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As the gray of a Southern California June settles in, the Spring performing arts season sighs its last sigh before our real summer months kick in. There’s still a lot to take in around town, but it's also one of the prime times to consider getting out of town. The prime example of this is right up the Pacific Coast Highway where this year’s Ojai Music Festival will kick off for four days of adventurous 20th Century and contemporary music on June 7th. This year’s music director is Leif Oven Andsnes and he’s put together a great program that includes the West Coast premiere of John Luther Adams’ Inuksuit which will open the festival on Thursday with its dozens of percussionists spread throughout Liibbey Park. (The video above will give you an idea of what the show was like indoors at the Park Avenue Armory in New York last year.) There’s so much else though, and you can read further about the program and the festival's many guest artists who’ll be visiting Ojai in my interview with Mr. Andsnes from last month.

Further up the road in the Bay Area, there are some other high priority out-of-town events for the month. San Francisco Opera will present Verdi’s Attila starring Ferruccio Furlanetto in the title role on June 12th. But perhaps the bigger temptation will be John Adams' Nixon in China which will receive its company premiere on the 8th with an excellent cast that includes Brian Mulligan as Nixon. And if you are in town the weekend I will be, you’ll likely want to see the San Francisco Symphony who’ll be performing Bartok’s Duke Bluebeard’s Castle for three nights starting the 21st with Michelle DeYoung and Alan Held under Michael Tilson Thomas. (P.S. If you missed Kander and Ebb’s excellent The Scottsboro Boys in San Diego, don’t make the same mistake when the show comes to A.C.T. in San Francisco starting June 21st after finishing its run down south this coming weekend.)

From the Vancouver Opera production of Nixon in China Photo: Tim Matheson
If you want opera closer to home, June’s big offering down south will be Long Beach Opera’s production of Michael Nyman’s The Man Who Mistook His Wife for a Hat which will receive the first of two performances on the 16th. There’s other music in town to put on your calendar. The PARTCH ensemble will return to REDCAT on the 14th with Bitter Music, another evening of music from the quintessential American outsider composers, Harry Partch. Meanwhile, the Los Angeles Mater Chorale will honor another revered composer with a tribute to Henryk Górecki at Walt Disney Concert Hall on the 10th. Meanwhile in Orange County, the Philharmonic Society welcomes Simone Dinnerstein who'll play on all Bach program on the 18th. There’s dance too when the Bolshoi Ballet comes to the Music Center starting on the 7th for five nearly sold out performances of Swan Lake.

There’s theater big and small of course. Center Theater Group’s Mark Taper Forum will present the world premiere of a new musical from Michael John LaChiusa, Los Otros starting on the 3rd. The Porters of Hellsgate will mount Shakespeare’s The Merry Wives of Windsor starting on the 15th. Further south, the Old Globe Theater will kick off its summer festival season with Shakespeare’s Richard III on the 3rd, As You Like It on the 10th, and just for contrast, Inherit the Wind on June 17th. This year’s festival and two of the three productions will again be headed up by director Adrian Noble. Also in San Diegp, the LaJolla Playhouse will present the West Coast Premiere of J.T. Roger’s Blood and Gifts starting on the 12th. And if you’re looking for something even more adventurous, there is the return of Robert Cucuzza's take on Miss Julie, Cattywampus on the 22nd and Theatre Movement Bazaar's Anton's Uncles on the 8th both part of the South Coast Repertory Studio series. You may also want to consider one of the dozens of theatrical events this month that will take place this month as part of the Hollywood Fringe Festival focusing on the breadth of experimental theater in Los Angeles. I'll be constrained from participating myself this year and there are far too many shows to mention, but you can peruse their website for details. And before the month is out, you’ll want to see Ntare Guma Mbaho Mwine’s A Missionary Position at REDCAT starting the 28th which examines the particular conflicts of gay identity in certain parts of Africa.

From Robert Cucuzza's Cattywampus
As for me, I’ll be catching up on some out of town opera in two very different locales. I’ll be in St. Louis Missouri for Opera Theater St. Louis’ festival season to report on the American premiere of Unsuk Chin’s spectacular Alice in Wonderland which starts June 13 as well as to catch their revival of Sondheim’s Sweeney Todd with Rod Gilfry in the title role which continues through the 24th. After that it’s off to Europe for 10 days which will stretch into July where I’ll be sampling a variety of offerings including the Royal Opera House’s now Kaufmann-less premiere of Berlioz’ Les Troyens on July 1 to be followed by Billy Budd and the new opera from Blur’s Damon Albarn, Dr. Dee both at English National Opera. In Paris, Emmanuelle Haïm will return to the Garnier to conduct a new production of Rameau’s Hippolyte et Aricie while the Bastille will welcome Renée Fleming in one of her signature roles as Strauss’ Arabella. The time away will be capped off with a regisseur tour de force all brought to us by the Komische Opera Berlin who’ll give us a Stefan Herheim vision of Handel’s Xerxes, Calixto Bieito’s double barreled view of Der Freischütz, and Andreas Homoki's takes on both Wagner’s Die Meistersinger von Nürnberg, and Janacek’s The Cunning Little Vixen. Hopefully there's something here for a sunny start to your own performing arts summer.
1 year ago | |
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Another Mary's Magda
Part of the fun in listening to new music is never knowing exactly what you’re going to get. Sometimes it’s exciting and sometimes it’s disappointing. And sometimes it’s confusing. After attending the world premiere of John Adams’ new massive oratorio/opera, The Gospel According to the Other Mary, with the Los Angeles Philharmonic on Thursday I was mostly puzzled. So much so I elected to wait until after hearing a second performance today before writing about it. And still I’m not sure if the piece is utter genius or something decidedly less memorable. But I do feel certain that this is a major step in a new direction for Adams, and the oratorio is decidedly unlike anything he’s written before. Now that’s not to say that there aren’t bits here and there that evoke familiar pieces from Adams’ prior works. Lazarus’ aria at the close of Act I, “Tell me how is this night” has ties to Oppenheimer’s Act I aria “Batter My Heart” from Doctor Atomic. And there were more than a few times in the choral writing particularly that I was reminded of The Death of Klinghoffer. But despite the obvious similarities between Other Mary and Adams’ prior New Testament oratorio El Nino, the musical differences between the two works, as well as many of his more recent compositions, are striking.

