Classical,
Lionheart warms large audience on a cold night
If a friend had told me that on Thursday night one of the world's best six-voiced male vocal ensembles was to present a concert of masterfully interpreted and exquisitely performed music from medieval England, I would have asked what time the King's Singers were performing. There was such a concert on Thursday night, but the ensemble was Lionheart, one of America's leading chamber music vocal ensembles.
Sponsored by The Friends of Chamber Music's Early Music Series, Lionheart presented an evening of mature, elegant, and refined music-making. The program, entitled Tydings Trew: Feasts of Christmas in Medieval England, took the audience on a musical journey through the twelve days of Christmas (Christmas Day to the Feast of Epiphany on January 6.)
Based in New York, Lionheart has been dazzling concert-goers for 10 years. They are best known for their interpretation of unaccompanied vocal music from the Renaissance and medieval periods, with Gregorian chant forming the keystone of their repertoire. From the first notes heard at Thursday's concert, performed in the wonderful acoustic of the Cathedral of the Immaculate Conception, the all-male Lionheart captivated the audience's attention and held it through the entire performance. They sang the opening hymn, the chant A Solis Ortus Cardine ("From Where the Sun First Rises"), while walking throughout the sanctuary. The singers overcame the challenges of singing on the move, presenting the chant with conviction and extreme unity of sound.
The program included a diverse collection of antiphons, canticles, carols, motets, and hymns. The languages sung were a mixture of Latin, Old English, and Middle English, all presented with impeccable diction. The first set of songs focused on the Annunciation. The highlight of this set was the carol Hayl Mary, Ful of Grace...The Holi Goste. This selection's last stanza was sung with great expression and at a marvelously penetrating soft dynamic. The second set presented songs from the Nativity, highlighted by the carol A, My Dere, A, My Dere Son. This song had a wonderful blooming opening, starting with a single tenor voice, then adding baritone, then bass, then finally the entire ensemble. Another highlight was the hymn Sancte Dei Preciose ("Treasured Marytr") with text on Saint Stephen. The sextet divided into two trios with one trio providing sustained pedal tones while the other sang the hymn. The pedal notes were so in tune that a wonderful bouquet of overtones rang throughout the sanctuary. In another instance of artistic placement of singers, the carol Worcepe We This Holy Day brought a trio of singers into the middle aisle to sing, making great use of the room's spatial acoustics as well as providing visual interest.
Lionheart sang the program without an intermission, which meant that there was no applause between selections. As a result, the pacing of the program was wonderful. The ensemble effortlessly moved between selections, often moving from one song to another without stopping to re-pitch. The audience was obviously drawn into the experience, as there were surprisingly few extraneous sounds. As the performance drew to a conclusion, Lionheart sang the motet Gaude Virgo Mater Christi. The third stanza, with text translated as "You, our hope and advocate, are wholly revered by the populace, leading some, though they be tainted, from the depths through the highest, sainted regions beyond where stars go.", provided the musical and emotional climax to the entire evening. The music soared, and the vocals were exuberant.
After retiring to the back of the sanctuary during the last selection, the canticle Nunc Dimittis, Lionheart received a well-deserved reception. They then thrilled the audience with a rich rendition of In The Bleak Midwinter as an encore. If you missed the performance, fear not. Lionheart has a recording available (Tydings Trew: Medieval English Carols and Motets) with many of the same selections as was heard Thursday night.
As Friends of Chamber Music President Cynthia Siebert told the audience in a pre-concert talk, the men of Lionheart represent not only the best of music-making but also a microcosm of America - striking a delicate balance between cherished individuality and the responsibility to a shared ideal. On a very cold December night, Lionheart successfully struck that balance and gave a large and appreciative audience a meditative and spiritually warming performance to remember.
REVIEW:
The Friends of Chamber Music presents
Lionheart
Tydings Trew: Feasts of Christmas in Medieval England
Thursday, December 4, 2008 at 7:30 p.m.
The Cathedral of the Immaculate Conception
12th and Broadway, Downtown Kansas City, MO
www.chambermusic.org
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Dance,
KC Ballet's Nutcracker 2008 celebrates the holiday season
The Christmas season heralds the Kansas City Ballet's annual production of the classic ballet, The Nutcracker. This charming family-oriented ballet is one of those events that everyone should see at least once, and if you have children, it is probably something you should take your children to often... simply for the pure enjoyment of it.
The Nutcracker is not so much a ballet event as it is a community holiday ritual, and one that is guaranteed to put you (and your family members) into a festive, holiday mood. And it gives the Kansas City Ballet company an opportunity to do community outreach, and engage (re-engage?) an audience of all ages. It also enables area ballet students to prove themselves by giving them the opportunity to perform with a professional company. The Nutcracker is not only an important community tradition, but also serves an important function as a transitional training ground for young dancers to gain valuable experience.
Since my mother danced with the company at the time (then called the Kansas City Civic Ballet), I can actually remember the first Nutcracker when it was performed in the Kansas City area. In looking back, it is remarkable to see how much the company, as well as the production itself, has grown and continues to mature over the last 35 years.
In the early days, much of the choreography had to be scaled down to the younger dancers, with the bulk of the show being carried by the talents of a few, more experienced dancers. The costuming was more on a budget, meaning that many of the costumes were rather generic or very simple ballet costumes. As the years passed, more and more creative innovations were added each year by the talented Mrs. Scanlon, who managed to work magic on a shoestring budget.
As the company matured under the Bolender years, the talent became more consistent and developed, and the choreography evolved. As principal dancers became more polished, the choreography became more challenging, to better show off their talents.
The Kansas City Ballet company's annual Nutcracker has matured into one of the largest productions in the eight state region, with 25 professional members of the company performing on a rotating basis, and over 200 area children participating in the production. Included in the cast are also some of the Conservatory's most promising dancers, giving them professional experience even before they graduate with their dance degrees.
With so many performances, there is always the danger that dancers may become stale or burned out on the material. However, William Whitener has wisely rotated each of the principal parts among three different dancers, and the rest of the cast with two rotations. This helps keep the roles fresh for both audience and dancers, and allows the dancers to stretch their repertoire of movements into radically different directions. Often dismissed as merely a children's ballet, it offers an array of different principal roles with a wide variety of different types of choreography and characters. Many of the roles are of a unisex type, so they can be played by either male or female dancers. This flexibility of roles allows both sexes to display a range of character movements, comic acting, and athletic ability. Because of this flexibility of role gender, the ballet actually gives male dancers an opportunity to expand their opportunity to dance athletic male specialty parts, which they normally don't have in other ballets.
Bolender's version of The Nutcracker follows the Balanchine model of the ballet, by presenting the story in two acts. The first act takes place in the home of Clara on Christmas Eve, when her godfather, Herr Drosselmeyer, a mysterious old inventor, bestows her with the gift of the Nutcracker dressed as cavalier. That night, Clara dreams of her Nutcracker, now turned into a live handsome young prince, fighting with the Mouse King, leader of all the mice that creep during the night-time darkness. Upon his victory, the Prince presents the Mouse King's crown to Clara, and takes her the Land of Sweets. On their way, they meet the King and Queen of Snow, who give them permission to pass through the forest, where they see the Dance of the Snowflakes.
The second act opens with Clara and the Prince arriving in the Land of Sweets, where they are greeted by the Sugar Plum Fairy and her Cavalier. It is here that Clara and her Prince are entertained with the candies, sweets, and toys that magically come to life to perform for them, including Spanish chocolate dancers, Arabian coffee dancers, Chinese tea dancers, Russian dolls, Reed Pipes, Candy Canes, and Mother Ginger with her bonbon children hiding under her skirts.
The Bolender/Balanchine version ends after the second act with Clara and her Prince departing from the Land of Sweets to take Clara back to her home for Christmas morning. Other versions of the ballet often give an additional short third act which portrays Clara's return home and the Christmas family gathering.
This year's production, as always, is a delight to see and hear, with a solid, talented rotation of dancers, colorful costumes by Robert Fletcher, music conducted by Ramona Pansegrau, William Whitener's artistic direction, and Bolender's choreography.
That said, it is possible that there is room for growth in the production's choreography. The company, and its supporting cast, is quite accomplished at this point in time, and probably capable of more challenging work for the younger dancers, as well as some of the principal parts. For example, some of the younger parts, (such as the Prince, the Mouse King, Clara's brother, Fritz, and his friends) are largely choreographed as pantomime movements, rather than actual ballet dance. This was probably originally a strategy to adjust the choreography to the age of the children at the time it was conceived. However, it would be possible to build up some of these younger parts for the talented young dancers who are now available in the area, and still allow for participation by less experienced dance students.
As beautiful and sensual as the choreography of Arabian Dance is, it has a potential to be so much more. This version of the Arabian Dance seems pale compared to the choreography of some other interpretations of the dance, and the company dancers are very capable of more challenging choreography.
These are, however, very minor points that do not detract from the beauty and enjoyment of the production as a whole. It is colorful, fun, nostalgic, and the dances are well-executed. The Nutcracker should definitely be part of your holiday season, regardless of your age, or how many Nutcrackers you have seen.
REVIEW:
The Kansas City Ballet presents
The Nutcracker
Runs December 6 - December 28
(Reviewed December 6)
Call or visit the website for performance times.
Music Hall, 301 W 13th St., Downtown Kansas City, MO
For tickets (on sale Oct. 20) call 816-931-2232 or online at www.kcballet.org
Dance,
Owen/Cox Dance Group - An eclectic "Christmas Story"
By David and Sandy Eisenberg
Owen/Cox Dance Group is an ensemble of dancers and musicians that is now in its second season. Artistic Director/Choreographer Jennifer Owen danced with the Russian State Ballet, Moscow Renaissance Ballet, Kansas City Ballet (7 years), Hong Kong Ballet, BalletMet, and as a guest artist with the National Ballet of Turkmenistan. She has grown as a choreographer since the company's debut, and has removed herself from much of the onstage dancing so that she can focus on the choreography. Brad Cox, the ensemble's music director, composer and arranger, has written arrangements for a variety of well-known jazz and classical artists, and has composed large-ensemble jazz works, chamber music, and choral compositions.
The Christmas Story - a Medieval Mystery Play has now been performed for three years, but it began its life strictly as a concert music piece. This is the first year that Jennifer Owen has incorporated choreography. While the addition of dance has resulted in some changes to the phrasing and structure of the piece, by and large the musical work has remained intact.
In this ostensibly medieval Christmas pageant, Cox's musical style can best be described as eclectic: willfully, aggressively, in-your-face eclectic. The score begins with a brief and somewhat cacophonous modern jazz introduction, not unlike some of Frank Zappa's work. It then wends its way through a dizzying succession of musical styles, both in its arrangements of traditional Christmas and other music spanning six centuries, and in Cox's original contributions. This includes medieval songs and dances, sacred works of Monteverdi, Renaissance dances, traditional Christmas carols, hymns by American composers John Henry Hopkins and Lowell Mason, jazz vocals, middle Eastern music, a (deliberately) cheesy Las Vegas lounge act-like vocal, and a rambunctious rendition of rocker Van Morrison's Gloria (G-L-O-R-I-A), which may have come as a surprise to anyone expecting something more along the lines of Gloria in excelsis deo et in terra pax.
Cox is a talented composer and arranger, but in the hands of a lesser musical ensemble, this series of rapid-fire leaps from one style to another could well have come across as a hodge-podge. Cox, however, has assembled a superbly talented group of musicians, who were able to keep the distraction factor to a minimum. Especially noteworthy were the contributions of accordionist Lidia Kaminska (who received her doctorate at UMKC and is enjoying a distinguished career in the U.S. and in Europe); the multi-talented Jeffrey Rukaman who performed on the dulcimer, toy piano, theremin (an exotic electronic instrument), as well as piano, guitar and percussion; and flutist Lori Lacy, whose has impressive credits as a jazz and hard-rock musician.
The musicians showed a remarkable ability to obtain a broad range of colors and sounds from their instruments. For example, guitarist Beau Bledsoe, playing a modern classical guitar, was able to closely approximate the sound of a lute or baroque guitar, where the score called for it. And Kaminska's accordion, when accompanying early music vocals, sounded much more like a small church organ than a modern accordion. Among the most rewarding musical moments of the evening was the finale, a lovely arrangement of that most haunting and emotional of traditional carols, the Coventry Carol (Lully, Lullay....)
Brad Cox began the evening center-stage with a brief explanation of the history of the medieval Christmas pageant (originally performed by the guilds of Shearmen and Tailors), and how its story has drawn primarily upon the gospels according to Luke and Matthew. Toward the end of his remarks, Cox physically receded back into group of eight musicians and two singers who were located upstage throughout the performance, as a narration of the Christmas story began. The ensemble of eight dancers then entered stage right, pushing and being wheeled on a dolly, which represented the "cart" on which medieval Pageants were traditionally performed. The choreography opened with large a sweeping movement that was enhanced by the flowing and colorful costumes of Lily Walker. This was offset by the lovely contained movement of Rebka Sakati (Mary) wearing on her head a matching blue kerchief and bolero-like jacket, above a white flowing dress.
Throughout the performance, Owen appropriately matched her choreography to the ever-changing styles of music. Her choreography ranged from Renaissance courtly dances to jitterbug, and almost everything in between. The common denominator for the evening was the sense of sheer fun that the dancers and musicians communicated to the audience.
