REVIEW: Springfield Symphony Orchestra, "Echoes of the Americas"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

November 16, 2024

by Michael J. Moran

With this program of five works by different Hispanic composers, led by Puerto Rican-born conductor-violinist Guillermo Figueroa and featuring Uruguayan-born composer-pianist Miguel del Aguila, the SSO presented a virtual mini-festival of Latin American music in 90 minutes.

Guillermo Figuero

It opened with Puerto Rican composer Ernesto Cordero’s “Insula Tropical” (“Tropical Island”), a concerto for violin and string orchestra written in 2007 for Figueroa, Music Director of the Santa Fe (NM) Symphony Orchestra. Its four short movements depict lively and quiet scenes of Puerto Rican life in music of lush romanticism. Figueroa led the SSO strings in a sensitive account, while also playing the solo violin. It was highlighted by a whirlwind minute-long finale, with a virtuosic violin solo depicting the flight of a golden hummingbird. 

Next came the evening’s major showpiece: the 2004 “Three Latin American Dances,” by multiethnic American composer Gabriela Lena Frank. The first dance, “Jungle Jaunt,” exudes the highly charged energy of Amazonian dance forms. The second, “
Highland Harawi,” is an intoxicating brew of nocturnal sounds, mysterious and slow. The third, “Mestizo Waltz,” evokes popular Indian, African, and mariachi band rhythms. Figueroa drew a sensational performance from an enlarged SSO, especially the brass section and a massive array of percussion instruments.

The best-known work on the program was the second suite from Spanish composer Manuel de Falla’s popular 1919 comic ballet “The Three-Cornered Hat,” portraying folk life in 19th-century Spain. Incorporating Spanish dances, the suite consists of a fandango (“Dance of the Miller’s Wife”), a seguidilla (“Neighbors’ Dance”), flamenco (“Miller’s Dance”), and a frantic closing “Jota.” Figueroa and the SSO delivered a colorful reading.

The concert closed with two brilliant dances. Argentinian composer Astor Piazzolla’s 1974 “Libertango” transformed his country’s national dance, the tango, into what became known as “nuevo tango,” introducing elements of jazz and modern classical music. Ending the program was Miguel del Aguila’s infectious 1994 “Conga,” with the composer playing the dazzling solo piano part. Transforming the familiar Caribbean dance rhythm into a luxuriant Viennese waltz and back again, the brass and percussion created many hallucinatory effects. Conductor and ensemble were electrifying partners, and the enthusiastic audience loved it.

The SSO’s next concert, “Heralding the Holidays,” will feature conductor William Waldrop and the Springfield Symphony Chorus, on December 14th.

REVIEW: Hartford Symphony Orchestra, "Brahms’ First"

The Bushnell, Belding Theater, Hartford, CT

www.hartfordsymphony.org

November 15-17, 2024

by Michael J. Moran

While the third weekend of the HSO’s 2024-2025 “Masterworks” series included only two pieces, both are beloved cornerstones of the standard classical repertoire, and the Belding Theater audience was accordingly large and appreciative.

Inbal Segev

HSO Music Director Carolyn Kuan opened the program with Sir Edward Elgar’s 1919 cello concerto, featuring internationally acclaimed Israeli-born cellist Inbal Segev. Reflecting the English master’s sorrow over the devastation of World War I and the mortal illness of his cherished wife, the concerto was Elgar’s last major work. Segev’s tone was aptly rich and mellow in her opening soliloquy. This was followed by a glowing “Adagio; Moderato,” a light, playful “Lento; Allegro molto,” an elegiac “Adagio,” and a restless “Allegro; Moderato; Allegro, ma non troppo,” including a final, heart-piercing cello soliloquy. Segev’s playing was deeply emotional and technically secure, with Kuan and the HSO offering full-blooded support.

In sharp contrast, Segev’s encore was a joyous account of the closing “Gigue,” a lively Baroque dance, from Johann Sebastian Bach’s 1723 third suite for solo cello, which highlighted her fleet and flawless finger work.