If El Nino is a contemporary take on Handel’s Messiah, The Gospel According to the Other Mary most clearly revisits Bach’s great St. Matthew Passion. Like El Nino, and Doctor Atomic, the text of the Other Mary is compiled from a variety of different sources, both poetic and not, to highlight contemporary connections to the story of the Passion. But El Nino is filled with circumscribed passages moving from one aria or contained musical tableaux to the next. There are scenes backed with grandeur and seat-riveting emotion with large cinematic crescendos. In contrast, The Other Mary is far more subdued overall and musically homogeneous. There are beautiful, and beautifully complex moments, but they are embedded in a work meant to be heard as a cohesive whole. It’s not unlike the contrast between a hit-laden Rossini opera and the stage works of Wagner or Debussy. The Gospel According to the Other Mary is a very far cry from the kind of toe-tapping kitsch of City Noir from 2009 and it makes El Nino sound like The Merry Widow.

If the new oratorio sounds heavy, it is. Surely it should be considering the subject matter at hand. But, Adams and his collaborator Peter Sellars have gone much farther than in prior collaborations in incorporating outside elements into the familiar story of Jesus’ crucifixion and resurrection. Part of that is clearly indicated in the title. Adams and Sellars have returned to the gnostic gospels to tell the story of Christ’s death and resurrection from the perspective of the women around him including Mary Magdalene, sung in the premiere in a gorgeously dark-hued nearly contralto manner by Kelley O’Connor, and her sister Martha, an equally mysterious and transfixing Tamara Mumford. The events concerning Mary and Martha prior to the crucifixion are familiar ones. What’s new is the grafting of a second, more contemporary storyline on top of this one. In Adams and Sellars’ version, Martha and Mary are also in and out of jail, running a home for unemployed women, and at other times are protesting alongside Cesar Chavez in mid-20th Century California. With all this activity, it’s a wonder they find time to deal with all the Jesus business on the agenda.

The oratorio opens with Mary in prison listening to the screams of her cellmates. The superb Los Angeles Master Chorale gets a crack at the text of court injunctions against the field workers, and Jesus may just come back as a gardener in the end. It’s a bold move and one that certainly ties in strains of liberation theology to the mix of poetry and other texts grafted together for this libretto. But it doesn’t always work very well. The actual sung text rarely captures the level of detail and action in Sellars’ synopsis, and presented as an oratorio, the piece is often confusing outside of the inevitable draw of the well-known passion story. Mary is saddled with chestnuts like “I cut off my hair and toss it across your pillow/A dark towel/like the one after sex.” You may not be able to hum it after the show, but you aren’t likely to forget it either. On the other hand, the new last words that Adams and Sellars have given Jesus to speak from the cross are insightful and moving. The piece cried out for some physical action to flesh out these unclear connections and give the performance cohesion. The Gospel According to the Other Mary may end up being quite a bit more of an opera than an oratorio in the end and next season’s planned stage version of the work with the Los Angeles Philharmonic could prove more revealing.

For every moment in this dark brooding score that hits home, as with Lazarus’ closing Act I aria sung by a chillingly superb tenor Russell Thomas, there are twice as many that are stone cold dull. The score is almost scrubbed clean of the few remnants of the kind of minimalism Adams was associated with in his early career. The trio of countertenors from Adams’ prior oratorio return, the roles sung here by Daniel Bubeck, Brian Cummings, and Nathan Medley, but this time around they are far less unified and take up and abandon many voices in the cast of characters beyond being angels and simple narrators. The orchestra is smaller than one might expect, reaching only early 19th century proportions. But the instrumentation is augmented with some unusual elements including cimbalom, electric bass guitar, and more almglocken than you can shake a stick at. The Gospel According to the Other Mary does indeed have a complex and multi-layered score. Los Angeles Philharmonic Music Director Gustavo Dudamel led these performances and notably cancelled an appearance here just a few weeks ago to allow himself more time to prepare. I can see why he would want to. The coordination required to manage the work’s diverse elements and multiple textual layers is a challenge that I wager not just anyone in the musical world could meet. The choral writing alone is a mountain to scale for Grant Gershon and the members of the excellent Los Angeles Master Chorale. Dudamel didn’t quite make the best case for the work in these initial performances, instead allowing the orchestra to wallow ponderously in orchestral passages where a more exacting clarity could have provided a stronger sense of motion in the work. He reaches for the dark beauty in the score but drowns the piece in doing so amid its many muddy byways in its three hour plus running time.

