LA Opus
Reporting on music and the lively arts
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By Douglas Neslund
Once school starts in the Fall, one is rarely treated to a performance by a touring company of schoolboys. Even less should one expect to hear a boys’ choir that stands atop a virtual pyramid of professional choral ensembles, but this was clearly the exception.
Hosted and joined in song by the Los Angeles Children’s Chorus of Pasadena, the young men and boys from Windsbach in the Franconian portion of Bavaria, Germany, put on a demonstration of choral beauty that thrilled all in attendance at Pasadena’s Presbyterian Church.
The Windsbachers at home have their own choir school, and are supported by the German government. But in Germany, as in this country, the arts are under continuous threat that funding might be withdrawn at any time. Losing such a funding source at this level would likely destroy a living, breathing jewel of German arts and artists.
Difficulty of an all a cappella choral program was not at issue in the following repertoire drawn from a long list of musical morsels:
1.             Os justi meditabitur, by Anton Bruckner2.            Domine, ad adjuvantum me, by Gottfried August Homilius3.            Ich lasse Dich nicht, by Johann Sebastian Bach4.            Wie liegt die Stadt so wüst, by Rudolf Mauersberger5.             Lux arumque, by Eric Whitaker6.            A Hymn to the Virgin, by Benjamin Britten7.            The Creation, by Willy Richter (men's voices)8.            Kommt, ihr G’spielen, arranged by Melchior Franck9.            Das Echo, by Orlando di Lasso10.         Heidenröslein, arranged by Heinrich Poos11.         Wohin mit der Freud, arranged by Friedrich Silcher12.         Mein Mädel hat einen Rosenmund, arr. Lissman/Göttsche13.         Das Wandern ist des Müllers Lust, arranged by Helmut Barbe14.         Waldesnacht, by Johannes Brahms
Delicacy and utter beauty of tone, tight harmonic relationship among the various choral parts, and uniformity of vowel sounds, when coupled with an emotionally-charged interpretation by choirmaster Martin Lehmann, successor in 2012 to long-term Kapellmeister Karl-Friedrich Beringer, produced an unforgettable tapestry of sound.
The use of vowel colors throughout the spectrum is produced by choirs who learn to use that range without tearing the choral fabric. Mr. Lehmann’s conducting style, unlike so many conductors elsewhere, does not attract undue attention to himself despite exaggerated gestures, but is a very expressive act directly connected with the text and its interpretation. In the Bach, for example, he chose to “bend” the tempo, dynamics and internal choral balances to match the motet’s text. Such individualism is very dangerous, as it exposes the young singers to possible false starts, inadvertent “solos” and internal imbalances. Despite those risks, Maestro Lehmann succeeds in painting an aural portrait of each composer’s work that is distinguished and authentic.
There was nothing mechanical or suppressed in this performance. The music flowed, beautifully sung in every measure, every note. The Mauersberger is an 8-part wrenching series of questions as it asks why the city of Dresden needed to be bombed and leveled 69 years ago. The Whitaker requires very tight, unharmonic chord clusters perfectly performed. To end the concert with Brahms’ evocation of a forest at night was a benediction to be cherished. Two of the selections required a semi-chorus of eight singers to separate and alternate with the main chorus – perfection in tone, volume, and unity, especially in the cherishable Britten.
To begin the performance, Anne Tomlinson’s Concert Choir and Steven Kronauer’s Young Men’s Ensemble of the Los Angeles Children’s Chorus demonstrated why their respective ensembles continue to attract critical attention. A comparison of the German and American choirs would be difficult to gauge, but it’s clear the pursuit of perfection is a hallmark of both organizations.