Sakati's solo, Sleep my baby don't you cry, was quite extraordinary. She placed her imaginary infant down center stage. The movement focused around the infant Jesus, all taking place low to the stage, and the choreography was wonderfully executed. The company's exuberant rendition of Joy to the World was a hoot.
Gloria showed off the musicians' rock and roll chops, and also gave the dancers a chance to cut loose. The dancers spelled the letters G-L-O-R-I-A with their bodies. They first danced as couples, then individually went for broke, moving wildly as a flashing strobe light underscored the madness. But ultimately, notwithstanding Cox's glorious musical pun, Gloria went on too long, and outwore its welcome. Tranquility was restored by Sakati's entrance with her opening theme, as one by one the dancers brought back their earlier themes. Act 1 ended with the dancers in a tableau in total blackout, but for a light emanating from the crown of an angel, played by Owen.
All the dancers were beautiful, technically proficient and lovely to watch. Chris Page exuded energy and personality. Sam Lopp was convincing as King Herod. Sakati's subtlety, phrasing and acting were so satisfying that whenever she was on stage, she commanded the audience's attention. Jeff Harshbarger, who also performed on bass, did a wonderful job as narrator. At times, Owen had the dancers miming the words of the narrator. This worked best when the dancers were facing the audience, and less so when they were not.
Highlighting the second act was the portrayal of the wise men's gifts to Jesus of gold, frankincense, and myrrh, with each gift represented by a dancer. This scene was danced beautifully, with Sakati and Gavin Stewart (Joseph) embracing (stage right) while the "three prizes" danced in a lovely canon. Owen and Cox saved the best for last, as the evening concluded with a touching rendition of the Coventry Carol.
A Reflection on the Kansas City dance community:
That a relatively new ensemble such as the Owen/Cox Dance Group can enjoy success reflects well on the state of our performing arts community. To his credit William Whitener, artistic director of the Kansas City Ballet, had recognized that in order to promote a happy, healthy company, he needed to encourage and support his dancers in performing and choreographing opportunities outside the KCB season. He implemented the choreographic workshop In the Wings, which gave his dancers (including Owen) a venue and opportunity to hone their choreographic skills on their fellow company members. In the late 1990's, Russell Baker organized a yearly summer outdoor performance series where a stage was built in the Californos' parking lot. The KCB dancers choreographed and performed, and it felt like the days of Judy Garland and Mickey Rooney, "Let's put on a show".
Dancers from Kansas City Ballet and the UMKC Conservatory continue to support the good work that takes place outside of their own performance season. Many of the accomplished dancers in last night's program came out of the UMKC Conservatory of Dance. It has been an outstanding dance program for a long time and these performers demonstrate that the Conservatory continues to produce strong dancers.
A former KCB and Owen/Cox dancer, Mathew Powell, was in the Christmas Story audience. Powell had been seen earlier this year wearing Todd Bolender's tuxedo on his opening as the artistic director of the Crossroads Ballet Festival. He is currently going to school, teaching ballet and living in NYC. Current KCB member Catherine Russell - soon to be a Mom, but fresh off her KCB performance in Rodeo - was there with her husband.
Many of the dancers and musicians in last night's performance, including both Owen and Cox, were involved with Quixotic Performance Fusion, a collaboration created by KCB dancers and KC area musicians that would allow them the opportunity to be creative in ways that they've never been before.
Former KCB member (for 17 years) and Associate Ballet Mistress Lisa Thorn is the rehearsal director for the Owen/Cox Dance Group. Bill Whitener brought these wonderful people into the Kansas City fold, nurtured them, and has encouraged his well-adjusted offspring to take flight locally and globally. Kansas City has benefited from the Owen/Cox Dance Group and these other endeavors.
REVIEW
Owen/Cox Dance
The Christmas Story: A Medieval Mystery Play
Friday, December 12 at 8 p.m. (Reviewed)
Saturday, December 13 at 8 p.m.
Sunday, December 14 at 2 p.m.
H&R Block City Stage Theater, Union Station, 30 W. Pershing, Kansas City , MO
www.owencoxdance.org
Classical,
Baker's Festival Singers present glorious cathedral concert
In what must be the most densely booked holiday concert weekend of the year, the William Baker Festival Singers drew a full house Friday night into the beautifully adorned Grace & Holy Trinity Cathedral for an evening of yuletide inspiration at its 11th Annual Candlelight, Carols & Cathedral concert.
True to the sentiments expressed by Cathedral Music Director and Organist, John Schaefer in his welcome, the ensemble delivered music that ranged from being so exciting at times that one wanted to "jump up and down" to sublime passages that "could make one melt." In prelude to the choral selections, the program opened with Gabrieli'sSonata Piano e Forte performed from the balcony by the Festival Brass of Kansas City, conducted by Dr. Phillip Posey. The warm sound of the brass ensemble rang through the Cathedral space with good resonance, despite some inaccuracy of notes.
The Festival Singers opened with an invigorating arrangement for choir, brass, and organ of the 1582 carol, Personent Hodie. Its second verse, sung by the ladies, showcased a well-balanced, clean blend that contrasted with reedy timbres in the third verse, sung by the gentlemen, paired with organist, Dr. O. Wayne Smith. The parts coalesced in fugal treatment in the last verse, and rang with a magnificent full sound to its close. The performing forces thus introduced, a fanfare sounded for the processional of the choir to the nave, as the audience joined in singing, O Come All Ye Faithful. What a glorious entrance processional! In that moment, the Spirit of Christmas arrived in the Cathedral to reign over the evening of beauty and inspiration.
The program was framed in the format of lessons and carols, with readings about the story of the Nativity preceding each set of carols, directing the focus of the music to its spiritual relevance. Melissa Ann Shallberg directed the first two pieces, Pilgrims Hymn by Stephen Paulus and To Him We Sing by Robert Young in her very musical style. Glorious overtones rang through the Cathedral with heart-melting beauty in the Paulus piece. Excellent ensemble in the Young piece led to a thrilling statement of 'Gloria' at its conclusion. Shallberg, appointed as Associate Music Director of the Festival Singers in 2002, is pursuing a Master's Degree in Vocal Pedagogy at the University of Kansas.
Dr. Baker resumed the podium to direct the rest of the concert, which continued with Most Highly Favored Lady, sung in an arrangement by Warren Massey, featuring a quartet of soloists: Christine Freeman, Michelle Patton, Jacob Rodman and Michael Carter. This critic enjoyed especially the antiphonal effect of the soloists quartet juxtaposed against the ensemble, particularly lovely in that the quartet sounded as if it were a micro-cosmos of the larger choir, maintaining the same beautifully balanced sonorities and blend as the larger ensemble. The exquisite Lauridsen O Magnum Mysterium followed, growing in quality as it progressed, with Baker's love of the work illuminating the interpretation handsomely.
The evening was crowned by the ensemble's performance of selections from Daniel Pinkham's Christmas Cantata, in which the unison singing was simply superb. The a cappella sections were crisp and accurate, and the high notes of the Alleluia zinged to the top of the rafters in thrilling resonance. The beautifully sweet and lyrical oboe tone of Dr. Richard Anderson, accompanied tastefully by Dr. O. Wayne Smith on organ in Infant Holy, Infant Lowly, floated down from the balcony to deliver one of the heart-meltingly gorgeous musical moments of the evening. The next carol, It Came Upon A Midnight Clear, was sung together by the choir and audience.
The fourth reading set the stage for the next set of songs, beginning with the sublimely beautiful Seek the Lord by Rene Clausen, in which the sparkling soprano voices of soloists Melissa Ann Shallberg and Christine M. Freeman were heard in duet. Clausen's evocative suspensions between the altos and sopranos on the word 'prosper' unfolded magnificently, and the basses were excellent in this piece. The ensemble delivered a stunningly gorgeous Alleluia at its conclusion. Pam Winn's beauty of tone shaped the soprano solo in How Still He Rests by Brett Pierce. The mood shift of that piece was accomplished effectively through the mysterious tinkling of wind chimes in the distance by Natalie Hackler and the plaintive tones of the oboe by Dr. Anderson, who delivered an astonishing pianissimo in the last note of the piece. Also notable was perfect enunciation of the text, 'sing with joy' in the middle section. In fact, enunciation was wonderfully clear throughout the entire program, and one did not mind the text not being printed in the program, because there was never a question as to what was being sung, a plum accomplishment for any ensemble. This choir was prepared to professional standards, technically and musically. The Clausen and Pierce pieces just mentioned are featured on the Festival Singers' newly released CD American Voices, available to buy as Stocking Stuffers from the Festival Singers' website, or call to arrange to pick up in person at the Choral Foundation office in Roeland Park.
The English carol, This Endris Night was treated to a fine scoring for piano and oboe by R. Douglas Helvering, and elicited perfect unison passages from the men. Heavenly Lightby Alexander Alexandrovich Kopylov, was sung in English with fabulous dynamic contrasts and fullness of sound, topped by gorgeous mixed tenor timbres in the upper ranges. The remarkably liquid, bell-like beauty of Michelle Patton's voice graced the Moses Hogan arrangement of Glory, Glory to the Newborn King, for the final choral selection of the evening. Dr. Baker's scholarly passion for achieving authentic interpretations of spirituals, both from a linguistic and rhythmic perspective, has made their inclusion in programs a welcome specialty of the William Baker Festival Singers. Hark the Herald Angels Singwas sung together with the audience for the retiring processional, bringing the whole Cathedral to its feet in heart-felt appreciation for the evening of beautiful, inspiring music. Bravo! to William Baker and the Festival Singers.
REVIEW
Candlelight, Carols & Cathedral
with the William Baker Festival Singers
Dr. William O. Baker, Music Director & Conductor
Melissa Ann Shallberg, Associate Music Director and Vocal Coach
Friday, December 12, 2008 at 8 pm (Reviewed)
Sunday, December 14, 2008, 2:30 pm
Grace and Holy Trinity Cathedral
913-403-9223 or www.festivalsingers.org
Classical,
Kansas City Chorale holiday concert: Laud to the nativity
The Kansas City Chorale holiday concert featured Ottorino Respighi's Lauda per la Nativita per Signore but also brought to light a handful of other remarkable choral gems. The audience of 350 (braving frigid weather) was treated to a substantial program, replete with the consummate professionalism for which the Chorale is known.
The singers processed without fanfare into the church, chanting the simple but celebratoryHodie Christus natus est (Today Christ is Born); their entrance replicated an authentic rendering of the timely prayer. To follow were three choral settings of this Christmas text, a clever programming choice that gave opportunity to compare how three Renaissance-era composers- Gabrieli, Byrd, and Palestrina-treated the same words. Gabrieli composed to take advantage of the expansive architecture of the San Marco Cathedral where he worked in 16th-century Venice, so Bruffy exploited the composer's penchant for cori spezzati ("broken choirs") in the gracious space of the Redemporist Church. The swift "Gloria in excelsis deo" of Gabrieli's setting featured precise imitative dialogue between the spatially separated choirs. While Byrd's Hodie highlighted the English composer's richly triadic (and pleasantly accessible) musical language, nothing outclasses Palestrina: the choir responded nimbly to the demands of Palestrina's layered polyphony, and the transparency of the linear counterpoint was the high point of the opening sequence.
Herbert Howell's A Spotless Rose was another luxury of the first half, with a sensuous and sensitive choral blend to accommodate baritone Bryan Taylor's exemplary solo. The women's Coventry Carol began a trio of Michael McGlynn arrangements. The carol brought a marked stylistic change from the Renaissance stile antico of the opening Hodiesettings: here lush dissonances provided a dark mood to translate musically the ominous message in this text. Away in a Manger was perhaps a simple gift to the audience, but the delivery of the soprano descant was superb. If Rebecca Lloyd's solo on O Holy Nightseemed overly dramatic, listeners were still treated to a lovely rendition of this seasonal favorite and to the inevitable shivers that only this marriage of melody and theme (brotherhood and peace) can bring.
Cecilia McDowall's Three Latin Motets began with "Ave Regina." With its vivid dissonance and unexpected density, it became clear for the first time that the ensemble was indeed working (thus far the singers had made it seem effortless). Only solid concentration can get an ensemble through such musical challenges with only one flawed entrance. "Ave Maria" featured the women this time in an ethereal, chromatic language that truly brought to bear the mystery of the season. The migration from gloomy harmonies to transparent consonance was magical text painting. "Regina Caeli" celebrated a full choral texture, bursting with momentum and energy buoyed by the men's robust contribution, as listeners witnessed the Chorale's impressive agility in this dynamic piece.
Respighi's Laud to the Nativity is a rarely performed but engaging and unpredictable piece. From the composer's astute understanding of orchestration (undoubtedly refined by studying with Rimsky-Korsakov) emerged an instrumental introduction that transported the audience from the first to the second half of the concert. The exoticism in the melodic material helped with this shift, as listeners were taken in by Respighi's artistic interpretation of Todi's 13th-century text. Throughout the 30 minute work, Respighi exploited regional color and the story's pastoral premise via atmospheric instrumental interludes, each of which was an essential part of the narrative sequence.
Respighi was a composer comfortable looking to the past for musical material. This piece perhaps even pays homage to J.S. Bach. Like a Baroque cantata, Respighi's Laudamoves fluidly from solo arioso to more lyrical passages and through instrumental interludes, with significant choral participation interspersed. Paulette Resch's portrayal of the angel was commanding, with exquisite control throughout, but most admirably at the triumphant "Gloria in excelsis deo" ending. David Adams' contribution as the shepherd was admirable, supplying a gentle yet distinctive rendering of the text about Jesus' birth. Lisa Fredenburgh's Mary was appropriately dramatic; the chant-like declamation of her realization that "I am the mother of ... the eternal God" was perfect. The spirit of the season was brought utterly into focus with the choral declamation, "Laude, gloria e onore a te" (Praise, glory and honor to you), complete with crisp, layered runs and brilliant soprano lines.
