2012 Kansas City Auto Show: "Eco-Performance" rules

The advertising theme for this year's Greater Kansas City International Auto Show was so apropos: Signs of Spring, a baseball, a Robin, and the Car Show. 

Another theme this year was Eco/Electric. Several new hybrids and even all electric cars were on display. As usual, Greg and I wandered around the show on a wet and cool Sunday, running into some friends and taking it all in. Some highlights, you can click on the picture for a larger image:

Ford got the first display as you came in the door, as it always does. The new 2013 Focus looks snarky and slick. It has to take on the popular Hyundai and KIA models in this class.

Big mouth grilles are all the rage this year.

There is a hybrid Ford in your future. The C-Max line will be all hybrid in 2013

The 2013 Escape gets a major redo; less boxy and sporting the new Ford face

I remember when pick up trucks had no chrome at all, it was usually an option. So were bumpers. 2012 Ford.

For FOMOCO's luxury brand Lincoln, not a Town Car in sight.

The MKS for 2013 will get a softer grille instead of the snarly one it has now.

Wondering over to the Cadillac section, I bemoaned the loss of the tail fin. But look!!!! They are still here in spirit:

The new XTS is soon to debut. Looked fabulous in dark blue and tan.

She has tail fins too.

The new ATS sedan, based on the Cruze/Verano chassis looked like a fine small Cadillac. Will it finally shake the "small Caddy curse?"

Mitsubishi is marketing an electric car, the "i". Strange name, but cute little car. Actually kind of roomy inside. 

Nearby Subaru had a sporty new BRZ to be built in limited quantities. It was not making a big buzz here.

Surprise of the show for me was the redone VW Beetle. Longer, sleeker and more masculine than the old one.

Interior had some classic styling cues, but was still modern and functional. No more flower vase.

I kind of like Buicks, always have... including my 1990 Century named Dunbar. The new Verano has some of the softest, yet supportive seats in the business.

The Chevy Cruze based Verano has all the current Buick styling touches, but a different rear.

Although I think Century would have been a better name, the Regal GS is the sport sedan in the line up.

The 2013 Encore is a player in the smaller luxury SUV market.

Chevrolet has introduced the new redesigned Malibu. With all 4 cylinder power and lots of Camaro cues to boot.

Camaro tail lights mark the Malibu from behind.

The small Sonic is an improvement over past Chevy subcompacts. Roomy and versatile hatch and sedan versions are available.

The Repubs have done a number on the Volt, buy one and you are hate the troops, a liberal commie or something like that. Pricey yes, but the car of the future here today. I'd buy one if I had the cash.

From the Dodge Boys comes the Yellow Jacket, a Super Bee for the new century. Limited editions, the Charger model will get a Super Bee model but was not shown at the show.

Big:

Bigger:

Want a big, brawny, powerful sedan? The Dodge Charger is your thing:

The imposing front of a Dodge Durango, redone for 2012

This looks nothing like my 1974 Dart Swinger. The new Dart should be a fine competitor.

Rear has the styling cues from big bro Charger. Alfa Romeo blood runs through the Dart's veins.

Just what one needs to go to the mall. 2012 Range Rover.

Rich Man's toy:

Even richer man's toy:

Richest Man's Toy.

For the poor, a Tomato Worm Green Hyundai Accent. As an aside, Hyundai cars have the most pitiful horns on the planet. My plumber called them "Faggy-ass horns".

Hudson Motor Company merged with Nash in the 50's to create American Motors. AMC bought Jeep and then Chrysler bought the remains of AMC to get Jeep. Through all that, the old Hudson name "Jet" reappears on a Jeep Liberty model. Only geeks like me care, or even notice. (see my new shoes in the reflection?)

Not a big Toyota fan here, although I owned one once. I can not see out the back of this thing. 2012 Prius

See the resemblance between the following vehicles?

(Seagrave Fire Engine, 1950's)

(2012 Toyota Prius V)

I do :)

That is all for this year. Though I saw lots of new vehicles I would be proud to own, my 22 year old Buick, Dunbar, is quite safe. He gets me from point to point and is paid for.. lots said about that.

The Debut of Opus 3875

The organ is not called the king of instruments for nothing. A fine organ can fill a great hall with glorious sound, make a church congregation sing, make mourners cry and at the same time can whisper softly and twitter with the birds. As an organist friend of mine once said while touring a group around the installation of a fine, vintage 1918 Austin organ, “an organ is really a living, breathing organism, full of life and needing care and feeding, just like a human.”

It then goes without saying that any concert hall worth its salt has to have a fine concert pipe organ. Many do not, notably cross state rival St Louis and Carnegie Hall in New York (it has a famous Rogers Electric organ). The Lyric Theatre, the KC Symphony’s old home, had a simple old electric organ of dubious quality.

So a fine new hall, such as Helzberg Hall, had to have a fine pipe organ. And who better to build it than Casavant Frères of Quebec, probably the finest organ builders around today. Somewhat unique in concert halls today, the organ was built along with the hall and not as a later, compromised addition.

On March 10 and 11, renowned organist James Davis Christie, organist for the Boston Symphony and chair and professor of organ at Oberlin Conservatory, dedicated the Casavant Organ, opus 3875 in a solo recital.

Christie told the audience he thought op. 3875 was the best Casavant he has ever played, “and I have played many”, he remarked. Celebrating the organ’s French heritage, his program was heavy on the French repertoire (annoyingly ignoring Messiaen, Tournemire and Widor) but included works ranging from 1644 to the present day.

The organ is magnificent and is a joy to see with its funky wood covered, angled pipes. I just seemed to notice a lack of earth shattering power and an overall mellowness that is probably best for a concert hall organ, but will not overwhelm you like the best of the cathedral organs. Op. 3875 is a fleet lady, with clear and precise action, allowing the organist to trill and throw off scales like a piano. She could handle the smoothest of legato, as demonstrated by Christie’s own “Élégie” (2006, the most recent work on the program) and the lightest of skittering trills as in Italian Giuseppe Gherardeschi’s (1759-1815) amusing Rondo.

Where I wished for more power was in the major French work the Sonata # 1 in D for Organ by Alexandre Guilmant. Christie played two movements of the work, the finale and the “Pastorale”. The simple and charming Pastorale came off best, benefiting from the aforementioned mellow qualities of the organ and an incredible Voix Humaine stop. The finale needed some more depth and clarity in the lowest registers. Same with the famous Bach Toccata and Fugue in d, which seemed a bit rushed and just lacking that wall shaking, buzzing power in the lower notes.

