KC Symphony: Khachaturian, Mozart and Smetana

"Some 'classical warhorse' pieces are popular", explained my classical music mentor Herb, "simply because they are damn fine pieces of music." I put Smetana's wonderful tone poem "The Moldau" or more properly known in Czech as "Vltava" in this august category. What is not to love about this perfect 10 minute travelogue? Visually descriptive without being boringly obvious, colorful, brimming with memorable melody (indeed the opening main theme was played on the tour bus when our group arrived in Prague in the 90's) and perfectly proportioned.

Unfortunately, being a warhorse often means some pretty rough and ready performances, such as the Moscow State Symphony concert I heard a few years ago, where the Vltava swept all the castles, nymphs and peasants along in a torrent. Music Director Michael Stern and the Kansas City Symphony kept the Vltava in her banks while still evoking the majesty of the river and the life along its shores. Under Stern's direction, the farmers danced spritely, the mermaids cavorted sensuously in the mists and the great Vyšehrad Castle loomed commandingly over the city. A most fine and enjoyable performance of this fabulous chestnut.

While "Vltava" boldly closed the concert, the opening work, Messiaen's 1991 "Un Sourire: Homage to Mozart", began the program in a more delicate and subtle mode. Written in 1991 for the 200th anniversary of Mozart's death, "Un Sourire" has all the static mystery and antique modal harmony that characterizes much of Messiaen's oeuvre. The short work physically resembled Mozart not in the least, but impressionistically captured Mozart's brilliance, elegant simplicity and transcendent beauty. A highlight was the orchestra's fine mallet percussion which provided drier, rhythmic contrast to the more slow moving winds and strings in this episodic work.

If someone did not "get" the Messiaen piece, it should have been made quite clear from the following performance of Mozart's Symphony # 38 "Prague". For his loyal and appreciative fans in the Bohemian capital, Mozart wrote one of his more sublime and festive symphonies. Stern and the orchestra captured this elegance for the most part with a well paced, incisive performance. Only some string intonation gaffs and a somewhat lax opening slow introduction to the first movement marred this masterpiece of contrapuntal writing; Stern brought out each of the melodies that flowed from Mozart's pen like the mighty Vltava.

The long central slow movement (this is a 3 movement symphony, somewhat rare in late Mozart) was full of charm and elegance under Stern's direction, the strings much better in tune with delicate winds in attendance. The short finale brought the homage to Prague to a spirited but somewhat abrupt end.

Khachaturian's bravura Violin Concerto of 1941 certainly pleased Papa Stalin (he gave it a coveted Stalin Prize soon after) with its bombardment of folk like melodies, swirling dances and fireworks. It takes a steady hand and firm control from both soloist and conductor to keep the thing from spiraling into banality. Latvian violinist Baiba Skride and Stern did quite well in that regard, taking the work and its technical demands seriously. That certainly did not diminish the fun as Skride was always in perfect tone, taking each daunting passage in stride while keeping focus on the work's forward movement. Skride and Stern milked the lovely and long central Andante for all its melodic potential and brought it all together in a fiery finale that brought the audience to its feet.

Kansas City Symphony: Rum and Vodka

Audience favorite Giancarlo Guerrero joined the Kansas City Symphony in one of his signature Latin themed programs this weekend. A roaming guest conductor when he first appeared here, Guerrero is now the highly successful Music Director of the Nashville Symphony. His programs are always exciting, colorful, well thought out and his energy infectious; this one combining Spanish favored works by Giménez, Sierra and Ravel with the Shostakovich Cello Concerto # 2.

Jerónimo Giménez, a name hitherto unfamiliar to me, will be familiar to devotees of Spanish Zarzuela. Giménez (1854-1923) was a prolific composer, churning out several Zarauela a year. The Interlude from "La Boda de Luis Alanzo"(the marriage of Luis Alanzo) is a brief 6 minute romp full of rhythm, fanfare, folk melodies and hijinks.

I was first introduced to the music of Roberto Sierra through a recording of his 3 previous Sinfonias on Albany records. Although the performances seemed fine, I came away somewhat unimpressed and found the music mostly unmemorable. I was most favorable towards the Sinfonia # 1 from 2004, a more substantial and dramatic work than the other two; number 3 (subtitled "La Salsa") reminding me too much of "El Salon Mexico" or Gershwin's "Cuban Overture". The latest, Sinfonia # 4 (premiered by Guerrero and his Nashville Symphony in 2009), is certainly festooned, chock-full and even loaded with Latin percussion and color, but is a very tense, dramatic and intricately designed work.

In 4 shortish movements totaling 25 some minutes, Sierra uses the Latin elements, pulsing percussion, talking bongos, shimmering mallets, to advance his dramatic argument. Quite effective was languid 3rd movement, "Tiempo de Bolero", evoking the slow, sultry dance form in a complex, contrapuntal style, keeping the dramatic tension of the work flowing. The brilliant "Muy Rapido" finale, was colorful and reminiscent of the first movement bringing the Sinfonia to a satisfying and powerful conclusion.

In among all the Spanish and Latin American flavored works comes the Shostakovich Cello Concerto #2 with Alisa Weilerstein the soloist. Reservations about this being a most odd, about-face selection disappeared when you realized the spareness and coolness of this most austere work was like a stiff, icy shot of Stoli in between rounds of sweet Cuba libres or complex Piña Coladas. The work carried on the power and drama of the Sinfonia # 4 in a subtle, raw manner; a most welcome contrast to the other works that wore their emotion on their sleeves. Guerrero led a well paced and generally finely balanced performance of this strange work. The orchestra is more frequently used as a chamber ensemble than as a large force with prominence to the extensive percussion, which in this performance had a tendency to be too commanding at times, but handled the death rattle ending with dry finesse.

