TubaChristmas at the Center

TubaChristmas at the Center

All are invited to participate in TubaChristmas 2011, Saturday, December 10th, 12:00 noon. Christmas cheer will boom inside the Alaska Center for the Performing Arts Lorene Harrison Lobby as baritone instruments wrap their deep, mellifluous sounds around the carols of the holiday season. 

TubaChristmas scarves, stocking caps, CD’s and pins from TubaChristmas past will all be available for purchase. Registration for players is $5 and entitles participant to a souvenir button.  Returning musicians can bring music books from previous years; new musicians need to purchase a music book for $15 (Large Print Books are $20).  Participants are encouraged to decorate their tubas – recognition will be given to the youngest player, the most mature player, and the best decorated tuba!

All skill levels welcome!  If you used to play, “way back when,” now is the time to pick up your instrument, start again, and get into the holiday spirit!  Several instruments will be available for loan during the concert.  For more information on borrowing an instrument, call Neal Haglund at 742-0176.   

TubaChristmas 2011, Saturday, December 10

Registration for players 10:00am, 

Rehearsal for players 10:30am

Public Performance 12:00pm (noon)

All activities will be in the Lorene Harrison Lobby of the Alaska Center for the Performing Arts.  Building may be entered from 5^th or 6^th Avenue.

TubaChristmas 2011 is presented by the Alaska Center for the Performing Arts.

Atwood Pit Lift Party

The official ribbon cutting ceremony to unveil the new Atwood Pit Lift!

Last Monday (August 1, 2011), many came to celebrate the unveiling of the new pit lift on the Atwood Concert Hall Stage.  Many thanks to the following people who helped make this dream a reality:

• Kurt Steinert - MOA Capital Projects
• Debra Fitzgerald - MOA Contract Manager
• Jeff Muckey - Bales Construction
• Dylan Bales - Bales Construction
• Larry Lander - GDM Architect
• Raj Bhargava - RBA Engineering & ACPA Board Member
• Jenny Herzog - Coffman Engineers
• Will Veelman - Coffman Engineers
• Daniel St. Germain - GalaSystems
• Dave Dorlan - 3-Way Electric
• Martin Hebert - GalaSystems
• Matt Lund - RBA Engineering 

The pit lift installation project began in late May, was completed a couple weeks earlier than planned.  As a result, the Atwood Concert Hall has been put back into inventory for our clients and users to utilize for the 2011-2012 performance season and beyond!  In addition to the pit lift, new stage flooring was also installed.

Check out the video below where you'll see ACPA Board Members, ACPA Staff and the group of folks mentioned above who helped bring the pit lift installation into fruition taking a ride on the new pit lift!

 

Want to see more from the pit lift party?  Visit the Center's Facebook page to see photographs from the evening.  

Anchorage Arts Pioneer: Ruth Hart

ACPA President Nancy Harbour & ACPA donor, Ruth Hart

Part of what makes the Alaska Center for the Performing Arts so special is our family of donors.  Today, I had the privilege of meeting with Center donor, Ruth Hart and was joined by ACPA President, Nancy Harbour.

Ruth has been invested in the local arts community for many years and shared with us some wonderful stories about her involvement both past and present.  We plan on sharing her stories through short video vignettes on our website and through the Center's Facebook this fall, so stay tuned!


-Amanda Hutchins, Development & Communications Associate
 

Working on a New Look!

The Center is working on recreating the look and functionality of http://www.myalaskacenter.com/! We hope you will check back mid-August to see our new, improved website!

The Ultimate Dance Party

by Cazoshay Ward - University of Alaska Anchorage

As reviewers, we are supposed to remain neutral in relaying the details of performances and avoid extreme vocabulary such as “awesome,” “incredible,” and “edge-of-your-seat-fantastic!”However, this review is going to be the exception.

According to the event’s program, “longtime friends Chris Wink, Philip Stanton and Matt Goldman founded Blue Man Group as a way to celebrate the human spirit through music, science, art, and theater.” The show that took place on the night of May 10^th certainly embodied that celebration to the fullest. The show was created, written and directed by Wink, Stanton, and Goldman, however it took a host of musicians, designers, and production staff to make the show the success that is was.

After a brief video narrating the evolution of art (complete with English accent) displayed on the screen, an audience member was selected and brought up to the stage at which point he was assisted by the Blue Men in putting on a protective suit with a helmet. He was then escorted backstage where he became a “human paintbrush” as the narrator called it where he was suspended from his feet, covered in paint, and thrust against a giant canvas; thereby creating a unique, one-of-a-kind piece of artwork.

And as if that wasn’t “awesome” enough. Blue Man Group’s performance also included an explanation, demonstration, and subsequent audience participation of the seven quintessential “Rock Concert Movements,” including the “fist pump,” “raising the roof,” and the “behind the head leg stretch.” During the show the group also created “The Ultimate Dance Party” where we, the audience, were instructed to shake our “rumps” our “moneymakers,” our “Elvis Aaron Presleys” (the list continued for approximately four minutes) to the techno beat while passing giant colored air balls through the auditorium and being sprayed with long streams of paper confetti.

To say that Blue Man Group thoroughly rocked the Atwood Concert Hall for an audience that spanned several generations (I won’t give too much away, but the song “Free Bird” was involved) would be an understatement. They took us on a visual and auditory journey unlike anything that could be fully described, only experienced. I would thoroughly recommend taking the opportunity to see the show and find out for yourself, or viewing the production of a new IMAX 3-D film due to be released in 2011.

Blue Man Group

Anchorage Concert Association

Tuesday, May 10, 2011

Atwood Concert Hall

Mute Men Speak Volumes

by Charlotte Titus - University of Alaska Anchorage

The statement displayed on the giant stage screen at the beginning of The Blue Man Group's show, set the tone for the theatrics the audience was about to witness. The statement from the Diplomacy handbook was about how to make a connection with a group of people by using shared experience to bridge cultures and differences. BMG took this page from the handbook to heart and shared the experience of the show by blurring the lines between performers and audience members throughout the evening.

Blue Man Group created this shared experience through various means throughout the evening. The audience participation began with reading 'instructions' for watching the show which scrolled across the top of the stage. Written with a funny conversational tone, intending to create laughter, the audience last Tuesday night gamely played along. The late arrival of two audience members brought more laughter to the theater as it was pointed out loudly with horns and video and the three blue men stared out at them from the stage as they made their way to their seats. In another skit, the blue men created artworks with spit paint, seeking approval through clapping and then gave the artworks away to people in the audience.

