Opening Night Gala

Springfield Symphony Orchestra, Springfield, MA

www.springfieldsymphony.org

September 27, 2014

by Michael J. Moran

To open the SSO’s 71st season and his own 14th season as music director, Kevin Rhodes presented what he calls in his “Rhodes’ Reflections” column in the program book “three incredible showpieces for orchestra” which feature all these musicians as soloists. In doing so, the clever maestro also upended some classical programming traditions.

Ravel’s crowd-pleasing “Bolero” is usually a rousing closer, but Rhodes brilliantly engaged his audience by beginning the concert instead with this most familiar piece on the program. The opening notes of the snare drum’s steady ostinato rhythm established a slightly faster than normal tempo, and the excitement only grew as the sinuous melody first introduced by a solo flute gained instruments and volume with each repetition before reaching its “loud as possible” crescendo 14 minutes later. The SSO’s performance was exhilarating and carefully balanced.

With the audience now ready for less familiar fare, the vivid account of Debussy’s “La Mer” (“The Sea”) that came next found both clarity and mystery in these “three symphonic sketches.” The SSO’s playing was a marvel of contrasting moods in “From Dawn till Noon on the Sea,” delicacy in the “Play of the Waves,” and blazing intensity in the “Dialogue of the Wind and the Sea.” 

The concert closed after intermission with a dramatic rendition of Mussorgsky’s “Pictures at an Exhibition” in Ravel’s masterful 1922 orchestration. Among its many distinctive pleasures are the opening promenade for solo trumpet, the soulful saxophone (also notable in “Bolero”) in “The Old Castle,” and the chirping woodwinds in “The Ballet of the Chicks in Their Shells.” Rhodes and the SSO also captured the full majesty of the climactic “Great Gate at Kiev,” perhaps the grandest of all finales.

After each piece Rhodes singled out many individual players and whole sections of the orchestra for “solo” bows. The percussion section was special fun to watch as they scrambled from one colorful instrument to another in meeting the many demands of this program on their formidable skills. The mutual respect clearly shared by all these musicians augurs a fulfilling season of great performances ahead.

Evita

Bushnell, Hartford, CT

www.bushnell.org

through September 28, 2014

By Walt Haggerty

Although “Phantom of the Opera” and “Cats” have racked up considerably longer runs, “Evita,” which first arrived on stage in 1978, remains Andrew Lloyd Webber’s best work to date. Currently, the Bushnell is offering a production of “Evita” based on its most recent Broadway revival, and it is a triumph.

A rags to riches story of a poor country girl with lofty ambitions, “Evita” transports its heroine, step by carefully calculated step, from “groupie,” to radio personality, to film actress, to mistress to the most powerful military man in Argentina, and finally to First Lady, with eyes focused on the country’s Vice Presidency.

Without question, the centerpiece of this production is Caroline Bowman, who delivers a luminous portrayal of a woman determined to achieve her goals as she rises to an iconic pinnacle of adoration from her legion of followers. Bowman is superb as was recognized by Tuesday evening’s audience following her Act II performance of the “Don’t Cry for Me Argentina” anthem – a spectacular moment!

Max Quinlan performs the role of Che impeccably as an observer and sometimes participant in the action, narrating and filling in gaps in the story of Evita’s rise from obscurity to stardom. Quinlan’s waltz with Evita is a gem. Sean MacLaughlin’s characterization of Peron diminishes the stiffness of earlier interpretations as it humanizes him and adds a layer of warmth.

Christopher Johnstone, as the appropriately oily Magaldi, and Krystina Albado, as Peron’s pathetically rejected young mistress, each contribute excellent performances in secondary, but key roles.

The large cast, meticulously directed by Michael Grandage, performs beautifully. What appears to be some judicious pruning of the book, allows for additional and welcome opportunities to feature the excellent choreography of Rob Ashford. Handsome and effective settings and costumes by Christopher Dram grant precisely the right touches, ranging from poverty to elegance.

A somewhat reserved audience throughout Act I rose to the occasion with gusto following Act II with a well-deserved standing. With this production of “Evita” the Bushnell has set a high mark for the remaining productions of their annual Broadway Musical series.

Ether Dome

HartfordStage, Hartford, CT

www.hartfordstage.org

through October 5, 2014

by Jarice Hanson

The publicity for HartfordStage’s production of Elizabeth Egloff’s new play, “Ether Dome”, uses the term “exhilarating,” leading the reader to suspect hyperbole. Instead, the word is an apt description for the energetic, engrossing story that unfolds. Egloff tells the story of four men whom were instrumental in the quest for relieving human suffering and what might be considered the “birth” of modern health care. In the process, humanity vs. opportunism, science vs. superstition, and change vs. the status quo become interwoven themes.

