Classical,
"Secret Voices" was a bonfire for the soul
Last Saturday night, while streets were blocked to crowds watching the bonfires of WaterFire float down Brush Creek, an intimate crowd of ancient music lovers gathered at the Visitation Catholic Church for a journey within. There the serenely scintillating voices of Anonymous 4 imparted the cloistered incantations of 13th century royal Castilian nuns in a bonfire for the soul.
Since its inception 25 years ago, Anonymous 4 has topped the international medieval charts with 18 recordings. The members of the vocal quartet, Ruth Cunningham, Marsha Genensky, Susan Hellauer and Jacqueline Horner-Kwiatek, have been touring the United States with the Secret Voices: The Sisters of Las Huelgas program the past two months to rave reviews, and will, I am happy to say, record the program for the Harmonia Mundi label in November.
A hallmark of The Friends of Chamber Music presentations is its consistent record of sponsoring artists of the highest standard of excellence who not only deeply satisfy the musical senses but also raise thought-provoking questions that expand beyond the concert experience. This concert soared on both levels.
The music was culled from a 13th century manuscript re-discovered at the convent of Las Huelgas in 1904 by two monks from the nearby Silos monastery, the same order of monks that gained renown in the last decade for their hit chant CDs. Notated in 1325, the Codex Las Huelgas manuscript is an anthology of the most advanced chants and avant-garde polyphony composed from about 1200 to 1325 for women. Its sacred Latin texts belie the international secular sources of much of the music, including solos, duets, trios and quartets set to popular music as diverse as French love songs and instrumental dance tunes, incorporating sound effects of the bagpipe drone and an occasional nasal twang reminiscent of the hurdy gurdy.
Upon hearing flawlessly-crafted unison waves of neumatic chant rise and recede in perfect cadence from this consummate quartet, questions arose as surely as the tingling hairs on the back of my neck in response to the pure clarity of their voices. How had these nuns of ancient Castile accomplished performing such virtuosic polyphonic music when women were permitted to sing only plainchant at that time in the church? And how could one know that the music they were singing was really written for women, not for men, whose chants sound just the same to me? Those initial musings were answered in the course of the evening, via a panel discussion held before the concert and a Q&A session with the members of Anonymous 4, hosted by The Friends President, Cynthia Siebert, afterwards.
The Cistercian convent, Santa Maria Regalis de Las Huelgas, was founded in 1187 at the instigation of Queen Eleanor of England, who, with her husband, Alfonso VIII of Castile, built it with the idea to provide sanctuary for noble women who desired to pursue the spiritual path. It boasted a choir of 100 women in the 13th century, and was run by abbesses who exercised uncommon privileges granted by kings and popes, including hearing confessions and saying mass. It was in that extraordinary liberal convent environment that the head-strong aristocratic daughters of nobility were given refuge and allowed to hone their musical talents to such a sophisticated degree.
Anonymous 4's Susan Hellauer answered the question about discerning whether the music was intended for women or men, since musical notation did not indicate exact pitch or voicing. Women's chants reflected a woman's perspective with texts such as "We are the wise virgins." With that background information in mind, I was able to lose myself in the extraordinarily complex melodies and rhythms heard, and to revel in the sheer artistry with which they performed.
The program was constructed around a fictional day in the musical life of the convent with music in honor of the Virgin Mary that could have been sung in the morning, at the daily Mass, and in the evening. The opening Sequence chant for First Light, Virgines egregie drew the audience immediately in with its precisely shaped unison line that floated gracefully above the nave. Ethereally tapered phrases seemed to evaporate into nothingness - an element of beauty often heard in the program.
Several versions of Benedicamus domino ("Let us bless the Lord") were performed at the end of sections that afforded the artists rich material to demonstrate their impressive range of vocal styles and musical acumen. In the Conductus: Ave maris stella, a fantastic galloping rhythm led straight into the Benedicamus domino: cum cantico sung in a pure timbre without vibrato in the same tonality that was sung in the Conductus, but now in an expansive tempo that opened into one of the many moments of transcendent expression.
Hellauer shared the ensemble's approach to achieving their heavenly blend of voices in an interview before the concert: rather than try to mimic each other's voices to match timbres, each musician sings freely in her own distinct sound, but in exact synch of breath, dynamics and musicality as the others. The result is that amazing blend one perceives in Anonymous 4 as the sound of a single voice magnified to sound as full and resonant as a choir.
About mid-way in the program one of the rarest of events occurred: an audience member in the front row fell ill. The sensitivity of the musicians and the members of the audience was apparent during the brief interlude that the concert was halted. It speaks well of the musicians that they were able to return and continue to make beautiful music.
And a good thing, too, because as the evening wore on, the music just got better and better. The final Night songs were especially noteworthy, each one leading into the next without pause and ending on the serene unison of Omnium in te that brought the audience to its feet with appreciation. The briefest of encores followed, a radiant ending that said it all: Ite missa est. Deo gracias. (Go, the mass is ended. Thanks be to God!)
REVIEW:
The Friends of Chamber Music
Anonymous 4
Secret Voices: The Sisters of Las Huelgas, Music of Thirteenth-Century Spain
October 24, 2009
Visitation Catholic Church
5141 Main Street, Kansas City, MO
For tickets call 816-561-9999 or online at www.chambermusic.org
Cover Photo by Christian Steiner
KC Events this week and beyond
Click here to see all the events on the KC Events performing arts calendar.
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KCMetropolis.org's mission is to promote traditional and independent classical music, dance, theatre and independent film. We are very sorry, but we do not cover pop, rock, Christian or country music; we do not cover the visual arts or non-performing arts community events. If you would like to send a press release about an upcoming performing arts event, please send to press@KCMetropolis.org.
KC Events Categories are:
Traditional & New Classical Music
Dance
Theatre
Jazz
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KC Events this week and beyond
Check out all the events on the KC Events performing arts calendar.
How do you list your events on KC Events?
As an arts organziation or musician, you now have the ability to add and edit your own events.
KCMetropolis.org's mission is to promote traditional and independent classical music, dance, theatre and independent film. We are very sorry, but we do not cover pop, rock, Christian or country music; we do not cover the visual arts or non-performing arts community events. If you would like to send a press release about an upcoming performing arts event, please send to press@KCMetropolis.org.
