Sally lays out her heart and soul onto the stage and her chemistry with the talented composer and pianist, Matthew Martin Ward, is unmistakable. At the end of the show, she turned to him and said, “What would I do without you?” to which he replied, “Back at you.” He then leapt up from the piano and they embraced in a kiss which led them into their encore, “Here's to Us.” [more]
An astounding array of Broadway singers triumphantly performed without any electronic assistance at Scott Siegel’s Broadway Unplugged 2015 at The Town Hall. All were terrific. Several were magical. Most pre-1960’s shows were unamplified. The act of listening was different then. Technology has changed all that. Some believe performances are more nuanced today. Others miss the excitement of hearing “real” voices. Whatever one’s opinion, Scott Siegel assembled a program that clearly showed what we’ve been missing lately. [more]
His commanding voice often begins with a light and an expected approach to these often very familiar songs and then veer off into surprisingly much deeper tones and shift back and forth. Like the artist he emulates, Mr. Malavet is a master of phrasing as well as a charismatic vocalist. He is also a highly engaging entertainer making great use of his marvelously expressive face. He wears a cool suit and for one number puts on a fedora. With strategically used blackouts, dimness, and brightness, the show’s lighting achieves compelling visual effects that convey the moods of the songs. [more]
Neglected, ignored and then forgotten, Harry Lawrence Freeman's opera "Voodoo" was brought back to the stage in a compelling production in June, 2015. The opera was last seen at what turned out to be its only production in 1928. Now, more than three-quarters of a century later, it has been brought back to life by Morningside Opera, Harlem Opera Theater, The Harlem Chamber Players and scores of named and unnamed supporters and fund-raisers in the Harlem music community. [more]
Over a period of six hours, on an early summer afternoon and evening at Symphony Space, twelve choruses gave “mini-concerts” of 15 – 25 minutes, following one another with little break except an emcee's brief, efficient and entirely cheerful introduction of the next choir. Each group of singers performed pieces that, in one way or another, represented that particular group's identity. Some groups, by their very nature, commit themselves to just one kind of music – music for men, or for women; Jewish music; inspirational songs; contemporary composers' works – though a closely circumscribed repertoire rarely limits the breadth and richness from which choral directors can choose works to perform. Part of Choralfest USA's purpose, in fact, is to celebrate this richness. [more]
Hobbling on crutches and with one injured leg encased in a large boot, all due to a recent automobile accident, Sahr Ngaujah made a dramatic entrance from the wings onto the stage of The Town Hall to appear at "Broadway by the Year: The Broadway Musicals of 1991-2015." Joined by the accomplished guitarist Ricardo Quinones, the charismatic Mr. Ngaujah passionately sang “Sorrow, Tears of Blood,” from 2009’s "Fela!" In which he starred. It was a galvanizing episode that came near the end of a concert that had been packed with powerhouse sequences. [more]
“It’s been a rough two years,” Mr. Jackson observed. Deaths in his family, a disintegrating romantic relationship, and becoming sober, were all detailed during his heavily autobiographical patter that was integral to this presentation. This quirkily handsome Broadway performer dazzled his fans with a variety of songs and personal anecdotes during this 95 minute presentation. Being openly gay has been characteristic of his career and this fact was expressed simply during his commentary. [more]
St. Peter's Episcopal Church in Chelsea was used to near perfect effect as the setting for all three acts of the opera. "Tosca"'s first act, which does, in fact take place in a church was, precisely because of the narrative, “easy” to stage, but the successful transformation of the St. Peter's Chelsea chancel into first, the emotional claustrophobia of the villainous chief of police's quarters and then, for the last act, the open air witness to revenge and tragedy resulted from the imaginative, effective stage direction and set management of Chelsea Opera's co-founders Leonarda Priore and Lynne Hayden-Findlay. [more]
Now in its fourteenth year, the remarkable Ensemble for the Romantic Century, founded by Eve Wolf, has been presenting musical programs of intellectual coherence and imagination, examining themes and subjects central to the development and character of the “long” nineteenth century, from the Enlightenment to the end of the Victorian Era. ERC's most recent production, The Sorrows of Young Werther, represents the best of this kind of production. Rich and subtle interdisciplinary critical and creative thinking informed the careful merging of a dramatic presentation of Goethe's novella, The Sorrows of Young Werther with Robert Schumann's Dichterliebe. The result was an evening of considerable artistic beauty and intellectual rewards. [more]