All three choirs joined together under Maestro Lehmann’s direction to end the concert with Mendelssohn-Bartholdy’s beautiful "O Täler weit, o Höhen", and Ms. Tomlinson lead the assembled in James Erb’s familiar arrangement of the American folksong, "Shenandoah".
The Windsbacher America tour continues in New England through November first. Here is a YouTube sample (although this concert was even better!): choir's English website is here:

Photos courtesy of Mila Pavan and the Windsbacher Knabenchor
2 years ago | |
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By Douglas Neslund
Maestro Grant Gershon and the “full call” Master Chorale opened the 51st Season with a sensational gamble: a performance of Richard Einhorn’s musical setting, “Voices of Light,” to a 1927 silent movie by Carl Dryer entitled “The Passion of Joan of Arc” projected above the Chorale, Orchestra, and five soloists.
Einhorn’s score is not so tightly wedded to the film that it cannot be performed without it. On this night, the composer was present, and enjoyed prolonged applause and appreciation from the audience.
It is understatement to say the film is enhanced by the music. Indeed, without it, such a movie with its überdramatic focus on Joan’s face in all of its possible facets of pain and suffering made it difficult to watch. 

Actress Renée Jeanne Falconetti demonstrated the narrow range of emotions of a naïve young woman put through intense questioning by a “court” of sorts by leering priests, lawyers and others who clearly relished the torture, up to and including her death by immolation. The camera spent a lot of time transmitting Joan’s unrelenting emotional turmoil in close-ups that, as the film approached its dénouement, was finally too much and averting eyes were not uncommon in the large audience.
Musically, Einhorn’s composition is well-crafted, focused and displays the composer’s fine sense of the dramatic. The solo work, vocally and instrumentally, was excellent, most notably by Concertmaster Roger Wilkie’s violin and John Walz’s ‘cello contributions. The five vocalists included sopranos Hayden Eberhart and Claire Fedoruk, mezzo-soprano Adriana Manfredi, tenor Daniel Chaney and baritone Abdiel Gonzalez. Mr. Cheney’s voice has gained an extra measure of empathy since last heard, that fits his assignments here to a particularly fine and effective degree.

The Master Chorale performed at its usual first-rate level, responding to Maestro Gershon’s every request as they worked through the Latin and French libretto.
Images courtesy of Richard Einhorn @ 
2 years ago | |
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Julianna Di Giacomo (Amelia) Photo by Cory Weaver
by Rodney Punt

It was the closest Giuseppe Verdi’s ambitions would ever take him to an operatic King Lear, but he had to drop that project for a more feasible one.

Verdi’s masterpiece of misplaced intentions, A Masked Ball (Un ballo in maschera) opened at the San Francisco Opera on Saturday night in a lavish, if dated, period production, last mounted here in 2006. John Conklin’s costumes, worthy of a Zeffirelli extravaganza, go back to the 1977 era of Kurt Herbert Adler. If the production seemed deja vu, the work remains fresh and unhackneyed, a tragedy unique in the Verdi canon, with human frailties but no real evildoers.The action has a king’s misplaced love for the wife of his best friend leading to expected tragedy, but it is the manner of the story’s treatment that explores new shadings of human understanding with a dose of Shakespearean jest (left over from Lear?), keeping the tone on a lighter plane than the story’s ill-fated conclusion might suggest. With moods switching on a dime, Masked Ball foreshadows Verdi’s last two Shakespeare operas. Call it a tragedy with comic relief. Read full review on San Francisco Classical Voice.
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By Erica Miner

Internationally acclaimed, award-winning pianist Jessie Chang is known for her virtuosity, lovely tone, and unique, distinctive style. San Diego’s First Presbyterian Church (, which gives an extensive concert series often including members of the San Diego Symphony, hosted Chang and four of her SD Symphony friends (violinists Jisun Yang and Julia Pautz, violist Chi-Yuan Chen and cellist Yao Zhao) in an ambitious program featuring Darius Milhaud’s intriguing La création du monde, op. 81a, and Antonin Dvorák’s beloved Piano Quintet No. 2 in A major, op. 81.

In the early 1920s, as African and Afro-American fashion swept the Paris of Josephine Baker and Picasso, Milhaud journeyed to New York, where he frequented Harlem’s nightclubs and bars and mingled with jazz musicians. Captivated by the city’s “authentic” jazz culture, he returned to Paris with a great love for jazz, blues, swing, and the exotic, pulsating rhythms of Africa, and began to write in the jazz idiom. “The music was absolutely different from anything I had ever heard before, and was a revelation to me,” the composer said. “Against the beat of the drums the melodic lines crisscrossed in a breathless pattern of broken and twisted rhythms.” At Création’s premiere in 1923, critics declared the music “frivolous” - more appropriate for a dance hall than a concert hall. The same detractors changed their tune a decade later, when a highly popularized jazz style became the subject of their philosophical discussions.

