Life and Health

Some are all gaga over the US House voting to approve a massive overhaul of healthcare. I applaud them and the lone Republican who decided that it was time.

But I am a realist.

I sadly think it will be for naught. The Senate will flounder as the right wings of both parties would rather spend $ on war and death than life and health so they can feel big about themselves.

Would be wonderful, but in this polarized, rudderless nation I don't think much of anything will be accomplished soon.

I would love to be proved wrong.

Kansas City Symphony: Britten's Orchestra

OK I admit I was worried over nothing.

The Kansas City Symphony and Music Director Michael Stern have been involved in 3 recordings since Stern's arrival here in 2005. The first ones were for Naxos and compositions by the heretofore unknown (at least in the USA) Taiwanese composer Gordon Chin. The second was a recording of some lesser known Arthur Sullivan and Jan Sibelius music based on Shakespeare's "The Tempest" done for Reference Recordings. Both garnered excellent reviews, but of course had little major competition.

But with the latest recording, Stern, the Orchestra and Reference Recordings plunged head first into the mainstream repertoire with some of the most popular and frequently recorded works by Benjamin Britten. The competition was formidable, including the composer's indispensable recordings, excellent readings by Britten specialist Steuart Bedford and on to Bernstein, Bolt and Handley to name a few. Frankly, I was concerned that maybe, just maybe, the orchestra was not ready for the cutthroat competition of prime time.

Shame on me.

With fabulous sonics (we used to call recordings like this "lease breakers") and impressive and quite competitive performances, this recording is a winner.

The usually excellent winds of the orchestra are captured in all their fleet glory. The strings are full and with fine intonation, the brass snarl and snap, the percussion rock the house (I think my speakers are shot from all the pounding, and this at a low volume!) and thus the ensemble comes together as a satisfying whole. Some of this is due to the incredible Reference Recording engineers who manage to tame the cavernous space of the Community of Christ Auditorium (aka the LDS Auditorium). But much is due to the excellent orchestra Stern has assembled and to his vision and leadership.

The "Variations on a Theme of Purcell" or more famous as "The Young Person's Guide to the Orchestra" featured uniformly outstanding work from the various orchestral groups, the woodwinds of special note. This was not a light, kid friendly reading but a powerful and well formed performance of this marvelous work.

One of my favorite Britten pieces, Sinfonia da Requiem, receives a lyrical, somewhat cool performance that fits the music well. The opening movement's "Lacrymosa" explosive beginning is stunningly captured as are the steady, powerful base drum beats. The crystal clear sonics and Stern's attention to detail allow you to actually hear the subtle sforzandi in each phrase near the end of the movement immediately after the big drum climax.... spectacular! The slowly fading ending of the "Requiem Aeternam" benefits from the sharp, spotlit sonics. The "Dies Irae" movement may not be a pants wetting experience (a reference from my chorus days when a choral director told us we were singing the Day of Wrath, NOT the "Dies Meh" and that he hoped that we would make the audience pee their pants in fear), but is certainly powerful and dramatic.

The 4 Sea Interludes and Passacaglia from Peter Grimes are top notch as well. From a misty, nautical tinged "Dawn", a bustling but somewhat unsettling "Sunday Morning", a dark and forbidding "Moonlight", concluding with a powerful "Storm" these "Interludes" give little away to the competition.

Stern, somewhat unusually, interpolates the "Passacaglia" from Peter Grimes between "Moonlight" and "Storm", which in my opinion works quite well.

In this case, I loved being proved wrong. This is an excellent recording and stands proudly along those mentioned above.

Reference Recordings RR120 released November 10th and available from most all the online and local retailers and direct from Reference Recordings.

Coupl'a Things XXVI

1) My friend Presten is reporting that at least 2 Kansas City radio stations have gone to an all Christmas music format as of November 1. There are likely more, but that is all he has reported for now. During my last visit to the hardware store, I noted the workers taking down the garden and patio supplies and putting up Christmas trees and such. Sadly, yours truly has also contributed to this nonsense; a couple of weeks ago I ordered the wreaths and poinsettias for the building. So far I have resisted putting up the Christmas tree.

Ho Ho Ho

2) Since we are planning for Christmas, it will soon be time to get ready for Mardi Gras. They say Halloween is the High Holy Day for gays. I missed that gene and decided Mardi Gras is much more fun. Actually that kind of fits with my penchant for doing things a little different. If everyone goes nuts for Halloween, I just find a more obscure event to celebrate. Makes life a little more interesting.

Mardi Gras is on Feb 16th in 2010, slightly towards the middle of the range of dates which can be from Feb 3 to March 9th. I hope I live 10 more years since Mardi Gras falls on my birthday in 2020. It has never been on my birthday since I was born.

I have my Mardi Gras dinner menu all set up but am still tweaking the guest list (apply here at Puggingham Place, seating is limited), looking for a new feather mask and thinking of getting a better King Cake this year.

Laissez les bons temps rouler!