Still a magnificent achievement and likely one of the top 5 concert hall organs in the country. The mellowness and restrained power qualities that detracted a bit from the solo recital are ideal for an organ with orchestra. In June, we get to hear op. 3875 in the famous Saint-Saëns Organ Symphony.

Out of the box, Op 3875 is really quite an impressive work. A world of organists and organ music awaits this grand lady.

Christoph von Dohnányi Visits the KC Symphony

There are maestros and then there are maestros. If I was speaking those words you would hear the subtle accent on the second maestro. Christoph von Dohnányi is undeniably a member of that upper rank.

German born Dohnányi has enjoyed a stellar career with orchestras and opera companies all over Europe and the US. He is mostly remembered here for his long and productive tenure with the Cleveland Orchestra in the 80s and 90’s. There he mentored several young conductors including current New York Philharmonic Music Director Alan Gilbert and one Michael Stern, Music Director of the Kansas City Symphony.

Stern was in the audience for the Sunday performance to hear his old boss lead his orchestra in a thoughtfully conceived program of three works that contrasted humor and hijinks with somber reality. Opening the program was Alfred Schnittke’s absurdist tour-de-force (K)ein Sommernachtstraum (Not a Summer Night’s Dream), followed by Richard Strauss’ comic/tragic “Till Eulenspiegel”. The second half consisted of Tchaikovsky’s Symphony # 6 “Pathétique”.

The full house Sunday audience caught and appreciated the humor of Schnittke’s 10 minute homage to Shakespeare’s cast of impish characters. Written in 1985 just before a near fatal stroke, (K)ein Sommernachtstraum comes from his polystylistic period (where basically anything was fair game) before his declining health turned his music bleak and gray, making late Shostakovich sound like a Strauss polka.

The work begins with a solo starting deep in the 2^nd violins (Schnittke puckishly specifies the musician occupying the back desk of the 2^nd violins, technically the farthest one from the Concertmaster’s position). Accompanied by piano, the melody is so simple and sweet that one could be forgiven in thinking that Mozart had been substituted without warning. Quickly taken up by flute and harpsichord, the melody is subjected to gradual layering of dissonances and transformations: a demented carnival ride waltz, a banal and amateurish Ivesian march, shattering climaxes and hints of Schubert and Romantic excesses slide in and out before the sweet melody returns to the flute and violin in glorious C major… with just a hint of tolling, ominous bells.

Dohnányi was in firm control, yet let the mayhem progress with wit and style. I heard many chuckles and noted frequent smiles from the audience. One fellow behind me exclaimed “I really liked that!”  For even more bizarre Schnittke, find a recording of the Symphony # 1. I have never been able to get through it.

Dohnányi’s Till Eulenspiegel was a fine performance with vivid color, enabled by fine playing from all the symphony sections, especially the essential brass and winds, but maybe a bit too controlled. With amazing clarity and ability to coax all the virtuosity out of the orchestra, Dohnányi and his forces brought out motifs and colors that I have not heard in live performances before. Perhaps in emphasizing clarity he underplayed some of the chaotic, skittering rhythms. The final funeral march and execution was certainly dramatic enough, with powerful horns and solid strings. I wished for a bit more scream from the shrill and Eb Clarinet as Till was strung up on the gallows as it was swallowed a bit by the large forces. This is an episodic work and Dohnányi verily mocked the stuffy academics, spun a lustily brash love scene as Till flirted with all the girls and wrung the drama and terror from the aforementioned march to the scaffold. I adore Dohnányi’s Cleveland recording with Decca, so maybe I have that perfect performance imprinted in my head. With just some minor quibbles, this one was really pretty close.

The second half Pathétique was one of many outstanding moments; a fine paced, brassy march, an elegant Allegro con gracia, and a deeply passionate finale. The opening movement began with an almost perfectly inaudible bassoon solo by associate principal bassoon Miles Maner (exactly what Tchaikovsky wanted, it is famously marked pppppp). Brass intonation was a bit problematic here and in the rest of the symphony as well. Although finely played, the first movement just did not seem to take off. Again, as in the Strauss, it seemed to be Dohnányi’s penchant to control and bring out detail. However, as the work progressed through its 4 movements, I saw that Dohnányi correctly judged the subtitle of the work to mean “passionate” not “pitiful” or hysterical”. This was a journey of many paths, some taken, some abandoned, some more important than others. The hushed ending was thus not a let down but a solemn and inevitable letting go. Noisier, more dramatic and faster performances abound of this masterpiece, but few are as cogent and ultimately satisfying as this mature and expressive performance.

Kansas City Symphony: Audiophile Recording

A group of about 400 invited subscribers and friends of the Kansas City Symphony gathered at Helzberg Hall Wednesday for a most interesting and enlightening experience, a preview concert of a new recording of the Symphony by Reference Recordings. Gone forever, it seems, are the days when the major orchestras of the US and Europe churned out new recordings by the dozens every month on the great labels of the era… Columbia, Deutsche Gramophon, Decca… conducted by the giants of the time. Filling that gap are smaller labels like Reference Recordings who produce a smaller number of fine recordings each year.  Lucky for us here, Reference has forged a bond with our local band and has released two well received recordings, including a Grammy winner.

I have to give all involved great credit for daring to record major standard repertoire pieces that often have some very heady competition. No unknown or unrecorded composers or works on this latest disc containing three 20^th century orchestral showpieces, Prokofiev’s “Love for Three Oranges” Suite, Bartok’s “Miraculous Mandarin” Suite and Hindemith’s “Symphonic Metamorphosis of Themes by Carl Maria von Weber.”

This was no mere run though to test the microphones (although that really was the main purpose). We were treated to a true, focused concert with some of the best playing I have ever heard from the KCS, and we have heard a lot; crisp, exciting, lyrical, brisk but not excessive tempi and visceral. The Prokofiev crackled with wit and snap, the often violent and complex score of the Bartok was breathtaking, clear and detailed without being fussy. Those paying attention may have noted the organ pedals at the beginning, the first time many have heard the mighty new Casavant organ. Michael Stern’s very first concert as Music Director included the Hindemith Metamorphosis and wowed the audience then. This one was even better with fabulous wind solos, chiming and clean percussion, and dancing rhythms.

On hand were Reference Recordings’ wizards of sound, “Professor” Keith Johnson, the finest recording engineer around and producer David Frost, the best of his profession as well. This team, as Maestro Stern noted, has won about as many Grammy Awards as there were people in the hall. With the orchestra focused and enthused, the already fine sound of Helzberg Hall and the RR team.. can you say “instant audiophile classic”? Sure you can.

