Music

The Saint Thomas Choir of Men and Boys with Concert Royal: Music of Bach and Handel

May 31, 2016

Such feast days deserve magnificent music; Bach and Handel created it. And the Saint Thomas Choir of Men and Boys, the first rate period-instruments Concert Royal, and five marvelous soloists gave splendid performances of two Bach cantatas and a Handel psalm-setting that did both the feast days and the music proud. The first-rate concert was a particularly fine accomplishment for St. Thomas Church: rocked by the sudden death last summer of John Scott, choral director and organist, the school and the church had to both manage a top-knotch concert season without their director and perform the “director-less” concerts as suitable memorials to Scott. [more]

Princess Ida (2016)

May 28, 2016

Completing New York Gilbert & Sullivan Players’ 40th Season was a rare revival of 1884 "Princess Ida," the team’s eighth operetta and the only one in which the dialogue is in blank verse, it is presented in three acts, and it is based on a previous play by Gilbert. In the playwright/librettist’s second parody of Tennyson’s book-length poem "The Princess," the themes include feminism, education for women, Darwinism and the Battle of the Sexes. While the operetta still displays its relevance and timeliness, the NYG&SP production proved to be uneven in several categories. [more]

92nd Y’s Lyrics & Lyricists Series: I Have Confidence: Rodgers After Hammerstein

May 26, 2016

Above the stage on a screen throughout the presentation were projected photographs illustrating Rodgers’ career and appropriate backdrops for the locales of the shows. Brief insightful video interviews with Rodgers’ daughter Linda, lyricists Sheldon Harnick and Martin Charnin, playwright Sherman Yellen, historian Ken Bloom, Rodgers grandson Peter Melnick, record producer Thomas Z. Shepard, and the actor John Cullum were shown. A 1974 Public Television interview conducted by James Day showed the aged Rodgers ravaged by strokes and throat cancer but still vital and articulate. [more]

The Cecilia Chorus of New York with Orchestra: Ludwig van Beethoven, Missa Solemnis, Op. 123

May 25, 2016

Price, Bottoms, Richardson and Courville are all strong, clear singers; they were well matched in this performance, alert to each other's pacing and responsive to each other's sensibilities. Although any one of the four could have grabbed a center spotlight, they were unified – probably by a combination of their own individual understandings of Beethoven's purposes and by Shapiro's direction – in graceful collaborative cohesion in their singing. [more]

Chita Rivera at the Café Carlyle

May 22, 2016

She ran down the list of her Broadway co-stars: Ricardo Montalban, Donald O’Connor (the disastrous Bring Back Birdie), Antonio Banderas (upon whose shoulder she placed a shapely leg in Nine) and, her admitted favorite, Dick Van Dyke, with whom she co-starred in "Bye Bye Birdie" from which she sang “A Lot of Livin’ To Do” giving it a sassy, winking interpretation making it impossible to deny that the title is very on the mark. It wouldn’t be a Chita Rivera show without a mention of her iconic Anita in "West Side Story." A meeting with Leonard Bernstein to go over her songs just after she had been cast was nerve-wracking as she never had considered herself a singer. History has proved that her singing almost equals her dancing. “A Boy Like That” and “America,” complete with some mini-choreography were nothing short of electrifying. [more]

Either/Or: Music of Gyorgi Ligeti

May 8, 2016

In the hands of less virtuosic musicians, Ligeti's material can spin out of control. Kigawa, Choi and Drehmann, however, from the very opening, invited the audience into an experience of listening based on complete trust. The work's elegant, almost wistful conclusion – a distillation of harmonic lines into quiet, unresolved ambiguities – was compelling. [more]