3) There is a little spider crawling on my wall, if he comes any closer.... WHAP! I usually leave insects to themselves or take them out side if I can catch them. Creepy, crawly, biting, ugly monster spiders are an exception.

Deborah Voigt: From Wagner to Irving Berlin

Decisions, decisions. Friday afternoon found me with the possibility of attending two outstanding recitals featuring two of the world's most renowned sopranos. Since both were at the same time, I could do only one. Deborah Voigt was presenting a varied program of German and Italian arias plus American and European art songs; across town Dame Emma Kirkby was performing a program of songs by Dowland and Purcell accompanied by lute. The closer venue and company going with me led me to the Voigt recital.

Voigt is making a name for herself by taking challenging and varied roles in some of the world's leading opera houses. A Met Ring Cycle in 2012 will feature her as Brunnhilde and she is easily at home in Puccini, Richard Strauss and even Broadway.

Voigt showed that her big, Wagnerian voice could also tackle the intimacies of art songs. Opening the program were 3 Robert Browning songs op 44 by Amy Beach. Voigt sweetly yet clearly communicated these intimate texts, her big voice well controlled, never overwhelming. Following these were 3 songs by Respighi, "Contrasts", "Night" and "Mists", all three sung with precise Italian diction and superb vocal tone painting, deftly communicating the impressionistic texts and music. As Voigt announced her selection of "Vissi d'arte" from Tosca, a few claps dotted the auditorium, she remarked with a smile "don't get excited, I haven't sung it yet!'. But it was an exciting rendition of this popular aria, as were the two Wagner selections on the first half "Dich, teure Halle" from Tannhäuser and "Du bist der Lenz" from "Walküre".

The second half was just as thoughtfully planned, 5 Richard Strauss songs, all allowing Voigt to showcase her soaring, yet somewhat dark, soprano. These songs could have been written with her in mind, so well did her interpretation and voice match the texts. Accompanist Brian Zeger, got quite a work out in these demanding settings.

Voigt and Zeger moved effortlessly from Strauss' "Frülingsfeier"op 56 # 5 to the uniquely American works of Benjamin Moore and Leonard Bernstein, culminating in Bernstein's masterpiece "Somewhere" from "West Side Story". Unfortunately, "Somewhere" was a bit of a letdown; Voigt certainly loved and knew the piece, but just didn't communicate the wistful melancholy of the song.

The appreciative audience demanded some encores, and were granted three.

In addition to her stellar voice, Voigt has a wonderful relaxed yet always in command stage presence. She immediately relates to her audience and makes them feel a part of the performance. The highlight of the whole evening was her vampy, campy encore romp through Irving Berlin's rag "I Love the Piano". Voigt ambled over to the piano, bumped Zeger over and proceeded to improvise a honky tonk descant along with him. The immediate standing ovation garnered us "just one more", a soulful and tender "Can't Help Loving that Man of Mine".

Those hearing Dame Emma Kirkby probably heard a more "important" and unique musical event, but I bet they didn't have nearly as much fun.

Dunbar: At Home

Most people are not excited about owning a 20 year old car, but I am not "most people". I kind of enjoy cars of the recent past; usually bone simple, comfy and deliciously covered in fake wood, stripes and vinyl. In real terms, a 20 year old car is in that gray middle ground; too old to be current but not old enough to qualify for antique. Some of Dunbar the Buick's older siblings are considered antiques, they being the introductory 1982 models introduced in late 1981. But a car as ubiquitous as a 1990's Buick Century is not a sure shot for antique collectability. Of course some said the same about the Edsel or the 57 Chevrolet at one time.

I look upon 20 year old daily driver cars as survivors; some lovingly cared for, some benignly neglected, all lucky. Dunbar fits all three categories.

All of Dunbar's past owners have cared for him well with regular maintenance, kept clean and not raced or abused. My aunt bought Dunbar used in January 1996 from the Buick dealer in Clinton, IL with 66, 431 miles. As of today (after a quick run in the rain to check) Dunbar has clocked 76,452 miles. So in a bit less than 14 years, Dunbar has traveled just 10,021 miles. Most cars do that in a year. Thus Dunbar was one that was cared for and lucky to have been owned by older adults who drove him gently and sparingly.

Sadly as she got older, my aunt could not care for Dunbar as much. I did not see it, but I guess when she gave the car to my uncle a few years ago, Dunbar looked like hell. As was common of cars of that era, sun, snow and chemicals ate away at the clearcoat that made the paint appear so wet and shiny. He ran ok, just looked like a clunker. One notch in the benign neglect category.

My uncle, being a prim and proper English type gentleman, could not be seen in such a mess, especially at the Country Club. You see, Dunbar had now been relegated to golf duty. As some men buy old wagons and cars as "fishing cars", my uncle used Dunbar solely to go to the golf course and back. Again a bit of luck.

