Tag: Tuesday June

Bach & Handel – Orchestra of St. Luke’s

Above: Hugh Cutting

~ Author: Oberon

Tuesday June 17th, 2023 – The Orchestra of St. Luke’s, conducted by Bernard Labadie, presenting countertenor Hugh Cutting in a program of music by Bach and Handel at Zankel Hall.

The players of St. Luke’s, led by their gracious concertmaster, Krista Bennion Feeney, set the mood of the evening with a cordial performance of the Sinfonia from the Bach cantata “Wir müssen durch viel Trübsal” (“We must pass thru great sorrow”), BWV 146, featuring organist Avi Stein. This music drew us in with its melodic flow and rhythmic grace. A key element of the entire program was the rich double-bass playing of John Feeney: like the heartbeat of the universe.

Mr. Cutting then took the stage; blonde and boyish, he reminds me a bit of cellist Jonathan Swensen. In Bach’s immortal “Vergnűgte Ruh” BWV 170, Mr. Cutting’s lovely clarity of tone, his mastery of dynamics, and his intriguing personality at once engaged us; it was easy to understand why, in 2021, he was the first countertenor to win the Kathleen Ferrier Award. The voice effortlessly fills the hall, and his gorgeous straight-tone notes, gradually infused with a touch of sensuous vibrato, were spine-tingling.

The second half of the program was given over to Handel, commencing with the overture to Giulio Cesare, which was the very first music of Handel I ever heard in live performance…yes, the night of Beverly Sills’ triumphant Cleopatra at New York City Opera. Mr. Cutting then offered a sly and captivating rendering of Cesare’s ‘hunting’ aria, “Va tacito e nascosto” from Giulio Cesare, with Zohar Schondorf playing the demanding horn part. The two gentlemen seemed to revel in their duetting, bowing to one another at the aria’s finish.

The charismatic Mr. Cutting then switched characters to offer Tolomeo’s angry aria, “L’empio, sleale, indegno!” from Giulio Cesare. With acting as vibrant as his singing, he has a wonderful gift for ornamentation, reveling in his technical prowess, much to the audience’s delight.

A four-movement suite from Handel’s Ariodante featured some nimble playing from bassoonist Shelley Monroe Huang in the second and fourth movements. In the third, marked Allegro, Maestro Labadie set an exhilarating pace, and then accelerated to the finish line.

Mr. Cutting brought vibrant dramatic accents to the opening recitative “Otton, qual portenso fulmine è questo?” from Agrippina; then, in the pensive aria “Voi che udite“, he was at his most affecting, his singing seconded to lovely effect by oboist Melanie Feld. In the da capo, Mr. Cutting’s voice was incredibly moving. Here again, Mr. Feeney’s double bass was so poignant.

In “Furibondo spira il vento” from Handel’s Partenope, the singer tossed off Handel’s florid demands with stunning virtuosity: his scale passages swift and sure, his low notes lending dramatic vitality. This incredible showpiece caused the audience to erupt in cheers and applause at the end. Mr. Cutting was called back three times; the crowd so wanted an encore, but none was forthcoming.

We must hear this voice again, and soon. There is so much music I want to hear him sing.

~ Oberon

June 20, 2023
The Search for a Symphony @ Merkin Hall

Above: Johannes Brahms

~ Author: Oberon

Tuesday June 19th, 2018 – The last concert the St Luke’s Chamber Ensemble‘s series, Facets of Brahms, at Merkin Hall brought us Andy Stein’s octet-arrangement of the Beethoven Symphony No. 2 in D Major, Op. 36, and Alan Boustead’s nonet-reconstruction of Johannes Brahms’s Serenade No. 1 in D Major, Op. 11, which – in its orchestrated form – might have been designated as the composer’s first symphony.

Brahms seems to have been hesitant to attempt composing a symphony in large part because he could hear “the footsteps of a giant” – Beethoven – walking behind him. Brahms’s anxiety meant that it wasn’t until 1876 that his 1st symphony premiered, some 14 years after he’d made preliminary sketches.