Kansas City Symphony Mahler 2

They say no one likes a show-off, but can we make an exception for the Kansas City Symphony? When you have a fine new venue such as Helzberg Hall you just have to show everyone what it can do. A work tailor made for showing what a hall and ensemble can do was the sole work on this weekend’s program, Mahler’s grand Symphony # 2 “Resurrection”. Michael Stern led the combined forces of the Symphony and Chorus with Kelly O’Connor and Jessica Rivera as soloists.

Much like the previous Symphony #1, the “Resurrection” was slow to evolve into its final form. The first movement started as a tone poem titled Totenfeier (Funeral Rites), written in 1888. The middle movements, 2 and 3, date from 1893. The problem was finding the right text for his proposed choral final movement. Conductor Hans von Bulow’s funeral in 1894 provided the inspiration and the text, Friedrich Klopstock's “Die Auferstehung (The Resurrection)”, a setting of which was performed at the funeral. After composing the finale, Mahler went back and inserted a short song “Urlicht” just before the finale, sort of a transition from the worldly to the heavenly.  Also like the first, Mahler toyed with programmatic subtitles and descriptions of the movements, up until the work’s premiere. They were later abandoned, letting the music speak for itself.

From the very first gruff flourish of the lower strings I sensed that this might be a slightly cool “Resurrection”. Stern and the orchestra just seemed to lack the n’th degree of drama that marks the very best of performances of this monster of a symphonic movement. As the movement progressed, great details abounded; crisp, precise percussion, well executed wind solos and careful focus on dynamics, the latter most essential. The forces found their moxie in the grand build up and exhausted collapse that occurs after the development and by the end of the movement the inherent drama was emerging.

Stern wisely followed Mahler’s instructions to observe an at least 5 minute gap between the first and second movements, something that is not often done today and missing on a recording unless you do it your self. It allows one to digest the sprawling first movement and illustrates the contrast of the more delicate and less episodic movements to come.

Those who follow my musical scribbling realize I often march to a slightly off beat drummer. Thus I am one who feels the three inner movements are more interesting and even fulfilling than the more stormy and grandiose first and last movements. They are among Mahler’s most sublime and intricately scored symphonic statements.I can’t decide if the second movement or third is my favorite… or maybe “Urlicht”.

The second, “Andante moderato, in the style of a Ländler”, is a delicate, flowing and subtle statement. If taken too slow and square, it degenerates into a vulgar waltz, or at worst, a static, lilt challenged (thank you for that phrase Maestro) mess. But under Stern’s capable leadership, this incredible movement flowed with a perfect tempo and just the right amount of rubato. The work’s scherzo “In ruhig fließender Bewegung” (With quietly flowing movement) was appropriately ghostly, tinged with irony and even humor. The KCS trumpets were magnificent in the strange, off kilter waltz episode about half way through the movement. The clear acoustics and Stern’s attention to detail allowed us to hear all the strings and harps that are also moving behind the brass. The powerful final “death cry” brought this demonic section to a screeching halt, just as Mahler wanted.

Picky note: the rute or bundle of reeds Mahler calls for in this movement was just right; a part of the texture and not a jarring slap. I listen for this and have dismissed performances of this fascinating movement if the rute wakes me from my reverie.  Also, am I the only one who can channel Luciano Berio’s “Sinfonia” while hearing this movement? Those who can, know what I am talking about… those who can’t need not bother.

The short “Urlicht” movement was, in my most humble opinion, the most sublime example of the vocal art I have ever heard in Kansas City. As when I heard her perform the same part in St Louis last season, Mezzo Kelly O’Connor’s cognac colored voice just materialized from the ghostly gong stroke that closes the scherzo. Major kudos go to the KCS brass who did not muck up the serenely reverent chorale after this glorious moment, as its cross state rivals did. Maybe I am a man of few words, or more likely of simple thought, but for me “Urlicht” is the true emotional high of the work; an epiphany of understanding and hope. Every time I hear it, I am reduced to a blubbering fool. Consider it done again.

O red rose!
Man lies in greatest need!
Man lies in greatest pain!
How I would rather be in heaven….

In my warped world, Mahler could have ended the whole thing there. But we’d miss the excitement of the stunning finale, with the huge chorus alternately whispering and shouting, instruments parading on and off the stage, (practically an entire orchestra is placed off-stage), and a percussionist mounting a ladder to sound the dark, metallic chimes at a couple of climactic moments. I was concerned that such a large chorus would not be able to negotiate the more quiet and introspective passages, but they did with clear diction and subtle power, although the opening “Aufersteh'n, ja aufersteh'n” at its best a hushed, expectant whisper, was a bit too forceful. Soprano Jessica Rivera soared over the massed choral voices in her brief but essential part. Sadly, the new Cassavant Organ is not ready and we had to settle for the feeble electronic organ for the subterranean pedal points at the end.

The fine acoustics, spacious stage and choral loft certainly helped, but I am sure Stern, the orchestra and chorus would have provided us with just as fine and committed a performance anywhere they performed.

Europa Galante Chamber Orchestra: Vivaldi Pyrotechnics

Sometimes, the best laid plans... I had looked forward to seeing my conducting hero Stanislaw Skrowaczewski  perform the Schubert 9th in St Louis. At 88, he can't be conducting much longer. I thought the same when I saw him do the Bruckner 8th in St Louis in 2009, so hope I am wrong. But, horrid wet and stormy weather and threat of overnight and AM fog kept me at home.

Plan B, my neighbor had an extra ticket to the performance of The Europa Galante Chamber Orchestra, Fabio Biondi leading, with guest Mezzo Soprano Vivica Genaux. I was not all that thrilled at first, as Baroque music, Vivaldi and florid singing are not among my top choices. I hope I got a seat where I could sneak out early if needed.

I ended up staying for a most remarkable and exciting show.

Biondi and his small band have made a name for themselves by dusting off the works of Vivaldi and his contemporaries with exciting and visceral programs. No slow, scratchy, out of tune, bland and pedantic "authentic" performance here. The orchestra is usually two or three to a part with harpsichord, theorbo, and violine on continuo. The orchestra is usually two or three to a part with harpsichord, theorbo, and violine on continuo and they tune their instruments to the standard of the time. Whether you call them historically informed or authentic, their sound and vitality is heads above some other groups I have heard which seem to sap all the life out of the works.

Alaskan born mezzo Vivica Genaux is in demand for her vivid portrayals of baroque opera roles, her incredible technique and her equal ability with bel canto roles. She has a vibrant and engaging stage presence, may be a bit over-the-top drama at times but one can tell she loves the music and loves performing it even more.