Weilerstein captured the often wide ranging expressions of the demanding cello solo; brittle and acerbic when called up yet dramatic and warm when the lyrical side of work broke through the gloom. Other performances I have heard have done a better job of integrating these bi polar extremes of mood, but this performance held together quite nicely and was the perfect foil to the more gregarious works on the program.

Serving as the bottom slice of bread this Latin-Russian sandwich was Ravel's homage to Spain, the impressionistic Rhapsodie Espagnole. Appropriately dreamy and veiled in the opening "Prelude de la Nuit" and following "Malagueña" and "Habanera" dances, the Rapsodie ended in a vibrant, colorful "Feria", closing the concert much in the way it began.

It Snowed II

Some Snow Pictures from 1/20/11

From the Palace roof top:

About 9AM and not much traffic on Main St:

Our Snowy 'hood:

And for those thinking KC got some snow, here is Maria snowboarding in Sun Valley, ID:

Kansas City Symphony: Martinu, Grosse Fuge and Andre Watts

A performance of one of Martinu's 6 symphonies is always a welcome occasion. For me they are among the greatest 20th century examples of their form, along with the cycles of Sibelius and Shostakovich, and much more satisfying than the symphonies of Nielsen or Prokofiev. When the performance was as fine as last night's Kansas City Symphony performance, it is an even more delectable treat. Michael Stern, Music Director was on the podium in a program featuring the Martinu Symphony # 4, Beethoven's most fascinating and bizarre work, the Grosse Fuge, Op133 in a string orchestra arrangement by Felix Weingartner and the Rachmaninoff Piano Concerto # 2 with piano legend Andre Watts as solo.

Two things that will kill a performance of a Martinu Symphony, an inattention to detail and slack rhythm, were not present at all in this fine performance. Stern milked the cinematic elements of the piece, let all the color and brilliant orchestration shine through and kept up a brisk but tenable pace. I heard more than one patron state that they absolutely enjoyed the work and had never heard a piece by Martinu before. Mission accomplished, Maestro.

The Beethoven Grosse Fuge is an acquired taste like scotch or pickled herring with sour cream. Since those delicacies are some of my favorites, it would then lead one to the conclusion that I enjoy the Grosse Fuge as well. The piece works best in its original string quartet version but the Weingartner arrangement for strings with basses doubling the cello is heard occasionally in concert. An overall well done performance, but the even more introspective central section of this sprawling, insanely incredible work lacked the necessary focus to negotiate the many changes of tempo, mood and thematic entrances. The Kansas City Symphony strings were at their best in the wild and wooly dramatic sections of this most grand and untamed fugue. As Stravinsky stated: [The Grosse Fuge] "is an absolutely contemporary piece of music that will be contemporary forever."

While I was most thrilled with a chance for some live Martinu and the Grosse Fuge, I am sure most of the packed house was waiting for the Rachmaninoff and Andre Watts. Watts was a legend from his debut in the early 60's and championed by Leonard Bernstein, with whom Watts made many recordings. Most of these Columbia/CBS recordings have disappeared or have been abused, appearing in "100 Greatest Piano Hits" type of recordings, cheapening Watts' legacy. Now in his 60's, Watts is still a brilliant virtuoso and thus tossed off this demanding concerto like it was a piece of candy. Magisterial is the only way I could describe it. Stern and the orchestra provided stellar accompaniment and joined in the rapturous applause for this titan of the piano.

Winter Flower

To remind everyone that the world has not frozen over completely, here is a wintering hibiscus showing off in the Palace pool room.

It Snowed

It snowed, It snowed
It snowed last night
Everything is sparkling with diamond light

("It Snowed" ~ Meaghan Smith)

Outside of my Ipod, where I have a copy of this ditty in a Christmas music collection, I will not hear those words today around here. What I will hear is:

"look at this shit"

"That's it, I am moving to Florida"

"Can you believe this?"

"I am so sick of weather"

Ad nauseum....

Yes, Virginia, I can believe it; Snow in this part of the world is a fact of life, been doing it for a loooooooooooooong time. And, friends, we can't do much about it quickly, but we are making great strides in getting rid of this "shit". Keep feeding global warming, using petrochemicals, burning off forests and this "shit" will either disappear or take over the world, which ever you prefer. You will soon be sick from no weather at all.

As for Florida, the few times I have been there you can keep the place. And with a newly elected crook for a Governor, rampant Teabaggers and a population of rich aging people, the toxic political climate is not a fair exchange for a few rays of mosquito infested sun.

You know what? Just chill (pun intended). Make a snow man, throw some snow, get out and shovel a bit and work off the belly fat, use the scarf Aunt Mabel knitted for you, relish the fact that the decay of this crazy city is covered for a few moments in glimmering crystal. Then take your time getting where you need to be, or stay home and read, build a fire, relax, hoist a glass to the men and women who make a living removing snow, pay a neighbor kid a few bucks to shovel the drive, the possibilities are endless.

