Theatre ,
The nice man cometh
Kansas City is known as a sports town-well, sports and barbecue. The city arts, on the other hand, are in a constant state of self-renewal, fueled by fickle audiences who, like swarms of thriving organisms, need what they want and want what they need - whether it is Brunhilde or Britney or Brancusi. The fine arts communities on both sides of our state line have long provided cultural sustenance at the risk of financial failure; the Harriman-Jewell Series, for example, shepherded a young tenor named Luciano Pavarotti to his world début in 1973. Our museums, galleries, theatres, conservatories, and organizations repeatedly upend the truths supposedly set forth by demographic charts that the arts are secondary and their worth only momentary: the state of the arts may always be such that the batter's score is at 3 and 2 at the top of the ninth, yet sometimes all that is needed is a pinch hit to bring the man on third base home.
When the Kansas City Repertory Theatre announced in 2007, that its new artistic director would be the thirty-something Chicagoan Eric Rosen, the search committee was gambling on youth and youth's ability to summon something stirring in an environment when every night is opening night and the show begins at the top of the ninth inning. For Rosen, who co-founded and took the reins of artistic director of About Face Theatre in Chicago in 1995, this was one more step in a direction that he has been moving since college, when he studied with the acclaimed director and Northwestern University theatre professor, Frank Galati. As his one-year anniversary at the Rep approaches, Rosen spoke about his new home and the promise he has kept to himself.
Leading the Rep is different from working in Chicago, he explained. "It's a change from being one among a relatively respectable crowd of three hundred theatres to the largest non-profit theatre in the city." When he entered into discussions with the Rep's committee he made it clear that he was only interested in work he could be "passionate about, without pandering or aiming for the squarely middle class"; that would not be "the formula for success" for him. He made a special trip to Kansas City in early 2008 to speak to the Rep's subscribers and to explain his first selections, which ranged from an avant-garde revival of The Glass Menagerie to his own musical staging of the novel Winesburg, Ohio. Initial response was positive, and he noted, "We didn't get a single letter of complaint all season. My staff tells me that never happens." Rep audiences are dynamic and alert, he noted, the same as they are at Steppenwolf Theatre in Chicago or at any other venue. Rosen chuckled, "There is nothing magical about going to the theatre."
Yet, in Rosen's ease in collaborating with many of the American theatre's cutting-edge artists (like Mary Zimmerman and David Cromer) and in his respect for area audiences is something, if not magical, then something equally marvelous seems to be developing: we are watching a nationally-acknowledged career come into focus. What is even more tempting to report - it is not about him. Rosen's enthusiasm came through when he discussed both fellow artists and audiences, as though he were just one of the Mickey-Rooney-Judy-Garland-hey-let's-put-on-a-show-kids, rather than a National Endowment for the Arts honoree. "It all depends on the quality of the artists," he said. "What's great is when you move aesthetically to a new place." He went on to cite his work with Mary Zimmerman on The Arabian Nights as "really renewing and a positive experience." As he discussed how he arrives at a new season-"I juggle forty plays I'd like to do in my head and the artists who I think will work. Do I have to go outside for talent? Everyone's schedule is impossible"-Rosen finally mentions his own work, not as an afterthought so much as a reasonable way of including everyone in the Rep's experience. "I want to make sure the Rep is home."
He looks for balance in a season's productions. Revivals can be fun-with Winesburg, Ohio, "most people think they know it, but it takes training to see something more in it. It's harder to see new things; you have to gain the audience's trust. You want to make it a worthwhile experience. This season, there were challenges in things I didn't think about, like an actor's injury in The Arabian Nights, when he had to be replaced."
The Rep's two theatres, Spencer Theatre on the UMKC campus and the newer Copaken Stage in the H & R Block Building near the Power & Light District, also allow the company a balance that Rosen enjoys. For next season's M. Proust, for example, only the front half of Copaken Stage will be used. "It is a matter of "creatively tailoring these rooms." Niceness and casualness aside, Rosen is direct in his views about what theatre should be, and here he brooks no balance. "I want to work on plays that can only happen in the theatre. Too many plays I read now are like screenplays. You have to have an understanding of how theatre works. Here's what it takes to sustain the illusion-you want to create a totally different world."
In his promise to himself neither to compromise his sensibility, nor to merely entertain audiences, but to find a balance between work that is "social, moral, and intellectual," Eric Rosen believes his expectations for his first year at the Rep have been surpassed. It would be wrong to argue with success or with someone so committed to theatre of the people, by the people and for the people, yet who only calls himself "a showbiz guy."
Fiona's List for April 29 - May 10
Fiona's List for April 29 - May 10
Welcome to the new KCMetropolis.org! We think you will love all of the easy new improvements this website offers. Click around and enjoy six months of Kansas City's performing arts all by issue (Go to Past Issues to see articles from October 2008 through today.) If you want to access the 2009 calendar of performing arts events, simply click on KC Events on the top navigation bar.
Fiona's personal favorites for the next 12 days include the Conservatory Wind Ensemble with Joseph Parisi, conductor, on Wednesday the 29th; Shih-Chieh Chen's doctoral violin recital on Thursday the 30th; the KC Symphony Chamber Players on Friday the 1st; a doctoral piano recital by Shoko Kinsella on Saturday the 2nd; the 30th annual Bachathon on Sunday the 3rd; the Philharmonia of Greater Kansas City Season Finale Concert featuring Yu-Fang Chen, Viola, on Sunday the 3rd; Tovah Feldshuh in Golda's Balcony on Sunday the 3rd and Monday the 4th; the Kansas City Chorale Double Chorus Concert on the 3rd and the 5th; Brielle Frost's flute recital on Wednesday the 6th; the William Baker Festival Singers on Friday the 8th; Ben Savevich Violin Studio Class Recital on Friday the 8th; the Medical Arts Symphony on Saturday the 9th; and Mendelssohn's Elijah by Dr. Arnold Epley's new group, the Musica Vocale on Mother's Day the 10th. That is a very decent variety of offerings.
My out-of-town pick is a Masters organ recital with Ekaterina Gotsdiner at KU on Monday the 4th.
For something different, try one of the other "fiona favorites" found just below the theatre listings on fiona's list. There's something for you for every night of the week. Some of them are not available every week. My recommendation this time is GIANT STRINGS (MAX BERRY, guitar and MICHAEL OSHIVER, harp) on Thursday the 7th on the Plaza.
The bargain of the week is directly related to last year's pick of the entire summer. If you're not already a fan of Summerfest (fabulous chamber music concerts on 4 consecutive weekends starting July 11 this year), this is the year to discover them. The Friends of Chamber Music is offering Summerfest subscribers a special buy one, get one FREE to their International Chamber Music Series during their 09 -10 season. That is a phenomenal offer in my opinion. To save even more, Summerfest has early bird pricing if purchased before May 1st - THIS FRIDAY. (Central Ticket Office will give you all the details at 816-235-6222.)
Fiona recommends another list of events for families, friends, educators, & neighbors of children 10 and under. Miss Jackie's May list includes Jazz Storytelling, Marble Days, Read to a Dog, Truman's 125th birthday celebration, puppet shows, Cinco de Mayo, Asian Heritage Festival, 50 cent train rides, and more. To receive her monthly list, send an email to: missjackielists@gmail.com
Until next Wednesday morning,
Fiona
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Dance,
It's all about fusion!
When Karole Armitage was a student at the North Carolina School of the Arts, ballet was upstairs and modern dance was in the basement, and fusion of the two was unthinkable. "Now fusion is what it's all about," said Armitage at a recent talk at the Kansas City Public Library. Audiences for the upcoming Kansas City Ballet concerts will have a chance to enjoy three different takes on fusion: two world premieres -- Cantus Arcticus by Armitage and Salute by Kansas City Ballet Artistic Director William Whitener -- and a reprise of Nine Sinatra Songs by Twyla Tharp.
The motions of birds are abstracted and subtle in Armitage's Cantus Arcticus. Birdsong is central to the music, alternating with long, sustained melodic lines played by an orchestra, and the dance responds to both forms. The flock is what interests Armitage the most, a flock of women freed from sorcerers in legends of old. This is a flock in the here and now, made up of individuals. While they share the same moves, they do them at different times, with different timing and in different directions. "Cubism in motion" is how Armitage describes the choreography. But unlike a fixed painting, the flow of motion is more important than hitting positions. What stands out are the leg extensions of the ballerinas, which seem to go on and on and resolve imperceptibly, a signature of Armitage's own dancing and now of her choreography. To keep us interested, the flow sometimes breaks. A member of the flock bends down; another strikes the floor. A third walks off like a bird that has just landed from a lyrical flight.
Every so often the flock gives way to an intense duet. "Separate but connected," says Geoffrey Kropp, who performs one of the duets with Angelina Sansone. The dancers are far apart like birds on distant branches calling to each other, and it's the connection across the void that's so powerful. Kropp finds working with Armitage different, experimental, enjoyable. She comes to rehearsal with a definite idea. How can you get there? she asks, and has the dancers experiment until they do what she's looking for. Her movements push Kropp's long body into unfamiliar territory. She asks him to thrust his ribs sideways, roll his shoulders backward, curl his long arms inward or stretch them out as wide as possible.
For Deanna Doyle, who dances another powerful duet with Danny Ryan, Armitage's choreographic process and movement vocabulary are more familiar. While she was a student at the University of Kansas, she starred in Broken Glass, a dance that Armitage created for the University Dance Company. That dance marked Armitage's return to Lawrence, where she grew up and took her first dancing lessons. From there she went on to the North Carolina School of the Arts, the Balanchine-centered Geneva Ballet, and the Merce Cunningham Company before forming her own dance ensemble. Now known worldwide for her works for Armitage Gone! Dance and other ballet and modern dance companies, she has also won success as a choreographer for film, MTV (Michael Jackson and Madonna), and Broadway, most recently for the smash-hit revival of Hair.
William Whitener's experience also includes Broadway, TV and film along with ballet and modern dance. Whitener glances backward to popular forms of entertainment a hundred years ago for his Salute to Christopher Barksdale, who is retiring after 21 years with Kansas City Ballet. We recognize the vaudeville influence immediately when a ballerina crosses the stage with a placard announcing the first section, "Comedian," a motif that repeats for the second and third sections: "Romantic" and "Pleasant Memories."
