LiveArts Grand Rapids ~ 4/24/15

This was a one-of-a-kind, monumental event last night in the Van Andel arena, which is more at home to rock concerts and hockey games. Sometimes the light show made us feel like we were at a rock concert, however :-)

Grand Rapids Symphony, Grand Rapids Youth Symphony, Opera Grand Rapids, Broadway Grand Rapids, Grand Rapids Chamber Chorus, Community Youth Chorus, marching bands from East Kentwood and Grandville High Schools, Grand Rapids Ballet and Junior Ballet all came together for this powerful performance. We waited a few minutes for things to begin.

There was a strange little storyline going on throughout the show with a would-be cellist and his two young backpacked companions, something about following your dreams but it seemed weird and forced, and unnecessary.

David Lockington will be playing his swan song to Grand Rapids in a few weeks (the cellist here also played The Swan by Saint-Saens) and it was great to see him so invested in this performance.

Did I mention the lights?

We spotted our friend, Walter, who is a member of Opera Grand Rapids.

The ballet was nicely choreographed for the most part and sometimes enhanced the musical performances.

Intermission took place at 9pm, about 50 minutes after the concert began. The second half opened with a flourish ~ marching band members situated and playing from every aisle, and the youth chorus marching throughout the arena waving and winding their way back to their just right and left of the stage reserved seats.

As the youth chorus slowly filed back into their seats and the entire company performed the astounding "I Will Rise" by Sean Ivory, complete with arm choreography, we were struck by how white the waving arms of the youth chorus members were. Not much diversity there. The piece itself was incredible, complete with additional percussionists and the text flashed on screens.

In the Hall of the Mountain King, played by the Youth Symphony with the dances performed by the Junior Ballet company, was pretty great and more effective than earlier numbers by the ballet pros. But the Youth Symphony didn't fare as well when playing in tandem with the GR Symphony on Beethoven's Ninth. Varineau was conducting looking at Lockington's back and they didn't pull it together until the finale when Lockington turned around and they conducted together for the final moments.

Carmina Burana, sung, played, and danced to, was fabulous. The opera singers and selections from Tosca were top notch, as were the Broadway singers who performed tunes from Phantom of the Opera. The Youth Symphony sounded excellent and so professional when playing a Stravinsky piece on their own (Berceuse & Finale from Stravinsky's Firebird Suite?). Just a few sour notes here and there reminded us that this wasn't the GR Symphony.

The entire concert was a mostly tight performance but started 10 minutes late, took about a 20 minute intermission and was finished promptly at 10pm. Lockington took his bows and quickly left the stage. There was no interest in an encore or additional bows.

But do you think we could get a program, listing performers and performances? Nowhere to be found. We saw a few people holding them but apparently they printed a dozen or so and called it good. The titles were briefly posted on the screens above but that's really not good enough. We know the programs were sparse because we could not find one anywhere on the way out and usually they are strewn on the floors and in the trash barrels (yes, we looked). Here's hoping this becomes an annual event but with more programs, please!

A few seconds of Superman! 

Grand Rapids Symphony Night ~ 1/10/15

Our pre-concert dinner is usually at Bull's Head Tavern, due mainly to its convenient location to DeVos Performance Hall. And lucky for us, the food and service is also wonderful.

We had an awkward encounter with this guy, who at the time of our entrance was standing behind his chair and wasn't budging an inch to let us get by. Some of his friends snickered and still he didn't have a clue. He was with two long tables of baseball cap-wearing folk there for some convention at Amway. 

Good thing Tony Soprano wasn't there :-)

The symphony was warming up, and once again, we had a Guest Conductor as the symphony continues its search for its next Music Director.

The amazing, Joshua Weilerstein energetically walked out and proceeded to brief the audience on each of the three selections of the evening, and we loved it. The first piece (12 minutes), Iscariot by Christopher Rouse, started out in lush beauty but quickly moved into less pleasing dissonance. With the title of the piece taken from Judas Iscariot in the New Testament, I guess that makes sense. Quickly it was time to change the stage, bring out the piano, and tune the orchestra for the arrival of the renown Stephen Hough!

As Weilerstein described in his introduction, Dvorak's Concerto for Piano in G minor is rarely heard live because, according to Stephen Hough, it was composed by a violinist for a pianist with 10 thumbs. The piece is incredibly difficult but so beautiful to hear, with piano and orchestra exquisitely blended. Unfortunately, after the conclusion of each movement the audience members applauded. But they made it up to Hough by applauding enough after the conclusion to bring him back for an encore. He announced what it was before he began to play but I didn't catch it. It wasn't listed in the Friday night review but I don't think that audience gave him enough of an ovation to bring him back. So later that night I put the question out on twitter to @grsymphony @artswriter and #stephenhough (I couldn't find Stephen specifically on twitter). And who should respond but the great man himself.