There were opportunities for a couple of audience members to get on stage and really take part in the action by becoming part of the group. The first audience member played along with her skit as she sat at a table with the three blue men while they served themselves Twinkies, eating their own, each other's and eventually all eating the yellow goo that gushed out of a hole in their shirt fronts. The second audience member was taken on stage, dressed in a white coverall, initiated into the group with a blue thumb print on his cheek. Then a helmet was put on his head and he was lead backstage and used to imitate a version of Yves Klein's anthropometries, or body paintings. To do this, they rolled blue paint on his coveralls, suspended him upside down and 'swung' his body at a canvas, creating an impression which was then further outlined with a contrasting color of paint. All of this was shown on the giant stage screen for the audience to 'witness.'

Although the show conveyed its message quite clearly, the entire show was performed mutely by the blue men, with an occasional announcer's voice that gave instructions for the audience to follow, or electronic devices that displayed words. There appeared to be a message even in the muteness of the blue men: sometimes you don't have to say a word to get your point across. And the blue men proved they are masters at it.

Blue Man Group

Anchorage Concert Association

Atwood Concert Hall

Tuesday, May 10, 2011 @ 7:30pm

Bridgman/Packer Dance: Sleight of Dance

by Lisa Maloney

It’s hard to imagine the intimacy that goes into a single dance, any dance, until you’ve experienced it. Bodies move, hips tilt, torsos sway and sometimes touch--and that’s only the physical dimension.

Imagine, then the connection that comes from collaborating and choreographing together for more than 30 years. Art Bridgman and Myrna Packer have been doing just that since 1978.

Do the math and you’ll realize that both of them must be at least 50 years old. It might seem kind to say that you can’t see their age when they dance but you can, and they’re the better for it. Anything that isn’t dance has long since shriveled and fallen away from their limber, athletic bodies, leaving the married Guggenheim Fellows with nothing but naked movement and emotion.

Dance doesn’t happen in a vacuum, and on Friday night Bridgman/Packer performed two pieces, 2005’s Under the Skin and 2010’s Double Expose, to clever jazz soundtracks. The sometimes syncopated, unpredictable yet undeniably rhythmic music built a framework for the duet’s well-tensioned, sensual movement style.

Live cameras projected front, back or overhead views of the dancers onto their bodies, clothing and a screen behind them: A man marveling at suddenly possessing a woman’s legs or the woman sprouting four arms. Pulling this off requires such precise timing and positioning, catching and interacting with projections and partner just so, that there’s really no way to describe it. All you can do is hold your breath, marvel, and wonder.

Bridgman/Packer are as much illusionists as dancers, chasing each other, each others’ projections, and their own recorded images both in front of and behind the projection screen, which played equal parts doorway, cityscape and bedroom.

After so many years together, it makes sense for Bridgman/Packer to blend together into a single name, right up there with the Brangelinas and Tomkats of the world. But despite the enduring partnership these dancers seem to have retained their individuality, and it’s the blending of those two beings, and the illusion that leaves you unsure of exactly when the dancers become ghosts in their own work, that made their Friday evening performance such a pleasure.

Bridgman/Packer Dance

Out North

Friday, April 29, 2011 at 8:00pm

Discovery Theatre

"Pointe"ing in the Right Direction

by Lisa Maloney

Gillmer Duran’s “Tyranny of the Senses,” the first of four dances in Alaska Dance Theater/Eugene Ballet Company’s Intersections, was meant to explore how we interact with our senses, and they in turn respond to us. The dancers explored each of the five conventional senses in turn, plus kinesthetic, pain, temperature and balance-acceleration-direction lumped together.

Yet as much as Duran set out to explore the interplay of the senses, the edgy, modern dance style turned this piece into an exploration of gravity. The dancers combined unlikely hip gyrations and isolations that merged into full-body movement, seemingly exempt from the rules that bind the rest of us into a sensible cause-and-effect chain of movement.

During the after-show question and answer session, Duran sheepishly confessed that he doesn’t consider himself much of a costume designer. But the costumes for the first dance, an eclectic blend of quirky, asymmetrical black ensembles, from placing men in skirts to a woman in the customary men’s tights, or a man with one leg in trousers and the other in shorts, went perfectly with the “new edge” soundtrack, backed by a continuous projection of sometimes-related images, to create an off-beat-yet-in-sync feel to the entire piece.

Susan Perry’s costuming for the next dance, “Faces of Eve,” was equally brilliant, placing the three ADT dancers in equal parts flannel nightgowns and flamenco skirts. Toni Pimble’s choreography explored the shifting relationships between women, observing two young girls moving from childhood to adulthood then fleeing, leaving their mother behind... for the moment. But the “mother” could, just as easily, be seen as a younger sister.

The second half of the show reflected more traditional ballet choreography and costuming, including some lovely pointe work. In “A Solo in Nine Parts,” the company swooped across the stage, occasionally depositing a soloist or small group of them, then swooping back to collect the abandoned members again.

The concluding piece, “Without the Cover” -- again choreographed by Duran -- combined elements inspired by Venezuelan folk dancing with a set of hanging curtains that represented how we hide from each other and, perhaps, ourselves. Anybody that’s ever been in a relationship can identify with the way the dancers bobbed and weaved in and out of the curtains, staying together even when one or both was partially hidden behind the covers, or giving merry chase round the barrier but never quite managing to end up on the same side of it at the same time.

Given the extremely short rehearsal time both the ADT and Eugene dancers turned in admirable performances, showcasing how the intersections of two very different groups can bring out the best in our local dancers, and put a new inflection on the visiting artists’ work.

Intersections

Alaska Dance Theater

Friday, April 15, 2011 at 7:30pm

Discovery Theater

Mahler Symphony #2

by Kyla Cook - Chugiak High School

On Saturday, April the 16^th at the Atwood Concert Hall, the Anchorage Symphony Orchestra, along with the Anchorage Concert Chorus and Alaska Chamber Singers, performed Mahler’s Symphony No. 2.

On entering the concert hall, the presence of the Alaska Chamber Singers and Anchorage Concert Chorus was immediately noticeable. Taking up over half of the stage, their simple immensity created much anticipation and excitement. How were they going to sound?

