Supporting the Arts in Western Massachusetts and Beyond

March 14, 2024

REVIEW: Hartford Symphony Orchestra, "Copland & Bernstein"

The Bushnell, Hartford, CT
March 8-10, 2024
by Michael J. Moran

With a program of two complete ballets and a waltz, the sixth “Masterworks” weekend of the HSO’s 80th anniversary season offered three contrasting perspectives on the art of dance.

The first selection was notable in three respects. The orchestra and its Music Director Carolyn Kuan presented Aaron Copland’s 1944 ballet “Appalachian Spring” not in the usual concert suite, but complete; they played its original version for 13 instruments; and their performance was accompanied by a 1958 film of the ballet choreographed by and featuring Martha Graham, for whom it was written.

While the suite includes the most familiar music, the added visual dimension brought the missing numbers equally to life. And the 64-year-old Graham, in the leading role of the wife (the ballet depicts 19th-century newlyweds moving into a farmhouse) still danced with remarkable grace and agility. Kuan’s inspired leadership drew an intimate yet surprisingly full-bodied sound from the small HSO ensemble.    

The next work on the program made perhaps the most visceral impact: a buoyant account by the full orchestra of Leonard Bernstein’s ballet “Fancy Free,” also dating from 1944. This, too, was the complete ballet, not the concert suite Bernstein extracted from it. It tells the story of three sailors on 24-hour leave in New York who meet three women in a bar (the same plot soon became the musical “On the Town,” with different music by Bernstein and lyrics by Betty Comden and Adolph Green). Highlights included: a jazzy “Scene at the Bar;” a sinuous “Enter Two Girls;” and a sultry, Latin-flavored “Danzon.”

The program closed on a glamorous note, with ballroom dancers Anastasia Barhatova, director of the Fred Astaire Dance Studios in Suffield, and Andrew Kerski sweeping elegantly across the front of the Belding stage while Kuan and the HSO played Johann Strauss, Jr’s “On the Beautiful Blue Danube” behind them. A flop when it debuted in Vienna as a choral piece in 1867, the “Waltz King” reworked it for orchestra later that year, when it quickly became the epitome of the Viennese waltz. The musicians made it sound just as stylish and sumptuous as the dancers looked in their sequined gown and tuxedo.  

The HSO’s next Masterworks program (April 12-14) will feature guest conductor Jacomo Bairos and the Hartford Chorale.

March 11, 2024

Review: Springfield Chamber Players, "March Reveries"

First Church of Christ, Longmeadow, MA
March 10, 2024
by Lisa Covi

Photo by Eagan Pictures
New to many living in Western MA is Springfield Chamber Players, formerly known as MOSSO (Musicians of the Springfield Symphony Orchestra). Its mission is to provide small, primarily string, professional concerts in a variety of venues throughout Hampden County. 

The troupe continued its journey for the 2023/24 season as part of the Longmeadow Chamber Series held at First Church of Christ: an ideal, comfortable, and acoustically pleasing performance venue. The world-class musicians played well in this intimate setting for about 40 audience members. The program's theme was "March Reveries," and the quintet delivered an exciting and harmonious performance.

Clarinetist Christopher Cullen kicked off the Ralph Vaughan Williams piece – "Six Studies in English Folk Song". One would never guess that the composer penned his piece originally for cello and piano. Patricia Edens, cellist; and three violinists, Springfield Symphony concertmaster Masako Yanagita, Miho Matsuno, and Yuko Naito-Gotay filled out the quintet and blended seamlessly with the alto-like tones of melodic wind.

Each movement was surprisingly short and distinctive. The next two works were performed without clarinet, but solely strings. Selections from Franz Joseph Hadyn's “The Dream” (Op.50, No.5) delivered the reliable elegance of his tonic harmonies punctuated by running passages, and “contrary motion” where two musicians play notes that move in opposite directions. 

The two movements of Paul Chihara's "Ellington Fantasy: Mood Indigo" and "Sophisticated Lady" were recognizable as popular jazz tunes. However, the arrangement for string quartet transformed Ellington into an extraordinarily new feast for the ears. It echoed the music experience of Scott Joplin. 

The final piece, Bernard Herrmann's "Souvenirs de Voyage," reunited the strings with the clarinet to evoke memories of emotion, turmoil, regret, and amusement. Herrmann's skill at scoring for film and television, such as Citizen Kane and Twilight Zone's “The Living Doll,” were evident in the different points of view heard as each musician played a contrasting line in particular passages.