Bruffy's raptly attentive singers are his best resource, and from them he gets what he wants. They responded to his artistic requests for extended phrases and sustained cadences that celebrated the challenging acoustics of Redemptorist's soaring vertical heights. Aside from some awkward moments relating to logistics (the moving from one arrangement to another seemed to break the mood), all the accolades typically given this group apply to this performance: superb balance, blend, and control were paired with perfect diction, achieved through well-matched vowels within and across sections. For all the publicity surrounding this celebrated ensemble, however, each local concert is a fresh reminder that these singers are simply musicians committed to strengthening ties within the community, doing their part to bring to life familiar and unfamiliar works for Kansas City audiences.
REVIEW:
Kansas City Chorale Holiday Concert: Laud to the Nativity
Sunday, December 14, 2008 at 2pm
Redemptorist Church, 3333 Broadway, Kansas City, MO
www.kcchorale.org
Classical,
Full range of emotions explored at HMC’s holiday concert
Regular attendees of Heartland Men's Chorus concerts knew just what to expect at the group's annual holiday concert this weekend...the unexpected. As many who have been a part of the HMC's past concerts will attest, Dr. Joseph Nadeau's programming and the choristers' singing always seek to take the audience on a journey through a myriad of emotions and musical styles. This year's concert, entitled "Bless My Family" did not disappoint.
As often occurs, the Heartland Men's Chorus performed at the historic Folly Theater. It seems that this performing space is meant especially for the group. The only drawback to the theater is its very small lobby area. The perks of the performances at the Folly, though, are great. The lighting, special effects, and sound are always impeccable, giving the artistic staff at HMC great flexibility in crafting a program that has one foot in traditional choral approach and the other in contemporary theatrical techniques.
In the first half of the program, the chorus sang a largely traditional program of holiday classics. The opening selection by the Heartaches, the organization's small vocal jazz ensemble, opened the concert with flair. In Christmas Once More, the Heartaches sang with good intonation on tight harmonies without the aid of a conductor or visual contact with the pianist. The full ensemble shined as they sang Tomorrow Shall Be My Dancing Day and Bring A Torch, Jeanette, Isabella. Both of these selections were wondrously accompanied by pianists Lamar Sims and Adam Hulstine. Dr. Nadeau provided subtle and lyrical direction during the Hebrew song Bashana Haba'ah. One of the more sentimental portions of the first half came during the singing of Stars I Shall Find. The group sang this song in honor of longtime HMC member Frank Waltkamp. The ensemble's unison lilting melody was quite effective; however, in ensemble portions of the song they suffered from a lack of rhythmic cohesion in the beginnings and endings of musical phrases.
A new work was premiered during the first half of the concert. The Promise: A Christmas Miracle was co-commissioned by the Heartland Men's Chorus, Seattle Men's Chorus, Philadelphia Gay Men's Chorus, and the Gay Men's Chorus of Houston. Written by Robert Espindola and Robert Seeley, this semi-major work sought to tell the tale of a family affected by World War II at Christmas in 1944. The piece was nicely orchestrated for small instrumental ensemble, and the vocal writing, although quite predictable, was a good fit for the story. In addition, the ensemble's great approach to diction allowed the story to come to life. The piece, written in a vignette style with no breaks in between sections, spoke of a different time, but it hit close to home given today's global conflict and turmoil. Soloists Presten Fry, John Edmonds, and Mike Sigler all gave convincing performances. Without giving the story away, the miracle at the end of the work was made much more poignant and unexpected through the clever use of poetic trickery...as the audience expected one word but received another.
The first half was concluded with the singing of the song God Bless My Family. As the choir and soloist Dean Sanderson sang the song, a touching slide show of family photos was displayed above. The message of the song, to bring family (both immediate and extended) together, provided a moving end to the first half of the concert.
As the ensemble returned to the stage for the second half of the concert, one could sense that the mood was about to drastically change. The singers made a wardrobe change, and the musical style switched from traditional to a Ferris Wheel-like revolving door of musical quotations, puns, and merriment. Santa and his reindeer made an appearance in a riotously funny setting of 'Twas The Night Before Christmas. This song quoted Vivaldi'sGloria, the Sound of Music, traditional country-western music, 50's doo-wop, gospel, hip-hop, traditional church hymnody, and even featured a great Heldentenor solo from Adam Wade Duncan.
In true Heartland Men's Chorus tradition, the story of the little drummer boy was turned on its ear during the performance of a hilarious setting entitled The Annoying Drummer Boy.All the players, including Mary, Joseph, and "baby" Jesus were there. Not to be outdone were the wise men, three kings, and "Christmas Angel." The concert drew to a close with a parody of Deck the Halls and the ending piece, Heavy Christmas. During their encore, the ensemble returned to the theme of the concert, reprising God Bless My Family.
The Heartland Men's Chorus, led by artistic director Dr. Joseph Nadeau, is one of Kansas City's musical treasures. Their performances delight and engage their audience in ways that few other vocal ensembles dare try. The group sings with conviction and feeling. I did notice occasional intonation trouble, and the lower voices sounded quite fuzzy at times compared to their upper counterparts, but that in no way detracted from the overall concert experience. The chorus sang the entire concert (about two hours with intermission) from memory, giving the audience that personal interaction that can't be had while singing with folders. With emotions ranging from silly to sentimental and from melancholy to merry, the Heartland Men's Chorus gave their highly devoted and large audience a lesson in love and the importance of family in this most cherished of seasons.
REVIEW:
Heartland Men's Chorus presents
Bless My Family
Friday, December 5 at 8 p.m.
Saturday, December 6 at 8 p.m.
Sunday, December 7 at 4 p.m. (reviewed)
The Folly Theater
12th and Central Street, Downtown Kansas City, MO
Classical,
Fine Arts Chorale presents "Deck the Hall"
Music Director, Terri Teal led the Fine Arts Chorale in a holiday concert titled Deck the Hallat Grace & Holy Trinity Cathedral on Friday night. In keeping with the 'All Nature Sings' theme of their 36th season, the selections for the first set of carols featured pieces that use the rose as a simile for Mary or Jesus. The program began with the thirty singers processing into the cathedral singing in English the beautiful ancient German carol, Lo, how a rose e're blooming. The growing presence of the choir produced a visual as well as aural sense of the symbolism in the text. Individual vocal parts were highlighted in the first verse sung along the aisles, yielding to a rich full choral blend as the second verse sung with the ensemble assembled in front of the nave, filling the cathedral space with a very pretty blend, good intonation and clearly articulated text.
The choir evoked a somber mood in the traditional Catalonian villancico entitled The Frozen December, by prefacing the piece with low humming, reminiscent of a cold constant wind. The soprano descant in the third verse was sung lightly for a whistle-like effect of piercing wind above the melody, which warmed in vocal quality as words about the sweet perfume of Lily were sung, and the volume of the choir receded into an effective pianissimo at the end of the piece on the word 'tender'. The next carol, Maria walks amid the thorn, was notable for its delivery of crisp beginning consonants, the first two verses sung in parts by the ladies and the gentlemen, respectively. The parts combined for the third verse, where a good fortissimo effect was achieved, and perfectly tuned octaves brought the carol to its ending note. Tenor soloist, David Lynch sang in a clear, full-bodied voice to Herbert Howells' A Spotless Rose, also outstanding for the good dynamic range Teal achieved from the choir towards the end of the piece.
Opening humming chords introduced the Appalachian carol, I wonder as I wander, effectively changing the mood to match the next theme of the program that embraced the elements of nature in the following set of carols. The tenor voice of Robert Bond carried well in the resplendent space of the Cathedral, whose stone features, bedecked tastefully with Advent greenery, proclaimed visual affirmation of Christ's relevance these many centuries after his birth. Arlen Clarke's exquisite classic, Summer in Winter, followed. Clarke was a chorister of the Trinity Choir at Grace and Holy Trinity Cathedral when he wrote the piece in 1990, and dedicated it to "Choirmaster and organist, John Schaefer." Its text, Hymn to the Holy Nativity, was written in 1648 by Richard Crashaw. The choir achieved a wonderful building of tone to the words 'Welcome all wonders in one sight, Eternity shut in a span.' The ambience of the Cathedral lent its myriad treasures of beauty to the aural experience of that music written expressly for its very space. The first half of the program concluded with Poulenc's riveting Quatre Motets pour le temps de Noel,marked by uneven intonation at the beginning, but ending in very good rhythmic drive of the mixed meter Hodie Christus natus est.
The second half of the program featured a trio of traditional Christmas carols, sung splendidly, beginning with Deck the Hall arranged by John Rutter. O Tannenbaum was sung in a very beautiful arrangement by Mark Ball, with a warm full sound from the choir that grew even fuller and more lyrical in the third verse, the highlight of the evening. The Holly and the Ivy, arranged by composer and accompanist of the choir, Geoff Wilcken, was declared by Director Teal from the podium to be, "The best arrangement of that carol I know." This critic concurs. Lush opening chords opened into the melody sung by the women above a dense harmony from the men. A fugal treatment from the men led into a playful 'playing of the merry harp', with good variations in texture and clear diction throughout.
The 16th Century carol, Riu, Riu, Chiu brought excellent rhythmic pulse and exciting solos from David Lynch, Geoff Wilcken, Kitty Degler and Fred Eberhart. The Little Burro featured effective tone painting in the solo from Bryan Unger. A lovely, contemplative solo piano opened The Oxen, which followed. The program concluded with a stirring performance ofNoel, an African carol by Todd Smith, arranged by Brad Holmes, featuring drums and trombone-like downward vocal slides in its opening notes. Its compelling African chordal progressions were punctuated by the choir with loud stomps on the floor after the word, Noel, and by unison claps in groups of four celebrating the spirit of the season.
The concert-goers were invited to join the singers at what has become a traditional component of Fine Arts Chorale concerts, a cookies and coffee reception in Founders' Hall.
Review: Fine Arts Chorale presents
Deck the Hall
with Conductor, Terri Teal
Friday, December 5, 7:30 pm at Grace & Holy Trinity Cathedral (Reviewed)
Tuesday, December 9, 2008, 7:30 pm
Southminster Presbyterian Church
6306 Roe Avenue, Prairie Village, KS
For tickets call 816-235-6222 or online at www.fineartschoralekc.org
Classical,
Juanjo Mena dazzles in his debut with the KC Symphony
Kansas Citians filled the Lyric Theatre Friday night, lured in by a program featuring lush romantic favorites that included Rachmaninoff's 2nd Piano Concerto performed by pianist Anton Nel and the Kansas City Symphony under the baton of guest conductor, Juanjo Mena.
To open the program, Mena presented a rare jewel of an overture by Juan Crisostomo de Arriaga, Los Esclavos Felices Overture (The Happy Slaves). Dubbed the "Spanish Mozart", Arriaga was born on Mozart's 50th birthday in 1806, and died ten days before his 20th birthday. The opera was composed when Arriaga was only 13, and received its premiere in Bilboa a year later to enthusiastic acclaim. Its opening lilting melody sparkled with elegance under the attentive direction of Mena, who elicited marvelously tight ensemble playing from the strings of the Symphony in their bravado tutti runs. As the Overtureunfolded, excellent balance between the woodwinds and strings highlighted orchestration reminiscent of Rossini's La Cenerentola.
Pianist Anton Nel delivered a sizzling performance of Rachmaninoff's 2nd Piano Concerto in C Minor. Nel's opening brooding solo piano chords broke into clamoring arpeggios that were fully enveloped by the passionate theme of the strings. Mena masterfully matched the orchestra to collaborate with Nel in bringing forth a lush and soulful performance of that beloved romantic masterpiece. The highlight of the night for this critic was the deep pulsating pizzicatos from the string basses that throbbed octaves below the melody in resonant splendor. Throughout the work, Mena achieved with the orchestra a perfect blend of ensemble and interplay with Nel's agogic phrasing that emoted pathos and intensity in perfect tandem. The horn solo near the end of the first movement was played beautifully by Alberto Suarez, whose gorgeous mellifluous tone has become a favorite feature of Kansas City Symphony concerts. Nel's contemplative largo piano solo in the second movement was joined by the solo flute, played sensitively by Michael Gordon, and the soulful clarinet of Raymond Santos, creating together one of those magic moments in music that touched upon the portal to the immortal. The third movement, with its well-known "Full Moon and Empty Arms" theme, was performed with heart-melting warmth by the orchestra. The work concluded to thunderous applause and a standing ovation.
The second half of the program was a tour de force for director, Juanjo Mena, who made his debut with the Kansas City Symphony in this concert. Never has the Symphony brought forth more fire and precision; and Symphony members seemed to appreciate Mena's genius as much as the audience did. The Carmen Suite sizzled from its first fiery chords of the Prelude played with intensity by the violins and violas, and countered by menacing snarls from the trombones and trumpets in their lowest registers. Snappy castanets announcing the Aragonaise, spat a feisty Latin spirit into the fray, and an equally spicy piccolo solo from Diane Schick descended impressively to a delicate pianissimo in relay to the first flute. The Intermezzo showcased the glistening treble of flautist Gordon in the lyrical harp and flute duet, passed in seamless ensemble to solo clarinet, Santos and then to English hornist, Kenneth Lawrence, all remarkable in their beauty of tone. Oboist Lora Schaefer-Berndt's seductive tone enlivened the Seguidilla, and bassoonists Ann Bilderback and Michael Davis played the military march theme of The Dragoons of Alcala with perfect unison intonation and phrasing. A bang from the cymbals jolted audience members out of their seats as the Toreadors movement with full orchestra followed, played tastefully with regal phrasing in its first statement, and contrasted in the repeat by a snappy marcato rendering. A flourish of fanfare accelerated the work to its conclusion, met by appreciative applause.