After the intermission, Weilerstein conducted Mendelssohn's Symphony No. 3, "Scottish." This time the audience respected the movements, and joyful and lyrical were both the composition and the conductor. We hope Joshua Weilerstein is a contender for the Music Director position and were so honored to have Stephen Hough here in Grand Rapids.

 

Grand Rapids Symphony - 11/22/14

We were disappointed that David Lockington would not be here (because we love him) but were overall quite taken with the guest conductor, Andrew Grams, by the time the concert was over. He walked out with his left arm bent at his waist with his fist clenched, his baton in his right hand. He was animated, dramatic, and altogether fun to watch (stock photo).

A few comments about the music. Brahms wrote only one violin concerto and he wrote it for a friend of his. And apparently (obviously?) he composed it to show off the skills of his friend, violinist Joseph Joachim (on the right).

 

Technically, it is superb. One can hear glimpses of Brahms in the orchestra but the solo part is all technique, especially in the first movement. (Listen to his symphonies if you want to hear the beauty of Brahms.) And yes, violinist Augustin Hadelich is incredible, as he proved again during his encore, flawlessly performing Paganini's Caprice No. 5, a technical and impressive masterly performance. He has his own amazing back story, coming back from a serious burn at age 15 that threatened his future as a violinist (stock photo). But comparing this concerto to Beethoven's Violin Concerto in D (recently read in a review) doesn't work for me, as the latter is stunningly beautiful and the former is just technical to my ears. It's nothing against Hadelich because I'm pretty sure he can play anything, beautifully and perfectly.

The second work of the night was Bartok's Concerto for Orchestra. It was interesting to hear individual instruments/sections highlighted and it was impressive overall but again, we were not swept away. I'm sure this is sacrilege to fans of the composition, but other than parts of the fourth and fifth movements, it all seemed somewhat randomly constructed.

Some music can bring you to tears just through its sheer beauty, but tonight was not that night. It was technically amazing but it did not touch our souls.

Grand Rapids Symphony - 11/12/11

DeVos Performance Hall was inordinately crowded tonight, including a long line at the ticket counter and many more young people than are usually present at the Saturday evening concerts. We knew it was Beethoven’s “Ninth Symphony” that was to blame. Always a crowd pleaser, it didn’t disappoint tonight. 

Warming Up For Bartok

The evening began with “Music for Strings, Percussion and Celeste” by Bartok. Music Director David Lockington gave a brief introduction of the Beethoven and Bartok works, neatly tying them together by movement and symphony set-up. He also amusingly gave us his preference for the pronunciation of “celeste” and why. 

Bela Bartok, 1881-1945

Although some audience members may prefer a music-only evening, we always appreciate Lockington’s comments regarding the music and its background. (We also prefer his now-gone long locks over his current businessman short haircut but that’s just us :)


Before the concert began, Lockington brought out retired principal cellist, Nancy Steltmann, to thank her for her years with the symphony. She was presented with a “time piece” (a large mantel clock) and then was given the opportunity to say a few words. Nancy started out by saying she thought she rambled too much during last night’s presentation, and then proceeded to ramble on. We did wonder why she hadn’t been honored at the Season opener in September if she retired in August. Maybe the clock wasn’t ready. 

The Waiting Time Piece

The evening started late and was further delayed by the clock presentation. After Bartok and the intermission, Beethoven’s Ninth was finally ready to begin at 9:15pm (and finished at 10:25pm). 


With what seemed like many new concert-goers, the increase in talking during the performance also annoyingly increased (even if you are whispering, people, we can hear you). We especially enjoyed (not) the man who conducted the Ninth Symphony along with Lockington.


Overall, it was a thoroughly enjoyable concert and the Grand Rapids Symphony Chorus was most impressive. Because they do not perform until the 4th movement, we were amused at  closing eyes and nodding heads throughout the chorus. The soloists were spared that and stayed off stage until their time. The solo voices were gorgeous and blended beautifully, leaving us wishing for more.