KC Events Categories are:
Classical Music
New Classical Music
Dance
Theatre
Jazz
To Submit Information:
- Please go to the KCM front page and click on the login tab located at the top right-hand side of the website.
- Create a login account and then sign-in.
- Read the KC Events Terms of Service before proceeding
- On the left-hand nav is a category called Submit Content
- Click on Submit an Event or Manage Your Events.
- Listings will be approved with 48 hours if it fits the KCMetropolis.org criteria
Film, Jazz,
American Jazz Museum is new home to world's largest collection of rare jazz films
As part of its permanent collection, the American Jazz Museum is home to one of the world's largest and most comprehensive collections of early and rare jazz film. Originally amassed by John H. Baker, an Ohio attorney and collector, the collection is comprised of over 5,000 titles, 1 million feet of 16-mm and 35-mm black & white and color films - roughly 700 hours - dating from 1927 through the early 1970s.
In addition to providing dynamic visuals of many of the performers with whom the sights and sounds of jazz are immediately associated, the collection also provides a wide breadth and depth of educational & research material, new insights into the evolution of jazz performance methods & practices, principles & techniques of filmmaking, the development of American culture and captivating documentations of significant eras of American history.
The John H. Baker Jazz Film Collection Exhibit focuses on the first three areas of a planned series of rotating thematic content: "Women in Jazz," "African-American Dance in Early Films," and "Big Bands." It also features new state-of-the-art SoundShower® audio technology, never-before-seen photos, and individual film viewing kiosks where users can browse through dozens of "soundies," short performance film clips that serve as the precursor to today's music video.
"Women In Jazz Films" is a collection of short films, soundies, and television excerpts from the 1920s to the 1970s featuring female jazz vocalists and musicians who were popular performers of the day. As singers, musicians, composers, and bandleaders, these women shaped and influenced jazz music in America and abroad with their extraordinary musical skills and talent.
"African American Dance In Early Films" a collection of soundies, short films, and excerpts from feature films that highlight African American singers and dancers from the 1930s-1940s performing on the theater and film stage, in chorus lines and nightclubs, and in front of big bands and small jazz combos. These multi-talented performers popularized a variety of dance styles, including: tap dancing, lindy hop, jitterbug, jive, ballet and modern dance.
"Big Bands" is a collection of dance and swing band performances from the 1930s-1950s. Typically consisting of 10-25 pieces, big bands became popular in the 1920s, and rose to prominence playing swing music throughout the 1930s. The big bands of Duke Ellington, Count Basie, and Cab Calloway played a major role in defining swing as a distinctive jazz style. "All-girl" bands, such as the International Sweethearts of Rhythm, also popularized swing music nationally and internationally.
For more information visit www.americanjazzmuseum.org
Reprinted permission of Greg Carroll, CEO of the American Jazz Museum
Theatre ,
Theatre for Young America's 36th Season
Theatre for Young America, a Kansas City favorite since 1974, has officially opened its 36th Season. Staying true to its roots, TYA has chosen a season rich in variety and highlighting some classic children's stories. When selecting the season, Gene Mackey, artistic director of TYA, says they try to offer a variety of experiences. They present musicals, comedies, drama, at least one historical piece and one or two new works. The selection team considers varying time periods and different kinds of main characters, including a good mix of boy and girl protagonists.
For example, the musical "Goodnight Moon", currently playing, features a male bunny in a fun and safe setting as he avoid going to bed. In contrast, "The Toughest Kid in the World", in November, is a drama for older students. The show encourages viewers to settle conflict non-violently. Valerie Mackey, Associate Artistic Director for TYA, says age-appropriateness of a play is mainly determined by Education Director, Sheryl Bryant. "There are guidelines," Valerie states, "If a child is in peril then the show is appropriate for 3rd grade and up." The show "Toughest Kid" will travel to Kansas City School districts.
In December, "Madeline's Christmas" reintroduces the beloved little French girl to the TYA stage in this new play adaptation. A different Madeline play was performed ten years and was an audience favorite. "Some schools tend to shy away from ecumenical Christmas plays," explained Valerie Mackey when asked about the non-traditional Christmas show.
"Nate the Great," kid detective, comes to the stage in February. TYA is hoping to do a film noir style performance, complete with saxophone music and a big play on shadows and light. (And they hope to find a talented Avila University student to design sets.) Gene Mackey, who is also adjunct faculty at Avila, enjoys partnering with the University on show designs and allowing their talented students get professional experience.
Next March, Junie B Jones returns to TYA in "Junie B. Jones and a Little Monkey Business". The show was a big hit four years ago, and they've brought back the original Junie to reprise her role. The book features a sassy, smart little girl who learns that her new little brother is pretty cool, and not a monkey at all.
The historical piece this season, "The Monarchs of KC", will be performed in April and May. It works in conjunction with The Negro League Baseball Museum to tell the story of some local baseball legends, including Buck O'Neil and Leroy "Satchel" Page.
Written by Gene Mackey with Music by Danny Cox, the story introduces 18th and Vine District as you've never seen it before. Mackey states, "It was such a potent, lively neighborhood at that time," and recalls Buck O'Neil's quote that, "You couldn't throw a rock without hitting a baseball player or a jazz musician." The play includes the jazz culture of that era, and challenges the prejudice that isolated these great players from other baseball contemporaries.
Finally, "Robin Hood" will be performed in June. When asked what to expect from this particular show, Gene Mackey restated TYA's values. "We are dedicated to telling classic stories classically." There are many versions of Robin Hood, but this one is based on the traditional version and focuses on the historical character. "You want to do the story as it has been handed down... kids relate to an honestly told story."
PREVIEW
Theatre for Young America
36th Season
For tickets call 816-460-2083 or online at www.tya.org
Top photo: Valerie and Gene Mackey
theSTEADY, Jazz,
The way Angela Hagenbach makes us feel
Angela Hagenbach sits alone at the bar and leisurely sips her cocktail as her band warms up the audience. There is only a modest crowd in the club but she's unperturbed. It's early. She knows they'll show. It's this quiet confidence-and her velvet voice-that has made her a Kansas City favorite for nearly two decades.
"Next June 13," Hagenbach reveals. She marks that date as her 20th year of a professional singing career that has included a four-year stint playing five nights a week at the Ritz-Carlton.
"When I first started, there were so many places. I worked six or seven nights a week, sometimes two or three gigs a day."