The intelligently arranged program juxtaposed string works by Vivaldi, Locatelli and Nardini with arias from Vivaldi's operas including "Tito Manilo", "Farnace" and "Catone in Utica".

Genaux probably sang more notes in the evening than did the all the members of the chorus singing the Mahler Second down the street. Her runs and leaps were breathtaking and always clear. She verily oozed the drama and passion in the arias, many of them likely written for castrati. Most notable: the poignant "E prigonerio e re" (I am both prisoner and king) from "Semiramide" and "Alma oppressa" from "La fida ninfa". In her final aria "Agitata da due venti" ("I am tossed by two winds") from "Adelade" , Genaux's torrent of runs and trills literally blew across the audience like stormy winds.

The band's instrumental selections were equally fine. Vivaldi's Concerto for 2 Violins in A minor was so admired by Bach that it is one he transcribed for keyboard. Biondi and the leader of the second violins Andrea Rognoni were equally fine solos for this vibrant work. The Locatelli Concerto Grosso Op.7 # 6 "The Weeping of Arianna" with its sobbing phrases and long Largo sections, was particularly compelling and totally unknown to me. Simply fine examples of baroque writing and performance.

So, although I was tinged with regret over not travelling to St Louis for the Schubert, I was rewarded with a new (to me) discovery in the Europa Galante Orchestra... one that I will be exploring in the future.

Kansas City Symphony: Kahane Conducts Mozart and Rachmaninoff

Presumably, when a concert featured a piano or violin concerto in, let's say, 1760, the soloist was the composer and had written the piece for himself. Very likely, the composer/soloist would also conduct the orchestra. Such was the case of Mozart who wrote most of his early concerti (1-13) for himself. After the 13th, written in 1783, Mozart began to compose piano concerti for others to perform while a conductor led the orchestra.

One of the reasons for the change was that the concerto was growing in stature and complexity. No longer a sweet trifle created to amuse, the concerto was assuming its role as a major musical form, second only to the symphony in importance. Earlier concerti started with an orchestral introduction followed by the solo’s entrance. This was either alone or with minimal accompaniment. The orchestra would sometimes echo a theme or close a phrase and then bring the movement with a final tutti. The orchestra was usually a small chamber ensemble of strings and maybe a few winds. By 1780, the era of Mozart’s later piano concerti (and certainly by this concert’s featured work his 25th Piano Concerto in C major K 503), the concerto had reached symphonic proportions. The orchestra had grown too with brass, expanded winds and strings plus tympani.

It takes a coordinated, yes even gutsy, pianist to solo and also conduct such a symphonic concerto. This evening’s Kansas City Symphony guest conductor, Jeffrey Kahane, is not only a superb pianist (a Van Cliburn Competition finalist) but also a skilled conductor of orchestras large and small (Colorado Symphony, Los Angeles Chamber Orchestra) and thus well equipped for the challenge. Kahane conducts with economy of motion, using fingers, nods and eyes to get what he wants out his forces, allowing him to equally concentrate on the demanding solo part.

Kahane’s Mozart 25th was a bit on the leisurely side yet a smooth, romantic reading befitting this most majestic of concerti. Not a spectacularly flashy concerto, Kahane highlighted the heroic nature of the work, especially in the dramatic opening Allegro maestoso. The long lined central Andante was poetic but could have used a bit more contrast from the first movement; attributed to the slower tempo of the opening movement. There was no doubt of the conviction of the performers, however, with the Kansas City Symphony winds in their usual fine form.

Instead of a skittering, lightweight Rondo, Mozart treats us to a most symphonic finale. Although still discernable as a rondo form, the movement has all the organic elements of a tightly argued sonata. Kahane relished the more brilliant writing for the solo in this movement as much as he milked the long, flowing lines of the Andante. A well balanced and powerful conclusion to this marvelous work.

Throughout the concerto, Kahane’s pianism was more expressive than precise (fine with me) perhaps owing to his split attention to the largish forces and demanding score. A most fine performance, with nary a missed entrance or miscue from the orchestra, good balance but marred by some weak string passages, a minor flaw in a sparkling jewel of a performance.

Although I had my heart set on the previously announced program with Asher Fisch conducting the Mahler “Blumine” movement and the Brahms/Schoenberg Quartet in g, I am sure the capacity audience better enjoyed the big and lush Rachmaninoff Symphony # 2 than the more unfamiliar works.

Again Kahane led a tad leisurely performance, but not to the point where the work became a bloated barge. It is fitting to remember that for many years this work was performed in a radically cut version of about 35 minutes. The first complete recording was not made until 1968. 

Kahane and the orchestra were at their best in the brooding, mysterious and oh-so-Russian first movement, emphasizing the soaring themes and Orthodox chant inspired moods. The subtle shifts in meter and tempo kept the long movement moving, permitting us to luxuriate in the bounty of melody and passionate passages just long enough.

The vigorous scherzo must have woke a few snoozers; the big cymbal and bass drum crash that signals the entrance of the second theme and central part of the movement caused quite a burst of chatter and murmuring among the audience. The end of the scherzo, with its reference to the Latin Dies Irae (day of wrath) chorale could have been a bit more chilling, which is about the only little quibble I have here.

The big adagio is a feast of romantic melody; one can almost see the torrid images of lovers straight from the cover of Harlequin Romances. Song writers love to pluck themes from Rachmaninoff’s works for popular songs, and the main theme of this movement is no exception. Kahane’s slower tempo worked against him here and the movement became a bit slack with some weak sister climaxes. The English horn, violin and clarinet reveries were certainly highlights of the movement as was the lovely string passage with horn obbligato (how the horns have improved over the last 5 years) about ¾ through the movement, ending in a transcendent chord with soft and sweet flute and viola figures floating above. This was a movement made up of some fine moments, but just not jelling to a perfect whole.

As if dispelling all the Russian gloom and soulful passion, the finale is an Allegro Vivace Italian tarantella. The movement certainly has no shortage of fine melodies, but now they all spring from sun and light. The motives from previous movements make a final appearance to sum the big symphony up nicely. Kahane and the orchestra brought the work and the demanding program to a vibrant and exciting close.

A Fragment

This weekend’s Kansas City Symphony concerts were supposed to be conducted by guest conductor Asher Fisch who for reasons unknown to me did not make it. Thus Jeffery Kahane filled in an changed the program. Instead of Mahler’s Blumine Movement from the Symphony # 1, Mozart Piano Concerto # 17 and the Brahms/Schoenberg Piano Quartet in g, we got a different Mozart Piano Concerto (#25) with Kahane as solo and conductor and the Rachmaninoff Second Symphony.

