Beethoven & Mozart

Springfield Symphony Orchestra
Symphony Hall, Springfield, MA
www.springfieldsymphony.org
March 13, 2010
by T.C. Larsen

From pregnant silence came the rumor of druids, a shimmering, misty pianissimo in the strings - a shadow of silence. The solo trumpet played the "Question" from exile in the Mahogany Room. The commentary of "the fighting answerers," a quartet of flutes stationed in the balcony, filtered to the audience - notes of sonic awe and mystery. This display of dynamic restraint and control in the Springfield Symphony Orchestra's rendition of Ives' The Unanswered Question was the harbinger of many beautiful moments presented throughout the evening.

Beethoven's demanding fourth piano concerto received similar attention to dynamic concerns and natural expression. The opening pianissimo played by was breathtaking. This graceful whisper led to an animated, elegant, and surprisingly humorous conversation between pianist and the orchestra. Maestro Rhodes fulfilled his role as moderator of this dialogue with ease, deftly melding the interactions and dynamic balances of pianist and orchestra with clarity and passion.

Large in scale and demanding in detail, the extant portions of Mozart's unfinished Mass in C minor provide a remarkably satisfying work. The Chorus, beautifully prepared by Director Nikki Stoia, rose to the occasion by singing with lovely timbre, vigorous enunciation, and an admirable clarity of articulation of line. Despite occasional intonation problems during iterations of motives traded between the two soprano sections, and some dynamic imbalances between the small tenor section in divisi and the aggregate size of the other sections, the overall contribution of the Chorus was delightful and highly praise worthy. All four soloists are to be complimented for artful singing, each one contributing to an evening already ravaged by rampant beauty. Mary Wilson deserves special praise, addressing the technical demands and considerable size of her role with graceful ease and beauty of vocal production. Moreover, she set the audience at ease with the demeanor of an experienced story teller fully at home within the narrative.

Rachmaninoff & Brahms

Springfield Symphony Orchestra
www.springfieldsymphony.org
Symphony Hall, Springfield
by Debra Tinkham

The house was full, the orchestra was charged and Maestro Keven Rhodes made his usual exuberant entrance for an action packed evening.

Gaetano Donizetti's Robert Devereau Overture, premiered in the mid-19th century, displayed deliberate patriotic percussion and theme. Being a love triangle - make that a quadrangle - this opera originally had no overture until Donizetti added it for a Paris debut. It was a short and sweet start for a night of some heavy music.

Moving right along to a Springfield Symphony Orchestra first was Sergei Rachmaninoff's moody Piano Concerto No.1 in F-Sharp minor. Maestro Rhodes described it as, "a relatively youthful work of Rachmaninoff's, it has all his hallmarks: great melodies, tremendous excitement and incredible virtuosity."

Alexander Ghindin, a Russian native, who at the age of 35 and already a major player on the international piano scene, performed with the SSO in a riveting rendition of typical "Rach-style." Gindin's beautiful hand style certainly gave the "old Steinway," the orchestra and Maestro Rhodes a workout. The Vivace movement opened with heavy brass, conjoined with Ghindin's rapid finger movements up and down the keyboard. Although short and melodic, the Andante movement demonstrated a nice harmony between piano and bassoon. This was a nice change from your typical solo instruments. The Allegro Vivace finale was "show-off" time for Ghindin as well as the orchestra. You either know this stuff or you don't; no second guessing. It was loud and moving and melodic and exhilarating. Of course, Ghindin received a standing ovation.

The finale was Johannes Brahms' Symphone No. 2 in D Major. The Allegro non troppo (first movement of four) brought out Brahms' melancholy mood, and was even more evident as the second movement (Adagio non troppo) transitioned into a minor key. Throughout this work, Brahms incorporated the use of many (solo and group) instruments, as is displayed in the Allegretto Grazioso (Scherzo). By the fourth movement, the orchestra had blasted to a fantastic fanfare. The only thing missing on this evening were fireworks.

Tchaikovsky Symphony No. 5, et al

Hartford Symphony Orchestra
The Bushnell, Hartford, CT
www.hartfordsymphony.org
by Terry Larsen

When the leader of an ensemble is in complete control it might be said that he had them eating out of his hand. Regarding the Hartford Symphony's concert, it is more fitting to say that the orchestra and guest conductor Andrew Grams were feeding off each other. Each of Grams' evocative gestures was rewarded by an artful response as three courses of delicious Romantic era music were served to an appreciative audience.

Smetana's programmatic piece The Molda" was beautifully performed - each gesture of sound evoking every eddy, ripple, and relentless current of the river Moldau as it transformed from stream to river while passing through the Czech heartland. The players and conductor were in perfect accord, dedicated to achieving every nuance possible. This synchronicity was evident throughout the entire concert.

Sibelius' Violin Concerto in D minor comprised a contrasting second course of angularity served cold…a work no less passionate than The Moldau, but spiced with the half light of an arctic summer evening. Solo violinist Leonid Sigal was undaunted by the difficult and idiosyncratic solo line, playing with a generous warmth of timber and lyrical fluidity. Maestro Grams successfully maintained a delicate balance between Sigal's bravura performance and the often extroverted, savory underpinnings of the orchestral texture.

The final course, Tchaikovsky's Symphony No. 5, requires a large appetite for civil but passionate interaction and the full sonority of all sections of the orchestra; as well as for contrasts in texture, mood, tempo; and compelling melodic contours. The orchestra gave its all with no coaxing necessary as Grams illustrated each passing moment and the spaces between. Solos in the wind section in the second movement were beautifully rendered.

Dessert for the feast unexpectedly appeared in the form of a grin and thumbs up from Maestro Gram to enthusiastic members of the audience who had inappropriately applauded at a grand pause before the final maestoso section of the symphony. This welcome gesture of goodwill reassured all that a concert really is about living in the moment for its own sake. The feast was ended. Those in attendance were well served.

Barber & Tchaikovsky

Springfield Symphony Orchestra
Symphony Hall, Springfield
SpringfieldSymphony.org
by Debra Tinkham

Kick off your shoes, put your feet up and relax for a quick review of the Springfield Symphony Orchestra's 66th season gala performance with Maestro Kevin Rhodes, now in his 9th season, and guest Janet Sung, performing Samuel Barber's violin Concerto Op 14, on a c. 1600 Maggini violin.

Sung's youthful appearance made it inconceivable that she could be so elegant, so emotional and so talented. The story behind this Concerto is that Barber was commissioned by a man to write a good piece of violin music for his adopted son. As the tale continued, Barber sent two of the three movements to the young violinist and they were considered "too simple." The third movement - to get even - was technically difficult. Sung performed this sweet but complicated masterpiece with ease and grace.

The Allegro (first movement) pushed Sung and her violin to the limit in high tones. The Andante (2nd movement) started with a long break for Sung, while absorbed in the tension between the oboe and strings. Finally, the Rondo - presto (very fast) was electrifying, with some very fancy finger work. Without a doubt, Sung deserved her standing ovation.

Tchaikovsky's Symphony No 3, Op 29 in D Major offered five movements of motion, diversity, broken chords, small doses of melody, divvied up and bouncing around to various instruments. Tchaikovsky was often faulted for his predictability but Symphony No 3 is anything but predictable. Rather, it reflects the composer's world of darkness.

"Rhodes Reflections" stated "… four of Tchaikovsky's most major works rarely get played. Among those is tonight's Symphony Nr. 3, The Polish."

