Fan Day at Chicago the Musical

I saw Chicago at the Shubert Theatre the weekend I moved to New York City in June, 2002.  I was with my college roommate Robin, who drove with me from San Antonio to Manhattan.  She wanted to see A Little Shop of Horrors, but I turned up my nose at that (wrongfully, because I later saw it and had a great time).   She liked George Hamilton and he was in as "Billy Flynn" so we settled on that and bought our tickets from TKTS.    I always meant to go back to see it.

I finally got the chance yesterday when Chicago showed its appreciation for its fans by hosting an all comped show - all of the tickets were distributed via their Facebook fan page.  I missed the opportunity to nab one of the comp tickets, which were given out using the "like" button.  However, my friend SteveonBroadway earned one of the tickets...although unfortunately for him he was unable to use it and handed it off to very lucky me.  

The current revival of Chicago turns 15 in March.  It's no wonder that it's still going strong. The cast is amazing and the energy is infectious.  I was reminded of how much I enjoy this show and how much I love the Kander and Ebb score.   The current leads are  Leigh Zimmerman as "Velma Kelly," Biana Marroquin as "Roxie Hart," Robert Creighton as "Amos Hart," LaVon Fisher-Wilson as "Matron 'Mama' Morton," and Colman Domingo as "Billy Flynn."   It was all brilliantly danced and performed.  I especially enjoyed the very spunky Bianca Marroquin, who comes with a big voice in a tiny package (I saw her as Daniela in In the Heights - I remember thinking at the time that she was fabulous but I had to look twice to believe she wasn't Andrea Burns).  

The energy in the house was high - there were a lot of "super fans" in the house.  The orchestra section was packed with super fans, invited guests and press.  The mezzanine was less packed, but just as excited.    I saw alumnus Karen Ziemba and Ute Lemper, and heard that Chita Rivera ("Velma" in the original production) and Lillias White were in the house.

Seth Rudetsky and Julie James of the Broadway channel on XM/Sirius Radio hosted a pre-show drawing and trivia game for prizes.  We were all given t-shirts and bowler hats and were asked to stay at the end for a "family" picture by producer Barry Weissler.  It was a very fun afternoon and I know that I won't be able to stay away from Chicago for another 8 and 1/2 years.

Simon Boccanegra at the Metropolitan Opera

I first saw Dmitri Hvorostovksy in the title role of Verdi's Simon Boccanegra in Paris at Opera Bastille in 2007.   I remember loving it.   Maybe it was just me.  Maybe it was Paris. 

Because last Monday at the Metropolitan Opera, it was anything but love when Dmitri was once again in the title role.   Don't get me wrong: I love Dmitri.   Besides the obvious fact that he's easy on the eyes, his baritone voice is sumptuous and spine-tingling.   However, the production was dull and felt like it moved at a snail's pace, even though it was only about three hours long, including a lengthy intermission and brief pauses for scene changes.  

The period costumes and sets were beautiful, the music was beautiful and the singing was beautiful but none of it collectively did the trick for me.  I was bored and thought it would never end.  

Karita Mattila at the New York Philharmonic

On Friday night, January 28th, Noah and I attended the New York Philharmonic concert featuring Karita Mattila.

The Phil played Beethoven's Symphony No. 8 in F major, Op. 93.  What a joyous piece of music!  Maestro Alan Gilbert conducted by memory.   We were seated on second row, far right, so we were able to watch his face when he turned.  It was exciting to see his expressions.

Karita Mattila joined for Beethoven's concert aria "Ah! perfido," Recitative and Ara, Op. 65.  She looked dazzling in sleeveless hot pink and was dripping with diamonds (see picture here by Hiroyuki Ito for the New York Times).  Although not my favorite, it was sung with beauty and gusto.  It's a moody piece - Noah and I discussed that it was similar to Erwartung in a dramatic sense, although to my ears it never reaches the same frightening heights as the Schoenberg.  (I would love to hear Karita tackle that piece - she has one of the largest and most passionate voices and would no doubt triumph).    

In the second half of the program, Karita entered wearing a black gown adorned with a diamond floral brooch and a silver shall.   She sang Jean Sibelius "Three Songs" in Swedish.  Karita has an interest in his music specifically because they are both Finnish.   I loved these songs - "Autumn Evening," text by Viktor Rydberg, and "Arioso" and "Spring is Flying," both with text by Johan Ludvig Runeberg,(Sibelius' favorite poet according to the playbill notes).   Karita recorded these on an all Sibelius cd in 1995.      The natural imagery is evocative and again, Karita sang them passionately. 