Hagenbach scaled back on live performance about a year ago, tired of working night after night, weekends and holidays. "Now I get to be more selective. I play where I want."
Her confidence and contentment is the culmination of thousands of live gigs and the knowledge that at this point in her career, she calls her own shots. Coupled with her experience as a professional model, Hagenbach possesses an air of elegance, beauty, and poise even as she sits casually-dressed in a dark, long-sleeved shirt and jeans, her hair pulled back into a ponytail underneath a black cap.
There's nothing plain about the depth and power of her voice, however, rich and wrapped in cashmere. And that lower register is something to be experienced.
She captures the struggle and triumph of a single mother with "From Now On," making lyrics like "I've got to learn to walk again / It's so new being free / I don't mind," feel lived-in.
On "Just You, Just Me" Hagenbach displays impeccable timing and expressive phrasing, bringing to life the insouciant joy of infatuation and budding romance.
And with members of Sons of Brasil backing her, she takes a latin-jazz run at "It Ain't Necessarily So" that has the crowd swaying. Her confidence proves correct; the club is lively and the seats are filling up.
Hagenbach commands the stage with ease and grace, even working in some topical humor into her banter. She jokes about the colossal letdown of the recent NASA moon bombing and incorporated the news story into the lyrics of "Old Devil Moon."
Tonight, her usual backing band is replaced by Stan Kessler (trumpet) and Doug Auwarter (drums) of Sons of Brasil, as well as Matt Hopper (guitar) and Gerald Spaits (upright bass).
Hagenbach is unconcerned. She's played with all of them at some point along her journey, the beginning of which schooled her in the ability to sit in with anyone and let the music flow.
The North Kansas City native, the seventh of eight children, grew up immersed in music. Her father was a music veteran of the 12th & Vine clubs and her mother was trained in classical piano. Naturally there was always music in the house.
And while as a youngster, Hagenbach preferred listening to contemporary music from the music collections of her brothers and sisters, she wasn't oblivious to the rich heritage of classical and jazz present in her roots.
"There was this photo of Dad playing in a small big band. They were in a giant oyster shell. I didn't really listen to Dad's music then but now they're precious memories."
What began with front porch concerts, garage bands, and gospel choirs became a growing desire for the music she'd been exposed to as a youth. She rediscovered Sarah Vaughn, Miles Davis, and Shirley Horn, at times moved to tears.
"It was a religious experience," Hagenbach recalls.
She decided she wanted to learn how to sing jazz, scouting out and attending weekly Saturday afternoon jam sessions, honing her skills, gauging crowd reactions and learning how to work an audience.
She spent several years juggling music with full-time modeling until she decided to dedicate herself completely to being a jazz chanteuse. She incorporated and founded Amazon Records and released her debut album, Come Fly With Me in 1994 and hasn't stopped since.
Her newest album, inspired by the works of Henry Mancini, Michel Legrand, and Johnny Mandel called The Way They Make Me Feel, was released on Resonance Records on October 13. She plans to celebrate with a return to Jardine's for a release party on November 6.
So what's next for a woman so self-possessed and in control of her own destiny?
Hagenbach explains that she's been concentrating more on songwriting. Last October, two of her original tunes were used in "Last Will" a new film starring Tom Berenger and Tatum O'Neal. Hagenbach herself makes an appearance, fronting the band in a wedding scene.
"Every fifteen or so years, I like to reinvent myself," says Hagenbach.
It's plain to see that smitten Kansas City audiences are willing to go along for the ride.
Review:
Angela Hagenbach
Saturday, October 10, 2009
Jardine's Restaurant and Jazz Club
4536 Main St., Kansas City, MO
For tickets call 816-561-6480 or online at www.jardines4jazz.com or www.amazonrecords.com
Preview:
The Way They Make Me Feel
CD Release Party
Friday, November 6 at 6:00 p.m. and 8:00 p.m.
Jardine's Restaurant and Jazz Club
4536 Main St., Kansas City, MO
For tickets call 816-561-6480 or online at www.jardines4jazz.com or www.amazonrecords.com
Classical,
Local chorales offer southern warmth and Latin flair
There was a plethora of choral music concerts in the metro this past week with at least five major performances. Among those offerings were the concerts by the Kansas City Chorale and the Metropolitan Chorale of Kansas City.
The award-winning Kansas City Chorale under Maestro Charles Bruffy once again showcased why they are indeed one of the premier chorales in the world. Their program of shape-note repertoire, Amazing Grace settings, bluegrass tunes, and southern hymns was engaging and, something all too often neglected, fun.
Opening with three shape-note tunes, the choir performed with the forward, wide-vowel sound that is required of the style. I would have gladly welcome more of these selections as they are so refreshing to hear especially from this extremely polished ensemble. The Chorale would sound fantastic on William Duckworth's Southern Harmony cycle. These spirited pieces were followed by two settings of Amazing Grace by Peter Schickele and Korean composer Hyo-won Woo. Of the two, I found the Woo more adventuresome. The KC Chorale elevated the piece beyond its surface nature sounds and Eastern harmonies. Paula Brekken and Beth Munce served as soloists for the work. Brekken's voice jolted me to attention. She has a remarkably luminous timbre in her voice that avoids the generic mezzo sound. Munce's stratospheric pitches were impeccable. The two settings of Precious Lord were well-sung with the women shining on Roy Ringwald's arrangement. Arnold Sevier's chromatic jazz harmonies suited the text in his version.
I was apprehensive that next set of pieces (My God is a Rock, Is There Anybody Here, I Wanna Be Ready, and Didn't My Lord Deliver Daniel) would be vanity projects for the soloists. My trepidation was unfounded as they were all convincingly sung by both ensemble and soloists. Special praise goes to Paulette Votava Resch who demonstrated impressive dynamic control and just enough diva swagger in I Wanna Be Ready.
The bluegrass quartet Coupe de Grass joined the Chorale for the rousing second half. While it was somewhat disconcerting to watch tuxedoed men and uniformed women singing good ol', down-home songs, they nevertheless pulled it off. Of the second half's selections, the most successful were Down in the River to Pray (which was sung with the chorale surrounding the audience), Angel Band, and I Wonder What They're Doin' There Now. New member and soloist Hugh Naughton, showcased a sensitive baritone in the latter. These bluegrass and southern hymns were not performed perfectly as there were some unsteady entrances, but the spirit was there and these slight mistakes did not distract from the performance. Adding to the evening's enjoyment was Bruffy's 90-year old father from West Virginia and his proclamation of "Ya never know what these kids are gonna do next." Truer words have never been spoken for this pioneering ensemble.