Somewhat like the orphan “Blumine”, I was preparing a second “must hear” essay about it to go along with the earlier one about the Brahms/Schoenberg Quartet. Seeing it was now a moot point, I went no further than what you see below. Although the Kahane performances were quite good, I have a pang of regret that the KC audiences were not able to experience two rarely heard and wonderful works. The Brahms/Schoenberg essay was published earlier here but not on the KC Symphony Blog.

Thus, as it is,  I submit my “Blumine”; a bit disjointed and unpolished, much like the work it honors.

The Mahler’s first symphonic essay took a circuitous route in both form and performance venue before emerging as the familiar and popular Symphony # 1 in D major. The “Blumine”, to be performed by the KCS along with the Brahms/Schoenberg Piano Quartet, was once a part of this symphony but was discarded by Mahler after a few performances. After its rediscovery in 1966, it has occasionally been performed as a part of the Symphony but more frequently as a separate piece, as in this case. A little history lesson is in order so as to understand how this movement disappeared for 70 years.

Mahler first conceived of this work as “A Symphonic Poem in Two Parts” when it was premiered in Budapest in 1889. “Blumine” (although not yet labeled as such) was the second movement of this early form which is recognizable as the First Symphony but with many differences in orchestration and some formal reorganization. This performance was not well received and thus Mahler made some extensive revisions for a second performance, this time in Hamburg in 1893. Now titled “Titan, a Tone Poem in Symphonic Form”, the movement gained the title “Blumine” (Flowers, or Flower Chapter) and remained as the second movement. Mahler prepared an elaborate program for the piece; the first part (current first movement, “Blumine” and the Scherzo) was called “From the Days of Youth: Youth, Fruit and Thorns”. The second part “Commedia Umana” consisted of the current “Funeral March” movement and the Finale.

Only a couple of performances were given of this version before a 4^th performance in Berlin in 1896 where Blumine was formally struck from the score, all traces of the program and  the name “Titan” were removed. The work was published in its current form in 1899 titled Symphony # 1 in D Major.

Blumine remained unperformed and lost until it was discovered in a copy of an early manuscript donated to Yale University. Benjamin Britten performed it soon after and the enterprising New Haven Symphony under conductor Frank Brieff performed and recorded it, interpolated into the definitive score as the second movement. Since then, several performances have been given and recorded of the early Budapest and Hamburg versions.

So what of the music? Mahler biographer Henry-Louis de La Grange was not too kind:

“There can be no doubt as to the authorship of ‘Blumine,’ and yet few other arguments can be stated in its favor. It is the music of a late-nineteenth-century Mendelssohn, pretty, charming, lightweight, urbane, and repetitious, just what Mahler’s music never is.”

Frankly, I kind of like the early versions with Blumine. Performing much the same services as the Adagietto of the 5^th, the short interlude comes as a quiet, simple respite in the hothouse charged atmosphere of the symphony. I do agree with de La Grange, it is a bit like Mendelssohn scored with a decidedly late century palate. However it looks forward to Mahler’s grander creations such as the aforementioned 5^th and the 3^rd’s posthorn serenade.

Several fine recordings of the Symphony with Blumine are available, mostly including Blumine as an appendix, notably Zinman/Zurich Tonhalle on RCA and Neeme Jarvi/Royal Scottish Orchestra on Chandos. The 1883 Hamburg “Symphonic Poem in Two Movements: Titan” is easiest to find in a Challenge Classics recording with Jan Willem de Vriend conducting the Netherlands SO. Haydn House, an LP to CD reissue source has the original Frank Brieff/New Haven recording.

We Three Pugs 2011

Although The Dowager Empress, HM Puggles has passed on to the Rainbow Bridge, I was reminded of her favorite Christmas Carol that we published every year around this time. So, in honor of a great lady and Queen I give you this one more time. Merry Christmas and a Happy New Year from HRH Olive, The Princess Royal and staff:

HM Puggles, 1999-2011

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 & O

Baker's Dozen Best Recordings 2011

My annual Baker's Dozen best recordings of the year is here. Since it is my list, I set the rules which are frequently broken. Most of these are new recordings or releases for the year. Some may be new to me or simply old wine in new skins. Whatever the case, here is what I have enjoyed and noted for the year in no particular order:

1) MAHLER: SYMPHONY # 10. ILLUSTRATED LECTURE BY COOKE, BERTHOLD GOLDSCHMIDT LONDON SO (1964) AND PHILHARMONIA ORCHESTRA (1960) TESTAMENT 1457

This 3 disc set was the Grammophone Magazine winner for Best Historic recording, and deservedly so.  Includes the 1960 BBC broadcast lecture by Deryck Cooke, illustrated with piano and orchestral examples, the full 1960 broadcast performance of the sketches as they had been compiled at that time by Cooke and finally the 1964 World Premiere of the 10^th by Berthold Goldschmidt and the London SO. All are recorded in decent mono and both orchestra performances exhibit somewhat scrappy playing, but what an incredible historical document.

2) IVES/BRANT: CONCORD SYMPHONY. COPLAND: ORGAN SYMPHONY. MICHAEL TILSON THOMAS SAN FRANCISCO SO  SFO 38

I first heard of Canadian Henry Brant (1913-2008) as a classical music crazed teen. I confess I wanted to write a piece for my High School auditorium based on his spatial music concepts. The high brass would sound out of the projector box, the tubas and trombones out of the vents in the floor, the strings on the stage, the winds in the isles.. the percussion in the hallway outside.. yeah I was nuts. His rendition of Ives’ Concord Sonata as a Symphony is all wrong; too modern and craggy for Ives, but an incredible and addictive listening experience. A bonus is a fine recording of Copland’s first symphony with the original organ part.

3) BRUCKNER: 9 SYMPHONIES. GUNTER WAND COLOGNE RADIO ORCHESTRA RCA/SONY 7776582

Budget priced reissue of these fine recordings of Bruckner’s major Symphonies, but does not include “Die Nulte” or the Symphony in F if you have to have those. Skrowaczweski/Saarbrucken is my standard, but for the price these can not be beat.

4) JOYCE DI DONATO: DIVA/DIVO. VIRGIN CLASSICS 41986   

Home town girl (I have a picture of me with Joyce to prove it) makes good in this wonderful collection of arias exploring gender bending trouser roles from Gluck to Richard Strauss.

