KCS Adam Schoenberg premiere, Martinu and Schumann too

Adam Schoenberg, born in 1980, is an Oberlin and Julliard graduate and a member of the “Atlanta School” of composers which include Jennifer Higdon, Oswaldo Golijov, and Christopher Theofanidis among others. For his first effort as Composer in Residence, Schoenberg collaborated with Kansas City's world renowned Nelson-Atkins Museum of Art to create a 21st century recasting of Mussorgsky's “Pictures At An Exhibition”. Schoenberg paid several visits to the museum picking works from the collection to enshrine in sound. The result is a large work for orchestra titled “Picture Studies” given its world premiere performances the weekend of February 1-3. Michael Stern conducted the Kansas City Symphony in the concert that also included the Martinu “Frescoes of Piero della Francesca” and the Schumann Cello Concerto.

Schoenberg's protagonist, in contrast to Mussorgsky's more confident and hurried patron, seems to wander in with his/her head to the sky, trying to take in all the sights and stimulus of an art museum. Instead of viewing one artist's work, the visitor sees a wide variety of works including sculpture, paintings and photographs from artists such as Kandisky, Miró, van Gogh, Bloch, Francis Blake and Rothko.

Two sections were to most effective and original. “Kandinsky” (Rose with Gray 1924) was all angular, busy, tense, vibrant and in your face. As in the painting, the incongruous motifs were cut and pasted, superimposed and even buried in the rich, percussive texture. The all too short “Calder”s World” (untitled sculpture 1936) is a mini masterpiece; as static, balanced, edgy and timeless as the Calder sculpture. Winds and brass paid homage to the metal and wood of the piece while the undulating, almost breathless strings took us to the primal world of time. As in Ives' “Unanswered Question” they seemed to emerge from the background as if they had been there all along then fade to whence they came. A breathtaking example of tone painting at its finest.

The van Gogh “Olive Orchard” was Debussy's impressionism as seen through a Copland lens. The movement grew organically to a full climax but chose not to capture the bold strokes and knotty, twisted texture of the olives. Instead we hear more quiet and lyrical music that is “Colorful, full of love” according to the composer's notes. “Three Pierrots” (Albert Bloch “Die Drei Pierrots nr. 2” 1911) with its mallet infused, jaunty rhythms evoked Petroushka and the comedic, slightly clumsy dance depicted in Bloch's painting. The last two movements, both inspired by photographs (one of a vast ocean then other of pigeons in flight) took the work into an extended, ecstatic climax. Any listener familiar with Higdon's “Blue Cathedral” or Theofanidis' “Rainbow Body” would recognize this section.

From the myriad of social media comments and the prolonged ovation given to the performers and composer, Picture Studies' easy going, approachable and colorful style resonated with the audience.

In the spirit of full disclosure, I am a great fan of the Martinu “Frescoes of Piero della Francesca” composed in 1955. A brilliant piece of programming since the work was also inspired by a composer's viewing of visual art, in this case the magnificent “History of the True Cross” by the Renaissance artist Piero della Francesca in Arezzo, Italy. One of Martinu's most imaginative works, it is a little less motoric and neo-classical than many of his works and much more impressionistic and lyrical.

Unlike Picture Studies, these three frescoes are not so much programmatically depicted but provide musical accompaniment to their viewing. Martinu captures the grand scale, the muted colors, the angularity and the mysticism behind the frescoes. Stern and his forces were technically fine in this somewhat cool performance. I wished for a fuller string section in the climatic string cadenza in the second movement but Christine Grossman's fanfare like viola solo leading into the climax was wonderfully executed. Martinu was frequently inspired by jazz and thus the last, battle inspired movement brought more of the rhythms associated with the composer. Stern and company relished this more animated section, perfectly resolving the martial tones into the lush and serene final chords.

Armenian born Narek Hakhnazaryan, 2011 International Tchaikovsky Competition Gold Medalist and student of Mstislav Rostropovich was a stellar soloist for the hyper-romantic and melodic Schumann Cello Concerto op 129. Stern in collaboration with Hakhnazaryan chose brisk tempi for the concerto's three connected movements while still allowing the cello to sing through the torrent of melodies; too slow tempi risks the work turning into a hyperglycemic mess. Hakhnazaryan's tone was dark and rich through out, yet fleet of bow in the cadenzas and the lively concluding rondo. The unusual duo between the cello solo and the principal orchestra cello in the lyrical intermezzo-like second movement was particularly well done.

The Schumann is hardly the most flashy concerto in the repertoire but certainly showcases the instrument's lyrical abilities. Needing fine control of tempo and tone to produce an excellent performance, both Stern and Hakhnazaryan came through, bringing out the organic flow of the work from its breathless opening to its dramatic conclusion.

Kansas City Symphony Mahler 6

“My Sixth seems to be yet another hard nut, one that our critics' feeble little teeth cannot crack.”

So wrote Gustav Mahler to conductor Wilhelm Mengelberg. Mahler's Symphony # 6 in A minor was composed during a more contented period in the composer's life, 1902-1903 but not premiered until 1906. Yet this symphony is among the least affirming of his world encompassing symphonies; it is among his most inward and autobiographical as well. Perhaps because it is a such a tough nut to crack it is, along with Symphony # 7, one of his lesser performed symphonies. With a fine 1st, 2nd, 4th and 5th  under their belts, the Kansas City Symphony under the direction of Music Director Michael Stern have added a most stellar 6th to their Mahler cannon.

Stern took the 1st movement at a true allegro, a welcome change from some of the more recent recordings and performances. The opening exposition, while well executed was somewhat short on drama. Certainly fine, but would not challenge the best of performances. The soaring “Alma” theme was not a sticky, sentimental mess, but a heartfelt and maybe even a bit of a flirty statement, well integrated into the somewhat schizophrenic mood of this movement, unique in all of symphonic literature.

The gentle slower middle section benefited from the usual fine winds and strings of the orchestra. Some listeners may like more forward cowbells; Stern correctly had them as a distant texture, maybe too distant at a few points but they served their purpose to take us back to a cold, clear alpine meadow. This interlude is not “a cow looking over a fence” pastoralism, but a wistful and melancholy respite from the martial exposition and recapitulation. Stern brought out this section's often soaring lyricism but never lost touch with the overall dramatic mood of the movement. If the exposition was a bit slack , the recap was all drama and  everything fell into place. Stern did not rush headlong to the end, but kept the pot boiling letting the work move forth as a force of nature, bringing this monumental statement to a dramatic close.