The Metropolitan Chorale of Kansas City presented the first concert of their 22nd season at St. Mark’s Catholic Church. The choir of around fifty musicians from the Kansas City area and the Metropolitan Community College made their international debut in 2006 with a tour of Rio de Janeiro and has performed with the San Diego Symphony, in Washington D.C., and for the Missouri Music Educators Convention. Under the auspices of the Metropolitan Community College Blue River campus and the capable hands of Rebecca Johnson, this town-and-gown group enthusiastically performed the evening’s selections and showcased the group's motto, "We work hard... and love doing it."
After the standard Cloths of Heaven by Z. Randall Stroope, the ensemble really came to life on Ariel Ramírez's Misa Criolla. The Argentinean composer incorporated many Latin American rhythms, dances, and melodies effectively into the Mass Ordinary structure of Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. Each movement featured a soloist or small ensemble with choral accompaniment along with Latin American percussion specialist Doug Auwarter, guitarists Joe Carignan and Micah Chrisman, and pianist Joo Hye Kim. Notable soloists include Sarah Tyrrell's confident, commanding soprano in the vidala-baguala-infused Kyrie, Gino Bueno's effortless tenor in the carnavalito sections of the Gloria, and Mary Stayton's pure, comforting soprano in the Agnus Dei in estilo pampeano. It was the perfect length of about twenty minutes and was very suited to the ensemble. Knowing Auwarter's skill with Latin rhythms I wish the piece had allowed for some improvisation. Slight balance issues in the Credo and Sanctus between the soloists and accompaniment did not detract from the piece.
Misa Criolla was followed by Joo Hye Kim performing Chopin's Ballade No. 3. Ms. Kim is a stellar pianist with amazing technique and innate musicianship but this choice was perplexing. I would have much preferred something akin to a Ginastera piano piece to provide more continuity with the rest of the program. The bluesy spiritual Little David, Play! featured seven soloists. I found it impressive that in a community choir so many singers are capable of being featured. This is probably a testament to Dr. Johnson's commitment to the ensemble and encouraging air.
The women were fiery in their performance of Stroope's Revelation. It was exciting to hear women singing such a rhythmically aggressive, biting work instead of being relegated to a melodic, pedantic "pretty" piece. The men got that honor instead with a canonic treatment of How Can I Keep From Singing. Wrapping up with the ever-popular Elijah Rock, the ensemble showed some of their cracks. There were intonation issues and the tempo was a bit too fast for the choir to handle.
All-in-all, this week provided fine performances by two talented ensembles. Choral music is certainly alive and well in Kansas City.
REVIEWS:
Kansas City Chorale
Amazing Grace
Tuesday, October 20, 2009
Asbury United Methodist, Prairie Village, KS
www.kcchorale.org
Metropolitan Chorale of Kansas City
Tapestries of Heaven
Saturday, October 24, 2009
St. Mark's Catholic Church, Independence, MO
http://mcckc.edu/blueriver/humanities/music/index.pub.htm
Dance,
Bad Boys of Dance is bad in all the right ways
Rasta Thomas' Bad Boys of Dance is far from for bad - it's amazing. The vibes the group emitted Saturday night at the Carlsen Center were more similar to a rock concert than a dance performance. The eight dancers had the audience clapping to the beat, singing to the music and rising to their feet.
Thomas, who formed Bad Boys of Dance in 2007, serves as director and co-choreographer along with his wife Adrienne Canterna-Thomas. Part of what made the show so exciting was the fluent blend of styles - jazz, contemporary, acrobatics, musical theatre and ballet. The pop music that drove the show also helped make the experience more enjoyable and memorable for the audience, especially Michael Jackson's tracks in the second act in which the dancers' recreation of his signature steps provided nostalgia of the venerated artist.
As soon as the curtain opened and the dancers first took the stage, the energy they exuded was astounding, and easily transferred over to the audience. Each dancer revealed his or her personality and unique style, and together they made the show interactive and dynamic. The six men, including Thomas, performed the majority of the sections and danced superb as a whole and individually. Canterna-Thomas, the only girl in the show, provided a nice relief from the high level of testosterone with her graceful facility and immeasurable flexibility. By far the most amusing part of the first act was Carmen in which the men partnered with blow-up dolls in a hysterical, intimate tango. Ne me quitte pas also stood out for its honest movement amidst all the flashy, competition style dancing.
The second act, Rock You, featured quick transitions of hit favorites from Queen, Prince and Michael Jackson. This half featured more solos, duets and trios where each dancer got to show off his or her specialty steps and craziest tricks. Over and over the dancers pushed themselves to take risks and more often than not their strength and stamina paid off. Thomas performed several soliloquy sections showing off his impeccable ballet technique with double tours, a la seconde turns and a jeté en ménage. Again, the men flaunted their funny bones in Bohemian Rhapsody and rose to the occasion in Bad, the show's culmination.
The two-hour performance flew by and the ensemble would have continued dancing and the audience would have kept watching if the curtain had not closed. Bad Boys of Dance never held back producing amazing dance, although there were times when the choreography was too showy and their stage presence too pretentious, especially in the encore. Interaction with the audience and a strong technical foundation are what made the show a hit. There were no outrageous costumes, lighting or props and no hidden meanings or over performed full-length ballets. It was just dance - new, distinctive and interesting. It made those in the audience who dance wish they were dancing and those who didn't, wishing they knew how.
REVIEW:
Carlson Center
Rasta Thomas' Bad Boys of Dance
Saturday, October 25, 2009
Johnson County Community College
12345 College Blvd, Overland Park, KS
For tickets call 913-469-4445 or online at www.jccc.edu/TheSeries
Dance,
McIntyre's unique perspectives too confounding at times
The Trey McIntyre Project's performance on Friday was almost too big and too small for KU's Lied Center. The small company, which is only in its second year as a full-time established group, had a tough time grabbing and keeping the attention of the audience throughout the show. What was too big or too intangible to conceive were some of the concepts of Trey McIntyre's works. While presenting good ideas, such as The Sun Road bringing awareness to the Glacier National Park, McIntyre, a native Kansan, did not fully succeed in revealing his underlying choices of music, movement and lighting effects. It's as if there was a semi-permeable wall between the dancers and audience - we caught glimpses of what was happening on stage but never got the whole picture.