Can the invention of anesthetic be attributed to only one man? Should Hartford dentist Dr. Horace Wells who used laughing gas to calm his patients get the credit? Should it be his apprentice, the ne’re do well William Morton, who attempted to patent the gas? Was it Dr. Charles Jackson, who favored science over superstition, or Dr. John Collins Warren, the founder of Mass General, who feared change? As the story unfolds, each of these men undergoes personal transformation as the medical world shifts. Egloff writes that Wells, for example, may have been the inspiration for Robert Louis Stevenson’s novel, Dr. Jekyll and Mr. Hyde. Does that pique your interest?

The excellent ensemble cast is complimented by a brilliant scene and projection design by James Youmans who transforms the stage from the surgical space of the Ether Dome (which still exists at Mass General Hospital) to a variety of locations from Boston to Washington D.C., including a visually stunning representation of a New York subway platform. But the master of the show is director Michael Wilson who moves his cast through a fast-paced two hours and forty minutes of human drama and comedy as the personal stories unfold.  

Ether Dome is a gift to an audience who appreciate the occasional joke about Hartford and Boston, but who find the real story of a scientific breakthrough as mesmerizing as the drama and history that unfolds. HartfordStage has produced a winner with this very original, fascinating theatrical experience.

Boston Symphony Orchestra

Tanglewood, Lenox, MA

www.bso.org

August 23, 2014

by Michael J. Moran

The concluding Tanglewood weekend featured one of the splashiest programs of the entire 2014 season. It opened with Berlioz’ “Roman Carnival” Overture, closed with all three symphonic poems in Respighi’s Roman Trilogy, and even Rachmaninoff’s “Rhapsody on a Theme of Paganini,” which preceded intermission, was connected to Rome by Paganini’s several brief periods of residence in the Eternal City.

Frequent Boston Symphony Orchestra (BSO) guest conductor Charles Dutoit got the program off to a lively start with an exuberant account of the tuneful Overture. Steeped in the French tradition, the orchestra and their leader indulged this colorful score’s every opportunity for instrumental display, but always with elegance and taste.  

Charles Dutoit

Russian-born pianist Kirill Gerstein then took the stage to deliver a knockout performance of the Rhapsody. Gerstein’s youthful experience as a jazz pianist may have inspired his freer than usual approach to the notes, but it nicely reflected both Paganini’s style of virtuosic showmanship as a violinist and Rachmaninoff’s as a pianist. Dutoit and the BSO were in total rapport with their soloist, from the music’s witty quotations of the “Dies Irae” plainchant to the soaring lyricism of the famous eighteenth variation.

The second half of the concert was devoted to a rare and spectacular rendition of Respighi’s iconic cycle of tributes to the city he loved. Dutoit programmed the individual pieces not in their order of composition but for maximum dramatic impact: first, the garish but glitzy Roman Festivals; next, the haunting and poetic Fountains of Rome; and, finally, the towering, majestic Pines of Rome.

Detoit led his musicians almost without pause, remaining onstage until the end, thus emphasizing their unity of spirit and sound. Dutoit has an instinctive feeling for this flashy repertoire, and the huge orchestra -- including multiple keyboards, an enlarged brass choir downstage right, and an offstage trumpet -- expressed its varied colors with unfailing technical command and surprising emotional depth. 

The imaginative and intelligent programming by maestro Dutoit of this and the next afternoon’s season-ending Beethoven program (why aren’t the kindred Choral Fantasy and Ninth Symphony paired more often?) only enhances the joy of hearing music in world-class performances at this uniquely appealing venue.

Jonny Lang/Runaway Saints

Mahaiwe, Great Barrington, MA

www.mahaiwe.org

August 21, 2014

by Eric Sutter

Denim-clad alt-country band Runaway Saints debuted their sound at Mahaiwe Performing Arts Center to an enthusiastic response. These Nashville, by way of Providence, RI, songsters sang about loves lost, found, and shared in an acoustic folk-rock/country format. The band opened with the love song "Caroline." Stand-outs in the course of the evening included "Loretta Lynn," about missing her voice on the radio; "California's Girl," about losing a woman to the Golden State, and a rave-up rootsy rock song "We Got Love" with mandolin, guitar and banjo. "Headed Home" carried it full circle to their next day's gig back home in Pawtucket.

This stop at Mahaiwe was important because it was the last venue on their current tour to feature Jonny Lang. Jonny Lang's new century sound is a slight departure from his 1997 debut blues-rock style. Part blues-rocker and soul singer, his approach added a sweeter soul sound to his vocal. Always edgy and passionate, Lang projected a strong stage presence with tribal inspired rhythms that resonated in the soul. The scorcher "Blew Up (the House)" was electric. "Freight Train" was powered by his frenzied lead electric guitar delivery. The Tinsley Ellis cover, "A Quitter Never Wins," harkened back to the debut album "Lie To Me."

The title cut of Lang's 2007 Grammy winner, "Turn Around," expressed turning life around in its lyrics. Rhythm guitarist Akil Thompson turned out a great solo on "Red Light." Lang showcased nice guitar tone throughout. Stand-out funky keyboardist Dwan Hill also hit the mic on Stevie Wonder's "Livin' For The City.” Lang found his true voice on his own "Fight For My Soul" from his first studio album. This time around, a fresh, crisp joyful sound filled the hall with spirited passion. Connecting effortlessly with the audience, Lang performed  "Wander This World." His encore was the familiar "Lie To Me" featuring a subtle acoustic guitar with a break-in by his blues band in a full tilt finale. Right on!