Audiences all weekend were keenly aware of this feeling of disconnection as performance after performance, the cast returned to significantly smaller audiences after intermission. Adams too frequently crosses the fine line between mesmerizing and tedious. The Gospel According to the Other Mary is a groundbreaking and markedly different work of music theater for its creator. I believe it could turn out to be as big a revolution as Nixon in China was. But it’s not quite there yet. It’s overly long and lacking in focus. The story elements need clarification and the musical direction needs to be more decisive and clear. But there is a beautiful heart beating in this Other Mary. One can hear it in the voices of O’Connor, Mumford, and Thomas who give rich, profound performances of the three central roles. Here’s hoping it sees the resurrection it deserves along the way of its many planned future performances here and around the world in coming seasons.
1 year ago | |
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Members of the What's Next? Ensemble Photo: mine 2012
Of the many challenges facing a composer, perhaps the greatest is getting your music heard. Even in your own backyard, something so straightforward can be so insurmountable. Los Angeles would seem ideally suited to addressing the problem. There is no shortage of highly talented, creative composers, musicians who love to play new music, and a large, active audience interested in hearing it played. And yet, surprisingly, never the twain do meet. Or at least not very often. Not that it never happens, but living composers stand a much better chance of getting heard on local stages if they are from out of town – and particularly if that town is somewhere in Europe. On Saturday night, the What’s Next? ensemble, a consortium of young musicians under artistic director Vimbayi Kaziboni, mounted their latest program aimed at addressing this very issue in Culver City. It was the fourth installment of the company’s Los Angeles Composers Project, a series devoted to performing chamber works from composers living and working in L.A. or around Southern California. These annual showcases have proven increasingly popular, and Friday’s crowd swelled beyond the capacity of the room in their current home at Royal/T Café. (Sadly this venue will soon be closing soon, forcing the group to look for a new home for performances next season.)

The interesting thing about the show, and the others in the series, have been the diversity of music and styles all held together under a single musical roof. The What’s Next? ensemble sets relatively few limits for the artists who submit works to be considered, outside of geography and available musical resources. There have been pieces from established and successful composers right alongside works from those still in music school. The contrast in terms of content, as you might guess from the preceding, can be vast from experimental descendants of late-20th century European modernism, to more typically tonal works ripped right off of screens both big and small. It’s all part of musical life in Los Angeles, and the What’s Next? players aim to capture at least part of all the different music made right where we live.

There were some lovely moments in Ian Krouse’s flute and harp duet, Air, as well as in Stephen Cohn’s substantial single movement for string trio and marimba, American Spring. Cohn's work, inspired by the numerous uprisings throughout the Middle East last year contained some lovely work from Ben Phelps on the marimba. The most theatrical moment of the evening came at the close of the program with Nick Norton’s open-form AutoSonata Beta, which built as each of 10 musicians entered the room one at a time taking positions surrounding the audience while playing a prescribed rhythm in a different pitch as set out in the rules of Norton’s score as an homage to experimentalist composers of the mid 20th Century. The music built to a crescendo and then subsided as players left one at a time much in the same way they entered like a wave crashing on shore and then receding. The longest title of the night belonged to Jason Barabba’s string trio, A Declarative Sentence Whose Meaning is That We Must Try Harder. Composer Kenji Oh contributed Tsuki No Uta, a setting of three poems about the moon by Ogura Hyakunin Isshu that were sung by tenor Matthew Miles with percussion, flute, guitar, and cello. The mysteries alluded to there were paralleled in more ironic fashion with Veronika KrausasOr for solo violin played here by Sakura Tsai. Series of paired alternating pitches are periodically broken with dramatic pizzicato as the work sways back and forth until ending in the spoken dichotomy, “enlightenment or insanity?”

Perhaps the most poignant moment of the evening, though, belonged to Shaun Naidoo’s Diaraby for solo guitar and electronics. Naidoo, a composer and faculty member of Chapman University, died unexpectedly just weeks before this concert. Naidoo had been a long term friend of many in the What’s Next? ensemble, which has previously performed his works. Naidoo's friend and Chapman colleague Jeff Cogan, for whom the piece was written, played Diaraby, which is based on a West African folk song paired with processed audio of the performance with random changes of the simultaneous playback. And while there is nothing essentially elegiac about the work, Cogan’s heartfelt performance was a reminder of one of the unique qualities of art as something that its creator leaves behind- a living echo of its creator. And for a moment Naidoo, a dear friend to many in the room, was there again sharing with a community of local composers and musicians. For an evening dedicated to the spirit of a local music community, it couldn't have been more fitting under the circumstances.
1 year ago | |
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Sandra Bernhard Photo: Steven Gunther 2012
It was a little less than a year ago that Sandra Bernhard brought her show I Love Being Me, Don’t You? to REDCAT in downtown Los Angeles. Ms. Bernhard herself was the first to admit Wednesday that she was surprised to be back at the REDCAT so soon after these prior appearances. But there she was in all her glory with a show of mostly brand-new material at the invitation of the REDCAT staff for what will be two weeks of shows. The new material is packaged under the title Sandrology, and as the title suggests, there is plenty of the autobiographical material she’s been known for. But things were decidedly different this time around than last year. Ms. Bernhard’s comedy has long operated on the outskirts of traditional stand-up comedy. She doesn’t really tell jokes as much as she creates ironic extended riffs on the American culture of angst and celebrity. She weaves elaborate and decidedly fake tales around songs with just a twinge of irony in their loving embrace. I Love Being Me, Don’t You? extrapolated that methodology to a sophisticated and polished end in an evening that could be as much rock concert as comedy show.