We could debate for hours over the Scherzo/Andante or Andante/Scherzo question. You almost need a score card to keep track of the players who made the switches over the last 107 years. While most of us “grew up” with the Scherzo/Andante order, Mahler only conducted the work Andante/Scherzo. While some say placing the Andante second spoils some harmonic and thematic connections, it also makes sense. It is more structurally correct in this most classical of Mahler's symphonies and expands on the nostalgic mood of the center section of the first movement. The counter argument says Scherzo/Andante is how Mahler conceived the work and is perhaps more psychologically logical. The andante acts as a balancing intermezzo providing a relaxation of tension between the dramatic Allegro/Scherzo and the monumental half-hour finale.

As Kurt Vonnegut always said whenever he was faced with something unsolvable... “so it goes.”

Stern chose the Andante/Scherzo order for this performance. Whatever order one might prefer, suffice to say Stern's Andante was a supreme achievement. Never overwrought or totally sappy, this movement clearly was Mahler's escape from the torment of the opening movement and the tormented and very real life dramas of the scherzo and finale. Yet Stern wisely kept some tension in the phrasing and tempo, reminding us that the edge was not far away. Translucent strings, wonderful oboe, violin, trumpet, horn and clarinet solos combined with the gentle but insistent flowing tempo made this an especially moving and revelatory performance.

The macabre scherzo with its bone-rattle xylophone (used nowhere else in Mahler's symphonies) jolts us to stark reality as the unrelenting march rhythm returns. The movement is marked “Wuchtig” or “heavy” and Stern took this marking to heart with an appropriately forceful tempo full of accented downbeats. As called upon, the woodwinds, especially the fine clarinet section, shrieked with merciless terror and the brass snarled menacingly. In the trio sections, ironically marked “Altväterisch” (literally “old father-like” or “old fashioned”), Stern let the menace slack just enough for contrast but made sure we knew these episodes of nostalgic glances to the past are the real tragedy of this work, the  brief  reminiscence of “what was and will never be again” that haunted the composer and in reality haunts all of us. The final measures of this most dark movement collapse after a perfectly integrated but climactic tam tam stroke into fitful short motives, with superb contributions from the bass clarinet and contra-bassoon. Stern and Timothy Jepson, principal timpani took care to make the final timpani beats not just an ambiguous ending but hinted at a beginning of a funeral march; which further justifies the placing of the scherzo third as they foretell the return of the hammering fate motive in the finale.

The finale leaves us with another question.... two or three hammer blows? But before that becomes relevant, Stern and company pulled out all the stops for a most incredible and dramatic performance of this movement, some of the most humanly emotional music ever penned. The opening ambiguous, harp laced chords literally soar into the commanding statement of the “Fate” theme, plunging headlong into this most indescribable music, both lyrical and tormented. Stern's trademark attention to detail left no stone unturned, the music soared, whispered, marched and ultimately collapsed into despair, The heavy brass was mostly well balanced, only occasionally they got out of hand, but never to the point of annoyance. The all important hammer blows of fate were well done, commanding but not so much as to totally seem out of place. The audience members near me probably wanted to slap me over my  subtle  “YES” with clenched fist pumping when I saw principal percussionist Christopher McLaurin reach for the hammer a third time. Mahler withdrew it, but it just adds that nth degree of finality to this most autobiographical movement. The final statement of the fate motive was shattering, the audience stunned to silence. Stern took his time with the final diminuendo and quiet pizzicato, creating a breathtaking ending where one could often find it anti-climactic.

“The only Sixth, despite the (Beethoven) Pastoral.”

Alban Berg wrote the above to his colleague and composer Anton Webern. I think those who heard these performances would agree.

New Name

Puggingham Palace has a new name, "Pictures on Silence". The name is taken from a quote by the great conductor Leopold Stokowski:“A painter paints pictures on canvas. But musicians paint their pictures on silence.” Since 99% of my posts in the past couple of years have been about concerts, recordings and music, I thought the title needed a change to reflect the blog's purpose.

For the last couple of seasons, I have been featured reviewer and blogger for the Kansas City Symphony, a role I relish since I get to spread the word about our remarkable local orchestra. In late 2012, I began contributing to "I Care If You Listen", a web magazine focusing on contemporary classical music. As this role has grown, I found my reviews quoted, re-tweeted, and referred to by the artists and sometimes the record companies. I always cringed when I saw the "Puggingham Palace" moniker and wondered if  the unusual title lessened my credibility. So a search for a new name was conducted and I found the one noted above by Stokowski.

"Pictures on Silence" just seemed to neatly sum up the glorious art of music. Music is nothing but organized sound, said Edgard Varèse, so silence is the canvas on which the composer and musicians realize their art.Pictures on Silence is music reviews from an audience member's view. I am not a professional musician and do not have a music degree. However, after years of listening (I started listening to classical music around 12 years old and now 44 years later I show no signs of stopping) I think I know a bit about what makes a great performance, what can move an audience to bravos or to boos. I may not be able to point out that the 3rd bassoon did not correctly articulate the dotted triplets at measure 32, but frankly... with the exception of the 3rd bassoon, who really cares?

Most of my concert review posts are from the music scene in and around Kansas City. We may not be the world's Mecca for music like London or New York, but our local orchestra is outstanding, we get some of the best artists in the business for recitals and have an incredible performing arts center that is the envy of many. If I get a chance to hear a concert elsewhere, you will read about it here.Look for a couple of concert reviews coming up with the Kansas City Symphony and a short hop to St Louis in February for a rare performance of the Zemlinsky Lyric Symphony.

Thanks for reading!

DC

Panufnik Orchestral Works

Panufnik Orchestral Works Volume 5

My latest review for I care if you listen

KC Symphony Reference Recordings: Elgar and Vaughan Williams

Ralph Vaughan Williams: The Wasps – Aristophanic Suite

Ralph Vaughan Williams: Fantasia on Greensleeves

Sir Edward Elgar: Variations on an Original Theme (“Enigma”)

Michael Stern, Kansas City Symphony

Reference Recordings RR129

On the surface a rather standard program of English music that has been recorded by practically every conductor ever active in a studio. “Enigma”and “Greensleeves” each have over 130 recordings currently listed in the catalog. “The Wasps” has not fared as well, but the Overture is certainly familiar and a frequent filler in recordings. What makes this release an event is that a “provincial” US orchestra is daring to record standard repertoire in glorious sound, challenging many classic recordings with ease. As with two earlier Reference Recordings releases, “The Tempest” (combining Sir Arthur Sullivan's and Sibelius' incidental music to Shakespeare's play) and "Britten's Orchestra" (Sea Interludes and Passacaglia, Young People's Guide and Sinfonia da Requiem) Michael Stern leads the Kansas City Symphony in a sumptuously recorded and generous all English program.

