Utah Chamber Artists - "For They Shall Be Comforted," Brahms' Requiem

Monday night, Utah Chamber Artists brought one of Utah's most beloved choral works to Libby Gardner Concert Hall, Johannes Brahms' Ein deutsches Requiem. Composed between 1865 and 1868 and amidst deep personal turmoil and grief, this is one of Brahms most deeply passionate and evocative works, and has become beloved by audiences around the world as the excellently crafted great choral masterpiece that it is.

Utah Chamber Artists, conducted by Barlow Bradford, gave a solidly dignified performance of the work. The first movement, with it's notable absence of violins, opened with a few shaky entrances in the choir and especially brass as the tempo was being established. But once the movement got going, a true reverence for the music emerged and the lines weaved in and out of each other. Joining the UCA was the University of Utah Chamber Choir, and at around 70 voices, the choirs sounded marvelous together. With the variety of voices on the stage, the choir had an incredibly unified and controlled sound that was nothing less than beautiful.

Baritone Michael Chipman began the third movement and impressively memorized, evoked exquisite passion to this marvelous work. His voice commands the room with impressive presence, yet he has the skill and knowledge to balance a delicacy behind such dominance.

Soprano Celena Shafer is a true star. In the fifth movement she joined the orchestra, her voice soaring up towards heaven as she sang with such emotion that swept the audience away. With her exquisite german and well-honed skill, she showed the knowledge, talent, and stature to give this incredible work the performance it deserves.

The choir really shined in the sixth movement, when they, along with the baritone, proclaim "Death, where is thy victory?" At a solid forte, they exploded in such passion and emotion that it was positively thrilling. Clearly a directorial decision by Bradford, the whole performance led up to this fiery and exciting moment where all was let loose. If there's one thing to be said about the UCA, is that sometimes their performances are too controlled, and too dignified, lack crisp diction, and lack passion and freedom. In this moment of the sixth movement, all was free and the dedication and passion of these performers was something indescribable. The german words were clear and consonants strong, making the dynamic growth and mood elevation exponentially more expressive and moving.

While this was another fine performance by this exceptional group, it left this reviewer wondering why it wasn't more transformative. Brahms' Ein deutsches Requiem is really one of the most powerful and excellent pieces of choral music ever written, yet there were only moments of this performance that truly sent this reviewer into transcendent ecstasy. The choir and orchestra had absolutely impeccable intonation, a warm and exquisite sound, and excellent balance. With such fine musicians performing such fine music, my expectations were higher. This was an excellent performance with excellent soloists, I really hope to hear the UCA performing some more exciting, daring, new and challenging music to show off the great talent they have as well as these wonderful standard works as they continue to positively contribute to Utah's rich choral and musical scene.

Much Ado About Nothing - PTC

Currently running at the Pioneer Theater Company is a lavish production of William Shakespeare's classic play Much Ado About Nothing.

Much Ado About Nothing relates the stories of two pairs of lovers as they court one another. Through mistaken identity, confusion, deception, humor, and compassion, the couples end up happily together. The main couple, originally, were Benedick and Beatrice, but quickly the secondary couple, Claudio and Hero became more popular for audiences and steal the spotlight with their witty banter and interesting dynamic. Just like how historically Claudio and Hero steal the show, it was the same with PTC's production. Exceptionally well-played by Rebecca Watson and T. Ryder Smith, Hero and Claudio (respectively) are extremely gifted actors with the dramatic sense and comedic timing of the Shakespearian texts of true professionals. For two commonly enjoyed characters of this play, they added an extra spark and depth beyond most productions that not only made us treasure every moment they were on stage.

While the whole cast was excellent, even above par of other PTC productions (which are dependably very fine performances), Max Robinson as Dogberry stood out. Offering laugh-out-loud comedic relief, Robinson is extremely dedicated to his craft and his character leaving the audience dying to find out when Dogberry would make his next hilarious appearance. David Manis, John Ahlin, and Terence Goodman, as scheming paternal figures in the capers were all excellent. Their comedic timing and chemistry was a delight to watch, particularly in a scene where they create a plot to trick Hero, knowing full-well that Claudio is listening in. They had the audience heartily laughing.

Designed by Elizabeth Caitlin Ward, using a base yet intriguing color palate, the costumes of the production were both lavish and whimsical, referencing such styles and cultures of the ever popular "Game of Thrones" television show and even referencing A Midsummer's Night Dream. Equally exquisite was the set, designed by James Noone (who also designed the set to A Few Good Men earlier this season) that was epic in its simplicity, yet infinite in its possibilities that were surely used as completely as any imagination could foster.

