Arletta O’Hearn: Oregon icon of Christmas cool

Oregon composer, teacher, and jazz pianist empowers thousands to play the music they love

by RHONDA RIZZO

Editor’s note: We’re republishing last year’s popular story about playing holiday music — an Oregon ArtsWatch perennial. You’re probably already hearing the holiday tunes blaring from speakers at the malls, in lobbies of businesses, even when you’re on hold. But if you want to actually play holiday tunes yourself at a holiday gathering, rather than passively enduring the same old same old recordings, you might turn to an Oregon icon of Christmas Cool. 

“I love ‘Christmas Time is Here,’ but I can’t play it.” This, from my beginning adult student who was super motivated, but realistic. Vince Guaraldi’s Charlie Brown sound is difficult to master, even by advanced players. Luckily, a plugged-in piano teacher turned me on to Arletta O’Hearn’s jazz arrangements of Christmas carols. They’re easy to master, easy on the pocketbook ($3.95 to $4.95 per book!), and beautifully poignant in a Guaraldi kind of way.  


As poignant as Vince Guaraldi’s “Christmas Time is Here,” Arletta O’Hearn’s wistful version of “Up on the Housetop” is very playable and from her easiest book of Christmas arrangements, the pink
Christmas Seasonings.  © Neil A. Kjos Music Company. Used with permission 2016.

While the feisty Arletta O’Hearn is admired world-wide for her jazz compositions and arrangements, she’s been hoarded within the piano teaching circles… unintentionally. In fact, O’Hearn lives right here in Portland, Oregon! I’ve used her smart, accessible jazzed-up Christmas arrangements for beginning to intermediate students who wanted to play something that sounded Count Basie tasteful without requiring the Art Tatum chops. For advanced players, sight-reading through these books makes even a Grinch like me grin through the holidays.

Arletta O’Hearn playing Ellington.

The well known (but only in certain circles) jazz composer and arranger of Christmas tunes came in through the back door, eschewing the traditional path toward becoming a beloved icon. Former Portland pianist and teacher Rhonda Rizzo interviewed Arletta O’Hearn in 2013 for the Oregon Music Teachers Association. With her permission, we present an edited version, along with my annotated score excerpts and sound files I recorded so you can see and hear how easy it is for pianists of all skill levels to learn, just in time for the holidays. Click on each track below the score excerpt to play. 

O’Hearn’s music is available through Portland Music Company. Oregon’s own Christmas gift to music has made the holidays a little happier for thousands around the world! — Maria Choban.

Arletta O’Hearn’s first experience with college piano instruction didn’t go well. The teenager came to the University of Oregon to study with renowned teacher Aurora Underwood. “The first year I was there, Aurora was on sabbatical,” O’Hearn recalls. “The substitute didn’t know how to teach anyone but advanced students. He was there for graduate work and was too young. He couldn’t see the yearning in my soul to play. He couldn’t teach me.”

The experience of working with that teacher was so unpleasant that O’Hearn did not re-enroll. But it must have left an impression, because O’Hearn went on to create a career that made music accessible to anyone — not just piano professionals — who loves it.

O’Hearn’s creative journey has been filled with study, discovery, and an open-minded embrace of many styles of music. Her solid classical training combined with real-world jazz playing experience produced well-crafted, pedagogically sound compositions that are doorways through which classical piano students can enter the world of jazz.

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Profiles & Conversations 2017

From poets to painters to dancers to actors to musicians, 21 tales from ArtsWatch on the people who make the art and why they do it

Art is a whole lot of things, but at its core it’s about people, and how they see life, and how they make a life, and how they get along or struggle with the mysteries of existence. That includes, of course, the artists themselves, whose stories and skills are central to the premise. In 2017 ArtsWatch’s writers have sat down with a lot of artists – painters, actors, dancers and choreographers, poets, music-makers – and listened as they spun out their tales.