The first piece, Like a Samba, was the oldest piece on the bill, created for Oregon Ballet Theatre in 1997. The other three pieces were TMP originals from this year. Like a Samba highlighted the dancers' beautiful lines and silhouettes created by a blank backdrop and portrait spotlights. Individually, the dancers were interesting to watch, each bringing unique stylization to the choreography. Together though they struggled to remain in unison and present the same clean, movement quality. Overall, the choreography was too mediocre and reserved for the upbeat, flirtatious music of Astrud Gilberto, especially the section to the song she is most recognized for, The Girl from Ipanema.
The next two pieces produced more exciting dancing and several laughs from the audiences. In (serious), the trio of dancers mocked their formal attire and the enharmonic scales of Henry Cowell's composition. Jason Hartley's performance was very honest and controlled and all three artists demonstrated perfect musicality, refined movements and fitting expressions.
Shape, the shortest piece, was the most outwardly amusing one of the program. The dancers explored what it would be like to have bright, red balloons for body parts - hands, head and impossibly out-of-proportion breasts. The balloons, which emerged as distinctive obstacles, distorted the shape of the dancers and also affected their weight and movement quality. In most instances, the balloons either led them around and instigated movement or pulled them back, preventing them to quite finish a step. The one hindrance of the piece was that the balloons, while proving a point, distracted from the actual dancing.
The purpose of the last piece, The Sun Road, was to bring attention to the raw beauty of nature through the Face of America series funded by Wolf Trap. McIntyre said he wanted the work to capture "our struggle in our relationship with the natural world, to exist, and to what extent we affect what is around us." This basis is incredibly uplifting and offers itself to a powerful performance, but again the intentions were hard to capitalize on. It was clear the dancers were portraying this struggle with nature but the emotion of the piece was too intrapersonal and simulated, making it hard to grasp the urgency and depth of the issue. Again, the dancers executed each step to its fullest but the live dancing and recounted video clips fought with each other for attention. The piece would have been more meaningful if, following the narrated clip, the audience could have focused on the dancers' story simply through their movement.
The use of the spotlight in each piece was well thought out and helpful in setting a tone for each piece. It was a beneficial tool in making the stage seem smaller or bigger depending on the number of dancers and the intimacy of the piece. McIntyre frequently creates works meant to be ambiguous and open-ended so audience members can finish the story he began and create personal experiences. This worked for the middle two pieces of the program but the surrounding two pieces yielded perplexity of how to draw conclusions. The dancing was technically correct and pleasing but by the end of the show the exquisite lines and picturesque moments were overcome by distraction and confusion.
REVIEW:
Lied Center
Trey McIntyre Project
Friday, October 23, 2009
Lied Center of Kansas
1600 Stewart Avenue, Lawrence, KS
For tickets call 785-864-2787 or online at www.lied.ku.edu
Top photo by Jonas Lundqvist
Theatre ,
Because nobody wants to go to bed
"Have any of you read this book?" asks Mia the mouse, holding up "Goodnight Moon" by Margaret Wise Brown.
I hear a chorus of small voices yelling, "Yes!"
"Did you like it?"
"Yes!"
"Well that's why Chad Henry made it into a play."
Henry's adaptation of the classic children's book is being performed for the first time in this area. It was first produced at Manhattan Children's Theatre in New York in 2007. Now, the show is being performed by Theatre for Young America (TYA) at the H&R Block City Stage in Union Station. The show is directed by Valerie Mackey.
"Goodnight Moon", as well as being entertaining, encourages children to read. This is one of the major goals of TYA and is reflected in their productions.
The book shows a little bunny saying goodnight to everything in his room, in order to avoid actually going to bed. The play keeps the story intact, but does much more. Each item in his room is actually keeping him awake. The bears in chairs sing and dance. The cow attempts to jump over the moon, more than once. Even the bunny's red balloon taunts him. How on earth could anyone sleep?
"It's that classic conflict between them [the characters] and their environment." Says Gene Mackey, artistic director of TYA. What makes the play so interesting is that the little bunny really tries to sleep, but we know something will always come along to coax him out of bed.
Brianne Bongiovanni was the scenic designer, and the set looked very much like the big green bedroom from the book. It was reproduced down to the little details, like the mittens hanging in the corner, and the red balloon over the bedside table.
The lighting, designed by Patrick Inlow, was really very clever and fun. For example, we always knew when the cow would attempt to jump over the moon from the roaming spotlights. There were star lights, and subtle changes to indicate the night was wearing on. The bedside lamp had a mind of its own and teased the little bunny, which got a huge laugh from the audience.
Props and costumes were done by Sheryl Bryant and Valerie Mackey. They were functional, with occasional fun pieces, like the dish and spoon jacket that kept "running away" or the silly Tooth Fairy getup, which was worth the price of admission all by itself. The props, like the set, very closely imitated the book.
Evan Lovelace played the Bunny with enthusiasm and energy. When the bears in chairs come out, he does a rather spectacular tap dance. He was an excellent choice for the main character because of his liveliness.
Mia Hedgpeth-Guerra was the Mouse who was the Bunny's main ally in avoiding bedtime. She also played the ringleader cat that introduced the cow's attempts to jump over the moon. Mia was very accessible, and had a child-like quality that the kids in the audience could relate to.
The old lady and Clarabelle the Cow were both played by Teri Adams. As Clarabelle, Adams was delightfully peevish, and very funny. As the old lady, she found the appropriate balance between irritation that her child was out of bed yet again, and love for her little bunny.
Eric Johansen played the Moon, the balloon, the dish, the spoon, the Tooth Fairy, etc. With each of the bit parts he did wonderfully entertaining things. From his mischievous balloon, and his telephone "operator" voice to his "dish running away with the spoon" bit, he was always one to watch. The Tooth Fairy song was definitely a highlight for me.
One small criticism I would offer concerns sound. Although the actors all had lovely singing voices, I had difficulty hearing them on a few of the songs. Perhaps it was the acoustics of the theatre, but a hanging microphone might be a good investment, especially during the quiet moments.