Director Matt August created an unforgettable rendition of this classic Shakespearian comedy that will not be soon forgotten: creative as can be and impeccably produced. Another home-run for Pioneer Theater Company.

Much Ado About Nothing plays Februrary 21 through March 8, 2014, see Pioneer Theater Company's website for more details.

A Choral Triad - St. Ambrose Catholic Church

On February 15th, the Salt Lake Choral Artists (SLCA) organization, joined with Paradigm High School presented three of their organization's groups in a delightful "Choral Triad" concert.

Starting off the concert was Nancy Hopkin conducting the SLCA Young Choral Artists (YoCA). Of only 10 voices, the kids did an excellent job. From familiar songs to a cute "Kazoo Concerto" that recalled familiar classical works, the groups was strongest when singing in unison. With such few voices, they struggled singing in parts but clearly the educational goals of this group are being attained. The children well poised and well-behaved and sang completely memorized. The various soloists proved there is strong natural talent in the young people of Utah. The children had strong middle ranges yet struggled a bit to channel their head voices; that will surely come with more time in the program. There are truly good things budding in the SLCA Young Choral Artists program.

Joining the "triad," was Paradigm High School, conducted by Joan Steinmann. The Paradigm High School Madrigal ensemble sang "A Boy and a Girl" by popular choral composer Eric Whitacre. Their performance was wonderful and nuanced, and they proved to be a force to be reckoned with in the high school music scene.

Preparing for an upcoming concert on March 29th, the SLCA Youth Honor Choir  conducted by Brady Allred, presented selections from Mozart's "Requiem" and the rousing gospel number, "Praise His Holy Name" by Keith Hampton.

The second half of the program was performed exclusively by the internationally-renowned Salt Lake Vocal Artists conducted by Dr. Brady Allred. In preparation for an appearance at the American Choral Director's Association Western Division Conference, they presented their music they will be performing. The group has a reputation of excellence and alone has heightened the level of choral music in the state. Their first performance for an audience in preparation for the event, SLVA's set began shaky with some intonation and balance issues in their opening piece "Hail Gladdening Light" a work for double choir by Charles Wood (seen here performed by an earlier incarnation of SLVA in Japan). Following that was "Benedictio" by Urmas Sisak: an interesting piece, yet the group show need for some polishing of the trickier passages.

English composer, Philip WJ Stopford's "Ave Regina Coelorum" was next. This piece alone, performed by SLVA, was the most incredible and transcendent choral experience this reviewer has had all year. Emotionally informed and exquisitely performed, under the masterful baton of Brady Allred, the choir sang with such unified precision in each nuance it sounded as one voice. This is what choral singing is truly about. Allred's SLVA sound is unique in Utah's choral singing community in that it is extremely tight and together, yet they sound is so expressive and free, not overly careful and controlled. With perfectly unified Latin vowels, balance and blend, the singers are enabled to sing expressively and freely, making the experience feel effortless and absorbing the audience into a truly remarkable performance. Not enough can be said of this remarkable performance of a beautiful work!

The rest of the concert went on without a hitch. Technically complex pieces "Pange Lingua" by György Orbán and "Alleluia" by Jake Runestad, highlighted the true excellence of the group and their talented director. SLVA is not only an excellent choral ensemble, but are Utah's most IMPORTANT choral ensemble as well. They are consistently challenging themselves and their audiences presenting works that are beyond the scope and capabilities of their fellow choral groups excellently as well as constantly seeking out new and outstanding choral works throughout the world. Rather than singing only commonly-known audience-pleasing music, they combine their programs with these works and new and exciting works, like their final piece, Romanian-born Hungarian composer Levente Gyöngyösi's "Domine Deus meus:" an exciting, jazzy, and highly dramatic work that showed off all aspects of this wonderful group's capabilities.

Including other local groups, along with Brady Allred and SLVA, Utah truly has remarkable remarkable representation at this year's ACDA division conference.

Utah Symphony - Tchaikovsky Violin Concerto

On February 14th, 2014, Utah Symphony presented a brilliant Valentine to a sold-out audience in Salt Lake City.