Mena chose Manuel de Falla's Suites Nos. 1 and 2 from the Three Cornered Hat to conclude the program. If one had not attended the free pre-concert talk at 7 pm, or did not know beforehand that the music was from a ballet, that message was delivered the moment Mena's baton elicited the first tones from the orchestra. It was hard not to tap one's feet to the compelling rhythms of Spanish dances that ranged from flamenco to fandango, performed with a drive that never let up. Mena and the Symphony generated an amazing range of orchestral colors throughout the movements, coming as close as an orchestra ever could to fathoming the sound and character of snappy Spanish dancers stamping their dance shoes in fiery passion to seductive melodies. Wasp-like staccato strings punctuated the accelerando to a finish that sizzled with excitement. The audience jumped to its feet in a swell of standing ovations, and more than that, as Mena returned to the stage for bows, the orchestra stomped and clapped its appreciation for him, as well.
Bravo to the Symphony and to Mena. We hope for an Encore, as well.
REVIEW
Kansas City Symphony, Juanjo Mena, Guest Conductor
and Anton Nel, Piano
Friday, November 28, 2008 at 8:00 pm
Lyric Theatre, Downtown Kansas City, MO
(Repeated Sat., Nov. 29th at 8 and Sunday, Nov. 30th at Carlsen Center)
www.kcsymphony.org
Classical,
Handel for the holidays
It would be difficult not to notice a change in the performance of Baroque music in the last 20 years. I remember a recording of the Bach Brandenburg Concertos by the full Berlin Philharmonic and conducted by Herbert von Karajan that was given an overblown late 19th-century Romantic treatment. It was somewhat ponderous and had the instrumental texture of a heavy stew.
The revolution in performance practices began with not only a return to more authentic Baroque instruments, but to what scholars thought were more authentic methods of playing the instruments and conducting. While I am certainly simplifying matters, the strings used much less vibrato, the tempo (speed) of conducting was speeded up, dynamic changes were more sudden, and the size of the ensemble was downsized to chamber orchestra proportions. And it was certainly a refreshing change from what had come before.
The Kansas City Chamber Orchestra under the direction of Bruce Sorrell, has long been noted for its outstanding Mozart and Classical era performances. Scott Cantrell, the former music critic of the Kansas City Star (does anyone actually remember when the Star had a genuine trusted music critic on staff to review concerts instead of someone who generally reviews pop concerts-that's a rhetorical question, dear readers), used to say that you could not hear better Mozart in Vienna than from the Sorrell and his Kansas City Chamber Orchestra.
So how did they fare with Baroque music? While the musicians played modern instruments, the string sections did use much less vibrato. Sorrell lightened up the textures of the orchestra sections so that all sections of the orchestra could be heard to best advantage. The tempi were refreshingly brisk without being manic and straitjacketed. Everything bounceed along beautifully. Many movements in Baroque works use rhythms of dances of their day, and Sorrell nicely brought out the dance-like aspects where appropriate.
Certainly the quality of the orchestra was excellent. While Sorrell has managed to pick and choose from musicians of the Kansas City Symphony, he always augments his group with some of the best freelancers in Kansas City - such as faculty from UMKC, KU and other local Universities. I think it's important to point out that as the quality of the KC Symphony has improved significantly over the last few years, Sorrell has had better and better musicians to choose from, and this benefits us all.
For this concert, it was nice to hear an all-Handel concert in December that does not include the Messiah. The auditorium at Unity on the Plaza was bedecked with garlands of holly boughs and Christmas trees with little white lights, and the stage was aglow in candlelight making for a festive and lovely atmosphere for the audience.
The concert opened with one each of Handel's Opus 3 (No. 2) and Opus 6 (No. 3)concerto grossi. I cannot recall hearing these in public performance before and it was nice to hear such elegant playing from the orchestra with lovely solos from the instrumentalists, particularly the oboe lament performed by Barbara Bishop.
To end the first half was Handel's Gloria. This work was lost for 200+ years until being (fortunately) rediscovered about 10 years ago. This is a delightful work for chamber orchestra and the solo soprano, Sarah Tannehill. From the joyful opening Gloria , through sorrowful middle movements to the equally joyful ending, this was a delight. I had heard this work four or five years ago sung by Rebecca Lloyd. Sarah Tannehill possesses a tightly focused, beautiful pure tone. She employed minimal vibrato, only for effect, along with a sparkling coloratura technique with real trills and beautifully executed runs. Kansas City needs to hear her more often.
After intermission, the concert concluded with the Music for the Royal Fireworks. It must be grand to be King and order your court composer to write 20 minutes or so of festive music to enjoy while fireworks go off overhead. It was nice to hear the antiphonally placed horns against the trumpets and timpani.
The only sour note to the evening was the sparse attendance. If the Harriman-Jewell series brought the Orpheus Chamber Orchestra to the Folly Theatre for a similar program, the hall would be packed - and the musical performance would be no better than what I heard this evening. In fact, tonight's performance was every bit the equal or better of what I would expect from a group like the Orpheus. Come on, people. Let's get out and support one of the jewels of the Kansas City musical scene for their spring concerts.
To sum up, the key words would be elegant, beautiful, sparkling, festive and fun. I hope you were there.
REVIEW:
The Kansas City Chamber Orchestra presents
Handel for the Holidays
Bruce Sorrell, Music Director
Tuesday, December 2, 2008
Unity on the Plaza
Dance Around the City,
Dance Column for December 16 - 28
Kansas City Ballet presents
The Nutcracker
by Tchaikovsky
Choreography: Todd Bolender
Runs December 6 - December 28
Call or visit the website for performance times.
Music Hall, 301 W 13th St., Downtown Kansas City, MO
The magical journey of Clara and her Nutcracker to a candy-land world makes this annual tradition a joy to behold. Always a favorite for young audiences, The Nutcracker is the largest production in an eight-state region. Over 200 area children who are students in the Kansas City Ballet School perform alongside 25 Kansas City Ballet company dancers. The live performance is accompanied by the Kansas City Symphony playing the familiar, famous music of Tchaikovsky.
Nutcracker Facts:
- The Nutcracker Ballet is based on the book called "The Nutcracker and the Mouse King" written by E.T.A. Hoffman.
- In 1891, the legendary choreographer Marius Petipa commissioned Tchaikovsky to write the music for The Nutcracker Ballet.
- In 1892, the first showing of The Nutcracker took place at the Mariinsky Theatre of Russia, home of the Kirov Ballet.
- The Nutcracker made its way to Western Europe in the 1930's and to America by 1940, performed by Ballet Russe.
- The first American full length Nutcracker was performed by the San Francisco Ballet, choreographed by W. Christensen. It has since become an annual Holiday tradition.
For tickets call 816-931-2232 or online at www.kcballet.org
(NOTE: Reviewed by KCMetropolis.org on December 6, 2008)
940 Dance Company presents
A Kansas Nutcracker
Friday, December 12 & 19 at 7:30 p.m.
Saturday, December 13 & 20 at 7:30 p.m.
Sunday, December 14 & 21 at 2 p.m.
For a local twist on the traditional Nutcracker story, try this innovative presentation by the 940 Dance Company. This version tells Clara's story set in Lawrence, Kansas in the 1850s. The production features the professional dancers of the company and a cast of over 100 adults and children performing to the traditional Tchaikovsky music arranged by Jeff Dearinger and played by a mandolin orchestra. A slightly different interpretation of the well-loved Christmas classic, this version is likely to become its own Kansas City tradition.
For tickets call 913-843-2787 or online at www.LawrenceArtsCenter.org
Burlesque Down Underground presents
Under the Mistletoe
Wednesday, December 17 at 7:30 p.m.
Thursday, December 18 at 7:30 p.m.
Friday, December 19 at 7:30 & 10 p.m.
Saturday, December 20 at 7:30 & 10 p.m.
H&R Block City Stage Theatre at Union Station
30 West Pershing Road, KC, MO 64108
For the latest in local neo-burlesque performed by professionally-trained dancers, check out the Luscious Ladies of BDU performing their holiday special. If you are looking for lightly risqué, often humorous, and solid entertainment to warm the cockles during the winter season, this show will fit the bill.
For tickets call (816) 460-2020 or online at www.unionstation.org/underthemistletoe.html
www.myspace.com/burlesquedownunderground
Radio City Christmas Spectacular
featuring The Rockettes
Friday, December 19 at 7:30 p.m.
Saturday, December 20 at 1 p.m., 4:30 p.m. & 8 p.m.
Sunday, December 21 at 3:30 & 7 p.m.
Sprint Center,
1407 Grand Blvd, Kansas City, MO 64106
Originally founded in St. Louis, Missouri by Russell Makert in 1925 as the "Missouri Rockets", this precision dance team has wowed audiences with their elaborate spectacles for over three-quarters of a century. The dance team specializes in tap, high kicks, and drill team formations in elaborate costuming. This is colorful, fun, musical entertainment with a Christmas theme that the entire family can enjoy, in the beautiful arena of the new Sprint Center.
For tickets call 816-949-7000 or online at www.sprintcenter.com
Dance Around the City,
Dance Column for December 2 - 15
Guadalupe Center presents
Grupo Folklorico, Posadas
Friday, December 5 at 7 p.m.
Saturday, December 6 at 7 p.m.
Guadalupe Center, 1015 Avenida Cesar E. Chavez, Kansas City, MO
Guadalupe Center will present the 2nd annual performance of Posadas for the local community, with two performances, one on Friday and Saturday. The event will feature local children acting in the Nativity Play, and will include audience participation in reciting verses. The Nativity will be followed by a performance of Mexican Folkloric Dance by the resident dance group, El Grupo Folklorico Atotonilco.
The event is a fundraiser for the Center and is an excellent way for the public to partake of a traditional Mexican Christmas celebration.
For tickets call 816-421-1015 or visit www.GuadalupeCenters.org
Photo by Mike Strong
Carlsen Center presents
Magic Tree House: The Musical
Friday, December 5 at 7 p.m.
Carlsen Center, JCCC, OPKS
Based on Mary Pope Osborne's beloved series of children's books, Magic Tree house: The Musical transports one of Jack and Annie's Merlin Missions onto the stage to create a theatrical event for the entire family. To restore joy and magic to King Arthur's kingdom, the brother and sister team must travel to Camelot's dreaded Otherworld and return with water from the mythical Cauldron of Memory and Imagination. If they fail, Camelot will be lost and forgotten forever -- and the Magic Tree House will be destroyed! Rising to each new challenge with courage, humor, and resourcefulness, Jack and Annie eventually discover that memory and imagination are gifts we can all use to fill our lives with magic. An enchanting blend of song, story, and stagecraft, Magic Tree house: The Musical is a breathtaking spectacle that will keep kids and grownups on the edge of their seats!
Rated for children ages 5 to 9 years of age, this musical promises to be a young audience's holiday delight.
For tickets call (913) 469-4445
or online at http://www.jccc.net/home/depts.php/001440/site/Chronological_Listing
Kacico School of Contemporary Dance
End of Session Showing
Friday, December 5 at 7 p.m.
Kacico Studios West, KCMO
Kacico Dance is a barefoot contemporary dance company that specializes in original works and dance compositions that often interact or engage the audience. One of the most prolific dance companies in the Kansas City Area, performances are always innovative, interesting and experimental.
For tickets or more information call 816-578-4721 or online at www.kacicodance.org
Photo by Mike Strong
Kansas City Youth Ballet and Philharmonia of Kansas City presents
Christmas on the River: Nutcracker in a Nutshell
Saturday, December 6 at 3 p.m.
Graham Tyler Chapel, Park University, Parkville, MO
The Kansas City Youth Ballet and Philharmonia of Kansas City team together to present their 2nd annual Christmas on the River in picturesque Parkville. The first half of the program features Pachelbel's Canon in D and Nutcracker in a Nutshell with the Kansas City Youth Ballet. The second half has music to singalong to - Irving Berlin's White Christmas, Joy to the World and other holiday standards.
Purchase tickets at the door. Phone 816-588-8033 for more information.
Kansas City Ballet presents
The Nutcracker
by Tchaikovsky
Choreography: Todd Bolender
Runs December 6 - December 28
Call or visit the website for performance times.
Music Hall, 301 W 13th St., Downtown Kansas City, MO
The magical journey of Clara and her Nutcracker to a candy-land world makes this annual tradition a joy to behold. Always a favorite for young audiences, The Nutcracker is the largest production in an eight state region. Over 200 area children who are students in the Kansas City Ballet School perform alongside 25 Kansas City Ballet company dancers. The live performance is accompanied by the Kansas City Symphony playing the familiar, famous music of Tchaikovsky.
Nutcracker Facts:
The Nutcracker Ballet is based on the book called "The Nutcracker and the Mouse King" written by E.T.A. Hoffman.
In 1891, the legendary choreographer Marius Petipa commissioned Tchaikovsky to write the music for The Nutcracker Ballet.