But Sandrology takes off and runs in the opposite direction. There are still songs, six in all, including a finale medley of Apollonia 6’s “Sex Shooter”, Foster the People’s “Pumped Up Kicks”, and Aerosmith’s “Janie’s Got a Gun”. I’ll let you puzzle out the critique in that one, but let it be said that any evening that start’s with Neil Sedaka’s “Laughter in the Rain” is going to be a good one. But the majority of the two-hour evening is performed without a band, Ms. Bernhard at the mic delivering full-fledged written comic riffs on everything from celebrity perfume brands, twitter accounts, and the relative social statements of shopping at Trader Joe’s and Whole Foods. (If you’re wondering, no one gets away clean.) The extended song embedded monologues take a back seat to what comes off as good old-fashioned stand-up. She hits a number of celebrities from Lady Gaga to DeNiro in the 80s. She even manages some sophisticated self-parody for those quick enough to catch the spiraling references. But Ms. Bernhard’s cultural critique is always more sophisticated than it’s packaging and the targets are just as frequently ourselves as they are the rich and famous. She’s got guest stars this time too, who included Kevin Cronin on opening night joining the comedian for a rendition of “Can’t Fight This Feeling”. As with any new material, some of the bits are still a work in progress, but anyone who has ever loved Ms. Bernhard, or even just liked her a little in passing, will be pleased with what she’s serving up at REDCAT over these two weeks through June 10th.
1 year ago | |
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Peabody Southwell, Ani Maldjian, Suzan Hanson Photo: Keith Ian Polakoff Stertz
Roving reporter and man-about-town Ben Vanaman caught the final performance of Long Beach Opera's staging of Golijov's Ainadamar this weekend and filed this report.
The Long Beach Opera just concluded performances of its penultimate production of the current season, Osvaldo Golijov’s Ainadamar (Fountain of Tears), a lament “in three images” for the poet and dramatist Federico Garcia Lorca, a progressive who was assassinated by Spanish Fascists at the outbreak of the Spanish Civil War in 1936. A scrappy company known for its productions of contemporary operas and works outside the general repertoire, often staged in offbeat Southern California locales, LBO had intended to perform Ainadamar at the old Long Beach Press Telegram building, but was forced to move the production to the oft-used Terrace Theater when that site became unavailable. Perhaps this accounted for a performance that, while often enjoyable, sometimes seemed a little scrappier and more under-rehearsed than usual for this enterprising company, which can work wonders on a budget (as in a memorable Nixon in China from 2010 and even a surprisingly strong Akhnaten from last year).

One entered the theater to find a raked stage covered in fabric, its focal point a lone raised chair in center stage from which the character of Lorca’s actress friend Margarita Xirgu waxes tragic about the great loss of this man to her student-acolyte Nuria. Golijov’s score, an insistent musical poem of hauntingly lyrical and sometimes jarringly clangorous effect, draws on elements of various colloquial musical styles that have influenced the composer and which are a trademark of his compositional technique. At times, for example, one can almost hear the peal of a muezzin’s call, evoking the Islamic history of Granada, where Lorca lived and died. In one of the most effective moments of this score, Lorca’s murder is punctuated by gunshot-like bursts that transition into flamenco rhythms. The orchestra, hidden behind a scrim at the back of the stage, delivered a compelling reading of the score from first note to last.

Dramatically, however, the production was somewhat inert. David Henry Hwang’s libretto, which is essentially a prolonged reminiscence imposes limitations on what is possible in terms of design, movement, action despite its powerful content. Here, the result was a mixed bag. While the paraphernalia of stagecraft –the chair; the sheet- made it look like the sets came from the Dollar Store, there were some notable effects: striking lighting cues –blistering and brilliant when Lorca is killed; shimmering and ethereal when Xirgu breathes her last at the end- and an elevator that lifted the eight-woman “Greek chorus” from beneath the stage to comment on the sorrow of it all. When Lorca dies, slain alongside a bullfighter and a teacher, three dancers magically appear behind the fallen martyrs, pulled aloft in a striking coup de theater. However, one questions the wisdom of sending Xirgu down the hole at the end, sinking into the abyss rather than rising to join her beloved friend and comrade.