Conducted by Artistic Director, Maestro Thierry Fischer, the symphony, brilliant as ever, accompanied Israeli violinist virtuoso Itamar Zorman in an exciting rendition of Piotr Tchaikovsky's Violin Concerto in D Major, opus 35. Originally panned by many critics (some suggesting that rather than playing the violin, that the piece has the player beating the violin black and blue), the Violin Concerto has become one of the world's best-loved concerti, probably due to it's highly virtuosic nature. Zorman commanded the stage at Abravanel Hall with strength and confidence. His playing was nimble and passionate. Tchaikovsky wrote the concerto almost certainly with his current lover in mind, and the melodies are incredibly emotional with a sense of yearning, contained passion, and unbridled explosion of that passion. One could only image Tchaikovsky and Kotek away at his winter retreat composing and performing; and then this marvelous work coming from their time together. In it is contained a powerful foreboding of knowledge that their relationship is doomed due to circumstances and personalities. The freedom of living the moment versus the terror of the future is intrinsic to the piece and creates a true work of genius and dense art. The performers and Itamar Zorman under the masterful conducting of Maestro Fischer, clearly understood this because a more well-informed and passionate performance is rarely heard.

The second half of the program was dedicated to famous and familiar love-themed music including Tchaikovsky's "Waltz of the Flowers," Mozart's "Overture to the Marriage of Figaro," Bizet's "Suite No. 1" from "Carmen," and Mendelssohn's "Wedding March" from "A Midsummer Night's Dream." The pieces were well-played and enjoyed greatly by the audience, but left this reviewer reminded how these works are meant to be part of larger works, and are not as transcendent as when played as they were intended by the composer.

Jason Hardink on piano, along with members from the percussion section, presented John Cage's "Amoures." A technically smart piece, most brilliant was Hardink playing the prepared piano pieces. Inspired by eastern musics and philosophies, Cage's music was interpreted expressively and exquisitely. Though very modern, these were stand-out pieces of the program.

The two great moments from the orchestra of the second half were Mahler's "Blumine" symphonic movement and the final piece, Astor Piazolla's "Libertango." Piazolla is a brilliant composer and the "Libertango" is a fun, exciting, an intelligent piece. The evening was well-programed and excellently executed for an extremely large audience. A wonderful Valentine treat.

The Light in the Piazza - The Ziegfeld Theater

The Light in the Piazza is composer/lyricist Adam Guettel's award-winning musical about young love blossoming in the romantic city of Florence, Italy. Throughout the work, we discover the challenges a young couple faces from inside and outside their new relationship. They are able to accept the difficulties for a chance of love. Though the plot seems ordinary, it is far from it as it delves into some deep issues that may make some audiences uncomfortable: such as mental disorders in adults and failing marriages.

While Guettel's work has been praised by many, it seems like the source material would fit better as a play. The sensitive issues addressed never get their full explanation to see how the characters feel and think and react. They are over simplified. One yearns for a scene where a serious conversation takes place among the adults regarding Clara's condition and the intense emotional drama as the theory of accepting others versus the reality of these issues joining the family come into play is missing, and really what needs to be explored. These issues further explored can turn this from an interesting work, to a monumental and important work of theater. There is no denying Guettel's score is marvelous though. The music flows through the show like a love letter or a river, weaving in and out, creating mood and complexities that suggest there is more in the drama than meets the eye.

The Ziegfeld Theater is a fairly new community theater in Utah's scene. What used to be an old movie theater now houses some ambitious productions from a talented team of well-seasoned thespians. Most notable in this production, was the excellent chamber ensemble providing their "pit orchestra." Always in plain sight up on the stage in the corner, they played with precision and accuracy Guettel's difficult neoromantic score.

The difficult score proved a bit more challenging for the vocalists, as it is very exposed and they have the call to act as well as sing. They handled it deftly with few errors, though the score may have been a little harder than their generic skill levels. Rachel Shull, playing Margaret Johnson, was strong in her role, providing a motherly figure, who is complex in her relationship with others and always on guard. Her performance was the strongest. Following her was Caleb Parry as Signor Naccarelli. As he switched between his Italian and English it was seamless and convincing. Heidi Hunt as Franca Naccarelli proved to have some real vocal and dramatic skills as performed with passion and conviction. These three were not only the best actors on stage, but had the strongest voices, able to sing with volume, and especially with clarity and emotion that comes from training and dedication.

The two lovers, Clara and Fabrizio (Lindsea Garside and Scott Stuart, respecitvely) performed adequately and what they lacked in acting and chemistry they made up for somewhat in their vocal skills, above that what is often heard on the community theater stage.

At first, the set seemed simple, pure, yet clear. On a shoe-string budget, the design was excellent and effective. Four pillars, rearranged depending on the scene, provided the bulk of the set. Unfortunately the idea was overused and too many set changes occurring too frequently made the extras look like they were dancing with pillars as they rushed them about the stage. This was a distracting and unnecessary mistake from a set that was otherwise very clever and effective.