Dido and Aeneas

May 7, 2016

Staged by director/choreographer Doug Varone, "Dido and Aeneas" was amusingly presented in modern dress with Varone’s dancers playing the ensemble in both operas and pantomiming unseen props and scenery. As the original Purcell music to the surviving Nahum Tate 1689 prologue has been lost, LaChiusa has created a witty new one entitled" The Daughters of Necessity: A Prologue," and lasting 15 minutes. After the Chorus (men in bleachers on stage left, women on stage right) welcomed us, they recounted the myth of the Fates: Nono (Sarah Mesko) who spins the thread of life, Decima (Anna Christy) measures it, and Morta (Clark) snips the thread with her scissors. [more]

The New York Pops: Do You Hear the People Sing

May 4, 2016

Inspired by the musical Olivier! was "La Révolution Française" that was Mr. Boublil Mr. Schönberg’s first collaboration. Created in 1973, this was the first French rock opera and dealt with The French Revolution. The rousing “Parisians, Awake and Rise/ Français, Français” was performed by Ms. Glover, Mr. Jordan, Mr. Scatliffe and Essential Voices USA. The original French Cossette from "Les Misérables," Marie Zamora, was a marvelous Marie Antoinette for the wistful song “Au petit matin/In the early morning.” [more]

Another Son of Venezuela

April 22, 2016

Dynamic performer Migguel Anggelo exhilaratingly recalls the showmanship of Desi Arnaz and the performance art of Klaus Nomi in his terrific autobiographical cabaret act, "Another Son of Venezuela," that has the razzle dazzle of a Bob Fosse production. [more]

Les Fêtes Vénitiennes

April 22, 2016

At turns beautifully silly, dreamy, exquisitely moving and always delightful, "Fêtes" is a sweeping, if daffy, look at life in eighteenth century Venice. Christie and his director Robert Carsen, framed the opera ingeniously by beginning the work in modern day Saint Mark’s Square complete with modern day tourists—mostly members of Ed Wubbe’s Scapino Ballet—with their cellphones, backpacks and obnoxious behavior. [more]

The Choir of St. John’s College, Cambridge

April 20, 2016

Since the 1670’s, the Choir has consisted of voices ranging from bass to treble, all students at St. John's College or the College School. There are currently six basses, five tenors, four counter-tenors and seventeen trebles; of the trebles – two or three of whom are no bigger than buttons – there currently appear to be thirteen families represented. In some senses, the trebles are the stars of the show: that such young boys should demonstrate such consistently high levels of both innate musicianship and disciplined formal training is remarkable. The sweetness of tone inherent to boys' soprano voices is not like anything else: its combined ethereality of the moment and promise of future sturdiness make it a perfect instrument for the invocation of angels, heavenly beauty and divine wisdom. [more]

92Y’s Lyrics & Lyricists Series: Everything’s Coming Up Ethel: The Ethel Merman Songbook

April 20, 2016

“Our goal is not to impersonate her but to channel her,” said Mr. Sperling, the artistic director, writer and director of this entertaining event. In addition to these tasks, he also sang, played piano and as the genial host effortlessly delivered his authoritative biographical statements. A fan of Merman’s since childhood, Sperling’s conception and execution of this show was a very well done labor of love. His patter skillfully documented her renowned charisma, saltiness and, most importantly, her unique vocal abilities. [more]

The New York Pops: The Music of John Williams

April 15, 2016

Though the evening was studded with some of the more famous and mainstream orchestral pieces of William’s career—namely the March from "Raiders of the Lost Ark" or the Theme from "Jurassic Park," the evening also highlighted some of the more experimental pieces that came with Spielberg’s influential works of science fiction. A series of excerpts from "Close Encounters of the Third Kind," as well as a suite from "E.T. the Extra-Terrestrial," shed light on the fact that, though Williams is gifted at the art of creating a catchy melody, he is also an expert at concocting complex, ethereal music that makes the world of science fiction seem wholly believable. [more]