“Is there anything left to discuss? There IS!” exclaimed Rob Fisher, artistic director of the 92nd Street Y’s Lyrics & Lyricists Series about "Fiddler on the Roof," in his introductory remarks to the concert “To Life! Celebrating 50 Years of ‘Fiddler on the Roof” with Sheldon Harnick.” A violinist and Klezmer clarinetist, who played tunes from that show, then joined him briefly before they settled in on stage with the other band members. The format of the presentation was to commemorate this milestone anniversary of that classic Broadway musical in a unique fashion. “Those expecting to hear the entire score of 'Fiddler on the Roof' will be very disappointed,” explained "Fiddler on the Roof"’s 91 year-old lyricist Sheldon Harnick, and the concert’s affable host. “These songs are twenty outtakes that were not heard in the final version.” [more]
On May 6 and May 7, 2015 at Carnegie Hall, presenting a concert version of Franz Werfel and Kurt Weill's 1937 The Road of Promise, (Der Weg der Verheissung), The Collegiate Chorale conducted and directed by Ted Sperling undertook a near-daring project … and failed. The performance was uneven at best. The work was more interesting for its problems than its ultimate beauty or success. [more]
Founded by Albert Bergeret in 1974, he continues to this day as artistic director for the NYGASP, and on this occasion served as director and conductor, with an assist by choreographer David Auxier on the direction. A daunting and impressive achievement, this production also marked the conclusion of the first season in which the NYGASP performed in their new residence: NYU Skirball Center for the Performing Arts. A beautiful and state of the art theater, this is a space that can handle the grandeur and scale of a G&S piece. The theater provides remarkable production value, including a massive pit to house the almost thirty person orchestra. Thanks to the latest in acoustic engineering and innovation, the music of "The Gondoliers" was robust and invigorating. Led by Bergeret, the score filled every inch of the theater and truly transported the audience to another time and place. [more]
“Life Is,” from the 1968 Kander and Ebb musical "Zorba" as grandly performed by it’s original Tony-nominated cast member, Lorraine Serabian, was the show stopping highlight of the historical survey concert, Broadway by the Year: The Broadway Musicals of 1966 – 1990. With fiery hued hair, in a flowing black dress, tied with an elaborate gold belt, Ms. Serabian, fabulously recreated her theatrical moment of glory with this hard-edged anthem. Her deep, rich, expressive voice was matched with intense facial expressions that ranged from fierce to joyous. Mesmerizing on all levels, her performance of this one song felt like an entire concert all by itself. She was initially the understudy in the show, and was picked by director Harold Prince to replace the first actress during the out-of-town tryouts. [more]
In both concerts, eight artists played and performed together in the sort of flexible, happy collaboration which is possible only among colleagues of equal discipline, excellence and experience on the one hand and extended, mutually respectful friendship on the other. The Parthenia quartet members – Rosamund Morley/treble viol, Lawrence Lipnik/tenor viol, Beverly Au/bass viol and Lisa Terry/bass viol – were joined by theorbist Richard Stone, soprano Amy Burton, actor Paul Hecht and conductor Gary Thor Wedow. [more]
Maestro Steven Reineke, backed up by the largest pops orchestra in the United States, took us on an astonishing musical journey. The song selections made the perfectly-paced concert one of the most memorable nights of music in the past decade. [more]
The program consisted of three fairly short works, an intermission, and then the complete, relatively unknown Maddalena ai piedi di Cristo by Venetian Baroque master Antonio Caldara (1670-1736). The Church of St. Mary the Virgin provided an especially marvelous venue for this concert: the organic warmth of the American Classical Orchestra's period instruments and the singers' felicitous precision were exceptionally clear and clean in the high, mysteriously golden American Gothic space of The Church of St. Mary the Virgin in the Times Square area. The concert suffered only one difficulty: it was too long. Some people left starting around the middle of the second half; fortunately, their furtive, tip-toed departure did not disrupt the concentration of the musicians or compromise the performance. [more]
Sandy Duncan and Don Correia, wearing shabby tuxedos, top hats, and Converse high top sneakers, beautifully dancing and singing, “A Couple of Swells,” was one of the many highlights of the 92 Y’s Lyrics & Lyricists Series’ "All Dancing! All Singing! Irving Berlin in Hollywood." Ms. Duncan and her husband Mr. Correia vibrantly demonstrated why they have had such enduring careers in show business, which have included a number of appearances on Broadway. Guest starring here, they effortlessly recreated that famous number from MGM’s 1948"Easter Parade," originally performed by Judy Garland and Fred Astaire, who replaced the injured Gene Kelly. The tune itself dated from 1917, when it had the unpopular title and lyrics, “Smile, and Show Your Dimple.” [more]