The program ended with Johannes Brahms’ 1876 first symphony. After he was publicly hailed at age 20 by his mentor Robert Schumann as “the savior of German music,” it took Brahms over twenty more years of off and on work to publish his first attempt at the form so highly developed by Beethoven. But his first symphony was an immediate success, one critic even calling it “Beethoven’s Tenth.”

Kuan and the HSO delivered a stirring performance, masterfully shaping the distinctive character of each movement into a dramatic whole, with perfectly judged tempos throughout. The opening “Un poco sostenuto; Allegro” started forcefully and continued with power and warmth. The “Andante sostenuto” was gentle and reflective. The “Un poco allegretto e grazioso” was lithe yet relaxed. The closing “Adagio; Piu andante; Allegro non troppo, ma con brio” was first suspenseful, then majestic, and finally, jubilant. The standing ovation was long, loud, and well earned.

  

The HSO’s next Masterworks program (December 13-15) will feature guest conductor Jonathan Rush and the HSO debut of 2024-2025 Joyce C. Willis Artist in Residence, pianist Clayton Stephenson, in music by Margaret Bonds and Tchaikovsky.

Review: The Bushnell, “The Lion King”

The Bushnell, Hartford, CT

www.bushnell.org

through December 1, 2024 

by Lisa Covi

There are few things in modern life as clear and entertaining as the story in a Disney musical. It shows stark differences between villains and heroes; children and adults can laugh at the same jokes, and there is always a happy ending.

 

The tale delivers a message that all can agree on: that the circle of life continues when we are all able to take care of each other and our world. If we cannot “feel the love tonight” every day, the Bushnell offers the experience of joy in pageantry, performance, and pathos of this triumphant journey.

"The Lion King" musical debuted in 1997 based on the animated 1994 film where much of the music and most of the plot originated. Similar to the biblical stories of Joseph and Moses, where some of the themes are drawn, the action takes place on the continent of Africa.

 

On stage, the production hits hard and fast at the beginning with the score by Hans Zimmer, Elton John, and others that have a vibe between Graceland and Zulu chant. The stylish scenery is simple and evocative, incorporating cast members as grasslands and scrim to project upon. The elephants in the room (along with lions, gazelles, and hyenas) are large hybrid costume/props that resemble puppets the performers inhabit. The distinctiveness of this particular show is the way that the cast performs the drama and music in a physical style using these mechanical devices. The effects blend lighting and music to consistently awe the audience.

The Bushnell is the ideal, large venue for "The Lion King". From the orchestra pit to the ceiling, entrances and performances even take place in the balcony.

 

The non-puppet protagonist Rafiki sings some of the best music. Portrayed by  Mukelisiwe Goba, his character calls out the mood of each act. Peter Hargrave is a deliciously deep-throated Uncle Scar who contrasts with brother Mufasa, Darnell Abraham. They manage their recognizably branded headpieces while projecting the human characteristics each actor brings to the part. The youngest performers of Simba and Nala conveyed pathos and energy. Characters Timon and Pumbaa as Simba's meercat and warthog friends nearly steal the show with personality cast upon the costumes. This cast was more than musical actors – they performed like Ginger Rogers – backwards and in high heels. The entire seasoned ensemble delivered a satisfying and hearty show.

The audience was clearly enamored and laughed heartily at the modern references and inside Disney jokes. The only noticeable minor distractions were an acoustic muddiness in the hall that made dialog sometimes difficult to understand, and a shadow that occasionally appeared on the back wall during a spotlight sequence.

 

The production was a magical masterpiece of visual and aural pleasure. As someone who came expecting an experience based on Disneyland's Lion King Parade from the 1990's, it was pleasantly surprising to discover that Broadway's highest grossing production truly lives up to the title “World's #1 Musical.”

Review: Theatre Guild of Hampden, "Driving Miss Daisy"

Theatre Guild of Hampden, Hampden, MA

www.theatreguildofhampden.org

through October 27, 2024

by Janice Webb 

Photo by Mark Giza

A premier jeweler may tell you that a simple quality setting can make the finest jewel shine all the brighter. This is the same with community theatre. On a simple school stage with minimal props, Anna Giza shone as brightly as any Broadway star.