As it turns out, the audience was going to have to wait most of the concert to find out.

After a personal story from the lead flutist, and the classic sounds of an orchestra tuning, Conductor Randall Craig Fleischer came out to lively applause. In his reliably energetic conducting style, he reminded the audience why there is a safety bar on the back of the conductor’s podium.

The first movement, “Allegro Maestoso” the orchestra showed off a strong drum section, while ensuring the audience stayed awake. The piece varied from soft and slow, to powerful and loud, all while the two choirs watched from the back half of the stage.

In between the first and second movement there was a considerably awkward break while the soloists, soprano Barbara Shirvis, and mezzo soprano Christin-Marie Hill, were escorted onstage.

However, it wasn’t until after the next two movements, Andante Moderato and In ruhig fliessender Bewegung that the audience got to hear the classic operatic voice of Christin-Marie Hill singing Urlicht. While the music itself was far from disappointing, one had to wonder who decided to seat the soloists so early on in the Concert.

The final movement, Im Tempo des Scherzo’s was by far the most captivating part of the Concert. Excited whispers could be heard throughout the audience when the Anchorage Concert Chorus and the Alaska Chamber Singers finally stood up for their part of the performance. They definitely did not disappoint. They audience was left with a powerful reminder of what the human voice is capable of.

Overall the Anchorage Concert Chorus performed a memorable performance of Mahler’s Symphony Number Two, but it was eclipsed by the short, yet powerful performance of the Anchorage Symphony Orchestra and Anchorage Concert Chorus.

Mahler Symphony #2

Anchorage Symphony Orchestra

Saturday, April 16, 2011 at 8pm

Atwood Concert Hall

Love Overcomes--Usually

by Lisa Maloney

The story behind South Pacific is as old as the islands themselves: Girl meets boy, they fall in love and get forced apart by prejudice. But it’s one of the lead characters’ own foibles (Nellie the army nurse, beautifully played by Amanda Crider) that comes between the lovers, and not even she knows if she can turn herself around before it’s too late.

Maybe that’s why the play opens with Jerome and Ngana, (Caleb Swan and Quinlyn Manfull, respectively). These two sweet children of mixed South Pacific and European blood sing so sweetly that shivers will climb up and down your spine. They reflect the same sweet innocence Nellie has when she first meets Emil (Bojan Knezevic), a French plantation owner living in the islands. But the children are bookends to the skepticism, irony and exploitation of adults, marooned on remote islands in a world at war.

Not everybody is marooned. The Pacific Islander known as Bloody Mary (played by Glaceia Henderson on opening night, with a voice like dark silk) finds a way to turn almost every situation to her advantage, even if the ethical implications are dubious at best. When she’s not hawking shrunken heads or bartering for grass skirts, Mary seduces a recent arrival to visit the mysterious island of “Bali Ha’i,” to Mary’s personal gain and, at least from a Western perspective, her daughter’s expense.

Meanwhile Nellie and Emil have fallen in love, but Nellie can’t accept his children by another woman. It’s not until Emil is seemingly out of reach forever that Nellie discovers her mistake--but in a world torn apart by war, two lovers separated by circumstance may never be reunited. When Emil’s radio transmissions suddenly end, Nellie fears him captured or dead.

Ideally, lighting and sound should fade into the background, seamlessly supporting the tension generated by the South Pacific story. But after a nearly flawless first half, the light operator seemed to sneak out for a quick break. One spotlight stayed fixed when a character moved in and out of it, still speaking, and marching soldiers were left in near-darkness so complete that it looked unintentional.

There were a few minor sound issues, too. The actors discovered that if they hug each other tightly with microphone wires on their backs, the audience hears a tell-tale crackle. And if the mic is switched on a moment too soon backstage, we hear a murmured “thank you” that’s completely disconnected from the action onstage.

But the microphones were necessary to support a few beautiful but underpowered voices, Crider’s chief among them. Her acting was passionately flawless and her first solo drew murmurs of “Wow,” from the audience. But without the mic, she would have quickly been swallowed up by the Anchorage Opera’s “Big Wild Chorus” orchestral accompaniment.

Knezevic had the opposite problem: Power and beautiful tones to spare but his enunciation was occasionally muddied, making it hard to be sure what he was telling us so beautifully. Yet overall, the characters were convincing enough that all the audience really cared about was seeing them reunited in the end.

South Pacific

Anchorage Opera

Friday, April 1, 2011 at 8:00pm

Discovery Theatre

American Masters Delights Audience

by Emily Klopfer - Dimond High School

The night of Saturday, March 26^th, saw the Alaska Performing Arts Center filled with people. These people, aged young and old, stood patiently outside the Atwood Concert Hall, eagerly awaiting the opening of the doors that would shortly precede the beginning of the Anchorage Symphony Orchestra American Masters concert.

Nancy Darigo, assistant principal viola, began the concert by a speech in which she humbly thanked the loyal symphony patrons, and spoke a little about both herself and the orchestra. Once Darigo had taken her seat, Kathryn Hoffer, concertmaster and first violin, took to the stage to tune the orchestra. Following that harmonious first note, the concert commenced.

Copland’s Music for Theatre began with the trumpets. It was followed by an emphasis on the woodwinds, and the sound of the percussion. All throughout the selection, these instruments could be clearly heard through elegant solos that carried the piece. The orchestra complemented the sound and made it bloom to something both melodic and reverent. Music for Theatre included sections that were quick and enthusiastic, but also sections that slowed down and almost reached a melancholic state. Throughout the full spectrum of various symphony moods, the piece did carry a feeling of music that could be heard at the theatre. Different movie images would flash through the mind to accompany their appropriate symphony moment. From the first notes, the Anchorage Symphony Orchestra showed that they were made up of nothing less than American Masters.

Rnadall Craig Fleischer, ASO’s conductor, then stepped aside to present Time for Three; a trio composed of Nicolas Kendall, violin, Zachary De Pue, violin, and Ranaan Meyer, bass. Time for Three also brought along their percussionist, Matt Scarano. This trio was both incredible to watch, and incredible to hear.

Kendell, De Pue, and Meyer harmonized in a way that isn’t generally seen onstage. Their music seemed to be used as more of a security check than a necessity. The three appeared to have the music memorized as they looked to each other for cues. This apparent unnecessary need for their music was not a detriment. Rather, it showed the trio to be true professionals and made their excellent music that much better.

