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Clarke Bustard
The Virginia Classical Music Blog
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The Richmond Symphony is one of 12 recipients in the latest round of $7,500 grants from the Music Alive program of the League of American Orchestras and New Music USA, which finances one-week residencies by composers with small- and mid-market U.S. orchestras. The Richmond grant is for a residency by composer Laura Schwendinger in the 2015-16 season.

Schwendinger, a professor at the University of Wisconsin in Madison, was the first composer to win the American Academy in Berlin Prize. Her works have been performed by the American Composers Orchestra, soprano Dawn Upshaw, violinist Janine Jansen, cellist Matt Haimovitz, the JACK Quartet and other leading artists.

The composer’s Richmond residency will feature a performance of her “Waking Dream” (2009) for flute and chamber orchestra.
18 hours ago | |
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Oct. 23
noon-2 p.m. EDT
1600-1800 UTC/GMT
WDCE, University of Richmond
90.1 FM
www.wdce.org

Haydn: Symphony No. 93 in D major
Les Musiciens du Louvre, Grenoble/Marc Minkowski
(Naïve)

Ligeti: Quartet No. 1 (“Métamorphoses nocturnes”)
Hagen Quartet
(Deutsche Grammophon)

Berlioz: “Lélio” – “Fantasia on Shakespeare’s ‘The Tempest’ ”
San Francisco Symphony Orchestra & Chorus/Michael Tilson Thomas
(RCA Victor)

Past Masters:
Mahler: Symphony No. 1
in D major
Czech Philharmonic/
Karel Ancerl
(Supraphon)
(recorded 1964)

Dvorák: “Silent Woods”
Alisa Weilerstein, cello;
Anna Polonsky, piano
(Decca)
2 days ago | |
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with soloists, Richmond Symphony Chorus
Steven Smith conducting
Oct. 18, Richmond CenterStage

Gustav Mahler’s “Resurrection” Symphony (No. 2) may be the most challenging work that Steven Smith has undertaken in his four years (and counting) as music director of the Richmond Symphony.

The piece is long, lasting about an hour and 20 minutes. Its big outer movements, veering between tempestuous and softly lyrical, at times otherworldly, passages, can seem episodic or internally disjointed. It is scored for a very large orchestra, with double or triple the standard complements of winds, brass and percussion, including several offstage ensembles, with chorus, organ and two vocal soloists in its conclusion.

So, the Mahler Second is an epic job of traffic control for the conductor. All the more so with an orchestra, like Richmond’s, that must bring in a large number of extra players to muster a band of this size, meaning that the conductor must meld an ensemble from musicians not used to playing together.

Moreover, this is not a piece that speaks fluently if you just play and sing the notes. It is more spiritually charged than many overtly religious works; and it requires deep immersion in Austro-German romantic style, especially the long arcs of phrasing and expression that are uniquely characteristic of this style.

In the first of two performances of the “Resurrection,” Smith showed a firm grasp of most of the demands this music makes. He paced the symphony unerringly, and with great sensitivity to its extraordinary dynamic range, from earth-shatteringly loud to a level of quiet that is almost sensed more than heard. He maintained fine balance between string sections not much larger than the orchestra’s usual complement and oversized wind and percussion sections. He obtained idiomatically Viennese waltz tempos in the second and third movements.

The only shortcoming was a slackening of tension in quiet sections, especially in the first movement, “Totenfeier,” a sprawling funeral march that, along the way, poses a query in tone: “Wherefore hast thou lived? Wherefore hast thou suffered? Is it all some great, fearful joke?” The questions are posed in lyrical music, but need to retain some audible edge.

The orchestra performed splendidly, both en masse and in solos and ensembles. An 11-member French horn section paced the band in expressive sonority. The percussion section, with two sets of timpani and plentifully employed bass drum and cymbals, was suitably emphatic but never coarsely loud. Lower strings sounded with impact and plenty of bite. English horn player Shawn Welk, oboist Gustav Highstein, flutist Mary Boodell, trombonist John Sipher and violinist Daisuke Yamamoto contributed characterful solos.