One advantage of the smaller venue is that each participant in the audience could hear the vibrations against the soundboards of the strings and the musicians' proficient bow techniques that usually blend into the background with larger performance groups. The chamber music series is not only highly entertaining, but a good way to access Springfield's elite performers.

Concerts continue as part of Westfield Athenaeum Chamber Music Series on Thursday, April 18 at 7pm, and once again at First Church of Christ, Longmeadow on May 12 at 3pm on the Town Green, weather-permitting.

REVIEW: Springfield Symphony Orchestra, "Fantasias"

Symphony Hall, Springfield, MA
March 9, 2024
by Michael J. Moran

In notes for this concert, dedicated to the memory of SSO principal pianist Nadine Shank, Michelle Pina defines a fantasia as “a musical composition whose improvisational nature casts aside traditional musical forms and in turn bows to the fancy of the composer.” Guest conductor Adam Kerry Boyles, Assistant Conductor of the Hartford Symphony Orchestra, and the SSO musicians found this spontaneous quality in all six pieces on this imaginative program. 

The program opened with a glowing account of Ralph Vaughan Williams’ “Fantasia on Greensleeves,” a 1934 orchestral setting of the classic English folk song. A faster midsection, which quotes the traditional song “Lovely Joan,” offers a lively contrast. Lili Boulanger’s 1918 “D’un matin de printemps (Of a Spring Morning”)” takes the opposite approach, framing a soft, dreamy interlude with brisk, joyful outer sections. Boyles and the SSO made an exuberant case for this rarity.   

Quynh Nguyen
Vietnamese-American pianist Quynh Nguyen next soloed in classical and film composer Paul Chihara’s 2021 “Piano Concerto-Fantasy,” written for and in collaboration with her. This colorful score draws on both Vietnamese folk music and modern jazz to depict Vietnam’s past and hopes for the future. Nguyen’s technical prowess and interpretive sensitivity captured all the music’s shifting moods. Boyles and the orchestra were enthusiastic partners.

The concert’s second half featured the Springfield Symphony Chorus and UMass Amherst Chorale, well prepared by their respective directors, Nikki Stoia and Reagan G. Paras. Gabriel Faure’s 1864 “Cantique de Jean Racine” set a sacred text by the French poet to music of gentle consolation for chorus, harp, and low strings. Randall Thompson’s poignant 1959 settings of Robert Frost’s “The Road Not Taken” and “Choose Something Like a Star” are for chorus and full orchestra. Voices and instruments blended with seemingly effortless clarity under Boyles’ nuanced lead.

Ludwig van Beethoven’s 1808 “Fantasia for Piano, Chorus and Orchestra,” last performed by the SSO with Shank in 2015, completed the program. Nguyen and the ensemble rendered the many tempo changes in this sometimes ungainly but always entertaining twenty-minute piece with forceful virtuosity. Though only heard for the last few minutes, the combined choruses sang with equal strength and fluidity, investing Christoph Kuffner’s text on the power of the arts with triumphant conviction.

The next SSO concert is “An American Celebration” on April 6, 2024

February 27, 2024

REVIEW: South Windsor Cultural Arts, "Liana Paniyeva"

Evergreen Crossings, South Windsor, CT
February 25, 2024
by Michael J. Moran

Liana Paniyeva
After a prior appearance here and two at Sevenars in Worthington, MA, all within the past two years, Ukrainian-born, Boston-based pianist Liana Paniyeva is now a beloved local visitor, as evidenced by the rapturous welcome of a capacity audience at her return engagement in South Windsor.  

Her technically challenging and emotionally demanding program opened with a powerful rendition of Cesar Franck’s rarely heard 1884 “Prelude, Chorale, and Fugue.” Paniyeva’s tense, foreboding Prelude, solemn, probing “Chorale,” and fiercely dramatic “Fugue” captured both the piece’s mystical fervor and its virtuosic thrills.  

This was followed by stirring accounts of Johannes Brahms’ two 1879 Rhapsodies, Op. 79. Paniyeva took a bold approach to the turbulent opening notes of the first rhapsody, in B minor, easing into the lyrical repose of the middle section. She invested the calmer second rhapsody, in G minor, with dark and brooding undertones.