Aside from Time for Three’s exceptional talent, the three also displayed an enthusiasm that gave them an entertaining onstage presence and proved their passion for their music. The emotion of the song could be seen in the musician’s faces. This engaged the audience of patrons and symphony-goers and had them bopping their heads, tapping their toes, and occasionally chuckling at the antics of the trio.

Time for Three played a selection of songs entitled, Travels in Time for Three. This selection was arranged by Chris Brubeck.

The selection began with Thematic Ride. In this, Meyer presented a blues feel as he plucked away at the bass strings. At times, it was a bit difficult to hear the distinct notes of the bass, but they provided a good vibration and undertone sound for the music. The following song was Irish Folk, Odd Times. The Irish folksong feel was instantaneously noticed once the music began. The violins rang out almost like fiddles reminiscent of old, and new, Ireland. The third song was called Suspended Bliss. In this song, the emphasis was placed on the violins. This was not a bad move. The violins sang out clear and melodic as around them the orchestra swelled with the music like a single living organism. Travels in Time for Three ended with Clousseau’s Mardi Gras, Laissez Les Bon Temps Rouler. The music played in this song did sound as if Inspector Clousseau himself was tip-toeing around the stage. This song also had a blues feel and at the same time could be heard in a spy movie, or an upscale nightclub.

Time for Three earned a well-deserved standing ovation at the termination of the selection. The cheers from the audience were a tribute to Time for Three’s incredible talent. Seeing their standing ovation, the trio returned to the stage for an encore. This encore was their rendition of Brahm’s Hungarian Dance No. 5, and did not include the rest of the orchestra.

The encore focused specifically on the sound of Time for Three and took out the music of ASO. The violinists and their bassist shined as the fiddler-like music was clear and touched the hearts of everyone in the audience with its familiar, magnificent tune. One of the violinists stopped with Meyer, but the other continued a high, slow note. After a moment of surprise from Meyer, his partner, and the audience, the violinist transitioned his note into a rendition of the famous, Fiddler on the Roof. The second violinist placed down his instrument and joined his partner to begin playing on the same instrument. This feat was greeted with awe by the audience as the two violinists played on one violin and the bassist filled out the sound. The three musicians played three separate, but equally familiar songs from Fiddler on the Roof and sounded just as good as if each musician had had their own instrument. This never-before-seen action was impressive and once again demonstrated the superior skill of the three musicians.

Once each musician had regained their instrument, they finished out their moment in the concert with showmanship that earned them another standing ovation. Even though the emphasis was placed on Time for Three throughout ASO’s performance of Travels in Time for Three, they could not have done it without the help of the orchestra, which followed them throughout every song and made it not just a concert, but an experience.

The final arrangement for the day was Porgy and Bess: Symphonic Picture by Gershwin. Even though ASO had lost Time for Three, they did not lose their talent. The orchestra in this selection sang just as beautifully as they had from the beginning of the concert.

Some people may grumble at the thought of attending the symphony, but they do not understand what they are missing. Attend an Anchorage Symphony Orchestra concert, and they will be hooked from the first note.

American Masters

Anchorage Symphony Orchestra

Saturday, March 26, 2011 @ 8pm

Atwood Concert Hall

Portland Cello Project

by Lisa Maloney

If musical instruments were drinks, the cello would be classified like a fine wine: Fabulous in its own right, but at its best when served as accompaniment. Portland Cello Project breaks out of that mold, bringing anywhere from 8 to 16 cellists to center stage at any given performance. The result is an ever-evolving, full-bodied sound.

Yo-Yo Ma isn’t the only artist capable of squeezing heart and soul out of a cello. But the classically trained cellists of Portland Cello Project (PCP) don’t just crack the mold open; they crash through it, bringing classic staples, jazz standards, hip-hop anthems and the occasional video game theme song along for the ride.

On Saturday night PCP fielded six cellists, including artistic director Douglas Jenkins. Although Matthew Berger was credit as both cellist and percussionist, he confined himself to laying down the kind of grooves that would make any rock band proud. Berger’s beats also filled in for the lack of a conductor, creating a stable framework for the strings to build on.

PCP further busts the mold by habitually incorporating local musicians into the show, creating their own cello-heavy orchestral ensemble. And they seem to delight in offering that ensemble’s backing to unlikely collaborative partners, such as Ryan Sollee of Portland’s The Builders and the Butchers. You might think a rock guitarist would sound out of place in company with cellos, a French horn, trumpet, clarinet and flute. Then again, you might find the idea of a Pantera cello arrangement a little odd–until you hear the PCP version. Somehow the audacious arrangements don’t just work, they draw a diverse, enthusiastic audience.

Good sound management is the polar opposite, so distinctly commonplace that it blends right into the woodwork. And except for a distinct lack of support for the lone flute player, and a temporarily overpowering guitar on Sollee’s first song, Saturday’s sound work was exquisite, allowing PCP to morph its members, the backing locals and the unlikely but undeniable Sollee into one soul-altering sonic experience.

Portland Cello Project

Anchorage Concert Association

Saturday, March 19 at 7:30pm

Discovery Theatre

Courage, Talent and Ambition Lead the Way

by Charlotte Titus - University of Alaska Anchorage

The Anchorage Concert Chorus’ production of Leonard Bernstein’s Mass was held this weekend in the Atwood Concert Hall of the Alaska Center for the Performing Arts. For a town the size of Anchorage to have a chorus ambitious enough to put on this piece is a triumph in and of itself. To be able to pull it off to the extent that the audience on Friday night was on their feet as the concert came to its conclusion was a testament to the talent, ambition and dedication of the members of this stellar organization.

The stage for the concert was set simply with tall risers for the nearly 200 members of the Adult Choir, (members of the Anchorage Concert Chorus minus the Street Singers), and a central staircase leading from them to the stage front. The staircase was used effectively by the Celebrant in his role of clergy leading his faithful, and by the Street Chorus during solo and duet numbers.

Additionally, simple props were used throughout the concert; including a make-shift alter for the dramatic climax of the Communion, and ‘protest’ signs carried in by the Street Singers during their first appearance. The simple staging allowed the focus of the audience to be on the performers and the music, just as Bernstein intended, leaving the interpretation of the Mass’ message to the individual.