Why are we this way? I chalk it up to the fact that we are all just old and living in a dying empire, bombarded by negativity and frustration. As for me, I have already relished the sight of the world around me covered in fresh snow, the cold, crisp air with the snowflakes dancing around me. HM has enjoyed a snoot full as she snorted around in the stuff, remembering all over again that she likes it. I felt 10 years old again until a neighbor came out and moaned and whined.

Enjoy the winter wonderland while it lasts; you'll all be growling about the heat in a few months.

Kansas City Symphony: Dukas, Strauss and Prokofiev

It is likely that for some last night's Kansas City Symphony program was a bit of a revelation. Surely some in the audience had never heard Dukas' charming "Scherzo: L'apprenti sorcier" without a frenetic mouse and marching mops or realized that Richard Strauss' "Also sprach Zarathustra" was actually 30 minutes long, not just the opening minute or two fanfare. Music Director Michael Stern (who we hear will be with us for an additional 5 years) conducted with Van Cliburn Award winner Haochen Zhang soloist in the Prokofiev 3rd Piano Concerto.

Dukas' 1897 masterpiece is a textbook study in the art of the symphonic scherzo, vividly retelling the story of the sorcerer and his apprentice who over hears some of the wizard's spells and uses them himself with comic results. This was a spritely performance, light and fleet of winds and brass with well accented percussion. The all important bassoons were light and comical, as they should be. The subterranean contrabassoon rumbled the house to the delight of the audience. More than a Mickey Mouse piece, this is a superb (and all so enjoyable) composition given a fine performance.

Van Cliburn Competition winner Haochen Zhang is often mentioned in the same breath along with his fellow compatriots Lang Lang and Yuja Wang. His considerable talents were aptly showcased in Prokofiev's popular and bravura Piano Concerto # 3 from 1921. Zhang captured the steely brilliance of this showpiece without banging and minimal histrionics as you-know-who (mentioned above... rhymes with bang) would do. Every note was clear and ringing, and there were lot of them. Stern and the orchestra provided and equally impressive accompaniment, following the twists and turns of this complex score with care and precision without being mechanical. Zhang and Stern also took pains to milk the frequent lyrical passages to their fullest, providing some relief from the relentless torrent of sound. Zhang's Chopin encore demonstrated he could make the piano sweetly sing.

Strauss' "Zarathustra" received a fine performance marred by a somewhat rushed opening and an anemic (alas electric) organ that just didn't provide enough grandeur. The following "Von den Hinternweltern" section warmly glowed, the grand reappearance of the three note fanfare theme in "Der Genesende" shook the house with the pause (remember when this was the LP side break??) just the right length for dramatic effect and the guest Concertmistress (damn I did not write her name down) was wonderful in the waltz tinged "Tanzlied". The high winds were spot on in the delicate closing moments, but the horns bobbled some of the more climactic moments. Not a bad performance, just short of drama and of the needed power that a larger ensemble would bring.

Next week, a concert I have been looking forward to hearing: Martinu's wonderful 4th Symphony.

A Bit of Fun

I thought I would end the year with a bit of fun. This is a graphic video representing the world's airline traffic in a 24 hour period. Note the sun rising over Australia and Asia, sweeping over Europe then to the Americas.




HAPPY 2011 FROM PUGGINGHAM PALACE!

We Three Pugs 2010

We Three Pugs 2010

As she predictably does every year at this time, HM Puggles, Queen Of Pugs, Supreme Ruler of Alaska, etc, etc. wishes to share her favorite Christmas carol:

We Three Pugs

(to the tune of We Three Kings)

We three Pugs of Orient are

Snuffling low we can not go far

Bellies dragging, tails a'wagging

Hounding the Milk Bone Jar

Oh! Oh!

We love treats and we love hugs

We love all 'cause we are pugs

Licking, sneezing, snoring, wheezing

Guide us to the warmest rugs!

Merry Christmas

Happy New Year

From Puggingham Palace

D and P

2010 Best Recordings of the Year

The time for my list of my 10-13 favorite recordings of the year is upon us.

Traditionally, one of the year's last posts on Puggingham Palace is a "baker's dozen" list of the best recordings of the year, in my humble opinion of course. Since it is my game, I set some loose rules; the recordings are mostly new releases for the past year but can also be older recordings that I heard for the first time or dug out of my collection.

2010 seemed to be a better year than 2009 for new releases. I had trouble making a list of 10 last year but the 13 I have chosen this year came easier. This was also a year of big box releases; reissues in large bargain sets of an artist's career recordings. You will see a couple of these in my list.

So as usual, in no particular order here are my top Baker's Dozen for 2010

1) Mahler Symphony # 10 Carpenter Edition. David Zinman, Zurich Tonhalle Orchestra RCA 88697768962. So new it is not available in the US until Dec 7 but I got my copy from the UK (cheaper too). A new recording of the 10th is always welcome; when it is an excellent new recording of the Carpenter edition it is even more welcome. This edition is emerging as the only viable alternative to the Cooke edition.

2) Bernstein Symphony Edition Sony 768365. 60 bargain priced discs with almost all of Bernstein’s original Columbia recordings of symphonies. His complete Mahler, Beethoven, Sibelius, Tchaikovsky and Brahms cycles are included along with some Shostakovich, Schubert, Mozart and the indispensable Haydn.

3) Richard Strauss Great Scenes. Christine Brewer, Donald Runnicles, Atlanta SO Telarc 31755. So I plug people I know, it is my list and I can do as I please. Besides, this is one of the best Strauss recordings in a long time.

