What an opener for the Colorado Springs Philharmonic this past weekend—and it really was a true collaboration with two other arts organizations—The Colorado Springs Chorale and Opera Theatre of the Rockies (for whom I am a consultant). There was nothing staid about this concert version of La Bohème. It sparkled visually and musically. The lead performers, all Colorado-based singers, were ideal. Don (Jenkins) and Martile (Rowland) produced theatrical alchemy from tails, gowns, a table and some chairs. The Chorale brought its scenes to life with great character and the Larry Smith led Orchestra didn’t miss a beat. We’ve got some real talent around here and the packed houses knew that for sure as the “Puccini tears” gushed from all in attendance. A great kick-off to the new arts season.
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A Great Night at the Ballet… with holes in our tights
September 21st, 2009, 9:17 am by David SckolnikThe Pikes Peak Center was a bit more than a quarter filled on Saturday night for probably the finest dance concert presented in Colorado Springs in almost a decade. Colorado Ballet climbed up the “I” from Denver to present “All Pointes West” and from the moment the curtain was raised for the Company’s premiere of “Great Galloping Gottschalk”, everyone present knew they were in for a special evening. This was the best offering of the night and swept us away by its invention, comedy and quality. Forgiving an ill-chosen foray into classical ballet through “The Sleeping Beauty Wedding Pas de Deux”, a contemporary and riveting “Ave Maria” (pas de deux if you will) and a once-in-a-lifetime chance for many of us to see a fully-realized Copland “Rodeo” (better than a beef dinner) washed away my once-upon-a-time anxiety about laying down 50 bucks for a prime seat.
Imagine! Back in the 90s, performances such as this were common-place in Pikes Peak Center thanks to an aggressive presenter- Colorado Springs Dance Theatre. Audiences were of good size and impressive age-range. Now with Dance Theatre a mere shadow of its former self, we can only speculate as to what happened to their once flourishing program.
But the responsibility for such a poor audience showing on Saturday night belongs mainly to Colorado Ballet itself. “If we bring it they will come” just doesn’t work in the arts anymore. As the standard-bearer for the art form in the state, this Organization should be a leader in the trenches as well – reaching out in one form or another to all dancers and studios. This, from my perch as a Marketing Consultant for Ballet Society of Colorado Springs, I can assure you they did not. As far as I can tell, their only promotional strategy was to pour money into print advertising in the two weeks leading up to the event.
The performance received “but a blurb” from the originator of this blog in the Friday Go! and an off-the-mark (it assumed we all knew who and what Colorado Ballet is) profile in the Independent. Our TV stations all stayed away.
A shame it is then. Colorado Ballet gets to slide back to Denver a decade after premiering a new “Nutcracker” with the then Colorado Springs Symphony feeling greatly appreciated by a small but enthusiastic gathering of dance fans but secure in the knowledge that despite the abundance of dance studios and quality performances in the Pikes Peak region, there is little audience for their art form. Everyone can do better.
Central City Cintillates
July 28th, 2009, 8:37 am by David SckolnikGot to complete the Central City Opera “trilogy” this weekend and for now, my insatiable operatic hunger is appeased. An encore look in at Rinaldo only reinforced my previous thoughts (see below in this blog) on what a treat this productions is— and it should righty be placed as the finest achievement for this Company’s current season. I am even more in awe of the artistry of Phyllis Pancella and now hoping that the stunning soprano of Kathleen Kim also becomes a fixture in this wonderful space.
I share Tracey’s enthusiasm for Lucia di Lammermoor but with some reservations. Indeed, the production was a marvel—powerful set, great ensemble, and an always pleasing theatrical elegance thanks to the craft and vision of stage director Catherine Malfitano. But it is in the portrayal of the tile role by Lyubov Petrova where I most diverge. Don’t get me wrong- I loved her stage presence and her voice was rich and appealing… but ultimately lacking the openness and texture that this great bel canto role so much deserves. I was also taken aback by her choice to play Lucia so joyfully in the famous mad scene – any sense of insanity was left to our imaginations. I also enjoyed Richard Bernstein’s surprisingly virile take on chaplain Raimondo, although I questioned a nasal placement at the top of his range- it betrays the riveting vocal richness he always brings to the stage. One of all-time favorites, baritone Grant Youngblood, was in top form as Enrico and I loved the vocal and theatrical approach taken by tenor Vale Rideout.