The Mass is appropriately subtitled ‘A Theatre Piece for Singers, Players and Dancers,’ as it required collaboration with the Anchorage Children’s Chorus, the Alaska Dance Theatre, a 50-piece orchestra, guest stage director Dr. Gerald Moshell, and the talent of singer/performer Steven Alvarez in the central role of the Celebrant.

Each of these groups and individuals brought an added element to the show. The dancers from the Alaska Dance Theatre helped set the mood, whether it was celebratory, as in the beginning of Act I, or showing rote obedience just before the “Dona nobis pacem” protest scene. The Anchorage Children’s Chorus helped emphasize the innocence of faith, with the Boy Soprano part being played by Rohan Silbaugh. Silbaugh’s clear, high voice rang through the sometimes chaotic sound of the Street Chorus and orchestra, bringing a voice to the return to faith and shared joy of renewal for both the Celebrant and his ‘congregation’ at the end. The Mass is intended to be dramatic in scope and production and the Concert Chorus was resoundingly successful in this by combining their talents with these other equally talented groups and individuals.

The performance of the many difficult vocal numbers by the Anchorage Concert Chorus clearly showed the many months of rehearsals it had taken to get them to the staged production this weekend. The Latin Mass numbers were performed by all of the various singing groups and individuals in the show, but the stand out numbers were the more contemporary ones written by Bernstein to emphasize the modern believer in conflict over his or her faith. One of these, the opening number “A Simple Song,” was performed beautifully by Alvarez and showcased his strong high base voice. The Street Chorus performed most of the more modern pieces and the numbers were harmonious and understandable when sang by the group. Unfortunately, whether due to microphone problems or untrained soloists, some of the individual singers in the Street Chorus were difficult to hear and understand during their solo numbers. This technical issue was the only standout flaw in an otherwise enjoyable and complicated concert performance.

Congratulations to the Anchorage Concert Chorus for having the courage and ability to pull off such a massive undertaking.

Leonard Bernstein’s Mass: A Theatre Piece for Singers, Players, and Dancers

Anchorage Concert Chorus

Friday, March 18, 2011 at 8pm

Atwood Concert Hall

Music is Deeper than Philosophy

By: Cazoshay Ward - University of Alaska Anchorage

In the words of Dr. Cornel West, music is deeper than philosophy, because language falls short in truly expressing the depth of life’s experiences. However through sounds, notes and even the silences, music gets at the deeper truths of what we are. These words, paraphrased in this review, were played during Terence Blanchard’s performance at the Atwood Concert Hall on the evening of March 12, 2011. After experiencing both Marsalis’ and Blanchard’s presentations, it is clear that Dr. West’s words ring true.

It was hard to believe that Marsalis and his group of musicians (Joseph Calderazzo on the piano, Eric Revis on bass, and Justin Faulkner on drums) had been rehearsing most of the songs for only a few weeks. It was a little preview of material that will be included on the new album coming out in July. The material was so new in fact, that the first two songs don’t even have names yet. To say that the performance was both spirited and seamless would be an understatement. Like true jazz bands should be, the group performed each instrument in perfect harmony while maintaining the individuality and strength of both the musicians and the instruments. The pianist (Calderazzo) was literally jumping out of his seat as he played, matched by the enthusiasm of Faulkner on the drums.

Blanchard and his group did not disappoint either. As stated earlier, Blanchard mixed spoken word (by Dr. Cornel West) in with his performance, adding to the depth and experience of the presentation. Not only did Blanchard and his band speak to our souls through music, but they spoke to our minds through the spoken word. Blanchard, who is the Artistic Director of the Thelonius Monk Institute of Jazz, is a fan of Dr. West, and was the first person who came to mind when he first thought of the spoken word idea.

Accompanying Blanchard that evening was Kendrick Scott on drums (he also has his own group, “Oracle,” as well as a record label), Fabian Alamazan (originally from Cuba) on the piano, Brice Winston on tenor sax, and Joshua Crumbly on bass. It should be noted that the bass player, Crumbly, is only nineteen years of age. He attends Julliard and was definitely able to hold his own with jazz legend Blanchard. It was Blanchard’s birthday on the 12th, Marsalis and the rest of the musicians surprised him with a cake and a jazz rendition of “Happy Birthday,” which was a nice surprise and allowed the audience to share a little in the experience of celebrating a milestone in the life of a true jazz legend.

Marsalis shared with the audience that they nearly didn’t make it up here for the performance, almost missing the only connecting flight that would get them to Anchorage in time for the concert. The performance was intense, emotional, soft, and eloquent all at the same time. It took the audience on an emotional rollercoaster with notes and sounds. Needless to say, we are glad they made it.

Branford Marsalis & Terence Blanchard
Anchorage Concert Association
Saturday, March 12, 2011 at 8pm
Atwood Concert Hall

Beautiful death in the joyful flame…

by Cazoshay (Shay) Ward - University of Alaska Anchorage

…And that joyful flame is love, a theme that plays prominently in the opera La Boheme. Love is displayed in all its joy and tragedy as the story takes place in 1940’s Paris. La Boheme, as presented by the Anchorage Opera on the evening of February 17th, 2011 primarily tells the tale of the ill-fated love of the penniless painter, Marcello (played by Barry Johnson,) and the embroidering artist Mimi (played by Veronica Mitina.) It should be noted that this production was designed, produced, and performed by the Anchorage Opera using all local talent, including that of the Alaska Children’s Choir, which comprised the Children’s Choir that was featured playfully in Acts II and III.

This opera is filled with all the ups and downs associated with being in love, and ultimately as any good opera does, ends in tragedy. Mitina and Johnson portray the cycle of the relationship between Mimi and Marcello with great emotion. The opera had a prompter with English subtitles playing above the stage, however, all of the players portrayed their roles with such passion, translation was really not necessary.

Conductor Pablo Zinger along with the orchestra literally didn’t skip a beat with matching both the singer’s performance and the mood of the piece. There’s a reason this show was sold out for the first performance several days before the performance was to begin. Set design by Arnulfo Aldonado was captivating, the lighting along with the falling “snow” in the III Act really set the mood as a chilling pre-cursor to the tragic end to this opera.