Originally commissioned in 1922 by Ballets Suédois, a company contemporary to Diaghilev’s Ballets Russes, the six-movement work generally is performed in concert halls rather than as a ballet. In their rendition of Milhaud’s own arrangement for piano quintet, Chang and her friends impressed, not only with their virtuosity but also with their intuitive understanding of Milhaud’s bluesy harmonies, melodies, and irresistible foot-stomping rhythms. The players distinctly emphasized the “blue notes” of Gershwin and Bernstein and the rhythmic influences of Milhaud’s compatriots Ravel and Poulenc, captivating the audience with their energy and dynamism.

The ensemble’s virtuosic skills shone to great effect in the Dvorák quintet, which holds its own well-defined place among the pantheon of other monumental masterpieces of this genre; i.e. those of Brahms, Schubert and Schumann. Dvorák’s work is unique in that he melds his own individual expressive style with the Czech folk song and dance melodies of his native land.

Each movement offered opportunities for the individual instrumentalists to excel. The players’ enthusiasm stood out in their separate solos and also produced an impressive ensemble. Chang’s pianistic brilliance and appealing musical warmth were brought to prominence throughout the technically and interpretively challenging work, as she negotiated the fiendishly difficult piano part with seeming ease, especially in the spirited folk dance-based Furiant third movement, which has been known to defeat the most intrepid pianists. 
Yang’s aggressive leadership and penetrating tone were impressive. She and Pautz were perfectly matched, each standing out in their individual solo turns and blending seamlessly, as if one instrument, while playing together. So, too were Chen and Zhao, providing a solid, perfectly synched lower-range foundation to the upper voices. Dvorák, who played viola in his early musical life, clearly loved the instrument, and Chen rose to the occasion with his poignant, sensitive rendering of the extended viola solo in the Eastern European folk ballad-based Dumky second movement. From the opening solo in the first movement and throughout his solo turns, Zhao performed magisterially, at times evoking Dvorák’s cello concerto, the mainstay of the instrument’s solo repertoire. 
Chang, along with Yang, Pautz, Chen and Zhao, will perform again at San Diego Central Library on Nov. 9.