This evening, the St. Luke’s Chamber Ensemble opened with Beethoven 2nd Symphony in an octet realization conceived by Andy Stein. Two violins, one viola, a cello, a bass, and clarinet, bassoon, and horn made up the ensemble. Their full, rich playing did not give a feeling of a ‘reduction’ in any sense of the word. Instead, it was a very pleasing, absorbing experience; and Mr. Klein was called to the stage for a bow, warmly greeted by the crowd.

The 2nd opens with a slow introduction which in a flash turns into a lively Allegro; this is ‘glad music’, rich in melodies. In the Larghetto, Beethoven churns out cordial, lyrical themes. The music summons up thoughts of Springtime, flowering meadows, and blue skies. The Scherzo shows the composer’s sense of humour, which to me seems even more evident in the witty opening of the final Allegro molto, which seems to have a touch of sarcasm.

Above: Jon Manasse

In tonight’s ensemble, Jon Manasse’s clarinet playing made a superb impression: I have heard him play often in recent seasons and he makes the music so alive, with his fragrant tone and attention to dynamic detail. His subtle playing in the final movement gave me a smile. Of equal note was the sound of Marc Goldberg’s mellow bassoon. Violinist Krista Bennion Feeney, so fine in last week’s concert, impressed again, as did bassist John Feeney.

The Brahms 1st Serenade is in six movements. The composer noted it as a ‘Sinfonie-Serenade‘, later enlarging it for full orchestra at the urging of Clara Schumann. Alan Boustead gives the music back to its chamber roots in his excellent rendering.

Jesse Mills was the principal violinist in this work tonight, with Ms. Bennion Feeney, violist David Cerutti, cellist Daire FitzGerald along with Mr. Feeney’s bass filling out the string contingent. Joseph Anderer provided warm-toned horn-playing, and clarinetist Dean LeBlanc joined Mr. Manasse. Elizabeth Mann’s flute sang forth with serene, appealing tone.

The first three movements of this Serenade each felt a bit long tonight, as if the composer wanted to keep presenting his admittedly lovely themes to us again and again. By the fourth movement, a double Menuetto featuring the winds, Brahms was showing more economy. Ms. Fitzgerald and Mr. Anderer made the most of the ‘hunting call’ motif of the Scherzo, whilst Ms. Mann’s playing in the Rondo~Allegro was very pretty indeed. And throughout, Mr. Manasse continued to display the artistry that makes him such a valuable player on the Gotham scene.

~ Oberon

June 19, 2018
Brahms & The Schumanns @ Merkin Hall

Above: pianist Pedja Mužijević, photographed by Jacob Blickenstaff

~ Author: Oberon

Tuesday June 12th, 2018 – Works by Johannes Brahms, Robert Schumann, and Clara Schumann were on offer as musicians from the Orchestra of St Luke’s joined pianist Pedja Mužijević in this concert at Merkin Hall which is part of a series entitled Facets of Brahms.

Johannes Brahms, Clara Schumann, and Robert Schumann were close friends and confidantes. Schumann had pronounced Brahms the heir of Beethoven, marking him out as third of the Three Bs. Following Schumann’s mental deterioration and his eventual death in an asylum, Brahms and Clara continued a flirtatious friendship that endured for many years.

Johannes Brahms’ Scherzo from the Sonatensatz in C-Minor was the composer’s share in an 1863 collaborative musical gift for the violinist Joseph Joachim; Robert Schumann and Albert Hermann Dietrich each contributed movements of their own.

In this evening’s performance, violinist Krista Bennion Feeney joined Mr. Mužijević. We were seated very close to the stage, and at the Scherzo‘s animated start, the sound of the piano seemed often to overwhelm the violin. Ms. Bennion Feeney is a subtle artist, and it took a few moments for the balance between the two instruments to be achieved. Thereafter, the performance became distinctive, with alternating currents of passion and lyricism. Ms. Bennion Feeney’s arching tonal glow in the central violin theme was most appealing; the piece then moves on to a big finish.