In 1892, the first showing of The Nutcracker took place at the Mariinsky Theatre of Russia, home of the Kirov Ballet.
The Nutcracker made its way to Western Europe in the 1930's and to America by 1940, performed by Ballet Russe. The first American full length Nutcracker was performed by the San Francisco Ballet, choreographed by W. Christensen. It has since become an annual Holiday tradition.
For tickets call 816-931-2232 or online at www.kcballet.org
Carlsen Center presents
Ain't Misbehavin'
Friday, December 12 at 8 p.m.
Saturday, December 13 at 8 p.m.
Carlsen Center at Johnson County Community College
College and Quivera, Overland Park, KS
For fans of the Fats Waller era of music, this musical will be just what the doctor ordered. Considered one of the best Broadway revues of all time, it stars Ruben Studdard and Frenchie Davis in the 1930s Harlem-based, comic musical, performing the music of the day.
For tickets call (913) 469-4445
or online at http://www.jccc.net/home/depts.php/001440/site/Chronological_Listing
Owen/Cox Dance Group premieres
The Christmas Story - A Medieval Mystery Play
Friday, December 12 at 8 p.m.
Saturday, December 13 at 8 p.m.
Sunday, December 14 at 2 p.m.
H&R Block City Stage, Union Station
30 W. Pershing Rd., Kansas City, MO
The Owen/Cox Dance Group is a young company in the area that features very accomplished dancers, doing original works of choreography, and often performing to original music. As a holiday tribute, Owen/Cox Dance Group will premiere this new addition to their repertoire, The Christmas Story - A Medieval Mystery Play, at the H&R Block City Stage, at Union Station.
This production is an adaptation of the Shearmen and Taylors' Pageant, a medieval mystery play from the Coventry Cycle considered to be one of the greatest medieval drama cycles in England. The adaptation reinterprets the play through music and dance, and will feature both sacred and secular music from the 16th century to present times.
For tickets call 816-460-2020 or online at www.unionstation.org
City Stage,
Theatre Column for December 22-January 5
American Heartland Theatre (AHT)
A Tuna Christmas
by Jaston Williams, Joe Sears & Ed Howard
November 6 - December 28
American Heartland Theatre (Crown Center 3rd level)
For tickets call 816-842-9999 or online atwww.ahtkc.com
A Tuna Christmas is a hysterical two-person show depicting the zany characters of Tuna, Texas - the third smallest town in Texas! From a disastrous production of A Christmas Carol, a haunted 15th annual lawn display contest, and only 24 hours left until Christmas, witness how the townspeople of Tuna cope with it all! Join Jim J. Bullock from T.V.'s Too Close for Comfort and The Hollywood Squares, and John-Michael Zuerlein from AHT's Perfect Wedding and A Dog's Life, as they take us on this holiday hoopla and hooray.
The Coterie Theatre
Seussical
By Lynn Ahrens and Stephen Flaherty
Runs November 11 - December 28, 2008
Crown Center (lower level)
For ticket call 816-474-6552 or online at www.coterietheatre.org
A production that won three Drama Desk Awards and a Tony for Best Actor in a Musical (Kevin Chamberlin as Horton), Seussical received a very warm applause from audiences in New York. After some 34 previews and 198 performances, the Broadway production closed on May 20, 2001. However, this fantastical musical was revived and rewritten here in the Metropolis. The Coterie Theatre was critically acclaimed by The New York Times for originating this version suitable for all ages, and is now one of the most performed musicals by educational theatres across the country. Using several characters from Dr. Seuss's classic stories and taking plots from Horton Hears a Who and Horton Hatches the Egg, book writers and composers Lynn Ahrens and Stephen Flaherty (known for such musicals as Ragtime and Once On This Island) musically weaved the two stories together to create an adventure suitable for elementary children and adults alike. Filled with learning opportunities in courage, risk-taking, and recognizing perspectives of others, this production doesn't just entertain it captivates. If you're a teacher looking for a field trip,Seussical has curriculum ties in communication arts, literature, science and social studies.
Attending to the attendant: Craig Benton (Bernard) and Heidi Van (Gloria) in New Theatre's Boeing-Boeing. Photo by Mark Baltzley
The New Theatre Restaurant
Boeing-Boeing
By Marc Camoletti
Runs November 12, 2008 - February 1, 2009
9229 Foster, Overland Park, KS.
For tickets call 913-649-SHOW or online atwww.newtheatre.com
Praised as the "best dinner theatre operation in the country," by The Wall Street Journal, The New Theatre Restaurant presents the 2008 Tony award winning Best Revival of a Play Boeing-Boeing; a retro comedy of farce and mayhem. Bernard, a bachelor, is juggling three airline stewardesses (yes, three!) who are also his fiancés. With the help of his traffic controlling housekeeper (Marla Gibbs from television's The Jefferson's) Bernard manages to balance each relationship by juggling flight schedules and near misses. With the arrival of the new double speed Super Boeing, and his old college pal Robert, a comedic whirlwind ensues as we watch the bombastic bachelor balance love by trick and skill. A major hit in London's West End and still running on Broadway with Christina Baranski at the helm, artistic directors Richard Carrothers and Dennis Hennessy bring another contemporary production to their tasty stage.
Quality Hill Playhouse
Christmas in Song 2008
Runs November 20 - December 28, 2008
303 W. 10th Street in Kansas City's Art District
For tickets call 816-421-1700 or online at www.qualityhillplayhouse.com
Proclaimed as Kansas City's most intimate theatre, Quality Hill Playhouse has its own niche in the metropolis theatre scene as presenters of musicals and cabaret. This year's annual holiday event holds true to their mission. Christmas in Song 2008 will help ring in this holiday season with music and cheer. The first act features of Christmas favorites followed by a more contemporary second act.
Kansas City Repertory Theatre (KC Rep)
A Christmas Carol
By Charles Dickens
Runs November 22 - December 27, 2008
Spencer Theatre
For tickets call 816-235-2700 or online at www.kcrep.org
In his classic novel of the same title, Charles Dickens used the word carol as a metaphor for what was to happen to the tales protagonist. Knowing the word meant "a joyful hymn" he understood his story to be far from joyful. Continuing with this theme of music, he divided his story into five staves like the five staff lines in music with rising action that resembled a crescendo, as seen in musical compositions. In the end, however, as we go on the transformative journey with Ebenezer Scrooge, darkness becomes light; from death comes life. This universal theme has made A Christmas Carol a favorite each holiday season.
During their 1981-82 season, KC Rep mounted the first production of A Christmas Carolwhich quickly became a beloved Kansas City holiday tradition. This year's production is directed by Linda Ade Brand and will mark her eighth directorial production of this Dickens' classic here in the metropolis. Brand has been praised by critics and theatre aficionados for "keeping the annual production fresh and true to Dickens' intentions." Assistant artistic director, Kyle Hatley, along with Brand, was given the charge to diversify this year's cast. The result has many veteran and seasoned actors reprising their roles, along with some new surprises and casting choices.
One more thing: Be sure to catch this year's production, rumor has it that Kansas City may see an all new version of this Dickens fable next Christmas.
Unicorn Theatre
Sister Mary Ignatius Explains It All
By Christopher Durang
Runs November 21 - December 28, 2008
3838 Main Street
For tickets call 816-531-PLAY or online at www.unicorntheatre.org
Giving her yearly lecture on heaven, hell and the truth behind Sodom, Sister Mary Ignatius truly does explain it all until ex-students come crashing in to perform Sister Mary's least favorite Christmas play. Making it clear that they loath Sister Mary for pounding her dogma during their formative years, their disturbing, yet funny tales, turn Sister Mary into a very angry nun. Outraged and upset, the now indignant woman of the cloth performs a cleansing ritual to damn out their demons and restore them to faith and glory. Written by one of America's most hysterical comedic playwrights, Christopher Durang weaves in reflections of ourselves as we laugh at the hilarities of being human in a religious world. Ron Magee, as Sister Mary Ignatius, is joined by an experienced comedic cast who will have you keeling over with laughter. For the most sinful or the most spiritual audience members you can up-grade your seat for $10 and sit at the front of the class in Sister Mary's special Communion Cabaret Seating, but you must order by phone to take advantage of this opportunity.
One more thing: Unicorn Theatre will host Play Before the Play Party on December 11th at 6:30pm in their theatre lobby. This special event is a great way to meet other like minded and artistic people from around the metropolis.
Theatre for Young America
The Little Snow Girl
Runs December 2 - 30, 2008
H&R Bloch City Stage (Union Station lower level)
For tickets call 816-460-2020 or online at www.unionstation.org
For more information visit www.tya.org
Based on Russian folk tale titled "The Legend of Snegurochka," The Little Snow Girl is the story of a girl who was made from the frost and snow to bring happiness to an old couple. When the couple's love turns into greed, the little girl leaves to return to the winter land she came from. However, a magical effect takes place when the girl realizes the couple is filled with heartbreak and loving remorse. Connecting curriculum with Russian culture, family dynamics, fantasy, folklore and adoption, this winter tale is appropriate for preschool children and up.
Unicorn Theatre
The Women of Brewster Place: The Musical
By Tim Acito
Runs December 5, 2008 - January 11, 2009
3838 Main Street
For tickets call 816-531-PLAY or online at www.unicorntheatre.org
From the original novel by Gloria Naylor, to Oprah's television adaptation, all the way to Tim Acito's score and lyrics, The Women of Brewster Place has a universal message that is worthy of print, screen and stage. Ten diverse and strong African-American women reside in a dilapidated and deteriorating housing project on the outskirts of a big city surrounded by a wall. Going head on against severe poverty, racism and prejudice, the women decide to tear down the wall as they build up each other. With an eclectic cast of local actresses, jazz and gospel performers, this Unicorn production will not only enlighten, but will also entertain.
One more thing: Join other arts minded audience members at "Play Before the Play Party" - Unicorn's dessert and drink reception on December 11th at 6:30pm before the 8:00 show!
COMING UP . . .
Metropolitan Ensemble Theatre (MET)
Hedda Gobler
By Henrik Ibsen
Runs January 8 - 25, 2009
METspace, 3614 Main
For tickets call 816-569-3226 or online at www.metkc.org
Often considered as the "female Hamlet," Hedda Gobler is the masterful work of Norwegian playwright Henrik Ibsen. Published in 1890 and premiering in 1891 in Germany, Ibsen's story of a newly-married woman struggling with a new existence was plagued by negative reviews. Today, his play is considered the hallmark of classical realism and produced the world over. The character of Hedda has been portrayed both controversially and questionably; from a heroine taking on society, a feminist, a manipulative villain, to a man in drag. It will be interesting to see how MET will portray this strong woman with local metropolis actress, Katie Gilchrist, at the helm.
Actor's Theatre of Kansas City (ATKC)
Death and the Maiden
Ariel Dorfman
Runs January 16 - 25, 2009
Previews: January 9 -15, 2009
Off Center Theatre (Crown Center - Upstairs)
For tickets call 816-235-6222 or online at www.kcactors.org
From the artistically driven company, ATKC, comes a spellbinding work by Chilean playwright Ariel Dorfman. Her 1991 play Death and the Maiden continues their theme of "oppression and triumph of the human heart," and will be directed by James F. Mitchell, a well-known production stage manager here in the metropolis. Premiering at the Royal Court Theatre in London on July 9 of that same year, Dorfman reveals to us a story about Paulina Escobar, a one-time political prisoner in an unnamed Latin American country, who many years after a the countries dictating regime had fallen rediscovers the man who led her torture. A parable on how people desire justice for the wrong done to them, this play is sure to captivate and promote dialogue among audiences in Kansas City.
City Stage,
Theatre Column for December 8-21
American Heartland Theatre (AHT)
A Tuna Christmas
by Jaston Williams, Joe Sears & Ed Howard
November 6 - December 28
American Heartland Theatre (Crown Center 3rd level)
For tickets call 816-842-9999 or online atwww.ahtkc.com
A Tuna Christmas is a hysterical two-person show depicting the zany characters of Tuna, Texas - the third smallest town in Texas! From a disastrous production of A Christmas Carol, a haunted 15th annual lawn display contest, and only 24 hours left until Christmas, witness how the townspeople of Tuna cope with it all! Join Jim J. Bullock from T.V.'s Too Close for Comfort and The Hollywood Squares, and John-Michael Zuerlein from AHT's Perfect Wedding and A Dog's Life, as they take us on this holiday hoopla and hooray.
The Coterie Theatre
Seussical
By Lynn Ahrens and Stephen Flaherty
Runs November 11 - December 28, 2008
Crown Center (lower level)
For ticket call 816-474-6552 or online at www.coterietheatre.org
A production that won three Drama Desk Awards and a Tony for Best Actor in a Musical (Kevin Chamberlin as Horton), Seussical received a very warm applause from audiences in New York. After some 34 previews and 198 performances, the Broadway production closed on May 20, 2001. However, this fantastical musical was revived and rewritten here in the Metropolis. The Coterie Theatre was critically acclaimed by The New York Times for originating this version suitable for all ages, and is now one of the most performed musicals by educational theatres across the country. Using several characters from Dr. Seuss's classic stories and taking plots from Horton Hears a Who and Horton Hatches the Egg, book writers and composers Lynn Ahrens and Stephen Flaherty (known for such musicals as Ragtime and Once On This Island) musically weaved the two stories together to create an adventure suitable for elementary children and adults alike. Filled with learning opportunities in courage, risk-taking, and recognizing perspectives of others, this production doesn't just entertain it captivates. If you're a teacher looking for a field trip,Seussical has curriculum ties in communication arts, literature, science and social studies.