Again, the audience at Symphony Hall thanked Maestro Rhodes for his energy and optimism in putting it all together and bringing such talented musicians to Springfield.

Schumann & Brahms

Hartford Symphony & Hartford Chorale
The Bushnell, Hartford, CT
www.hartfordsymphony.org
by Terry Larsen

So many love choirs, orchestras, and the great musical works that feed them, with the monumental “Ein Deutches” Requiem being one of the most cherished. The instruments and vocals all meet with the other necessary element of the ritual sharing of sonorous beauty -- the audience. These are people who hope to leave those great halls changed, at least for the moment; and somehow better for having been there.

The Bushnell's intimate Belding Theater was set for just such an experience. The event had the added appeal of being an audition for the post of Musical Director of the Hartford Symphony by guest conductor Constantine Kitsopoulos.

The orchestra and chorale were very well prepared for the pairing of Romantic era works on the bill. The orchestra performed both pieces concisely, with dedication to the score and an understanding of the style of the period. Although there were some of the inevitable balance issues that occur when voices and instruments occupy the same time and space, the chorale and orchestra performed admirably throughout the Brahms. Both soloists sang beautifully: Mr. Deas with fine diction, a compact, expressive power, and rich timbre; Ms. Forsythe with a lithe, well supported line that floated beautifully above the accompanying orchestra and chorale.

That being said, this reviewer was a bit disappointed by both performances, reluctantly laying the responsibility on the shoulders of Kitsopoulos. His direction seemed bland, without passion or real conviction. His gestures and demeanor were square, perfunctory, and did not anticipate from moment to moment the changes in dynamic, velocity, and emotion demanded by works of this period. There was no sense of urgency in the story telling. He made no compelling demands on the performers to aspire to that ineffable moment that transcends the requirements of the page and the beat pattern. Despite the polite standing ovation offered by the audience, I left the hall with a somewhat puzzled feeling that I must have missed something. The forces were very much in place and a beautiful was moment at hand, however, Kitsopoulos did not seize the opportunity to bring it all to life.

Dan Zanes and Friends

Fine Arts Center, Amherst, MA
www.umass.edu/fac/
by Eric Sutter

Dan Zanes and Friends brought their rollicking rollercoaster of musical fun into the Fine Arts Center for the entertainment of area families. Zanes is a multi-instrumentalist who fronted the 80's rock band the Del Fuegos. The new century has brought him into the children's music market where he has found success with numerous family friendly folk recordings that combine Latin, Cajun/Zydeco, Celtic, Bluegrass, Country, Blues and Rock synthesized into fun world-beat music. The colorful costumed six-piece band rocked with the opener, "Thrift Shop." Zanes was in fine form with vestiges of his Rock n' Roll moves still intact. They shifted to a Cajun/Zydeco rhythm on "Fine Friends" with John Fonti on accordion and Elena Moonpark on violin. "Pay Me My Money Down" found Zanes on mandolin with a bluesy folk harmonica solo as the audience sang along. His banjo provided a hoedown feel to the sea shanty "Farewell Nova Scotia." The folk gospel "Welcome Table" featured ukuleles and the children from the Prelude Pre-School of the Arts daycare who appeared on stage to sing along. "Jump Up" started the audience dancing. The acoustic band could play everything from Puerto Rican Christmas songs to Jugband music, which featured spoons and the stand-up bass.

Silly songs like "Mole in the Ground" and "Monkey's Wedding" caused wild dancing with drummer Colin Brooks' drumstick catches at songs' end. "Halloweentown" was seasonally fun with a Celtic recorder solo. Zanes played Rock n' Roll electric guitar behind his head on "Walking the Dog." The fun multiplied with "Catch That Train" as audience participation resulted in the "Locomotion" dance up and down the aisles. The funky "House Party Time" made it feel like a neighborhood block party. The Mexican folk song "Verde Luz" calmed the children as bubbles were blown into the audience. A flashing lighted disco ball upped the energy with dancing "All Around the Kitchen" and singing "Cock-a-doodle-doo." The group closed with "Bye Bye Roseanna" as they waltzed into the audience with all who swayed to and fro.

Dionne Warwick

Springfield Symphony Orchestra
Symphony Hall, Springfield, MA
www.springfieldsymphony.org
by Eric Sutter

Elegant, graceful and soulful... these words describe popular music icon Dionne Warwick. Through Motown, the British Invasion, Heavy Metal, the 70's singer-songwriter era, Disco and the Big 80's she has weathered the musical storm with class and integrity.

Nightfall in Springfield brought guest maestro Sean Burton to conduct the Springfield Symphony. The evening began with a drum roll into the "Star Spangled Banner." It continued with "The Barber of Seville Overture" by Rossini with the strings and woodwinds mighty expression of passion accented by a flute solo. Then came two selections by Stevie Wonder with "Isn't She Lovely" and "You Are The Sunshine of My Life." An 80's drum beat led to the theme song from "Fame" with the soothing sound of strings which lulled the piece into a wonderful crescendo of percussive happy rhythm.

Dionne Warwick's selections were like a stroll down memory lane of heartache, harmony and heavenly sounds. Songs like "Close To You", "Walk on By" and "Anyone Who Ever Had A Heart" brought a warm assurance of the past. The night was cherished as the audience perked up to sing "I'll Never Fall in Love Again." Some of these are defining moments in music and Warwick's alto voice, although weathered, was still magical. "Message to Michael", "Say A Little Prayer", and "Alfie" demonstrated how her beautiful voice is like a violin with its lilt and fall between notes. The strings supported the Brazilian music she interpreted as her back up band employed a bosa nova rhythm with congas, shakers and drums. "Do You Know The Way to San Jose" was pitched nicely and featured an extended piano solo. Warwick hit and held some high notes on "I'll Never Love This Way Again." "What The Word Needs Now" became the perfect audience sing-along to close. Her encore was breathtaking... her landmark recording to fight AIDS, "That's What Friends Are For."

Bruce Hornsby/Wood Brothers

Mahaiwe, Great Barrington, MA
www.mahaiwe.org
by Eric Sutter

An audience has to move when hearing good music or at least be moved... this was the case with both acts which knew how to make a good noise. The Wood Brothers are biological brothers with a rootsy front porch blues-folk brand of Americana that rocks. The rich ringing tones of "Lovin' Arms" from their "Loaded" CD sounded outstanding. Oliver Wood's acoustic guitar and voice was out front through his set with brother Chris' support on stand-up bass guitar and harmony vocal. "Liza Jane" featured their brotherly harmonies and a bowed bass solo by Chris. Chris began their "Train Trilogy" with a chugging harmonica as Oliver cut in with electric slide guitar and humorous vocals. They closed with "Postcards from Hell."

Here came the noisemakers... live and on the move! Musical visionary Bruce Hornsby began his set with "Heir Gordon" from 2004's "Halycon Days." His piano solo was exquisite as he segued into "Harbor Lights." He performed a couple of gems on piano with "Michael Raphael" and "Here We Are Again" from his new CD "Levitate." His band, the Noisemakers, provided a full sound accompaniement and solos with electric guitar, bass, drums, keyboards and reeds. The six piece band launced into "This Too Shall Pass." The songs took on a new life in a live setting with Hornsby's co-written ballad on Don Henley's hit "End of Innocence." At times, Hornsby's vocals were ragged, but the powerhouse band pumped him up on the 1988 hit "Look Out Any Window" which morphed into the Rolling Stones "Tumblin' Dice" with a rock riff supreme and saxaphone interlude. Hornsby performed a playful "Prairie Dog Town" on the dulcimer and also jammed on the accordion. He took a request and played "Gonna Be Some Changes Made" with its hypnotic percolated rhythms. This three time Grammy winner -- Best New Artist of '87 -- performed his hit song "The Way It Is" with J.T. Thomas on keyboards. A standing ovation led to the adventurous "Space is the Place" and "Dreamland."