Photos used by permission of Jessie Chang
Erica Miner can be contacted at
2 years ago | |
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It has been announced that the conductor Christopher Hogwood has died at the age of 73. The official announcement on Hogwood's website reads, "Following an illness lasting several months, Christopher died peacefully on Wednesday 24 September, a fortnight after his 73rd birthday. He was at home in Cambridge, with family present. The funeral will be private, with a memorial service to be held at a later date." Read more on the Grammophone announcement.
2 years ago | |
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Gian-Murray Gianino as Xerxes
Review by Rodney Punt
Despite the attempts of sane minds to stem the destructiveness of war, its eons-long sway, arising from human greed or grievance, seems to be eternal.
The oldest surviving play in western civilization, Aeschylus’ The Persians, clocking in at just shy of 2,500 years, has been trotted out each recent decade as a cautionary tale against hubris whenever the USA goes to war. It relates the disastrous campaign by the superior forces of Persia against the seemingly outnumbered Greeks in the naval battle of Salamis, where the Persian armada was routed at great loss of life.
Aeschylus, who had participated as a combatant in the wars he wrote about, was both generous and shrewd when he set his version of the story from the perspective of the defeated Persians, not the triumphant Greeks. Generous in that the grief and humiliation of an enemy was humanized; shrewd in that references in the play by Persians to Greek battle prowess come across as the grudging admiration of a foe, not the jingoistic bragging of a victor.
(The Greek city-states, by the way, were by no means all on speaking terms with each other; many were in fact allied with Persia.)
In the 1993 aftermath of the first Gulf War, Peter Sellars mounted a blaring, glaring, and unsparing production of the play for Edinburgh and Los Angeles (the latter at the Mark Taper Forum), where the shade of dead King Darius screamed his regrets over a loudspeaker. Later stagings in the style of 24-hour news-cycles shook up Edinburgh and New York after the 2003 U.S. invasion of Iraq. This month, as the American response to the rise of ISIS draws our country into another campaign in Iraq to bomb fanatics into obedience, the Getty Villa in California’s peaceful Pacific Palisades, hosts the New York-based SITI Company for the latest version of The Persians.
The company as the Chorus
Refreshingly retro under company co-artistic director Anne Bogart’s direction at its premiere last Wednesday, its stylized choreography, elegiac tone, and professional elocution emphasized reflection over gimmick, pathos over bombast, and precision over pretension. Forgoing the attention grabbing but ultimately ephemeral stage effects of recent outings, this one left an afterglow of emotive substance to ponder.
It wasn't perfect, but it was mighty good. The story unfolds more as an ensemble piece than as individual tours de force, though there were some of the latter. Principal players emerge from within the Chorus and then blend back into the ensemble when their moment is over.
With nine transparent orange curtains draped as backdrop between the columns of the Villa’s northwest façade, the actors emerged one by one from its entrance door and assumed sculpted positions, sometimes as if they were statues speaking. The highly disciplined SITI Company’s declamatory speech (in Aaron Poochigian’s skillful new translation of the play) combined with dance and music to evoke the feel of ancient ritualistic theater as it delivered its timely message.
The stage area was the tiled exterior floor space between the Villa’s wall and the theater’s semi-circular seating. Bogart choreographed her nine actors in geometric dances -- sometimes individualized, often in unison imitation -- to achieve drama and action around and within the dialogue. The quirky movements recalled those associated with primitive Asian peoples who over the millennia populated vast areas from Asia Minor eastward all the way to North America.
The Chorus of Persian Elders initially attempts to calm Queen Attossa of Persia’s apprehensions of disaster, and throughout the play comments on the eventual disaster’s significance. ("The Greeks serve no king.") The Queen fears for her son, Xerxes, who has led the Persians on the campaign against the Greeks that only the death of her late husband, King Darius, had prevented from his leading.
Will Bond (Messenger) & Ellen Lauren (Queen)
A threadbare Persian messenger (the willowy, bare-chested Will Bond, tied to an oar for an impossibly long interval) is the first to report the news to the Persian court. Returning General Xerxes (an emotionally wounded, nuanced Gian-Murray Gianino) then arrives in brocaded tatters and chronicles to his mother the armada’s disastrous defeat by the wily Greeks. ("Athens has killed our sons.") Having lost his initial encounter, the rash Xerxes ("popped up with pride," according to his mother, and as history suggests trying to outdo his father) had doubled down his forces in an attempt to gain victory, but only found further defeat and the near destruction of all his charges.
The Queen (in a powerful performance of human distress by Ellen Lauren) wails in her grief at the news ("So much for the odds"), but engages in damage control at court for fear that Xerxes could lose standing in the empire. ("The people will be free to speak what they want.") She is hardly consoled by further woeful regrets of her ghostly late husband, Darius (a sepulchral Stephen Duff Webber), who curses his reckless son and laments the destruction of all he had built during his lifetime.
The Persians is not so much drama – there is no real confrontation or conflict – as an extended ode of lamentation. In its unfolding in this production, the burden of forward momentum fell on the Chorus, whose songs and dances (the latter sometimes almost painterly abstractions) energetically interpret the sad revelations. Their sweep was not always in perfect sync with details of the narrative, but that is only to quibble with what was throughout always an engaging larger picture.
Ring and Chorus around Queen Attossa
In that regard, the costumes of Nephelie Andonyadis (modern men’s suits with the ladies in floor length dresses) created a feel of kindred time zones between the ancient world and today. An arresting flourish was the long gold train behind the Queen's dress, which configured later as an encircling corral of protection. Darron L. West’s sound-design of percussive noises, rattles, and bells reinforced the action with punch and a feel of timeless profundity. Composer Victor Zupanc’s minor-mode songs were less successful, seeming a tad too comfy Elizabethan England for a tragedy set in an exotic ancient Persia.
Xerxes couldn't have known it then, but his hubristic rush to war at Salamis may just have saved what we refer to today as western civilization. Now it's our turn to think twice before we act in wars heading the other way.
Incidental grouse: While the seating duration on the nicely cushioned cement bleachers was no Greek marathon, it was uncomfortable without a backrest for an intermission-challenged 90-minutes.
---ooo---Photo credits:1. Gian-Murray Gianino as Xerxes (center) in "Persians" by Aeschylus at the Getty Villa. © 2014 Craig Schwartz. 2. The Chorus in "Persians" by Aeschylus at the Getty Villa. © 2014 Craig Schwartz. 3. Will Bond as the Messenger in "Persians" by Aeschylus at the Getty Villa. © 2014 Craig Schwartz. 4. SITI Company cast in "Persians" by Aeschylus at the Getty Villa. © 2014 Craig Schwartz. 