Well-deserved praise goes to piano/conductor Rick Rea for his well-prepared chamber ensemble. They never skipped a beat (though this reviewer would have enjoyed more expressive playing from the ensemble). It is clear he has exceptional skill and prepared the music to highest professional standard. All-around, the production was ambition and rewarding. All involved created an experience that wrenches the heart and impressed what beauty really is. The beauty of community, of love, of flaws, of family and acceptance.

Utah Symphony - Mozart and Shostakovitch

This past weekend the Utah Symphony and maestro Thierry Fischer gave one of the most unforgettable performances of the season with Shostakovitch's 7th Symphony, "Leningrad" at Abravanel Hall in Salt Lake City.

The first half of the concert, February 7th, was reserved for Mozart's "Missa in honorem Sanctissimae Trinitatis." Written when he was only 17, this is a monumental work that shows the budding of this genius. The piece opened with a stunning "Kyrie." With clear text and energy, the new choir under direction of the newly appointed Barlow Bradford (who, unfortunately was not present for this debut, he was with his university group to UMEA in St. George this weekend), showed a clear change! The choir has historically sounded like an opera chorus (as they also usually are the chorus for Utah Opera's productions) and this evening they sounded like a true choir. They had balance and blend that hasn't been heard from them in ages. Unfortunately, the Kyrie proved the highlight of their performance and following it, energy was lost and they fell into a certain indifference for the work they were performing. With the exception of some entrances and inner lines during the more intricate counterpoint (and some questionable latin vowels, specifically "o" and "e" that were prone to the American diphthong side), the notes and rhythms were mostly correct. However, the lack of energy made the music incredibly boring and this reviewer caught two people around himself falling asleep. The piece, after the Kyrie, was not treated with the dignity and exquisiteness a masterpiece by a young genius deserves, and left the audience to forget and dismiss it.

The second half of the concert was a performance of the entiretly of Dmitri Shostakovitch's 7th Symphony. This monumental work calls for a monstrous-sized orchestra, including 21 brass players. Maestro Fischer showed an intense knowledge of the work through and through. As it opened simply, the sound of war drums slowly come out of nowhere until we are completely overwhelmed by the sound of three snares at their loudest.  The drama was intense, sweeping the audience into the story as the "invasion theme" grew louder, higher, and more intense. By the end of the 25-minute first movement, the audience had already experience what music can do to them. We saw peace, love, family, war, violence, death. Each of the following movements has it's own mood and manner, originally gives subtitles like "Memories," and "Our Country's Wide Open Spaces" (a fact curiously not mentioned in the program notes, not to mention others) finally climaxing attacca with the fourth and final movement with the orchestra rising in dynamic to an unsettlingly loud ending, that by no means peace and happiness.

The symphony was in fine form, playing with such precision and accuracy and passion that has become characteristic and standard under the baton of Fischer. The audience could see the intensity of each instrumentalist's face as they responded to each nuance of the conductor. They showed true passion and dedication to the work and to the composer that was one of the most truly unforgettable experiences presented on the Abravanel Stage.

Conrad Tao, Tchaikovsky, and the Utah Symphony

On January 31st, 2014, Conrad Tao joined the Utah Symphony and maestro Thierry Fischer for a performance of Prokofiev's Piano Concerto no. 3 in C major. This 1913 concerto is probably Prokofiev's most loved and best known. Prokofiev is a master of the orchestral instrument and truly knows how to use the orchestra in it's most colorful and idiomatic ways. Every moment of the work is exciting, gut-wrenching, and passionate. Conrad Tao dazzled the Salt Lake City audience. A true prodigy, at age 19, there are few pianists who have the technical prowess as this wunderkid. Despite his incredible ability and intricacy however, Tao lacks the musicality of a more mature player and though he plays incredibly fast passages excellently, the inner phrases and greater phrases are lost in the spectacle. Salt Lake City loves Tao, and he offered a well-performed encore after his first curtain call. Surely he will be back!

The program was opened by Chen Yi's "Wu Xing" a piece that recalls the five elements. The piece was incredibly cinematic even though it's style was very 20th-century. As part of its "Silk and Spices" festival, "Wu Xing" was a Utah premier by this prominent Chinese composer. A well-crafted piece, the symphony played it well and showed their commitment to new art as well as more "classic" repertoire.