Vaughan Williams took the overture and 4 episodes from his 1909 incidental music to Aristophanes' play “The Wasps” to create the popular “Aristophanic Suite” in 1912. Vaughan Williams makes no attempt to recreate ancient Greece, but sets the play firmly in turn of the century England. “Wasps” as a play is witty and a bit absurd, thus the music follows suit. The Overture buzzes with all the vibrancy (and even a hint of menace) of a swarm of bees before launching into the swift, sea shanty inspired march. Stern takes the movement at a fair clip, faster than I am used to, but it does the music no harm.

The fine sound brings out all the pointillistic detail of the delicate march comprising the first Entr'acte. The hilarious folk song laced “March Past of the Kitchen Utensils” is suitably witty and absurd, with excellent tempo choices and much good humor. The second “Entr’acte” is in Vaughn Williams' more pastoral vein with languid woodwind and violin solos, lovingly executed and perfectly recorded. Hear the sweet violin solo at about 2:20 into the movement with the subtle wind counter-melodies clearly captured. A masterpiece of recording balance. Stern's final “Ballet and Final Tableau” is a model of swaggering hijinks, absurdity and charm. Stern keeps the schizophrenic music under tight control, but lets it dance and laugh as it needs to. Some performances plow through this section, but Stern's wise tempo keeps it going without a headlong rush.

Since the recorded competition is small but mighty (Boult, Previn, Elder, in the suite plus Handley and Marriner in the overture) this all around well done performance is the one to have.

From the achingly beautiful opening flute solo from Principal Michael Gordon, through the more agitated fantasia middle section and finally the harp laced reprise of the melody, Stern's “Fantasia on Greensleeves” provides a charming intermezzo between the two larger works. Never sappy, the fine sonics allow us to hear each note of the harp beneath the canopy of rich strings. A performance that is as jewel-like as the work itself.

Elgar's Masterpiece of the the variation form Variations on an Original Theme (“Enigma”) was composed in 1899 and immediately gained world wide popularity. The “enigma” is not so much the identity of the person portrayed in each variation, but rather what exactly is the original theme, since it is never actually played. Above all that, Elgar wrote some highly original and tuneful music.

Overall, Stern's reading is clear, well paced and thoroughly enjoyable. Some highlights are a powerful and energetic Variation IV (W.M.B), an intimate Variation VI (Isabel), beautifully blended woodwinds in Variation VIII (W.N.), a jolly bulldog-gruff Variation XI (G.R.S..and Dan the bulldog) and an evocative, colorful Variation XIII (xxx), with the Mendelssohn quote eloquently done by principal clarinet Raymond Santos. The chugging timpani, evoking the churning of a boat are stunningly captured as a texture as much as a sound.

And the ever popular Nimrod is a very model of English pomp and circumstance (I could not resist). The opening, chillingly pianissimo chorale is captured perfectly in this demonstration quality recording. Stern's Variation IX does not so much accelerate but progresses like a force of nature; the grand conclusion arrives in true British fashion with glory and nobility.. No annoying sentimentality or bombast here. The final variation, portraying Sir Edward himself is a fitting, joyous conclusion, Note the clarion clear organ pedals at the very end, which greatly enriches and emboldens the grand final chords, Maybe one or two of the great English ensembles and conductors have imbued this celebrated piece with a speck more Edwardian nobility, but Stern and KC have issued a modern challenge to the classic recordings of Sir Andrew Davis, Sir John Barbirolli and Sir Edward himself.

Praise and thanks to RR for the most thoughtful and informative booklet, only in English however. Each work is vividly described by Richard E. Rodda and each variation of “Enigma” is identified and illustrated with commissioned drawings by San Francisco artist Joel Fontaine. Readable, enlightening CD booklets are almost a surprise in this day of skimpy multi-lingual booklets or no information at all when listening to a download or music service.

Double praise Reference Recordings usual outstanding state-of-the-art engineering by producer David Frost and recording engineer Keith O. Johnson.

Don't know why, but the brilliant “Britten's Orchestra” release did not stay in the catalog for long, so grab this while you can. Lovers of English music will not want to be without it..

We Three Pugs 2012

It is that time of year again, as we have done since 2007 or so, our annual Christmas Greeting from all of us at the Palace.

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

Joyce DiDonato: Drama Queens

There is no doubt that Joyce DiDonato is THE voice of our time, a consummate artist (and yes even an entertainer in the best sense of the word) at the very peak of her powers, enjoying every moment and note she sings. Other singers (Anna Netrebko, Angela Gheorghiu, Roberto Alagna, Dmitri Hvorostovsky come to mind) may be more household words, but often for antics outside the concert hall or for controversial, poorly received performances.

Joyce, (I have met her a couple of times; she is so down-to-earth and genuine I just have to call her by her given name) was in her element; she was home and thus gave a heart felt performance that was more an event and a happening than a straight concert recital. Those attending the sold out “Drama Queens” concert at the Folly Theatre are richer for it. Joyce was accompanied (a word that diminishes the contribution of this stellar group of musicians founded in 1979 in Amsterdam) by Il Complesso Baroocco, led by Russian violinist Dmitry Sinkovsky. The ensemble's founder Alan Curtis and Joyce have embarked on a project to resurrect long forgotten but once popular baroque operas. This concert (one of just three stops in the US) is a culmination of the effort, along with the eponymous album recently released on Virgin Classics.

“Why do we adore these queens of the drama?” Joyce writes in the program notes. “The answer for me lies at the heart of why we love opera: we yearn to open hidden doors to the richest, most complex, utterly human and profoundly moving emotions that we may not be able to access when left to our own devices. The crazy plots and extreme circumstances of the operatic universe give us permission to to unleash our often too idle imaginations.” I rarely quote so much from the notes, but this short paragraph so perfectly sums up our experience upon entering the world of the operatic “Drama Queens”. Arias from composers both dear (Handel, Monteverdi) and obscure (Cesti, Porta) feature such grand Queens as Cleopatra and Orontea, Queens of Egypt;  Rossane, Princess of Persia and Ottavia, Princess of Rome were interspersed with instrumental interludes by Scarlatti, Vivaldi and Handel.