The shift from opera to musical theatre is always hard on me, although the humor, elegance and relevance of Sondheim’s A Little Night Music make it a lot easier. Central City Opera mounted a beautiful production with fetching stage design, delightful stage craft, and a supremely talented cast. Best were Robert Orth, who on this Sat. July 25 evening brought great timing and stage savvy to the aging Frederik; Jeff Matsey, who brought perfect cartoon buffoonery to Count Carl-Magnus Malcolm; and Sarah Jane McMahon who lit up the stage with her vocal and physical beauty as Anne. Myran Paris was a delightful theatrical bastion as Lady Armfeldt. While I wished that Sylvia McNair had worn the role of Desriee with more depth and passion, the power of her rendering of the composer’s immortal Send in the Clowns came right over the footlights.
At the time of this posting, there are but one more Rinaldo, two Night Musics, and three Lucias left in a memorable season ending Aug. 2. You can be up in this glorious setting in less than two hours– www.centralcityopera.org and 303-292-6700.
Fabulous Fish Fry
June 13th, 2009, 9:31 am by David SckolnikIt just not possible to prepare for the ecstasy that is the Festival Artists Concerts at the Colorado College Summer Music Festival. From the moment that Stefan Hersh, Bion Tsang, Sue Grace hit the Haydn (Piano Trio) it was an entirely different world of music that I hadn’t experience since … well- last summer’s Festival. While the piece only blossomed in its Hungarian/Gypsy finale, the playing was exquisite. I hesitate to say perfect only because that would discount the spontaneity that was a part of this and all the music heard on this evening. These guys are amazing! It’s just the best.
I expect Tracey will report much the same in the Go! next Friday, but I can’t help but sing the praises of this specific component of this truly world-class event we happen to have a few blocks north of downtown.
The sensational wind faculty (Elizabeth Mann, flute; Robert Walters, oboe; Jon Manasse, clarinet Stewart Rose, horn; Michael Kroth, bassoon) plus Anne Epperson’s immaculate piano came next and treated us to some sensational Blumer (who?) followed by the oddly appealing Divertimento by Boris Blacher which brought two new Festival additions- both from the celebrated American Brass Quintet - Kevin Cobb, trumpet; John Rojak, trombone; (I guess they stopped over on their way to Aspen) with Sue Grace donning her 20th century voice—the one she wears as well as anyone anywhere.
But no one expected the Fabulous Fish Fry – A Schubert Trout Quintet to end all Trouts. I can’t get either the music or the image of these musicians- Steven Copes, violin; Phillip Ying, viola; David Ying, cello; Susan Cahill, bass; and Jon Nakamatsu, piano- literally making passionate love to every note and nuance. What a Treat was this Trout.
The Festival has become a sacred Pilgrimage for all—Faculty, students (can’t wait to hear their playing) and mostly for the audience that values their seats like precious gems. Get in on it if you can…
http://www.coloradocollege.edu/SummerPrograms/SummerFestivaloftheArts/MusicFestival/concertschedule.asp
Magical Mahler
May 31st, 2009, 5:12 pm by David Sckolnik120 years ago, the goal of every burgeoning American city was to build an orchestra so everyone could hear the Beethoven Symphonies. These days it’s Mahler. In order to bring the composer’s ultimate utterance, the 9th Symphony, to life, our CS Philharmonic had to up their rehearsals by two to five and had to add 20 additional players (I’m guessing) to the Pikes Peak Center stage. A high price… but oh- was it worth it. The hall was filled with everything from diehard Mahler Fanatics to first-timers. When all was said – yes, Mahler’s music does speak – everyone was moved far beyond themselves. The shared sensation was palpable.
