most donors want to see a bang for their buck and 120 million is quite a lot of bucks - especially since the orchestra only has a budget of (give or take) $12 million (by contrast, Detroit is $29 mil.).
But the fact that the hall was built and paid for shows a great commitment to the arts by the city of Nashville and reveals the substantial financial health of the community.
The interior of the hall is open, sunny (yes there are windows that allow natural light to creep in) and comfortable. And let's not forget about the acoustics. The music sounds immediate, live and the notes pop out at the audience. Although the sound is balanced and warm, it may be a bit too resonant - I would have to hear more music in there to say for sure.
The concert I heard featured the orchestra's new conductor, the energetic Giancarlo Guerrero conducting a program of Chopin and Mahler.
The Piano Concerto No. 2 of Chopin featured young pianist Ingrid Fliter, playing fluidly and with passion. I was quite disappointed in the music however, as the orchestra had little material to communicate with the soloist. It did not compare with the great concertos of Brahms or Beethoven. Guerrero did not seem to be engaged either. The timpanist's (positioned directed opposite the conductor and hard to miss) playing lacked definition and tone quality.
Following the concerto, the stage's elevator stealthy lowered the $130 thousand Hamburg Steinway grand to the lower level, making the orchestra set up for the Mahler easy.
After intermission, the orchestra was superb as they performed the demanding Symphony No. 5 by Mahler. Challenging the ensemble at every level, the Mahler was exciting and dramatic. It revealed a confident brass section, but a relatively weak violin section. This is Guerrero's first year. I am certain changes will be made.
Mahler's music is raucous, romantic, Klezmerish, and soloistic. Guerrero brought forth grand musical gestures and great passion.
As we left the concert, exiting into the non-stop rain, we went to our friends' house which is perched on a hill. Another couple joined us for dessert, leaving afterward to return to their house. 30 minutes later they rang the doorbell saying that the roads were under water - could they sleep over?
So for the next two days, three couples shared one house with no electricity, heat, air-conditioning, TV, Internet, or land-line phones. The grocery store located nearby was being run on generators, so dozens of people were sitting on their lawn chairs on the outside of the store, using the outside outlets to plug in powerstrips and give juice to their laptops and charge their phones.
Sadly we heard that the two gorgeous grand pianos and the organ console stored in the basement of the Schermerhorn Center were destroyed by the flood waters. The hall was closed until further notice.
Meanwhile back at the house, the three couples found ways to amuse ourselves. We were forced to connect - to talk with each other without interruption, take walks, read, play music and play cards. We had no choice but to relax. The gas stove and propane grill provided food and we all got to know each other again, for the first time.
When the lights burst open after 35 hours of darkness, we made a pact to get together next year, on the first weekend of May, to have three days of quiet and peace.
It was a weekend I won't soon forget.
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