“The paper will turn to ash and my genius will soar back to heaven…” the words uttered by Marcello to his fellow artist friends as he burned one of his literary works in the stove to provide heat is an example of the eloquence displayed in this opera. If you are new to operas or thoroughly enjoy them, The Anchorage Opera’s presentation of La Boheme has enough interest and romance to keep audiences captivated throughout all four Acts.

Student Dress Rehearsal of La Boheme
Anchorage Opera
Thursday, February 17, 2011 @7pm
Discovery Theatre

Saying it Without Saying it

by Charlotte Titus - University of Alaska Anchorage

The Duke Ellington Orchestra came to Anchorage and performed their signature music this Saturday in the Atwood Concert Hall. The large orchestra consisted of five saxophonists (one alto, three tenor and one baritone) who each played clarinet as well with one who also played the flute. In addition there were three trombonists, four trumpet players, a drummer, a bassist and the orchestra leader, who played piano.

This was Anchorage’s night to hear orchestra instruments played with attitude as these talented musicians played with equal expertise but added their own flare to the many solos featured throughout the evening. The night started with A Train and as each new piece started, the audience responded with applause at the many easily recognizable tunes. Several of the Duke’s compositions were played, including Perdido, Lush Life, Cotton Club Stone, Don’t Get Around Much Anymore, and Satin Doll. The highlight of the concert was Ellington’s famous Mood Indigo, with three key soloists playing clarinet, trumpet and tenor saxophone so quietly as to make the audience almost lean forward to hear the haunting melody.

One of the hardest working members of the orchestra, the bassist (and only female), played through every song of the evening while many of her fellow members were able to rest as other instruments took over during a piece. Besides keeping the beat throughout the night, she was also the member the orchestra leader referred to as "our babysitter" and proved it as she took on the task of frequently reminding him which piece they were playing next in the set.

Ellington was famous for saying, “you’ve got to find some way of saying it without saying it.” His orchestra proved his words true throughout the night, saying volumes to an audience that was swaying in their seats to the dance hall numbers, cheering for their favorites and being reminded of good times and sweet love through music. Even Mayor Dan Sullivan was so moved that he issued a proclamation, welcoming the orchestra to Anchorage that evening.

Many bands in recent years can claim to have an American sound, but Ellington’s orchestra was the originator. Edward Kennedy (Duke) Ellington was the first to brand and give it a unique style, even preferring to call what he wrote “American Music,” as opposed to jazz.

He led his orchestra for 50 years and after his death, first his son and then his grandson kept it going. Today his orchestra is still keeping his music alive and fresh for newer generations.

As Ellington once said, “The memory of things gone is important to a jazz musician.” While Ellington himself may be gone, his music is more than a memory. It’s a feel good slice of Americana unlike any other.

The Duke Ellington Orchestra

KLEF-FM, Classical 98

8:00pm, Saturday, February 19, 2011

Atwood Concert Hall

Getting' Jiggy With Solas

by Lisa Maloney

One could argue that an Irish musician's gift is squeezing so much movement through an instrument that you just have to get up and dance, whether or not you know how. And Solas has it, making the entire packed house at their February 18th performance lean toward the Performing Arts Center's non-existent dance floor and palpably will it into existence.

Some musicians manage to stay fairly still while their instruments rattle the bones of those around them, but the members of Solas gave themselves away: They obviously love what they do. Winifred Horan engaged in an energetic back-and-forth battle with her violin all night long, Seamus Egan's head bobbed and rolled as he bent over his banjo and guitar, and it looked as though Mick McAuley might topple off his stool a time or two as he worked the accordion.

Eamon McElholm was the most stoic of the lot, playing his guitar instead of battling it for most of the night. But even if he didn't kick up his heels much, his energetic grin and agile playing betrayed him. And vocalist Mairead Phelan marked the night not just with her clear, powerful delivery but the ability to rock out on a supposedly non-rockable instrument, the viola.

The only thing missing was a dance or two. Although the band sat slightly off-center on stage, the hopeful empty space to their right was never graced with moving feet. Not that the music was lacking in any way--but if the audience couldn't dance on their own, dancing by proxy would have been the next best thing.

The sound production was initially a little uneven, making a lovely air from Egan and McAuley, on flutes and keyboard respectively, sound boggy and heavier than it should have. But the sound tightened up nicely as the other band members came on stage and the group ripped into a set of so-called "Wiggly Jigs." And another air in the second half of the show, accompanied by the until-then inexplicable grand piano lurking behind the band, more than redeemed that form of music.

If good music is the soundtrack that creates a movie in your head, Solas is Oscar material. Their ability to pull threads of other music styles--folk, bluegrass, country, jazz and more--into traditional Irish music inspires a range of surprising combinations, but at the root of it they remain Irish and Irish-American musicians that yank so hard on your feet and your heart that you just can't sit still.

Solas

Anchorage Concert Association

Friday, December 18, 2011 at 7:30pm

Atwood Concert Hall

A Classic Joy de Vivre

by Charlotte Titus - University of Alaska Anchorage

The opening strains of Overture “Leonore” No. 3 Op. 72a by Ludwig Von Beethoven exemplify the sentiment in The Beatles While My Guitar Gently Weeps, but with violins. The haunting first notes of this piece echoed throughout the Sydney Laurence Auditorium Friday night during The Anchorage Civic Orchestra’s Winter Concert. While the piece started with a palpable restraint, it soon broke into a light dance between violin and flute, which built to a lively movement as each instrument in the orchestra soon joined in. Conductor Tai Wai Li kept the orchestra’s pace perfectly, bringing in each instrument with equal precision and strength.

While the first piece set the tone for a night of solid masterpieces, the highlight of the concert was the performance of Eduard Lalo’s Symphonie Espagnole, Op. 21, 1 Allegro non troppo, by 14-year-old violinist, Eunice Kang. Her lively rendition bounced perfectly between the low and high notes played with obvious experience and a light hand. Ms. Kang’s impressive resume includes two second place finishes and one first place in the Music Teachers National Association’s junior strings state competition, (2007/2008, 2009/2010 and 2010/2011, respectively), first chair in the Anchorage Junior Youth Symphony (2008/2009 and 2009/2010), and she is currently the assistant concert master in the Anchorage Youth Symphony. Anchorage will surely be hearing more from this high school freshman in the years ahead.