Mezzo-soprano Jennifer Feinstein proved to be an ideal Mahler singer in “Urlicht,” the solo song preceding the symphony’s “Resurrection” finale, and blended beautifully with a richly sonorous soprano, Michelle Areyzaga, in that finale.

The Richmond Symphony Chorus, prepared by Erin R. Freeman, was in generally fine fettle but sounded distant, as it usually does when pushed to the back of the Carpenter Theatre stage and fronted by a large orchestra. The male choristers’ exclamatory passages, more than faintly echoing Wagner’s “Tannhäuser,” projected better than massed choral sections.

A performance of great concentration and gripping tonal drama was rewarded with a lengthy ovation.

The program repeats at 3 p.m. Oct. 19 at the Carpenter Theatre of Richmond CenterStage, Sixth and Grace streets. Tickets: $10-$78. Details: (800) 514-3849 (ETIX); www.richmondsymphony.com
4 days ago | |
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Oct. 16
noon-2 p.m. EDT
1600-1800 UTC/GMT
WDCE, University of Richmond
90.1 FM
www.wdce.org

D.J. Sparr: “Woodlawn Drive”
New Music Raleigh (Centaur)

Bartók: “Music for Strings, Percussion and Celesta”
Chicago Symphony Orchestra/Pierre Boulez (Deutsche Grammophon)

Rachmaninoff: Étude-tableaux in B minor, Op. 39, No. 4; Élegie in E flat minor, Op. 3, No. 1; Étude-tableaux in E flat minor, Op. 39, No. 5
Yuja Wang, piano (Deutsche Grammophon)

Beethoven: “Leonore” Overture No. 1
Tonhalle Orchestra, Zürich/David Zinman (Arte Nova)

Past Masters:
Brahms: Symphony No. 4 in E minor
Berlin Philharmonic/
Eugen Jochum (Deutsche Grammophon)
(recorded 1953)

Domenico Scarlatti: sonatas in F minor, K. 386-387
Mikhail Pletnev, piano (Virgin Classics)
9 days ago | |
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Norman Lebrecht, on his Slipped Disc blog, invited readers to list the top 10 composers or works they never wanted to hear again and those they considered worthy of more exposure. I couldn’t resist joining in the fun.

Scroll down to comments for my and others’ honor rolls:

http://slippedisc.com/2014/10/10-works-or-composers-we-need-to-hear-more/

And my and others’ dishonor rolls:

http://slippedisc.com/2014/10/10-works-you-never-want-to-hear-again/

Begging the question, “Who cares if you listen?” (borrowing the title given a Milton Babbitt commentary on another issue)? Perhaps. Or maybe it’s useful to know the likes and dislikes of those of us who publicly assess musical performances.

As a reviewer, I try to take music as it comes, whatever it is – with one exception.

That would be No. 1 on my dishonor roll: Tchaikovsky’s “Pathétique” Symphony. I have heard it played by some of the greatest orchestras and conductors (starting with George Szell and the Cleveland Orchestra, in concert in the 1960s), and I have always loathed it. So, when I retired from doing music journalism for money, I granted myself the privilege of never again having to endure the piece.

Is the “Pathétique” a masterpiece? Yes.

Should you trust any judgment I would make about a performance of it? No, and you won’t have occasion to.

UPDATE (Oct. 11): Conductor Leonard Slatkin weighs in:

http://slippedisc.com/2014/10/10-works-a-maestro-doesnt-need-to-conduct-again/
13 days ago | |
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A show full of new recordings, including a potent reading of Beethoven’s “Emperor” Concerto by Leif Ove Andsnes, the Violin Concerto that Richmond-bred Mason Bates composed for Anne Akiko Meyers and piano discoveries from Tchaikovsky, Wagner and Bach-by-way-of-Brahms . . .