We’ve been able to tell their stories because of support from you and people like you. Oregon ArtsWatch is a nonprofit cultural journalism organization, and your gifts help pay for the stories we produce. It’s easy to become a member and make a donation. Just click on the “donate today” button below:

Here are 21 stories from 2017 about Oregon artists and artists who’ve come here to do their work:

 


 

Erik Skinner. Photo: Michael Shay

Eric Skinner’s happy landing

Jan. 18: “On the afternoon that Snowpocalypse struck Portland, Eric Skinner walked into the lobby at BodyVox Dance Center after a morning in the studio and settled easily onto one of the long couches in the corner. As always he looked trim and taut: small but strong and tough, with a body fat index down somewhere around absolute zero. If anyone looks like a dancer, Skinner does. Even in repose he seems all about movement: you get the sense he might spring up suddenly like a Jumping Jack on those long lean muscles and bounce somewhere, anywhere, just for the sake of bouncing.” In January, after 30 years on Portland stages, Skinner was getting ready to retire from BodyVox – but not from dance, he told Bob Hicks.

 


 

Les Watanabe in ‘Sojourn’ by Donald McKayle, Inner City Repertory Company. Photographed by Martha Swope in New York. 1972. Photo courtesy of Les Watanabe

Les Watanabe on Alvin Ailey, Lar Lubovich, Donald McKayle and his life in dance

Jan. 20: In a wide-ranging Q&A interview, Jamuna Chiarini hears a lot of modern-dance history from Watanabe, who was in the thick of it and now teaches at Western Oregon University:

“During Alvin Ailey’s CBS rehearsals, Lar Lubovitch was teaching in the next studio. I ran into him at the drinking fountain. While living in L.A., I had read articles about him in Dance Magazine. So while he was stooped over drinking, I exclaimed, ‘Lar Lubovitch! I’ve read all about you!’

“At that point he stood up facing me wiping his mouth and looking incredulous like, ‘Who is this guy?’ I then asked, ‘Do you ever have auditions? I would love to dance with you.’

“’Are you dancing now?’ he asked.

“’Yes, with Alvin Ailey next door, but it is only for five weeks.’

“’Where do you take class?’ Lar asked. ‘At Maggie Black’s,’ I answered. ‘Good. Let’s meet at her first class. Then you can rush back to rehearsal. See you next week.’”

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In Mulieribus review: musical time travel

Portland vocal ensemble's Christmas concert brings ancient music to life

by BRUCE BROWNE

In medieval Europe, “Mulier taceat in ecclesia” (women must be quiet in church) was the order of the day, until for at least two more centuries. That didn’t stop the women of In Mulieribus, the Portland women’s group of seven voices directed by Anna Song, on Wednesday evening at the St. James Proto-Cathedral in Vancouver WA. Virtually none of the music they performed would have been sung by women when it was written. So the singers deserve extra credit for modeling the treble voices we would have heard 600 years ago, arrived at essentially by non-vibrato singing and very careful blending. Except for the inclusion of female voices, what we heard from In Mulieribus is about as close to going back in time as we can get. The concert is repeated in Portland’s St. Mary’s Cathedral on Friday, December 22.

These women showed how much musical mastery those early audiences were missing. At its core, a truly memorable concert is composed of two things: curation (choosing the right pieces) and animation — bringing them to life, preserving their sonic essence in the chosen concert space. In Mulieribus accomplished both. Each piece was a gleaming gem in its own way and taken together created a palpable arch form. Waves of overtones were generated in St. James. And these occur only when a choir is singing perfectly in a perfectly tuned, perfectly blended manner.

In Mulieribus performed Wednesday in Vancouver and sings the same program Friday in Portland. Photo: David Lloyd Imageworks.

The repertoire was adroitly grouped in two ways: by subject – Angels and Prophecies, Magi, Shepherds, The Birth; and by region — notably England, France and Italy, all of which shared, during this time, a Roman Catholic visage of time and place. Each disparate regional style was presented cunningly by Ms. Song and the women, who constantly avoid the quotidian with grace and forethought. The highly decorative “Gloria,” from the Tournai Mass of 14th century France, was crystalline in its clarity and balance. Thought to have been concocted by several different composers, the Tournai is considered one of the earliest Missa tota, the complete mass presenting all five parts of the Ordinary – Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. (Guillaume Machaut’s Messe de Notra Dame, the first known complete setting by a single composer, will be performed in Seattle and Portland February 2-3 by Cappella Romana).