Highlights: "Disprezzata regina" from Claudio Monteverdi's "L'Incoronazione di Poppea" of 1643, a virtuoso aria where the Queen of Rome Ottavia spits out her jealously and bitter betrayal followed seamlessly by Giacomelli's “Sposa, son disprezzata”, the wife, Irene Princess Of Tresbisond, who is cheated and abused by the husband she loves. Then there was Cleopatra's aria "Piangerò la sorte mia" from "Julius Caesar." by Handel This aria was probably the most familiar to the audience received a most sympathetic performance. Joyce's runs and trills were perfectly clear and florid but never, never overwrought. Then in contrast was the obscure Giovanni Porta's “Madre, dileta, abbracciami” from his 1738 opera “Ifgenia in Aulide”. Ifgenia's heart and breath-taking aria “Mother, dearest, embrace me, I will never see you again” was grief and bitter resignation personified. Not a dry eye in the house.

Dmitry Sinkovsky, directing the ensemble from the violin, was beyond exemplary. He let the diva have her way yet he and his incredible ensemble were her equal partner. In the instrumental interludes (a couple of Scarlatti sinfonias and Handel’s passacaglia from “Radamisto”) Joyce sat among the ensemble, as if the Queen were enjoying her Consort of Instruments. Joyce let Il Complesso Barocco have the stage to themselves for an insanely vituosic performance of Vivaldi’s violin concerto “Per Pisendel”. Sinkovsky solo work almost (?? yes, probably) equaled Joyce' mind boggling virtuosity with his loosened pony tail and bow almost invisible in their flight. I closed my eyes and thought of Paganini.

Joyce and the ensemble treated the ecstatic audience to several encores, most notably the Orlandini “Col versar, barbaro!” from Berenice, Joyce milking the low, guttural “Barbaro” with her bronze lower range. After Joyce quipped “did you hear his (Sinkovsky's) hoedown in that last piece?” he then accompanied her final encore laced with the open strings of a Kentucky fiddler, bringing both Joyce and the audience to laughing tears.

It was that kind of evening.

Addendum: and the red Viviane Westwood gown was the 3rd star of the evening.

Hijinks! newEar Ensemble

My first contribution to I Care If You Listen a new web magazine devoted to contemporary classical music.

Hijinks! Kansas City newEar Contemporary Music Ensemble.

Cameron Carpenter, Organ

I just have two words to say about this concert:


My dear.

Organ Recital Dr Richard Elliott

Thankfully the wonderful Casavant Frères op 3875 organ does not sit grandly idle as some concert hall organs do. Last evening, a very full Helzberg Hall audience was treated to the first in a series of four organ recital concerts featuring prominent organists from around the country. Each concert is hosted by Michael Barone, host of Public Radio's long running “Pipedreams” program. The organist was Dr. Richard Elliott, Principal Organist of the Mormon Tabernacle in Salt Lake City.

The concerts begin with an informal fireside chat between Barone and the organist, discussing the organist's training and experience and then progressing to a demonstration of some of the organ's voices and timbres. While the experienced organists might find this a bit uninteresting, for the layman, it was a fascinating glimpse into the world of the King Of Instruments.

The program was well designed to show off the capabilities of Opus 3875. Its French genes were highlighted by the majestic Louis Couperin Chaconne from 1658. The organ's characteristic sec French reeds were in full show in this grand arrangement by Joseph Bonnet.

The magnificent Bach Toccata and Fugue in F displayed Elliott's talent on the pedals and his ability to keep the drama of the toccata and the entrances in the Fugue flowing through Bach's torrent of notes. Elliott was aided by the organ's clear and precise pedals. A piece titled “Cantelena”by former Tabernacle Organist John Longhurst let the dulcet flutes have their fine, yet ephemeral moment. The piece was lovely, but did not make a long lasting impression. Composed for a Tabernacle radio broadcast, perhaps that was its intention.

Elliott's arrangement of “Every time I feel the Spirit” was a fine and amusing arrangement, capturing the improvisational style of African-American spirituals. But no matter how agile the organist, music like this just comes out a bit clunky when played on a concert organ; a rousing “Amen” coda made things all right however!

The main course was an arrangement for organ of Mussorgsky's Pictures at an Exhibition. I had heard orchestra, piano and brass ensemble live and even on rock band, synthesizer and guitar through recordings. But never on an organ.

While Elliott's technique was formidable, to me this arrangement sounded like it was arranged by Charles Addams instead of Jean Guillou/Keith John, emphasizing the spooky and otherworldly voices of the organ. This fit the music well in the strange “Gnomus”, “Catacombs” and “Baba Yaga” sections and to some extent the “Old Castle”. The “Ballet of the Chicks in their Shells” was fleet and light, marred by the unnecessary bird chirping sound effect. But Elliott and Op 3875 made the grand “Great Gate at Kiev” the highlight of the evening. Grand and glorious but not over-the-top, the might of the pipes could easily force the audience back in their seats. Elliott even negotiated the unforgiving runs and finger work in this mighty movement, which really fit the organ the best of all.

The encore of “I got Rhythm” simply blew me away. Much more idiomatically arranged for the organ than the earlier spiritual.

Thus a new concert series for the Kansas City Symphony and Op 3875 is off to a fine start. A most enjoyable and enlightening evening.

KCS Brahms and Barber

Three works, filled with unrelenting high drama comprised this weekend's Kansas City Symphony program, Michael Stern, Music Director Conducting. Samuel Barber's gripping Symphony #1 in One Movement, that monument of Romantic concerti the Grieg Piano Concerto and one of Brahms' most forward looking and satisfying works, the Symphony # 4.

The Barber Symphony in One Movement has a prominent place in the list of modern symphonies in one movement along with the Sibelius 7^th, Myaskovski 21^st (a suggestion for a future concert) and the Roy Harris 3^rd. Unlike these more organic symphonies, the Barber is really in four classically defined movements albeit played without a hint of pause.