4) Dvorak Symphonic Poems: Noonday Witch, Golden Spinning Wheel, Water Goblin, The Wood Dove. Sir Charles Mackerras Czech Phil. Supraphon 4012, Mackerras (who died this year in July) may have been born in New York of Australian parents and brought up in Sydney, but he had an uncanny knack for Czech music. These live performances are simply the only way to hear this wonderful music. Has there ever been a more atmospheric beginning of the “Golden Spinning Wheel”?

5) "Transformations" Yuja Wang, piano. Deutsche Grammophon 001410802. Scintillating and bravura performances of Stravinsky, D. Scarlatti, Brahms and Ravel. I’ll take Wang’s musical, mature and brilliant performances over "Bang Bang" any day.

6) Weinberg Symphony # 1 and 7.Thord Svedlund, Gothenberg SO, Chandos 5078. I for one am thrilled to see new recordings of one of the Soviet Union's most important yet neglected composers. This is a continuation of the symphony series began a few years ago and, with 22 some symphonies, we have a ways to go. Good performances, usual quality Chandos sound.

7) Weinberg Cello Sonatas. Dmitry Yablonsky cello, Hsin-Ni Liu, piano. Naxos 8.570333. 2 Sonatas for Cello and Piano and 2 for solo cello from this prolific composer. Wonderful works, well played. This has been a good year for Mieczyslaw Weinberg (also spelled sometimes as Moisey Vainberg).

8) "Sacrificium" Cecilia Bartoli, Mezzo Soprano. Decca 001341202 (Deluxe CD with Book) Catalog # 001388602 for CD without book. Released late in 2009 (again my list so I can bend the rules), this unique album explores the world of the Castrati from the 17th and 18th centuries. 2 discs, a huge book with everything you ever wanted to know about Castrati (for the uninitiated, they were boys castrated at or before puberty to preserve a high voice. They had the range of a soprano but the power of a male voice) with too many artsy photos of Bartoli’s head on the torsos of male statues.

A ton of florid music, with probably more recorded notes per minute than any other disc in history. Well done and worth taking off the shelf now and then to explore this lost (thankfully) art. Available without the book but really it is worth the extra $10 for some fascinating reading.

9) Avner Dorman Concerto for Mandolin, Concerto for Piccolo, Concerto Grosso, Concerto in A for Piano. Various soloists, Metropolis Ensemble, Andrew Cyr. Naxos 8.559620. Where else can you find exciting, jazzy and brilliant contemporary concerti for mandolin and piccolo? The Concerto Grosso and early Piano Concerto make fine disc mates. Can I suggest a Ukulele Concerto?

10) Hendrik Andriessen Orchestral Works. Netherlands Radio Philharmonic, Edo De Waart, Jean Fournet, Willem van Otterloo, Jaap Van Zweden, Albert van Raalte Conductors (recording dates 1947-2005). Etcetera 1307. A new to me 2007 release of orchestral works by Dutch composer Hendrik Andriessen. Neo-classical (think Martinu, Hindemith, etc) in style, but never dry. Especially notable are the powerful “Ricercare” and the 4 compact symphonies. Hendrik should be heard more often; as with Egon Wellez he is more often talked about than actually performed. The discs may be hard to come by, Amazon usually has it and can be bought as a download as well.

11) Roussel Symphony # 4 Concert for Small Orchestra, Rhapsodie Flammade, Petite Suite, Sinfonietta. Stéphane Denève, Royal Scottish National Orchestra. Naxos 8.72135. Best cycle of the 4 symphonies of this much neglected master of neo-classic 20th century music.

12) Levine Conducts Mahler Symphonies 1, 3-7, 9 and 10. (London SO 1 and 6, Chicago SO 3, 4 and 7, Philadelphia Orchestra 5, 9 and 10) RCA. Reissues of great recordings long hard to get. Re-mastered sound is excellent. One of the best 3rds ever benefiting from Levine’s years of opera performances. I have been trying to back away from so much Mahler, but when this became available at a bargain price, I had to have it. Sadly, Levine never finished the cycle for RCA, thus the 2nd and 8th are missing. Been a real bitch to get a hold of this album for some reason. Only Amazon seems to have it in the US as of this date.

13) Icon: Alicia De Larrocha. Music of Soler, Granados, Albeniz, Turina, De Falla and Montsalvatge. Alicia De Larrocha (with Victoria De Los Angeles, Soprano) EMI 29486. I don't own this set, I have so much of it on other releases, but here is all of De Larrocha's EMI recordings, some of her best really, in an 8 CD bargain priced box. No one, but no one did this repertoire better.

Kansas City Symphony: Barber, Berlioz and Wolf

I was a late arrival with the works of Hector Berlioz in comparison with other favorite composers. Although Symphonie Fantastique had its moments, his other works just failed to ignite my passion. But it was a chance to hear Harold in Italy a few years ago that revealed (aided by my advancing maturity) Berioz's brilliance. Thus I welcomed this weekend's Kansas City Symphony concert featuring Principal Violist Christine Grossman as solo in "Harold in Italy, Symphony in Four Parts with Viola Obbligato", Op. 16, The concert opened with the sunny "Italian Serenade" by Hugo Wolf and the Barber Piano Concerto with James Tocco as solo.

With an ensemble likely smaller than those on many recordings, Stern was able to bring out many of the chamber like sonorities in this complex and often busy work. Especially delicate and revealing was the quiet opening with soft (but slightly hesitant) basses building with the winds and strings to a climax, revealing the viola with the Harold theme accompanied by shimmering harp and sweet arpeggios in the woodwinds. The detail and intimacy set the tone for the rest of the work.

