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Kansas City's Online Journal of the Performing Arts

Octarium's American Idyll concert was a high quality vocal performance with a patriotic slant. Performed the weekend before Midterm elections in the National World War I Museum at Liberty Memorial, their repertoire drew from American vocal traditions: Native American chant, spirituals, 1960's rock anthems, traditional and patriotic tunes, to name a few. The unifying theme was that while we all come from different backgrounds, according to Artistic Director Krista Lang Blackwood's notes, we should "always search for a foundation for mutual understanding about what it means to be American."

While I applauded their message and ability, the concert itself had something lacking, namely, a respectful understanding for the traditions they tried to honor. Their slogan is "Eight singers, one choral voice" and that seemed to carry over into the presentation with only one type of vocal style exhibited - that of a well rehearsed, highly trained octet from a Western art song tradition. Were they trying to "elevate" the status of "non-classical" music? I don't think so, but what I came away with was homogenized versions of musically and stylistically diverse sources.

Even the special guest, the Native American flutist Ron Brave, seemed subdued. He told a story of a young warrior who discovered a natural flute while on a hunting expedition, having slept all night in the forest. Brave and his guest artists on improvised percussion musically recreated the young warrior's night spent in the forest. Perhaps because the flute was amplified (and also because they were setup to the back and side of the stage), the sound seemed disembodied from the action on the stage, without much engaging significance.

The venue had something to do with this impression. The J.C. Nichols Auditorium does not typically present vocal groups (in fact, this is the first such performance), tending towards lectures and military ensembles. The carpeted tiers of well-proportioned seating did little to enhance the voices that typically perform in church settings, the acoustics of which often bolster and magnify the human voice. Here, the softer dynamics where clearly audible, which is a good quality in a venue, but the louder dynamics were dampened. This lack of contrast contributed to a blend that bordered on bland.

I must stress that the singers were very talented, individually and as an ensemble. They blended well, communicated well, and had an enjoyable energy during their performance. Solos, notably by soprano Ashley Winters, tenor Jason Parr, and baritone Brady Shepherd, were clear, skillfully rounded, and had a penetrating quality that was well supported by the ensemble. All of the evening's choices were presented beautifully, such as a fun, galloping "Yankee Doodle, " the gently somber "In Flanders Fields" and a strong rendition of "America the Beautiful."

That being said, there was a notable comfort shift from pieces that were familiar to a choral/church ensemble's songbook and those that were new additions. "Shenandoah," "America the Beautiful," and "Hark I Hear the Harp Eternal" all strongly represented their vocal style and abilities, with lyric melodies, suitable arrangements, and tight harmonies. Other selections didn't work so well, such as the Muscogee song of praise, "Heleluyan," which displayed hesitancy with intervallic leaps, some pitch issues, and incorrect timbre for that style of chant. Further timbral issues surfaced in "We Shall Overcome," "Down by the River to Pray," and "For What it's Worth." Each of these comes from a distinct style, whether from the gospel tradition or the angst of 60's folk rock, yet relying on open vowels and clean consonants did not fully capture the innate musical qualities that make these such enduring pieces.

This blending of vocal styles also hindered the concert's pacing. Because styles were so similar, the program's contrast had to rely on key and tempo changes. One segment, sorrowful songs of war and grief, was intentionally somber and the pacing slow. But, as with other aspects, there wasn't enough contrast—emotionally, for instance, in the previous example. Similar segments were clean, polished, yet safe. Even the songs of celebration were safe, lacking barely restrained excitement of joyful exuberance.

It was very difficult to honor many cultural traditions in such a tight performance timeframe and with a personal musical perspective. Octarium presented an admirable message during this performance, though I wish they had preserved a more authentic style for some of their selections. They performed at a high artistic level and are a constantly positive influence on the community.

REVIEW:
Octarium
American Idyll
Saturday, October 30 at 7:30 PM
J.C. Nichols Auditorium
National World War I Museum at Liberty Memorial
100 W. 26^th Street, Kansas City, MO
For more information visit www.octarium.org or call 816-729-6516

By Libby Hanssen

Traditional and New Classical, Theatre Contributor

Libby Hanssen holds degrees from University of Missouri-Kansas City (M.M.) and Ball State University (B.M.) in trombone performance and also studied music education at Indiana University. She has studied trombone with Carl Lenthe, JoDee Davis, John Seidel, John Huntoon and Denis Wick, and music education with Brent Gault, Estelle Jorgensen and Katherine Strand.

While at IU, she taught classes in general music, focusing on listening skills and music fundamentals through practical music usage and exploring new sound constructions. During the course of her studies at UMKC, she performed with many ensembles, including the Conservatory Orchestra and Musica Nova. She has also performed with the Kansas City Puccini Festival, the People's Liberation Big Band of Greater Kansas City, the New Jazz Order, the Indiana Wind Symphony and the Muncie Symphony Orchestra.

In 2010, she was a fellow (one of 23 journalists selected from across the US) for the seventh annual National Endowment for the Arts (NEA) Arts Journalism Institute in Classical Music and Opera at Columbia University’s Journalism School in New York City.

Most of her free time is spent with her three boys (son, dog and husband) and camera, exploring the many fine aspects of Kansas City living. She enjoys listening to KKFI - Kansas City Community Radio and KCUR - Kansas City's NPR station, visiting Kansas City's fine collection of museums and galleries, and scavenging in thrift and antique stores to add to her collection of toy instruments.

She writes for the joy of words and the process of constructing a story, maintaining the blog Proust Eats a Sandwich (www.prousteatsasandwich.wordpress.com). She is working on her first book: Murray Goes to the Nelson-Atkins Museum of Art.