The two Italian pieces, Magi videntes Stellam (The Magi seeing the stars) by Agostino Agazzari (1578-1640) and Omens de Saba venient (All they coming from Saba) by Giovanni Asola (1532-1609) were ravishing. The latter, referring to the Ethiopian city of Saba, was especially poignant in its energetic celebration of the “bringing of the gifts” and showing praise. Perhaps the most advanced in its harmonies and fullness of texture, it approached the high Renaissance styles of the contemporaries Palestrina and Victoria.

Choosing concert repertoire can be very tricky, especially in this day of accessibility to such a wide variety of literature. No, wait. Shouldn’t that make it easier? Certainly it is easier to access, to retrieve the pieces. The British Museum can, one might imagine, dispatch a digital manuscript across the pond in a matter of minutes. It is the culling of works, picking those which are true to the period (some primary source) and right for the group, and possess historical integrity. That is the hallmark of Anna Song’s programming.

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‘Raising the Barre’ excerpt: passion and persistence

A Eugene author makes a mid-life decision to fulfill a childhood dream -- dancing in 'The Nutcracker'

by LAUREN KESSLER

Editor’s note: ArtsWatch presents an exclusive excerpt from award-winning Eugene author Lauren Kessler‘s 2015 book, Raising the Barre: Big Dreams, False Starts, & My Midlife Quest to Dance The Nutcracker, which has just been released in paperback and would make a delightful stocking stuffer. Here’s what ArtsWatch’s Jamuna Chiarini wrote when it was published. “Her love affair with ballet and The Nutcracker began at the age of five when she was taken to see famous ballerina Maria Tallchief perform in New York City Ballet’s Nutcracker. From there she began ballet lessons until she was twelve when sadly she stopped after learning that her teacher André Eglevsky, former principal dancer with the New York City Ballet, had told her mother that she did not have the right body for ballet.

Her unrequited love for ballet and her deep obsession for The Nutcracker is where her story Raising the Barre: Big Dreams, False Starts, & My Midlife Quest to Dance The Nutcracker begins. In the book, Kessler takes a ten day, whirlwind tour of Nutcracker performances across America, and when she returns home she decides she hasn’t had enough and bravely asks the Artistic Director of the Eugene Ballet Company, Toni Pimble, if she might take company class and perform in their version of The Nutcracker. The answer was yes and off she goes to prepare.

Through this adventurous immersion into the subculture of ballet, Kessler finally experiences what it is like to be a dancer—the misadventures of shopping for leotards, the rigours of getting in shape, buying and applying gobs of stage makeup, and, of course, learning steps and dancing with ease. She is a “midlife interloper” as she called herself at her book reading at Powell’s on Wednesday night (this week marks the release of this new book), and she experiences what she has been yearning for her whole life: What it is like to be a dancer and perform in The Nutcracker.

This is a great, inspirational story for someone who is looking for a push to take that leap and do that thing they have been putting off for a really long time. If Kessler can do it, you can do it.

***

I started this project in awe of the beauty and grace of ballet as seen at a distance, my view from the audience. I am now in awe of the sweat, the grit, the sheer will that gets them through nine-hour days and ten-hour bus trips and sixteen-city tours. To say “you have to love it to do it” is an understatement so colossal as to be meaningless. Yes, I know they are not out there curing cancer or feeding the homeless, but these dancers have committed themselves heart and mind, body and soul to an enterprise, and they do it every single day. Days when they are hurting. Days when the sun is shining, and they’d rather not be stuck in a windowless studio. Days when it’s wet and gray (like, for example, today) and bed looks like the best option. Days when life conspires against you. And still, they get up and do it. It is a lesson to us all – certainly to me — and not just a lesson about ballet and what I need to bring to class and rehearsals. It’s about what it takes, really takes, to do something well. Forget “waiting for the Muse.” It’s about daily commitment. It’s about the marriage of passion and persistence.