Ludwig van Beethoven, 1770-1827

Grand Rapids Symphony - 11/20/10

The evening began with Ritirate notturna di Madrid, by Boccherini (1743-1805), arranged by modern composer Luciana Berio (1925-2003). It was a charming, short piece with little evidence of Berio’s modern work.  The program notes were very informative in explaining Boccherini’s intention of portraying an approaching, and then departing, band on a street in Madrid.

Samuel Barber’s Symphony No. 1 was composed as one movement, and although it was fast-paced, the various sections were easily discernable. Although it had its moments of beauty and interesting instrumentation layering, it was our least favorite of the evening.

The highlight of the evening was Carmina Burana by Carl Orff. The music is incredibly  dramatic and used to that effect in various movies. Probably everyone in the world has heard the opening “O Fortuna.” Text and translation were provided in a separate 4 page insert and the noise of paper rustling was disconcerting at times. If one is unfamiliar with the text, the issue becomes whether to follow along with the translations or to sit back and wrap yourself in the music. It’s a difficult call.

By not following along or not knowing the text, one might wonder at the shrill, grating solo by Brad Diamond (Oh, you’re a swan being roasted; in that case, well done.) One would also miss the ribaldry and humor of the poems.

The other two soloists had much bigger roles to play. Carrie Hennessey sang beautifully with her smooth, soprano voice, but Aaron St Clair Nicholson was the star of the night. His baritone range was extensive and each solo was expressively performed. There were a few times, however, when the chorus seemed to be overwhelming him.

The Grand Rapids Symphony Chorus was very powerful yet so controlled. There was never a voice hanging on after a cut-off and the performance was extraordinary. Occasionally throughout the work, the Grand Rapids Youth Chorus rose to play their part in the performance. At the conclusion, Music Director David Lockington looked quite pleased, and the audience was as well.

Grand Rapids Symphony - 5/8/10

The closing concert of the season presented us with one title: Verdi’s Requiem. When I hear “Verdi,” I think opera (e.g., Aida, Rigoletto) (and the soprano soloist in particular was quite dramatic). But this was an impressive non-opera production. Orchestra, two choirs, and four soloists performed this glorious version of the Latin mass. The chorus was a combination of the Grand Rapid Symphony Chorus and the Calvin Capella Choir, and the soloists and choirs were in fine voice.

The program notes described each part of this Requiem beautifully. Roman Catholics would be familiar with the text; all others should have been impressed by the powerful music. The soloists frequently sang with each other in duets or trios, and their harmonies, along with the backing orchestra and chorus, put one in awe of the composition.

The program stated there would be no intermission; the 8 ½ x 11 libretto handout indicated there would be a 15-minute intermission, and there was, after the dramatic “Dies Irae.” Before resuming, David Lockington did his end-of-year acknowledgments for symphony members celebrating anniversaries: 10 years, 20 years, and 30 years.
Following along with the libretto was helpful at times but at other times detracted from being fully immersed in the music (it was also a bit noisy as people fiddled with the paper). The conclusion was compelling, with the soprano and the chorus begging God for deliverance on Judgment Day.
The four seats behind us were vacant so no Ritz cracker eaters tonight, and the sleepers to our left were also absent - nice. Looking forward to next season...

Grand Rapids Symphony - 3/27/10

The concert began with “Don Juan” by Richard Strauss, and the program notes (by John Varineau) were most helpful in interpreting and understanding this lively piece. The music describes Don Juan rushing from one love to another, and also how he experiences each of these loves. This was great musical story-telling.

Next up was Midori, playing “Concerto for Violin and Orchestra” by William Walton. There aren’t a lot of people who get away with being known by one name (Cher, Madonna, and no, not you Lindsey Lohan), and this “rock star” of the classical world obviously deserves her one-name fame. She was magnificent playing this difficult concerto. But we all appreciated the performance skill more than the music itself. Also, Midori’s dramatic and very active movements proved to be a distraction. In this instance we concluded we’d be better off listening to a recording to fully understand the music. There were magical moments, particularly the short “duets” with the harp and with the cello.

“Scheherazade” by Rimsky-Korsakov closed the program, and was our favorite of the night. It’s a wonderful story: Sultana Scheherazade saves her own life by telling the Sultan an interesting story each night. The Sultan is so fascinated that he postpones her execution for one more day, so he can hear another story (The Arabian Nights/A Thousand and One Nights). It’s a beautiful piece in four movements, and the violin solos represented the voice of Scheherazade (sweetly played by the concertmaster). The percussionists had a large role to play and spent less time sitting back in their corner. David Lockington then surprised all of us with a short, festive encore ("Wild Bears" from Elgar's "Wand of Youth" Suite, information courtesy of Jeffrey Kaczmarczyk).