Oct. 9
noon-2 p.m. EDT
1600-1800 UTC/GMT
WDCE, University of Richmond
90.1 FM
www.wdce.org

J.S. Bach: Partita in D minor, BWV 1004 – Chaconne
(arranged for piano left-hand by Johannes Brahms)
Leon Fleisher, piano
(Bridge)

Bates: Violin Concerto
Anne Akiko Meyers, violin
London Symphony Orchestra/Leonard Slatkin
(eOne Music)

Tchaikovsky: Dumka in C minor (“Russian Rustic Scene”),
Op. 59
Lada Valešová, piano
(Avie)

Wagner: “Sonata for Mathilde Wesendonck”
Llyr Williams, piano
(Signum Classics)

Beethoven: Piano Concerto No. 5 in E flat major (“Emperor”)
Leif Ove Andsnes,
piano & director
Mahler Chamber Orchestra
(Sony Classical)

traditional:
“Five Sheep, Four Goats”
Danish String Quartet
(Dacapo)
16 days ago | |
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Howard Pousner of the Atlanta Journal-Constitution summarizes an interview with Douglas Hertz, chairman of the board of the Woodruff Arts Center, corporate parent of the Atlanta Symphony Orchestra, whose musicians have been locked out over a contract dispute since Sept. 7:

http://artsculture.blog.ajc.com/2014/10/04/woodruff-arts-center-board-leader-takes-stands-on-atlanta-symphony-crisis/

Some of Hertz’s comments, especially his wondering aloud whether the orchestra’s musicians are “a bunch of crazy people” and his remark that ASO Music Director Robert Spano, who protested the lockout, “hasn’t been particularly constructive to this point,” have provoked quite a backlash, at home and elsewhere.

For example, here’s the reaction of orchestra administrative watchdog Drew McManus, on his blog Adapistration:

http://www.adaptistration.com/blog/2014/10/06/things-get-crazy-in-atlanta/

Hertz, unfortunately, does not address the statistic that compensation of ASO musicians amounts to about 25 percent of the orchestra’s budget, a substantially lower percentage than spending on musicians by comparably sized orchestras. That’s a key data point in comments from writers whom Hertz dismisses as “journalists who want to take the musicians’ side.”

To me, Hertz’s most telling comment is that “less than 5,000 donors in a metropolitan area of 5 million” support the orchestra. “If the public cared[,] maybe we wouldn’t be in this stituation.”

By comparison, the Richmond Symphony, performing in a market one-fifth the size of metro Atlanta, had about 1,250 individual, corporate, foundation and government donors in the 2013-14 fiscal year. (There were additional matching gifts.)

I find Hertz’s equation questionable. The orchestra’s relatively small donor pool may reflect public indifference; or it may be the result of not effectively reaching out to the public.

The only financial angels Hertz mentions are those who’ve donated or raised millions. How many of the less than 5,000 are small donors ($1,000 or less), and how much effort goes into soliciting their gifts?

Some professional fund-raisers question the tangible value of small donations – soliciting them may cost more than the solicitation raises. But there’s the intangible value: The more stakeholders an institution has in its community, the more credible its claim that the community cares about it. Big donors notice whether small donors care, so the intangible can translate into the tangible.

And when the crunch comes, as it obviously has in Atlanta, the more people literally invested in the institution, the brighter the prospects for a resolution of the crisis.
16 days ago | |
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OC Weekly’s Chris Walker and friend, attending a “Classically Cannabis” concert by the Colorado Symphony, find out whether marijuana intensifies the experience of classical music:

http://blogs.ocweekly.com/heardmentality/2014/10/does_classical_music_sound_better_when_youre_high.php

Judging by the comments following the article (“Your mom looks better when I’m high,” etc.), I wouldn’t bank on buzzed 20-somethings filling up empty seats at orchestra concerts.