Wrapping up the program was Symphony No. 4 by Tchaikovsky. Initially rejected by critics and audiences, the symphony has become more beloved in contemporary times. The piece can be regarded as difficult to understand as we hear Tchaikovsky struggle to adhere to Classical forms, yet shows a desire to; a poignant metaphor for Tchaikovsky's personal life. The piece is rich in emotional content and the symphony played it with all the passion it deserved and Tchaikovsky struggles the balance of form and structure, melody and countermelody, and development and restraint. Utah Symphony and Thierry Fischer gave a solid understanding of Tchaikovsky's intent and a marvelous performance of this popular work. All-around, it was another wonderful night at the Utah Symphony!

You Can't Take It With You - Beverly's Terrace Plaza Playhouse

Opening this year of theater in Ogden, Beverly's Terrace Plaza Playhouse presented Geroge S. Kaufman and Moses Hart's classic, 1937 Pulitzer Prize-winning play "You Can't Take it With You."

With such classic material, it's hard to go wrong, and this show, directed by Charlene Adams was delightful. The set, designed by Dennis Ferrin, was wonderful, intricate, and quirky, resembling the cast of characters in the silly and sometimes poignant comedic drama.

Carolyn J. Stevens absolutely dazzled as Penny Sycamore. She channeled the role in a way few community theater actors touch. She was believable and touching, adding a level of humanity and personality that dwarfed every other actor on stage.

J. Michael Stevens, as Grandpa Vanderhof, had every audience member glued to him as he gave his final monologue. Well-executed, the world seemed to go away as he spoke with tenderness and authority. A high point of the show.

"You Can't Take it with You," is a skillfully crafted play that is for those wishing to escape to a different time. The play feels outdated and did not speak to contemporary audiences with its themes of "do what you love to do," and protest without passion. Each character loves their uniqueness and teach loving ones self, but essentially its about inner acceptance when today's world seems to have accepted itself, and seeks acceptance by those outside of ourselves. The message is a nice reminder and still lovely and important, I just fear today's audiences don't react as favorably due to the political and economic outlook.

For someone who has not attended a show at the TPP in many years, I was extremely pleased with the quality of this show and encourage all to check out the rest of their season and following.

"Welcome, Christmas!" - Salt Lake Choral Artists

In my final tardy review from the Christmas season last year, I must mention what I considered the greatest concert of the Christmas season, "Welcome, Christmas!" with Brady Allred and the Salt Lake Choral Artists at Libby Garner Concert Hall, University of Utah.

Featuring six of the eight choirs from the SLCA "family," and accompanied by a harp ensemble, the Salt Lake Choral Artists continually prove themselves to be a premier choral organization in a state where choral singing is too often taken for granted. With the Mormon Tabernacle Choir, Utah Chamber Artists, various University choirs, Utah Symphony Chorus, and various other community organizations, it is easy to forget what truly remarkable choral singing is and Brady Allred and the SLCA remind us of what an experience it can be!

The concert on December 21, 2013, was a healthy mix of familiar Christmas tunes and newer and lesser-known carols. The concert, with hundreds of performers in different ensembles, flowed extremely smoothly. The harps would play interludes while the chorus members took their places making the laborious task of moving so many people seem like the simplest thing ever.

The Salt Lake Vocal Artists, dazzled as usual, with Stopford's "Ave Regina Vaelorum." Soprano, Tara Wardle, sang a spectacular solo accompanied by the choir of "Virgin Slumber Song," that placed so early in the program really caught the audience off guard. Also highlighted was Ashely Wright singing "O Holy Night," who stunned with a simple yet powerful moment of a carol this reviewer does not particularly enjoy.

The Women's Choir, under direction of Jane Fjeldsted, proved some excellent work has been happening. At each concert this group improves and their "Bring A Torch, Jeanette Isabella" was a wonderful interpretation and performance of a group that clearly loves what they do, and their music is as infectious as can be!

A low moment of the concert was Robert Ray's "Magnificat." Though soloist Laura Griffiths sang soulfully and excellently, imploring true gospel style and improvisation, the choir felt tedious and labored, and their attempted movement and clapping felt forced, phony, and awkward as they held their folders to sing and seemed quite immobile.

Of course, any concert at Christmas time with harps must include Britten's "Ceremony of Carols." Allred aptly chose the best selections from this work and proved a real highlight of the concert. Allred provides a powerful interpretation of all he touches, text-centered and catered to reach the very soul of every audience member from the casual listener to the most scrupulous artist.

At nearly 2 hours of actual music, this concert could have been longer and I doubt a single audience member would have complained. It was excellently programmed and well-performed. It is comforting to know that choral music in Salt Lake City is in the hands of these talented performers and conductors. There is still surely much to be surprised and inspired by in the Salt Lake Choral Artists "family." It would be a mistake to miss any future SLCA concerts this season!