Grossman's tone, phrasing and ability to project over the frequently busy orchestral fabric was important in communicating the program of the work. The Harold theme was clearly heard as it wove its way through the various scenes, something not always encountered even in recordings.

The second movement Pilgrim March was equally fine, the only blemish being the sul ponitcello arpeggios that were blurred in the orchestral fabric, one of my favorite passages in the work.However, the quiet reverent ending with harp, viola and winds was superb. The Abruzzi Serenade was sweetly rustic with an always wonderful contribution by the orchestra's English horn Kenneth Lawrence. The finale, "Orgy of the Brigands and Memories of Scenes Past", brought out all of Berlioz's and Stern's stops with a vigorous but never vulgar performance.

Grossman received thunderous and well deserved accolades from her hometown crowd as did the whole ensemble for bringing this fascinating and not all that often heard work to life.

The Barber Concerto is one of the composer's masterpieces but not as often heard as the Violin Concerto. Written in 1960-1962 for John Browning (the last movement was not finished until a few days before the premiere and was pronounced unplayable until revised) the Pulitzer Prize winning work is also one of his more complex and frenetic scores. Tocco certainly had the technique, vision and maturity to keep this work from becoming solely a clangorous nightmare. Same could not always be said for the strings, who frequently faltered in intonation and struggled to keep up with the busy scoring of the outer movements. All was in fine form, however, in the central Canzone, the calm eye of this hurricane of a concerto. Tocco kept the reflective melody going without it becoming sweet and slick, delicately accompanied by the orchestra. The final movement was all of show and speed but done with clarity of texture and thrill-every-moment verve, despite the aforementioned slips.

Opening the concert was a sweetly expressive performance of a little heard bon bon, the Italian Serenade of Wolf.

The final Classical Series event of the year, the KCS turns to the annual Messiah performance and Christmas concert series. January brings two interesting concerts with Strauss' "Also Sprach Zarathustra", the Prokofiev 3rd Piano Concerto, Beethoven's "Grosse Fugue" and the wonderful Martinu 4th Symphony.

As this is likely the last entry of the year, we wish you a Happy Thanksgiving and Merry Christmas from all of us at the Palace!

Kansas City Lyric Opera: Norma

It is kind of a moot point reviewing the Kansas City Lyric Opera's production of Vincenzo Bellini's "Norma" while its final performance is underway. I saw it last Wednesday and just now, on a cool Sunday evening, am getting around to putting my impressions in print. It is not like a ton of people would go based on my musings anyway or the cast was waiting up late at a cocktail party waiting for my make or break review to come in, as in the old movies.

What was most surprising is that the Lyric, in its 50+ years of performances, had never produced Norma. I heard various reasons; lack of strong voices and lack of a decent English translation (for ages, the Lyric only performed in English) were the ones I heard most. So a debut of sorts for an 1831 opera.

The wait worth it? Soprano Brenda Harris as Norma, the Druid High Priestess and soprano Laura Vlasak Nolen as Adalgisa (which I always want to call Analgesia), while no Sutherland and Horne (or the great Shirley Verrett for that matter)certainly had the power and range to tackle these most demanding roles. Together their voices blended well, Harris being a bit brighter than Nolen, bringing a power and poignancy to the wonderful duet "Mira, O Norma". Harris was fine, but restrained, in the beloved (and deservedly so) aria "Casta Diva" which sealed this opera's popularity and gave us a word that is now almost over used.

Short and powerfully built with a strong voice, tenor Rafael Davila, in the thankless role of the total ass Pollione, the Roman Proconsul of Gaul, was excellent. He was soft and seductive when paired with his love Norma, but bellicose and arrogant in the crowd scenes. The supporting cast was uniformly excellent.

I suppose to pay for the strong voices, the production had to cut costs in the scenery and supporting chorus. Diaphanous scrims and curtains sufficed as the forest primeval of Gaul, supporting an x-shaped set of tiered platforms and there was little variation between scenes. The chorus of Druids was skimpy and often drowned out by the orchestra. The great gong of the god Irminsul descended on the stage when required, again looking a bit skimpy and a tad tacky.

But the singing of Harris and Nolen, plus the brutish Davila, made this a worthy production and certainly whetted the audience's appetite for more bel canto operas. La Sonnambula maybe?

RIP: Paul the Psychic Octopus

Small in stature, kind of slinky and slimy in a way, but a hero to all, Paul the Oracle Octopus died today in his underwater home at Sea Life Aquarium in Oberhausen, Germany. He was born in Weymouth, England but spent his life in Germany. He was around 2 1/2 years old.

Paul rocketed to fame with his uncanny predictions of the outcome of sporting events, most notably the outcome of eight World Cup matches this year. Paul's prognostications were made by choosing a mussel from one of two transparent boxes on which the flags of the two opposing teams was painted. There was something like a 1 in 256 chance that he would get all eight predictions right. Paul made some enemies in his adopted homeland when he predicted Germany's demise in the games. But the little cephalopod was a hero in Spain for predicting their eventual win over The Netherlands.

In a World Cup that was roundly seen as rather boring and full of annoying officiating and noisy crowds, Paul stood, or should we say swam, out as a truly amazing spectacle.

RIP Paul.