From his first moves, Barksdale says this is my dance! He has many opportunities to show off his prowess as a dancer and an actor. He plays a comedian, a master of ceremonies, a director, a royal presence surveying his domain, a romantic cavalier, and just a dancer. He performs a poignant duet with Kimberly Cowen. "Nostalgia," says Whitener. A tribute calls for at least a small dose of it.
Whitener talks about the difficulty of making a dance comedy. He points to Jerome Robbins and Todd Bolender as among the few who could do it. They understood comic timing, the importance of the pause. "It takes time to set up a joke," he says, all the more difficult now when the demand is for ever-faster dancing. The dancers in Salute walk on their heels, lean and sit on each other, assume ridiculously triumphant or romantic poses, enter and exit with attitude. We cannot help grinning. The musical selections underline the comedy: early jazz cornet music from Todd Bolender's vinyl collection; the "Adagio" from the opera Norma, known to all ballet students; and "Pleasant Memories" by Scott Joplin to end the tribute on just the right note.
Salute was made to honor Barksdale, but beyond that it's a concerto for male dancer. While saying "farewell" to Barksdale, it also says "welcome" to the new male dancers in the company, one of whom may eventually perform the solo role in a new way.
The program ends with Twyla Tharp's Nine Sinatra Songs, staged by Whitener. Tharp was recently celebrated as a Kennedy Center Award Honoree for her extraordinary achievement in dance over the past four decades. She was one of the choreographers of the '60s and '70s who paved the way for the fusion of today. She made the discovery that she could set sophisticated, brainy, eclectic choreography to jazz and pop music, that arabesques and pirouettes weren't so different from the kicks and spins of the jitterbug, and that it was OK to insert shrugs, arm swings and ordinary walking steps. She has made dances to the music of Jelly Roll Morton, Scott Joplin, the Beach Boys and Billy Joel, to name a few, each exploring some aspect of the relationship between vernacular and school forms of dance.
Nine Sinatra Songs allows Tharp to do ballroom dancing her way, infused with ballet, modern, jazz and unexpected moves, all executed with style, grace, and a little impudence. A kata for the martial art of partnership? The formal attire by Oscar de la Renta gives the piece a hint of the '50s, when couples at socials still danced the foxtrot, waltz, lindy, and even the tango. Of the concert finale, dancer Deanna Doyle says with a big smile, "It's Sinatra!" And we all salute and go home happy!
Kansas City Ballet
Spring Performance
Nine Sinatra Songs by Twyla Tharp
Thursday, May 7 at 7:30 p.m.
Friday, May 8 at 7:30 p.m.
Saturday, May 9 at 2 and 7 p.m.
Sunday, May 10 at 2 p.m.
Lyric Theatre
11th & Central, Downtown Kansas City, MO
For tickets call 816-931-2232 or online at www.kcballet.org
Classical,
Fine Arts Chorale goes green
Capping a season dedicated to celebrating the environment and all of the emotions that are connected to an organic source, the Fine Arts Chorale is making final preparations to present "The Green Concert." The program will be performed on Friday, May 1, at 8:00 p.m. at Immanuel Lutheran Church in Lawrence, and again on Saturday, May 2, at 7:30 p.m. at Grace and Holy Trinity Cathedral in downtown Kansas City.
Longtime music director Dr. Terri Teal has actively sought over the past few seasons to carve a niche for the Fine Arts Chorale amid the exciting choral renaissance taking place in the Kansas City area. With her eclectic educational background (degrees in voice performance, musicology and choral conducting), Dr. Teal is using her knowledge and flair for programming to her advantage. Building a concept performance is not easy to execute, but she has already shown this season that her choices of repertoire provide an enlightening audience experience without drawing upon too many clichés.
Fresh off its successful Valentine's Day weekend concerts ("The Birds and the Bees"), the Fine Arts Chorale now turns its sights to Mother Nature. The program features music by such well-known composers as Dvorak ("Come Let Us Dance and Sing Together"), Mendelssohn ("Auf Dem See"), John Rutter ("For the Beauty of the Earth") and Lloyd Pfautsch ("I Thank You God"). Also on the program is music by Gwyneth Walker ("Quiet Wonder"), Alberto Grau ("Kasar Mie la Gaji"), Frank Ticheli ("Earth Song") and local composer Geoffrey Wilcken ("To See the Earth"). In describing this concert, Dr. Teal says the Chorale seeks to be an advocate for the environment without being overtly political.
A variety of nature's aspects and ecological concerns will be explored through this well-conceived and inspirational collection of poetry and music, from the exuberant reveling in nature's beauty to a heightened realization that the Earth is tired and needs to rest.
Already looking ahead, Dr. Teal is planning another concept season, this time focusing on the topic of "Prophetic Voices." The fall concert will feature prophetic Biblical texts as well as forward-thinking leaders such as Martin Luther King, Langston Hughes and Gandhi. Subsequent concerts next season are titled "In the Company of Angels and Snowmen" (the Christmas concert), "Heartfelt Voices" (the Valentine's Day concert) and "Ancient Voices" (the season-ending concert, featuring music of Native American heritage).
The Fine Arts Chorale
The Green Concert
with Terri Teal, Music Director and Conductor
Friday, May 1 at 8 p.m.
Immanuel Lutheran Church, Lawrence, KS
Saturday, May 2 at 7:30 p.m.
Grace and Holy Trinity Cathedral
14th and Broadway, Downtown Kansas City, MO
For tickets call 816-235-6222 or visit www.fineartschoralekc.org
Artwork:
Returning to Herself
by Jenny Hahn
Film,
FILM REVIEW: Downey and Foxx make great music together in "The Soloist"
With a soundtrack that any classical music lover can enjoy, The Soloist is an uplifting true story about an unlikely friendship between two men against a backdrop that reflects the darkly grim reality for thousands of homeless in Los Angeles.
Los Angeles Times journalist Steve Lopez (Robert Downey, Jr.) is looking for a new subject for his column when he stumbles across Nathaniel Anthony Ayers (Jamie Foxx), a rambling homeless man playing a two-stringed violin in a park dedicated to Ludwig van Beethoven.
Through his subsequent investigation, Lopez, who's in the midst of a crumbling newspaper business, learns that Ayers was once a child prodigy who was able to escape his poor existence in Cleveland by becoming a student at Juilliard of Muisc only to lose it all when he developed schizophrenia.
Determined to not let Ayers and his talent go unnoticed, Lopez writes a series of columns about Ayers, provides him with a cello, and takes him to a rehearsal performance of the Los Angeles Philharmonic. Despite his deep desire to somehow fix Ayers, Lopez realizes that he cannot simply wave a baton and make all the notes in Ayers's head suddenly make sense.
Obviously it is early to be talking about Oscar nominations and usually superb performances in April and May are forgotten by year's end. However, what Downey and Foxx are able to accomplish in The Soloist could be an exception to the rule.
Foxx reaches similar acting heights as he did while portraying another real life figure in Ray Charles. His emotional range is far reaching as the unbalanced Ayers and he shares terrific chemistry with Downey, who proves that his comeback is not a fluke.
With the feel of an independent film, The Soloist sheds light on the plight of inner city homelessness by portraying mental illness, drug abuse, prostitution and a myriad of other social ills while maintaining a sense of realism. It should cause public outrage since our government gives away billions of dollars to bail-out billionaires, while inner city issues like homelessness continue on.
On a letter grade scale from A being excellent to F for failing, The Soloist receives a B+.
The Soloist is rated PG-13 and has a running time of 117 minutes.
Now Showing
Leawood Theatre
3707 W 95th St., Leawood
Visit www.fineartsgroup.com or call 913-642-1133 for more information.
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Classical,
Australian Chamber Orchestra with Paul Lewis, pianist
The Friends of Chamber Music concluded its 2008-09 season in a blaze of beauty from the Australian Chamber Orchestra and pianist, Paul Lewis Friday night at the Folly Theatre. Although the ensemble was heard for the first time by Kansas City audiences, it has toured the United States for ten years and enjoys a near-cult following at home in Australia, where 15,000 subscription holders flock to its concerts.
About 20 string players donned in business/casual black took the stage in a semi-circle around the harpsichord, including a pair of horns, oboes, and one bassoonist, where all but the celli and harpsichordist remained standing to perform. Missing were traditional white shirts, ties and tails for the men and flowing skirts or dresses for the women - these musicians shed the shackles of formal to bring a fresh interpretation to immortal classics that relayed the very spark of creativity in which the works were composed. From the opening chords of Haydn's Symphony No. 44 in E minor, a rich depth of sound from the strings gloriously permeated the hall, belying the small number of players onstage. Led by Artistic Director Richard Tognetti on first violin, a lively give-and-take ensued the night long among the players to produce a vibrant and beautifully blended orchestral sound. The wind players matched uncannily in timbre to the string players, presenting their parts as an added dimension of sparkle in tone to the strings, rather than as separate instrumental lines.
Tognetti's artistic vision was shared and embodied by the members of the ensemble with a focus that was inspiring and illuminating. Like many of the world's finest musicians, he approached the shaping of musical lines in terms of evoking rather than demanding the interpretation desired, releasing upward movements of direction so ebullient that at times he nearly leapt into the air as he led, inspiring his like-minded ensemble to imbue the symphony with the air of daring and sparkle that Haydn, the Revolutionary, conceived.
The exquisite first violin melody in the Adagio movement was performed with such tenderness that a contest of pianissimos developed between its melody and the second violin Alberti accompaniment that kept the audience on the edge of its seats. Subtitled the Mourning, Haydn is said to have requested that particular movement of the Symphony to be played for his own funeral he was so moved by its elegant beauty. As it turns out, at the time of Haydn's death on May 31, 1809, Vienna had been invaded two weeks previously by Napoleon's army, and Haydn's hasty funeral the next day proceeded without music. When his death was later memorialized properly, Mozart's Requiem was performed. The fourth movement contrasted in character magnificently as the ensemble bit into its presto with a marvelous furor.