The Barber's 20 minute span seemed to fly by; the performance was intense, tightly wound, focused and detailed, yet never fussy. There may be more polished performances around, but Stern captured the turbulent emotions and the aforementioned high drama as well as anyone has. He also took care to bring out the underlying classical form of the symphony, which helps to clarify and bring order to the frequent torrent of notes and themes thrown at us in a short time. Among many fine moments in this richly rewarding performance; the collapse of the first movement into the fidgety scherzo, the poignant and aching oboe (underpinned by some incredibly rich string chords and glittering harp) and cello solos in the slow movement and finally that movement's utterly shattering climax.

As an aside, I so agree with the program guide's recommended recording of this work, something I often do not do. The Zinman/Baltimore recording, originally an Argo release now on Decca, is a must hear that includes a fine Adagio for Strings devoid of all syrup, allowing us to hear a work Toscanini described as “simple and beautiful”.

I am really not sure who won the “Battle of the Grieg Concerto”; the soloist Spanish pianist Jorge Federico Osorio (who I only know through his recording of the Rodrigo Piano Concerto) or Stern and the orchestra. A wonderfully dramatic, clear and fanfare-like reading of the famous opening flourish promised a muscular, winged performance free of “Song of Norway” sentimentality. But as the concerto progressed, attentive listeners worried. Sometimes Osorio had to slow his runs and passages to keep up with the orchestra...and just as often the orchestra slowed to align with the solo. The movement never fell apart and Osorio's technique was riveting, but one could see and hear the tension between the solo and the orchestra as they struggled to stay on the same page. Redeeming the movement was Osorio's thunderous cadenza that also whispered with chime-like runs.

The short-ish central adagio could have been just a bit more languid, offering more of a contrast to the outer two movements. Osorio's prodigious technique allowed him to float the piano's gorgeous central theme over the gently pulsing strings. The orchestra's winds and especially the horns contributed some fine solo and ensemble work in this tender intermezzo.

The launch into the dancing, folk melody laced finale threatened to resume the first movement's battle but this time everyone took a deep breath and drove the concerto to a brilliant but slightly heavy handed conclusion. Special mention here to Principal flute Michael Gordon's expressive (as always) solo.

Never a work that will inspire foot tapping and finger snapping, the Brahms 4^th Symphony works well when it does not over stay its welcome. The 4^th is the work most often cited as proof of Brahms' progressive nature with the unusual variation-finale, tightly controlled relationships between motives and exploration of remote key signatures. Stern recognized this as well as Brahms' indebtedness to Beethoven in a well detailed performance that also pulsed with Beethoven-esque power. Some fans may have wished for more warmth and autumnal glow from the work, but for me, a brisk reading that also manages to catch the overall architecture of the work is the most satisfying and impressive.

The first movement began a little shaky and the horns were a touch off center in some of their exposed passages but all progressed to the grand climax of this majestic movement. Stern's attention to detail and the fine playing of the strings and winds allowed us to clearly hear how Brahms takes the little motive at the beginning and uses it to create an expansive sonata movement.

The 4^th is overall a tragic symphony and no where is that more apparent in the slow movement. Here, oddly enough, Stern backed the drama off a bit, bringing out the mood of resignation and reflection instead of doom and catastrophe. The opening horn call was spot on, where some of their other entrances were not this evening. The always fine winds shown brilliantly as well as did the rich strings when called upon.

Stern avoided the tendency in some performances to turn the scherzo into a thumping romp, bringing to mind Sir Thomas Beecham's comment about Beethoven's 7^th Symphony: "What can you do with it? It's like a lot of yaks jumping about." Stern's reading was bereft of all traces of yak, but had just enough rustic character to liven things up a bit.

The finale, an orchestral passacaglia, was grand, imposing and yes dramatic while at the same time energetic. Stern negotiated the ebb and flow of the many tempo fluctuations in this complex and unusual movement, while milking the climaxes for their power and relationship to the music in general.

Many more wonderful concerts coming up this season including free chamber concerts, a Thursday series and an organ series. At a time when many orchestras are floundering and mired in financial crisis, we are truly privileged to have our Kansas City Symphony to enjoy. See you at Helzberg Hall soon!

Must Hear Music in Kansas City, 2012-2013 Edition

The marquees, ads, banners, and such will be trumpeting major works that the Kansas City Symphony will be featuring this coming season; the second in the literally world renowned Helzberg Hall. Mahler 6^th, Beethoven Eroica, Carmina Burana and Schubert 9^th will be featured, for example. But tucked in among these incredible jewels are some lesser known gems that a serious concert goer should not miss. Here are two, with more to follow.

Berg Violin Concerto “To the Memory of an Angel” (1935)

May 31-June 2 2013 Gil Shaham Violin, Michael Stern Conducting.

If any work can convince a skeptic that the twelve-tone school of composers did not always write “ugly music” it would be this exquisite concerto from 1935. A touching and glowing instrumental requiem for Manon Gropius, daughter of Architect Walter Gropius and Mahler's widow Alma, the Violin Concerto has emerged as Alban Berg's most popular work. It was also his last completed work.

In contrast to the craggy but colorful Schoenberg and the minimalist Webern, Berg carefully chose the notes of his tone row; teeters on the edge of tonality. He also incorporated fragments from an Austrian folk song and a Bach chorale that springs almost naturally from his chosen sequence of tone.

Berg conceived his Concerto in two movements, each then subdivided into two parts. The opening Andante presents the twelve-tone row on which the concerto is based, immediately establishing a tonal and contemplative mood. The more animated second half, marked Allegretto, serves as a scherzo with two trios and was described by the composer as a portrait of Manon Gropius. In this section, we hear music associated with the vivacious young actress including folk dances, waltzes, and even a section that is to be played “Wienerisch” or Viennese. With the entrance of the folk song, the movement quickly becomes bitter and colder; death is approaching.

From this nostalgic and wistful movement, we plunge into the more dramatic and funereal second. The allegro first section, which the composer designated “Catastrophe,” serves as the concerto's dramatic cadenza, building to the work’s climax. After the shattering climax, the work relaxes in a mood of resignation. Berg quotes a Bach chorale “Es ist genug,” (It is Enough) from his cantata O Ewigkeit, du Donnerwort ( Eternity, you thundering word), a cantata of farewell and acceptance of death.

The conclusion, marked “Deliverance,” develops the chorale theme into a rhapsodic “Requiem for Manon”. Themes from earlier sections are quoted, reflecting times past. Few other twelve-tone works have a section such as the final measures of the concerto, which quietly radiates bittersweet resignation.