Returning with cellist Myron Lutzke – whose playing with the St Luke’s orchestra has often endeared itself to me – the violinst and pianist gave a wonderfully simpatico rendering of the Schumann Piano Trio No.1, Op. 63. Mr. Lutzke’s dusky timbre and his Olde World cordiality of style seemed beautifully matched to Ms. Bennion Feeney’s superb control of dynamics whilst Mr. Mužijević at the Steinway reveled in the many marvelous piano passages Schumann has provided.

The opening movement is marked, “Mit Energie und Leidenschaft” (‘With energy and passion’). Throughout the first movement, achingly expressive passages from the violin over piano arpeggios alternate with dramatic outbursts. The cello’s incursions are relatively brief but telling. A change of mood near the end builds slowly to a kind of grandeur. Deep tones from the cello then have a calming effect, before another build-up leads to a return to the first theme, now altered and lovingly styled by Ms. Bennion Feeney. The music flows on to a rather unusual minor-key finish.

The second movement has a lively, scherzo-like quality. Its repeated rising theme and sense of rhythmic drive have a wonderfully familiar feeling. The rising motif returns in the Trio section, although here it is slower and more thoughtful. Violin and cello sing up and down the scale, then we zoom back to the original ascending theme, to a sudden ending.

Marked “Langsam, mit inniger Empfindungen” (‘Slowly, with inner feeling’), the third movement ravishes with a poignant violin melody, the cello providing a tender harmony. Things grow more animated; the violin hands over the melody to the cello and their voices entwine. This music drew me in deeply as it lingered sadly, with sustained low cello notes. The movement ends softly, and the three musicians went directly into the Finale, with its joyous song. An exhilarating rush to the finish brought warm applause for the three players.

As the audience members returned to their seats after the interval, it was apparent that our neighbors had stepped out for a cigarette: the smell was dense and unpleasant. We made a quick dash to the balcony where the usher was welcoming. We found a quiet – though chilly – spot from which to enjoy the concert’s second half.

Ms. Bennion Feeney and Mr. Mužijević’s radiant performance of Clara Schumann’s Romances for Violin, Op. 22, assured that Frau Schumann’s music more than held its own when set amidst that of her more celebrated husband and the masterful Brahms.

From its lovely start, the first Andante molto has a sense of yearning, the violinist bringing both depth of tone and gentle subtlety. Lightness of mood marks the Allegretto, with its passing shifts to minor, decorative trills, and a wry ending. A lilting feeling commences the final movement, melodious and – again – modulating between major and minor passages. The piano takes up the melody, and all too soon the Romances have ended.

Ms. Bennion Feeney and Mr. Mužijević rounded out their busy evening with the Brahms Horn Trio, Op. 40, joined by Stewart Rose. Mr. Rose’s tone can be robust or refined, depending on the musical mood of the moment. A few passing fluffed notes go with the territory: as a frustrated horn-player, I know it all too well.

I did find myself wishing that the violinist and horn player had been seated during this piece; I think it makes for a more intimate mix with the piano. The music veers from the pastoral to the poignant, from rich lyricism to sparkling liveliness, and the ‘hunting horn’ motifs in the final Allegro con brio always give me a smile. The three players made this quintessential Brahms work the crowning finale of a very pleasing evening.

~ Oberon

June 13, 2018
Monte/Buglisi/Muller @ NYLA 2015

Tuesday June 16th, 2015 – A triumvirate of distinguished female choreographers presenting their work at New York Live Arts: Jennifer Muller, Elisa Monte, and Jacqulyn Buglisi drew together to offer an impressive evening of dance, and each had the benefit of the excellence of her dancers.

Sacred Landscapes – Episode 1 (Buglisi/World Premiere) This dreamlike dancework is set to an evocative score by Paola Prestini, performed live by cellist Jeffrey Zeigler and vocalist Helga Davis. As the lights come up, the dancers – clad in diaphanous garments – stride towards us in slow motion as fog billows about them. A sombre theme from the cello sets the mood. Among the many danced highlights, solos by Ari Mayzick and the ever-ravishing Carrie Ellmore-Tallitsch stood out. There are demanding partnering motifs, including some wafting high lifts.

