Berkeley Opening

February 13, 2011 § Leave a comment


By Rebecca Liao

Have you heard? Barneys is opening up an additional store in the Mission! The new location is part of the company’s long term strategy to attract more buyers who already have avant-garde, cutting-edge taste. Now, before you get excited and call the Barneys store on O’Farrell St. in SF, I’m only kidding. I’m merely referring to the imprint of the LA Philharmonic on the exciting Berkeley Symphony Orchestra concert coming up December 3. The program for the evening is a mini-reproduction of the Philharmonic’s 2007-08 season, unofficially known as the “Season of Steven Stucky,” featuring the composer’s Radical Light and “Elegy” from August 4, 1964, juxtaposed with Sibelius’ Seventh symphony and a Stravinsky piece (a new take on Les Noces two years ago and the Firebird Suite for this concert). Incidentally, Stucky is currently Consulting Composer for New Music in LA and was the matchmaker responsible for pairing Joana Carneiro, Music Director of the Berkeley Symphony, and Gabriela Lena Frank, the new Creative Advisor.

Since the classical music world is so small, these interconnections are nothing out of the ordinary (there’s another word starting with i and ending with t that could be used, but this is a family publication). Given the timing and this particular cast of characters, though? This concert continues the steady chant begun this season, “Classical music is chic again.” It is young and dynamic, drawn forth with passion that is romantic in its strength and edgy in its similarity to ecstasy-induced highs. Carneiro and her SoCal counterpart, Gustavo Dudamel, are both regularly described as charismatic, energizing visionaries— the subject as well as the instigator of conversations at trendy gatherings. You can practically hear Ellen Degeneres singing into her Kanye West Autotune, “Change you ca-an believe in.”

Looking at Stucky’s accounts of his inspiration and intentions for Radical Light and “Elegy,” however, it is hard to understand why classical music has not always had this status in contemporary culture. Indeed, Stucky employs a breadth of modern references that rivals Marc Jacobs in his most successful collections. Let’s go through them: Lao-Tse and the inadequacy of words; poetry and the ability of art to do more than hold up a mirror; and for “Elegy,” the Gulf of Tonkin, murder of three civil rights activists on August 4, 1964, and John Adams’ affinity for Greek chorus and the dramatization of historic figures. In fact, Adams offers lists like this. Come to think of it, so does every contemporary composer. We have been, overall, good postmodernists.

Critically, however, we have not mastered the concept of high-low, throwing in the H&M pants or the Forever 21 dress. In music, the equivalent would be regularly aiming for visceral reaction or basing the success of a piece on pure alchemy. This is why any good performance of Sibelius’ Seventh is still an event, and even Stravinsky, for that matter. We listen wanting the rare feeling of wonder that something so wrong sounds like fresh genius. It does not happen often enough, but do you hear that chanting?

A version of this article appeared on sfcv.org.

Oakland East Bay Symphony

February 13, 2011 § Leave a comment


By Rebecca Liao

From a (fake) leaked production memo regarding the Oakland East Bay Symphony’s “Night at the Opera” Opening Concert on November 13:

World Premieres

OEBS Music Director Michael Morgan wanted to emphasize that even though he has been at the helm for twenty years, his desire to bring the uncharted into classical music is as ardent as ever, so he hired a cast of singers who operate along the same wavelength. Brian Leerhuber, baritone, created the role of Breedley in A Wedding at the Chicago Lyric. The felicitous nature of the title was perhaps dampened by the influence of director Robert Altman, whose portrayal of domestic bliss in Gosford Park led to the unfortunate coincidence that Leerhuber will share the stage with Heidi Moss, soprano, who sang at the premiere of The Grand Seducers. The opera’s ultimate downfall, however, comes in the form of Three Mo’ Divas, in which Hope Briggs, soprano, was a featured soloist.

Mr. Leerhuber faces no such frustration as Robert E. Lee in Philip Glass’ Appomatox, but Zachary Gordin, baritone, would point out that Glass has no Pulitzer Prize in composing, unlike Lewis Spratlan, whose opera Earthrise featured Gordin in the lead role of Wilder at its premiere. Kalil Wilson, tenor, lets us know from his website that he will soon premiere a new lead role composed for him. More details will be forthcoming once he decides whether to go with a Pulitzer or non-Pulitzer composer.

Oakland East Bay Symphony

Over the years, Maestro Morgan has gathered a family of singers, for whom the opening concert will be a performance as well as a reunion. Zachary Gordin, AJ Glueckert, tenor, and Lori Willis, mezzo-soprano, have sung Faure’s Requiem, Bernstein’s Mass, and Handel’s Messiah, respectively, with the OEBS. For works of an earthlier nature, Mr. Wilson performed in the symphony’s critically acclaimed and sold-out production of Porgy and Bess in 2007 and Mr. Gordin appeared as Montano in Othello. This is a very serious family, indeed. Then again, it is a night at the opera.

Musical chairs

With OEBS not indicating who exactly will sing what, we are practically invited to arrive at the concert with our predictions in hand. On the program for the evening are selections from Aida, La Forza del Destino, Nabucco, Lucia Di Lammermoor, Cavalleria Rusticana, Hérodiade, The Ring Cycle, and Candide. Ms. Moss’ crystal-clear soprano paired with any of the men, including Adler Fellow Joshua Bloom, bass-baritone, could fulfill all the casting needs for Lucia Di Lammermoor. As for Verdi, Ms. Willis’ mezzo-soprano is apropos, and Ms. Briggs boasts an agile lyric-spinto voice with a formidable stage presence that has carried her in several performances of Aida. The honor of performing the Nabucco piece will probably go to the Oakland Symphony Chorus and Oakland East Bay Gay Men’s Chorus. When this work is performed in Italy, it is immediately followed by cries of “Bis, bis,” which never happens in America. But in the hands of these choruses, who knows?

A version of this article appeared on sfcv.org.

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