The concert ended on a beautiful note with Symphony No. 1 in C minor, Op 68, by Johannes Brahms. This piece again showed Li’s masterful leadership of the ACO as they played through the four movements with obvious relish. This symphony, along with the other two works performed, belied the fact that the audience was enjoying music played by so-called non-professionals. The joy of music was evident throughout the evening, on the faces of each audience member and in the pleasure of a job well done by one of Anchorage’s lesser known classical gems, the Anchorage Civic Orchestra. Each piece of this concert was polished by the experienced players who appear to enjoy mastering even more difficult pieces than could be expected from even Anchorage’s professional orchestras. This may not have been Beethoven’s Ode to Joy, but it certainly brought a sense of ‘joy de vivre’ to concert goers that winter’s night.

The Winter Concert

Anchorage Civic Orchestra

February 5, 2011 at 7:30pm

Sydney Laurence Auditorium

Suzanne Vega: A Folk Music Superstar

by Arielle Young - University of Alaska Anchorage

I walked into the Suzanne Vega show at Atwood Concert Hall on a chilly Friday night in February, with few preconceived notions of what the concert would be like. I had heard exactly one song of hers, “Tom’s Café,” which is in constant rotation on several local radio stations. I purposefully did not investigate any of her other music because it is often enjoyable to hear new songs for the first time straight from the artist’s mouth. I was not disappointed. Nor was the huge crowd that cheered endlessly for her as she made her way out on stage, a small woman diminished even further by her huge guitar. As she started to sing, however, her big voice filled the concert hall, every note perfect.

As her set went on, I noticed two distinct genres emerging in her music. There were the extreme folksy songs, slightly up-tempo and sounding radio ready. Then there were the slower love songs, such as “small blue thing” and “caramel.” These songs were both extremely beautiful and reminiscent of old-school jazz and blues. These songs especially highlighted the sultry quality of her voice and allowed her vocals to really shine. As amazing as her set of love songs was, however, I feel as though they would have been more resonating with her standing solo on stage without the accompanying bass.

Overall it was a great show, and extremely relaxing. Her voice has a very soothing timbre, and it’s easy to see why the theatre was packed. Most everyone there seemed to be around forty or older, and since she first broke into the music business about 25 years ago, many of her fans have probably been around since the beginning, which really says a lot about an artist.

Suzanne Vega
Anchorage Concert Association
Friday, February 4, 2011 @ 7:30pm
Atwood Concert Hall

You Can Be Free, Too

by Lisa Maloney

Most myths and legends are one-dimensional. Not so for the spirit of Harriet Tubman, brilliantly played by Leslie McCurdy in a one-woman play named for its lead character. Not Tubman in the flesh, but her spirit instead--and you’ll have to sit through the play to find out why she can’t rest just yet.

McCurdy penned this play fourteen years ago, taking it from blank page to stage-ready performance in less than a month. In doing so she reached back into a near-mythological figure’s past and drew forth the mantle of imperfect humanity. The mantle of slavery comes with it, too. How can it not, when Tubman was faced with it at every turn during her early life, and is remembered now for first escaping slavery herself, them returning repeatedly to guide others to freedom?

Thanks to McCurdy’s spooky ability to morph so believably from tottering old lady to robust girl-child and back again, we see Tubman at different stages of her life. It’s like watching a slide show, and in almost every single slide Tubman holds out that mantle of slavery and says, “This isn’t mine.”

But McCurdy and Tubman’s spirit, working together on stage, embody so much more than defiance. They distill the essence of how and why Tubman was so much like the rest of us in the room, bringing us inside the experience of her life. No idle bystanders here--when Tubman cringes at the sights and sounds of brutality during her initial escape, we see and hear them too. But McCurdy weaves enough sly humor through the play to save us from breaking beneath the burdens Tubman somehow bore.

The audience on Friday evening--McCurdy’s only public performance after a week of school performances--was a pleasant mix of shapes, sizes, colors and ages. And although no human should ever suffer what Tubman and so many other African-American slaves lived through, McCurdy’s message was never one of angst. Instead, she and the spirit she brought with her reminded us that we can be free, too, as long as we don’t subscribe to the fears other people try to teach us.

Most plays don’t have opening acts, but The Spirit of Harriet Tubman was preceded by local artists celebrating the start of Black History Month. Appearances included Black Arts North Academy, Our Hands Together, Underground Dance Company, and stunning local violinist Bryson Andres.

Yet as McCurdy pointed out during the question-and-answer session after the show, black history happened year-round -- not just during February. So hopefully we can look forward to seeing McCurdy again some other month, a special woman that holds up a singular spirit to mirror our own hopes and dreams of freedom back to us.

The Spirit of Harriet Tubman

Alaska Junior Theater

Friday, February 4 at 7:30pm

Discovery Theatre

A Trio of Two

By Woodruff Laputka - University of Alaska Anchorage


Bill Charlap grabs jazz by the balls. As he hammers away at the poor, helpless key board from song to heart-striking song his passion spills out and rolls every direction it cares to. In the moment, Mr. Charlap appears almost possessed by the music, his face and figure a contorted display of his initial, warm and inviting stage presence, something of a mix between humble and focused that often recounts the history of Jazz musician persona. Roaring from songs by such classic composers as George and Ira Gershwin, Dizzy Gillespie, to even John "Johnny" Williams, the intent to impress from Mr. Charlap is equaled only by the support of a powerful drum accompaniment from Mr. Kenny Washington.

However, the Bill Charlap's band has a stage presence of three. That's what the program sais anyway. Is that accurate? Are we sure of that? Maybe the bassist, Sean Smith was in the back, practicing the whole time. Perhaps he was taking a nap. It's interesting to note such a steady flow of energy and color coming from Mr. Charlap and Mr. Washington's performance, while not being able to , despite all good effort, honestly include My. Smith's bass performance. To be blunt, it simply was not there.

As an inherently majestic instrument, bold and full of life, the bass's relationship to Jazz has always been one of romanticism. The plucking of strings at various chords can transport the listener to far away costal city waterfronts with full moons over head, dark and seedy nightclubs where the piano has been drinking, or anywhere really that fulfills the range of colorful, emotional atmospheres this soulful instrument provides.