Lauren Kessler, center, performed in Eugene Ballet’s production of ‘The Nutcracker.’

All of a sudden it’s November. Mon Dieu! I’d say “merde!” but that’s how dancers wish each other luck (their version of “break a leg,” which, of course, is not something you’d dare say to a dancer). What I mean, though, is: Holy Shit. It’s November. My first performance as Clara’s Aunt Rose—a part created for me–is sixteen days away. Toni emails me that she’s scheduling costume fittings this week. I text Suzi and beg her to come over to give me a lesson in how to apply stage make-up. Meanwhile every rehearsal counts.

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New voices of ArtsWatch 2017

A dozen writers have joined the ArtsWatch ranks this year. Find out who they are, and what they're bringing to the cultural mixer.

In one important way it’s been a very good year for Oregon ArtsWatch: We’ve added a lot of good writers to our mix, deepening and broadening our coverage of everything from dance to theater to music to visual arts to literary events and more.

ArtsWatch has been able to add the voices of a dozen new contributors because of support from you and people like you. Oregon ArtsWatch is a nonprofit cultural journalism organization, and your gifts help pay for the stories we produce. It’s easy to become a member and make a donation.

In 2018 we hope to add even more fresh voices and perspectives to our continuing engagement with Oregon’s complex and diversified cultural life.

Meet 2017’s new writers, from A to Z (all right; A to W), and sample their work:

 


 

TJ Acena

A Portland essayist and journalist who studied creative writing at Western Washington University, TJ was selected as a 2017 Rising Leader of Color in arts journalism by Theatre Communications Group. He writes about theater and literary events for ArtsWatch, and also contributes to American Theatre Magazine and The Oregonian in addition to literary journals such as Somnambulist and Pacifica Literary Journal. Web: tjacena.com

READ:

Greg Watanabe with Mao on the wall in “Caught.” Photo: Russell J Young

CAUGHT IN A LIE, OR A TRUTH

Acena reviews the installation and performance Caught at Artists Rep, a play that crosses the line between fact and fiction, fake news and real. “If it feels like there’s something I’m not telling you about Caught, you’re right. Don’t take it at face value: There’s a hidden conceit to the show. But discovering that conceit is what makes Caught compelling.”

 


 

Bobby Bermea

 

A leading actor, director, and producer in Portland and elsewhere, Bobby specializes in deeply reported and insightful profiles of theater and other creative people for ArtsWatch. A three-time Drammy Award winner for his work onstage, he’s also the author of the plays Heart of the City, Mercy, and Rocket Man.

READ:

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DanceWatch Weekly: Dear Santa

DanceWatch ends 2017 with a letter to Santa and a few last performances

Welcome to the very last DanceWatch of 2017. It’s been a hell of a year, but thankfully we had dance.

After today, DanceWatch will be on a break for two weeks and will reconvene in the new year on the January 12, at the Newmark, with movement artists Lil’ Buck and Jon Boogz and their collaborative work Love Heals All Wounds. The work combines dance and spoken word and “addresses social issues while also promoting diversity, inclusion, and empathy as a uniting force.” A perfect start to a brand new year.

Jamuna Chiarini

Before we leave 2017 in the dust, and head into the future, let’s recap. In 2017 DanceWatch covered 271 dance performances. That’s TWO HUNDRED AND SEVENTY ONE dance performances, folks! That’s a lot, and I know I missed a few.

White Bird and BodyVox both celebrated 20 years presenting and making dances in Portland, Eric Skinner retired after dancing with BodyVox for 20 years, and Portland State University clicked delete on its dance program. A state university without a dance program is almost unheard of, and the disappearing dance program is a bizarre occurrence in such a fast growing, dance-centric town as Portland, overflowing with talent.