Kansas City Symphony: Roberto Minczuk, a tour of Italy

A tour of Italy was the fare for the second concert of the new season of the Kansas City Symphony this weekend. Brazilian Roberto Minczuk, currently the Music Director of the Calgary Philharmonic and conductor of the acclaimed set of Villa Lobos "Bachianas Brasileiras" on BIS, was guest conductor.

The concert opened with a spirited, well paced performance of Verdi's 1855 Overture to "I Vespri Siciliani". As with the closing, less appreciated "Feste Romane", it was great programming to use one of Verdi's more traditional in form yet lesser known curtain raisers.

Continuing with lesser known Verdi, the Kansas City Symphony Chorus, sounding better than ever frankly, joined the orchestra in the "Quattro Pezzi Sacri", the "Ave Maria", "Stabat Mater" "Laudi alla Vergine Maria" and the last piece he wrote "Te Deum". The unaccompanied pieces "Ave Maria" and the "Laudi alla Vergine Maria" (for women only) were exquisitely sung with feeling and fine diction. The orchestral accompaniment tended to drown out the chorus, as usual, but Minczuk kept the balance as good as it gets in the horrible vocal acoustic of the hall. My only quibble would be that the performance was too resolutely reverent and solemn, making the over 40 minutes of the of four works tedious. The final "Te Deum" could have used more operatic drama, but certainly was well sung and played technically.

The second half featured two turn-of-the-century Italian masters, Ferruccio Busoni and Ottorino Respighi.

Busoni's music for Turandot is almost as colorfully oriental tinged as that of the more famous Puccini. Minczuk chose selections from the 1905 suite as a tempting taste of this neglected composer. Plenty of fine winds and percussion work in these sometimes chamber like vignettes. Those familiar with his fiendishly complex piano music and huge piano concerto ending with a huge choral finale, may find these colorful, fun miniatures surprising but satisfying.

Musical snobs love to disparage Respighi as solely a showman, a skilled orchestrator who used every instrument but the kitchen sink to thrill audiences with sound and color but little substance. I won't argue that point again; there is no mistaking that Respighi's music is challenging to the orchestra and splendid ear candy.

The final part of the Roman Trilogy "Feste Romane" from 1926 is the longest and most demanding of the trilogy, and thus is less often heard than "Pines" or even the softer, more impressionistic "Fountains".

Minczuk whipped the orchestra into a blood driven frenzy in the opening Circuses, the winds howling, the lions snarling, the martyrs praying while meeting their violent deaths in front of a bloodthirsty crowd. The Lyric's lack of a decent organ was the only let down, but the off stage, antiphonal herald trumpets were used to great effect.

The "Jubliee" was well paced, the trod of the pilgrims relentless but never dragging or plodding as in some performances. Principal horn Alberto Suarez was perfect in the demanding horn solos in the "L'Ottabrata", as was the rustic mandolin serenade.

The raucous, episodic "Epiphany" held together perfectly, highlighted by Roger Oyster's sloppy-drunk (those who know the music realize that is a actually a compliment) trombone solo.

A fine program, colorful, with works not always heard on the concert stage. Next up, looking forward to Berlioz's masterpiece Harold in Italy.

_________________

It Gets Better

PURPLE represents Spirit on the Rainbow flag and that’s exactly what I wish for all GLBTQ people, especially young people, who feel bullied and are subjected to violence and bigotry. It gets better. Reach out and you will meet people who will love you and respect you for who you are.

Please wear purple on October 20th.

American Heartland Theatre: "The Love List"

It is the start of the new season at Kansas City's best theatre venue, The American Heartland Theatre. As usual the play was funny, Mark the bartender made some great scotches to have before, during the show and at intermission and the local restaurant Streetcar Named Desire made us fine pork tenderloins. Greg and I are creatures of habit if nothing else.

For its opening show this season, AHT chose the KC premiere of "The Love List" by Norm Foster. Veterans Scott Cordes and Sean Grennan star along with newcomer Shanara Gabrielle and her wardrobe of incredible shoes.

The play is short on plot, as usual for a comic romp, and a little slow to get started. I was thinking "this will be a leave during intermission evening" but as the show progressed and the gags rolled on, it became a light and amusing entertainment.

Needing a 50th birthday present for Bill, his long divorced, terminally boring number-cruncher of a friend (Grennan), Leon (Cordes) buys him a "love list" from an unseen gypsy. This seemingly harmless list of ten qualities that define the perfect woman soon turns mysterious when Leon leaves and the gorgeous dream woman named Justine appears (Gabrielle).

We all soon figure out what is going on. As Leon puts it in the shows best line "a tear in the cosmic pie crust" makes their perfect woman come to life, endowed with the 10 traits they ascribe on the "Love List". The fun begins when they start changing the list, and Justine instantly reflects the new personality. Here is where the play takes off as Gabrielle is amazing working through the lightning quick mood and costume changes.

It all kind of ends with everyone getting basically what they deserve and learning to be careful what you wish for.

Deep, emotional, riveting, topical theatre? Nah, for that read the paper. To escape the trauma of the end days of the US empire, see a play like this... and have a drink or two.

"The Love List" now through October 24th.

Fantasy Shopper

According to my Pisces birth sign, I am prone to fantasy and dreaming. I fit that to a "T", frankly. I spend hours on the internet in my fantasy world. I plan trips to exotic locales, first class or chartered jet of course, buy Park Lane apartments in London (the one I want is a cool $5million, right at Speaker's Corner), rack up thousands of dollars at Louis Vuitton and order a Maserati or two.