The vocal standouts of the evening were the tormented Lorca of Peabody Southwell and Ani Maldjian’s authoritatively-sung Nuria. Susan Hanson in the role of Margarita Xirgu was commanding in the middle of her range but a bit raggedy at the top, problematically resulting in protégé Nuria coming across as a more bold personality than her mentor. Golijov’s inspiration in making Lorca a “trouser role” has been noted. It certainly provides subtext to the story’s sexual politics, which is more glancingly marked by Hwang –and director Andreas Mitisek- in only one moment where presumed homosexual Lorca is seen flirting with a possible male lover. But the work carries power, from the beginning, where Xirgu prepares to reassume the lead of Lorca’s play “Mariana Pineda” in the final moments of her life, to the poignant conclusion, where Xirgu’s dying memories of Lorca are left in the hands of Nuria. Verbal history is the ranconteur’s trade, and Hwang beautifully draws on this tradition to craft a necessarily outsized portrait of one of the 20th Century’s greatest writers. But the company may have done itself an unwitting disservice by asking Gregorio Luke to read, in vivid and impassioned Spanish, three of Lorca’s greatest poems in a pre-concert talk. This reading took one’s breath away, setting one’s expectations almost too high for what the company could deliver. But that the evening was so generally satisfying overall speaks well of Long Beach Opera and its mission.
1 year ago | |
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Hilary Hahn and Hauschka in Los Angeles Photo: mine
I love a prepared piano. So does German artist Volker Bertelmann who goes by the stage name Hauschka. The instrument has been the cornerstone of his musical output over the last several years. It’s not a new sound, of course, the term being coined by John Cage in the mid-20th Century to describe the various objects and techniques used to physically alter the sounding of strings in a standard piano. And while there were certainly precedents to these techniques long before Cage came on the scene, the tinkling, plunking, shattered resonance of the prepared piano has continued to resonate in a post-WWII mentality over the last half-century. The sound is still associated with Cage and a musical avant-garde. But composers have found ways to incorporate the instrumentation into a variety of music decidedly closer to the familiar or mainstream world of both concert and popular music. I first got hooked on the sound through Arvo Pärt’s Tabula Rasa: music that is indelibly linked in my head with the upside down exploding piano in Rebecca Horn’s Concert for Anarchy (1990) the sculpture in the collection of London’s Tate Modern.

Rebecca Horn's Concert for Anarchy in the Tate Modern
But Hauschka takes all of this post-war angst of decades ago and re-integrates it into something associated more closely with contemporary popular music genres. His piano tinkles and rumbles along melodic and rhythmic lines that would be familiar to any listener of contemporary art rock. The instrumental songs slide along with a beauty that make them highly listenable and fairly addictive. In spring of 2011, Hauschka got a chance to collaborate with another musical figure known for her virtuosity, violinist Hilary Hahn. The pair, who have just seen the fruits of their work, Silfra, released on Deutsche Grammophon, intuitively seem like perfect collaborators. Hahn is known on concert stages throughout the world and not only has been a force in commissioning new music but has a public wit and intellect that sets her apart from others in her field. She’s the kind of solo performer whose self-expression rides more on music than a funny haircut and unusual concert attire. (And you know who you are.)

Hahn and Hauschka created a recording based largely on improvisation and spontaneous musical interaction during their studio time in Iceland. (The recording is named after an area in Iceland where tectonic plates nearly meet by a lake.) Long-time Björk producer, Valgeir Sigurosson, helped shape these collaborations into something unusual, but not unrelated to contemporary pop music. (See the example "Bounce Bounce" below if you can sit through the annoying commercial attached to the front of it.) And in the last few weeks the two musicians have brought the improvisational interaction to live audiences, which happened for the first time in the U.S. at the El Rey theater in Los Angeles on Monday night. The pair, by their own admission, had only played live together on a very few prior outings in Europe and would move on to Seattle and Japan before returning to the East Coast later this summer. And while things could feel a bit unrehearsed in the stage banter department, the musical collaboration flowed easily. The songs were based on elements contained on Silfra, but were still improvised and didn’t follow any rigid pre-planned format. Although each player had a brief solo number, the show was entirely based on their work together.


It was beautiful music, but clearly was an experience that pushed on some of the contemporary social traditions around musical performance. The show took place in a standing room hall more often used for rock concerts. Chairs had been set up for the general admission audiences that was far from capacity in the room. By necessity for balance, both Hahn and Hauschka were amplified. The crowd clearly enjoyed the performance, but many were uncertain of what to expect. At one point an enthusiastic fan took advantage during piano preparation time to directly issue a request to Hahn to break into Bach or Paginini. She politely refused indicating this is not what this show was about. Her rebuke was met with applause, but clearly there were others in the audience drawn to the performance on her reputation that may have gone away disappointed in not getting what they were expecting. Which was a shame, considering the strength of the collaboration.