Interestingly, the men of the orchestra always wear formal tuxedos while the women are required only to wear black. The result is wildly varying women’s attire: skirts, slacks, sleeves of differing lengths and styles, all in assorted shades of black and dark gray. It’s a superficial observation but more uniformity would make a more pleasing presentation.

And speaking of distractions, Ritz-cracker-eating people were with us again, which I will never understand. There were only three of us tonight so we had an empty “buffer” seat between us and our other favorite concert-goers, the sleepers. Only he dozed off this time and not for long periods of time. We thank the percussionists in “Scheherazade” for that.

Grand Rapids Symphony 2/7/10

The dissonant music of instruments warming up comes to a sudden halt as the concertmaster arrives. After acknowledging the applause, he faces the orchestra and cues the oboe to sound its pitch. The rest of the orchestra tunes itself to the oboe and momentary chaos once again ensues. Suddenly, all is quiet. It’s a great, anticipatory moment with everyone waiting for the maestro to appear and the concert to begin. A violin soloist walks out followed by - wait, what? That’s not David Lockington. Having only skimmed the program beforehand, I was surprised by Larry Rachleff, who is apparently a popular Guest Conductor holding Musical Director positions in Rhode Island and Houston, Texas. He was great to watch and is the Gene Kelly of conducting to Lockington’s Fred Astaire. Sometimes with only a tip of his head but more often with his entire body, his direction was dramatic and physical, including animated facial expressions. At the conclusion of the concert, rather than Lockington-like gracefully pointing to acknowledge particular players, Rachleff was down among them, urging them to rise for applause.

The 25-year-old, Augustin Hadelich, starred in Beethoven’s Concerto in D Major for Violin and Orchestra. Simply put, he and his violin (a Stradivarius) were amazing. After the overwhelming response to his performance, Rachleff whispered to him and indicated to the audience that we’d get one more. The short encore was Caprice No. 17 by Paganini, and it beautifully showed his skill while also giving us a lovely musical work.

The next piece of the evening was Shostakovich’s Symphony No. 5 in D Minor. During intermission, I read the program notes, which were fascinating regarding the composer’s intentions and the Stalinist Russia’s immediate, and incorrect, interpretation. To emphasize this dichotomy, Rachleff took to the microphone beforehand and briefly reiterated the program notes. (It would have been interesting to hear this piece without the background knowledge and then listen again after the information to see how its impact and one’s interpretation might have differed.) Plaintive melodies, militant sections, and themes reflecting anger and sadness are all apparent in this magnificent work.

Being seated close enough to see the music on the stands, I’m always aware when the end is near. And all but the very front rows can see the percussionists stand to attention to indicate something big is coming. It makes it harder to become totally lost in the music but the benefits of live music performance still outweigh the negatives - like ritz-cracker-eating-lady, this time sleeping heavily, along with her husband, who periodically noisily woke up. This couple provides something new at each concert, and our group of four now vies for the seats farthest away from them. Tails, you lose.

Grand Rapids Symphony 11/22/09

An evening at the Grand Rapids Symphony is an enjoyable night but always has its highs and lows. Here are a few:

High
Mozart’s Symphony No. 31. His music is mathematically precise and beautiful. That’s the best way I can explain it.

High
Conductor, David Lockington. I love to watch his direction - it seems somewhat loose and he leads the orchestra half-a-beat ahead, but you know he has total control. He physically draws out what he wants from the players and afterwards makes a point of acknowledging special contributions of specific musicians. He did not speak last night but on other occasions he has offered some background information regarding the composition. His comments are always interesting and laced with humor.

High
Cellist Daniel Muller-Schott. He was amazing as he performed Dvorak’s Concerto in B minor. He was not only one with his cello but was also one with the composition and the orchestra. He came out of his musical trance between movements and but was immediately back when the first note of the next movement played. The duet he played with the violinist in the third movement was incredible and I think their proximity to each other added to the intensity.

Low
Mahler’s Adagio from his unfinished 10th symphony. There was nothing wrong with the performance but the piece itself should be called "Descent Into Madness". It is a masterful composition and would be a great film score for a film noir. But it was difficult to listen to and the picture I kept seeing was someone being driven into insanity.

Low
A woman a few seats down who was knitting throughout the entire evening. Last time, there was a woman two seats away eating Ritz crackers. Concert etiquette, anyone?