A more down to earth fantasy involves using the ubiquitous "Build Your Own" features in auto web sites to create the best car I can find for $20,000. My dream 20K chariot would have most options, automatic (I can drive a stick, but in the day of efficient automatics, who needs to?) and a sunroof. A coupe or sporty hatch is best, a nicely tuned sedan is ok.

But in doing so I have found that, true to form, the US automakers are behind again. Only one is competitive at all, that being Ford with the new Fiesta and the revamped Focus. Chrysler is not even in the game.

Chevrolet has the feisty new Cruze, but it is priced too high and does not have a coupe or hatch yet. To get one well optioned and with a spare tire (yes, spare optional) is a shade over $20K. Cruze, the largest of my fantasy buy, also relies on a small turbocharged 4 which worries me about reliability and complexity.

Ford's sweet looking Focus coupe is just over $20 with what I want on it, but is also bigger than the others, except for the Cruze. The Fiesta, an European design built in Mexico, is more my price and style. No coupe, but a sleek hatch is snarky and certainly practical.

Although I am not one who automatically thinks Asian cars are better built than any US, in this case I have to defer to a choice to which I keep going back, the Kia Forte Koup. Hate the silly name, but for less than $19K a nice size, sleek coupe in red with leather and sunroof, or the bigger engined slightly better equipped Koup SX with a powerful 2.4 liter 4 for $90 over 20K.

Sorry GM, my fantasy leans to Kia for now with the Fiesta running a close 2nd. However, I think Dunbar the Buick, however sedanish and old tech he may be, is safe for now.

Unless someone wants to give me a nice Christmas present.

Kansas City Symphony: Hilary Hahn Sibelius and The Firebird

As the evenings cool and the leaves turn, the dearth of culture begins to subside and the patrons trek back downtown. Thus this weekend marked the beginning of the 29th season of the Kansas City Symphony. Michael Stern, Music Director was on the podium leading a strong program of popular and colorful works and a Kansas City premiere.

The program opened with the aforementioned local premiere of a KCS co-commissioned piece "Starburst" by Jonathan Leshnoff. Leshnoff has won considerable critical acclaim and recognition for his recent Symphony (performed by the KCS a couple of seasons ago) and a recording of his Violin Concerto. Stern has formed a successful collaborative venture with Leshnoff, and recently recorded the Symphony with the IRIS Orchestra.

While I enjoyed the Symphony and was impressed by the Violin Concerto, "Starburst", at 7 minutes or so, is a work of lesser stature and impact. That is not to say it is great fun; the simple, repetitive motives and rapid, colorful development of them are easy on the ear and likely a challenge to play. "Starburst" may find a home as an opening work for orchestras with adventurous natures.

We have heard the Sibelius Violin Concerto three times now in the last 6 seasons with the performances getting better each time. The Barnabas Keleman/Stern in 2007 and Karen Gomyo/Andrew Grams last season each had their issues with Gomyo's the better of the two. But for now, I can not imagine another soloist that can top Hilary Hahn in this work, especially after her acclaimed recording with Salonen/Swedish Radio on DG.

Hahn simply owned this most strange, hardly "showy", but fabulous concerto from first note to last. The opening was misty and tentative, the solo violin entering shyly, slowly building in intensity and emotion. Hahn's tone was creamy but clear, projecting with clarity (mostly) through Sibelius' often thick scoring. Neither Hahn's shimmering virtuosity nor Stern's powerful orchestra got in the way of the brooding, almost desolate musical landscape.

The lovely Adagio was suitably romantic but never overblown, with enough subtle drama and tension to keep the movement flowing.

Keeping the intensity flowing, the energetic last movement came not as a jarring surprise as it does in some performances, but as an inevitable release of energy from the tension of the other two movement. Hahn brisked over the rapid passages that tie lesser artist's fingers into knots. My favorite little spot, the odd passage of dare I say gypsy-like harmonics from the solo, came of well, not buried in the orchestral fabric.

Stern and the orchestra stayed in the background when needed, (their barely perceptible "vamp" at the beginning of the finale was perfect, more a texture than sound) and yet blazed with Sibelian glory when needed (the first movement outburst at the end of the exposition is a prime example). The audience and I showed our enthusiastic appreciation for an incredible performance from an artist at the peak of her powers.

For the last half of the concert, Stern and the orchestra turned to two colorful dance inspired classics, Ravel's Valses nobles et sentimentales and the Suite from Stravinsky's Firebird.

Ravel may have wanted to write a "chain of of waltzes in the style of Schubert" but he succeeded in making them unmistakably French. Stern and Co were perfectly elegant and sophisticated in these charming dances, drawing them out of the gloomy mist of the opening (brilliantly hushed in this performance) into the light of a Parisian salon.

The 1919 Suite from the Firebird brought the concert to a colorful close. The Introduction and Dance of the Firebird and the Round Dances of the Princesses were suitably exotic and laced with excellent solo work from the winds. The Infernal Dance of Kashchei burst force with shattering power, awakening all who might have been lulled into the dreamy world of the opening sections. Stern and the orchestra gave their all as they moved through the sweet Berceuse and on to the grandly celebratory finale.

The orchestra was sounding quite good technically (it did as well in the productions of Carmen the week before) despite some new players and the still unsettled question of a new Concertmaster. The last season in the venerable Lyric Theatre off to a fine start.