Overall, the show was often rowdy, occasionally random, very silly, and enormously entertaining. This show is appropriate for kids ages 1 to 101. Tickets are available until October 31st.
REVIEW
Theatre for Young America
Goodnight Moon
Adapted from book by Margaret Wise Brown and Clement Hurd
Book, Music and Lyrics by Chad Henry
Runs October 13th through 31st, 2009
The H&R Block City Stage
Union Station, 30 W Pershing Rd, Kansas City, MO
For tickets call 816-460-2083 or online at www.tya.org
Top Photo: Cast members Teri Adams and Evan Lovelace
Classical,
Kanako Ito's star shines bright
Friday evening, October 23rd, at the Lyric Theatre, the Kansas City Symphony continued its 2009-10 Classical Series under Music Director Michael Stern's baton, performing Bach's 3rd Brandenburg Concerto (in G Major), Mendelssohn's E Minor Violin Concerto (featuring Concertmistress Kanako Ito), and Haydn's "Lord Nelson" Mass in D Minor. It was a vibrant evening.
Beethoven once called Bach "the immortal god of harmony," testament to the Baroque master's gargantuan genius. Tape all of Bach's manuscripts to a wall, throw a dart - blindfolded - and you'd nevertheless be guaranteed to hit a work that, if not masterful in its entirety, had something astounding to behold within its "mathemusically" beautiful structure. Consider the six Brandenburg concerti: microcosmic, contrapuntal gems that glisten like stars in a clear night sky. The 3rd concerto is particularly energetic and, I am convinced, impossible to listen to without feeling cheerful - its unbridled energy and excitement capable of lifting the darkest of moods. The performance, while not flawless, was a stunning display of compositional and technical virtuosity, the effects of which were aptly summed up by a lone patron who, in the brief instant between the last note and the first clap, uttered a sentiment the ensuing applause enthusiastically ratified: Whooaaa..."
Within an otherwise dazzling performance the violins had a few, isolated intonation problems and in the 3rd movement enthusiasm got the better of the 11-piece ensemble, which got a little ahead of Stern's timing, but quickly recovered and settled into his pace. Stern's lively interpretation yielded an invigorating pulse. With that driving force he deftly led the musicians through nuanced dynamics that made the work shimmer. For technical execution, hats off to the cellos and basses for their remarkable precision and clarity in the lower register, a realm that does not often equate with dexterity and nimbleness.
Felix Mendelssohn, already an accomplished composer as a teenager, had fully mastered his craft by age 29 when he first conceived, as the program cites, "his only mature violin concerto." Many of history's greatest composers had several decades to achieve such maturity, so it is with an extra dose of reverence that I listen to music by composers who never saw their 40th birthdays: Mozart, Mendelssohn and Chopin among them.
The program listed the concerto as a four-movement piece, which yields analytical insights that might otherwise be overlooked (indeed, one can find countless three-movement recordings that present the 3rd and 4th as one). The 1st and 4th are like rival juggernauts of Romantic antimatter kept apart only by the thin membranes of the 2nd and 3rd. That same structure provides a unique inverse symmetry with the sweeping solo theme of the 1st movement transitioning - through the single sustained note of a lone bassoon - into the serenity of the 2nd, which drips deliciously with Romantic pathos. Balancing this, the 1st movement's theme returns as a calmer, morphed recapitulation in the very brief, transitional 3rd movement before erupting into the blistering pace of the 4th movement Finale.
Kanako Ito was spectacular, although the 1st movement (similar to the Brandenberg's 3rd movement noted earlier) got just a tad ahead of itself at the outset but recovered and settled comfortably within a dozen or so measures. From there it was a smooth and seamless ride. Ito looked positively stunning in a bright blue gown that reinforced her commanding presence, and it mirrored well Mendelssohn's mature, energetic composition. By the 4th movement both she and the orchestra were fully "in the zone" and I was unable to find a single flaw worth mentioning. Perfection strived for is a lofty and elusive goal, but this performance (after the opening settled down) came impressively close.
Lastly - Haydn, which (honestly) I dreaded; regrettably, Haydn bores me. Ironically, perhaps because of that bias - I ended up enjoying the D Minor Mass much more than I expected. The orchestra was, well, orchestral; it is about all I can say. Haydn's orchestrations and thematic material revealed no profound musical epiphanies. The most I can ever find to say about a Haydn work is just that very fact: "It's Haydn..."
Thankfully, this was a Mass, which leaves plenty to discuss about the vocal aspects of the chorus, and the Soprano (Mary Wilson), Mezzo-Soprano (Sasha Cooke), Tenor (Thomas Cooley) and Bass (Nathaniel Webster) soloists. First impressions of Ms. Wilson were guarded. Her timbre during the first few sections was shrill, but mellowed nicely about one-third of the way through and by the Angus Dei she had won me over. Ms. Cooke, conversely, captured my interest immediately with rich, consistent textures, which coincidentally (to Ms. Wilson's detriment) peaked in the Agnus Dei. It was, however, Mr. Cooley's pure, soaring tenor that prevailed, with consistency in both timbre and projection. As for Mr. Webster, one can only hope that the performance was the result of his having an "off" night. He was atrocious - unable to project beyond the first few rows, with intonation in his lowest register a complete mess and not helped at all by his posture, where at times he seemed to be singing to his own feet. I am usually not this blunt - but I was astonished at how poorly he came across.
The Kansas City Symphony Chorus - different story entirely: impressive and much (much!) improved since the last time I'd heard them a few seasons ago. Haydn failed again to deliver any choral revelations, but the chorus had solid intonation and came through where it counted most: diction. They were mostly spot-on, with their percussive consonants falling simultaneously as a single entity rather than as the efforts of 116 individuals. When executed with skill, the achievement of that singularity seems deceivingly easy to the untrained listener, but in fact the magnitude of the challenge grows exponentially with the number of performers, and succeeding with a group this size is quite a feat. Kudos are in order for Chorus Director Charles Bruffy's guidance, and to the chorus itself for skillful execution.