5) CHARLES-MARIE WIDOR: PIANO CONCERTO # 1 OP 39, PIANO CONCERTO # 2 OP 77, FANTASIE, OP 62. MARKUS BECKER, PIANO. THIERRY FISCHER BBC NATIONAL ORCHESTRA OF WALES  HYPERION CDA 67817. ROMANTIC PIANO CONCERTO SERIES # 55

A recording for those who think C-M. Widor only wrote a famous Toccata for Organ to be used at Easter or weddings. These two bravura concerti and the brilliant “Fantasie” are simply fabulous music. A second set has appeared on Dutton/Epoch but seems to be hard to find. With great sound and easy availability, this is the one to have for sure.

6) HAVERGAL BRIAN: SYMPHONY # 1 “GOTHIC”. BBC NATIONAL ORCHESTRA OF WALES, BBC CONCERT ORCHESTRA, SOLOISTS AND CHOIRS HYPERION CDA679712

Renowned for its listing in the Guinness Book of World Records as the longest symphony, the Gothic is, of course, rarely performed. But on July 17 2011, over 800 musicians under the direction of Martyn Brabbins performed this monster at a Royal Albert Hall Proms Concert. This is a live recording in fine sound and likely the best performance we’ll hear in a lifetime. 

7) HAVERGAL BRIAN: ORCHESTRAL MUSIC VOL. 1. BURLESQUE VARIATIONS ON AN ORIGINAL THEME, ENGLISH SUITE NO. 5, RUSTIC SCENES, ELEGY, LEGEND: “AVE ATQUE VALE”. GARRY WALKER BBC SCOTTISH  SYMPHONY ORCHESTRA. TOCCATA CLASSICS TOCC 00110

Every few years, Toccata Classics gives us some gems from the vast oeuvre of Havergal Brian, he of 32 symphonies and tons of unperformed and even lost works. In 2005 a recital of songs was well received and a welcome addition. This year Toccata seems to be embarking on an orchestral series, hopefully to include the symphonies, since the Naxos series seems to be abandoned. Volume 1 contains premiere recordings, first studio or professional recordings of works ranging from 1903 to 1968.

8)  HAVERGAL BRIAN: ORCHESTRAL MUSIC VOL. 2 MUSIC FROM THE OPERAS.  SYMPHONIC VARIATIONS ON ‘HAS ANYBODY HERE SEEN KELLY?’, THREE PIECES FROM ‘TURANDOT’, FAUST: NIGHT RIDE OF FAUST AND MEPHISTOPHELES, THE CENCI: PRELUDIO TRAGICO,  A TURANDOT SUITE (ARR. MALCOLM MACDONALD). GARRY WALKER BBC SCOTTISH SYMPHONY ORCHESTRA. TOCCATA CLASSICS TOCC 00113

Long neglected Havergal Brian (1876–1972) is having a banner year. His music is interesting and always colorful, albeit frequently clunky and not always structurally sound. This disc features orchestral excerpts from some of his 5 unperformed operas.

9) MARTINU SYMPHONY # 4, TRE RICERCARI, PIANO CONCERTO # 4

TURNOVSKY CZECH PHIL APEX 0927498222

Almost everyone first heard this wonderful Symphony via this old Turnabout LP that has seen several iterations over the years. Now available in a budget CD with great sound and couplings.

10)  MICHELLE BREEDT, SOPRANO NINA SCHUMANN, PIANO: “SHAKESPEARE INSPIRED”  TWO PIANISTS RECORDS 1039077

South African-born Michelle Breedt is featured in this innovative Shakespeare-in-song collection from Two Pianists Records, also from South Africa. Just about every English composer of note from Arne through Coates, Parry, Delius, Vaughan Williams and on to Britten and Rubbra is included. Most entertaining and enlightening.

11) ANDRZEJ PANUFNIK: SYMPHONIE ELEGIACA (NO. 2), SINFONIA SACRA (NO. 3), SYMPHONY NO. 10.  KONZERTHAUSORCHESTER BERLIN. LUKASZ BOROWICZ CPO-777 683-2

These works have all received fine performances before, especially the popular Sinfonia Sacra. But this finely played and recorded disc from the Polish Radio Symphony is especially sweet since Panufnik was exiled from and his music banned in his native Poland for so long. Volume 4 of an ongoing series of his symphonic works.

12) ALLAN PETTERSSON: SYMPHONIES NOS. 1 (ARR. LINDBERG) SYMPHONY #  2 NORRKÖPING SYMPHONY ORCHESTRA CHRISTIAN LINDBERG BIS-1860 (PLUS DVD)

When I am depressed and ready to jump off a bridge, I listen to the music of Pettersson and suddenly I realize I am not as bad off as I thought. Pettersson’s music, from his first symphony to his last works, is relentlessly gloomy, dark, mysterious and angry; much like the man himself. Yet it is sincere and well written which is what makes it so interesting. The early, incomplete first Symphony is a performing edition by Lindberg receiving its first recording.

13) IVES: 4 VIOLIN SONATAS HILARY HAHN VIOLIN, VALENTINA LISITSA, PIANO DEUTSCHE GRAMMOPHON  001608202

Amazing that an Ives recording has been at the top of the Classical Music charts for a good part of the year, displacing the usual “crossover” glorp. Maybe the boys are buying the album because of the two pretty ladies on the cover. Whatever the motive, finest performances we can expect in a long time of these quirky and even fun pieces.

Russian Muse

Alexander Ringer, my most influential music history professor at the University of Illinois, felt strongly that one must study the educational pedigree, so to speak, of a composer to really understand their music. Who were their teachers? Who were their teachers’ teachers? For example, one of Bohuslav Martinu’s favorite students was songwriter Burt Bacharach. I don’t know about you, but I can hear the same quirky, rhythms, shifting meter and bright colors in Bacharach’s “Promises, Promises” as I can in Martinu’s charming works.

Thus in the Thanksgiving weekend’s “Russian Spectacular” concert led by guest conductor Carlos Miguel Prieto we get a rare chance to hear this concept illustrated by three works from composers who were students and mentors to each other. I challenge you to listen to the works as they progress from mentor to student across three generations. So, let’s look a bit at these three Russian giants and see how a Russian Imperial Navy officer influenced a child prodigy who then mentored one of the 20^th century’s most important composers.

Born in 1844, Nikolai Rimsky-Korsakov strove to develop a characteristic Russian nationalist style of classical music. This involved frequent use of Russian folk melodies and folklore tinged with the harmonies and rhythms of Asia rather than the traditional Western European forms and harmonies. Eventually Rimsky-Korsakov settled into a career as a professor at the Saint Petersburg Conservatory (where Glazunov later mentored Shostakovich) and began infusing Western forms and conventions with a characteristic, yet almost indescribable Russian “soul”.