Bard Music Festival

Bard College, Annandale-on-Hudson, NY

http://fishercenter.bard.edu/bmf/2014

August 8-17, 2014

by Michael J. Moran

Over two weekends every August for the past 25 years, the Bard Music Festival has focused on a single composer, along with predecessors, contemporaries, and successors who influenced or were influenced by that composer. What distinguishes Bard from other music festivals is the annual publication by Princeton University Press of an accompanying book with essays contributed by scholars who also participate as speakers and panelists at festival programs.

The 2014 festival, “Schubert and His World,” presented 14 concerts, two panel discussions, and several film showings. Most evening concerts featured orchestral music played by members of the American Symphony Orchestra, conducted by Bard President and ASO Music Director Leon Botstein in the acoustically excellent 900-seat Sosnoff Theater of the distinctive Richard B. Fisher Center designed in 2003 by Frank Gehry. Daytime concerts offered mainly chamber and instrumental works in the 200-seat Olin Humanities Building auditorium, where the panels were also held.  

The highlight of weekend #2 was a concert presentation of Schubert’s rarely performed 1823 opera “Fierrabras,” whose title character, a brave and selfless Moorish knight, survives political conflict at the hands of Charlemagne and a romantic rivalry for his daughter. The gorgeous music, trimmed from its original “heavenly length” to just over three hours, was thrillingly rendered by Botstein and his forces. All the vocal soloists were good, but tenor Joseph Kaiser brought special conviction and beauty of sound to the title role.   

Another festival highlight was a “Schubertiade,” or “evening of music making and socializing with friends,” genially hosted by pianist Piers Lane as Schubert’s friend and host of many Schubertiades, Josef von Spaun. Lane not only introduced a revolving cast of singers and instrumentalists but made amusing and informative comments on the music, some of which he also played at the keyboard. His titanic account of Schubert’s Piano Sonata in A Major, D959, in a different concert was particularly moving.

Other performances of special distinction were a sensitive unabridged reading of Schubert’s second Piano Trio by the young Horszowski Trio, and the ASO’s lively playing of Luciano Berio’s imaginative Rendering, a post-modern “restoration” of another “unfinished” Schubert symphony. Among the many singers who performed, baritone Andrew Garland and mezzo-soprano Teresa Buchholz were standouts. But the protean Bard Festival Chorale under James Bagwell seemed especially tireless and omnipresent.

With a packed schedule at the festival, time to visit such nearby attractions as the historic town of Rhinebeck and the homes of Hudson River School artists Thomas Cole and Frederic Church is often scarce, but the natural beauty of the Hudson Valley is its own reward.

A Hatful of Rain

Berkshire Theatre Group, Stockbridge, MA

www.BerkshireTheatreGroup.org

through August 30, 2014

by Walt Haggerty

Photo by Emily Faulkner

How could a play first produced in the 1950's be as timely, riveting and shocking today as when launched - perhaps even more so?

The focus of Michael V. Gazzo’s flawlessly written “A Hatful of Rain,” as produced by Berkshire Theatre Group, is on Johnny Pope, a veteran who has become a drug addict, initially because of medication prescribed during his recovery from wounds received during the Korean War.

The role of Johnny Pope, as unforgettably portrayed by Tommy Scheider, travels a tortuous path of taut desperation, loss and ultimately, hope. As Johnny’s pregnant wife Celia, Megan Ketch is equally brilliant in her confusion and frustration, attempting to learn what has happened to her husband and their marriage.

Greg Keller, as Johnny’s brother Polo, is outstanding as the brother who always has to settle for second place, but is always there to comfort, support and rescue other family members. Stephen Mandilo, as the mostly absent father, gives vent to his disapproval by blaming Polo for Johnny’s desperate situation, without ever accepting, or even recognizing, his own failures.

The trio of menacing drug dealers deliver portrayals of consummate evil in action: Triney Sandoval, ironically identified as “Mother;” the kingpin, Chris Bannow, as “Apples;” and Cornelius Davidson, as “Chuch." Their participation at times provides flashes of sardonic humor as well as terror. Davidson’s role, as a mistreated African-American and reluctant participant, is the most sympathetic. “Mother” specializes in terrorizing, while Bannow’s “Apples” is frighteningly bizarre. In a scene showing the group, accompanied by an out-of-control Michelle McGregor, as Putski, all are in “high” humor until terror comes dangerously close to boiling over.

The fine-tuned, meticulous direction of Greg Naughton deserves much of the credit for this exceptional revival of what should deservedly rank as one of the peaks of this theatre season. The Berkshire Theatre Group must be commended for bringing this amazing production to the region. Hopefully, future audiences will fill the theatre, which was regrettably well below capacity on opening night. This cast demands "Standing Room Only” attendance, and those who do attend will be greatly rewarded.