REVIEW:
Kansas City Symphony and Michael Stern
Kansas City Symphony Chorus and Charles Bruffy
With Kanako Ito, Violin
October 23, 2009
Lyric Theatre
1029 Central S, Kansas City, MO
www.kcsymphony.org
Film,
"More Than a Game" is a slam dunk
The title alone, More Than a Game, says it all. This glorious, honest documentary is more than a film about basketball. It's more than the rise of LeBron James to superstar status in the NBA. Instead, it's a captivating glimpse into the formative years of five boys whose deep friendship, with the positive influence of their coaches, carries them through trials and tribulations and on into manhood.
LeBron James. Dru Joyce III. Romeo Travis. Sian Cotton. Willie McGee. They are the "Fab Five" of the St. Vincent-St. Mary High School basketball team and its 20 minutes until the start of the 2003 national high school basketball championship game. Coach Dru Joyce is giving the last pre-game speech they will ever hear together. Hearts are pounding. Looks of determination abound.
Suddenly, we are transported back to the 1990s where James, Joyce, Cotton and McGee (Travis didn't join them until high school) play for an AAU team in Akron, Ohio. They practice in a Salvation Army gym. They sell duct tape and baked goods to pay for uniforms and trips. And they each have a heartbreaking story to tell that is unfortunately all too common in urban America.
Yes, we learn (perhaps for the first time for non-basketball fans) that a fatherless James and his mother moved from place to place and ultimately ended up in the projects. It reminds of how low the media can be sometimes when news outlets built up James as the greatest thing since sliced bread, but were more than eager to tear him down when they got bored of praising him.
However, a strength of More Than a Game is that it doesn't focus exclusively on James. For instance, through their soul-bearing interviews, we learn that Joyce III was ridden so hard by his father/coach, who is clearly guilt-ridden by it, that their personal relationship then was almost nonexistent. We also see the pressures Cotton had to deal with because of the long shadow his father created when he was a star athlete in Akron.
On the court, More Than a Game is not all about glory. It's warts and all. Squabbles. Egos. Fear of failure. Determination. Friendship. Loyalty. And ultimately, triumph. The Fab Five do win the 2003 basketball title but you realize that it's a coming-of-age event for the players. Coach Joyce and their life experiences, on and off the court, have prepared them to be men with good character. And no matter what, they will always have each other. Because of that, being a former high school basketball coach myself, every coach and his team should watch this film together.
On a letter grade scale from A being excellent to F for failing, More Than a Game receives an A-.
More Than a Game is rated PG and has a running time of 91 minutes.
Now showing through October 29 @
Tivoli Cinemas
Westport Manor Square, 4050 Pennsylvania, KCMO
Visit www.tivolikc.com or call 913-383-7756 for showtimes.
Film,
Burdened by romance, "Amelia" never gets off the ground
I cringe when Hollywood attempts to make a film about an historical event or person. Sometimes the studios get it right, as in Glory and Sunday Bloody Sunday. Often times they get it wrong, as is the case for Amelia, the biggest disappointment thus far of 2009.
Although Amelia is interspersed with flashes of her 1937 attempt to fly around the world, the story itself begins in 1928 when Amelia Earhart (Hilary Swank) meets publisher/publicist George Putnam (Richard Gere) in New York. As a result of their meeting, she becomes the first woman to fly across the Atlantic, but as a passenger.
Earhart becomes the press's darling and is labeled as "Lady Lindy" in reference to Charles Lindbergh. Putnam helps her capitalize on her fame by signing her to a variety of endorsement deals and public engagements. While she doesn't like it, Earhart does it anyway because it helps to support her desire to accomplish flying feats no one has done before.
Unfortunately, the film's primary emphasis is on the relationship between Earhart and Putnam, who eventually become married, and an affair between Earhart and Gene Vidal (Ewan McGregor), a former Olympian and a pioneer in the aviation industry. It's not until the last 15 minutes that Amelia grabs your attention as Earhart and her navigator Fred Noonan (Christopher Eccleston) edge closer to their doomed fate over the Pacific Ocean.
Amelia is shallow, potentially misleading and toothless from the start. The chemistry between Swank and Gere is horrific. It's akin to watching a piece of wood trying to interact with a clump of dirt. There are also zero sparks between Swank and McGregor who depict an affair that's "assumed" to have happened. It's the stuff that would have Access Hollywood excited about.
Amelia is truly a disservice to its namesake. Only a microscopic amount of detail is paid to Earhart's life before the age of 31. She mentions a few times that she's from Kansas (Earhart moved to Iowa when she was 12) and states once that her father was a drunk. We never understand what really motivated her. Most of her spectacular aeronautical accomplishments, which were many, are either ignored or glossed over. Other supporting characters are introduced but then are never developed and disappear. Again, too much attention is paid to her romantic life rather than her being a heroic pioneer for women and an inspiration for younger generations of women today.
On a letter grade scale from A being excellent to F for failing, Amelia receives a D.
Amelia is rated PG and has a running time of 111 minutes.
Now showing through November 19 @
Glenwood Arts
9575 Metcalf
Overland Park
Visit www.fineartsgroup.com or call 913-642-4404 for more information.
Classical, City Pipes,
Community of Christ organ celebrates 50 years
On November 6th, 1959, Catharine Crozier, one of America's great organists of her generation, gave the initial recital on the massive Aeolian-Skinner organ in the Community of Christ (then RLDS) Auditorium in Independence. Over 7,000 people attended that event!
On November 6th, 2009, Jan Kraybill, current Director of Music and Principal Organist of the Community of Christ Church, will replicate that recital, playing the same music that Dr. Crozier played. She will perform: Fanfare in C by Henry Purcell; Passacaglia and Fugue in C Minor by Johann Sebastian Bach; Variations on a Noel by Marcel Dupre; and Sonata on the 94th Psalm by Julius Reubke.
It is an extraordinary program and Dr. Kraybill has the technique and musical gifts to make the music and the evening transcendent.
The organ is a much warmer instrument than the one played in 1959, thanks to some revoicing done by the Quimby Organ Company of Warrensburg. It has well over 10,000 pipes, with an amazing variety of colors.
It is probably foolish to hope that 7,000 people would venture to River and Walnut Street in Independence to hear the recital, which begins at 8:00 on November 7th. But, it would be grand to honor the venerable instrument and the organist who plays it so well by filling the Auditorium to capacity.
Free admission. For more information visit: www.cofchrist.org/dome_spire/calendar.asp#Kraybill
City Classics, Classical,
Music and Dance through November 11
UMKC Conservatory of Music and Dance
Fall Dance Recital
Thursday, November 5 at 7:30 p.m.