Review of Premiere on Wednesday, September 3, 2014, Getty Villa, Pacifica Palisades, CaliforniaRodney Punt can be contacted at

2 years ago | |
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By Erica Miner
The “red hot” Ailyn Pérez-Stephen Costello duo, having been likened to rock star couples, rarely perform together, each having his or her own separate career in opera houses worldwide. That makes their first appearance here since 2011, in recital to inaugurate the “New” San Diego Opera at the Balboa Theatre, a rare thrill. 
Both singers have won the prestigious Richard Tucker Award (2009 for Costello and 2012 for Pérez), and their joint performance at the Tucker Gala in 2012 was broadcast nationwide. They each enjoy international careers in multiple roles at renowned opera houses in San Francisco, Munich, Vienna, London, La Scala, Salzburg, Los Angeles, Philadelphia and New York. At SDO, The real-life married couple debuted together in the 2010 production of Romeo and Juliet, and returned in Faust in 2011. Costello then revisited during that season in Der Rosenkavalier and again in 2013’s Daughter of the Regiment. Pérez is slated to star in the much-anticipated Jake Heggie opera that will premiere in 2016.
The duo’s performance here on Sept. 5, which kicked off their fall US recital tour to Washington, D.C., Dallas and Philadelphia, included highlights from their recently completed Love Duets CD. It also marked the first time SDO has presented a performance event at the Balboa Theatre. 
From their first meeting at Philadelphia Academy of Vocal Arts to their many stage appearances in the ensuing years, Pérez and Costello have been recapturing their love in the most beloved romantic opera repertoire. Both voices are, in a word, gorgeous, and together and separately filled every inch of the hall. Add to this the singers’ versatility, dramatic and comic flair, and clear affection for opera and for each other, and the result was a breathtaking performance from start to finish. 
Given the couple’s extensive background in musical theatre, it was not surprising that they included beloved popular Broadway show hits in the program, which ended with the goose bump-producing “One Hand, One Heart” and “Tonight” from Leonard Bernstein’s West Side Story and an exquisite rendering of “If I Loved You” from Rodgers and Hammerstein’s Carousel as an encore. 
The singers’ operatic fare encompassed both standard and unusual repertoire, much of which is found on their recently released album. In a vocally stunning rendering of the impassioned duet from Verdi’s La Traviata, the heat sizzled between them at every touch and gaze. The delightful “Cherry Duet” from Mascagni’s charming but rarely heard L’Amico Fritz provided both singers an opportunity to make the most of their vocal beauty as well as their scintillating dramatic give and take. Their comic jousting, with suggestions of improvisation, in the popular Caro Elisir duet from Donizetti’s L’Elisir d’Amore was hilarious, and the epitome of entertainment for the delighted audience. 
Each artist also performed art songs and arias from great moments in operatic literature. Pérez sparkled in Je Suis Encore from Massenet’s Manon, charmingly portraying the coquettishness of the young heroine. In songs by Reynaldo Hahn, her shimmering voice and subtlety of tone kept the audience mesmerized. The highlight of her solo excerpts came with a panoply of de Falla songs, which ranged from glittering to smoky, spirited to introspective. Here she utilized the full spectrum of her dramatic talents, displaying vivacious Spanish temperament with every turn of phrase.
Costello’s vocal gifts were evident in each of his solo pieces. He expertly handled the complexities of Jake Heggie and Gene Scheer’s brilliant, witty “Songs in Homage to Poulenc.” The range of emotion and high tessitura of Paolo Tosti’s three songs, which could defeat the most resolute tenor, proved to be no contest for Costello’s crystal clear, powerful tones. And Salut, Demeure from Gounod’s Faust, perhaps the most demanding tenor aria in all of French opera with its fiendish, almost sadistic high “C,” came off without a hitch. 