As the philharmonic was playing the last bars of the first song "Autumn Evening," in pianissimi, a cell phone went off.   Maetstro looked over his left shoulder more than once then back at Karita - they seemed to share a moment of frustration and anger.  It was priceless to see that, but once again I felt just as enfuriated - how is it that people forget that they have a cell phone?    Fortunately, it didn't ruin the performance. 

The final piece of the philharmonic was Nielsen's Symphony No. 2, De fire temperamenter, Op. 16.  It was nice, but felt long with four movements.  I like sitting at the back for orchestra concerts so I can see the entire orchestra, especially the brass and percussion sections.  But it was interesting sitting here for a change, watching the violinists at work. 

Pipes of Christmas

One of the final performances I attended in 2010, and of my favorites of the year, was the Pipes of Christmas. 

I happened to notice light pole banners on Central Park South advertising the event.  Since it was something I had not experienced and since I would not be attending Christmas services with my family in Texas, I decided to take in the show.

I'm not a great lover of commercial Christmas music, but I do love sacred music and I'm interested in Celtic music.   This was a combination of all at the Madison Avenue Presbyterian Church.

The beautiful church was filled with patrons of all ages, many of whom seemed to know each other and even more impressive and festive, were decked out in gorgeous Scottish kilts and clan tartan.  The Pipes of Christmas event was produced by Clan Currie Society to both celebrate the season and raise money for its music scholarship.

The traditional Celtic, Christmas and sacred repertoire was performed by Jeffrey H. Richard on pipe organ, the ensemble Solid Brass, country dance trio Local Hero, Celtic harpist Jennifer Port, and the Kevin Ray Blandford Memorial Pipe Band.  Two gentlemen visting from Scotland, Mr. Evan Thomson Cattanach and Mr. Andrew Weir, lent their thick brogues to readings, both of Scottish poetry and scripture.  It was a beautiful afternoon of uplifting music celebrating the Christmas story. 

Emotional tributes were also made.  The Scottish Great Highlands Bagpipe was originally a part of military regiment.  Therefore, the afternoon was dedicated to the late Private Bill Millin, the D-Day bagpiper who piped during the Normandy Beach Invation on June 6, 1944.  Two gentleman in attendance were asked to stand to be recognized for their own service during World War II.  Additionally, any person who had served in the military at any time was asked to stand and be recognized.  It was  inspirational to look around the church and see so many standing.

The afternoon's music included Highland Cathedral, Joy to the World, Bha Buachaillean an Duthaich Shear, I Wonder as I Wander, Medieval Fanfare, In the Bleak Mid Winter, Oidhche Shamhach (Silent Night) among others.  For the finale, all of the ensembles joined together to play a rousing "Scotland the Brave." 

It was great fun to celebrate in Celtic style, especially since I have a few drops of Irish and Scottish blood in me.  I have signed up to be notified of the 2011 concert, which will be the 13th annual production by the Clan Currie.

When you listen to this, don't forget to breathe

From Quebec, January 5, 2011, Renée Fleming sings Marietta's Lied by Korngold, accompanied by pianist Hartmut Holl.

Renée Fleming - Champagne for the Ear

I've heard Renée Fleming sing recital twice in less four days.   My ears are still tingling from the sheer pleasure of hearing the beauty of her voice and I am still practically giddy.During and after each of the recitals - first in the Concert Hall at the Kennedy Center on Saturday, January 8th and last night, January 11th, at Carnegie Hall, I felt as though I was drinking a fine glass of champagne.   It just doesn't get better than Renée in recital.     OperaZone described the evening at Carnegie Hall perfectly: "Champagne for the Ear."  

The two programs were similar, each satisfying in their own way.  At the Kennedy Center, we heard a more folksy, instructive Diva - with aid of a microphone, she explained the significance of the composers she chose and introduced the song cycles.  She included Zemlinsky, Korgold, Mehlau and R. Strauss.  She acknowledged students sitting behind the stage in Chorister seats.  She added the too well known, crowd pleasing aria O Mio Babbino Caro.  It was a gorgeous set of songs, although looser in presentation. 

In New York, she was more austere in her presentation.  She added commentary only at the end when she told the audience, sans microphone, "I didn't think anybody would come," taking note of the snow storm beginning outside.  She added Shoenberg's Jane Grey to the same set program as the Kennedy Center.  

