Bourbon Baroque’s Dido and Aeneas

Bourbon Baroque

Louisville’s period instrument ensemble Bourbon Baroque will be presenting Henry Purcell’s Dido and Aeneas at the Kentucky Center’s Bomhard Theater on Saturday, March 14 at 8:00pm.

Co-artistic directors of Bourbon Baroque, Austin Clark and Nicolas Fortin sat down with Daniel Gilliam to discuss their upcoming production.

How this production of Dido and Aeneas is different from the rest

“This production of Dido and Aeneas is the quintessential example of what our mission is for Bourbon Baroque. We have gathered together a group of a variety of disciplines to create a visual concept for this production that includes contemporary dance, pantomime actors on mask, as well as of course the orchestra, the chorus, and minimalist costume and scenic design.”

How Bourbon Baroque puts on an opera without being an opera company

“I am a big fan of surrounding yourself with smarter people. I think it makes it so that you don’t feel like you have everything on your shoulders. Obviously with the opera form that is a whole contingency of collaboration…. Through my own personal musical work and musical theater direction, I have met many people in the theater community and through those projects and introductions I have formulated this wonderful Baroque dream team, a local group that is going to help us make this happen.”

On Purcell’s Dido and Aeneas

“It is based on the Aeneid by Virgil and retells the story of the sad and unfortunate fate of Dido getting betrayed by her lover Aeneas… It’s beautiful music, very intricate fast paced one hour opera with dance music. The characters are making the story in front our eyes, but always with short and compelling interjections of 24 piece chorus in our production.”

On working with the Youth Performing Arts School

“This program is great for us because the YPAS students are able to dedicate the time needed to make the music really speak. When I’m coaching young musicians, particularly singers, I’m like, well it’s one thing to learn the notes but it’s quite another to then add on that extra layer, all the gestures and the Baroque styling, which I am often equating to musical theater. Musical theater has their own little bitty ways of doing things and if you can understand that then you can understand that the Baroque music has it’s own toolbox of vocal techniques that makes things really sell.”

On the short orchestral suite to begin the evening

“There is a short 20 minuet orchestral suite that we’ve actually performed a handful of times before. It’a a piece that we really hold true to what we do with Bourbon Baroque and that’s of course the central component of collaboration. We are performing Georg Philipp Telemann’s La Putain.”

You can purchase your tickets to see Bourbon Baroque’s Dido and Aeneas here.

Review: Louisville Orchestra Offers Discovery in the Old and New

Abrams-Photo-by-Sam-English

Teddy Abrams continues to show that orchestra concerts don’t have to be formulaic, and that discovery manifest in different ways. This past Friday and Saturday evening, we discovered, for example, that a conductor doesn’t have to wear a tuxedo or black socks. We discovered that hearing a 5-7 minute harpsichord improvisation could be interesting and fun, if not a little too long. We discovered the 2014 Grawemeyer winner. Ultimately no one was harmed by these discoveries, that I’m aware of, and we are all the better for them.

First of the evening were selections from Jean-Baptiste Lully’s Le Bourgeois gentilhomme (The Bourgeois Gentleman), a comédie-ballet from the early Baroque. Teddy Abrams led from the harpsichord (not as Lully would have done, but as most of his contemporaries would have) and the orchestra moved through the score like a jazz band reading through charts. It felt informal, welcoming, unpretentious and fun.

Lack of rehearsal, due to last week’s snow storms, meant no Ravel. It also might explain a handful of messy entrances in the Lully and Vivaldi. Just starting a piece can be the hardest and most nerve-racking part of leading an ensemble. Add the layer of conducting almost entirely from the harpsichord and things get messy sometimes; though messy isn’t necessarily bad.

A welcome addition to this Louisville Orchestra season is a recent Grawemeyer winner, the 2014 awarded On the Guarding of the Heart by Djuro Zivkovich, a Serbian composer living in Sweden. He describes the work as an “instrumental cantata,” paying homage to Bach. Zivkovich’s 20-minute score is an exploration of sound and timbre; the fourteen musicians are frequently required to play outside their traditional sounds, including singing along with their instrument. Overall, the work is a delicate layering of harmony, shifting imperceptibly, showing off an inner beauty.

Though Abrams explained before the piece that structure in this new work is important and clear, to a new listener form and musical architecture are largely inaudible. We are naturally drawn to phrases and ideas that return. Here Zivkovich gives some ideas too little time to settle, while others are afforded too much time, including several insurmountable piano drones. While the Brown Theater was a better venue than Whitney Hall for On the Guarding of the Heart, an even smaller, more resonant hall would have better suited Zivkovich’s (and Lully and Vivaldi’s) music.

For the second half, Teddy Abrams brought in four student violinists from his alma mater, The Curtis Institute of Music, through “Curtis on Tour,” a program that puts students in professional settings around the world.

Each violinist took on one of the Four Seasons by Antonio Vivaldi, a set of concertos written in 1720 and part of a set of 12 concertos (op. 8). The fact that “Spring” (and all the seasons) are ubiquitous is all the more incredible when you consider that Vivaldi was virtually unknown until the early Twentieth century. Despite their over abundance in playlists and “Best Of” compilations, these seasonal vignettes are inventive and imaginative. The two cheerful seasons, “Spring” and “Autumn,” are contrasted with the more tumultuous “Summer” and “Winter.”