Ms. Davis’s voice is first heard in whispered parlando; she will later sustain some other-worldly high notes. The cellist meanwhile veers from dreamy to profound. The dancing is ritualistic and the dancers evoke an atmosphere that is both spiritual and the sensuous. Ms. Ellmore-Tallitsch gave an enthralling performance: her simple act of crossing the stage near the end of the piece took on a depth of resonance thanks to this dancer’s particular mystique. Lovely to re-encounter Lauren Jaeger (such expressive hands) and Darion Smith – all the dancing, in fact, took on a fine lustre.

Hurricane Deck (Monte) begins with a quirky announcement: “A blow to the head…I’ve never been unconscious before!” and from there Elisa Monte’s eight dancers zip about the space against a sky-blue background, the choreography witty and active. Clymene Baugher, Maria Ambrose, Mindy Lai and JoVonna Parks swirl about in swift, playful combinations while the bare-chested boys – Malik Kitchen, Justin Lynch, Alrick Thomas and Thomas Varvaro – pursue and partner them: the movement is fun and eclectic.

David Lang’s score is a lively setting for all this activity, with odd rhythms, stuttering brass, and a sense of whirring at one point as the dancers switch partners. The backdrop has gone black as the dancers stand in a row, each stepping forward in an agitated danced narrative. They hit the floor only to bob up again. “Say it!…end it!” says the unseen narrator, and as the dancers embrace, silence falls and we hear their breathing. The piece seems to be over.

But instead, clanging sounds rouse them; the music turns rather ominous as they perform a sort of darkish coda to heavy brass. The atmosphere takes on a cloying tinge and the work moves slowly to an un-premeditative end. The dancers sustained this longish final section strongly, though I think the work might have benefited by stopping earlier, with the words “End it.”

Alchemy (Jennifer Muller/World Premiere): I had an opportunity to see this work in rehearsal a week before the performance. At that time, Jennifer mentioned there would be ‘projections’ but the production was in fact quite elaborate, with a scrim having been installed during intermission. Across the backdrop and scrim, thought-bytes appear in swift succession: “…a deluge of information…” and “…accumulating none-essentials…” are but two timely references. Later, catch-phrases from pop culture and Yahoo!-style headlines flash across the screens, making me chuckle. Eventually, single words come flying at us. The four-elements inspiration for Alchemy brings us a firestorm; projections of the scorched Earth finally give way to the blessed, cleansing effects of rain. Kudos to Mark Bolotin, who devised the video design.

All these visual effects might have tended to dwarf dancers of lesser power than Jennifer’s; but the Muller troupe – and Jennifer’s choreography – assured that the dancing held forth and remained central to the production. We first find Caroline Kehoe alone onstage, a feminine presence of alluring line; Seiko Fujita appears, striking a sustained arabesque. They are joined by Shiho Tanaka, Michelle Tara Lynch, and Sonja Chung: even thru the scrim, their personalities read clearly.

Gen Hashimoto, Michael Tomlinson, and Malik Warlick appear in stylized, slow-motion phrases; Benjamin Freedman will later complete the impressive male quartet. The dance becomes more active; the dancers rush about as if searching for something. Lightning flashes; threatened by Nature, Caroline and Malik dance an entwined, restless pas de deux.

Having been cast down upon the blasted terrain, Gen struggles back to the land of the living; as Seiko also revives, they dance a tender, earth-bound duet. Sonja and Michael are beautifully matched in their duet. A feeling of desolation creeps in. In the dim light, Shiho’s poetic hands evoke the rain…which finally falls, bringing a glimmer of hope and renewal.