Giza's portrayal of Miss Daisy as a feisty, fiercely independent and opinionated Southern matron was nothing short of brilliant. Giza has returned to the stage after a five-year hiatus, and it is wonderful for audiences that she is back. 

Miss Daisy's story, directed by Mark Giza, was well told as a series of vignettes taking place over a period of 20-years. One section of the stage depicted the demeanor of the parlor of an affluent Atlanta lady. The opposite side was the creation of the interior of her automobile.

It is not a spoiler to know that when Daisy, at age-72, crashed her own car, it is time son Boolie, aptly played by Joe Lessard, to insist that he hire a colored driver named Hoke, portrayed by Floyd Patterson II.

The story is a character-study of individuals in a certain era in the South. For those seeking action, "Driving Miss Daisy" is not a good fit. However, for those seeking a sincere story of racism with compassion and understanding this play is ideal.

At first, Giza plays the epitome of an older woman who resists the assistance of anyone. The social/economic divide between wealthy Southern matron and colored servant is very apparent. Over the decades as her physical body deteriorates, her emotional aptitude grows. She realizes that Hoke has become more than a servant; he has become someone she can always rely on. She realizes he is her best friend. 

Floyd Patterson II, a local musician with a large following, was a surprising, yet brilliant choice in casting. Patterson set his funky groove with his guitar aside, replaced by "right on" acting chops. Yes! Patterson can act and has quite a few plays to his credit. Patterson's portrayal of Hoke was very authentic and heartwarming.

When there are only three actors in a play, all must rise to the occasion as any weakness in character portrayal will be spotlighted. There is nowhere to hide, and no one to hide behind. All three actors performed beautifully, and the story was well told.  

Review: Majestic Theater, “A Moon for the Misbegotten”

Majestic Theater, West Springfield, MA

www.majestictheater.com

through December 1, 2024

by Jarice Hanson

 

Photo by Kate Rankin

The current production of “A Moon for the Misbegotten” at Majestic Theater gives audiences an opportunity to see and hear some of Eugene O’Neill’s most personal work. For those who know the author’s name but not the plays, this production demonstrates why O’Neill became known as the “father of American theater.” O’Neill introduced a style of realism to American theater that was popular elsewhere in the world—and in doing so, he changed the direction of American theater in the 1920's through the 1940's. It is not surprising that of the 25 plays he wrote, four of them won Pulitzer Prizes for Drama—an accomplishment unequaled in theater history.

 

Director James Warwick and Producing Director Danny Eaton have condensed the original four act drama to two acts, to be more friendly for contemporary audiences, and though the dialog in Act I is circuitous, much relies on the exposition of Phil Hogan, the patriarch of the Hogan family, charmingly portrayed by John Thomas Waite, and his effervescent daughter, Josie, played by Sue Dziura.   

 

In Act II, the plot explodes with Josie and her love interest, Jim, played by Jay Sefton, who seems to mine the many layers of his character. The chemistry between Dziura and Sefton is exhilarating and the two communicate beautifully on stage. They show the audience the genius behind O’Neill’s multi-layered characters, and his raw dialog, defining heartbreak and lust. 

 

Caleb Chew and Tom Dahl round out the cast in smaller, but still powerful roles that help patrons understand Hogan family dynamics and the peril of the tenant farmer when the landlord decides to sell the land. All of these characters define the Depression as well as showing how alcoholism and depression were endemic to that period in history. 

 

Greg Trochil’s set is a masterpiece of a run-down post-Depression farm in Connecticut; and James McNamara’s subtle, but effective lighting design transforms the Majestic’s stage into a monochromatic, moonlit backdrop for the larger-than-life colorful characters. Director Warwick has his cast working at a fast pace, but every word is crystal clear, and the character choices bold and satisfying.

 

This show is a classic in many ways. It may not be considered O’Neill’s greatest work, but in drawing the characters and situations from his own life, the audiences learns much about his approach to life and to theater at a time when he himself, was increasingly unable to write anymore.

 

As a reference point to American theater in the 1920's -1940's, those in their seats see how one author defined a generation of drama and cultural themes. This production offers much to think about, and for all of these reasons, don’t miss it!