Next came Boris Lyatoshynsky’s much less familiar five Preludes, Op. 44, written in his native Ukraine during World War II. Reflecting influences from later Scriabin to Ukrainian folk music, it was easy to hear echoes of her roots in eastern Ukraine and its current war with Russia in Paniyeva’s poignant readings of the tragic first prelude, the radiant second, the restless third, the melancholy fourth, and the hopeful fifth.   

The program closed with an electrifying version of Frederic Chopin’s 1844 Sonata No. 3 in B minor, Op. 58, one of the Polish master’s most difficult yet rewarding scores. Paniyeva heightened the sharp contrasts among its four movements, with a mercurial “Allegro maestoso” leading into a fleet, headlong “Scherzo,” a ravishing “Largo,” in which time almost stood still, and an alternately tumultuous and triumphant “Presto non tanto” finale.

Paniyeva combines a modest stage presence with playing of absolute clarity, technical security, and interpretive maturity, which has made her a prizewinner in many international competitions and augurs a long career of musical substance and distinction.  

All concerts in this 42-year-old series take place on Sundays at 2:00 pm, and open seating in its acoustically first-rate auditorium begins a half-hour earlier. SWCA will next present cellist Michael Katz and pianist Spencer Myer on March 24, 2024.

February 19, 2024

Review: Majestic Theater, "The Ladyslipper"

Majestic Theater, West Springfield, MA
February 18 - March 24, 2024 
by Lisa Covi

"The Ladyslipper" is a bar in a rural town in the Northeastern US where the owner has died and prospects for reopening are uncertain. The closeup venue and professional production values of this play draw the audience immediately into a warm familiarity. Daniel Rist's lighting and Dawn McKay's costume design blend to provide an evocative and workable space for the intimate action.

Mark Dean as Jebb and Jay Sefton's Hank feel authentic and recognizable as the cook and bartender, respectively, who know about all the goings-on except where their own lives are going. Enter the ladies. Like the glorious petals of the bar's mascot, they infuse life and romance into the play. Lana, played by Madeleine Maggio, is the British heiress apparent, having received this establishment from Rosie, her recently deceased birth mother. Chelsea Nectow's Trisha, the lawyer handling the transaction is the daughter of Rosie's best friend Estelle (played by Cate Damon). Despite the admiration of Jebb and Hank, Trisha is imminently to be wed to Jimmy Collins (Jay Torres), her childhood sweetheart. The actors inhabit these characters so completely that we immediately perceive the control Jimmy tries to exert on Trisha, the exotic air that Lana imports from her life in Spain, and the tenderness between mother Estelle and daughter Trisha.

This play by Danny Eaton, the long-time producing director of Majestic Theater, was first produced as a live reading in 2020.

Photo by Kait Rankins
The responsive audience was clearly entertained with the laughter during the comical dialog between Jebb and Hank and audible gasps during the surprises post-intermission. However, the play does not yet feel fully edited because the plot is bogged down with exposition in the first six scenes. For example, the plethora of detail about each character could be better balanced by some struggle or foreshadowing to enhance the comedy or drama. 

Without revealing the major plot twist, the compelling action happens primarily late in the play. When it does occur, the production hits a sweet spot of acting in a well-designed space with delicate moments between different subsets of players.

REVIEW: Barrington Stage Company, "10x10 New Play Festival"

Barrington Stage Company, Pittsfield, MA
through March 10, 2024
By Jarice Hanson

Kicking off Barrington Stage Co.’s 30th year, the 13th annual “10 X 10 New Play Festival” is
ceremonially the start of the theatre season in the Berkshires. The “10 X 10” is often bold, edgy, and frequently, very funny. It  allows audiences to see some stalwart Barrington actors switch characters seamlessly as they leap into 10 different 10-minute plays.  
 
The opening number is always a highlight of this festival and this year’s “Winter Nights,” sung to the tune of “Summer Nights” from “Grease,” is particularly witty and representative of cold New England and in particular, the Pittsfield location and the long theatrical legacy of BSC.
 
The very talented cast this year includes Ross Griffin, Gisela Chípe, Matt Neely, Peggy Pharr Wilson, Naire Poole, and Robert Zuckerman. These consummate pros know how to take the intimate stage and play to the audience. When they seemingly morph from one character to another, sometimes transforming their look, age, and ethnicity, their talents are on full display.
 