Dave Douglas Meets The Westerlies

April 10, 2016

The Douglas-Westerlies music, whether its subject is lament or celebration, protest or affirmation, is artistically coherent: testing and stretching traditional genres, the music is about forward movement, about the exploration of “Great American Themes” as they end in felicitously determined encouragement and optimism. This music's informing energy and spirit shine and summon. Audience and listeners are invited into a musical experience in which history provides context, inspiration and goad; references to the political, musical and cultural past do not tether the music to old habits but liberate it for new conversations. Together, Douglas, Royston and the Westerlies generated a warm and rich brass-and-percussion sound; the Westerlies' happy virtuosity, discipline and irrepressible affection for the full range of their instruments' sounds make them a perfect collaborative partner for Douglas' genre mixing and generously imaginative expansion of the artistic possibilities of trumpet, trombone and drums. [more]

Ensemble Pamplemousse

April 6, 2016

And Ensemble Pamplemousse, an exciting and distinctive six-member “composer performer collective” founded in 2003, and performing at Miller Theatre for the first time, had all sorts of fine surprises to offer. Each of the musicians composes and performs; each seems able to play several traditional and non-traditional instruments, though their publicity material identifies one primary instrument of each. All six, fresh off their extensive recent European tour – Natacha Diels/flutes, Jessie Marino/cello, Andrew Greenwald/drums, David Broome/keys, Bryan Jacobs/electronics and Ross Karre/miniature drumset – contributed equally to their recent Pop-Up performance. [more]

The Saint Thomas Church Choir of Men and Boys: Seven Last Words from the Cross

March 29, 2016

The last piece of the concert was James MacMillan's substantive and moving 1994 "Seven Last Words from the Cross," a 35 minute piece of seven different movements, varying in length from nine to one-and-a-half minutes each, for choir and orchestra. As the piece progresses through the final Passion drama, from Jesus' plea for forgiveness for his executioners to his exhausted last breath, MacMillan explores aspects of prayer and petition, anguish and fear – Jesus' and humanity's – in music that bears close allegiance to Romantic liturgies and Requiems. Here, the Choir and the orchestra were elegant, boys and men singing with superb control, lush expressivity … and their usual clear diction. [more]

¡Figaro! (90210)

March 25, 2016

Virtually performed all in English with some Spanish for comic effect," ¡Figaro! (90210)" is true to the art form with recitative and arias, that is sung speech and grand solos rather then integrated dialogue and songs that characterize traditional musical comedy. Supertitles are projected above the stage for anything that may be vocally indecipherable. [more]

C4: Unusual – Music of the strange, the absurd, and the surreal

March 24, 2016

For the winter concert of their eleventh season, the twenty-three member C4: The Choral Composer Conductor Collective – elected to honor “Unusual - music of the strange, the absurd, the surreal.” The evening included three premieres, all by current C4 composers, among the eight pieces performed. Some of the works were splendid and some weren't, but all were presented with C4's characteristic superb musicianship and artistic integrity as well as their willingness to take risks. [more]

Witchcraft: The Jazz of Cy Coleman

March 22, 2016

“He was tied to the life of jazz clubs,” said Billy Stritch of Cy Coleman, the subject of The 92nd Street Y’s Lyrics & Lyricists Series Presents: "Witchcraft: The Jazz Magic of Cy Coleman." Mr. Stritch was the personable host, artistic director, and performed on piano and was a vocalist along with four other talented singers during this very entertaining and jazzy concert. [more]

Richard Malavet in The Billy Eckstine Project: Songs In the Key of “B”

March 21, 2016

“He was the premier balladeer of his generation and the first African-American to sing a song on network radio,” Malavet declared of the entertainer. Billy Eckstine (1914-1993) was a Virginia born African-American jazz and pop singer, bandleader and songwriter. He sang with the bands of Earl Hines, Duke Ellington and Count Basie. During a career lasting over 50 years, Eckstine had several hit singles, toured extensively and appeared on major television network programs. [more]