As a bonus, Maestro Stern has selected American composer Carl Ruggles’ brief yet haunting and “Angels” for muted brass to open the evening. This strange, ephemeral work blends brilliantly with the mood and tone of the Berg. A fine piece of programming.

Mahler "Blumine"  (1889)

May 17-19, 2013, Asher Fisch Conducting.

Mahler’s first symphonic essay took a circuitous route in both form and content before emerging as the familiar and popular Symphony # 1 in D major.“Blumine” 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 form. This performance was not well received so Mahler made some extensive revisions for a second performance in Hamburg in 1893. Now entitled “Titan, a Tone Poem in Symphonic Form”, the movement gained the title “Blumine” (Flowers) and remained as the second movement.

Only a couple of performances were given of this version before a  fouth 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 If one enjoys the lovely Adagietto of the 5^th Symphony, the short interlude will also come as a quiet, simple respite among the otherwise emotionally charged atmosphere of the symphony. I do agree with de La Grange that it is a bit like Mendelssohn scored it with a decidedly late century palate. However. it looks forward to Mahler’s grander creations such as the aforementioned 5^th and the 3rd’s posthorn serenade.

Several fine recordings of the Symphony with Blumine are available, most including Blumine as an appendix, notably Zinman/Zurich Tonhalle on RCA and Neeme Jarvi/Royal Scottish Orchestra on Chandos. Haydn House, an LP to CD reissue source, has the original Frank Brieff/New Haven recording, for the most curious.

Kansas City Symphony Season Finale: Pärt, Hovhaness & "The Ninth"

Undoubtedly Beethoven's evergreen Symphony # 9 in D minor is a fitting choice to conclude a festive season of Kansas City Symphony concerts. Symphonic music in Kansas City has enjoyed a veritable seismic shift with the new hall and excellent musicianship from the orchestra and chorus, much as the music world experienced in 1824 when Beethoven himself premiered his new work. The unprecedented inclusion of soloists and chorus, the monumental length and a scherzo fully removed from its minuet forebears paved the way for symphonies by Berlioz, Bruckner, Saint-Saëns (the Organ Symphony heard just last week), Mahler and beyond that little resembled those of Haydn or Mozart.

At about an hour, the Beethoven 9^th is not quite long enough for a full evening but long enough that a traditional opening half of an overture and a concerto would be a bit too much. Thus choosing the accompanying works can be as challenging as the music itself. I admit that when I first heard that Maestro Stern had selected the Hovhaness Symphony # 2 (Mysterious Mountain) I blurted out a quite positive reaction that can not be published here due to some “adult” language. Let's just say “Brilliant” was part of the phrase.

The Hovhaness work, written in 1955 for Leopold Stokowski, serves as a perfect prelude to the affirming Beethoven not because of any reference to “mountains”, the whole concept of the unscaleable, monumental or even mountain-top expression of joy. Hovhaness, in several interviews, admitted the title was given to the work after its completion at the suggestion of Stokowski, thus there is really little overtly “mountain” about it. Why it works, and why it worked so effectively in last night's concert, is that its meditative beauty and sweetness is a musical expression of the joy of serenity, something that is lacking in our time and an essential foil to the more overtly visceral joy of Beethoven's symphony.

The addition of Pärt's “Fratres” as the first work on the program served as a sort of bookend to the whole evening. A simple, chant-like call to prayer and meditation on brotherhood emerges from an elemental, deep drone and primitive wood and skin percussion, the very primal spark that leads humankind to the mighty acclamation of “Freude, schöner Götterfunken” that sends the 9^th to its victorious close.

Both Fratres and Mysterious Mountain seem easy and repetitive at first hearing, but neither work is a walk in the park for an orchestra. Taken too fast, they lose their serenity, too slow they become sheer boredom. If the conductor or orchestra loses concentration, they are a sticky goo.

Fratres received the most leisurely performance of the evening, Stern and the orchestra made the most of the undulating strings' slowly shifting progression, punctuated by the dry and brittle percussion. The simple, elegant work belies the complex, almost mathematical relationships between the chords and their progression, the first spark of science and logic that really can go hand in hand along with brotherhood and human spirituality.

Stern's “Mysterious Mountain” bordered on the fast side but his attention to detail and to color won the day. The quick tempo and attention to rhythm served the exciting double fugue center section well (listen to Hovhaness' Prelude and Quadruple Fugue for an equally fascinating exploration of the fugal form). The important brass, harp and celesta parts added their unique timbre and color to the string dominated piece. Stern's compelling performance and his straight from the heart short talk before the work served to inspire and enlighten the audience, many of whom I would imagine were hearing Hovhaness for the first time. For this long time Hovhaness fan (I admit to my guilty pleasure), the sight of the audience standing to applaud the work and the performance was worth the whole evening.

Almost, if not totally, deaf by the time it was premiered, Beethoven's Symphony # 9 really is one of humankind's greatest achievements. Schiller's poem "Ode an die Freude" is far from the deepest, most profound writing. Yet Beethoven, in his genius, wrapped it around some of the most sublime and memorable music ever penned and thus created what has to be humankind's national anthem.

Stern and his forces brought out the anger and fire in the often mysterious and stormy first movement, establishing from the start that this was going to be muscular, exciting Beethoven and not stonily monumental, which is fine by me.

Beethoven's fiery scherzo forever kicked the proper and polite minuet to the curb with its pounding tympani and jagged rhythms. And how many of us children of the 60's remember this was the closing theme of the Huntley-Brinkley nightly news? Stern again took the movement at a fair, but not rushed clip. The famous tympani blows were crisp, powerful, clean and well integrated; sometimes they can sound like an unwanted intrusion when too aggressively played. The strings dug into the dancing, angular rhythms with gusto and clarity.

Stern's quick tempi could have been tempered a bit for the flowing and sublime slow movement. But the crystal clear acoustics and Stern's trademark attention to detail brought out all the wonderful inner voices of this prayerful movement.

The orchestra launched headlong into the finale, storming the heavens with the best of them. The soloists, Erin Wall, Soprano; Sasha Cooke, Mezzo; Thomas Cooley, Tenor and Robert Pomakov Baritone were generally superb in the thankless and taxing solo parts. Pomakov seemed to run out of air in the opening O Freunde, nicht diese Töne... and Cooley was overwhelmed by the choir at the end of the Janissary music section, but otherwise they tackled the formidable parts with ease and superb musicianship. The large chorus threatened a couple of times to overwhelm all but were always clear, disciplined, in tune and precise, a real joy to hear. The massed “Seid umschlungen...” was breathtaking. Stern resisted the tendency to drive the concluding orchestral tutti home in a frenetic rush yet made an emphatic and dramatic statement nonetheless.