Instead these two musicians offered unexpected music created from their own mutual exploration. It may not have been revolutionary or changing the direction of art music as we know it but it was sincere and as fiercely independent as anything you could wish for. You can listen to Silfra now, but even better, keep your ears open if you’re lucky enough to have them come your way.
1 year ago | |
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Kelley O'Connor. Photo: Zachary Maxwell Stertz
Mezzo-soprano Kelley O’Connor has long been a favorite here in Los Angeles, a sentiment increasingly shared by audiences around the world. She’s made her mark to date singing a number of contemporary works from several high profile composers. She’s particularly well known for her signature performances as Lorca in Golijov’s Ainadamar which she has sung all over the world and will take to Madrid later this summer. Of her many recordings, her performance in this opera under Robert Spano brought her and the company many accolades including a Grammy award. She was hand picked by Peter Lieberson to be the first vocalist to perform his Neruda Songs following the death of his wife Lorraine Hunt Lieberson whom they were originally written for. O’Connor is a frequent guest to the stages of all the major American orchestras in repertoire from Bernstein to Ravel. But even with all this history, she may be stepping into her biggest role here yet when she debuts this Thursday in the title role of John Adams’ new oratorio/opera The Gospel According to the Other Mary with a text compiled by Peter Sellars who will direct staged performances of the work here next season. She and the Los Angeles Philharmonic will again be led by music director Gustavo Dudamel. Despite the challenges of playing Mary Magdalene, Ms. O’Connor kindly found the time to take a crack at 10 Questions for Out West Arts.
  1. What role would you most like to perform but haven't yet?
    My dream role is Hans Sachs, but that will have to wait until I come back as a dramatic baritone, so for now I would love to sing Julius Caesar. This is a very challenging role vocally given all of the coloratura required, but I am drawn to the complexity of the character and the stunning music. There are so many different aspects to this man that I am intrigued to figure him out. Also, I'll take pants over a corset any day of the week!
  2. What role would you never want to perform even if you could?
    Baba the Turk. Does anyone really WANT to be the bearded lady?
Dudamel, Kelley O'Connor and members of the L.A. Philharmonic in 2010 Photo: mine
  1. You’ve already worked with some of the greatest artists in the music world at this point in your career. Whom have you not had a chance to work with yet, that you would most like to?
    You're right, I have been very lucky to work with some of the most amazing composers, conductors and directors in the world!! But one that I haven't had the pleasure to work with is Sir Simon Rattle. I admire his work and vision so much (especially the St. Matthew Passion he recently conceived with Peter Sellars). I feel he has the same goal I do which is to communicate a pure and honest message without any pretense. I think it would just be heavenly to work with him.
  2. You’re particularly well known for your work with contemporary composers including Peter Lieberson, Osvaldo Golijov, and John Adams. What’s the best thing about working with a living composer?
    The freedom! My favorite aspect of new music is that there is no set standard for how everything should sound and you can create your own interpretation. This is very liberating. It's the best part of my job. Actually creating something from nothing is the reason that I do this for a living. So many voices need to be heard and it is our job to sing life into them!
  1. Speaking of your work with John Adams, L.A. audiences will get the pleasure of hearing you return to the Los Angeles Philharmonic this month with Adams’ new work The Gospel According to the Other Mary under Gustavo Dudamel. (An excerpt from Kelley O'Connor's video log while preparing the piece can be seen above.) What can you tell us about your part in this large new oratorio?
    It's a War Horse! I am so thrilled to be part of this new piece. This is the first time that John has written something especially for me, and I am completely honored that he and Peter felt I could perform the role of Mary Magdalene. She is definitely a tormented soul who deals with a lot of doubt. This is something that I feel I can relate to and is really challenging me to bring out deep feelings and portray them to the audience. I cannot wait.
  2. What music most inspired you to become a professional vocalist?
    I have to admit that I am a choral singer at heart. There is nothing like creating music in a group and I think that is why I am always so glad to work with Peter and have such a familial element added to the creative process. I know that it is my experiences in choir throughout my elementary school days and onto my time at USC that gave me the desire to pursue this as a profession. Not only the music but the wonderful musicians and people I met during those times.
  3. Your iPod is destroyed by a tempestuous tenor. Which lost tracks would you miss most?
    Right now...all of my voice memos. I am listening 24/7 to all of my coachings in preparation for the Adams piece. It is the best learning tool I have! Luckily, I have my first meeting with Osvaldo Golijov recorded on tape (that's how long ago it was that I met him!) and that will be preserved for all time no matter what that tenor does!
Kelley O'Connor as Lorca in Golijov's Ainadamar in 2007. Photo: Ken Howard/Santa Fe Opera 2007
  1. You’ve had remarkable success with a number of recordings with a variety of major American orchestras in recent years. Is there a performance in particular you’re pleased has been saved for posterity?
    Of course, Ainadamar. That was my first recording and it was made after our magical summer in Santa Fe recreating the piece with Peter. Robert Spano was also the first conductor I worked with outside of school (in the original Ainadamar production at Tanglewood) and recording with him and the Atlanta Symphony is like performing with my hometown band. They have become like family to me and have really seen me grow as an artist and a person. I was lucky enough to record the Lieberson Neruda Songs with them as well. I have too many life-changing memories with them to name them all!
  2. What’s your current obsession?
    Musically speaking it's Bruckner 9 which I just heard at Disney Hall with the L.A. Philharmonic and Sir Simon Rattle. It blew my mind and luckily Gustavo Dudamel's recording came up on my Spotify so I got to hear two amazing interpretations. In life, it's my Vitamix blender. I'm a big foodie and I am obsessed with researching different food trends. I have tried them all! Right now it's Paleo!
  3. What’s next for Kelley O’Connor?
    I am again lucky to get to spend the summer with the amazing Peter Sellars and my best friend Jessica Rivera performing Golijov's Ainadamar in Madrid!
1 year ago | |
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Christopher Koelsch Photo: Rebecca Rotenberg/LAO 2012.
The performing arts season shifts gears here in Los Angeles and around the country as we move into the summer. But a couple of recent personnel changes at Los Angeles’ biggest performing arts institutions in the last few months invite thinking ahead to coming seasons, particularly in corners hardest hit by the economic downturn of recent years. One face, certainly fresh if not in any way new to his organization, is Christopher Koelsch who was announced as the new President and CEO of Los Angeles Opera beginning at the start of the 2012/2013 season. Following the economic downturn and the financial strain of an artistically groundbreaking Ring cycle in 2010, LAO has been digging itself out of a hole in the last few seasons with a reduced schedule heavily oriented towards crowd-pleasers and lower amounts of artistic risk. These developments closely followed the death of the company’s former CEO Edgar Baitzel in 2007. Since then the day-to-day operations of the company that has been headed by General Director Placido Domingo and Music Director James Conlon, has fallen to interim management from other players including LAO Board President Marc Stern and Music Center president Stephen Rountree. Rountree in particular has played a pivotal role as LAO's CEO from 2008 forward managing to complete many of Baitzel’s projects and stabilize the company’s finances in the subsequent economic downturn.