Sand (Buglisi) is performed to a luscious Philip Glass score which continually put me in mind of Debussy’s L”après–midi d’un faune. Beautifully lit (by Clifton Taylor), this exotic pas de six calls for both lyrical movement and powerful elements of partnering. The three couples – So Young An with Juan Rodriguez, Stephanie van Dooren-Eshkenazi with Ari Mayzick, and Anne O’Donnell with Darion Smith – met all the demands of the piece whilst creating a sultry atmosphere, induced by the swaying sensuousness of the Glass score.

June 16, 2015
Heidi Latsky Dance @ Baruch

Above: Jillian Hollis of Heidi Latsky Dance, rehearsal photo

Tuesday June 25, 2013 – Heidi Latsky Dance in performance at Baruch Performing Arts Center. I met Heidi and her dancers just a few days ago at a rehearsal and I pushed things around on my schedule so I could attend her performance tonight. She presented the two works I’d seen in rehearsal: SOLO COUNTERSOLO and SOMEWHERE.

SOLO COUNTERSOLO opens with six dancers clad in simple black outfits standing in a row in “dark light”. The music by Chris Brierley seems jittery and anxious but the dancers hardly move until the pace slows to a deep adagio; this evolves into a soulful turbulence and later into music that is best described as ‘starlit’. To this sound tapestry, the dancers move in and out around Heidi, who seems to dance in her own world. Tempos vary but the movement isn’t always rigidly aligned to the beat: at one point everyone moves faster and faster, and later there is a simple, stylized procession. A mystical trio for women, a dynamic male duet, a meditative quartet, Heidi dancing with the two boys: all of this flows naturally. Heidi continues to express her own private passions in fluid combinations as the dancers swirl around her is restless pirouettes. A gorgeous wing-like motif for the arms seems to be a signature element (it’s also used in SOMEWHERE) and gives an expansive, ecstatic quality. As the piece draws to a close, step-dancing takes on a new look, to a bouncy beat; but the work in fact ends with a silent coda.

Aided and abetted by her generous, tireless dancers (Meredith Fages, Saki Masuda, Jillian Hollis, Brynt Beitman and Gregory Youdan), Heidi has crafted a “dance about dancing” that is physically demanding and very rewarding to watch.

Heidi Latsky: winged victory

After only the briefest of breaks, the dancers were right back onstage for SOMEWHERE. Much as the song “Somewhere Over The Rainbow” is both melodically and lyrically resonant, the idea of hearing ten versions of it in a row might seem too much of a good thing. But the settings – everything from boys’ choir to disco to barbershop quartet – showed such a variety of pace and feeling that it made for an engrossing soundtrack. I took a special liking for Israel Kamakawiwo’ole’s charming version with ukelele in which the vocalist plays with the words to delicious effect. And of course there was Judy Garland’s classic version of the song.

In this work Heidi’s company of dancers were joined by performers with physical disablities; steering clear of anything maudlin or overly sentimental, Heidi gave them beautiful and expressive movement which added to the emotional power of the piece. Thus Robert Simpson opened SOMEWHERE seated with his back to the audience, the “wing” motif used with simple clarity. In the far corner, Greg Youdan’s solo echoes Robert’s phrasing. Meredith Fages and Brynt Beitman have distinctive solo passages, as does Jerron Herman who dances with electric animation. Greg and Jerron have a smooth, linear duet and Saki Masuda and Jillian Hollis dance vividly in-sync. Sign language expressed at high velocity marks the duet for Alexandria Wailes and John McGinty, followed by Ms. Wailes’ remarkably lovely signing solo as she kneels before the seated Mr. Mc Ginty. Heidi’s adagio solo flows seamlessly into a strikingly intimate duet for Jillian and Jerron in which they stand stock still, only their faces meeting as they express a dreamlike connection. They embrace tenderly as the light fades.

Jillian Hollis and Jerron Herman

A reprise of ‘…Over The Rainbow‘ accompanied the curtain calls and then Brynt Beitman suddenly burst into an impromptu solo. Perfect way to end the evening.

Heidi had a full house for this first of three shows (repeats are this Thursday and Friday) and it was great running into Cherylyn Lavagnino, Jill Echo and Take Ueyama.

June 25, 2013