Thus, all assembled were treated to a journey from the primal awakening of Fratres through the meditation on mountains and ascension to the life-affirming “Seid umschlungen Millionen! Diesen Kuss der ganzen Welt!” A thought provoking program, well executed.

The Muse willing, see you next season.

Kansas City Symphony: Saint-Saëns and Brahms

A full program and a festival atmosphere was at hand this weekend with the Kansas City Symphony, Michael Stern Music Director and conductor. After much preparation and a couple of solo work outs, the newly installed Casavant op 3875 pipe organ was ready for its debut with the orchestra. Paul Jacobs, probably the country's premier organist (had to chuckle when I heard a lady down the row from me wonder if Jacobs is as good as E. Power Biggs was... at least she did not say Virgil Fox), had the honor of introducing the organ to the subscription series in the juicy and deservedly popular Saint-Saëns Symphony # 3 “Organ”. Also on hand was super-star violinist Joshua Bell as soloist in the Brahms Violin Concerto in D. Beginning the extensive program was the world premiere of Stephen Hartke's “Muse of the Missouri”.

Hartke's “Muse of the Missouri”so named after the fountain on Main between 8^th and 9^th Streets, was the third and final installment of works commissioned to commemorate the opening season of the Kauffman Center for the Performing Arts. All three, Chen Yi's “Fountains of KC” and Daniel Kellogg's “Water Music” took their inspiration from the many fountains that grace Kansas City. Of the three compositions, Hartke's was for me the least successful. As with Respighi's famous fountains, the work seeks to musically depict not only the fountain but the surrounding landscape. Although complete with flowing passages evoking the relentless flow of the fountain and the Missouri River, a jazzy interlude and metropolitan hustle and bustle, “The Muse of the Missouri” was even more generically contemporary than Kellogg's piece. Hartke's use of a banjo could have been almost stereotypically “down home country” and thus condescending, but he used to instrument deftly and coloristically to great effect, much as Mahler did with the guitar and mandolin in the 7^th symphony.

Yes, it is time for me to say something nice about Brahms. For a performance of Brahms to be enjoyable, the musicians should take the old granny out of her rocker and give her a nice romp through the park. Stern and soloist Joshua Bell did just that in the Violin Concerto in D op. 77 which filled out the first half of this weekend's program.

What can kill a performance of this huge work is a too long and lazy first movement that makes the other two seem like trifling encores. Bell's perfect intonation and incredible technique combined with Stern's swift (but really not rushed) tempi and attention to the contrasting lyrical and rhythmic episodes really moved the work along allowing the music to sing and flow effortlessly. The imposing first-movement cadenza, in this case composed by Bell, was to my ears a bit jarring and too over-the-top, no matter how technically brilliant it was. This was, for sure, gutsy and visceral Brahms, full of exquisitely executed double-stops, and glorious gypsy dance rhythms in the finale well contrasted with a full but never overwrought central slow movement. The latter mentioned movement opened with a beautifully limpid oboe solo setting the stage for Bell's freely expressive performance. As heard in the intermission chatter, some patrons felt Bell “sawed” his way through the Brahms and was “rough and too fast”. For traditionalists, perhaps that is so. But to my ears, Bell brought the old gal to life. Bell's encore, a set of variations on “Yankee Doodle” were simply super-human. The crystal clear sul ponticello passages were simply indescribable.

And then a second half that was a blockbuster in and of itself.

To fully appreciate not only its power but also its subtlety, the Saint-Saëns Organ Symphony must be heard by a fine pipe organ in a grand hall. Recordings, as many celebrated and “demonstration quality” (we used to call them “lease busters”) as there are, do not capture the essence of Saint-Saëns' sound palate. Instead of a recording's impenetrable sonic wall, in a concert hall one can hear the subtle tension of the organ chords in the 2^nd part, not just underpinning the orchestra but how they actually are an integral and never overwhelming part of the fabric. At the same time, a listener can fully experience how the organ and orchestra chords meld and progress into the same movement's stately chorale. Same with the grand final movement, the organ is not just a jarring intruder, but again an integrated part of the whole grand scheme.

I also find it amusing that recordings of this work almost always feature a star performer in what is not all that flashy a part. Of the four movements, or sections actually, the organ appears in only two. So as to make amends and for us to fully experience Mr. Jacob's artistry, the second half began with a solo performance of the Elgar Pomp and Circumstance Military March # 1 in D, known to graduates everywhere. Jacob gave the Casavant a fine workout in most rousing and pleasing performance of this chestnut.

Sadly, many performances drag the first section to almost a stand still, but Stern chose a stately yet gently propulsive tempo that let us luxuriate in the strings radiance just long enough. The scherzo section requires some rhythmic crispness from the strings and winds to make its proper effect and Stern and the symphony did just that. When the organ appears in the slow 2^nd section, Casavant Frères opus 3875 is roundly voluptuous and sweet but never sticky. In the final section, she wakes up the audience with her glorious, commanding voice. The vast forces combined in a finely paced movement thankfully devoid of the tendency to rush the final chords and tympani cadenza in a frenzy of un-coordinated sound and fury. A fitting introduction of this magnificent organ into the symphony's subscription programs. Now, Maestro, give us a redo of the Berlioz “Te Deum” with a real organ.

KC Symphony: Bronfman, Bartok, Kellogg and Mozart

Pianism of the first degree is always on display when Yefim Bronfman comes to town. This concert was no exception as this titan of the piano tackled one of the most complex concerti in all of piano literature, the Bartok Concerto # 2. Michael Stern led the Kansas City Symphony in this work as well as the world premiere of Daniel Kellogg's “Water Music” and the Mozart Symphony # 41.

Written in 1930-1931, the second explores Bartok's fascination with the piano as percussion instrument while celebrating the folk music of his native Hungary. While some may think the first movement (where the piano is mostly accompanied by winds and percussion) is simply a raucous, pounding romp, Stern and Bronfman made sure we heard not just the rhythms of a wild folk dance but also the occasional lyrical Hungarian folk voices hidden beneath all the violent action. The all important orchestral brass and winds were at their best, only a couple of times getting close to overwhelming the piano with their accumulated power.