Opening Night

Springfield Symphony, Springfield, MA
Saturday, October 3, 2009
www.springfieldsymphony.com
by Debra Tinkham

Despite a difficult year, Maestro Kevin Rhodes trumped off the 66th opening night red carpet gala with the orchestra playing, and the audience singing, The Star Spangled Banner. Already impressed by the energy emanating from Rhodes, the orchestra and the audience were ready for a dynamic evening. Of course, the lovely Concertmaster, Masako Yanagita, did her usual graceful entrance and continuation of tuning the orchestra.

Richard Wagner's Ride of the Valkyries, Franz Liszt's Mephisto Waltz No. 1, and Liszt's A Faust Symphony were on the menu. Rhodes took a variation on his usual "Saturday Night Live" extravaganza. In Rhodes words, he "…decided to do something completely different than ever before in the history of the symphony." Wagner's Ride of the Valkyries, a very familiar melody, featured lots of brass, with wonderful dynamics. His piano version of Mephisto's Waltz was, to say the least, incredible. The man expects perfection and does nothing less.

Rhodes ricocheted back and forth from Mephisto Waltz No. 1 to A Faust Symphony. While explaining the major, minor and diminished chords to the audience, (which probably most did not understand) Rhodes stated that Liszt was, "A rock star before we had rock music." He is dedicated, a man with high energy, engaged and entertained. This is Rhodes 9th season with the SSO, although there are rumors that he may have a new employers -- the Hartford Symphony Orchestra. That would be a terrible loss!

His narration, explanation and display of virtuosity on the piano, led the audience to a better understanding that Faust's sad and depressing display of Mephistopheles' love of Gretchen and, in the end, Mephistopheles' ultimate redemption and, in Rhodes words, "carried off to heaven in a Hollywood style."

Rhodes never quits, never runs out of energy. We just hope he won't run out of desire to remain in Springfield.

Melanie in Concert

Colonial Theatre, Pittsfield, MA
www.thecolonialtheatre.org
August 21, 2009
by Eric Sutter

Deja Vu... Melanie is back but she never really left. Just like a circle, she came back around to defeat the nay-saying voices of the new century. But first, a new spirit of voices spread their light. As part of the Woodstock at 40 series at the Colonial, Arlo Guthrie's daughter Sarah Lee Guthrie and her husband Johnny Irion performed a short set of singer-songwriter material. "Bright Examples" featured their acoustic guitar strumming interplay punctuated by Irion's clear harmonica solo. "Don't I Fit in My Daddy's Shoes" was inspired by their daughter Sophie. Irion conjured up the romantic Southern imagery of a fisherman's town on his bluesy guitar as they sang "Emily's". They closed with a song about their Berkshires' home, "When The Lilacs Are in Bloom."

An impassioned Melanie appeared on stage with her son Beau Jarred Schekeryk to a warm receptive audience. With Beau on viola guitar and bow and Melanie on fingerstyle acoustic, they performed her debut single "Beautiful People" from Woodstock to unanimous approval. Jess Leary on acoustic guitar joined them for the 1971 hit "Brand New Key". Melanie's songs have positive messages and unique insights from the mystique of the feminine. "Smile" written after 9/11 shined with the light hearted sing-along chorus, "I Love People Who Smile." With loveable disarming humor she belted out "I Tried to Die Young" with Beau as chorus. She sang an emotionally powerful "Love Doesn't Have to Hurt" with a tender viola guitar solo by Beau. "Ruby Tuesday" was a beautiful duet with the audience. After her Woodstock rap, a peace sign appeared on the backdrop as she sang "Summer of Love." Starting in French, Melanie sang "Look What They've Done To My Song, Ma" as she blew kisses to the audience. She rapped about being regarded as the female Bob Dylan. She introduced the song which she sang as the youngest performer at Woodstock. "Lay Down (Candles In The Rain)" was performed during a rainstorm that day and was resurrected at this concert, ironically after a storm in the Berkshires. It's a song with a timeless message...love one another.

Free Country Concert-US Navy Band

U.S. Navy Band--Country Current

The United States Navy Band Country Current will perform a free outdoor concert on Sunday, September 20th at 2pm on the lawn of the Springfield Armory/STCC campus, One Armory Square, Springfield. This band is the Navy's premiere country music ensemble, which tours the United States annually from their base in Washington, DC.

The public is encouraged to bring lawn chairs and picnic baskets. The rain site is the STCC gymnasium, which is wheelchair accessible. There is plenty of free parking. This concert is sponsored by: In the Spotlight, Springfield Armory National Historic Site, and Springfield Technical Community College.

Bach's St. Matthew Passion

Berkshire Choral Festival, Sheffield, MA
www.choralfest.org
August 15, 2009
by Debra Tinkam

Johann Sebastian Bach's Matthaus - Passion BWV244 (St.Matthew Passion), much being derived from the first book, Matthew (26 and 27), of the New Testament, sung in German, was the show stopper for this Saturday evening. Together, with an abbreviated Springfield Symphony Orchestra (SSO), the night was divinely inspirational. In addition, there were featured soloists, performing the words of Jesus, Judas, Peter, and the Evangelist, to name only a few.

The first part, begun by orchestra and chorus, were beautifully and dramatically orchestrated as they describe the procession to Mt. Calvary, and, thus, the death of Jesus. The Evangelist, representing St. Matthew, narrates the story vocally, and the soloists' dialogue, sung in recitative style, became Bach's greatest opera. The150 voice choir came from as far as Japan and Canada and 28 of the United States.

Of particular mention was the part of Jesus, sung by Christopheren Nomura, who, incidentally, used no music for this dramatically moving portrayal of betrayal, suffering and death. His dynamics and emotion were comparable to very few. Conductor Gary Thor Wedow, who has appeared four times with the Berkshire Choral Festival, currently serves on the Julliard School Faculty. His conducting was emotional.

This Passion, split into two orchestras and two choirs were tools Bach used for variation and effect, and variation and effect were obvious throughout. The sounds of flutes and oboes on both sides of the orchestra, making up the two orchestras, created a stereo effect. Violins and voices for choral passage were uniquely symbolic in setting the stage for Jesus' demise. Strings were interlaced in Jesus' execution until the final passage where, after Pilate asks, "Which one shall I release: Jesus or Barabas?" The crowd screams (sings) "Barabas!" and in his final hour Jesus says, "My God, my God, why have you forsaken me?"

This fifth, and final, performance of the Berkshire Choral Festival's2009 season, was moving beyond words. The talent of the chorus, orchestra and soloists emanated perfection to make for a once in a lifetime performance.