(via www.artsjournal.com)
16 days ago | |
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Virginia Opera
Adam Turner conducting
Oct. 3, Richmond CenterStage

Whether you think of Stephen Sondheim’s “Sweeney Todd, the Demon Barber of Fleet Street” as a quasi-opera or an operetta or a Broadway musical, it’s proving to be a terrific vehicle to launch the 40th anniversary season of Virginia Opera. The show packs a dramatic punch, garnished with titillation, and its cast of singing actors, from the stars to the choristers, perform like true believers. It earned the cheering ovation that erupted after the first of two Richmond presentations.

Stephen Powell plays the title character, a London barber intent on avenging his unjust transportation to the penal colony of Australia by a corrupt judge who lusted after Sweeney’s wife and now plans to possess the Todds’ daughter, Johanna, by marriage. Powell very effectively portrays Sweeney as a stolid, preoccupied figure, with only a certain dark look in the eye hinting at his pent-up rage. His dark but usually mellow voice sends the same signals, often to chilling effect.

Phyllis Pancella, as Mrs. Lovett, purveyor of the worst meat pies in London, who becomes Sweeney’s landlady and would be his lover, is the comic lead of the show. She further sets herself apart by being the only one in a cast full of London low-life characters to speak and sing in a Cockney accent. Pancella is gratifyingly manic without going over the top, and vocally top-flight.

Amanda Opuszynski, as Johanna, and Andre Chiang, as Anthony Hope, the young sailor who rescues Sweeney at sea, once they make landfall in London, falls in love with Johanna, are an attractive and suitably fresh-voiced couple. Chiang gives “I Feel You, Johanna,” the show’s big romantic number, the full measure of warmth and yearning.

Jake Gardner, as the villainous Judge Turpin, and Scott Ramsey, as the Beadle (bailiff), sing and play their characters with appropriately gruff, assertive tone. Gardner is convincingly conflicted, and smoother vocally, in his interlude of tortured introspection.

Among the supporting cast, Diana Dimarzio as the Beggar Woman and David Blalock as Tobias stand out both vocally and in characterization. Members of the Virginia Opera Chorus are in very good form, both as narrators and denizens of Fleet Street.

The show’s director, Ron Daniels, co-authored the play that Sondheim adapted for this musical, and Daniels’ immersion and authority show in virtually every move the cast makes. Kyle Lang’s choreography likewise rings with authenticity.

The production, originally staged by Opera Theatre of Saint Louis, is dark and spare, but a nonetheless effective platform for a show driven by mood and character.

Adam Turner, in his first outing as Virginia Opera’s principal conductor and artistic advisor (he had been the company’s resident conductor for three seasons), draws vivid, colorful playing, nicely balanced with voices (amplified for this show), from a pit band composed of musicians from the Virginia Symphony.

Virginia Opera’s “Sweeney Todd” repeats at 3 p.m. Oct. 5 at the Carpenter Theatre of Richmond CenterStage, Sixth and Grace streets, and at 8 p.m. Oct. 11 and 2 p.m. Oct. 12 at the Center for the Arts of George Mason University in Fairfax. Richmond tickets: $15.25-$103.95; Fairfax tickets: $44-$98. Details: (866) 673-6782 (Richmond); (888) 945-2468 (Fairfax); www.vaopera.org
19 days ago | |
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The Royal Concertgebouw Orchestra of Amsterdam has tapped Daniele Gatti as its next chief conductor. He takes over from Mariss Jansons next year.

Gatti, who turns 53 next month, has been music director of the Orchestre National de France since 2008. He formerly was chief conductor of the Zürich Opera (2009-12) and the Royal Philharmonic of London (1996-2009). In his native Italy, he has served as principal conductor of the Orchestra Dell’Accademia Nazionale di Santa Cecilia in Rome and the Orchestra del Teatro Comunale di Bologna.

He will be the Concertgebouw’s seventh principal conductor. Appropriately, given the orchestra’s history, among Gatti’s first dates after the announcement of his appointment will be performances of Mahler – the Sixth Symphony in November and Third Symphony in January.
19 days ago | |
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