British pianist Paul Lewis, 36, joined the orchestra for the Mozart Piano Concerto No. 12 in A Major, K. 414, which opened with a tight, energized upbeat orchestral introduction. Lewis was the perfect soloist for this ensemble, delivering sparkling clear bell tones in the upper register, elegant phrasing, and a profoundly singing musicality. The strings' pure tone quality, produced without vibrato and perfectly centered, added exceptional clarity of line to Lewis' masterfully sensitive phrasing in an interpretation so brim-full of resonance and play that it unlocked the romantic insinuation of Mozart's richly chromatic tonal scheme. In the ensuing Andante, Lewis, the compelling story teller, hesitated slightly before his solo entry as if to take a breath to draw the audience into his transcendent interpretation. Seldom does one hear music so beautifully and intelligently coaxed from the very soul of the piano as this. His depth of expression was magnificent, poetic and thoughtful. After the cadenza the orchestra entered a bit awkwardly - too over the top, inspired by Lewis' musicality; but it was sheer fun to watch the standing players dance their excitement through the instruments as they played. Lewis has won wide critical acclaim for his series of CDs of the complete Beethoven Sonatas on the Harmonia Mundi label - all of which have been featured in Gramophone magazine's "Editor's Choice". In August 2008, the fourth volume of the series was awarded Gramophone's "Best Instrumental" recording and "Best Recording of the Year". We hope to have the opportunity to hear this stellar newcomer to the roster of the world's great pianists again soon, perhaps in a solo recital.
The essence of 18th century French Court sophistication and irrepressible joie de vivre welcomed the audience back from intermission as the ACO popped open the cork to free Jean-Philippe Rameau's tantalizing Suite from Dardenus from its far-too-lengthy slumber in a genie's bottle. Fantastic runs in the strings paired with oboes perfectly tuned and an exhilarating accelerando were elements of the ensemble's best playing of the evening. The music was taken from instrumental interludes in Rameau's rarely heard opera, Dardenus composed in 1739 in the idiom of the French opera-ballet. Its concluding movement entitled Bruit de guerre (noise of war) kicked the excitement into the stratosphere as horn player Robert Johnson played rapid-fire staccato notes high above the orchestra at Tognetti's break-neck speed, a thrill of the concert.
The final work presented was by Czech composer, Pavel Haas, the String Quartet No. 2, Op. 7, From the Monkey Mountain, arranged by Tognetti for chamber orchestra. Composed in 1925, it is a compelling work in four movements that features a wide palette of effects, including percussive raps on the cello in substitution for the drum for which it was originally scored, played effectively by cellist, Julian Thompson. The piece takes its title from the local nickname for the Moravian Highlands near Brno, where Haas may have spent summer holidays as a youth. Haas was the star pupil of Leos Janacek, whose harmonic influence was often tangible in the piece. Haas' tragic demise in 1944 at the Auschwitz Concentration Camp was a cruel crime against humanity that tragically curtailed his contributions to the body of great musical literature. The first movement opened to the eerie sound of the violins and celli playing glassy sul ponticello running figures on the bridges of their instruments. Outstanding solo passages were delivered by principal violist, Christopher Moore who held the audience spellbound on his solo tone sustained after an evocative duet passage shared with principal cellist Timo-Veikko Valve. Helena Rathbone, principal 2nd violinist, also contributed several stand-out solos in the piece, at times evoking the tone quality of an English horn. Satu Vanska, assistant leader, together with Tognetti, traded volleys of perfectly matched tone and expression in a recurring duet figure. Probably the strangest moment of the evening came from a section in which the strings produced strange sliding effects that sounded like alley cats on the prowl.
Shouts of encore persuaded Tognetti to treat the audience to a taste of his artistry as a soloist with a slow movement from one of Vivaldi's L'Estro Armonico. It was a particularly satisfying choice to end the evening in a return to the ancient harmonies and soaring architecture of the Italian Baroque, performed with sensitivity and vitality. Tognetti was named a National Living Treasure in 1999 by Australia and he holds honorary doctorates from three Australian universities. Artistic Director Cynthia Siebert could not have chosen a better ensemble to culminate the Friends' Epic Journey of the 2008-2009 series.
REVIEW:
The Friends of Chamber Music
Australian Chamber Orchestra
Richard Tognetti, Artistic Director
Paul Lewis, pianist
Friday, April 24, 2009
The Folly Theatre
www.chambermusic.org
Classical,
Pirates with a softer side
It must be true that people flock to movies, concerts and theater for escape during trying economic times, because more than 1,000 people came to Gilbert and Sullivan's The Pirates of Penzance on a warm April evening, even as other spring activities competed for their attention. Now, these are Kansas City opera-goers' kind of pirates and certainly a welcome type of pirate drama (the sort with a happy ending). No single character stole the show in this balanced cast, and each well-developed personality contributed something unique to the dynamic story. The expected antics started even before the performance, as Evan Luskin wandered on stage to talk up the 2009-2010 series, complete with a depth perception-limiting eye patch. Not to be outdone, Andy Anderson (returning to the Lyric as guest conductor) entered the pit for Act 2 with a pirate hat and proceeded to lead the audience in a rousing rendition of "God Save the Queen."
Fans of The Pirates of Penzance know going in that this is more opera than it is the lighter fare of operetta or musical, with little spoken dialogue to interrupt the unpretentious music. Pirates indeed boasts the sophisticated comedy and inventive music for which Gilbert and Sullivan are known, and their collaboration here showcases long sequences of cleverly paced and contrasting musical numbers. Most of the music in Pirates is by all accounts uncomplicated, but uncomplicated does not mean mundane.
Sullivan is known for crafting music that expertly identifies a group, perhaps due to his ample experience as a composer of choral music, and the choruses added depth to every scene. In this production three ensembles anchor the various scenes: the pirates, the young ladies and the police squad. Each group's collective personality remains well defined through distinguishing musical devices; pirates and young maidens must not mingle, after all, and the police squad should not fraternize with pirates. To supplement the musical characterization, costumes and stage movement (attributed to Mary Traylor and Dorothy Danner, respectively) further personify the unique traits of each unit. This separation is critical to a successful production of Pirates, as it lends an additional layer to the story: Each "social" group must figure out how to live peaceably among the other.
It was the police squad that captured the audience in Act 2 (perhaps because our bunch of sympathetic pirates seemingly could not capture a bunny if they had to), and this collection of bumblers was worth the wait. Led by their Sergeant (KU's John Stephens, brilliantly comical), the police squad worked their magic -- at one point even getting physically tangled up in one another.
Chad Johnson perfected a youthful, idealistic Frederic. He took advantage of the character's affable nature, exploiting Frederic's personal journey from youth to manhood. In "O False One," a duet with nursemaid Ruth, the musical pair poked fun at opera's more serious side (everyone enjoys a little parody, and Gilbert and Sullivan deliver ample jabs at the loftier opera tradition and at Victorian England). The number made it easy to imagine both singers in more demanding stage roles. As Frederic makes this major life transition, Johnson's tenor becomes bolder. Act 2 gave Johnson even more opportunity to reveal the strength of his voice, although Gilbert's dialogue proved Frederic was no more worldly than when his seafaring adventures began.
After the manly pirate exploits of the opening scenes, the genteel young ladies were a welcome contrast, all softness and naïveté. While Clare Jacobs' solo spots suffered some during this very active scene --certain notes were noticeably under pitch, as if she could not hear the orchestra -- this was overall a fine ensemble, working well together as sisters would (and Jacobs definitely redeems herself in Act 2). Frederic works this group of ladies so well, seeking "one maiden" to "rescue" him, and here reveals his true star power; vocally he is absolutely a leading man. Most important, this chorus of ladies effectively gave the audience the other side of the story -- that is, the female perspective -- which in this drama is an important component for balance. Compare, for example, how Ruth measures the value of Frederic to how the Pirate King regards his worth. Everyone's reasons for wanting to remain close to Frederic differ significantly, but they find interesting ways to work together toward their common goal. Much of the story centers on how men and women relate and work around one another, pursuing their own agendas but finding ways to support one another as well.
Nili Riemer as Mabel was an inspired casting choice. Her entrance raised the vocal standard with a pure, light tone and remarkable range. Her coloratura moments (built in by Sullivan to set Mabel apart from the daughters and to poke some fun at pretentious Italian opera) clearly transfixed Frederic and the audience, and the scene furthered the clever focus on gender differences. There was a tangible chemistry between Riemer (whose diction was impeccable) and Johnson, certainly aided by the multiple onstage kisses they shared. "Stay, Frederic, Stay" was so earnestly delivered, a rare moment of expressive pathos in a Sullivan setting since his music typically avoids the emotional roller coaster. Here the characters indulge in romantic sentiment, even as the audience laughed loudly enough to drown out the two singers. Overall, Johnson's and Riemer's work created many sweet moments that provided respite from the raucous and wild storyline.
Many of the peripheral characters were memorable: Markus Beam created a pirate king with both a clumsy and a menacing side, with an impressive stage presence and resonant baritone. Robert McNichols always stands out, here both in acting capacity (he earns positive attention just through his sharp movements and facial expressions) and in unparalleled vocal contributions. Jennifer Roderer's Ruth (made up to be appropriately old and ugly) was played perfectly in her strong mezzo; she could easily handle the more dramatic roles that her artist bio boasts. One expects the Major General to steal the scene, and Robert Gibby Brand was outrageously funny. In his signature number, "I Am the Very Model of a Modern Major-General," he was willing to let the accompaniment move so quickly -- even to a tempo where the number almost seemed to get away from him. This only added charm to Brand's original interpretation of this beloved character.
While there are no major technical challenges for the instrumentalists, the delightful music, from the atmospheric overture to the rousing finale sequence, was handled well by Andy Anderson, who drew a real unity of sound from this responsive ensemble. The set designs were admirably realistic and full of color and movement. And last but not least, thankfully the parrot was not hurt!