On the evening of this performance under review, the audience was treated to a rare surprise: Victoria Bond, writer of the music, was not only present but was also the conductor for the evening. Gramercy Trio, under Bond’s musical direction, skillfully maneuvered through the score. Filled with atonal and complex orchestrations, Bond’s music strikes a fine balance between some very vibrant and cheery melodies followed by quite a few haunting and more chaotic progressions which coincide with the show’s climax. [more]
Clyne's music is a combination of electronic and recorded material on the one hand and live performance on the other. In both process and product, Clyne incorporates and is inspired by other creative media; her works can “stand alone” or in conjunction with their original collaborators. Two works originally conceived in collaboration were performed on April 23 “on their own.” Fits + Starts for amplified cello and tape (2003) was performed without dancers; Rapture for clarinet and tape (2005) was presented without the visual components that accompanied its original performances. [more]
The Nordic Fiddlers Bloc consists of Olav Luksengard Mjelva from Norway (hardanger and octave fiddles), Kevin Henderson from Shetland (fiddle) and Anders Hall from Sweden (fiddle and viola); the three met informally through mutual friends and colleagues and have been playing together seriously for some five years. Each artist has an extensive and stellar career apart from and in addition to Nordic Fiddlers Bloc. They live their professional lives in overlapping spheres of teaching and composing as well as collaborating, recording and performing with other artists and groups. As the competently English speaking Nordic Fiddlers Bloc, they have developed a congenial performance style that alternates humorously self-deprecating but helpfully informative banter with individual “tunes.” The evening had the feel of both formal concert and calmly funky gig. [more]
Shahid Parvez Khan comes from a long line – seven generations – of musicians and sitar masters. This fact is emphasized in both the musician's own and the World Music Institute publicity materials. Shahid Parvez Khan's ancestry is critically important for those who are well versed in both historical and contemporary Indian culture and music, but for those who know little about Indian music, it figures only as an interesting biographical fact. What is much more relevant to the listening experience is Shahid Parvez Khan's assertion that “the Sitar and Self are identical entities,” a statement confirmed by the experience of simultaneously watching and listening to the sitar player as well as his colleagues. [more]
The Hindemith was beautifully performed and the second half of the concert was successful. But the first half, the Adams, was not a success. It was not an abject failure – Hayes wouldn't permit that – but the performance did not produce the kind of considered satisfaction that New York Choral Society concerts typically do. The reasons for this lay in the nature of Adams' piece and in particular features of the performance itself. [more]
The Handel and Haydn Society – sometimes called the H + H Society, for contemporaneity's sake – is celebrating its Bicentennial with a number of special short-term and long-term events and programs. One of these, most recently, was the sponsorship of a Music Critics Association of North America Institute, a two-day long immersion for eleven MCANA members in the current life of the H + H Society. The informative, intelligent and extremely well-organized Institute was conceived primarily by Marie-Helene Bernard, H + H's Executive Director since 2007, and administered with graceful, quietly effective attention to detail by Matthew Erikson, H + H's Public Relations and Communications Manager. The MCANA Institute provided opportunities for learning and robust exchanges of insights and ideas; it was an affirmation of the H + H Society's place in the contemporary world of classical music. Though the purposes of the MCANA Institute were primarily musical, it also provided access to information about the Society's positive, effective engagement in the cultural life of Boston as a whole. [more]
December 12, 2015 marks the 100th birthday of Frank Sinatra. Sinatra’s singing career spanned seven decades starting in the 30’s until shortly before his death in 1998, winning him eleven Grammy Awards. Even those born after his death know his iconic songs such as “Love and Marriage,” which was used as the theme song of the TV sitcom Married with Children. Sinatra is one of the best-selling artists of all time, having sold more than 150 million records worldwide. He is considered by many to be "the greatest singer of the 20th century.” Led by the energetic and creative Music Director Steven Reineke, The New York Pops Presents "Let’s Be Frank" affectionately and admirably paid tribute to the prolific and unique singing career of Frank Sinatra with the help of four robust and polished guest singers, Storm Large, Tony DeSare, Frankie Moreno and Ryan Silverman. [more]