Pianist Danielle Orlando’s impressive resume includes coaching at major musical institutions in the US and abroad, accompanying many of the world’s best-loved opera stars, and contributing her expertise to young artist programs. She has been featured on some of the most prominent TV shows in the US. Her experience was evident in her sensitive, solid accompaniment in this performance, displaying her remarkable technique without undermining the captivating performances of the soloists. She was the next best thing to an orchestra, in fact, providing much more than support to her singers. Her roulades in the difficult de Falla songs leapt off the keyboard; she evoked the sublime violin solo in the Gounod as effectively as any pianist could do; and she knew exactly which voices to emphasize in the Bernstein excerpts. 
It is easy to see why Pérez and Costello are equally at home as the ill fated couple in a full production of La Traviata or singing love duets on a recital stage. Their chemistry is palpable, their commitment to their art is inspiring, and the sheer intensity of their vocal virtuosity is mind-blowing. Having professed their admiration for the determination and grit shown in SDO’s journey from near-closing to resurrection and a brand-new 50th anniversary season, their willingness to add their outstanding talent and shining presence to celebrate SDO’s entry into a new chapter with this remarkable event bodes well for the company’s future. 
The rescue of SDO has inspired awe and admiration from opera aficionados nationwide. Opera America president Mark Scorca has praised the company’s example of cutting costs, simplifying operations and leadership in bringing the company into the twenty-first century. As SDO Director of Education Nic Reveles and board president Carol Lazier pointed out in their brief speech to open the proceedings, other companies have tried and failed to accomplish what SDO has done with such passion and commitment in a few short months. 
This stunning performance in the company’s season-opening recital, in a more intimate and manageable venue than the Civic Theatre, shows great promise for the remainder of the season, and hopefully for the seasons to come. The audience left the theatre with strains of “If I Loved You” still hovering in the air. Clearly there is no “if” in the love that the city San Diego feels for our Opera. 
Subscriptions and single tickets for the rest of the 2014-15 SDO season performances can be purchased by calling (619) 533-7000 or online at
Photos by Molina used by permission of San Diego OperaErica Miner can be contacted at
2 years ago | |
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National Youth Orchestra of the United States of America, Carnegie Hall, New York
By Douglas Neslund
 “Ensemble” is a term used to describe a group of people performing together, but its more intimate meaning was made manifest courtesy of Carnegie Hall’s Weill Music Institute in the form of the 120-member National Youth Orchestra of the United States of America in their debut performance at Walt Disney Concert Hall. Ensemble, in French, means “together” and in the more original Latin, “all at the same time.” NYO brought new meaning to the term as they concluded an eight-concert, transcontinental tour. This ensemble could contrast favorably with more than a few professional orchestras.
David Robertson rehearsing with soloist Gil Shaham
Their conductor is (or was) David Robertson of Santa Monica, now in his ninth season as music director of the St. Louis Symphony and who recently added the Sydney Symphony Orchestra to his responsibilities. NYO and Maestro Robertson were a perfect paring. His enthusiasm for both the music and the kids required that he wear white running shoes (as did they) to sprint across the stage to the podium and once to take leave of his post to saunter away in dance. But lest that sound trite or “Hollywood” let it quickly be a metaphor for a man living in ecstasy, one shared with the large, grateful Disney Hall audience.
Maestro Robertson also created a repertoire that was a perfect rainbow from start to finish, designed probably to showcase the prodigious talents of his 16-19 year old high school players, but forming an arc beginning with Leonard Bernstein’s Symphonic Dances from West Side Story and ending with the first encore of George Gershwin’s Porgy and Bess.
In the middle was one of the greater lesser-known gems of Benjamin Britten’s oeuvre, his Violin Concerto, Op. 15, with world-class soloist Gil Shaham taking partnering with orchestra to an even higher level, an absolute joy to experience. His music making through the extended cadenza was breath-stopping. 
Phrase-shaped deliciously delicate dynamics paired with precise attacks and releases were the rule throughout the evening.