REIVIEW:
Lyric Opera of Kansas City
The Pirates of Penzance
Saturday, April 25, 2009
Lyric Theater
11th and Central, Downtown Kansas City, MO
Runs through Sunday, May 3
For tickets call 816-471-7344 or online at www.kcopera.org
Classical,
Forgotten Handel gem comes alive in Musica Sacra concert
As a 30-year veteran of music directing, Timothy McDonald has a proven track record of conducting well-informed performances of a wide variety of excellent works; always showcasing a flair for programming with one foot on the podium and one foot in the classroom. On Sunday night, his Musica Sacra presented a wonderful program of 18th century music with orchestra, bringing to life two pieces that go largely neglected in standard classical or choral concerts.
The first work on the program was Haydn's Missa Brevis in F, (H: XXII). Lasting all of 15 minutes, Haydn's first setting of 14 of the 'mass ordinary' showed the budding composer's sense of clean classical melodic and harmonic construction. Each of the piece's six movements (the 'Sanctus' was divided into both a 'Sanctus' and a 'Benedictus') showed definite pre-classical tendencies.
The work was delicately accompanied in a Baroque style, using two violins and bass. (According to the program notes, Haydn later had re-orchestrated the work, adding wind and brass parts more typical of the composer's later mass settings.) The chorus balanced well with the small orchestra. Their diction was quite good, allowing the mass text to be heard throughout the spacious sanctuary at St. Francis Xavier Catholic Church. The only solo writing in the mass involved two treble voices. The two soloists weaved their lines in and out of the choral texture throughout the work. They were at their best in the 'Benedictus' movement. The choral singing was a bit inconsistent, as some movements showed a lack of rhythmic integrity across the ensemble. The homophonic choral sections were the most moving of the work, as the chorus displayed a rich and mature sound, especially in the opening of the closing 'Agnus Dei' movement.
The main feature of the concert was a performance of Handel's Funeral Anthem for Queen Caroline. This was my first live hearing of this piece and perhaps a first hearing for much of the audience as well. Among Handel's choral repertoire, it is largely overlooked. However, in the composer's own time the piece was highly regarded for its expression and harmonic interest. The piece, written in 1739 for the funeral of Queen Caroline, makes use of a Lutheran hymn tune (Herr Jesu Christ, du höchstes Gott) to honor Caroline's lineage, as she was born in Ansbach, Germany, for the opening choral line "The ways of Zion do mourn."
In this second half of the concert, the chorus sang with gusto, providing a robust and powerful sound. Throughout the work's 12 sections, the choir shone brightly, singing some of Handel's best choruses. The 45-minute work came across as a hybrid, showing signs of some of Handel's oratorio conventions as well as attributes of a Bach-like chorale cantata. The weakest element of the performance was the singing of the solo quartet. The individual voices were overmatched by the orchestra and failed to live up to the rich vocal color provided by the chorus.
The reaction that kept coming to mind throughout Handel's work was simply that the music was quite powerful. As it was composed for a funeral, there were some solemn and grief-ridden moments. Masterfully, Handel managed to keep the music from becoming too dark and dirge-like. The music had an uplifting quality as well. His use of the text "How are the mighty fallen", which occurs in movements 2, 5 and 7, put forth a statement of communal sorrow, as it was set homophonically. Substantial polyphonic sections, showing perhaps a more personal reaction to the meaning of the texts, were also greatly utilized. In the 9th movement, using text from Ecclesiasticus 44:14 (also known as the Book of Sirach), Handel uses the first line "Their bodies are buried in peace," in a sturdy and slow homophonic texture. A polyphonic contrast followed as the text concludes "but their name liveth evermore." As the work concluded, Handel ended with an open chord at the final cadence, perhaps invoking the early aesthetic in polyphonic mass settings of the middle ages and Renaissance.
Much credit should go to music director Timothy McDonald for his continuing effort to bring quality sacred choral music of the master composers to Kansas City. His Musica Sacra proved themselves to be a capable ensemble well-suited to this repertoire. Next season, their tradition continues as the group is planning performances featuring Mozart's Vesperae Solemnes de Confessore, Palestrina's Missa Brevis in F, Charpentier's Te Deum and Mendelssohn's Wer Nur Den Lieben Gott Lässt Walten.
REVIEW:
Musica Sacra Chorus and Orchestra
Sunday April 26, 2009
St. Francis Xavier Church
52nd & Troost, Kansas City, MO
www.rockhurst.edu/musicasacra
Classical, Jazz,
Tree of Life
Tree of Life: Origins and Evolution was part of the Creative Campus Innovations, a national program developed by the Association of Performing Arts and chiefly funded by the Doris Duke Charitable Foundation. The University of Kansas was one of only eight institutions to receive a grant in the nationwide program. This was just one of the events in an ambitious project that seeks to integrate works focused on creativity from across academic departments. The project has included lectures, exhibitions, installations, receptions, performances and student projects generated by collaborations in Architecture, Dance, Design, Film, Music, Physics and Theater departments ( just to name a few); and featured a sponsored two-year residency program with Grammy winning composer and violinist, David Balakrishnan of the Turtle Island String Quartet. Associate Director of the Lied Center, Karen Lane Christilles was the Creative Campus Project Director for the project.
Tree of Life, presented at the Lied Center at KU last Saturday night, was directed by John Staniunas. Musicians from the KU Wind Ensemble, under the direction of Scott Weiss, occupied the orchestra pit and the Turtle Island String Quartet was seated stage left in colorful patterned attire. A long bridge about the height of a man spanned the stages' entire width, while a giant projection screen above that served as a background. The performance included an acting ensemble of 11 and a dance company of 17. A single almost undetectable sheer stage curtain was hung, gathered at the half, and drawn to stage right as a gentle reminder of the theater setting. Tree of Life was comprised of three parts and presented with no intermission.
The performance began with darkness. "Why are we here? Where did we come from? Where are we going? Paper or plastic? Did God create us? Did we create God?" were the first in a series of questions projected on the background screen and spoken by an offstage narrator. Part one, "The Cultural Tree: Tree of Spirituality, Myth and Stories," began with actors entering in body suits and masks speaking the ongoing series of questions projected on the background screen. The actors' neutral body suits, designed by Delores Ringer, conveyed just that--the body. What began with one question and one voice soon gathered into a cacophony of overlapping questions and simultaneous dialogue that progressed until the actors were singing the words "the song" on a single pitch.
The musicians of the wind ensemble and the Turtle Island Quartet began the music on that same pitch, but in different ranges. Running melodies began to overcast the constant unison pitch. Dancers entered the stage each wearing unique costumes that were reminiscent of indigenous peoples, including patterns relating to Native American traditional dress, kente cloth and aboriginal designs. The music, rooted in 20th century American style, was colored with flickers of ragtime and Dixieland. The violin played double stops on the up beats, licks borrowed from its cousin the fiddle, and gave the impression of bluegrass and folk music.
Patrick Suzeau, co-choreographer with Muriel Cohan, danced a solo accompanied by solo violin that developed into the full ensemble, and mimicked the shapes of trees - standing tall or withering down. The background screen displayed images, designed by Matt Jacobson, of trees, landscapes and hung cloth floating in the breeze. There was a sudden stop in the music and a return to the unison pitches from the beginning. The solo violin of David Balakrishnan played a cadenza with improvised passages. The music in the wind ensemble developed into a sound that began to incorporate elements of jazz and had the voicing of big band music.
In part two, "The Scientific Tree: Tree of Life, Technology and Science," there was a set change. Two curved quarter-circular ramps were rolled on stage by the performers and set into place against the center of the long bridge. Designed by Mark Reaney, the screen depicted the rolling ocean, while images of Charles Darwin floated by. A dolphin jumped in the seascape on the background. The music and dancers returned and the narrator continued with the text, a tone poem by Dennis Christilles. The actors in body suits returned to the stage this time speaking in unison "ommm," like chanting monks; and then changed into white lab coats. The music contained an eighth-note, quarter-note pattern, or short-long pattern, in the bass instruments that energized the pace. And melodic motives begin to include glissando and melisma, sliding and scooping sounds like those found in blues. The dancers and actors were barefoot and scooted their feet on stage adding an arrhythmic pattern to the music.
Next, the actors removed their lab coats and became dogs, monkeys and other animals. Gears and scientific instruments were depicted on the backdrop with the dolphin and seascape. More gears filled the background, the music stopped and the dancers scurried out in spirals.
Part three, "The Intertwined Tree: Tree of Respect, Life and Hope," began with narrator and images of windmills, cityscapes, factories and a camp fire. The dancers performed routines in which a solo dancer was joined by another to make a duo and then joined again to make a trio and so on in a great use of circles, spirals and small groups.
With twinges of American folk music traditions and jazz, the music erupted into full-on swing. It was clear the composer's intention was to develop the music reflective of how American music historically evolved. The actors returned to the stage, mimicking modern day jobs and activities. On the background screen it began to rain, and then appeared the image of a tree. The music built to a climax. As this happened the swing rhythm morphed into a more modern pop feel, with traces of rhythm and blues.
A white tree trunk shaped prop was rolled to center stage. Performers attached long, white limbs and two sheer curtains suggestive of a tree canopy were lowered. The projected image of the tree fell across the tree trunk, limbs and the canopy curtains giving a 3-dimensional appearance. The music continued until all stage performers were in place for the closing bow and the performance ended without flourish.
Although there were a few mishaps with some of the props and the projection in the background, with a performance of this scale not everything can go perfectly. It was a thoroughly post-modern production, filled with both literal and metaphorical statements. Although Tree of Life presented a framework of ideas, it did not tell a story. Instead, the general theme was evolution with images and scenes suggestive of humanity and the conditions of our reality. It posed essential questions about our connection to our world and the consequences of our interactions. Tree of Life was a conceptual, multi-media, postmodern production of operatic proportions and a crowning conclusion to an important cooperative venture.
