Defiant Requiem: Verdi at Terezin

Berkshire Choral Festival, Berkshire School, Sheffield, MA

www.choralfest.org

by Michael J. Moran

Rafael Schaechter

Subtitled “A Concert Drama,” the second program of BCF’s 2012 season was a moving tribute created by guest conductor Murray Sidlin to Czech musician Rafael Schaechter (1905-1944), who trained 150 of his fellow prisoners in the Terezin concentration camp to sing Verdi’s “Requiem,” of which he led 16 performances there from a legless piano between 1943 and 1944 before he and most of his singers perished at Auschwitz and other death camps.

A complete account of the Verdi “Requiem” by the Springfield Symphony Orchestra, the 180-member BCF Chorus, and four soloists was supplemented between movements with video testimony about these Terezin performances by surviving singers, excerpts from a Nazi propaganda film about Terezin, and a narration about the historical background. To suggest how the Terezin performances may have sounded, the orchestra was replaced in a few passages by solo piano.

The BCF performance was impassioned and intense. Soprano Rochelle Ellis, mezzo-soprano Janet Hopkins, tenor Scott Ramsay, and bass Stephen Bryant sang well individually and in various combinations. The large chorus sang with consistent clarity and unanimity. The orchestra played with distinction throughout, from the thundering brasses and percussion of the “Dies Irae” to the hushed strings of the “Offertorium.”

Three narrators, including Sidlin, also made strong contributions. Actor and bass-baritone John Arthur Miller read the words of Schaecter; and acclaimed British baritone Benjamin Luxon, sounding as mellifluous as on his many recordings, read testimony of various Terezin survivors.

Perhaps the most touching part of the performance was the end, when the chorus exited through the audience singing a Jewish lullaby, accompanied only by clarinetist Michael Sussman and concertmaster Robert Lawrence, the rest of the orchestra having exited backstage. A video projection requested a moment of silence for Schaecter in lieu of applause.

In a program note, Sidlin quotes Schaecter as telling his Terezin Choir, “We will sing to the Nazis what we cannot say to them.” This “concert drama” poignantly reaffirmed the power of music to bring “absolute joy” (which one survivor remembered feeling when she sang Verdi’s “Sanctus” at Terezin) even in the face of death.

A Thousand Clowns

Berkshire Theatre Festival, Stockbridge, MA

www.berkshiretheatregroup.org

through July 28

by K.J. Rogowski

The Berkshire Theatre Festival’s production of “A Thousand Clowns” is a tight, well paced and very funny show. As with any good comedy, it calls for great timing and delivery, and this cast does indeed deliver.

CJ Wilson and Russell Posner as Murray and Nick, respectively, set a lively pace with their ongoing banter, songs, games, and general disregard for whatever the outside world may think of their cavalier take on life. Their situation, of Murray being five months unemployed, and Nick not really being under his legal care, is punctuated by the antics of James Barry and Rachel Bay Jones as the wonderfully uptight Albert Amundson, and his partner/ fiancée, the very sympathetic Sandra Markowitz of child welfare. Add to this comic mix the characters of Murray’s brother and agent, Arnold, played by Andrew Polk, who makes every effort to bring Murray back on board to write for the Chuckles the Chipmunk television show, and Jordan Gelber, as the jolly old chipmunk and equally self-centered and irritating kids show host, and the audience has a host of memorable characters, and comic moments to appreciate.

The story of Murray and Nick plays out a gamut of emotions, expectations and disappointments, pitting their off the cuff life style against the demands of social norms, legalities, and the oftentimes drudgery of every day life and survival. The play depicts the art of compromise and the test of wills in action. Randall Parsons’ set design too plays a role, with its tall dull grey walls looming over Nick and Murray’s apartment sanctuary, dotted with colorful stuffed toy eagles, and too many clocks ticking away their hopes. "A Thousand Clowns" is an evening of wit and wisdom, played out by a fine cast, delivering close to a thousand laughs.

Far From Heaven

Williamstown Theater Festival, Williamstown, MA

www.wtfestival.org

The Hong Kong Ballet

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through July 22, 2012

by Amy Meek

The Hong Kong Ballet’s debut performance at Jacob’s Pillow was a beautiful and eclectic program. The company presented three contemporary works showcasing the dancers’ technique and artistry. All of the components of choreography, dancing, costumes, and lighting contributed to make the performance emotionally powerful.

The first ballet, "Black On Black," by Kinsun Chan, explored the different meanings of the color black. The dancers worked together well, dancing in geometric shapes with grounded movements. The dramatic music, costumes and lighting created an intense effect of beauty and strength.

Peter Quanz’s ballet "Luminous," in contrast, had an airy feel and sustained movements. This piece showed the complex emotions of human relationships. The dancers, clothed all in white, alternated between exuberance and control. The music by Marjan Mozetich was breathtaking and communicated the feel of longing in the ballet.

The final ballet was "Symphony in Three Movements," a work choreographed by Nils Christe. This war-inspired piece, set to Igor Stravinsky’s score, was a display of power and technique. The ensemble group sequences were the most intriguing to watch with the dancers in unison through many dynamic and percussive passages.

The Hong Kong Ballet truly howed off their versatility and talent as a company. The audience was very responsive, rising to their feet at the end of the performance.  Jacob’s Pillow once again has given Western Massachusetts a summer season filled with the highest caliber international dance companies.