This isn’t a great orchestra – there are weaknesses. But for this Sunday matinee, the art brought forth was phenomenal. This was a great performance of Mahler’s last complete symphony. The work seems to have been composed by a man who had already passed on to the afterlife. The opportunity for us, who still have to undergo our daily struggles- to glimpse the beauty, sadness and horror of the next plain of existence is a real privilege. Thank you… thank you… thank you Colorado Springs Philharmonic for taking this on. It’s at times like this when I recount why we have an orchestra. Yes- the community pays the bills. But we only have this wonderful ensemble because the musicians chose to keep making music when it would have been easier to let it go back in 2003.
The sound was as advertised: MAGNIFICENT. Climaxes were rich and powerful- the hall has never sounded so good. Massed strings were so beautiful and then so profound in the final movement. And thanks to the players’ unyielding concentration, the intimate chamber moments of Mahler’s ridiculously dense score were no less riveting. Oh- they were paying the utmost attention to the conductor- Lawrence Leighton Smith – who just this week announced that he would be leaving us in two years.
Larry’s musical intelligence and commitment make every performance he conducts special. But none as much as this. When he finally turned to accept the audiences’ rousing ovation, I’m sure it was not my imagination that he was sharing the same tears as me. It is a kind of death for us to lose Larry and there could have been no better piece of music to galvanize the very apparent feelings about. I love you Larry.
Oh- did I forget my rant? Don’t worry. The house was maybe 3/5 filled. This is not music for old people. This is great art that anyone can be transported by, on whatever level they receive it. I’m sure the house was fuller last night, but why were there so many empty seats? What one would pay for a first-run movie adorned by popcorn and Cokes would get you a good seat in this beautiful looking and sounding concert hall. And where were the Mahler fans from the north? In a span of four weeks, the 8th (MahlerFest just this past May 16 and 17) our 9th and the 2nd (next weekend in Denver from the Colorado Symphony [www.coloradosymphony.org]) are all happening. But I know the answer. The same place they were when my beloved Opera Theatre of the Rockies presented outstanding productions of Weill’s Street Scene – not here.
This must stop. Why does the rest of Colorado mostly ignore what we do here? There is great work being done in all art forms in the Pikes Peak region, but so many- here and around the state- discount what we bring to the table. This time, they missed out gloriously. This afternoon was a profound and magical experience. We have to do better moving people to arts action!
Summer Dreams make me a real byline
May 26th, 2009, 4:16 pm by David SckolnikI’m going to be writing for the Gazette! I’ll be submitting some on-the-scene music and theatre reviews and impressions of the Colorado summertime for the Go! If all goes as planned, there will be full articles from Boulder (Colorado Music Festival and Shakespeare Festival), Vail (Bravo! Vail) and Breckenridge. Warren will lay seed for these with his Roadtrip columns, the first of which appeared in the Go! last Friday.
Now, I’ve been doing my summertime ramblings for the CS Indy, for the once-upon-a-time ArtsPeak on KCME as well as the recently deceased Springs Magazine for 13 years! So while I’m delighted that Warren has decided to take on our mountain magic with such vigilance, I still want to be sure that the details are honored. In Breckenridge’s upcoming events sidebar last Friday, there was no specific mention made of the two biggies: the Breckenridge Music Festival (June 27- Aug. 17: www.breckenridgemusicfestival.com) and the 50th Anniversary season of the National Repertory Orchestra (June 19- Aug. 7). Between the two of these Riverwalk Center residents, there’s enough symphonic and chamber music and then guest pop artists (i.e. Cowboy Junkies, Richie Havens, Leo Kottke) to more than fulfill anyone’s summertime dreams.
You also may have noticed that this is the first time I’m writing on this blog with admin access. I’ll try to make it more blog than slog, but that will take some effort. I hope to give my impressions of the CS Phil’s potentially momentous Mahler 9 after this weekend.
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