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