Don McLean in Concert

Mahaiwe, Great Barrington, MA
www.mahaiwe.org
August 9, 2009
by Eric Sutter

Far from fading away, singer-songwriter Don McLean lifted spirits and touched souls with a fun concert filled with magic. He began with a triplet of Buddy Holly Songs, "Well Alright," "Crying, Waiting, Hoping" and "Peggy Sue Got Married" which put the audience at ease. His warmth and humor conveyed real love. His versatile songwriting skills were evident as he shifted styles from the folk ballad of "Homeless Brother" to the more pop oriented classics "Empty Chairs" and "Castles In the Air." In 2004, McLean was inducted into the Songwriter's Hall of Fame.

He changed musical direction once again to a country groove with Don Williams' "Tulsa Time" and a yodeling "Deep In the Heart of Texas," which featured a searing hot electric guitar solo. Marty Robbins' "Singing the Blues" featured a melodic piano solo. A highpoint was McLean's cover of Roy Orbison's "Crying" in which he can still hit those amazing vocal highs.

The band aptly accompanied McLean and his acoustic guitar on the spiritually aware "Jerusalem." His incredible fingerstyle guitar work and the words of "And I Love You So" were heart rendering. "Crossroads" featured the singer's delicate guitar style with piano accompaniement. His ever popular "Vincent" was given a makeover with the inclusion of synthesizer to gave the song an orchestral appeal. Incidentally, McLean shared the story that "Vincent" was written in nearby Stockbridge when he was first starting to perform. With the exception of a few minor breaks in his voice, his classic 8 1/2 minute folk-pop #1 hit "American Pie" sounded as wonderful as it did in 1971; the audience sang along at times. He kicked out a cover of Elvis' "I Gotta Know" with resounding audience response.

Whatever McLean did, people loved it. He encored with down in your soul fingerstyle guitar blues and a little electric slide on the side -- not bad for a 64 year old Hudson River troubadour.

Koussevitzky Memorial Concert

Tanglewood, Lenox, MA
www.tanglewood.org
August 2, 2009
by Debra Tinkham

Danish conductor, Thomas Dausgaard, started the concert's rainy Tanglewood program with Beethoven's Piano Concerto No. 3 in C minor, Opus 37. Guest pianist, Norwegian born Leif Ove Andsnes, played masterfully and seemed little bothered by the heavy rain which dampened the sounds of the orchestra. This short, three movement Concerto sounded more like a piano Concerto. The clarity of the piano carried crystally clear. Next came an unannounced deluge of showers along with another mass exodus of concertgoers. The crowd was exceptionally small and the intermission was omitted in order to complete a soggy Rachmaninoff Symphony No. 2 in E minor, Opus 27.

Three members of the Boston Symphony Orchestra (BSO) are retiring at the end of Tanglewood's 128th season and they were to be acknowledged at the end of today's concert. That too was omitted, presumably due to the weather. With a combined total of 123 years of devoted service to the BSO, harpist, Ann Hobson Pilot (40 years), violist, Ronald Wilkinson (38 years) and violinist, Amnon Levy (45 years) will hang up their strings ending three very illustrious careers. Pilot writes, "When I was a young student just beginning the harp, I was not given much of a chance, as an African-American female…Forty years ago, the BSO gave me the opportunity to collaborate with world-class musicians and conductors…"

The day was weather rare and fair weather friends. Neither the weather nor the people were fair to Rachmaninoff, the BSO, or Dausgaard because the commotion of packing and moving instruments, unfortunately, dampened a great deal of the program. Let's hope for fairer weather and fairer friends in the future. Mr. and Mrs. Koussivitzky commissioned the building of the Koussevitzky shed back in 1937 for this very reason.

2009 Concert Under The Stars

Harry Chapin: Celebration in Song

Colonial Theatre, Pittsfield
www.thecolonialtheatre.org
August 1, 2009
by Karolina Sadowicz

Outnumbered at least 2 to 1 by instruments, Tom and Steven Chapin took the stage with the Steve Chapin Band with no fanfare nor attitude. From the moment the lights go on, they were relaxed, at ease, and warm. This musical tribute to Harry Chapin's catalog included original numbers from both his brothers, and other surprises from the Chapin family.

Weaving in lesser known songs, the Chapin brothers also delivered crowd-pleasing classics like "Cat's Cradle," "30,000 Pounds of Bananas," "Taxi," and "Circle" to a resounding chorus of tapping toes and clapping hands. Tom Chapin shared the spotlight with Steven and guitarist "Big" John Wallace, but as frontman always encouraged the audience to sing along.

Wallace and Steven Chapin also invited their sons to accompany on guitar for several songs, hinting at a Chapin family tradition that will continue for years to come. Anecdotes and friendly banter intermingled with the songs, and bold lighting changes added visual flair to an otherwise simple presentation.

The superb acoustics of the Colonial and overall sound design ensured the music was bold, but always clear, and never overpowering. Even when the Chapins occasionally struggled with a higher note, they still sounded crisp. A true testament to their musicianship, all members of the performing ensemble entertained even when tuning their instruments. During times of spirited, dynamic play, none seemed to even break a sweat.

For a fan of any of the Chapins, the show was a treat, full of familiar words and sounds. The unfussy demeanor of each performer drew attention away from just how skilled they are. The Chapins and Wallace made this look easy, although what they do was anything but. The audience was treated to top-notch musical skill in a performance that felt relaxed and personal, as though it took place at a Chapin family reunion. Everyone was invited to participate, reminisce, and enjoy.

Tanglewood Rehearsals

Tanglewood, Lenox, MA
www.bso.org
Saturdays, July & August, annually
by Shera Cohen

The sounds of symphonic music compete with the squawking of crows. It's the Boston Symphony Orchestra vs. the feathered creatures. Fierce battle ensues. While the birds hold their own periodically, the BSO always wins out. Such are Saturdays each summer at Tanglewood.

Nearly every Saturday in July and August, the BSO opens its huge tent and pristinely mowed lawn for open rehearsals. Starting at 10:30am and ending at various times - whenever the conductor feels that the orchestra is rehearsed to his/her satisfaction (approximately between 12pm-1:30pm) - hundreds of music lovers enjoy these quasi-concerts. Usually, the music is that of the Sunday afternoon program. Tanglewood's program book lists the composers, pieces, conductors, and guest artists. Audiences know in advance what and who they will hear.

The choice is to sit indoors (actually a huge tent) or outdoors, or both, as there are no designated seats. Many arrive at 7am to get the "best" seat. But "best" is in the mind of the listener, and for many their folding chairs on the manicured lawn is the best seat in the house. But, if arriving at 10:25am, nothing will be missed. Rehearsals do start exactly at 10:30am. The dress is casual with the musicians in shorts and t-shirts. The same applies for the crowd. It's not unusual to see rows people donned in Tanglewood shirts, caps, and sweatshirts.

Symphony rehearsals have become more and more popular, having perhaps taken a cue from the many years of success at Tanglewood. Some may think that by attending a rehearsal there is no need to go to the finished product. In fact, the experience is the opposite. Listening to a rehearsal, with its frequent or not-so-frequent stops and starts for the conductor's corrections and comments, makes the ultimate performance clearer in appreciation and understanding of the work.

The ticket price is $17 for adults and free for children under age 12. It is wonderful to see kids, usually on the lawn, enjoying the music of Bach, Mozart, Ravel, et al. Sometimes the sounds that they hear are only background to their chatting with siblings or playing video games. That doesn't matter. They are there, soaking it all in, even subliminally. It is likely that these kids will be our future generation of symphony goers and patrons, remembering their wonderful trips to Tanglewood.