Bronfman and all were perfectly in sync and quite affecting in the haunted, oriental tinged slow movement, bringing out the lyrical and melodic interplay in this somewhat rhapsodic movement. Lesser focused performances let the music wander, but Stern and Bronfman kept this movement flowing yet in control.

The last movement is another driving, surging folk dance. As in the similarly percussive first movement, Bronfman never slipped into relentless pounding but dazzled with his almost effortless command of this jagged, cluster filled dance. The main reason this performance worked so well overall was due to the pianist and the symphony emphasizing, but not dawdling over, the more lyrical and relaxed passages in the outer movements, giving the work an ebb and flow that many lack.

The concert began with the world premiere performances of Daniel Kellogg's “Water Music” the second of three works commissioned by the Symphony to celebrate the opening of the Kauffman Center and the fountains of Kansas City.

Kellogg took his inspiration from three of our fountains and crafted a colorful three movement work for large orchestra.; The JC Nichols Fountain is portrayed in “Battling Torrents”, the downtown “Muse of the Missouri” inspired the quieter, slow central movement and the finale “Cascades” captures the Henry Bloch fountain at Union Station. For the uninitiated, Kansas City supposedly has more fountains than anywhere else but Rome.

The audience seemed to enjoy the work, as did my concert compatriot Gerry, who usually hates anything written past 1900. I tended to a different view. Although colorfully orchestrated, “Water Music” was thin on melodic ideas and structure, relying on the color to hold it all together. The sea creatures, bears and horses in “Battling Torrents” romp and play for sure, but in a generic 20-21^st century accessible music form that could have depicted any action.

“The Muse of the Missouri” is described by the composer as “a contemplation of the passage of water through the passage of time”. I guess the slow, undulating music did just that. But as that activity can be a bit tedious, so went this slightly over long movement.

“Cascades” was frankly similar to the first movement, but best captured its fountain in music. The vibrant movement danced and played almost stopping (as the fountain does) and then erupting in watery dance.

The orchestra did a fine job with this likely difficult and unfamiliar music; the lavish percussion and augmented winds were outstanding as usual. But Respighi did it all so much better and memorably (with a different set of fountains of course) as did Chen Yi in her “Fountains of KC” that began the season.

The early Classical era orchestra of the Mozart “Jupiter” looked almost forlorn and overwhelmed by the stage after the big orchestras of the Kellogg and Bartok. But genius as he was, Mozart used these more limited forces to create one of the truly great icons of music. Stern and the small orchestra presented an elegant yet never fussy reading of this grand symphony. This was “old school” Mozart, symphonic and powerful when needed yet sweetly refined when called for. A perfect foil for the more clangorous music that comprised the first half.

Nixon had to go to China

The most awaited Lyric Opera of Kansas City production in years brought John Adams' once bound for neglect but now classic "Nixon in China" to the new stage at the Kauffman Theatre this week. Importing a production (and most if not all the production staff) from Vancouver (Vancouver Opera's Geral Director James Wright started his opera career at the Lyric) the technology rich production was frankly a musical and visual thrill from first note to last; 3 hours flew by. I regret not taking advantage of seeing it a second time.

Adams' music pulsed, swung, rocked and gently rolled under the masterful hand of Lyric Opera Music Director Ward Holmquist, who had a hand as vocal coach and assistant conductor in the world premiere in 1987. Alice Goodman's libretto is a masterpiece of symbolism and oblique references combined with just as many in-your-face moments. The sets were a show unto themselves, with projections of "The Spirit of 76" banking over a cloudy Peking and swooping over the stage to land on the runway. As Pat Nixon visited a pig farm, a health center, a school and park, videos were projected onto the placard signs the entourage was carrying. A visual of the Forbidden City reflecting the White House as Mao and Nixon was the talk of intermission, some thought it was showing the Communists were superior and the White House was upside down and inferior. Sigh....

James Maddalena, who created this role in the world premiere and has done it at least a hundred times, is perfect as Nixon, a visionary yet deeply flawed leader. Maria Kanyova who has performed Pat Nixon in Canadian Opera productions, was in fine voice and so perfectly projected the overwhelmed Pat as she struggled to figure out this strange land. Richard Paul Fink was a great Kissinger, a somewhat thankless role  since he is portrayed as somewhat of a farce and a buffoon, symbolizing all that is evil on the capitalist side.

Absolutely beyond reproach was Audrey Luna as Chiang Ch'ing aka Madame Mao. She was the epitome of steely evil, bringing the house down with her vocally incredible coloratura aria "I am the wife of Mao Tse-Tung." The whole second act, with the surreal ballet "Red Detachment of Women" morphing into a metaphor of the Cultural Revolution, was superbly staged and danced. Luna, and the rest of the principals were also fine in the  generally quiet, reflective 3rd act, punctuated by the screamingly surreal dancing of the Maos and Nixons (the music Adams later used for his popular concert piece "The Chairman Dances"). "Let's show these mother fuckers how to dance!" screams Madame Mao as she gyrates and fox trots with Mao as young revolutionaries.

My utter frustration was with many who saw these performances and totally missed the whole idea. A grumpy neighbor of mine who is an opera buff literally spit invective at it, saying an opera that uses microphones for the orchestra and singers is not opera but Broadway at its worst. Some one else I know cautioned all who considered going that they were going to lose time they could never regain by watching this trashy crap. She also whined that the vaunted acoustics of the Kauffman Theatre were a joke.." I could not hear a thing".. BS. I hear that a lot from people, who expect more than what any concert hall can provide. They seem to think they should be able to hear the stage hand's change jingle in his pocket from the farthest seat in the balcony over a full orchestra and cast. Adams' score is thick, the orchestra and voices amplified to gain a modern, steely, television effect and Goodman's libretto often poetic and metaphorical. NO ONE could understand every word. I, with a bum ear, heard it all quite clear thank you.

Nixon in China works when you let the music and the visuals wash over you and realize that the whole historical  event was played out by some brave but inherently commonplace and flawed figures; an ambitious President focused on his image, an aging almost senile revolutionary leader, a cruel, power hungry woman taking advantage of her position, despised by all, a naive First Lady, along for the ride and a pragmatic Zhou  En-lai who is tired as well, and fearing for his country's future.

It deserves its place as a modern classic.

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.