Composer Portrait: Iancu Dumitrescu with Either/Or

March 18, 2016

The evening was less about contemporary Romanian composer Dumitrescu, born in 1944, than about the music for which he is, in some mysterious sense, a medium. Each work is unique, each a premiere, even if its originating shape has existed before. The style of music in which Dumitrescu operates has recently been called Romanian Spectralism. Dumitrescu himself doesn't much use this phrase; he calls his music and the impulse to make music 'Orphism,' describing it, variously, as “natural, alive and intuitive” and “sonorous and refined ...from archaic sources.” [more]

The New York Pops: 42nd on 57th: Broadway Today

March 14, 2016

A pulsating medley from Kander and Ebb’s musical "Chicago" was the thrilling second act opening number of The New York Pops’ pleasant concert of eclectic show music, "42nd on 57th: Broadway Today." The evening opened with a lush and dramatic selection from Andrew Lloyd Webber’s "The Phantom of The Opera." "Les Misérables" also received a superb symphonic treatment, as did the lovely overture from "Ragtime." Hearing these familiar melodies performed by this supremely accomplished 78 piece orchestra was uniquely enthralling. [more]

Composer Portraits: Alex Mincek with Yarn/Wire and Mivos Quartet

March 14, 2016

In the compositions of New York composer Alex Mincek (b. 1975), music is explored by means of separating out its constitutive elements: as indicated in Miller Theatre program notes for his Composer Portrait concert, Mincek examines “sound worlds,” music states and the “sense of interconnectivity that reveals underlying qualities of coherence and unity.” These principles were on full display as two stellar contemporary groups, Yarn/Wire and Mivos Quartet, presented four recent Mincek works, including two world premieres. [more]

Joan Osborne – Songs of Bob Dylan

March 12, 2016

Most people have difficulty imagining Bob Dylan as anything but the down-and-out troubadour singing for his supper in Greenwich Village nightspots in the early Sixties. He is, in fact, an incredibly prolific, sophisticated writer and Ms. Osborne slid easily from his country/western tinged ballads (“Tonight I’ll be Staying Here with You”) to his scathing, but clear-eyed philosophy of the world (“Gotta Serve Somebody”) to his tender love songs (“Forever Young”) and on to his Christian evangelical period (“Saved”). [more]

Fyvush Finkel

March 11, 2016

Finkel needed only minimal help to get up on the stage after recovering from a short illness. He began with patter about how Jews don’t usually drink because it interferes with their suffering. He also quoted humorist Sam Levenson’s retort to an anti-Semite. Levenson suggested that this person refuse to take advantage of all the cures and tests for illnesses discovered by men such as Sabin and Salk and their Jewish medical colleagues. [more]

From Moses to Mostel: A History of the Jews

March 8, 2016

Robert Klein, the comedian/actor/writer, was the laid back host whose shtick—a cell phone conversation with God (a humorless lady)—provided the backbone of the show. Klein had to prove to the very distracted all-powerful lady that the world was worth saving. From this fragile premise came a very amusing, slightly overlong, program, performed by a large band conducted by Frank London and four fine singers: Joanne Borts, Rachel Stern, Rob Evan and Steve Rosen, plus a guest artist or two. [more]

American Classical Orchestra: “L’Isola Disabitata”

March 3, 2016

The most psychologically complex role is Silvia's. Over the course of the opera, she moves from childlike naïveté to loving generosity of heart. Energetic and intelligent, she unlearns her sister's morbid lessons about men's wickedness so completely that as a newly emerged adult, she falls in love without reservation or fear. Sherezade Panthaki's Silvia was marvelous: the full evolution of her character was reflected in singing that moved from light sweetness to exuberant, vigorous sensuality. In her artistry, Panthaki made her Silvia a young woman with neither inhibition nor fear; Panthaki took every possible risk with Haydn's music and made it all feel like happiness in the process of being discovered. [more]

92Y’s Lyrics & Lyricists Series: “Battle for the Airwaves: The Songbook Meets Rock and Country”