Tanglewood on Parade

Tanglewood, Lenox, MA
www.bso.org
August 1, 2009
by Shera Cohen

In spite of the fact there were no floats or horses, this "parade" was certainly full of music - in fact the best music in all of Massachusetts and probably New England. Started six decades ago, Tanglewood on Parade is an annual all-day event appreciated by more than 10,000 people. Overlooking the throngs of audience goers, particularly those on the lawn, the figure of 10,000 is conservative. The weather undoubtedly increased the expected crowds as this was a perfect Tanglewood day.

Four orchestras performed various pieces from 2pm until the grand finale fireworks at 11pm. Admission included 14 separate concerts to choose from in 7 venues including troubadours on the lawn. This was a who's who of conductors (John Williams, James Levine, Keith Lockhart, Leonard Slatkin, and Rafael de Burgos), composers (Rossini, Enescu, Bernstein, Copland, Tchaikovsky), and other recognizable names (choreographer Mark Morris, Governor Deval Patrick).

The evening's program listed primarily familiar pieces, which is common to Parade, and welcomed by the audience. The overture to "William Tell" was obviously rousing, performed by the "house band," so to speak, the Boston Symphony Orchestra, kicking off the final concert of the day. Enescu's "Rumanian Rhapsody No. 1" is one of those well-known pieces which the average listener does not know by name but only by ear. Gentle and yet swift like a speeding train that had lost its breaks, Enescu's music is memorable.

The Tanglewood Music Center Orchestra (most talented youth) took on the lengthy dances from "West Side Story." The young percussionist worked in fast-motion, and the audience did all but sing-along. Parade would not be complete without the Boston Pops. John Williams conducted his own "Tributes: For Seiji" (Seiji Ozawa), and Keith Lockhart took the podium for Copland's "Lincoln Portrait." Narrated by Governor Patrick, the Pops performed the entire score.

It took a few minutes for the combined musicians of two orchestras to overflow the stage for the "1812 Overture." Every Parade's finale is the "1812" coupled with fireworks. It's been heard before, and will be heard again. Once is not enough, nor are a dozen or 100 times.

Vespers Opus 37

Berkshire Choral Festival, Sheffield, MA
www.choralfest.org

August 1, 2009
by Debra Tinkham

Twenty eight years ago, Berkshire Choral Festival's (BCF) voices of summer began its beautiful music, and this concert continued the tradition. Dale Warland, choral composer and conductor conducted Rachmaninoff's "Vespers Opus 37," an a cappella program. The Springfield Symphony Orchestra had the night off.

The work is all titled the All-Night Vigil. When performed originally, as part of a liturgical service, it could conceivably last as long as fifteen hours. That's a lot of church. There are 15 sections and the third, a Rachmaninoff original, known as "Blessed Is the Man," was beautifully harmonic and somber. The sounds of music were pure and eerie. Section five, "Lord Now Lettest Thou..." from the gospel of Luke, with its moving dynamics, long phrases and very low bass, sings of "...enlightening the Gentiles." The unification of voices in section seven, "Verses before the Six Psalms," from Luke 2 and Psalm 51, shortly proclaimed "Glory to God in the highest and on earth peace, good will among men."

Joyful, festive, dynamic and harmonic would describe section eight's "Praise the Name of the Lord." Allelluias" populated many sections of this vigil, but they were so musically beautiful, there could have been more. "Blessed Art Thou, O Lord" with sopranos and altos, then tenors and basses, then sopranos and altos, and a fast moving tenor and bass finale summed it all up with an even bigger building crescendo of SATB (soprano, alto, tenor, bass).

Sections ten through fifteen were equally as uplifting and invigorating as the previous nine. Warland looked simultaneously energized and exhausted. This was a triumphant evening performance that started on sweet notes and ended with victoriously abundant sweet notes. The lovely voices of summer of BCF continue their Saturday concerts in August.

Mendelssohn and Faure

Berkshire Choral Festival
The Berkshire School, Sheffield MA
www.berkshirechoral.org
July 25, 2009

Each summer the Berkshire Choral Festival offers enthusiastic singers a chance to attend singing camp, and to produce vocal and orchestral concerts of the largest scale. The late-July concert featured Magnificat by Felix Mendelssohn and Requiem by Gabriel Faure.

The week's 220 singers were in residence at The Berkshire School to rehearse under the direction of guest conductor Simon Carrington. Required to sing in both Latin and German, they sang as one voice with crisp diction, showing tonal security as they answered and supported the four soloists (Arianna Zukerman, Mary Gerbi, Carmund White, and George Cordes).

The chorus seemed most secure with the post-intermission piece, the "Faure Requiem," and was outstanding on the Offertoire and Sanctus sections. Zukerman sang with plaintive longing on the Pie Jesu section. The cello section of the orchestra was especially beautiful throughout and the organ's strong presence was an integral part of the orchestration.

The first half of the program ended with Mendelssohn's lyrical "Her Mein Bitten (Hear My Prayer)." Again, Zukerman had full command of this piece, and the chorus answered her with smooth transitions and supportive tonal security. Both chorus and soloist were adept at creating the longing and need that the "Psalm 55" words express.

The first offering, "Mendelssohn's Magnificat," was perhaps the weakest of the three. Although the chorus was effective in this piece, the presentation lacked vibrancy and there were intonation problems among the soloists when they sang as a quartet, perhaps reflecting limited preparation time.

The Springfield Symphony Orchestra provided a strong instrumental and professional presence throughout the evening, and the musicians seemed to enjoy the melodic beauty of these scores.

All Mozart Concert

Tanglewood, Lenox, MA
www.bso.org
July 19, 2009
by Debra Tinkham

The George William and Florence Newsome Adams Concert Endowed in Perpetuity performance featured James Levin conducting this "All-Mozart" program of Symphony No. 39 in E flat, K.543; Symphony No. 40 in G minor, k. 550; and Symphony No. 41 in C, k. 551, "Jupiter." It is difficult to believe that young Mozart, who died at the age of 35, wrote these last three incredibly complicated masterpieces in less than three months, and it is historically questionable if they were ever performed during the remaining three years of his life.

All three symphonies, in four movements each, were beautifully enjoyed by the large throng of Tanglewoodians enjoying yet another sunny, warm Berkshire Sunday afternoon. Neither rain, nor snow, nor sleet, nor hail were a part of today's venue, but what was a hinderance was the massive amounts of unwelcome decibels - children crying, people talking loudly - and at one point, a golf cart that took a wrong turn? The concessionaires were loading/throwing inventory to the point of distraction. Tanglewood is for good music and peace and quiet. Perhaps additional security is needed to babysit the inconsiderate souls who choose to talk their way through some of the world's most beautiful music.

Mozart's last three symphonies are brilliant, challenging, diversified. Even the most learned historian of music would need decades to analyze and fully appreciate the talent of one fine, young artist know as W.A. Mozart.

Music in the Time of Goya

Aston Magna, Great Barrington, MA
www.astonmagna.org
by Barbara Stroup

Deftly programmed by guest director and guitarist Richard Savino, the six musicians of this final Aston Magna Festival presentation played music that spanned early 18th to mid-19th century Spain while the audience simultaneously enjoyed large, projected images of Francisco Goya's art. Seven thematic sections of the program included whole and partial works by a variety of Spanish composers. These were supported by the artist's images of faith, tranquility, nobility, poverty, degeneration, celebration and finally, brutality and horror. The rhythmic catch of the Fandango that ended the first half was punctuated by the cellist's percussive beat while bullfighting images filled the screen.