REVIEW:
Tree of Life: Origins and Evolution
Featuring the Turtle Island String Quartet
Saturday, April 25, 2009
Lied Center of Kansas
www.lied.edu
Two bur oak trees were planted at the Lied Center of Kansas at the beginning of the Creative Campus initiative to commemorate the project and symbolize a commitment to nurturing a creative and collaborative environment. To learn more about all the events, visit the Creative Campus website. http://www.lied.ku.edu/creative/index.shtml
To learn more about the Turtle Island String Quartet visit www.turtleislandquartet.com
Theatre ,
"Dinner" at the New Theatre
Sophocles once said, "Truly, to tell lies is not honorable; but when the truth entails tremendous ruin, to speak dishonorably is pardonable." Playwright Marc Camoletti perhaps had this observation in mind when he wrote the comedy "Don't Dress for Dinner." Adapted by Robin Hawdon, the play takes place during a dinner party - and simply put, is the story of a husband, a wife, a mistress, a best friend and the cook. Each character weaves elaborate deceptions, either for reputation, love or money. The hilarity of the story is the resulting chaos when the lies start piling up.
Directed by Dennis D. Hennessy, "Don't Dress for Dinner" is part of the New Theatre's season. Headlined by Jamie Farr of" M*A*S*H" fame, the show also features some very talented Kansas City actors.
My favorite character was Suzette, the cook hired by Bernard. She is the only one who benefits from the confusing situation. She demands, and gets, $100 each time she has to remember a new lie. Cathy Barnett plays this role with great enthusiasm and is an absolute pleasure to watch. Suzette is completely in control, and we are never left in doubt of her intentions.
Jamie Farr portrays Bernard, the husband who has invited all the dinner guests. When the evening doesn't go according to his plan, Bernard becomes the expert puppet-master who manipulates his dear friend Robert into lying for him. Farr is very funny, but never steps beyond the bounds of realism, as many comic actors are inclined to do. Despite his character's situation, Farr remains a dignified presence on stage.
Jim Korinke, another talented local, is Robert. A mostly loyal friend to Bernard, Robert is something of a pushover. I wanted Robert to clarify his goals. Seeing how he couldn't win, why didn't he just leave the party? Is he attracted to Suzette, and so he stays? However, when all is said and done, the audience sympathizes most with Robert, and Korinke has an everyman quality that audiences relate to.
Merle Moores, another longtime Kansas City actor, plays Bernard's wife, Jacqueline. She seems a bit devious, but at the same time she is easily duped by outrageous lies. Moores has some nice comic bits, but tends to play them directly to the audience. Her best moment comes when she reveals her lover in an attempt to get back at her husband. The audience absolutely roared.
The gold-digger Suzanne is played by Heidi Van. Suzanne is simply looking for the man with the largest bank account. She has a great exchange with Jacqueline, where she is simultaneously sympathizing and hiding her own involvement with Jacqueline's husband.
Vincent Onofrio Monachino plays the cameo role of George, Suzette's husband. A big man, he demonstrates excellent physicality and spot-on comic timing.
Jason Coale's set was beautiful. The numerous doors, a staple in this kind of comedy, did not look exaggerated in the lovely converted-barn home. The colors were modern and the furniture attractive. I especially enjoyed the touches of decoration inside the rooms the audience could barely see. Sean Dane was the properties designer, and we saw his touches all over the set. The little knickknacks made the house look lived-in without being messy or cluttered.
Roger Stoddard's sound design was professional, with some fun thrown in. The microphone levels were perfect: high enough so the audience could hear but subtle enough that I soon forgot they were using them. Randy B. Winder's lights were simple and functional; my favorite part of the design was the light coming in through the windows, indicating dusk and nighttime. Mary Traylor's costumes were lovely and well-fitted.
Some of the blocking in the show seemed strange. For example, Jacqueline makes a big reveal in Act 2, which prompts one character to threaten another (I don't want to give too much away!). During this whole exchange, the characters are upstage by the door, behind the furniture. Surely this moment would be more engaging if it were downstage?
Although the show revolves around love affairs, there isn't much passion between the characters. This is not necessarily a criticism, just an observation. This definitely makes the show more family friendly than it would be otherwise, but perhaps some of the comedy is lost with the passion.
On the whole, the show is extremely entertaining. I laughed throughout and left remembering many of the funny moments during the performance. I had a wonderful time, and you will too.
REVIEW:
New Theatre Restaurant
"Don't Dress for Dinner"
Runs now through June 21
For tickets call 913-649-SHOW or online at www.newtheatre.com
Classical,
Lawrence Chamber Orchestra nurtures and delights
The Lawrence Chamber Orchestra is a talented group of highly experienced string players from the area led by Maestro Steven McDonald and embraced by a loving group of supporters. Their season concluded Sunday with a concert of popular chamber selections by Mozart, Bach, Elgar and Peter Warlock featuring the delightful young flutest, JoAnn Doll.
Trinity Lutheran Church is the ensembles musical home and one of the oldest congregations in Lawrence. The elegant gothic sanctuary is petite but perfect for the chamber ensemble. The strings resonated well within the elaborately carved wooden walls and there is a cozy and inviting vibe among the listeners.
A Burly Bostonian, Artistic Director Steven McDonald, looks stern in his program picture but is charismatic, likeable and very funny even on an unseasonably muggy Kansas afternoon. He addresses the audience in a friendly way introducing each piece with humor and insight as he guides the audience toward a better understanding of each selection. He makes comparisons for the regular audience members to pieces they performed earlier in the season adding value to the price of the season ticket and extending their appreciation for the genre.
The Lawrence Chamber Orchestra began the afternoon with the Divertimento in F Major, K. 138 by Mozart. Even with the high humidity, the strings sounded well in tune and were able to maintain their pitch throughout the broad dynamic contrasts with just a few minor glitches here and there. The oppressive atmospheric conditions being what they were, who could complain.
It is satisfying to hear an ensemble that isn't afraid to lean on the dissonances created by the non-chord tones, intentionally crunching the harmony so that the glorious resolution can be achieved. Mozart would have been proud. Unfortunately, during the pianissimo ending someone could be heard having a conversation in the back corridor. It was distracting and effected the cohesion of the piece.
The Elegy Op. 58 by Sir Edward Elgar fit well in the English style church. The piece is pensive and allows the orchestra to exhibit their silk-like breathy legato as it sighs and resigns. Even in their softest dynamic, the group is vibrant, sounding more like a intuitive quartet than a fifteen person orchestra.
The Capriol Suite is a chamber music favorite. Based on a collection of dance tunes from the 16th century, English composer Peter Warlock re-interprets them for the early twentieth century ear. The movements were short and tight each with it's own stylistic elements which showed off the orchestras range.
The Basse-Danse was well articulated and the Pavane was like a solid chorale with absolutely georgeous violas. The Tordion utilized a bony sounding bowing technique which was frightfully difficult to keep in tune. The Bansels seemed slightly sluggish which I attribute to the heat. The pizzacato was effective and the ending had a nice angular edge. The Pied-en-l'air literally felt as if one where dancing on a cloud. Unfortunately, a patron decided to blow his nose rather loudly, destroying the effect the orchestra was so carefully crafting. The Mattachins or Sword Dance had all of the excitement and dissonance of a duel.
The highlight of the afternoon was hearing the accomplished JoAnn Doll. A high school Senior at Lawrence High, Miss Doll is one of the winners of the 2009 Stephen Paul Wunsch Young Artists Competition. Started in 1989, two prizes are given annually. Miss Doll won in the wind/brass and percussion catagory.
Confidently standing before the orchestra, JoAnn Doll appeared cool even in the heat. She played the Allegro movement of the Concerto in D Minor, W.22 by Carl Philipp Emmanuel Bach while Maestro McDonald conducted from the harpsichord. She has an exuberant almost triumphant approach to the piece. It is only when she is waiting for her next entrance that she tentatively holds the tip of her flute to her lip. The selection is full of bubbly runs and ornaments which Miss Doll executed with clean precision. Her tone is surprisingly rich and her intonation flawless. I was particularly impressed with her soulful sound in the lower register of the instrument. She is a very natural player who doesn't over reach or try too hard to impress. I wish her the best success next year as she pursues her undergraduate degree in Flute and Linguistics at KU.
Having heard many professional chamber orchestras in the last few months I would rank The Lawrence Chamber Orchestra as an excellent value in a compatible venue. I am eagerly anticipating their next season. For more information check out their very well designed website. www.lawrencechamberorchestra.org/
REVIEW:
Lawrence Chamber Ochestra
Sunday, April 26, 2009
Trinity Lutheran Church
Lawrence, KS
www.lawrencechamberorchestra.org/
Classical,
Julia Fischer in recital
It is always interesting to look at what a young soloist has recorded - and then see what they will choose to play in recital. Julia Fischer's recordings mark her as a "serious" artist who is choosing to pursue a "serious" career. It's easy for a new hot violinist to record the Mendelssohn and the Tchaikovsky concerti as their calling card. Not Julia Fischer. Her first four recordings were Brahms' Piano Quartets, Vivaldi's Four Seasons, Russian Concerti (Khachaturian, Prokofiev and Glazunov), and then the capper, the Bach Sonatas and Partitas for solo violin. An artist who chooses the Bach Sonatas and Partitas announces to the world that they are a very serious artist indeed and not one to make 'gooey' crossover albums. The Bach works are considered the touchstones of violin literature and have been recorded by most of the great violinists such as Menuhin, Heifetz, Milstein and others. Kansas City heard some of Fischer's Bach when she performed the Bach Violin Concerti with the Academy of St. Martin in the Fields back in February (also on the Harriman-Jewell Series). So, I was looking forward to hearing her in solo recital and anxious to hear what this "serious" artist would choose for her program.
I had actually hope that she would start out with one of the little solo Bach works, but Fischer began with the equivalent of a warm-up piece; Mozart's sunny and delightful Sonata No. 1 in C Major, K. 296. Most people will remember that Mozart played the piano in the movie, Amadeus, but few will remember that he was also an accomplished violinist. He once wrote to his father regarding a performance in which he played the violin that it "went like oil" by which I assume he meant it went smoothly - as did Ms. Fischer's performance of this work.
Another thing I look for in a young soloist is the choice and quality of their piano accompanist. Milana Chernyavska was an equal partner who played with the piano lid fully open. Her excellent playing enhanced the experience of the concert. Some may have thought her playing was too assertive but I found Fischer's tone always soared through the piano sound.