A new paint job was in order, so Howard scouted around for some bids on a paint job. One shop told him $800. Seeking a second bid, Howard took it somewhere else where they told him "I can do it for four". They got the job. Four THOUSAND dollars later (yes, $4,000 not $400), Dunbar looks fabulous. Howard learned a lesson as well, he told me. "From now on, I will be sure to ask "four what'?" Once again Dunbar gets another point in the "Lucky" column. Instead of an overspray of the existing paint, the old paint was removed, the car sanded, primed, two coats of correct color lacquer applied, a final shot of clearcoat and then restoration of the factory applied pin stripes. Probably a better paint job than when new.

Since arriving in Kansas City, Dunbar now has another lease on life; new tires and new brakes were just installed and some new hoses and such are in his future. I bought a cover to protect that $4,000 paint job from those wintry, salty days and the searing rays of hot summer sun. Just as important, Dunbar has someone who appreciates that he is a survivor. He may get to run on the road a bit more than in the past few years as I plan on taking him back to Illinois for Thanksgiving. But for the most part he goes back and forth just here in Midtown, not venturing too far from the Palace.

Dunbar, the 1990 Buick Century Limited, one of 35,248 made, hopefully will continue his string of luck for a long time to come.

What I am Listening to Today: Kansas City Symphony New Recording

The new recording of Britten Orchestral works is about to be released NOVEMBER 10th watch for it.

Reference Recordings RR120



I got an advance copy and upon first hearing it is quite impressive, especially the demo quality sound. Even on my crappy system, it sounds marvelous.

I'll post a more complete review closer to release time. Meanwhile check out your favorite retailer or Reference Recordings and get your copy reserved!

KC Symphony: Bach, Mendelssohn and Haydn Lord Nelson Mass

Part of the art of programming a symphony concert is choosing complimentary works, making the whole program a satisfying whole. On the surface, this weekend's Kansas City Symphony concert had 3 works unified only by their common origin from the Germanic musical tradition. The concert opened with the Bach Brandenburg Concerto # 3, followed by the popular Mendelssohn E minor Violin Concerto and for the last half, the Haydn D minor Mass (Lord Nelson). Music Director Michael Stern conducted.

But craftily organized was this program. If it were not for Mendelssohn championing his works in the early 1800's, would we regard Bach as just another prolific baroque composer or worse consigned his oeuvre to oblivion? It is thus fitting that a Mendelssohn masterpiece follow one by Bach to remind us to be eternally grateful.

So what of Haydn and Mendelssohn? The year 2009 links them together, 200 years since Mendelssohn was born on Feb 3rd and Haydn's death the following May. Plus, it was interesting to watch the number of performers grow from the 10 strings and harpsichord of the Bach, to the classical size orchestra of the Mendelssohn to the strings, organ, brass and chorus and soloists of the Haydn.

The Bach was well done, precise and full of energy. The 10 strings stood in a semi circle at the front of the stage with the harpsichord off to the right. The intimate scoring worked well in the theatre for the most part. Possibly due to where I was sitting, the harpsichord was sweetly inaudible, which frankly is better than some harpsichord heavy recordings and performances I have experienced.

KC Symphony Concertmistress Kanako Ito was the soloist for the Mendelssohn. Ito is an accomplished violinist, demonstrating her prowess in a sublime Scheherazade a couple of seasons back and a polished Tchaikovsky Violin Concerto last season as well. Hers was an elegant and well-crafted performance, aided by Stern's deft and perfectly balanced orchestra. Special mention to the particularly fleet woodwinds, so vital to Mendelssohn's requirements. The second movement was singing and melodic, never cloying and so sickening sweet. Ito's energy and attention to musical line and detail never faltered throughout the concerto, earning her a rare (for me) standing ovation for her sensitive, even exciting performance.

Haydn's D minor Mass from 1798 is inexorably linked to Lord Horatio Nelson, looked upon as a hero in Austria for defeat of Napoleon's navy in Egypt. Inspired by the tense times of the late 1700's (the mass is also known as "Missa in Angustiis" or "Mass in Troubled Times"), the Lord Nelson Mass is one of Haydn's most inspiring and exciting works. In this case, Stern eschewed the more elaborate later orchestration and went with the original concept of strings, organ, 3 trumpets and chorus with soloists. The big chorus looked able to overpower the smaller orchestral forces, but never carried out the threat.

I rarely read the KC Star KC Symphony review but in this case I did. The reviewer mentioned the organ "stuck out like a sore thumb". Must have been where he was sitting, for as with the harpsichord in the Bach, I could rarely hear the organ which took the parts more commonly played by winds.

The Symphony Chorus has benefited from its new leadership, Grammy award winning conductor Charles Bruffy. Diction was clearer, entrances precise and balance, as mentioned, excellent. The soloists were a mixed bag. Soprano Mary Wilson was a bit strained, but not annoyingly so. Mezzo Sasha Cook was excellent and did a fine job in the big mezzo solo in the Agnus Dei. Tenor Thomas Cooley was a bit subdued but otherwise in fine voice. Baritone Nathaniel Webster simply did not have the depths for the demanding part, probably more suited for a bass than a baritone.

Stern and the orchestra have turned in a number of excellent Haydn performances over the past few years and this one could easily be added to the list.