The plays chosen for this year’s collection range widely in scope and style. The playwrights include some veteran writers and some relative newcomers. Five of the plays are directed by Alan Paul, Artistic Director of BSC, and Matthew Penn, television and theatre director. One of the joys of the collection is that each play is presented as a unique vision of the authors’ work. Congratulations to the directors for finding the right balance and interpretation of these very different short plays.
 
Evaluating 10-minute plays is sometimes tricky. Often short plays lack any wrap up, or conclusion. But even more importantly, can the authors, directors, and actors tell a complete story? Among the most successful in this year’s lineup are “The Consultant” by Brent Askari, which pits a senior couple (Peggy Pfarr Wilson and Robert Zuckerman) who have won a session with a sex therapist in a raffle, against the methods of the therapist (Gisela Chípe). “Meeting Fingerman” by Mark Evan Chimsky prompts painful thoughts of life in a pogram where Zuckerman portrays an elderly Jewish man who recalls a shameful past when confronted by a younger writer, played by Ross Griffin. A note about this one—Zuckerman’s portrayal is so beautifully crafted; the price of admission is worth watching his master class in character interpretation. 
 
“Snow Falling Faintly” by James McLindon tells the story of a mother and son, lovingly portrayed by Peggy Pharr Wilson and Ross Griffin in an existential treatise about snow shoveling, loss, and moving on. Finally, Glenn Alterman’s clever “A Doubt My Play” with the entire cast, is a very insightful examination of playwriting from inside the playwright’s head!

February 13, 2024

Review: Springfield Symphony Orchestra “Havana Nights”

Symphony Hall, Springfield, MA
February 10, 2024
by Lisa Covi

Springfield Symphony Orchestra's presentation of “Havana Nights” was a fantastic performance that injected the Latino rhythms into the mild February night. Conductor Nick Palmer kicked off the program with lively dances and Spanish songs interpreted by featured soloist Camille Zamora. It seemed as though the castanets and cymbals amplified the enthusiasm of the crowd for the bright tones and snappy tempo. The hall was as full as I've seen it, and the audience's enthusiasm overflowed.

Even the orchestra members appeared relaxed and primed for something special; some wore bright tops and most men left their neckties at home. One exception was the resplendent Zamora who was dressed to the nines in formal gowns appropriate to her operatic soprano. She conversed with the audience in both Spanish and English with aplomb. She described Gimenez's “Zapateada” as Verdi takes “La Traviata” to his favorite salsa bar. 

Zamora’s soaring lyricism blended so well with the orchestra that it sounded like she was singing duets with the violins or wind section. Performing in front of a standing microphone did seem odd for concert rendition, but the music blended well. In some of the orchestral pieces, the sound was so striking, I searched the stage for a pianist or accordionist (perhaps because I was trained on the keyboard).

Composer Jeff Tyzik's “Tango” featured a solo oboist whose melodious part contrasted sharply with a staccato violin introduction where the strings seemed to scream and cheer the reed's dancing line. Ernesto Lecuona's “Andalucia” evoked the contours of a Spanish countryside with a bold arrangement. Tyzik's “Three Latin Dances” closed the first half with a modern Cuban feel that revealed the influence of his work with Chuck Mangione in unique chord changes and swinging transitions.

The Mambo Kings
The concert's second half was even more dynamic. On stage were The Mambo Kings’ energetic and improvisational style, whether blending into orchestral arrangements or performing as a quintet. I could feel composer Dave Brubeck's infectious smile in pianist (and Peruvian) Richard Delaney's arrangement of “Blue Rondo a la Turk.” Percussionist Tony Padilla's congo beats alternated with the traditional jazz refrain creating an exciting showcase for each musician's solo. John Vivattini held court on flute and saxophone.

Camille Zamorra returned to perform “Besame Mucho,” “Como Fue,” and the encore piece “Sabor A Mi” matching style and pitch with the ensemble. The showstopper was composer Tito Puente's “Oye, Como Va” featuring an extended solos by bassist Hector Diaz and percussionist Wilfredo Colon. The latter substituted a new drumstick after dropping one without missing a beat. 

Although only one couple took up the conductor's invitation to dance in the aisle, many heads were bobbing and the appearance of phones taking video gave the concert a rock-concert vibe. The standing ovation felt sincere and well-deserved for both guests and orchestra musicians. Bravo and Ole for this season's most memorable and enjoyable concert yet.