Such was not the case with Mr. Smith. While the energy between Bill Charlap Kenny Washington met ever in far ranging harmony, the bass seemed almost intent on failing to keep up. The bass lines were sloppy, the instruments contribution to the rhythm unimpressive if not non-existent, while Mr. Smith's stage presence was one of confusion and stress. At one point the feeling of compassion actually replaced the immense impression of disappointment, thinking that perhaps some deep, inner-conflict was effecting Smith's obvious frustrations. If that's the case, however, than why bring it to the stage? Why draw so much attention to what seemed like a fight to grasp what should be a natural command of the instrument? Was it fighting back? Perhaps the world will never know.

Luckily the music selection carries much of the loss, with classic upon classic stringing a web that catches the listener into a love for the music from this band. However no matter the quality of the overall show, it is this critics concern that Mr. Smith, a man who must have impressed Bill Charlap, who must be a talent and able performer, may well have been kidnapped and replaced by someone less helpful than what the Bill Charlap performance required.


Bill Charlap

Anchorage Concert Association

January 29, 2011 at 7:30pm

Discovery Theatre

Keeping it Real on Avenue Q

by Lisa Maloney

It’s hard to get worked up about the fact that nine of Avenue Q’s major characters aren’t human at all. Piloted by an interlocking set of four puppeteers, the puppet leads and three human actors watch television, surf the Internet, lose their jobs, get naked--puppet nudity only--and agree that it sucks to be them, all set to a Tony-award-winning original score.

Most actors spend their lives trying to catch the spotlight, but the unconcealed Avenue Q puppeteers have perfected the art of blending into the background, every body movement echoing and reinforcing the puppet’s dialogue and movements instead of the other way around. Individual actors voiced multiple puppets--at the same time--and occasionally handed puppets from pilot to pilot, both on-stage and off. This dance is the best choreography you’ll ever ignore. Avenue Q walked away with three well-deserved Tony awards in 2004, but if there were a category for best puppeteering they would have won four.

Equally impressive is the three humans’ ability to interact convincingly with the puppets. When [human] Christmas Eve holds Rod’s [puppet] head in her lap and strokes his hair, you can’t help but briefly wonder if the handsome young puppeteer controlling Rod feels put out about being so thoroughly ignored.

On opening night some of the actors’ crystal-clear diction got lost in the rafters riding on slightly out-of-balance sound, and occasional shadows seemed to linger on the puppet faces a hair longer than intended. But even taken together these minor discrepancies don’t add up to much, and were quickly steamrolled by the audience’s helpless laughter. The real-life drama of boys and girls becoming men and women, plus the occasional monster, makes the richest tapestry possible for admitting and gleefully accepting our own flaws.

A word on Muppets. The program contains a disclaimer distancing Avenue Q from Jim Henson’s Muppets, but it’s hard not to draw similarities between roommates Nikki and Rod, and Bert and Ernie of Muppets fame. Trekkie monster’s mannerisms are unavoidably reminiscent of a famous Muppet with a hankering for baked goods. But the clearest parody of all may be unintentional, and doesn’t have anything to do with Muppets at all. By the end of the show, Nikki morphs into a green-skinned cousin to Kramer from the television show Seinfeld.

If you’re easily offended, go see this show. You’ll get over it by the end of the show--because as much as you might not want to admit it, that really is you up on stage. After all, who doesn’t identify with puppet sex, former child stars and the search for purpose?

Avenue Q
Anchorage Concert Assocation
Friday, January 21 at 8pm
Atwood Concert Hall

Anchorage Symphony Orchestra Orchestrates Another Great Show
by Emily Klopfer - Dimond High School

As the immense crowd filtered into the Atwood Concert Hall Saturday night, the Anchorage Symphony Orchestra sat at the ready. A smaller section of the orchestra was prepared to play the opening serenade for the ASO’s Sweet Serenade concert.

The lights dimmed to the age-old sound of an orchestra tuning. Kathryn Hoffer, concertmaster, stood proudly while tuning her orchestra from her violin. Once the orchestra ceased their tuning, Randall Craig Fleischer took to the stage to conduct. He was welcomed to the podium by a wild applause from a concert hall nearly completely filled with symphony enthusiasts, patrons, and those new to the orchestra.

Fleischer raised his arms and the string section raised their bows, the entire hall silent in wait for the opening note. Suddenly, Fleischer brought down his arms and the concert commenced.

The beginning selection of Sweet Serenade comes from the well-known Wolfgang Amadeus Mozart. His “Serenade in G Major, K. 525,” also called “Eine kleine Nachtmusik” added to the feel of a sweet serenade. The four parts to Mozart’s selection were Allegro, Romanze: Adante, Minuetto: Allegretto, and Rondo: Allegro. In these sections, the orchestra was superb. Mozart’s “Serenade in G Major” is often a more recognized sound, and the orchestra was able to create that famous sound with crisp, clear notes. Not a squeak was heard throughout the violin, viola, cello, and bass sections. Each one combined to make that harmony of music so key in an excellent orchestra. When the orchestra ended their Mozart collection, their applause was well deserved.

Sharman Piper was the guest for tonight’s concert. She brought the first woodwind instrument of the night to the stage by way of an oboe. Following Piper, more members of the string section filed in to take their place and fill out the orchestra. The collection that ensued was teeming with just as much talent as the previous collection. With Piper, the orchestra played “Down a River of Time; Concerto for Oboe and String Orchestra,” composed by Eric Ewazen. This collection was split into three sections. Once again, the string orchestra displayed their exceptional talent and created music of professionals. Piper’s oboe seemed to sing as she hit each note and carried her long strings of solo throughout the collection. As the string orchestra plus oboe rose to take their bows at the conclusion of the collection, they were again greeted with roaring applause, even a standing ovation.

A brief intermission followed, and then the orchestra embarked upon their finale: “Serenade No. 1 in D Major, Op.11,” composed by Brahms. For this collection, the string orchestra was joined by the band section, creating the complete Anchorage Symphony Orchestra. Brahms serenade was split into six sections: Allegro Molto, Scherzo, Adagio non troppo, Minuetto I and II, Scherzo Allegro, and Rondo Allegro. The way the band easily slipped in to fill the orchestra made one forget what the orchestra sounded like before the band. The ending collection was an excellent choice to demonstrate the full talent of the Anchorage Symphony Orchestra.

All in all, a night at the symphony was a wonderful way to spend a Saturday night. It really was a “Sweet Serenade.”

Classic Concert #3: Sweet Serenade
Anchorage Symphony Orchestra
Saturday, January 16, 2011 at 8pm
Atwood Concert Hall