Samuel Adams (b. 1985)
After intermission, a new work of only four minutes’ duration, commissioned for this AYO tour and dedicated to them by the composer, Samuel Carl Adams, who was in attendance and is the son of John Adams. Entitled “Radial Play,” the work’s foundation is texture, sound choirs competing with other sound choirs, instrumental intervals expanding and contracting within a scope of dynamics that explored the entire sonic range. This piece should form the kernel for a future major work. The 30-year old Oakland resident is obviously a composer to be noticed and followed.
The final piece in the two-hour-plus concert was Maurice Ravel’s orchestration of Modest Mussorgsky’s Pictures at an Exhibition. The degree of achievement of this ensemble was revealed in exquisite detail and precision, as small orchestral elements are given their opportunities throughout, often in great exposure. Woodwinds only slightly bettered the brass choir in finesse with some fantastic solo playing. One can name just one, as soloists were not credited in the programme, but since Chad Lilley of Maryland was the only alto saxophonist, it was he who "sang" the bewitching Mussorgsky solo with gorgeous tone that easily filled Disney Hall.
One would have to guess the name of players performing exquisite trumpet and flute solos– flawlessly and utterly musically.
There are places in the several scores that would challenge the world’s most professional players, but no worries with the NYO/USA.
The impression deepens when one realizes this group gathered for just two weeks to prepare the tour! Los Angeles may have benefitted from being the final concert on the tour. As such, the concert was also the “grand finale” for seniors, as graduates are not permitted to continue the following summer. Half the orchestra stood when asked if this was their denouement. Most of the seniors played in the AYO’s inaugural season featuring a tour to Russia. Sixteen of the 2014 orchestra are Californians. Seventeen professional orchestra principals formed the faculty training these young people, including two from the Los Angeles Philharmonic Orchestra: Thomas Hooten, principal trumpet, and Whitney Crockett, principal bassoon. Extensive auditions are predicate to finding the very best talent. Competition to wear the red peg-leg jeans, white sneakers and blue jackets must be excruciatingly tough.
San Gabriel's own Nathan Kirchhoff and his bassoon
Next year’s ensemble will tour China under the baton of Charles Dutoit. One could wish for another Los Angeles appearance next summer as a jump-off performance. Word of mouth would certainly help to pack Disney Hall.
Photos courtesy of AYO and internet sources
2 years ago | |
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by Rodney Punt
Dr. Sun Yat-sen Joseph Dennis and Corinne Winters
Photos by Ken Howard in Santa Fe Opera premiere
Lightning struck through the arid skies of New Mexico at the exact downbeat of Dr. Sun Yat-sen, a new opera by composer Huang Ruo and librettist Candace Mui-ngam Chong, which received its American premiere last Saturday at the Santa Fe Opera. Maybe that heavenly statement was trying to tell us something about this work. Or about what has happened in China over the past century.In subject and impact, the story of the man who liberated China from feudalism a century ago could well serve as a prequel to John Adams’ Nixon in China. Both works deal with propelling the historically hermetic country into the modern world. What sets them apart is the new work has a sensibility that is the product of two ethnic Chinese creators and is sung in the Chinese languages of Mandarin and Cantonese.The ephemeral Sun Yat-sen may have faded from memory in the English-speaking world, but he remains iconic to his own people. His role has been compared to that of George Washington, but a better choice might be pamphleteer Thomas Paine. Neither a battlefield general nor a populist firebrand, Sun was a bookish medical doctor who gathered words to inspire people while others built armies to conquer them. Working mainly in exile, often in the United States, his return as provisional president of the new Republic of China was short-lived. Yet Chinese of all political persuasions still claim him as the father of modern China.For full review, see San Francisco Classical Voice
2 years ago | |
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By Erica Miner 