The instrumental ensemble was tactfully expressive in both the dances that celebrated life, and the music of war, resistance, and resignation at the program's close, sometimes whispering with string harmonics and often using full dynamic resources.

Jennifer Ellis Kampani sang with strength, sensitivity and color throughout her wide range, and was an agile vocal match to the tumultuous range of emotions portrayed in the music and in the art. The program concluded with the music of François de Fossa, a guitarist and composer who struggled to make art in a city under siege, and who, although lavishly praised for his work, was offered less than the cost of the music paper on which it was transcribed.

After a beautiful concert, the fortunate audience left this auditorium in the green Berkshire hills to find outside a sky as beautiful as Goya's best rococo masterpiece.

ABBAmania

Talcott Mountain Music Festival, Simsbury Meadows, CT
www.simsburymeadows.com
Various events through July 17, 2009
by Eric Sutter

ABBA is Love! The super group came alive again in this spirited tribute to the 70's musical sensation. Beautiful weather, Swedish accents and the re-Bjorn sounds of ABBA combined to raise goose bumps at Talcott Mountain.

"Knowing Me, Knowing You" created a party atmosphere as the large crowd joined in on the background vocals. People sighed and moaned at the opening chords of romantic ballads such as "I Do, I Do, I Do" and "Fernando" with instantly recognizable flute and drum solo intros.

Andrea Pressburger (Agnetha), brought strong, haunting vocals to "Mamma Mia". Mathew Whale (Benny) provided memorable musical moments and swelling keyboards during "Chiquitita ". Nick Pattison's (Bjorn) electric guitar chimed in with the strings of the Hartford Symphony Orchestra, which lightened the spirit of the songs. Guest conductor Glen Adsit had his work cut out for him as ABBAmania performed the disco tinged hits "Voulez Vous" and "Summer Night City." "Super Trouper" closed out the first half with Pressburger out front working the audience.

"Lay Your Love On Me" featured percussive keyboard that caused the female back-up singers to cavort with Pattison in a Conga line. As Monica Tietz (Anni-Frid) sang "I Have A Dream", a giant mirror disco ball appeared. The audience went wild over the swirling lights, propulsive sound and lavish costumes. They sang, swayed and waved hands in the air as Pressburger belted out a powerful "The Winner Takes It All". The happy beat of "Take A Chance On Me" with its warm vocal harmonies was a crowd pleaser and the cast encored with a zesty "Dancing Queen" with, of course, dancing everywhere.

Testimony to ABBA's mass appeal was the age range of the audience members who instantly reacted as the keyboard intro to "SOS" began. It was amazing to see 20-somethings (mostly female) clapping, dancing and singing along to ABBA's first big hit, "Waterloo", released way back in 1974.

Summer Groove

Talcott Mountain Music Festival, Simsbury Meadows, CT

www.simsburymeadows.com

Various events through July 17, 2009

by Eric Sutter

Summer Groove at the Performing Arts Center at Simsbury Meadows was a rainbow full of sound. Under Edward Cumming's inspired direction, the Hartford Symphony Orchestra backed David Foster and the Mohegan Sun All Stars for a sizzling but soothing night of rhythm, blues and soul. With Foster's lead vocal out front, the All Stars' horn section set aflame "Powerful Stuff." It was wonderfully unexpected to hear their popular musical stylings with the strings of the orchestra, collaborating on the rock ballad "A Whiter Shade of Pale."

The band was pumped as it shifted into the R&B tune "What a Life" with its fancy sax lines. Guest vocalist Christine Ohlman paired up with Foster on a lively "Soul Shake" performed Delaney and Bonnie-style. Foster played the tender love ballad "You Are So Beautiful" with Mitch Chakour on piano and Maceo Parker, who soloed on saxaphone. Parker sang "Georgia" lovingly accompanied by piano and strings. The nine-piece band cranked up "Soul Man" as Foster and Parker traded lead vocals and hot horns all around.

At twilight, the band resumed with a touching tribute to Michael Jackson on "I'll Be There" with the audience joining in. Chakour's soulful rendition of "What's Going On" was puntuated by the horn section, as was "The Letter," replicating a Joe Cocker style. Billy Holloman's sax intro and vocal on "Stand By Me" were heavenly, accented by a melodic guitar solo by Kal David. Parker's "Pass The Peas" showcased his funky saxaphone playing that caused a stir with throngs of people who moved to the groove. Foster asked for participation on the closer... a Woodstock revival anthem. "With a Little Help from My Friends" became a communal sing and sway. Peace was back by popular demand.

Haydn & Bach Concert

Aston Magna, Great Barrington, MA

www.astonmagna.org

through July 11, 2009

by Debra Tinkham

Daniel Stepner, Artistic Director, stepped out with fellow performers, Nancy Wilson (violin), David Miller (viola) and Loretta O'Sullivan (cello), to begin Aston Magna's season opening performance with Franz Josef Haydn's entertaining and fun String Quartet in D Major, Op 20, No. 4.

As is usual with this talented group of musicians, their use of non-verbal communication, in addition to their splendid talent, combined to make the Allegro di molto a wonderful listening experience. The echoes of Un poco adagio e affetuoso, along with the melancholy of the cello, were enough to move one to tears. Minuet alla Zingarese, a menuet in a rapid 3/4 time, was just short and sweet! Finally, Presto e scherzando' harmony was not only in the music, but in the personality of the performers. Haydn's Arianna a Naxos, cantata for soprano and strings, welcomed Dominique Labelle, vocalist, and Anne Trout, bass viol. Labelle captivated listeners with her full-bodied, rich voice, comparable to a hearty, full-bodied burgundy. This mythical operatic story combines the talent of several composers and still remains slightly cloudy as to where the credit should be given. It is the usual story of love, suffering, anger, and in this case, a happy ending.

Intermission was followed by the enjoyment of Johann Sebastian Bach's Weichet nur, betrubte Schatten, a wedding Cantata, sung by Labelle, and the evening concluded with Heitor Villa Lobos' Bachianus Brasileiras No. 5, again, tastefully performed by Labelle.

Aston Magna has a bevy of upcoming beauties, including Handel's The Beggar's Opera on July 4th. The fireworks of music are sure to please the most discerning listener. So much music; not enough time to expound on the brilliance and talent of the "Aston Magna Meistros." Bravo!

Mandy Patinkin: "Dress Casual"

Colonial Theatre, Pittsfield

www.thecolonialtheatre.org

by Karolina Sadowicz

When Mandy Patinkin says "Dress Casual," he means it. The set for his show befits this atmosphere. Dressed in a black shirt, black slacks, and sneakers, he appears on a stage that seems more fitting of a rehearsal or audition. There are boxes, a ladder, seemingly misplaced furniture, and of course a piano. His performance, however, carries no slack. Though the promise of a Broadway star, now in his mid-50s, singing old standards does not seem to offer the unexpected, Patinkin's energy, affability, and humor bring new life to the familiar.