Green River Festival

Greenfield Community College, Greenfield, MA

www.greenriverfestival.com

through July 15, 2012

by Eric Sutter

A hot and humid weekend had folks cool drinking during a euphony of music in celebration of the 100th anniversary of Woody Guthrie's birthday. Three stages and three generations of Guthries made for a festive family reunion. Main-staged Sarah Lee Guthrie and Johnny Irion kicked it off with a folk song about their Berkshire home, "When The Lilacs Are In Bloom." Wonderful harmonies colored Woody's "Pastures Of Plenty" and their own "Bright Examples." The Meltdown Stage featured the whimsy sounds of the Sweetback Sisters. Kids also loved Eloise the Great with the ukulele. Chuck Prophet rocked a "Summertime Thing" for older kids. He posed the question, "Who Put The Bomp?" in a modern rock style.

The hip-shakin' Charles Bradley expressed deep emotion with the splits, sweat and a slow burn of soul wrenching heartache. His pain conjured a funky, "Heart Of Gold" and his "Never Give Up On Love" rave. A kids Mardi Gras parade ensued to the beat of Dixieland. Later, couples danced to the Latin roots-rock hits of Los Lobos. As dusk settled, hot air balloons lifted as the last of the frisbee players left yonder field. The Guthrie clan sang "Kindness" to the main throng of the large audience. Arlo and Sara Lee sang "Oklahoma Hills." The whole family rocked "Coming into Los Angeles" with Abe's stand-out keyboard solo. His son Krishna handled electric guitar on Wilco's "Airplane To Heaven." The fun sing-along ended with a spirited "My Peace." Day two caught the "Ramblin' Round" spirit of Woody.

Day two featured Nashvillian Elizabeth Cook, who performed country and gospel. Her take on Merle Haggard's "Today, I Started Loving You" raised smiles. With a voice that tingled, she took the stage by storm with the gospel rave-up "Hear Jerusalem Calling." Chris Smither mellowed down easy with his fingerstyle guitar Delta Blues. Master British guitarist Richard Thompson performed songs from "Walking On Wire" including his classic "1952 Vincent Black Lightning." Peter Mulvey sang a warm vibed set at the Meltdown Stage ending with "Knuckleball Suite." The Reggae music of The Alchemystics competed with an appearance by powerhouse zydeco player C.J. Chenier on Yonder Stage. Green River had something for everyone, including awesome food.

Beethoven: Missa Solemnis in D Major, op. 123

Berkshire Choral Festival

Berkshire School, Sheffield, MA

www.chorus.org

by Kait Rankins

Every year, the Berkshire Choral Festival brings together choral singers from around the world to live and breathe the music for a week, attending music classes and rehearsing for five hours a day. Each singing week culminates in a concert for the public. While BCF's home is in Sheffield, MA, they also have singing weeks in Edinburgh, Scotland, and Mondsee/Salzburg, Austria. This year BCF opened their season in Sheffield with what Beethoven acknowledged as his greatest work: the Missa Solemnis, a liturgical work containing the text of the Latin Catholic Mass.

Under the leadership of guest conductor Craig Hella Johnson, the 80-minute performance flew by, taking on the highs and lows of worship: quiet pleas for mercy and triumphant declaration of faith in God. The choir was accompanied by the Springfield Symphony Orchestra, BCF's partner for the past 31 years, who handled the complex piece with masterful ease.

The concert featured soloists Mary Wilson (soprano), Emily Lodine (mezzo-soprano), Derek Chester (tenor), and Kevin Deas (bass), all of them accomplished classical vocalists who came together to create a magical quartet that led the 200-member choir. Of particular note was Wilson, whose bell-like soprano was bright and easily distinguishable from the choir's rounder sounds. Her tone added clarity and precision to the performance, particularly when paired with Lodine's mezzo-soprano in close harmonies.

At times, the choir seemed to lag slightly and didn't always seem to be together when it came to diction (one notable moment being the clatter of "t" consonants ending a short "et" during the Credo), and there were moments when the tenors and basses should have been in focus but the far more numerous sopranos and altos overpowered them. However, the overall sound was full and majestic, inspiring whispered praise from the audience following the Gloria.

BCF continues its season with three more concerts in Sheffield, starting with Defiant Requiem, a concert drama about Jewish prisoners during WWII created and conducted by Murry Sidlin. 

Last of the Red Hot Lovers

Williamstown Theater Festival-Nikos Stage, Williamstown, MA

www.wtfestival.org

through July 22

by Jarice Hanson

The genius of Neil Simon is that his characters evoke empathy. In “Last of the Red Hot Lovers”, Brooks Ashmanskas ably portrays Barney Cashman, a middle-aged restaurateur caught in the shifting mores of the ‘60s sexual revolution. He’s never cheated on his wife, but he would like to find “something beautiful and decent” with another woman, at least once. Ashmanskas is a terrific physical performer who embodies the humor of Barney’s self-consciousness and desire. His portrayal of a man having his first experience with marijuana is side-splittingly funny.

Barney’s big problem lies in the women he tries to seduce. Comic Susie Essman plays Elaine, a cynical woman who would rather have a smoke than a smoking Barney. Leslie Bibb is Bobbi, the wacko actress-wannabe Barney meets in a park. Finally, there is Jeanette, played by Heidi Schreck; a depressed friend of Barney’s wife, who is achingly funny in her melancholia. It’s no spoiler to say that Barney’s sexual frustration grows as we learn about the women’s baggage. The dialog drives home the pain of a nice guy who just wants to be bad once, even though the only place he can have a tryst is in his mother’s apartment.

Director Jessica Stone has found the timelessness in this 1969 script. She focuses on the desire to connect with someone in a loving, decent way, while the rest of society gives way to hedonistic pleasure. On opening night, the cast was working hard, but the three sets of relationships had not yet crystallized. The three female roles are challenging, since the actors need to create a rapport with the audience beyond character type while keeping comic tension. Ashmanskas’ Barney develops nicely, with humanity, desire, and a quintessential Neil Simon resolution.