Ending the first half of the program was Prokofiev's first of two sonatas for violin, the Sonata for Violin and Piano No. 1 in F minor, Op. 80. Both sonatas were dedicated to Prokofiev's friend, David Oistrakh, who in his day did much to popularize them in performance and recordings. I have been listening to different recordings of this sonata all week. It is a powerful piece of music and it took me several listenings to warm up to this work. It is a thorny, challenging, aggressive piece of music and I enoyed the way Fischer lived up to the challenge but still brought a lot of individual color to the way she played it.
Beginning the second half was Beethoven's Sonata for Violin and Piano No. 8 in G Major, Op. 30/3. Fischer could have picked either the Spring or the Kreutzer sonatas as an easy and audience-pleasing choice, but I think the No. 8 was perfect. In my opinion, it is one of his best; under-appreciated, as well as under-performed. Full of singing melodies, sparkling passages, humor and lightness, there is little of Beethoven's signature sturm und drang.
Truthfully, I had never heard the Martinu Sonata for Violin and Piano No. 3, H. 303 before this evening and was unable to locate a recording in time to listen to it beforehand. It is a very accessible romantic violin sonata with a cheerful and playful first movement, a lovely melodic second movement, a bouncy and bright third movement with lots of syncopated rhythms. And although the fourth movement began on a somber note, it picked up steam and led to an intense and dramatic conclusion. I thought the two musicians played it beautifully, and I and the rest of the audience enjoyed the work very much.
The recital ended with a encore of Tchaikovsky's deceptively simple Mélodie in E-flat Major Op. 42 No. 3. from Souvenir d'un lieu cher. I don't recall having heard this work in years. Sometimes you don't need flashy encores to perfectly end an evening of gorgeous violin playing. Julia Fischer is a violinist to keep your eye on and I would certainly enjoy hearing her in recital again.
REVIEW:
Harriman-Jewell Series
Julia Fischer in recital
Saturday, April 25, 2009
Harriman-Jewell Series
Folly Theater
www.harriman-jewell.org
Local Arts News,
KC Rep announces 2009-10 season
FOR IMMEDIATE RELEASE
Kansas City, MO (April 20, 2009) - A Broadway-bound premiere, a provocative new staging of a Tony award-winning musical, a thought-provoking new social drama by a native Kansas City, Kansas playwright and exotic, worldly adventures are just a few of the choices Eric Rosen, artistic director of Kansas City Repertory Theatre, has made for the Rep's 2009-10 season, Rosen's second as artistic leader.
"I couldn't ask for more in 2008-09, my inaugural season at the Rep, than to hear people saying that the Rep has been electrified with new ideas and energy," said Eric Rosen. "I'm thrilled and appreciative that our promise to deliver a season of uncommon adventure, beauty and excitement has been so well received. My choices for next season continue that promise and heighten the anticipation, as I have put together a season of musical theatre and compelling plays written by some of my favorite contemporary and classic playwrights, performed by outstanding artists from Kansas City and across the country."
The Rep will present a seven-play season with four shows at Spencer Theatre on the UMKC campus, where Kansas City Rep is the professional theatre in residence, and three productions at Copaken Stage at 13th and Walnut Streets.
Kansas City Rep's 2009-10 season is as follows (dates and titles are subject to change):
GRAND HOTEL: THE MUSICAL
September 11-October 4, 2009 - Spencer Theatre
Directed by Moisés Kaufman
Book by Luther Davis
Music and lyrics by Robert Wright and George Forrest
Additional music and lyrics by Maury Yeston
Broadway director and playwright Moisés Kaufman brings us a provocative reimagining of the Tony Award-winning musical Grand Hotel. Set in an opulent Berlin hotel during the lavish decadence of the late 1920s, memorable guests share their poignant and humorous stories. The score, performed by musicians in the Rep's orchestra pit, superbly illustrates the show's breadth of emotions, from passionate drama to side-splitting comedy.
M. PROUST
October 9-November 22, 2009 - Copaken Stage
Directed by Eric Rosen
Written by Mary Zimmerman
Based on the writings of Celeste Albaret and Marcel Proust
Tony-nominated Broadway star Mary Beth Peil, who is also well known for her television roles on Dawson's Creek and Fringe, gives a riveting one-woman tour-de-force performance in this intense, exploration of genius, obsession and secrets. Written by Mary Zimmerman, one of our greatest theatrical minds who created the Rep's smash hits Metamorphoses and The Arabian Nights, and directed by the Rep's artistic director.
Peil plays Celeste Albaret, who was housekeeper, personal assistant and confidante to the famous French novelist Marcel Proust (1871-1922) during the last decade of his life, a time when the famously neurotic author was immersed in completing his seven-volume masterwork, Remembrance of Things Past. Near the end of her own life, Albaret broke her 50-year silence and wrote a fascinating memoir about her years with one of the world's greatest literary figures, who once told her, "You know everything about me."
A CHRISTMAS STORY, THE MUSICAL!
November 20-December 27, 2009
Directed by Eric Rosen
Book by Joseph Robinette, Music and Lyrics by Scott Davenport Richards
Produced by Gerald Goehring and Michael Jenkins
Based on the Warner Brothers Movie "A Christmas Story" and Jean Shepherd's novel
In God We Trust, All Others Pay Cash
One of the most beloved Christmas movie of all time has been adapted for the stage and is quickly becoming one of the most highly anticipated shows in the theatrical world. This new, musical version of the classic holiday tale continues to center around Ralphie, the bespectacled boy whose one dream is to get a BB-gun for Christmas, despite repeated warnings of "You'll shoot your eye out!" A Christmas Story, the Musical! unforgettably captures every child's holiday wonder with deliciously mischievous wit, a nostalgic eye and a heart of gold. It's a Christmas present that audiences of all ages will embrace and cherish for years to come.
AROUND THE WORLD IN 80 DAYS
January 22 - February 21, 2010 - Spencer Theatre
Written and directed by Laura Eason
Adapted from the novel by Jules Verne
A co-production with CENTERSTAGE of Baltimore
Jules Vernes' beloved classic is transformed into a theatrical epic by Laura Eason and Lookingglass Theatre Company of Chicago, one of the greatest physical theatre companies in the world, and originators of Metamorphoses and The Arabian Nights.
The staid and resplendently wealthy Phileas Fogg has taken a gentleman's wager that he can't circumnavigate the earth in 80 days. So confident is he that he can accomplish it, Fogg gambles his entire fortune that he and his unreliable but ever-faithful valet can pull it off. Fogg sets off on a whirlwind race aboard steamships, locomotives and pachyderms as he discovers countless exotic locales, from Calcutta to Hong Kong. Brilliant theatricality results in an elephant chase, a storm at sea, a speeding ice sled, a buffalo chase, a ride in a hot air balloon and many other on-stage marvels.
BROKE-OLOGY
February 19-March 21 - Copaken Stage
Written by Nathan Louis Jackson
Continuing its commitment to new work and diverse voices, the Rep will stage one of the first productions of Broke-ology, a powerful new play by a young writer who brings fresh perspectives to the struggles of the next generation in our city. Emerging playwright Nathan Jackson, who grew up in Kansas City, Kansas and trained at Juilliard, taps into his local roots with his absorbing family drama set in his hometown. Broke-ology examines the struggles of an African American family living in a lower middle class neighborhood. When brothers Ennis and Malcolm are called upon to care for their aging father, difficult choices are set in motion: who will follow the life he dreams of and who will stay behind? Will it be Malcolm, the first in the family to attend college, or Ennis, who relies on his street smarts and considers himself a scholar of "broke-ology," which is what he calls the study of being broke and staying alive?
TBA - AN AMERICAN CLASSIC DIRECTED BY DAVID CROMER
March 12-April 4, 2010 - Spencer Theatre
The creative and imaginative style of David Cromer, one of American theatre's most critically acclaimed directors, will return to the Rep to stage an American classic. Although the final title has yet to be selected, it is certain that Cromer will present an innovative and ground breaking new approach to one of the great masterpieces of the theatre.
VENICE
April 9-May 9, 20010
Written by Matt Sax and Eric Rosen
Directed by Eric Rosen
A co-production with Center Theatre Group, Los Angeles
Matt Sax and Eric Rosen, the team that created the Rep's electrifying hip-hop musical Clay, return with a new, high voltage musical, Venice. An epic story of war, love, treachery and the quest for peace, Venice is about two brothers who must lead a city out of a terrorist war; one brother seeks peace while the other is mired in treachery and destruction. It is a powerful tale of the struggle between war and peace, bringing the theatricality of hip-hop to a large-cast musical.
Ticket renewals for Kansas City Repertory Theatre's 2009-10 season are now available and will go on sale to the general public in late summer. For subscription information, please contact the Rep Box Office at 816-235-2700 or visit www.kcrep.org.
City Classics,
Classical Column for April 22 - May 6
The Friends of Chamber Music
Australian Chamber Orchestra with Paul Lewis
Friday, April 24 at 8:00 p.m.
Folly Theater
12th and Central, Downtown Kansas City, MO
How many Kansas City arts organizations would like to have 10,000 subscribers to its concert season? Well, the Australian Chamber Orchestra does and Kansas City will have a chance this weekend to hear what the excitement is all about.
Founded in 1975, the Australian Chamber Orchestra has performed at many of the world's prestigious concert halls, including Amsterdam's Concertgebouw, London's Wigmore Hall, New York's Carnegie Hall and Lincoln Center, Vienna's Musikverein, Birmingham, London's Symphony Hall and Washington, D.C.'s Kennedy Center. The group travels throughout the world and performs more than 100 concerts each season away from its home continent.
For this concert, the Australian Chamber Orchestra will perform the Haydn Symphony No. 44, Rameau's Suite from Dardanus and a work by modern composer Pavel Haas entitled From the Monkey Mountains Suite. The group will be joined by pianist Paul Lewis, who was a student of Alfred Brendel's, in the Mozart Piano Concerto No. 12 in A Major.
For tickets call 816-561-9999 or online at www.chambermusic.org
Lyric Opera of Kansas City
The Pirates of Penzance
Saturday, April 25 at 8 p.m.
Monday, April 27at 7:30 p.m.