I enjoyed each of the song cycles even more at Carnegie, partly because I could read along with the text which was impossible in the too dimly lit Concert Hall at the Kennedy Center.  The first half  of each recital was Schoenberg, Zemlinsky and Korngold. 

I enjoyed the Jane Grey.  My only other exposure to Schoenberg has been with Erwartung which is fierce and frightening and best served by a dramatic soprano.  The Jane Grey, while it has some frightening moments due to the fact that Lady Jane is facing the executioner, is gentler and sadder.

The Zemlinsky Funf Lieder, songs Zemlinsky wrote with the text of Richard Dehmel, after his lover left him, were dark, mournful and almost resentful.   The final song in the cycle, Auf See, is the most gorgeous even if very sad.

The Korngold songs Sterbelied, Das Heldengrab am Pruth and Was du mir bist? are breathtaking. On the final Was du mir bist? (What are you to me? text by Eleonore van der Straaten) gave me chills and was particularly thrilling. This was finally a moment in the auditorium when nobody seemed to breath as Renée sang. Each lovely note she sang seemed sent from Heaven.

The second half of each recital consisted of songs by Brad Mehldau and R. Strauss.

The R. Strauss were impossibly beautiful. Renée always says that R. Strauss is her "desert island composer." To me, we both win on this one - it's perfect for her voice (as if he knew he was writing for her in the future) and the songs reach through to my soul. I could listen to her sing R. Strauss forever. These particular songs are new to her - Winterweihe, Winterliebe, Traum durch die Dammerrung and Gesang der Apollopriesterin. In the last, you can hear elements of both Daphne and Der Rosenkavalier.  My favorite of these was the Traum durch die Dammerrung (text by Otto Julius Bierbaum).

I was happy to hear the Mehldau again.   The first time I ever met Renée backstage (and met Kari, Khaleem, Kristen, and Wanda for the first time in person) was at Zankel Hall when she did a recital with Brad Mehldau of their cd Love Sublime.  At the time, I was a little jarred by the dissonant sound that offered little melody.  Over the years, I've matured in my listening and have come to appreciate song cycles for their text and the emotion they convey.   This song cycle is The Books of Hours: Love Poems to God with text by Rainer Maria Rilke.  My favorite is VII, both for the text and because of  
Renée's conveyance. 

What I love about Renée's recitals is that she seems to feel, or at least, convey every emotion of the text of each song.   Arias are always thrilling, but songs and song cycles tell a story.  They are a poetry reading set to music.  Some singers just sing, but with Renée it's personal and for each person. 

At Carnegie, she scrapped O Mio Babbino Caro (which is fine as it is probably better suited for the provinces) and did Korngold's Marietta's Lied, R. Strauss' Zueignung, Sondheim and Bernstein's I Feel Pretty and finally R. Strauss' Morgen.  If the whole evening had only consisted of the Marietta's Lied and the Morgen, it would have been enough.  As it was, they added to the already sparkling evening.

While the I Feel Pretty is frivolous, it never the less is a bright moment in a serious evening - and she is pretty and she should feel that way.  At both Kennedy Center and Carnegie Hall, her gowns were by Reem Acra - champagne and sparkles for the first act paired with a cherry red for the second at the Kennedy Center; the same champagne and sparkles for Carnegie Hall paired with a a steel grey and sparkles for the second act.   All three gowns were breathtakingly beautiful as was she in them, especially as adorned with Tamzen Z jewels.   I love that she wears Tamzen Z, since they are by Tamzen Anne Ziff, who is also the Chairwoman of the Board of the Metropolitan Opera and its largest single donor.

In Carnegie Hall, her golden voice floated in shimmers to the balcony.   The audience was receptive and enthusiastic, even clapping in unison like the French at one point when clamoring for more encores.   It had been around five years since we heard her in recital at Carnegie - hers was the first recital I ever attended.  I hope we don't have to wait so long again until we are privy to such a treat. 



At the Kennedy Center





In the Concert HAll at the Kennedy Center



Carnegie Hall





1st 1/2 Bows - Carnegie Hall




Final Bow at Carnegie Hall



Kiss me, Bobby!

Sally, Kari and I stood in line at the Opera Shop at the Metropolitan Opera yesterday in order to meet tenor Roberto Alagna.  I was first of the three of us and when I approached the table, he stood up and kissed me on both cheeks!  I'm never going to wash my face again. 



Today: Candide at the Shakespeare Theatre Company in Washington, D.C.

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