White Recital Hall, Performing Arts Center
4949 Cherry, Kansas City, MO
For tickets call 816-235-6222 or online at www.umkc.edu/conservatory.
After an overload of outstanding dance performances the last couple of weeks, featuring the Kansas City Ballet, the Ailey II dance company, and the Owen/Cox Dance Group, the pickings get a little slimmer during this two-week period. However, you can check out the UMKC Conservatory of Music and Dance performers in a recital featuring faculty choreography. Among the pieces to be performed are The Widows by Sabrina Madison-Cannon, Utmost by Rodni Williams, Percussion Suite by Mary Pat Henry, Bound Too... by DeeAnna Hiett, and Between Impulse and Action by Paula Weber.
Lyric Opera of Kansas City
H.M.S. Pinafore
Friday, November 6 at 8:00 p.m.
Sunday, November 8 at 2:00 p.m.
Wednesday, November 11 at 7:30 p.m.
Saturday, November 14 at 8 p.m.
Sunday, November 15 at 2 p.m.
Lyric Theatre
11th and Central, Kansas City, MO
For tickets call (816) 471-7344 or online at www.kcopera.org.
The Lyric Opera continues its season with a Gilbert and Sullivan favorite, H.M.S. Pinafore. Although today we think of these pieces as being light-hearted and humorous, the biting sarcasm which permeated Gilbert's story lines and dialogue were intended to punctuate the inflated egos and ideals which were then prevalent in Victorian England.
Sullivan is known primarily for his comic operettas, but in fact was an organist, hymnist and composer of music for state occasions, deeply steeped in the traditions of the Anglican Church. Gilbert, who wrote the lyrics, was a central figure in British literary and theatrical circles, a veteran of the civil service and law practice, and member of an elite group of British playwrights.
Gilbert's pen left no corner of British society unscathed. He loved to poke fun at the inequities which resulted from Britain's rigid class system, the absurd results of patriotic extremism, and the foibles of bureaucracy. Sullivan's music proved a perfect accompaniment to these themes.
Famed Kansas City singer and actor Bob Brand portrays Admiral Porter, a character drawn to poke fun at both bureaucratic ineptitude and the folly of class rank. He was patterned after W.H. Smith, the real-life head of the British Navy at the time, who was unschooled in maritime matters and had won his position by rising through the bureaucracy without making enemies.
William Jewell College graduate Daniel Belcher, now enjoying an impressive international career, is Captain Corcoran, with newcomer soprano Ava Pine singing Josephine Porter and tenor Jon-Michael Ball singing her suitor Ralph Rackstraw.
As members of the society they satirized, Gilbert and Sullivan were the ideal choices for the job of deflating English excesses. They always did so, however, with that self-deprecating good nature which won their audiences' hearts and made the satire so much more effective than a more biting commentary would have been.
The Lyric Opera's performances continue throughout the week and an extra Sunday matinee performance has been added for November 15.
NewEar Contemporary Chamber Ensemble
American Currents
Friday, November 6 at 8:00 p.m.
All Souls Unitarian Universalist Church
4501 Walnut Street, Kansas City, MO
For tickets call 816-235-6222 or online at www.tickets.cto.umkc.edu/
For its second concert of the season NewEar Contemporary Chamber Ensemble is presenting a concert of American composers, focusing upon Stephen Hartke and his The House With the Lavender Eye for violin, clarinet and piano. Hartke is one of the leading composers of today, and in this piece he pulls in strands of music influence from Japan, the 19th century Brazilian novelist Machado de Assia and, we are told, Looney Tunes. Okay
Also on the program are Gradus for mixed ensemble, and Night Rubrics for solo cello, also by Hartke.
Community of Christ
Jan Kraybill, organ
Friday, November 6 at 8:00 p.m.
Community of Christ Auditorium
1001 West Walnut, Independence, MO
Freewill offering
Fifty years ago, on November 6, 1959, more than 7,000 were in the audience to hear famed female organist Catharine Crozier play the inaugural recital on the organ in the then recently completed RLDS Auditorium. On the 50th anniversary of that event, Dr. Jan Kraybill, the current organist at the RLDS Auditorium, will recreate the inaugural recital in its entirety.
The Friends of Chamber Music
St. Lawrence String Quartet
Saturday, November 7 at 8:00 p.m.
Folly Theater
12th and Central Streets, Kansas City, MO
For tickets call 816-561-9999 or online at www.chambermusic.org.
The St. Lawrence String Quartet, the winner of various young artist competitions in the early 1990's and once one of the new "hot" young quartets on the concert scene, has now been performing together for twenty years and in over 2,000 concerts. A finely polished ensemble, they return to The Friends of Chamber Music stage to play Haydn, Mendelssohn, and a late Beethoven quartet. The Quartet has recorded the works of Schumann, Tchaikovsky and Bach, as well as more modern composers.
In a recent interesting experiment, the Quartet is soliciting donations from classical music foundations around the world to help fund a new recording of Haydn and Dvorak quartets. See www.artistshare.com. This effort may be the coming "thing" in the world of classical music recording if commercial record companies are unwilling to keep issuing classical releases.
Alex Ross of The New Yorker magazine has written that "the St. Lawrence are remarkable not simply for the quality of their music making, exalted as it is, but for the joy they take in the act of connection."
Bell Cultural Events Center
Nathaniel May, pianist
Sunday, November 8 at 2:30 p.m.
Mid-America Nazarene University
2030 E. College Way, Olathe, KS
For tickets call 913-971-3636 or online at www.admitix.com.
The Bell Cultural Arts Center is presenting pianist Nathanael May in recital. According to the publicity for this concert, May "is a pianist with a penchant for new music, whose performances composers have heralded as 'first-rate, dynamic, and refreshing.' In a habit of speaking from the stage almost as much as he plays, May derives true joy from the educational act of performing."
The recital is titled "Piano Fantasies of Beethoven, Mendelssohn, Brahms, Crumb and Foss." It sounds like an interesting combination of the old and the new.
Parkville Community Band
Fall Concert
Sunday, November 8, at 3:00 p.m.
Graham Tyler Memorial Chapel
8700 NW River Park Drive, Park University, Parkville, MO
Free admission
The program for this concert has not yet been announced, but the Community Band generally plays classical music selections.
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