Wednesday, April 29 at 7:30 p.m.
Friday, May 1 at 8 p.m.
Sunday, May 3 at 2 p.m.
Lyric Theatre
12th and Central Streets, Downtown Kansas City, MO
The Lyric Opera ends its 51st season with one of the zaniest operas in the repertoire, Gilbert and Sullivan's satirical The Pirates of Penzance. Written primarily for American audiences who had enjoyed illicit (and therefore "pirated") performances of G&S's previous hit, H.M.S. Pinafore, The Pirates of Penzance is a delightful rollicking bit of fun on many different levels.
Those steeped in the history of the Victorian era will love the gentle poking of fun at Victorian customs and mores. Audience members into the background of grand opera will get a kick out of the way the English pair satirizes operatic convention. Others, who just like to sit back and have a good time, will enjoy the constant stream of jokes and puns along with the charming melodies and patter songs of the characters.
For this production the Lyric Opera's Ward Holmquist has brought together several rising young opera stars, who are gracing the Lyric Opera's stage for the first time. Baritone Markus Beam, a graduate of the young artists programs of the San Francisco, Santa Fe and Glimmerglass Operas, plays the Pirate King. The young lovers Frederic and Mabel will be portrayed by tenor Chad Johnson and soprano Nili Riemer, both winners of opera competitions who have appeared on several regional opera company stages across the country.
Singers in the...shall we say, more mature roles...are more familiar to Lyric Opera audiences. Mezzo Jennifer Roderer, who has appeared in Kansas City in dramatic parts, takes on a much different character in Ruth, the young Frederic's longtime nurse who has designs on his affections. The Police Sergeant will be sung by a Kansas City favorite, bass John Stephens of the University of Kansas opera faculty. Major General Stanley, the gentle but befuddled father, will be sung by baritone Robert Gibby Brand, a longtime favorite for G&S roles at the Lyric Opera and also familiar to audiences of the Kansas City Repertory Theatre, Unicorn Theatre, Metropolitan Ensemble Theatre and others.
Andy Anderson, the former artistic assistant with the Lyric Opera (and artistic director of the Civic Opera Theatre of Kansas City), returns to Kansas City from his new post as artistic director of the Mobile (Alabama) Opera to conduct Pirates. His podium technique and organization is impressive and it will be a pleasure to see him again in the Lyric Opera orchestra pit.
For tickets call 816-471-7344 or online at www.kcopera.org
Harriman-Jewell Series
Julia Fischer, violin
Saturday, April 25 at 8:00 p.m.
Folly Theatre
12th and Central, Downtown Kansas City, MO
Those of us who attended the outstanding performance by the Academy of St. Martin in the Fields at the Folly Theater in February may have noticed a talented young violinist and conductor, Julia Fischer, who played a couple of Bach concertos. It turns out that she has an impressive solo career as well as a career with the celebrated Academy ensemble, and this weekend Kansas City audiences will get a chance to hear her on her own.
A student of famed violinist Ana Chumachenco, Julia Fischer is Germany's youngest professor of violin, at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main. She burst onto the classical scene about five years ago, and in 2005 won Germany's coveted 'ECHO' Award for her recording of 'Russian concertos by Khatchaturian, Prokofiev and Glazounov.' The following year she was named by BBC Music Magazine the ''Best Newcomer of the Year''. Great Britain's Gramophone Magazine pictured Julia Fischer on the front cover of their July 2006 issue, and in 2007 she was named "Artist of the Year" at the Classic FM Gramophone Awards.
In the last couple of years Fischer has made concert appearances in various venues and with a variety of orchestras around the world. Last fall she signed a recording contract with Decca, with whom she is producing an album of Bach concertos.
On the program for this recital are sonatas for violin and piano by Mozart, Beethoven, Prokofiev and Martinu. Joining Fischer for the program will be pianist Milana Chernyavska.
For tickets call 816- 415-5025 or online at www.harriman-jewell.org
UMKC Conservatory of Music and Dance
Conservatory Connections: Chinoiserie
Friday, April 24 at 6, 6:45 and 7:30 p.m.
Nelson-Atkins Museum of Art
Large Chinese Gallery
4525 Oak St., Kansas City, MO
The UMKC Conservatory's community outreach program, called "Conservatory Connections," looks like it has come up with a winner in this program of Chinese music performed amidst the Chinese Temple at the Nelson Atkins Museum. Assembled by husband and wife composers Zhou Long and Chen Yi of the Conservatory faculty, talented Conservatory students will play musical selections inspired by the Nelson Atkins Museum's Chinese collection.
Free admission. For more information visit www.conservatory.umkc.edu
UMKC Conservatory of Music
Signature Series Finale
Vaughan Williams' Dona nobis pacem
Saturday, April 25 at 7:30 p.m.
White Recital Hall
4949 Cherry Street, Kansas City, MO
The UMKC Conservatory of Music's Signature Series of concerts culminates its season presentations with the 100-piece Conservatory Orchestra and 100+ singers of the combined Conservatory Choirs led by Robert Olson, performing 20th Century English composer Ralph Vaughan Williams' Dona Nobis Pacem.
Every year the Signature Series ends with a gala presentation by the assembled forces of the Conservatory's talented students, and often these concerts reveal exceptional musicality as well as spectacular showmanship. This year should be no exception, as Vaughn William's cantata puts on full display the assembled instrumental and choral forces of the school. The cantata pulls its text from the Latin Mass, the poetry of Walt Whitman, John Bright's anti-war speech, "The Angel of Death," and Old Testament scripture. The soprano and baritone soloists will be Rebecca Skaar and William Perry of the Conservatory faculty.
In addition to the Vaughan Williams piece, the Conservatory forces will play the ravishing Suite No. 2 from Ravel's epic ballet Daphnis et Chloé; Chen Yi's Kansas City Capriccio; and Brahms' Academic Festival Overture. It should be a great end to an academic year and an outstanding concert season.
For tickets call 816-235-6222 or online at www.conservatory.umkc.edu
Musica Sacra Chorus and Orchestra
George Frideric Handel
Sunday, April 26 at 7:00 p.m.
St. Francis Xavier Church
52nd and Troost Avenue, Kansas City, MO
Fans of large-scale vocal performance works have come to appreciate over the last few years the impressive efforts of director Timothy McDonald and his Musica Sacra group. They have brought to the ears of this listener and others some of the outstanding choral works of the repertoire, many of which are not often heard, at least in these parts.
The music of George Frideric Handel is all the rage these days, and in this concert Musica Sacra will bring us a Handel composition with which many of us are unfamiliar: the Funeral Anthem on the Death of Queen Caroline: The Ways of Zion do Mourn. Definitely not to be missed.
An added treat, if you can get there a bit early, is to listen to director McDonald talk about the piece to be performed. He is always articulate and charming. Arrive before 6:15 p.m. to hear his lecture.
For tickets call 816- 235-6222 or online at www.rockhurst.edu/musicasacra
Northland Community Choir Spring Concert
NCC Off Off Off Broadway
A Concert of Musical Theater Favorites
Sunday, April 26 at 3 p.m.
Graham Tyler Memorial Chapel
Park University, Parkville, MMO
The Northland Community Choir will perform its Spring concert free of charge. The concert will feature selections from a variety of Broadway shows. According to the Choir, "from murder and intrigue to love and laughter, this concert will have it all."
Free admission.
Youth Symphony of Kansas City
Spring Concert
Sunday, April 26 at 4 p.m.
Jewish Community Center
5801 West 115th Street, Overland Park, KS
The Youth Symphony of Kansas City closes out its concert season for the year with a full orchestra concert led by its conductor, Steven D. Davis. The selections this afternoon include Brahms' Symphony No. 2 and the Overture to Candide by Bernstein. The Youth Symphony often gives outstanding performance and these selections should both please.
Free admission.
Kansas City Symphony
Symphony Chamber Players: Celebrated Serenades
Friday, May 1 at p.m.
Visitation Church
5141 Main Street, Kansas City, MO
The Kansas City Symphony's new chamber music series is the brainchild of the Symphony's new assistant conductor, Steven Jarvi. This concert is the last in the series for this year. The series offers fans of the Symphony an interesting opportunity to hear the players on a more intimate basis than is allowed in the larger symphonic setting, of course, and the first several recitals in this series have revealed a distinctly different side of the Symphony musicians' talents.
In this program the chamber players will explore the Dvorak Serenade in E Minor, along with Benjamin Britten's Serenade for Horn, Tenor and Strings. No word yet on who the tenor will be, but the piece features poetry of Tennyson, Keats and Blake, so it should be interesting.
Jarvi is an engaging conductor and his concert comments are always interesting. This should be a great way to celebrate May Day this year.
For tickets call 816-471-0400 or online at www.kcsymphony.org
Fine Arts Chorale
Green Concert
Friday, May 1 at 8 p.m.
Immanuel Lutheran Church
2104 Bob Billings Parkway, Lawrence, KS
Saturday, May 2 at 7:30 p.m.
Grace and Holy Trinity Cathedral
13th and Broadway, Downtown Kansas City, MO
The Fine Arts Chorale concludes its 2008-2009 concert season with two performances of a Green Concert which, according to the Fine Arts Chorale, will feature "music that speaks to the beauty of Earth and its resources." .
For tickets call 816- 235-6222 or online at www.fineartschoralekc.org
NewEar Contemporary Music Ensemble
Györgi Ligeti Program
Saturday, May 2 at 8 p.m.
All Soul's Unitarian Church
4501 Walnut, Kansas City, MO
The NewEar Contemporary Music Ensemble finishes its 2008-2009 season this weekend with a tribute to the pathbreaking Trannsylvanian-born composer Györgi Ligeti, whose work has been such a stimulant to contemporary musicians.
Ligeti was born in 1923, and his early work showed influences of his fellow Eastern European musicians Bartok and Kodaly. Ultimately he carved a very independent musical path, however, developing a musical concept he called "micropolyphony," which, according to one commentator, is "a style forged from chromatic cluster chords that are devoid of conventional melody, pitch and rhythm, but instead grow into timbres and textures that yield new sonic possibilities."