Meanwhile, Koelsch has been working his way up through LAO’s ranks since 1997 when he joined the company under the tenure of founding General Director Peter Hemmings. He’s served as the Vice President of Artistic Planning and in 2010 he became the Chief Operating Officer overseeing the non-financial aspects of the company’s management. His appointment to the top post under Domingo and Conlon is a big step and very good news for a number of reasons. Not only does he have a long history with the company throughout most of its history, but he represents the board’s move towards a stable future after a period of some struggle. Koelsch has taste and vision, which will serve the company well, particularly in the ensuing years, which promises even further changes. For those of you playing along at home, you may recall that 2013 is the year that the contracts of both Domingo and Conlon with LAO will expire. They may or may not stay on board, and even if they do, its highly likely the company will have to make new decisions about its artistic leadership somewhere in the not too distant future. Having Koelsch on board in the top day-to-day financial and operations spot buys the company core stability to ride with whatever punches may come along artistic leadership lines. Here’s wishing him the best and bringing the company back to a bigger and more adventurous seasons in the near future. (And how about a revival of that Ring cycle while we’re at it?)

Kristy Edmunds.
On the other side of town a new director with an even bigger task ahead has come to the performing arts series at UCLA. Kristy Edmunds was named the new Executive and Artistic Director of the series last spring following the precipitous departure of former director David Sefton in 2010. Again dwindling resources were to blame both internal to the University and in the community at large. Things quickly crashed and burned at UCLALive with just about everything adventurous in the once impressive series, including Sefton’s hallmark International Theater Festival, going out the window for very small amounts of the predictable, tried and true.

But in comes Edmunds to revive this moribund organization with an impressive track record both in Portland where she founded the Portland Institute for Contemporary Art and the Time-Based Art Festival, and in Melbourne, Australia where she was head of the Melbourne International Arts Festival for four years. She’s a leader with connections and ideas and she began showing some of those off just last week when she welcomed former subscribers and donors to Royce Hall to announce plans for the coming season at UCLA. She wasted no time with some new initiatives. She quickly suggested that the series completely re-brand itself with a new name and logo replacing UCLALive with the awkward and unwieldy name of The Center for the Art of Performance at UCLA (CAP UCLA). As she explained, while the name seems an odd choice, it’s meant to reflect a new emphasis on the series, functioning in the broader context of an interdisciplinary academic institution where the university community’s access to the study and act of performance is tantamount. This commitment is further reflected in two initiatives that will bring in new and established artists to the UCLA campus often in multi-year terms to develop new work and interact with others in the academic community. There will be CAP UCLA Artist Fellows, who initially will include both Laurie Anderson and Robert Wilson developing new projects during a multi-year commitment at the University, and then there are CAP UCLA Residencies from artists including Meredith Monk, Barak Marshall and Lars Jan. The residencies are already under way, and Monk’s work on campus earlier this year will inform her new piece On Behalf of Nature, which will receive its premiere at CAP UCLA in early 2013.

Edmunds should be cheered for shifting the emphasis of CAP UCLA toward developing more new work over just importing the latest and greatest from elsewhere, which dominates programming from similar presenters around town. But CAP UCLA isn’t out of the woods yet by any means. The fiscal picture, though improving, is still bleak, particularly for the state and University even if they represent only a small portion of the overall CAP UCLA budget. Edmunds introduced an expanded and certainly more diverse program last week than in the last few years that even included an albeit small return of three or four theater events. But the program overall is still heavily weighted toward one-off performances from world, folk, and roots based music outfits and the most familiar of faces. Classical music is particularly hard hit in the schedule with CAP UCLA relying nearly exclusively on the Los Angeles Chamber Orchestra for their programming. LACO is a great ensemble and cross promotion that gets more people into their shows is a good thing to be sure. But outside of promoting the Sunday evening programming LACO has typically offered at Royce Hall over the last several years, CAP UCLA will only offer three other “classical” performances including the Monk premiere, an evening with violinist Hahn-Bin, and an appearance from the great Anonymous 4 which will include the premiere of a piece from David Lang, love fail. The dance programming is more promising with visits from Ultima Vez and several programs revisiting the groundbreaking work of the Trisha Brown Dance Company, some of which will take place out of the theater and in the community around UCLA.