Patinkin commanded the Colonial stage for nearly two hours with the accompaniment of longtime, performing partner Paul Ford on piano, and occasional choral backup from the audience. Though there appear to be no frills, his singing is the main event and rises above expectations. He bobs and weaves between up-tempo, fast-talking numbers from "Oklahoma" to thoughtful, wistful selections from "Sunday in the Park with George." With a vocal range that refuses to diminish, he moves from grave baritone to surprisingly youthful falsetto, all while maintaining a level of energy and intensity that commands respect and attention.

Patinkin and Ford keep the pacing swift and playful, and Patinkin tosses in anecdotes and manages to slip in a quick "bless you!" to sneezing audience members without missing a beat. Losing a contact lens on the stage while belting out a showstopper, he laughs it off, and then reels the audience back into the song.

As for the surprises, it would be a shame to give them all away here, but Patinkin also pays homage to Charlie Chaplin and silent cinema, and gets everyone in stitches by singing "God Bless America" - among other songs - in Yiddish. With a fresh and joyous approach to the classics of Irving Berlin, Sondheim, and others, quick humor, and unparalleled singing, Patinkin gives a show that evolves with time and the venue, and exceeds expectations on every note.

Springfield Symphony Orchestra

65th Anniversary Concert
Symphony Hall, Springfield
by Shera Cohen

In the distant future, it is possible that audiences will recall the SSO's 2008/09 season as one of its best in decades. In particular, the Grande Finale, will be marked in the symphony program books as a banner concert. Apparently, it wasn't enough to just schedule "Carmina Burana" – which is oftentimes the sole selection on many orchestras' programs. SSO, Maestro Kevin Rhodes, et al, started the evening with Richard Strauss' "Also Sprach Zarathustra" (aka "2001, A Space Odyssey").

The Strauss work commenced with a rumble of music, swelled, and later ebbed and flowed. Percussion on one end of the see-saw balanced with harp strings on the other. Several tease endings preceded the ultimate closing in this long and big piece. Rhodes was always in command of his musicians, one-half second ahead of every note in his instruction. The man and his team worked in perfect synch.

Looking at the stage after intermission, one could see the orchestra spilling out to both sides, complete with two pianos. The setting became a three-quarter thrust arena with the SSO, its Chorus (tenors, baritones and bass), and South Hadley Children's Chorus center stage; the SSO Chorus and Pioneer Valley Symphony Chorus' sopranos stage right; and the latter two groups' altos stage left. The soprano and alto sections sat and stood in the logue, creating a physical and musical vastness to the upcoming "Carmina Burana."

From the first loud and harsh bang of drums to soft and southing strings, lush songs of the soloists to the largess of the 300+ chorus, "Carmina" is and always will be a standout piece. Carl Orff's "Carmina" offers constant contrasts in musical styles, tones, and moods. At times dramatic, then humor follows. Trumpets blast pomp and circumstance, then strings flow operatic. To tackle the difficulty of this marvelous, exhausting, awesome, and sometimes strange epic, is a huge task. "Carmina" is in the proverbial class by itself, with the reputation as one of the most illustrious choral/symphonic works of the 20th century. For the full house at Symphony Hall, their immediate standing ovation applauded more than music, but an experience.

Springfield Symphony Orchestra Opera Gala

Symphony Hall, Springfield
April 25, 2009
by Shera Cohen

Within the past few months both the Connecticut Opera and the Berkshire Opera closed their curtains forever. Were these statements about today's economy? Have dollars spent on the arts in general, and opera in particular, been far less than in the past? Probably and sadly so. Yet, the Springfield Symphony's Opera Gala saw a near-capacity audience at Symphony Hall. Obviously, those who appreciate opera are there in large numbers.

The SSO promised a gala and that's what they delivered with the full orchestra donned in black and white, Maestro Kevin Rhodes center stage with baton in hand, nine exceptionally professional vocal soloists, and the chorus of 120 synchronized singers. The audience was dressed to the nines - a wonderful and unusual sight in this era when the arts are oftentimes thought of as mere entertainment.

Of the hundreds of operas and thousands of arias ever written, Rhodes, et al picked the exact selections and program order that made the evening's performance perfect. Needless to say, works by Puccini and Verdi made the list, followed by Mozart, Wagner, Strauss, and Bizet. The conductor jovially dubbed the program "the all time great hits of opera." While the subjective votes are still being tallied as to what is "great," it is obvious that pieces like "Un Bel Di," "Habanera," "Nessun Dorma," and "La Donne Mobile" were offered, each excellently sung by soloists.

One stand-out selection was "Viens Mallika" from "Lakme." The opera may not be as well known as "La Boheme," "Il Trovatore" or "La Traviata" (each represented at the gala), yet this gently flowing female duet was exquisite.

The orchestra and chorus were given two pieces in which to shine - The Polovtsian Dances from "Prince Igor" and "Il Trovatore's" Anvil Chorus. The woman who no one sees onstage is Choral Director Nikki Stoia, whose leadership is evidenced by the resulting sounds of her large chorus. Add Rhodes' humorous pithy synopsis of each opera, and one word describes the experience of the gala - bellissimo!

Springfield Symphony & George Takei

Symphony Hall, Springfield
by Shera Cohen

"Flights of Fantasy," the Springfield Symphony Orchestra's final pops of the season, was called "the combination of a symphony concert and a Star Trek convention." This might be an odd mix, but consider the source. The man who made such a bold statement was George Takei, aka Mr. Sulu of "Star Trek" fame.

The full house was treated to an atypical event. This concert format was different from the expected, as was the maestro. Oftentimes, guest conductors are hired for pops, with Kevin Rhodes taking the baton for formal symphonic performances. Well, Rhodes was very much present and enthusiastic. It is obvious that his musicians like and respect the man at the podium. Rhodes' mundane repartee and skilled leadership is appreciated just as much by the audience. Rhodes’ introduction to the concert was, "Music can take you into magical worlds." He was right, proving so with significant help from the orchestra and Takei.

Many consider "movie music" less important than works of symphonic masters. Listen again. Composers Jerry Goldsmith and John Williams are familiar names not just for their prolific work but for their outstanding talent. The SSO concert included "Star Trek" (Goldsmith) and "Star Wars" (Williams).

A section of the concert's first half was a Q&A with Rhodes and Takei. While talk about Japanese detention camps (Takei's childhood in the U.S.), gay rights (his recent marriage), and dubbing foreign films ("Godzilla") was interesting, the time could have been better spent making music. Nearly everyone has heard the "Star Wars" theme, but not everyone has heard and seen it live, where it is better and bigger. It's just a little unfortunate that the wonderful SSO didn't have the opportunity to fill the beautiful Symphony Hall with more magical sounds from outer space.

"The Lord of the Rings Symphony" was the post-intermission performance. The long piece seemed incredibly difficult yet flawless, meshing Takei's baritone voice narration and creation of character voices with the SSO instruments' voices. The words and music, sometimes together and other times separate, created strange new (Tolkien) worlds - infinitely beautiful to the ear.

Bela Fleck/The Africa Project

Colonial Theatre, Pittsfield
by Eric Sutter

Premier banjo virtuoso Bela Fleck's The Africa Project kicked off its world debut at Colonial Theatre with bandmates Toumani Mahlesela (Mali), Vusi Mahlesela (South Africa), D'Gary (Madagascar), Anania Ngoliga(Tanzania) and Casey Dreissen (Nashville). In 2005, Fleck journied to Africa to perform with great musicians and look into the roots of the banjo -- he found what he was looking for in Gambia and Mali with its deep -rooted banjo heritage. This sold-out "Throw Down Your Heart Tour" mixed the sounds of the banjo with African folk music and united two different musical traditions that came from the same place. The tour began with Fleck's banjo instrumental, after which each amazing African performer demonstrated his music solo followed with collaborations with Fleck and each other.