According to NewEar, "his music was remarkable: devoid of sentiment, whimsical, bizarre, and utterly astonishing in its continuous discovery of new sounds where there seemed to be none left to be found." Among his influences were Bartok, Brahms, Stockhausen and the music of African pygmies.
New Ear's celebration of Ligeti will covers much of the vast breadth of his music, including the early Six Bagatelles for woodwind quintet, Poéme Symphonique for 100 metronomes, the chamber version of his Cello Concerto and the Horn Trio.
For tickets call 816-235-6222 or online at www.newear.org
Liberty Symphony Orchestra
Season Finale Concert
Saturday, May 2 at 7:30 p.m.
Liberty Performing Arts Center
1600 South Withers Road, Liberty, MO
The Liberty Symphony Orchestra is another organization which wraps up its 2008-2009 concert season this weekend, with a final performance which will feature Copland's Appalachian Spring, Debussy's Prelude to the Afternoon of a Faun and Bernstein's challenging Chichester Psalms, in conjunction with the Liberty Community Chorus. These are all popular and sometimes difficult pieces, and the Liberty Symphony certainly demonstrates its willingness to tackle advanced repertoire in this concert.
For tickets call 816-439-4362.
Kansas City Chorale
Spring Concert: Double Concert with Phoenix Chorale
Sunday, May 3 at 2 p.m.
Redemptorist Church
3333 Broadway, Kansas City, MO
Tuesday, May 5 at 7:30 p.m.
Church of the Nativity
119th and Mission Road, Overland Park, KS
On Sunday and Tuesday the Kansas City Chorale and Phoenix Chorale, both directed by Charles Bruffy, will team up for their delayed double concert which was originally scheduled for earlier this season. It should be worth the wait, as the two talented groups will join forces for the world premiere of René Clausen's new "Mass" commissioned by the Chorale. Also in store is a selection of Bruffy favorites that will be sung by the Chorale in Seoul, Korea this August.
For tickets call 816-235-6222 or online at www.kcchorale.org
Philharmonia of Greater Kansas City
Season Finale Concert
Sunday, May 3 at 3 p.m.
Graham Tyler Memorial Chapel
Park University, Parkville, MO
The Philharmonia of Greater Kansas City, one of the area's more talented community orchestras, play under the direction of Andrés Franco, conductor and music director.
The Philharmonia will complete its concert season with a performance at Park University this afternoon. The interesting selections will include Borodin's rarely heard Symphony No. 2, an impressive work of the Russian repertoire from the pen of one of the 19th Century's most celebrated Russian composers, along with Walton's Viola Concerto featuring viola soloist Yu-Fang Chen, Viola, the winner of the 2009 Philharmonia Concerto Competition.
It's not often that you get to hear either one of these works, so this concert should be a real treat.
Tickets available at the door.
City Voices,
Vocal Column for April 29 - May 13
After a few down weeks in the vocal/choral offerings around the area, our local ensembles are collectively ramping up their games to give us a plethora of exciting concert opportunities. Particularly busy is Sunday, May 3, where audiences will have to choose between several quality offerings. For a more complete listing of area events, visit our performance arts calendar, the most exhaustive arts calendar in the region!
The Lyric Opera of Kansas City
The Pirates of Penzance
Gilbert and Sullivan
Wednesday, April 29 at 7:30 p.m.
Friday, May 1 at 8 p.m.
Sunday, May 3 at 2 p.m.
Lyric Theater
11th and Central, Downtown Kansas City, MO
Opera lovers are bursting with excitement over the upcoming performance of one of Gilbert and Sullivan's most entertaining works. In The Pirates of Penzance, we are treated to laughter as we follow the zany misadventures of pirates in the port of Penzance. This performance, sung in English, will also feature subtitles. It will be directed by Dorothy Danner.
For tickets, call 816-471-7344 or visit www.kcopera.org
The Fine Arts Chorale
The Green Concert
with Terri Teal, Music Director and Conductor
Friday, May 1 at 8 p.m.
Immanuel Lutheran Church, Lawrence, KS
Saturday, May 2 at 7:30 p.m.
Grace and Holy Trinity Cathedral
14th and Broadway, Downtown Kansas City, MO
Audience members are invited to join the Fine Arts Chorale in their season-ending concert that will celebrate the earth and touch on ecological themes. The program includes music by Dvorak, Mendelssohn, Rutter, Ticheli, Pfautsch and more.
For tickets call 816-235-6222 or visit www.fineartschoralekc.org
Liberty Symphony
Season Finale Concert
Saturday, May 2 at 7:30 p.m.
Liberty Performing Arts Center
1600 Withers Rd., Liberty, MO
Why would the Liberty Symphony's season-ending concert be included in a vocal/choral column? The appearance of Bernstein's epic Chichester Psalms has caused this inclusion. The rest of the star-studded program include Copland's Appalachian Spring and Debussy's Prelude to the Afternoon of a Faun.
For tickets call 816-439-4362.
A Concert with Nathan Granner and Lauren Braton
Sunday, May 3 at 11 a.m.
All Souls Unitarian Church, 4501 Walnut St. KC, MO
Any time hometown and internationally renowned tenor Nathan Granner takes the stage is a performance not to be missed. Join Granner in a program of his favorite songs from a variety of styles and backgrounds. Free Admission!
For more information contact ngranner@gmail.com
The University of Kansas
Maurice Durufle's Requiem
Sunday, May 3 at 4:30 and 7:30pm
Bales Organ Hall at the Lied Center
University of Kansas, Lawrence, KS
Dr. James Higdon plays the organ as Dr. Paul Tucker directs choirs from the KU choral department in a performance of the masterful Requiem by Maurice Durufle. This is a can't miss performance, as Durufle's organ and choral writing is at a high level as any in the 20th century. Plus, the performance will be performed on one of the absolute best French style organs in the entire country. Free Admission!
For more information visit www.arts.ku.edu/~sfa/musicdance
The Kansas City Chorale
Spring Concert: Double Chorus Concert
Featuring the Phoenix Chorale and the Kansas City Chorale
Sunday, May 3 at 2 p.m.
Redemptorist Church
Linwood and Broadway, Kansas City, MO
Tuesday, May 5 at 7:30 p.m.
Church of the Nativity
119th and Mission in Leawood, KS
Headlining this most exciting pairing of two of America's finest professional choral ensembles is the premier performance of Rene Clausen's Mass, commissioned by the Kansas City Chorale. Also on the program is a collection of conductor Charles Bruffy's favorites from the groups' vast repertoire of choral masterworks.
For tickets call 816-235-6222 or visit www.kcchorale.org
The Kansas City Symphony
The Lord of the Rings Symphony
Thursday, May 7 at 8 p.m.
Friday May 8 at 8 p.m.
The Music Hall
13th and Central, Downtown Kansas City, MO
For fans of hobbits, elves, wizards, and rings of power, the Kansas City Symphony concerts are the place to be, as they will be presenting a symphonic version of Howard Shore's award-winning film scores, originally written for the epic movie trilogy. The Kansas City Symphonic Chorus joins the Symphony to give a moving multi-media performance.
For tickets call 1-800-745-3000 or visit www.kcsymphony.org
The William Baker Choral Foundation
The Eleventh Master Season Home Concert - The William Baker Festival Singers
Friday, May 8 at 8:00pm,
Grace and Holy Trinity Cathedral
14th and Broadway, Downtown Kansas City, MO
The Festival Singers cap one of their most artistically rewarding seasons in recent memory with an eclectic collection of their favorites from this and past years. Featured is a command performance of William Dreyfoos' Holocaust Songs as well as the group's trademark offerings of spirituals and gospel songs.
For tickets, call 913-403-9223 or visit www.festivalsingers.org
Dance Around the City,
Dance Column for April 22 - May 6
Guadalupe Centers, Inc. presents
Cinco de Mayo Fiesta...!
Friday, May 1 at 6:00-10:00 p.m.
Saturday, May 2 at 12:00-10:30 p.m.
Sunday, May 3 at 12:00-8:00 p.m.
Guadalupe Center
1015 Avenida Cesar E. Chavez, Kansas City, MO
Guadalupe Center presents its annual Cinco de Mayo celebration offering a weekend of festivities, music, dance, artwork, food, and family entertainment.
This year, the Fiesta kicks off with a concert on Friday night to mark the opening of the Center's new gallery exhibit of pitures, videos, articles celebrating Guadalupe Center's 90th year of service to the West Side Community. Saturday will feature a Community Fiesta and Sunday will feature a Mariachi Mass at Our Lady of Guadalupe Church, followed by the Mariachi Fest in the Center couryard.
Throughout both days, live Mariachi and Ranchero music will be performed, along with authentic Mexican Folkloric dance performed by KC's own El Grupo Folklorico Atotonilco. El Grupo will present dancers at all age levels performing authentic traditional dances in full costume from various regions in Mexico.
For more info call 816-421-1015 or online at www.guadalupecenters.org/5demayo2009.html
To volunteer call Christina Jasso at 816-561-6885 or CJasso@GuadalupeCenters.org
Upcoming - Save the Date!
Kansas City Ballet
Spring Performance
Nine Sinatra Songs by Twyla Tharp
Thursday, May 7 at 7:30 p.m.
Friday, May 8 at 7:30 p.m.
Saturday, May 9 at 2 and 7 p.m.
Sunday, May 10 at 2 p.m.
Lyric Theatre
11th & Central, Downtown Kansas City, MO
For tickets call 816-931-2232 or online at www.kcballet.org
Bach Aria Soloists with Owen/Cox Dance Group
Baroque in Motion
A Collaborative World Premiere Event
Saturday June 6 at 7:30 p.m.
White Recital Hall
4949 Cherry Street, Kansas City, MO
Choreography by Jennifer Owen
Featuring Music of:
Bach, Ravel, Purcell, Handel, and more!
with
Grammy Award-winning soprano, Rebecca Lloyd
David Adams, Tenor
Paula Kosower, Guest Cello, Chicago Symphony Orchestra
Elisa Bickers, Harpsichord
Dancers of Owen/Cox Dance Group including Christopher Barksdale
For tickets call 816-235-6222 or online at www.bachariasoloists.org.
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