Attending to the attendant: Craig Benton (Bernard) and Heidi Van (Gloria) in New Theatre's Boeing-Boeing. Photo by Mark Baltzley
The New Theatre Restaurant
Boeing-Boeing
By Marc Camoletti
Runs November 12, 2008 - February 1, 2009
9229 Foster, Overland Park, KS.
For tickets call 913-649-SHOW or online atwww.newtheatre.com
Praised as the "best dinner theatre operation in the country," by The Wall Street Journal, The New Theatre Restaurant presents the 2008 Tony award winning Best Revival of a Play Boeing-Boeing; a retro comedy of farce and mayhem. Bernard, a bachelor, is juggling three airline stewardesses (yes, three!) who are also his fiancés. With the help of his traffic controlling housekeeper (Marla Gibbs from television's The Jefferson's) Bernard manages to balance each relationship by juggling flight schedules and near misses. With the arrival of the new double speed Super Boeing, and his old college pal Robert, a comedic whirlwind ensues as we watch the bombastic bachelor balance love by trick and skill. A major hit in London's West End and still running on Broadway with Christina Baranski at the helm, artistic directors Richard Carrothers and Dennis Hennessy bring another contemporary production to their tasty stage.
Quality Hill Playhouse
Christmas in Song 2008
Runs November 20 - December 28, 2008
303 W. 10th Street in Kansas City's Art District
For tickets call 816-421-1700 or online at www.qualityhillplayhouse.com
Proclaimed as Kansas City's most intimate theatre, Quality Hill Playhouse has its own niche in the metropolis theatre scene as presenters of musicals and cabaret. This year's annual holiday event holds true to their mission. Christmas in Song 2008 will help ring in this holiday season with music and cheer. The first act features of Christmas favorites followed by a more contemporary second act.
Kansas City Repertory Theatre (KC Rep)
A Christmas Carol
By Charles Dickens
Runs November 22 - December 27, 2008
Spencer Theatre
For tickets call 816-235-2700 or online at www.kcrep.org
In his classic novel of the same title, Charles Dickens used the word carol as a metaphor for what was to happen to the tales protagonist. Knowing the word meant "a joyful hymn" he understood his story to be far from joyful. Continuing with this theme of music, he divided his story into five staves like the five staff lines in music with rising action that resembled a crescendo, as seen in musical compositions. In the end, however, as we go on the transformative journey with Ebenezer Scrooge, darkness becomes light; from death comes life. This universal theme has made A Christmas Carol a favorite each holiday season.
During their 1981-82 season, KC Rep mounted the first production of A Christmas Carolwhich quickly became a beloved Kansas City holiday tradition. This year's production is directed by Linda Ade Brand and will mark her eighth directorial production of this Dickens' classic here in the metropolis. Brand has been praised by critics and theatre aficionados for "keeping the annual production fresh and true to Dickens' intentions." Assistant artistic director, Kyle Hatley, along with Brand, was given the charge to diversify this year's cast. The result has many veteran and seasoned actors reprising their roles, along with some new surprises and casting choices.
One more thing: Be sure to catch this year's production, rumor has it that Kansas City may see an all new version of this Dickens fable next Christmas.
Unicorn Theatre
Sister Mary Ignatius Explains It All
By Christopher Durang
Runs November 21 - December 28, 2008
3838 Main Street
For tickets call 816-531-PLAY or online at www.unicorntheatre.org
Giving her yearly lecture on heaven, hell and the truth behind Sodom, Sister Mary Ignatius truly does explain it all until ex-students come crashing in to perform Sister Mary's least favorite Christmas play. Making it clear that they loath Sister Mary for pounding her dogma during their formative years, their disturbing, yet funny tales, turn Sister Mary into a very angry nun. Outraged and upset, the now indignant woman of the cloth performs a cleansing ritual to damn out their demons and restore them to faith and glory. Written by one of America's most hysterical comedic playwrights, Christopher Durang weaves in reflections of ourselves as we laugh at the hilarities of being human in a religious world. Ron Magee, as Sister Mary Ignatius, is joined by an experienced comedic cast who will have you keeling over with laughter. For the most sinful or the most spiritual audience members you can up-grade your seat for $10 and sit at the front of the class in Sister Mary's special Communion Cabaret Seating, but you must order by phone to take advantage of this opportunity.
One more thing: Unicorn Theatre will host Play Before the Play Party on December 11th at 6:30pm in their theatre lobby. This special event is a great way to meet other like minded and artistic people from around the metropolis.
Theatre for Young America
The Little Snow Girl
Runs December 2 - 30, 2008
H&R Bloch City Stage (Union Station lower level)
For tickets call 816-460-2020 or online at www.unionstation.org
For more information visit www.tya.org
Based on Russian folk tale titled "The Legend of Snegurochka," The Little Snow Girl is the story of a girl who was made from the frost and snow to bring happiness to an old couple. When the couple's love turns into greed, the little girl leaves to return to the winter land she came from. However, a magical effect takes place when the girl realizes the couple is filled with heartbreak and loving remorse. Connecting curriculum with Russian culture, family dynamics, fantasy, folklore and adoption, this winter tale is appropriate for preschool children and up.
Unicorn Theatre
The Women of Brewster Place: The Musical
By Tim Acito
Runs December 5, 2008 - January 11, 2009
3838 Main Street
For tickets call 816-531-PLAY or online at www.unicorntheatre.org
From the original novel by Gloria Naylor, to Oprah's television adaptation, all the way to Tim Acito's score and lyrics, The Women of Brewster Place has a universal message that is worthy of print, screen and stage. Ten diverse and strong African-American women reside in a dilapidated and deteriorating housing project on the outskirts of a big city surrounded by a wall. Going head on against severe poverty, racism and prejudice, the women decide to tear down the wall as they build up each other. With an eclectic cast of local actresses, jazz and gospel performers, this Unicorn production will not only enlighten, but will also entertain.
One more thing: Join other arts minded audience members at "Play Before the Play Party" - Unicorn's dessert and drink reception on December 11th at 6:30pm before the 8:00 show!
KC Theater 101 - an association of CrossCurrents
Voices: A Play for Women
By Susan Griffin
December 5, 6, 7 & 12, 13
Just Off Broadway (3051 Central)
For tickets call 1-800-838-3006 or online at www.crosscurrentsculture.org
An award-winning poet, playwright and author of 19 books, Susan Griffin was awarded an Emmy for the PBS production of her play, Voices: A Play for Women, which aired in 1975. Born in 1943, Griffin was a recipient of the MacArthur Grant for Peace and International Cooperation and a fellowship from the National Endowment for Arts; a runner-up for the Pulitzer Prize and is widely known for being an eco-feminist. Named as one of the top 100 visionaries of the new millennium for her 2001 book Wresting with the Angel of Democracy, Griffin's play Voices is a shaping of five women from different backgrounds, different generations, experiencing different circumstances who share one voice and realize they are no longer bound by their trials, their struggles or by society. COMING UP . . .
The Barn Players & River City Community Players
A Christmas Carol...Gone Amuck
By Eric Van Horn
December 14 at 2 p.m.
Off Center Theatre (Crown Center - Upstairs)
For tickets call 913-432-9100 or online at www.thebarnplayers.org
Offering another opportunity for local playwrights to submit their work, The Barn Players - teamed up with River City Community Players - will present a one-time performance of Eric Van Horn's A Christmas Carol...Gone Amuck. Armed with a pregnant drama teacher, a janitor, a doorman, and various other staff, a small-town AM radio station goes haywire when the hired actors don't show for their big Christmas Eve radio play A Christmas Carol. With scripts and determination, the group of non-actors performs their very own heartfelt - and comical - rendition of the classic Christmas tale.
Musical Theater Heritage
George Harter's Christmas Spectacular
Runs December 18-21, 2008
Off Center Theatre (Crown Center - Upstairs)
For tickets call 816-221-6987 or online at www.musicaltheaterheritage.com
Featuring the vocal styles of Tim Scott, Heidi Gutkneckt, Jerry Jay Cranford, Lauren Braton and Cary Mock, this Christmas party will ignite everyone's holiday spirit as you listen your holiday favorites!
Metropolitan Ensemble Theatre (MET)
Hedda Gobler
By Henrik Ibsen
Runs January 8 - 25, 2009
METspace, 3614 Main
For tickets call 816-569-3226 or online at www.metkc.org
Often considered as the "female Hamlet," Hedda Gobler is the masterful work of Norwegian playwright Henrik Ibsen. Published in 1890 and premiering in 1891 in Germany, Ibsen's story of a newly-married woman struggling with a new existence was plagued by negative reviews. Today, his play is considered the hallmark of classical realism and produced the world over. The character of Hedda has been portrayed both controversially and questionably; from a heroine taking on society, a feminist, a manipulative villain, to a man in drag. It will be interesting to see how MET will portray this strong woman with local metropolis actress, Katie Gilchrist, at the helm.
Actor's Theatre of Kansas City (ATKC)
Death and the Maiden
Ariel Dorfman
Runs January 16 - 25, 2009
Previews: January 9 -15, 2009
Off Center Theatre (Crown Center - Upstairs)
For tickets call 816-235-6222 or online at www.kcactors.org
From the artistically driven company, ATKC, comes a spellbinding work by Chilean playwright Ariel Dorfman. Her 1991 play Death and the Maiden continues their theme of "oppression and triumph of the human heart," and will be directed by James F. Mitchell, a well-known production stage manager here in the metropolis. Premiering at the Royal Court Theatre in London on July 9 of that same year, Dorfman reveals to us a story about Paulina Escobar, a one-time political prisoner in an unnamed Latin American country, who many years after a the countries dictating regime had fallen rediscovers the man who led her torture. A parable on how people desire justice for the wrong done to them, this play is sure to captivate and promote dialogue among audiences in Kansas City.
Classical, City Classics,
A sneak preview of 2009
The next couple of weeks are pretty much "down time" for live classical music in Kansas City, due to all of our fine local organizations taking a much-needed breather after the multitude of holiday concerts that they have been offering over the past several weeks. The weekend after Christmas there are no classical concerts planned, and the same applies for the weekend after New Year's day. I guess they figure we are all recovering from too much Christmas pudding and/or watching football on television.
The weekend of January 9-11, though, the local classical music scene springs back to life with several events worth noting, but we'll save most of those for our column on January 5. In the meantime, to tide you over, please listen to all of those wonderful classical music CD's or downloads that Santa or his friends undoubtedly slipped in your Christmas stocking over the holidays.
This is also the time of year when can reflect upon some of the great events upcoming later this winter and spring and look forward to some terrific performances that are headed our way shortly.
For those into the music of Gustav Mahler, for example, this winter and spring offers an excellent opportunity to hear not one but two of the master's greatest symphonies. The weekend of January 23-25, Michael Stern will be conducting the Kansas City Symphony in performances of the Mahler First, nicknamed "The Titan," a rather unmodest calling card for one's very first symphony, think you not? The First Symphony is one of the most melodic and "accessible" of the Mahler symphonies, and has always been among my favorites although some prefer the bombast and anxiety of his later works.
Then, on May 25, the Conservatory Orchestra of the UMKC Conservatory of Music and Dance is wrapping up the Conservatory's jam-packed schedule of spring performances with a performance of the Mahler Second, led by the estimable Robert Olson. You will recall that Olson, the founder of the Mahler Festival which plays in Colorado each spring, received an award from Germany a couple of years ago for his promotion of the music of Mahler. He has significant experience conducting this work, which has been tackled by most of the great conductors since it was first written. The Conservatory Choir joins in during the last movement. It should be a powerful experience for Mahler lovers.
In the opera world, this spring will give us a chance to hear not one but two of the greatest operatic sopranos of today right here in Kansas City. On January 21, our own Joyce DiDonato, a native of Prairie Village and one of today's leading mezzo-sopranos in the finest opera houses worldwide, graces the Folly Theater stage in a performance sponsored by the Harriman-Jewell Series. This is a recital that they would stand in long lines to buy tickets for in New York, Paris or London, and we are privileged to have the opportunity to hear her right here in Kansas City. She's putting Kansas City on the world operatic map in the same manner Tom Watson did so for golf a couple of decades ago. She's our hometown star, and we should be very proud.
Then, beginning on March 14, you will have a chance to hear another one of the world's great operatic sopranos when Mary Dunleavy of the Metropolitan Opera bows at the Lyric Opera in the title role of La Traviata. Dunleavy, who has performed the role at the Met as well as in Barcelona, the Netherlands, and St. Louis, and who sings such roles as Gilda (Rigoletto), Constanze (Abduction From the Seraglio), Fiordiligi (Cosi fan tutte), Donna Anna (Don Giovanni) and Micaela (Carmen) in opera houses around the world, is one of the most celebrated singers ever to grace the Lyric Opera's stage. In fact, the only soprano of a more stellar reputation who has ever sung at the Lyric, to this writer's memory is...you guessed it, Joyce DiDonato. So this is another one you won't want to miss.
By the way, a third great soprano is also appearing in Kansas City this spring, although she may not sing. Carol Vaness, a longtime star at the Metropolitan Opera, Chicago Lyric Opera and other leading venues, is making her second visit to the UMKC Conservatory to teach master's classes on February 23-27. We understand that several of the master classes will be open to the public. Vaness is the 2008-09 Muriel McBrien Kauffman Foundation Visiting Artist at the Conservatory.