Gotham Chamber Opera's hour-long program at the Metropolitan Museum, entitled "The Tempest Songbook," took these truisms into account by alternating Shakespeare settings by the contemporary Finnish master Kajia Saariaho, with Baroque-era settings attributed to Purcell. Those who found Saariaho's language unfamiliar or taxing were given a reassuring figured bass to fall back on, while those who found the typical Baroque Aria da Capo form tediously repetitious were never more than a few minutes away from the next of Saariaho's elegant and colorful modernist miniatures. Soprano Jennifer Zetlan and bass-baritone Thomas Richards were both excellent, sounding completely at ease and consistently expressive in this sometimes challenging music. The ensemble of Baroque instruments was conducted with élan by Neal Goren, and the production directed and choreographed elegantly by Luca Veggetti. [more]
As part of their splendid yearlong Bicentennial Celebrations, the Handel and Haydn Society of Boston have been presenting major choral works that have figured prominently in the Society's long distinguished history. In March 2015, in the very depths of Lent, the featured work was Bach's extraordinary "St. Matthew Passion." Any successful performance of this monumental work demands elegant artistic discipline and a coherent intellectual and creative vision; the Handel + Haydn Society's Artistic Director and Conductor, Harry Christophers, the Handel + Haydn Society Period Instrument Orchestra and Chorus, the six wonderful soloists, and the Vocal Arts Program Young Women's Chamber Choir and Young Men's Chorus all effectively brought the necessary rigorous musicianship and artistic clarity to this performance. The result was indeed wonderful. [more]
In the course of Mr. Siegel’s erudite remarks, the work of key figures responsible for these often classic musicals recurred. Composer and lyricist Cole Porter was represented by four shows, composer Richard Rodgers and lyricist Oscar Hammerstein II by three shows, as was composer Jule Styne. Most monumental was the achievement of legendary producer David Merrick who was responsible for bringing five of the shows to Broadway. [more]
Eleonor Sandresky is not the first composer to be attracted to Parthenia's affinity for collaboration with contemporary music-writers. Her new piece, “John Donne Songs Without Words,” was written for and with Parthenia and Patton, as Sandresky herself explained in her brief introduction of the piece to the March 22 audience. Sandresky builds on these musicians' ability to make their instruments accomplish everything that Baroque composers expected them to as well as much that their seventeenth century sensibilities would never have imagined. Sandresky assumes, as well, these musicians' wide-ranging intellectual literacy, their willing ability to stretch their performance skills and purposes, and their exceptionally good-willed, down-to-earth lack of pretense. [more]
Lyrics & Lyricists artistic director Deborah Grace Winer was the show’s host. Charming, and with dry humor and passion, Ms. Winer delivered informative and entertaining commentary between songs. Her funny material included riffs on Seinfeld, the high cost of pastrami, and King Kong climbing The Empire State Building: “Not everyone makes it in New York.” [more]
The pieces chosen by Crawford for this concert represented the very best of the Viennese Classical period: each piece in the evening's repertoire was a unique marriage of deep drama and expansive beauty. On this evening, the particular mission of the American Classical Orchestra – to play European masterpieces of orchestral music on period instruments – was brilliantly clear in both purpose and effect. Designed to enable audiences to hear what composers, their musicians and their audiences actually heard two or three centuries ago, this orchestra transported contemporary audiences back in time, revealing what the edginess and innovation of the past first sounded like. [more]
The concert’s triumph was due largely to its headliner, the incomparable Sutton Foster. Since her Tony Award-winning portrayal of the title character in the 2002 Broadway production of Thoroughly Modern Millie, she has proven herself to be one of the most versatile leading ladies to grace the Great White Way. Her brassy, yet lithe voice soared over the melodies of Cole Porter classics; her feet glided precisely across choreographer Michelle Elkin’s tap number (yes, a tap number at a New York Pops concert!); and her storytelling chops shone during heartrending takes on a couple of choice Sondheim ballads. She is a true triple threat in a way that most, if not all, of her Broadway diva contemporaries simply are not. [more]
Recently, as part of the Miller Theatre at Columbia University's Composer Portrait series, Augusta Read Thomas was briefly interviewed between performances of recent and new works for string quartet and percussion. The first half of the program featured the world premiere of Capricci for violin and viola (2014) and of Selene for percussion quartet and string quartet (2015) as well as “Invocations” from Sun Threads for string quartet (1999). The second half of the program began with an informal interview between Thomas and percussionist David Skidmore and then concluded with the New York premiere of Resounding Earth. [more]