Absolut Not

It must be the shorter days and cooler evenings that have got me back to thinking about blogging. Having the opera and symphony to write about has helped as well. It is a good exercise for the mind, and certainly more productive than listening to the drivel that is on TV or radio these days. So look for some semi-regular updates.

One thing you may be hearing about is a new battle I am undertaking. No, not the eradication of stupidity, I have given up on that and will let the loons drive the final nails into the coffin of the US Empire. This is a more personal battle.

Life is killing me. A few years ago, I was confirmed as one of the growing number of people with fat-ass disease, aka diabetes. I have never seen a disease where its victims are villified as much as diabetics. It is automatically assumed that you are an ice cream glorping, sugar-charged, snack-attacking fattie if you have type 2 diabetes. Only the type 1 (usually childhood onset) diabetics are the real victims that need to be supported. Type 2s.. lose weight and buck up.

Do we segregate cancer victims? No. Heart disease caused by diet and lack of exercise? No.

Anyway, I now poke my finger religiously, record my blood glucose levels, watch what I eat, swim regularly, take my growing pile of medication like a good boy and it just keeps climbing. Diabetes runs in the family (grandfather on mom side, uncle and cousins on dad's, sister... who knows who else) so I was rather doomed from the beginning.

Now the added nightmare that my love of and frequent indulgence in "adult beverages" is taking its toll. Yep. Tried to deny it, joked about it.. but it has come to bite me in the ass, well, liver actually.

One thing about being a diabetic, you get used to shedding blood. Every 3 months, the same surly phlebotomist takes vials of my blood for the lab techs to study. For the most part I do not hear anything. This last time was different.

My June test showed elevated liver enzymes. The Dr cautioned me and sent me on my way. But the new numbers must have been really bad. They called me and said, in essence, that I am either a roaring alcoholic or have hepatitis. I need to come in on Monday and get a work up for Hepatitis and some more specific liver tests. "How high?", I asked. "Way higher than June", came the HIPPA-inspired non answer. "Meanwhile, severely limit alcohol consumption immediately. Have you knowingly been exposed to Hepatitis?" "Yes sir, no sir," came my annoyed reply.

So since about 8PM on Tuesday 10/5/10, I have been without my beloved vodka or scotch. Doing so and not going berserk means I am not an AA destined alcoholic, I hope. You see I enjoy my vodka, scotch and other brews and essences because I like them. I can taste the difference between Popov and Stoli, or Absolut and Grey Goose. Each scotch has a story to tell. A fine Flor de Cana rum from Nicaragua, smooth as a brandy, is a work of liquid art. I want one. But I can live with out it and won't resort to shoplifting a bottle of hooch from the local Shell station to satisfy a need.

I am not an alcoholic am I? Hope not... I hate meetings. What is next??? My coffee likely. If that is the case, there is no hope.

Stay tuned.

Kansas City Lyric Opera: Carmen

A couple of seasons ago, The Kansas City Lyric Opera managed to do what many thought impossible or at least difficult; that is to make Georges Bizet's magnum opus "Carmen" boring and laughable. Thus a new production to start this season, the last in the lovely but sadly inadequate Lyric Theatre, was met with some trepidation on my part.

For some reason, maybe it was a long, hot summer bereft of culture, Carmen was the hot ticket for its run this past week. Most nights were sold out and the start of the show was held to allow the last minute patrons to buy their tickets and find their seat.

So what did they get?

A fine Carmen for sure, but not the "best I have ever seen", "ready for the Met", hype I heard. Standing head and shoulders above all was the brilliant Carmen of Sandra Piques Eddy, a fine as acted and sung Carmen as one could ask. Her voice was alternately sweet or sultry, seductive or venomous as required. Piques Eddy vividly portrayed all of Carmen's incarnations, from a simple cigarette girl, to a gipsy on to the arrogant trophy girl of a toreador and finally victim of her own seductive powers. Her voice was dark and steamy as a Seville night but clear and with impressive French diction. It was a thrill watching her act and literally become Carmen on the stage.

Tenor Dinyar Vania portrayed hapless Don Jose, who gives up everything, including his honor, mother, the love of a sweet girl and his life for the seductive Carmen. Although Vania was in fine voice and played Don Jose with a touch of "dumb jock" swagger, he was a good but not fabulous Don Jose. He was best in the last acts as his desperation for Carmen takes all sanity from him, propelling him deeper in to his own hell.

Alyson Cambridge was a saintly, yet somewhat too small voiced Micaela. For some reason, maybe she was just too saintly and shy, her part never jelled and you never felt she really had any love or connection at all with Don Jose. Her famous and well sung Act III aria "Je dis que rien ne m'épouvante" seemed to come as a surprise to even her. Marcello Guzzo's Escamillo was ok, but lacked real presence or the proper arrogance of a celebrated toreador. David Lawrence Michael was more impressive as Zuniga, the lieutenant of the guards.

The sets were fine, but again all the hype I heard escaped me. This was a dark Carmen in lighting, set detail and costume. Some cost cutting was quite evident; the same sets depicting the square in Seville was used for the third act set in a "wild and deserted place". More attention to detail could have made the setting more effective. The tavern scene (with a fabulously sung Quintet) and the parade in the fourth act, were also lacking in numbers and brilliance.

Thus, far from the tragic mess of the Carmen of 2006, this well attended production redeemed itself for sure. Happily, many patrons got to see and hear, in the form of Sandra Piques Eddy one of the best acted and sung Carmens this town has ever seen.

She is certainly "best I have ever seen" and "ready for the Met".