Those who like brass instruments are probably aware that one of today's leading trumpet virtuosos is British trumpeter Alison Balsom, one of the few women to ever seize the limelight in the world of professional trumpeters. Her recordings show spectacular form and great feeling for the instrument, and the Kansas City Symphony is offering us a hand to check her out first-hand during the Symphony concerts of February 27-March 1. She will be performing trumpet concertos by both Tomasi and Haydn. Expect some dazzling virtuosity.
City Classics,
Classical Column for December 1-7
Kansas City Chamber Orchestra presents
Handel for the Holidays
Sarah Tannehill, soprano soloist
Tuesday, December 2 at 7:30 p.m.
Pre-concert talk: 6:30 p.m.
Unity Temple on the Plaza
707 W. 47th St., Kansas City, MO
The 'Music for the Royal Fireworks' contains some of Handel's most exhilirating music, perfectly capturing the excitement of the holidays. The 'Gloria' is full of vocal fireworks and virtuoso soprano Sarah Tannehill will perform this work, newly rediscovered in London during the last decade, and not heard for over two hundred years.
For tickets call 816-235-6222 or visit www.kcchamberorchestra.org
The Friends of Chamber Music presents
What Makes It Great? with Rob Kapilow
& the Biava and Penderecki String Quartets
Mendelssohn's Octet in E-flat Major
Saturday, December 6 at 11 a.m.
The Nelson-Atkins Museum of Art
For tickets call 816-561-9999 or online at www.chambermusic.org
Sunday, December 7 at 2 p.m.
Paradise Park, Lee's Summit, MO
Free admission, but tickets suggested. For information call 816-561-9999 or online at www.chambermusic.org
Looking for something FREE and FUN to do with your entire family? Composer, conductor and National Public Radio personality Rob Kapilow electrifies his audience with the rare power to illuminate music's most profound and provocative secrets. Characterized by his unique ability to create "aha" moments for his audiences and collaborators - whatever their level of musical sophistication - Kapilow's work brings music into people's lives in a vivid, new way. He opens ears to new musical experiences and helps people listen actively as equal participants in the concert-going experience.
For tickets call 816-561-9999 or online at www.chambermusic.org
Kansas City Symphony
Magic of Christmas
Friday, December 12, 2008 at 7:30 p.m.
Saturday, December 13, 2008 at 2:00 p.m. and at 7:30 p.m.
Saturday, December 14, 2008 at 2:00 p.m. and at 6:00 p.m.
All performances at the Lyric Theatre
10th and Central, Kansas City, Missouri
There are no Kansas City Symphony concerts this weekend (December 5-7), as the local band is taking a short break between its performances of Handel's Messiah and its upcoming Magic of Christmas show which plays five performances from December 12 through 14. But the Magic of Christmas should be so spectacular that we just can't resist telling you a little bit about it early.
The Symphony's Christmas show, designed to appeal to the whole family, is one of the best Christmas gifts you can give yourself and your family at this time of year. Sure, it's a holiday show to help rake in a little dough and enable the Symphony cover some of the deficits from its classical series. We all know that. But it's also one of the most fun evenings you will find in the theater all year long, and this writer has always found it charming.
Take some standard tunes of the season, mix in a few costumed characters and some lithe dancers (watch for the McFadden Brothers this year), throw in a children's choir and a "surprise" appearance by Santa Claus, and what do you have? A blend of delightful holiday cheer that is sure to bring a smile to the face of young and old alike.
Plus, the Magic of Christmas show is also a great opportunity for the Symphony's assistant conductor to show his stuff, which usually means not only his conducting technique but also his personality and showmanship, because the conductor in this show is part music director, part emcee, and...well, you'll see. This year the Symphony's new assistant conductor, Steven Jarvi, will be at the helm. This writer has spoken with him and seen him in action, and he appears to be a delightful person both musically and personally. We can't wait to see what his does with the Symphony's venerable holiday classic.
Note: If you want to see the show, then stay downtown rather than fight the crowds back to your home, check out the special hotel packages available from the Kansas City Marriott Downtown directly across the street from the Lyric Theatre (more information on the Symphony's web site, noted above).
By the way, if you're looking for a stocking stuffer holiday gift for a music lover at this time of year, you couldn't do better than select the Symphony's Tempest CD which just came out a couple of months ago. It was reviewed in this space back in September, and we found it outstanding. Other reviewers have since agreed. The Symphony sounds at its best, and the music is lesser known and delightful, sometimes a rare combination. Available at the Symphony Shop before performances or during intermissions, and at other local music outlets.
For tickets call 816-471-0400 or visit www.kcsymphony.org
City Classics,
Classical Column for December 15-21
New Orleans Jazz Orchestra
Mid-America Nazarene University
Bells-a-Plenty VII
Tuesday, December 16 at 7:30 p.m.
Bell Cultural Center, Mid-America Nazarene University
2030 E. College Way, Olathe, Kansas
For tickets call 913-971-3636 or online at www.mnu.edu/events/bellcenter
The Fountain City Brass Band is a Kansas City-based brass band which boasts of being the 2007 and 2008 North American Brass Band Champions. The band was founded in 2002 under the direction of artistic director Lee Harrelson and produces four concerts a year at the Bell Cultural Center at Mid-America Nazarene University in Olathe. The program for the Christmas concert on December 16 is not available, but should feature holiday favorites arranged for...guess what?...a brass band!
Kansas City Symphony
Community Connection Concert - Kansas City Brass
Wednesday, December 17, 2008 at 12:30 p.m.
Nelson Atkins Museum of Art
4525 Oak Street, Kansas City, MO
One of this writer's favorite Christmas albums by a local music group is the wonderful A Kansas City Christmas recorded by the Kansas City Brass back in 1994. I bring it out every year and listen to it again and again. It contains delightful and sometimes quirky arrangements of Christmas carols for brass instruments, and is every bit the equal of the much better known recordings of the Canadian Brass.
The Kansas City Brass consists of members of the Kansas City Symphony, and includes trumpeters Gary Schutza Jr. and Brian Rood, horn player Stephen Multer, trombonist Wyatt Henderson, tuba player Steven Seward, and percussionist Timothy Jepson. The group has not only played at local venues, but has toured in Missouri, Oklahoma, and Colorado. They have been guest artists at the Western Slope Music Festival in Crested Butte, Colorado and the Missouri River Festival of the Arts in Boonville, Missouri.
They also released a second album in 1998, No Strings Attached, featuring includes American folk songs, hymns, orchestral transcriptions and jazz arrangements.
If you can go to a daytime concert this Wednesday, this should be a delightful addition to your Christmas music season. Better yet, there is no admission charge.
Free admission.
Harriman-Jewell Series
Home for the Holidays:
Irvin Mayfield and the New Orleans Jazz Orchestra
Thursday, December 18 at 7 p.m.
Folly Theater
12th and Central, Downtown Kansas City, MO
Okay, it's not exactly classical music, but who can resist the toe-tapping infectious enthusiasm of New Orleans Jazz? The Harriman-Jewell Series' holiday offering should feature lots of good family fun. The program features trumpeter Irwin Mayfield in selections and arrangements from Duke Ellington's Nutcracker Suite, New Orleans classics including Charles Brown's Please Come Home for Christmas, Louis Armstrong's version of O Christmas Tree, and modern arrangements of standards such as The Little Drummer Boy.
For ticket call 816-415-5025 or online at www.harriman-jewell.org
Lawrence Arts Center
A Kansas Nutcracker
Friday, December 19 at 7:30 p.m.
Saturday, December 20 at 7:30 p.m.
Sunday, December 21 at 2 p.m.
940 New Hampshire Street, Lawrence, KS
If you just can't get enough of Tchaikovsky's perennial The Nutcracker this holiday season (and who can't?), the dance and drama departments of the Lawrence Arts Center present a Kansas-oriented version this weekend.
A Kansas Nutcracker tells the story of Clara, a young girl whose family has settled in the Kansas Territorial community of Lawrence in the 1850's. At a holiday barn dance, Clara is charmed by her godfather, Drosselmeier, and his nephew. The two arrive at the party bearing magical toys as gifts for the children, and Clara falls asleep after the party dreaming of mice, toys, snow, grasshoppers and other inhabitants of the prairie.
Choreographer Deborah Bettinger and Lawrence Youth Ballet artistic Ric Averill bring this delightful story to life in a state-oriented edition that perhaps would have puzzled, but maybe delighted, E.T.A. Hoffmann, the original author. The production features area performers, including professional dancers from the 940 Dance Company and professional actors from the region. More than 100 adults and children from the Lawrence area will perform alongside the professionals.
For tickets call 785-843-2787 or online at www.lawrenceartscenter.org
Westport Presbyterian Church
December Brown Bag Concert
with Robert and Lyra Pherigo
Friday, December 19 at 12:10 p.m.
201 Westport Road, Kansas City, MO
Two of the local music scene's most delightful and talented performers, pianist/composer/vocalist Robert Pherigo and flutist Lyra Pherigo, are featured in this holiday concert which should be a delight. This writer has sneaked away from work a few times to spend a few delightful hours surreptitiously munching on a brown bag lunch (yes, food and drink are permitted provided you aren't too noisy) and enjoying some fine musical performances at the Westport Presbyterian Church in midtown, and this December offering should be one of the best.
On the program are the Hamburger Sonata by C.P.E. Bach (this might be particularly appropriate, depending on what you are eating for lunch); Gnossienne No. 1 by Erik Satie; Nocturne by Lili Boulanger; Sonata No. 1 by Philippe Gaubert; Weihnachtsbaum (Christmas Tree) by Franz Liszt; Die Hirten an der Krippe, Abendglocken, In the Bleak Midwinter, and The Heart of Life arranged by Robert Pherigo.
Munch away and enjoy!
No admission charge (donations accepted)
Lawrence Chamber Orchestra
Home for the Holidays
Sunday, December 21 at 2 p.m.
Lawrence Free Methodist Church
3001 Lawrence Avenue, Lawrence, KS
The Lawrence Chamber Orchestra has been performing concerts of chamber music in Lawrence, Kansas since 1972, and is presently under the direction of Steven McDonald of the University of Kansas. The program for this holiday concert has not yet been announced.
For tickets call 785-691-7824 or online at www.lawrencechamberorchestra.org
City Classics,
Classical Column for December 8-14
Kansas City Symphony presents
Magic of Christmas
Friday, December 12 at 7:30 p.m.
Saturday, December 13 at 2 p.m. and 7:30 p.m.
Saturday, December 14 at 2 p.m. and 6 p.m.
The Lyric Theatre
10th and Central, Downtown Kansas City, MO
The Magic of Christmas is the Kansas City Symphony's Christmas show designed to appeal to the whole family, and is one of the most charming of the annual holiday concerts given by various musical groups around the metropolis at this time of year.
As we noted in last week's column, the formula for the Magic of Christmas is usually fairly predictable: Take some standard tunes of the season, mix in a few costumed characters and some lithe dancers (watch for the McFadden Brothers this year), throw in a children's choir and a "surprise" appearance by Santa Claus, and what do you have? A blend of delightful holiday cheer that is sure to bring a smile to the face of young and old alike.
For those who are regular Symphony observers, the Magic of Christmas show is also a great opportunity for the Symphony's assistant conductor to show his stuff. So attendees will see not only his conducting technique, but also his personality and showmanship, because the conductor in this show is part music director, part emcee, and...well, you'll see. This year the Symphony's new assistant conductor, Steven Jarvi, will be at the helm. This writer has spoken with him and seen him in action, and he appears to be a delightful person both musically and personally. We can't wait to see what his does with the Symphony's venerable holiday classic.
For tickets call 816-471-0400 or online at www.kcsymphony.org
Carlsen Center presents
Ain't Misbehavin'
by Fats Waller
Friday, December 12 at 8 p.m.
Saturday, December 13 at 8 p.m.
Johnson County Community College
College and Quivira, Overland Park, KS
Not all musical offerings at this time of year are holiday concerts. This performance of a touring group features the famous Fats Waller musical Ain't Misbehavin'. Ruben Studdard and Frenchie Davis star. According to the publicity material, "1930s Harlem lives on in this swinging, finger-snapping, comic musical considered one of Broadway's best revues of all time."
For tickets call 913-469-4445
or online at www.jccc.net/home/depts.php/001440/site/Chronological_Listing
Bach Aria Soloists presents
Patterson Hauskonzert
Friday, December 12 at 7 p.m.
Home of Colleen and Mark Patterson, Kansas City, MO
The Bach Aria Soloists, the fine chamber music group formed and directed by stylish violinist Elizabeth Suh Lane, performs occasional concerts in private homes, and these are known as much for their hospitality and food as for their superlative musical standards. This program may be sold out, but contact the Bach Aria Soloists for tickets if you wish to experience outstanding musicianship up close and personal. This performance will feature works by Bach, Vivaldi, Handel, and Mozart. There is a reception following the concert.
For tickets: Contact info@bachariasoloists.com or visit www.bachariasoloists.com
Kansas City Civic Orchestra presents
"Holiday Spectacular" Concert
Saturday, December 13 at 7:30 p.m.
Atonement Lutheran Church
9948 Metcalf, Overland Park, KS
Interim director Christopher Kelts has proven an able figure on the podium for Kansas City's long-time community orchestra, which often plays at a high level of competence. The orchestra's holiday concert is often filled with holiday favorites as well as classical selections of the season. The program for this concert has not been publicly announced, but if it meets the Civic Orchestra's usual standards it should be an enjoyable evening. Tickets are not required, but early arrival for a good seat is advised. This concert is free.