 As an opera singer and interpreter of the lied repertoire, American native son Thomas Hampson has reached the pinnacle of accomplishment. However, few vocal performers of our day are as closely identified with American classical music as this renowned artist. On Friday, July 18, with the Boston Symphony at Tanglewood under the baton of British conductor Edward Gardner, he demonstrated this affinity with great expertise in his performance of selections from Aaron Copland’s Old American Songs.

 Despite Copland’s urban upbringing, he brilliantly depicted the decidedly non-urban character of the American folk persona in many of his works. This much-loved set of songs is no exception. Originally written for voice and piano and ultimately rescored for voice and orchestra, Songs premiered in stages during the 1950s, and was performed by such vocal luminaries as Peter Pears and William Warfield. Hampson has reemphasized his commitment to Copland’s music, and especially this particular work, in his comprehensive list of the individual song texts on his Hampsong Foundation website (

From the first to last of the six chosen pieces, which varied from campaign song to ballad, lullaby to minstrel melody, Hampson held the audience in thrall with his vocal ease and agility and deep understanding of Copland’s distinctly American style. With grand gestures, canny emphasis on the folk elements of each song with carefully crafted pronunciation, and a plethora of facial expressions that captured the subtleties of the form, he created an atmosphere entirely American in character that only a true devotee of the great composers of our heritage could carry off. Alternately charming and commanding, Hampson acted out the text without overplaying, displayed his virtuosity with the confidence and authority of one who could almost channel the composer, and as if that weren’t already deeply satisfying, treated the delighted audience to two captivating encores. In his rendition of this music, which he clearly loves and comprehends fully, he came across as an American musical hero for our time.

The Copland songs were bookended by two orchestral tours de force led by Maestro Gardner, in his BSO debut, replacing Christoph von Dohnányi. With this legendary virtuoso Boston ensemble as his instrument, Gardner made an impressive showing. His background as an opera conductor at world-renowned houses from the UK to New York and Paris served him well in Richard Strauss’s technically demanding Till Eulenspiegel’s Merry Pranks. With operatic flair, Gardner showed an outstanding ability to control the widely varied dynamics, from the subtle opening in the strings to the bombastic portrayals of the title character’s outrageous antics in the winds and brass; and his energy and enthusiasm kept the audience rapt until the final “Perhaps it was all a joke after all” ending.

A good conductor should most of all be a great communicator, and in the case of an orchestra of the BSO’s greatness, also should be able to guide the ensemble in such a way that the players are free to express their talents to the maximum. In the Strauss, Gardner allowed the individual “star” players, notably the principal French horn and oboist, to display their striking abilities to stunning effect, while allowing for the entire ensemble to support their colleagues’ exceptional solo playing with the outstanding team effort for which the BSO is so renowned.

The maestro’s rendition of the Beethoven Seventh Symphony was less effective. This work, performed by the BSO since their second year of existence (1882), has become almost an anthem for the orchestra, beloved by and familiar to Boston audiences. Gardner’s approach to the Poco Sostenuto introduction to the first movement Vivace was pleasingly lyrical, almost lilting, and the tempo moved along swiftly without feeling hurried. One hoped for a bit more of that lyricism, and also more depth of feeling, in the profoundly moving Allegretto, but it still flowed nicely. However, the Presto third movement felt rushed, and the final Allegro con brio was taken at such a rapid clip that the notes flew by precipitously without properly being heard. There’s no question that the BSO’s brilliant violin section can play these passages without breaking a sweat. A slightly less rushed tempo would have allowed the audience the luxury of hearing every single note impeccably played in the context of the exquisite whole of Beethoven’s masterwork: in other words, to quote a well-worn orchestra players’ phrase, “every note a jewel.”

Nonetheless, Maestro Gardner gave the overall impression of a remarkably gifted and already accomplished musician who will have much to offer as his career progresses.


Photos used by permission of Hilary Scott
Erica Miner can be contacted at
2 years ago | |
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