Eunice Kim played a light and fluid “Spring,” delicately bouncing through the score, and smiling the entire time. Dayna Anderson drew on the earthiness of “Summer,” giving her bow a rustic growl here and there. The most flamboyant soloist was Luosha Fang, mostly interested in a dialogue with the orchestra and the audience, moving around the stage like an actor. The “iceman” Nikki Chooi was calculated — each gesture focused and transparent. Chooi found every timbre available in “Winter,” from dark and guttural to airy and shimmering.

The orchestra, playing no small part in these finely crafted concertos, was colorful and sensitive to the score: never plodding and always attuned to the nuance of Vivaldi’s music. Seeing the conductor equally involved in the playing of music changes our level of involvement. We are drawn in closer. The implied barrier between us and them is no longer present, and the music is about all of us.

Review: Louisville Orchestra with Guest Soloist Julian Schwarz

schwarz

For those weary of the cold and ice, the Brown Theater was a respite for shovel-worn backs on Saturday evening. Jorge Mester, very aware of the light crowd, was grateful for the “intrepid” audience and musicians in attendance. Perhaps as intrepid was his choice, and command, of three contrasting works: William Schuman’s New England Triptych, Dmitri Shostakovich’s Cello Concerto No. 1 and Edward Elgar’s Variations on an Original Theme “Enigma.”

Aaron Copland is largely credited for creating the “American” sound, much to the exclusion of his contemporaries like Roy Harris, Virgil Thomson and William Schuman. Saturday’s performance was a reminder of Schuman’s qualities as a craftsman and an artist, and that his New England Triptych is as perfectly American as Copland’s ballet scores or the ubiquitous Fanfare for the Common Man. Mester, who recorded some of Schuman’s music during the First Edition days of the orchestra, was at home in this score.

Schuman pays homage one to one of the earliest American composers in his New England Triptych, based on hymns of the revolutionary era composer (and tanner) William Billings. The jaunty first movement was finely articulate, bouncing through Schuman’s abrupt rhythmic shifts. The second movement felt ragged and out of sync, but was redeemed by a blistering third movement that earned a few hearty yelps from the crowd. It’s rare for the timpani to take the first bow after the maestro, but Jim Rago earned it with his sharp and commanding playing. His appreciation for the applause was gracious and nonchalant.

Guest soloist Julian Schwarz believes in an introspective approach to Shostakovich’s first cello concerto. It’s a work that can easily be raucous — Schwarz opted for the melancholic. This is still a work of immense power, and Schwarz’s playing was equally so, but Saturday’s performance was less about the soloist and more about the music. This inward approach worked, mostly. Its only weakness was felt in the first movement through an overly square tempo.

Principal horn Jon Gustely, the only brass instrument in the concerto, gets what amounts to a sub-concerto. Shostakovich was generous, giving the horn melodic lines similar the solo cello and, in some cases, just as prominent. Gustely’s color was warm and complementary to Schwarz, particularly in the gut-wrenching slow movement. The cadenza that follows, a usual break in the orchestral action that gives the soloist (through dazzling virtuosity) some alone time with the audience, is really a five-minute soliloquy. Schwarz once again showed us his understanding of the music with confidence and took a sensitive, patient pace. The final movement was captivating, and while not technically flawless, showed more of Schwarz’s musicality. His on-stage demeanor was especially warm and humble, and further proven when he joined his fellow cellists for Elgar’s Enigma Variations after intermission. It’s extremely rare for a guest soloist to play with the hosting orchestra after they’ve played a concerto (he must have been exhausted).

Edward Elgar purposely encoded a secret in his Variations on an Original Theme “Enigma,” that still have us chasing for meaning and explanation. Thankfully, the music stands on its own, and ultimately provides a touching portrait of Elgar’s personal life through musical portrayals of his friends. The orchestra shifted nimbly between each character study, capturing the playfulness, tenderness or energy of Elgar’s loved ones. Fast string passages in the second variation were problematic and sloppy. Long, lingering phrases were always inviting, with especially lovely solo moments from principals Jack Griffin (viola), Nicholas Finch (cello) and Andrea Levine (clarinet), in order of appearance.

Nimrod, the ninth and most well-known variation, is expected to be the crowning achievement. It builds from a very soft, string chorale to a full orchestra statement of the same, and the Louisville Orchestra brass unleashed every ounce of sound, carrying the orchestra upward as Nimrod reached its summit. The last variation, and Elgar’s self-portrait, reprises a similar exuberance and gave the orchestra one final burst of life.

 

 

Julian Schwarz Debut with Louisville Orchestra

Photo credit: Steve Sherman
Cellist Julian Schwarz performs the first cello concerto by Shostakovich with Jorge Mester and the Louisville Orchestra on February 21, 2015. He stopped by Classical 90.5 to talk with Daniel Gilliam about the concerto, and also played Schumann’s Adagio and Allegro, Op. 70, with Marika Bournaki.

Music eX with Dror Biran and Paul York

PYDB

Paul York, professor of cello and Dror Biran, professor of piano at University of Louisville joined Daniel Gilliam in the studio to talk about their upcoming concert on Sunday February 22nd at 3:00pm. The concert will take place in Comstock Concert Hall on UofL’s campus as part of The Music eX Series. They will perform Johann Sebastian Bach’s Cello Suite No. 2 in D Minor BWV 1008 and Felix Mendelssohn’s Sonata for Cello & Piano in D Major, Op. 58, No. 2.