Wisely CAP UCLA has done away with any of the specific genre based subscription packages of recent years favoring an almost entirely design-your-own format for people requesting tickets in advance this year. There are signs of life here in the ashes of UCLALive, and one hopes Edmunds finds the support and resources to bring one of Los Angeles’s former premiere performing arts institutions back from the brink in seasons to come.
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The members of the Formalist Quartet
While people were out and about making the most of the holiday weekend Saturday night, one of Los Angeles’ most exciting chamber ensembles was indoors celebrating an anniversary with a performance. The occasion was the fifth anniversary of The Formalist Quartet composed of violinists Andrew Tholl, Mark Menzies, and Andrew McIntosh alongside cellist Ashley Walters. (Menzies and McIntosh trade off on viola parts providing the group with one more unique quirk that sets them apart from the crowd.) In 2006, the 100th anniversary of Shostakovich’s birth, the four players united with an interest in 20th-century and contemporary chamber music specifically with an interest in Shostakovich and Luigi Nono. The temptation of taking the name of an aesthetic movement once used as an artistic slur against Shostakovich and others by Soviet authorities during some of the composer's darkest days was too great to ignore. And in five years the ensemble has had an increasingly high profile working with the likes of Icelandic composer/performer Johann Johannsson and exploring other 20th-century and newer repertoire in a number of musical venues around town and around the country.

In the last year the ensemble has forged a close relationship with the expanding music programming at Venice, CA’s Beyond Baroque Literary/Arts Center one of L.A.’s true bastions of independent arts spirit and thinking. Saturday’s performance was the Formalist's third there, and the program pointed both forward and back for the players. Half of the evening was devoted to works by three of the quartet’s four members. Menzies offered a duo for violin and cello with a minimal amount of added percussion called The Kid. The work was a premiere and his latest in a series of compositions related to the birds of his native New Zealand. These are by no means Messiaen’s oiseaux, but a different more abstract breed with sounds less anthropomorphic or naturalistic than you might suspect. Tholl offered two very short solo violin works written for McIntosh, my memories are never an accurate representation and you take your path, I’ll take mine. McIntosh in return presented the appropriately names Two Small Quartets an effort to overcome his personal hesitancy about writing for the genre. Both ended too quickly and were studies in contrast with the first being softly played and nearly absent sounding with the other revolving around long-held tones passed between the players.

But as much as the evening was about their own compositions, it was also about the works that brought them together in the first place. Leos Janacek’s String Quartet No. 1 was a frequent part of the group's repertoire in their fist two years, and they revisited it here with a lusty swirling performance that made the most out of the folk elements that underpin so much of Janacek’s work. The show ended with Shostakovich. How else could it? The group picked the less frequently performed Quartet No. 5 in celebration of their anniversary. The players easily shifted between the ribald and the lyrical with well coordinated, superb playing from all corners. The sound was precise and intuitive at the same time, which made for a wonderful evening overall. Even in the middle of a holiday weekend.
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Charlie Robinson and Montae Russell. Photo: Henry DiRocco/SCR 2012
August Wilson’s play Jitney, which opened recently in a very fine revival at Orange County’s South Coast Repertory, is an odd man out in many ways. One of the first plays written by Wilson, Jitney was reworked and then reworked again for premieres in both 1996 and 2000 following a production in its original version in 1982. It’s one of the 10 plays that make up Wilson’s “Pittsburgh Cycle” which examine the African American experience throughout the 20th century decade by decade, nearly all of which are set in Pittsburgh’s Hill District. Jitney, an episodic story of the men who work in an unlicensed taxi business, or jitney during the early 1970s, is set in that same neighborhood, although it predates the idea of the cycle itself. Later after the successes of Wilson's Fences and Joe Turner’s Come and Gone, the scope of the overall project came into focus and the connections between the plays began to take shape. But Jitney stands alone. While there is still the sweep of socioeconomic, historical and cultural issues that fill the plot, the play's structure is looser and less focused. The magical realism that repeatedly comes up in the later plays has yet to surface with Jitney feeling a bit more like Arthur Miller than Gabriel Garcia Marquez. Powerful emotional scenes tend to run on, uncertain of exactly where to stop and a crush of subplots sometimes leave the greater arc of the show wanting.

And yet the play is unmistakably Wilson’s with its ambition and its real-life integration of multiple conflicting cultural contexts. The South Coast Repertory and director Ron OJ Parson have concocted such a loving, detailed version of the play in this revival that the show succeeds despite the source material's limitations. There's beautiful language here and powerful emotion that shines through within the lives of these men. The ostensible central figure is Becker, the owner of the jitney business, played by the always excellent Charlie Robinson. Robinson has given masterful performances in many of Wilson's plays in the area theaters including superb turns as Troy in Fences at both SCR and The Odyssey Theater in recent seasons. Becker's son Booster, a convincing Montae Russell, is just out of prison for a murder charge, and all the drivers are already aware that the pending reunion is not going to go well. Those drivers have a variety of their own issues. Youngblood, played by the very watchable Larry Bates, is an eager young man with dreams and plans to achieve them that his common sense can't always quite cover. Many of the others have a variety of issues that promise to threaten not only their own functioning but the operation of the business, including the alcoholic Fielding, an eloquent David McKnight, and an armed busybody and shop gossip Turnbo, played by Ellis E. Williams in another superb addition to the cast. Sometimes the set and surroundings for these characters looks a bit too polished and tidy to feel completely real, but the ensemble manages to transcend any off message visual cues with performances that feel lived-in and emotionally authentic. Parson and SCR have produced a vision of Jitney that far from standing apart from Wilson's history plays, feels fully integrated. History and the world seem to flow from these crises and conflicts for a wonderful evening overall. Jitney continues through June 10 in Costa Mesa, and with the holidy weekend, you've got plenty of chances to see it.

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