And what better example of that than the opening work in this concert; Rimsky-Korsakov’s Russian Easter Overture. Here is a work written for a typical western orchestra and in a common western form that literally lives and breathes the unique Russian Orthodox musical tradition. Many of the melodies used in the overture are from the Orthodox liturgy and Rimsky-Korsakov even includes several biblical quotations in his manuscript. While in a recognizable western form, Rimsky-Korsakov used some unusual time signatures to capture the melismatic flow and improvisation of the Orthodox chant. Opening in 5/2 (5 beats to a measure and each beat is a half note long), the work closes in a flowing 2/1, something you do not hear often for sure. But listen to how perfectly these “stretched” time signatures recreate the passionate call and response liturgy straight from a candle lit St Basil’s Cathedral.

Rimsky-Korsakov opened up this Russian soul to new and bright orchestral colors. Since Orthodox churches usually do not use any instruments in their music, Russian music tended to be dark and big, like the basses in the choir. Rimsky-Korsakov, trained as a military band leader used his skill with winds and percussion to expand and brighten the palate. Hear the touches of color from the harp and percussion, the clanging bells, the chanting trombone, exuberant brass fanfares as the faithful celebrate the Easter feast.

By the last quarter of the 19^th century, Rimsky-Korsakov was Czar as far as Russian music was concerned. Since he devoted a lot of time to teaching, his influence was deeply felt.

Enter the son of a wealthy St Petersburg publisher, Alexander Glazunov. From all accounts a child prodigy, Glazunov was introduced to Rimsky-Korsakov in his teens, around 1882. Given a score for a symphony (his Symphony #1) Rimsky-Korsakov recognized his obvious talent and arranged a performance. The audience, composer Alexander Borodin among them, was astounded when a 16 year old school boy took his bows on stage. Rimsky-Korsakov took Glazunov as a student shortly thereafter.

Young Glazunov absorbed all the influences his sudden fame afforded him. From Rimsky-Korsakov he learned to skillfully orchestrate; his admiration of Tchaikovsky led to his romantic lyricism, combined with a sense of counterpoint hitherto not realized in Russian music. When he was elected director of the Saint Petersburg Conservatory in 1905, he was at the height of his international fame. His best works came from this period as well, including the Violin Concerto in A minor of 1904.

Listen to the very beginning of this one movement work, with everyone in their lower or middle ranges, and you will hear the Russian Soul that Rimsky-Korsakov nourished. Yet Glazunov took that “soul” and stretched it into a technically brilliant concerto, full of double stops, skittering runs and luscious melodies. Glazunov is often dismissed as being solely a conservative academician, yet in the Violin Concerto he uses a one continuous movement form, which is unique for the period. The orchestration, while not as brassy and bright as Rimsky-Korsakov, is colorful and evocative. Nowhere in this charming and perfectly proportioned work does one encounter the dry academicism which often sapped inspiration from his music.

If Glazunov did not advance Russian music, his students certainly did. Living well into the 1930’s, Glazunov had to cultivate and maintain his conservative style so he could make a living in Revolutionary Russia. A revered composer, pedagogue and a stabilizing force as director of the conservatory in St Petersburg, Glazunov was a musical father to a generation of grateful Russian musicians, who tended to dismiss his music but revere him for his service.

Dmitri Shostakovich came along, total child of the revolution, and built a musical legacy on the firm foundation of Rimsky and Glazunov. His command of orchestral color, while not brilliantly flashy as Rimsky, perfectly fit his often dark and moody music. Like Glazunov, he felt at ease with the familiar and frequently strict forms of the sonata, symphony and concerto, even when he stretched the forms into new shapes.

Shostakovich’s Russian soul was a wounded one. Struggling to maintain his soul, he often hid his thoughts and emotions deep in the music. Many feel his work culminated in the magnificent Symphony # 10 Op. 93 of 1953. Shostakovich said the work “portrayed human emotions and passions”, but one soon realized these human emotions and passions are really the soul of a nation and of its people trapped in misery and darkness. Stalin may have been dead, but his ghost lived on in a country still reeling from war and political oppression. The sardonic and frenetic scherzo, all of 3-4 minutes long, can only represent a monster.. Stalin? It is said that was the composer’s intentions. Yet, in the subdued, dark hued mood of the Symphony, one can hear echoes of Russian and ethnic dances and even some hollow rejoicing.

The 10^th Symphony is Shostakovich’s most personal symphonic utterance. Possibly written before 1953, it was held back until Stalin was dead and his oppression of musical ideas relaxed somewhat.  To further personalize the symphony, he uses the notes D Eb C B which roughly recreates his monogram of D SCH.

This was the first use of this monogram which the composer used from time to time to mark his work in a faceless, soul-less society. Listen for it especially in the 3^rd movement, a Mahler-like nocturne.

From the glory of the Czars to keeping traditions alive in a revolutionary time to surviving and hiding ones emotions in an oppressive society,  we have progressed through three generations of Russian masters, each cultivating the soul of a vast and complex nation in their music. The “Russian Spectacular” theme for this concert is no mere marketing tool: these three works are spectacular examples of the long and glorious Russian muse.

HRH Olive, The Princess Royal

Royal Announcement

Puggingham Palace

From the Lord Great Chamberlain:

We joyously announce the arrival of The Princess Olive at Puggingham Palace on 11/5/11

The Princess arrived in the Royal limo around 7:30PM and immediately toured the Palace Garden. After greeting Palace staff, HRH settled in to her new Royal Apartment soon after.

HRH has received greetings from King Pip in which HM Pip has proclaimed that she shall immediately be Styled and Titled HRH Olive, the Princess Royal and is to receive all the benefits and honours due her.

HM King Pip further decreed 3 days of Festival Celebrations beginning Sunday November 5^th and continuing through Tuesday November 8^th.  He has commanded treats for all, plus parties and fireworks are ordered.

Her First Royal Portrait:

Did This Performance Make me a Brahmsian???

After a strictly instrumental opening weekend concert that inaugurated Helzberg Hall, Music Director Michael Stern and company focused on vocal/choral selections for the second concert. Anticipation was high as to how the Kansas City Symphony Chorus and vocal soloists would sound in the new hall. In my, and many other’s opinion, anything had to be an improvement over the Lyric Theatre, which usually rendered the chorus to mush and tended to obscure all but the most commanding of soloists. To show what the new space could or could not do, Stern chose two choral works, Beethoven’s rarely heard “Elegischer Gesang” in its chorus and strings version (original was  for 4 voices and string quartet) and the grand Brahms “Ein Deutsches Requiem”. For some orchestral contrast, yet still keeping with the requiem theme fitting for All Saints/All Souls Week, Stern selected Messiaen’s orchestral “Les Offrandes Oubliées” as an interlude.