Northland Symphony Orchestra presents
Selection of Holiday Music
Sunday, December 14 at 3 p.m.
Park Hill South High School
I-635 and Missouri 9 Highway
4500 N.W. River Park Drive, Riverside, MO
Under the direction of James Murray III, the Northland Symphony Orchestra has risen to become one of the best community orchestras in the metropolitan area. Its annual holiday concert on Sunday afternoon should be a fun afternoon for those in the Northland. Actually, this writer has it on good authority that they also do not turn down people from South of the river, or even from Kansas.
This concert is free.
City Voices,
Vocal Music Column for December 8-14
Kansas City Women's Chorus
Journey to Peace
Saturday, December 13 at 7 p.m.
Sunday, December 14 at 4 p.m.
Guardian Angels Church
1310 Westport Road
Kansas City, MO
The Kansas City Women's chorus is a community singing group directed by Dr. Stephanie Henry. The chorus performs two concerts a year, one of which is this holiday program which is to feature traditional favorites along with classical selections.
For tickets www.kcwomenschorus.org
The Kansas City Chorale
Holiday Concert
Sunday, December 14, 2:00 p.m.
Redemptorist Cathedral
3333 Broadway, Kansas City, MO
Tuesday, December 16, 7:30 p.m.
Rolling Hills Presbyterian Church
9300 Nall Avenue
Overland Park, KS
Charles Bruffy and the Kansas City Chorale. What more can we say? The local group of 24 singers has made an international reputation over the past dozen years, and it is richly deserved. The Chorale's numerous recordings (eight to date, with another to be released soon) have won praise from critics and listeners alike, and the most recent one, of Grechaninov's Passion Week, won a Grammy award last year. The more recent recording of Rheinberger sacred choral music is even better, some listeners feel. More importantly, the group has enchanted the ears of Kansas Citians for more than 25 years now, and its concerts can always be counted upon to produce waves of delightful vocal sound.
In this season's holiday concert, the Chorale features Ottorino Respighi's rarely-performed Laud to the Nativity, accompanied by musicians from the Kansas City Symphony. Of course, the concert will also include a traditional offering of seasonal favorites of tuneful good cheer, including music from Gabrieli, Palestrina, Sweelinck and William Byrd.
The Chorale will also sing four new arrangements of classic Christmas carols by composer Michael McGlynn.
No vocal lover's holiday season would be complete without this concert! And a Chorale CD recording makes the perfect gift for your musically-inclined friends, particularly those from out of town who need to learn about the best that Kansas City vocal music has to offer. Something tells me the CD's may be available at the intermission of the concert.
For tickets call 816-235-6200 or online at www.kcchorale.com
Johann Sebastian Bach Cantata 65
"Sie werden aus Saba alle kimmen"
Sunday, December 14 at 5 p.m.
Immanuel Lutheran Church
1700 Westport Road
Kansas City, Missouri
The music of Johann Sebastian Bach is heavenly at any time of year, but never more so that during the holiday season. This cantata, one of many that J. S. Bach wrote for St. Thomas' Church in Leipzig during his long career there, should make for a pleasurable afternoon. From a musical point of view the work is a Christmas cantata par excellence; listen especially for the opening chorus (don't be late for the performance!), the tenor aria, and especially the magnificent bass aria, a showpiece for bass singers and often recorded.
No tickets are required, but a free will offering will be gratefully accepted.
For information call 816-931-8483
City Voices,
Vocal Column for December 15-28
Renee Fleming as Thais
The St. Joseph Community Chorus
featuring the Fountain City Brass Band
Christmas At The Cathedral
Monday, December 15 at 7:30pm
Cathedral of St. Joseph
519 North 10th Street, St. Joseph, MO
The St. Joseph Community Chorus has been providing high level choral music for their community for 28 years. This is bound to be a festive concert, as the award-winning Fountain City Brass Band joins them for a concert of Christmas classics.
Free Admission. For more information visit www.stjosephcommunitychorus.org
The Kansas City Chorale presents
Holiday Concert
Tuesday, December 16, 7:30 p.m.
Rolling Hills Presbyterian Church
9300 Nall Avenue, Overland Park, KS
Charles Bruffy and the Kansas City Chorale. What more can we say? The local group of 24 singers has made an international reputation over the past dozen years, and it is richly deserved. The Chorale's numerous recordings (eight to date, with another to be released soon) have won praise from critics and listeners alike, and the most recent one, of Grechaninov's Passion Week, won a Grammy award last year. The more recent recording of Rheinberger sacred choral music is even better, some listeners feel. More importantly, the group has enchanted the ears of Kansas Citians for more than 25 years now, and its concerts can always be counted upon to produce waves of delightful vocal sound.
In this season's holiday concert, the Chorale features Ottorino Respighi's rarely-performed Laud to the Nativity, accompanied by musicians from the Kansas City Symphony. Of course, the concert will also include a traditional offering of seasonal favorites of tuneful good cheer, including music from Gabrieli, Palestrina, Sweelinck and William Byrd.
The Chorale will also sing four new arrangements of classic Christmas carols by composer Michael McGlynn.
No vocal lover's holiday season would be complete without this concert! And a Chorale CD recording makes the perfect gift for your musically-inclined friends, particularly those from out of town who need to learn about the best that Kansas City vocal music has to offer. Something tells me the CD's may be available at the intermission of the concert.
For tickets call 816-235-6200 or online at www.kcchorale.com
The Metropolitan Opera: Live in HD
Thaïs
by J. Massenet
Featuring Renée Fleming and Thomas Hampson
Saturday, December 20 at 11 a.m.
The Metropolitan Opera: Live in HD returns to theatres nationwide for its third season this fall. The Met will transmit a total of eleven live and ten encore events this season from September to May. Don't miss the excitement of experiencing the Met on the big screen. If you've never taken one of these performances, I highly encourage you to attend. This broadcast is of Massenet's Thaïs. The radiant Renée Fleming plays the Egyptian courtesan in search of spiritual sustenance, and Thomas Hampson is the monk Athanaél who falls from grace. Massenet's sensual score is presented in a new production by John Cox with Jesús Lopez-Cobos conducting. Several movie theaters in town are showing this event. At approximately $20 per ticket, seeing the Met has never been so economical and convenient.
For ticket information visit www.fathomevents.com
Westport Center For The Arts
Abendmusik Holiday Concert
featuring music composed by Dietrich Buxtehude
Westport Presbyterian Church
201 Westport Road, Kansas City, MO
With choir directed by Marian Thomas and Jedd Schneider and instrumentalists from the KC Symphony, this is an opportunity to experience Christmas music with a baroque flavor. Featuring Buxtehude's Wachet Auf and In Dulci Jubilo cantata, trio sonatas, and chorales with audience participation, this event is a must for chamber music fans.
Tickets available at the door or visit www.westportcenterforthearts.org
City Voices,
Vocal Music Column for December 1-7
The Friends of Chamber Music presents
Lionheart, Tydings Trew: Feasts of Christmas in Medieval England
Thursday, December 4 at 7:30 p.m.
Cathedral of Immaculate Conception
12th and Broadway, Downtown Kansas City, MO
As we noted last week in the Classical Column, Lionheart is one of America's leading ensembles in medieval and Renaissance a cappella music and has appeared at Lincoln Center, Carnegie Hall's Weill Recital Hall, the Kennedy Center, the National Cathedral, the Boston Museum of Fine Arts and in various festivals throughout Europe, to say nothing of its celebrated appearances at The Cloisters in New York City and at Saint Ignatius of Antioch Episcopal Church.
The Friends of Chamber Music is bringing the group back for a holiday concert featuring medieval songs for the season. This is bound to be once of the more unusual, and thus one of the most refreshing, concerts of the season. Celebrate the holidays amidst the imposing grandeur of the Cathedral of Immaculate Conception!
For tickets call 816-561-9999 or onine at www.chambermusic.org.
Musica Sacra presents
Chorus and Orchestra Christmas Concert
Friday, December 5, 2008, 7:00 p.m.
St. Francis Xavier Church
52nd and Troost, Kansas City, MO
Timothy McDonald's Musica Sacra group always performs great choral pieces at a high level of performance. This year the group's holiday concert features the Christmas Oratorio of Camille Saint-Saëns, one of the kings of the French romantics. St. Saëns' music always pleases, and this piece is no exception. The program will also feature traditional Christmas carols performed by the choral and orchestral forces under Timothy McDonald's baton.
For tickets call 816-235-6222 or online at www.rockhurst.edu/services/musicasacra
(Unfortunately this contains outdated information)
Fine Arts Chorale presents
"Deck the Hall" concert
Friday, December 5 at 7:30 p.m.
Grace & Holy Trinity Catherdal
14th and Broadway, Downtown Kansas City, MO
Tuesday, December 9 at 7:30 p.m.
Southminster Presbyterian Church,
6306 Roe Ave., Prairie Village, KS
Fine Arts Chorale and Music Director/Conductor, Terri Teal, and the thirty-plus singers will present two holiday concerts that emphasize the age-old tradition of using greenery to decorate during Christmas and the Winter Solstice, as well as feature a group of pieces using the rose as a simile for Mary or Jesus.
In addition, a delightful set of carols referring to the animals in the Christmas story will be highlighted. Selected repertoire includes: Deck the Hall, The Holly and the Ivy, O Christmas Tree, A Spotless Rose and O magnum mysterium.
Purchase tickets at the door or call 816-235-6222.
Heartland Men's Chorus presents
Bless My Family
Friday, December 5 at 8 p.m.
Saturday, December 6 at 8 p.m.
Sunday, December 7 at 4 p.m.
The Folly Theater
12th and Central Streets
Downtown Kansas City, MO
The Heartland Men's Chorus holiday concert will give you the sounds of a large chorus in the acoustically friendly Folly Theater downtown. The event weaves together the stories of parents, partners, children and friends with the music of the holiday season. The chorus' promotional material says, "prepare for laughter, tears and maybe even goose bumps as we sing of true 'family values' this December."
The Heartland Men's Chorus offers YOU one free ticket with the purchase of one ticket for the Friday, December 5th concert by mentioning fiona's list . Call 816-931-3338 to order tickets.
For tickets call 816-931-3338 or online at www.hmcck.org
Octarium
Holidays With Octarium - Greatest Hits
Friday, December 5 at 7:30 p.m.
Trinity Lutheran Church
1245 New Hampshire
Lawrence, KS
Sunday, December 7 at 2:30 p.m.
St. Elizabeth's Catholic Church
75th and Main Streets
Kansas City, MO
Don't take my word for it - no less an expert than Paul Horsley has recently written in The Independent that this group has a "meticulous blend and fresh, youthful sonority" that "gets better every time I hear it." Arnold Epley wrote on this website that "make no mistake; this is a Kansas City ensemble of national stature, joining the justly illustrious Kansas City Chorale in the message that this city's choral moment seems to be arriving."
The Octarium Christmas concert is likely to be one of the musical highlights of not just the season, but the year. The group's ethereal, finely spun vocal lines must be heard to be believed. You just have to experience singing of this quality with your own ears. Treat yourself to this concert and you will come away refreshed and uplifted. This writer guaranties it!
Purchase tickets at the door or pre-order at www.brownpapertickets.com/event/45044. www.octarium.org
Conservatory of Music and Dance - University of Missouri at Kansas City
60th Annual Choral Holiday Concert: A Season of Giving
Saturday, December 6 at 7:30 p.m.
Visitation Catholic Church
5141 Main Street, Kansas City, MO
The Conservatory of Music's annual holiday choral concert feature performances by a number of the Conservatory music ensembles, including the Conservatory Concert Choir, Bella Voce, the Conservatory Singers, Canticum Novum, the UMKC Trombone Ensemble, the Hope Lutheran Bell Choir, and faculty member John Ditto, organist.
The program includes a host of holiday favorites including Gillette's Divinium mysterium (Of The Father's Love Begotten), Johann Sebastian Bach's Break forth, O Beauteous Heavenly Light, Kodály's Angels and Shepherds, and music of Bruckner, Gabrieli, Britten, and many others. Oh, and the Messiah, of course.
Free admission, but a donation of non-perishable food items and monetary contributions to Harvesters Community Food Network will be appreciated.
www.conservatory.umkc.edu
Lied Center of Kansas at University of Kansas presents
84th Annual Holiday Vespers
Sunday, December 7, 2008
2:30 p.m. and 7:30 p.m.
1600 Stewart Drive
Lawrence, Kansas
This is the first of several holiday events taking place with University of Kansas musical forces. Another is on Tuesday, December 9, at 7:00 p.m. on the Edwards Campus of the University of Kansas, where the KU Concert Holiday Choir will sing a program of seasonal musical favorites directed by Paul Tucker.
That same evening, December 9, the Symphonic Band and University Band of the University of Kansas will perform at 7:30 p.m. at the Lied Center in Lawrence.
Tickets are available for free by calling 913-897-8400, but donations are recommended, of new toys for Safe Home's holiday store that serves victims of domestic violence and their children.. For more information www.lied.ku.edu
Mid-America Nazarene University
The Messiah by G.F. Handel
Sunday, December 7 at 3 p.m.
Bell Cultural Center
Mid-America Nazarene University
2030 E. College Way, Olathe, Kansas
If you have missed one of the other Messiah performances around town this season, here is another chance. Georg Frideric Handel's music is always spectacular!
For tickets call 913-971-3636 or online at www.mnu.edu/events/bellcenter
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