Ngoliga is a blind marimba maestro who performed his chill inducing music which sounded like a vibraphone. He played in a spiritually jazzy style joined by Fleck in a melodic timbre of gentle sound that expressed sweet as honey joy. This was deep and intimate music, acoustic and intense. Banjo and Swahili voice were tenderly interwoven in a uniform dialogue. Fleck played an African folk instrumental from Mali on a cello banjo. D'Gary played a jazz-folk guitar instrumental with accompaniament by a hand-percussionist. As they sang in their tribal African voices, the percussionist let out a high whistle from his voice. Fleck joined on banjo and Dreissen on fiddle. This was not bluegrass, but an African country song "Kanetsa," with stop-start percussive rhythms and pregnant pauses that resumed with loud yee-haw voices.

The second half brought out the soulful voiced Mahlesela on acoustic guitar. who sang a joyful "Beauty of Our Country." His vocalizations mimicked his guitar playing precisely while he danced playfully. The soul of Africa met the drive of country as Fleck joined in. Meditative jams combined with flashy instrumentals to create musical fireworks in this cultural exchange. Diabate closed the evening with the Kora (a 21 string harp from Mali); he is the 72nd generation of players in his family. The audience was spellbound. The entire cast joined him on stage for a memorable musical moment.

Kathy Mattea Concert

Mahaiwe, Great Barrington
by Eric Sutter

The wind in the mountains that chilled the Berkshires in the evening was warmed by a gifted singer in Kathy Mattea. With Mattea, here is a country girl who is also a modern day independent woman with a good head on her shoulders. Her music was clean without boundaries, with an excellent voice that rang true. Her lyrics were not all sweet, as she has an uncanny ability to probe the darker side of human nature.

She started her set with "Dark as a Dungeon" about a coal mine disaster. Her family comes from a long line of coal miners from West Virginia and "COAL," her latest CD, is a tribute to her place and people. Acoustic guitar, fiddle, mandolin and stand-up bass accompanied her mountain soul voice on songs "Goin' Gone" and "Untold Stories." Her Appalachian tales included the Jean Ritchie song "Blue Diamond Mines." This was real country music... heartfelt and not from your ordinary country star. "Love at the Five and Dime" included most in the audience becoming the chorus on the line "dance a little closer to me."

"You'll Never Leave Harlan Alive" featured an acoustic guitar solo and a powerful mandolin solo that cut high about all other sounds. The beautiful melody of "Come from the Heart" left plenty of room for some fine instrumental work. The beloved Grammy winner, "18 Wheels and a Dozen Roses" was a sure hit. She rocked the Stones' "Gimme Shelter," showcased an acoustic slide guitar on her bluesy "455 Rocket," and sang her heart out on Hazel Dickens' hard luck tale, "Black Lung." Mattea encored with a spritely Celtic instrumental.

At one point, Mattea called the Mahaiwe a jewel -- her voice echoed in this beautiful venue, and the audience echoed their praise of Mattea.

Springfield Symphony & Corey Cerovsek

Mozart, Vivaldi, Mendelssohn
Symphony Hall, Springfield MA
March 14, 2009

By Donna Bailey-Thompson

Just like families, not all symphony programs are harmonious. The SSO's "Symphonic Seasons" program featuring the distinct sounds of Mozart, Vivaldi, and Mendelssohn, demonstrated that when the musical chemistry is in tune, the audience's pleasure is sensed long before the applause begins.

The title of Mozart's "Adagio and Fugue in C minor" doubled as a roadmap: the orchestra – all strings only – began with alacrity, so merry and bright – and then eased into waves of soft phrasing that invited contemplation and perhaps even levitation beyond the confines of Symphony Hall. Maestro Kevin Rhodes and the dedicated musicians were in tuneful sync.

Much of the evening's pre-concert excitement centered on the return of violinist Corey Cerovsek performing – again – Vivaldi's "The Four Seasons." Each of the seasons (Spring, E Major; Summer, G minor; Autumn, F Major; Winter, F minor) is a concerto, a complete experience, separated by brief pauses. Beyond Cerovsek’s exacting technique, what seemed to impress audiences in particular was his ability to memorize "all those notes." An intense standing ovation persuaded Cerovsek to play what he described as "short and sweet" – an arresting display of pell-mell dexterity that catapulted the audience to clamor for more until he raised his 1728 Stradivarius and announced the next piece was a "slow movement" – of what? Unintelligible words but no matter: his tour de force accomplishment was secure.

The communication between SSO's conductor and musicians was apparent during Mendelssohn's "Scottish" Symphony No. 3, in A minor. Mendelssohn's emotional appreciation of his visit to Scotland was lovingly and meticulously performed. The movements were interconnected; their moods followed natural bridges to the next musical interpretation of sweeping moors, rugged crags, churning clouds, sudden sunshine, and tumultuous history. The SSO's professional growth was especially evident. Unlike major symphonies with a majority of full-time musicians and extended rehearsal opportunities, SSO's first rehearsal for a Saturday concert begins two days earlier, on a Thursday. Knowing their polishing time is precious, everyone arrives prepared. Rhodes' high standards inspire the musicians to exact more of themselves. The result is a win-win for the musicians and audiences. Now "celebrating 65 years of live music," the Springfield Symphony Orchestra is recognized as one of New England’s crown jewels.

Matt Lewis' Elvis

City Stage, Springfield
through March 8, 2009
by Eric Sutter

He was the King... he was the Guitar Man, and was a poor country boy who became a Rock idol. He hasn't left the building. Matt Lewis was raised far away from Tupelo, Mississippi but his spirit for entertainment is similar to that of Elvis. He impersonated the mannerisms, gestures and voice of Elvis extremely well -- almost eerily at times. He began his show with the featured song "A Little Less Conversation" from the 1968 movie "Live A Little, Love A Little." The song kept the memory of Elvis alive when it returned to the charts in 2002 by Remix JXL for the Nike World Cup commercial.

Dressed in the early-years style of gold jacket and black slacks with acoustic guitar, he performed a medley of early hits including "Return to Sender" with back-up by local musicians Jim Henry on electric guitar and Guy DeVito on bass. The show was fast-paced and broken up into segments of Elvis' 23 year career. The movie years featured the "Jailhouse Rock" 6240 prison uniform along with two female dancers as correctional officers. He rocked "Follow That Dream" and ventured into "Blue Hawaii" with "Rock-A-Hula." A warm "Love Me Tender" ended the set.

The '68 Comeback Special had another medley of rockin' hits such as "Heartbreak Hotel." With "Baby Let's Play House," Lewis dressed in black, flirted with the audience, and women screamed as Henry played an exciting guitar solo. "In the Ghetto" was a stand-out that brought forth a strong emotional response. He closed the first half with "If I Can Dream."

The jumpsuit Vegas years with the passionate "Burnin' Love" and "Suspicious Minds" featured the dancers in white GoGo boots and red wide-sleeved mini-skirts. "My Way" readied the thrilled audience for the Gospel sing-a-long "Amen" and the cheer down of "Crying in the Chapel." The patriotic "American Trilogy" moved the audience deeply. Matt Lewis encored with a wild "Viva Las Vegas."