Beethoven’s sweet, short and sadly all but forgotten “Elegischer Gesang” (“Elegiac Song” written in 1814 originally for 4 voices and string quartet here arranged for chorus and string orchestra) quickly demonstrated how the newly augmented chorus could sound. The verdict: much clearer and focused, neatly balanced with the orchestra and certainly cleaner diction. However, the sheer size of the forces frequently made their voices a sound texture rather than clearly defined text, most often noted in climactic passages. Yet the Elegiac Song received a most heartfelt and “elegiac” performance, the chorus well balanced with the strong, always elegant strings.

As a bonus, the chorus performed an a capella piece written for the center’s opening gala by local composer Mark Hayes, titled “This Moment”. Having worked with Mark Hayes and having sang many of his compositions over the years, it was instantly recognizable as his fine work. The soft, frequently whispered piece came off well in the hall and did not detract from the overall theme of the evening.

Stern has been successfully insinuating the atmospheric music of 20^th century French composer Oliver Messiaen in his concerts the last few seasons. This season we are treated to Les Offrandes Oubliées (The Forgotten Offerings) written in 1930 for two pianos and later orchestrated by the composer. This fervently religious interlude made for a most fitting contrast to the contemplative Beethoven and the cooler Brahms to come.

The piece is cast in a single movement divided into three clearly delineated sections representing Christ suffering on the Cross, the decent of man into sin and finally salvation offered through the Holy Eucharist.

The opening section marked “fairly slow, sorrowful and profoundly sad” continued Beethoven’s elegiac, reverent mood. The strings and winds were admirable in their clear intonation in high registers, perfect for Messiaen’s characteristic modal sound.  Stern and his forces milked the cataclysmic burst of sound that announces the central “Lively, fierce, desperate, gasping for breath” section, representing human kind’s sinful ways. The orchestra relished the Bacchanalian passion while Stern kept the violence neatly in control. The brass and percussion were commanding and snarling, certainly not overly loud as I have heard from one complaint.

Heavenly calm, resembling much of the opening section, marks the final “Slow, with great pity and great love”,  celebrating the mystery and redemption of the Eucharist. Even in this early work, one hears the characteristic sound world of the masterpieces (Turangalila-Symphonie, Des canyons aux étoiles, Oiseaux exotiques, etc.) to come.

Having explored the white hot religious ardor of Messiaen’s faith, Brahms’ almost secular requiem comes into clearer focus.

Despite a text assembled by the composer mostly from Biblical passages, “Ein Deutsches Requiem” is actually a humanist rather than an overtly Christian work. Brahms recognized this and it is even suggested that he considered calling his magnum choral opus “A Human Requiem”. Thus Brahms’ classic coolness and restrained emotion suits this service for the dead well. This is a requiem for the living, a time of comfort and reflection rather than a sublime (In Paradisium in the Latin Mass) or anguished (Dies Irae) vision of what is to come.

To make this piece really work, it needs a bit of guts along with the grandeur, remembering that this is that “Human Requiem” and not a glacial Papal funeral mass. Slack tempos, little dynamic energy, unfocused chorus and coldly mechanical solos can quickly slip this monster into sonic drudgery. Unfortunately the traditional and all too common view of this work heads straight into such a wreck. Stern and company led a vital and well paced performance, steering clear of the tendency to sink into an interminable morass, providing the requisite good dose of guts to go with the glory.

Most impressive was baritone Christopher Feigum in his solos in Parts III and VI. Singing with style and with incredible diction, his two lengthy contributions provided a fine dose of the dramatic guts as mentioned above. So did the chorus’ earth moving “Death where is thy sting?” section in Part VI, well serving as the aural and dramatic climax of the work. Finally, with the spectacular sonics of Helzberg Hall, the power of the talented voices could be unleashed, really speak to the audience and not be buried in a haze.

Soprano Layla Claire’s contributions were equally fine yet more ethereal rather than overtly dramatic, perfectly fitting their role.

Brahms’ Requiem, as some of my readers may know since I sort of can not keep it a secret, is not on my top 10 (or even top 1000) list of favorites. I own nary a recording of it and have heard it live only once before, a previous Kansas City Symphony performance from sometime in the mid to early 90’s. Stern, Chorus Director Charles Bruffy and their forces can be proud of a fine performance of a work that many find inspiring and glorious and challenged this skeptics’ preconceived notions.

Kansas City Lyric Opera: Turandot

It is a bit of a moot point to review a final performance of a production; by now it is history. But, I felt a bit of an obligation to my 2 fans to record my impressions of the first  Lyric Opera of Kansas City production  in the new Muriel Kauffman Theatre, Puccini's final opus "Turandot".  This new from the ground up Lyric production featured soprano Lise Lindstrom in the title role, (fine performance, but a bit screechy on top and tended to channel Joan Crawford's haughty demeanor rather than Maria Callas') tenor Arnold Rawls as Prince Calaf, (superb "Nessun Dorma") soprano Elizabeth Caballero as the tragic slave girl Liu, (all around wonderful in this most demanding role) and, in his Lyric Opera debut (about time) Colby, Kansas native Samuel Ramey as the exiled King Timur (perfectly powerful and tragic).

The sets by Lyric Opera designer R. Keith Brumley were functional and evocative of ancient China without being stereotypical. The colorful costumes caught and reflected the sets reds and yellows, especially Turandot's icy white gowns. Ping, Pang and Pong's (wonderful, cynically comic performances by Michael Chioldi, Scott Wichael and Doug Jones) pastel gowns, almost clownish make up and whipping fans provided bursts of color and comic relief among the white and gold of the royalty and the drab browns of the peasants. The extras were numerous but never in the way in the finely choreographed performance. A fine children's chorus and powerful adult chorus that could press you back into your seat filled the stage to capacity.

Music Director Ward Holmquist led the orchestra in a finely paced and nuanced performance; the new pit and acoustics meant we could actually hear even the most delicate phrases. Also noticeable were fewer instances where the orchestra drowned out the singers.

The acoustics and line of sight from my perch in the Parterre section, straight back from dead center stage were fabulous. Not sure I really like the glitzy, bright colors and the huge lighted transparent panels that line the boxes, but it does make for a more welcoming atmosphere than the dark Lyric Theatre space. The new "Figaro" individualized subtitle system worked well, but in my row was down to low due to no seat backs in front of us.

The old Lyric Theatre simply did not have the space on stage or in the pit for really grand opera. That has certainly changed.

On tap for the season: Cosi Fan Tutte, Nixon in China and Barber of Seville.