March 2, 2016

Breezily delivering his erudite script from a music stand, black-backed cards that he occasionally held, and from memory, Naughton cited Jazz, Gospel, The Blues, Country and Doo-wop. He also imparted historical facts and biographical details about the key figures involved. These included Nat King Cole, The Mills Brothers, Hank Williams, Jr., Louis Jordan, Jerry Lee Lewis, Elvis Presley, The Everly Brothers, Patsy Cline, The Coasters, The Platters, and Ray Charles. Much of the commentary was accompanied by appropriate slide projections. [more]

Broadway by the Year: The 1930’s

February 25, 2016

Though most of the performances of the evening were solely from vocalists, some of the performers showed versatility by playing with various different instruments. This added a refreshing amount of variety, and led to a handful of outstanding performances. Pianist and singer Billy Stritch performed in the first act, and the combination of his smooth vocals and stride-style piano was a welcome treat. The highlight of the evening for Stritch was “Comes Love” (Yokel Boy), which earned mid-song applause from the audience. Also showing versatility was Nellie McKay, who—at different times—performed on both the piano and the ukulele. McKay, who possesses a voice with an almost calm quality, is to be thanked for some of the more subtle, quiet, moments of the evening. [more]

Marilyn Maye: “Marilyn by Request”

January 15, 2016

The crowd went wild when she sang some iconic favorites and became silent so as you could hear a pin drop when she crooned out others. Maye sure knows how to work a room. This snazzy, jazzy one-of-a-kind artist sang a lot of ballads, Broadway tunes and anything fabulous. Only the best would do for this phenomenal performer. Among the highlights were “Luck, Be a Lady Tonight, “Guess Who I Saw Today,” “Country Boy,” “That's Life” and “I'm Still Here” which was very apropos. [more]

92Y’s Lyrics & Lyricists Series: “A Funny Thing Happened: Songs from the Road to Broadway!”

January 12, 2016

Displaying her flawless vocal abilities, superb comic timing, dramatic range and exuberant presence, Ann Harada was the standout of the six-member company. She was in the original Broadway cast of "Avenue Q" and appeared in the recent Broadway production of "Cinderella." Her exquisite renditions included “Getting to Know You” from "The King and I," “Do You Love Me?” from" Fiddler on The Roof," “Sing Happy,” the 11:00 number from Flora The Red Menace, and “Distant Melody,” from "Peter Pan." Ms. Harada vividly demonstrated her delightful skills throughout. [more]

The Pirates of Penzance

December 30, 2015

The cast includes beloved NYGASP favorites as well as some less familiar faces. Coloratura soprano Sarah Caldwell Smith’s Mabel wins a justly earned ovation signing her aria, “Poor Wandering One!,” declaring her love for Frederic. He is played with cheerful restraint by tenor Carter Lynch (alternating with Daniel Greenwood). Bass-baritone David Wannen has a fine swashbuckling time as The Pirate King. Contralto Angela Christine-Smith as Ruth gives a memorable rendition of her aria, “When Frederic Was A Little Lad.” Bass David Auxier as the Sergeant of Police deals delightfully with his band of bumbling officers. [more]

Meg Flather: “Portraits”

December 30, 2015

The act itself is a potpourri of story songs that she was drawn to at an early age starting in 1985 when making her cabaret debut with pianist Christian Daizey at the old Duplex on Grove Street. After a few incarnations, the show was booked into The Ballroom in 1993, the legendary, now defunct, club in Chelsea that presented star attractions such as Eartha Kitt and Peggy Lee. The act was a big success and received raves. Now, twenty-two years later, she brought it back for one show with the masterful Paul Greenwood as musical director and John Mettam on percussion/guitar. Shaped by Lennie Watts as director, her reminiscences and silly quips explaining her more mature take now on her song choices then made for an engaging and totally fun hour (“... I had no business singing these songs in my twenties!”) With a few nips and tucks, Flather steered it all into the twenty-first century. [more]

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