I also had the privilege of speaking with 16 different dance artists from Portland and beyond—a completely selfish endeavor I have to admit. The more distant we become from one another in this computerized world, the more compelled I feel to connect. It’s hard living life in general, especially as an artist, and I don’t want to live it alone. I want to know how other people do it, how they live their lives as artists, how they make their work, what makes them feel successful, and how they see themselves in the world. I want to know it all, and I want to share it with you. I think the solutions are in those conversations, somewhere.

Les Watanabe in “Salsa Caliente” by Donald McKayle commissioned for the Joyce Trisler Danscompany. Photo courtesy of Les Watanabe. Photographer unknown.

The year began with an interview with Les Watanabe, a dance faculty member at Western Oregon University and a former dancer with Alvin Ailey, Lar Lubovitch and Donald McKayle. I was shocked to learn that he lived here in Portland and that I had never heard of him. Shouldn’t someone of his caliber be teaching in the Portland community? I think so. The same goes for quite a few of the other “retired” professional dancers I know of floating around Portland.

I also interviewed former New York City Ballet soloist Tom Gold, the three commissioned choreographers for Oregon Ballet Theatres XX program (Helen Simoneau, Nicole Haskins and Gioconda Barbuto), Iranian dancer and filmmaker Tannin, Butoh artist Mizu Desierto, Butoh artist Meshi Chavez and visual artist Yukiyo Kawano, former NW Dance Project dancer Ching Ching Wong, Oregon Ballet Theatre dancers Xuan Cheng and Ye Li, Allie Hankins on her creative process, Spenser Theberge on Forsythe technique, and Linda Austin on her new work a world, a world. These are just a few of the interviews/previews/reviews written by myself and my colleagues here at Oregon ArtsWatch. The entire collection can be found under Dance on Oregon ArtsWatch’s main page.

Dancer Ching Ching Wong. Photo (c) Peddecord Photo

Even though we had a record year, I still think more work needs to be done and more funding needs to be found in order to support a strong, healthy, growing dance ecosystem. In this past week alone, I have had three separate conversation with dance artists about feeling exhausted. Why? Because it takes every ounce of energy they have to produce a concert. Not only do choreographers have to create a dance, they have to find the money to fund it. That endeavor in itself is stressful and exhausting and takes up a huge amount of time and energy, energy that could be spent making art. What if choreographers had enough money to pay other people to do the grant writing, fundraising, and marketing, in addition to paying themselves and their dancers, of course. Sounds brilliant right? It is. This should be the norm. For a community that loves dance so much, the financial support just doesn’t match. So…

Dear Santa,

For 2018 and beyond, I would like;

1. Someone to produce regular seasons of Portland/Oregon choreographers so they don’t have to keep producing themselves.
2. More funding, we’re just barely getting by. How about new sources of funding and more of it. ArtsWatch Executive Editor Barry Johnson had a few ideas on how to fix this problem that he wrote about for Artslandia. Check it out here. He suggests that the arts in Oregon aren’t being funded sufficiently and gives suggestions on how to rectify this.
3. Free or low cost health care and mental health services for artists.
4. Fiscal sponsorship and or free or low cost help to become a non-profit.
5. A dance advocacy/resource group that helps promote the dance community as a whole throughout the larger community, and advocates for and them and communicates on their behalf with the press. Also provides administrative support with grant writing, press releases, artist statements, marketing, low cost design services, material distribution, and creates mailing distribution lists to buy. Good examples of this are The Field in New York City, Dance USA, and Dancers Group in San Francisco to name a few.
6. More artist residencies. Do you have space dancers could rehearse in? If so, create a residency. Choreographers need time and space to make work and Portland currently just has two.
7. Create opportunities and productions for choreographers to make new work. Portland has an abundance of talented choreographers and dancers floating around with nothing to do. Think Franklin D. Roosevelt’s Works Progress Administration. We can make dances anywhere for any event.
8. Have auditions and hire NEW artists instead of the ones you’ve always hired.
9. Create a pipeline of exchange with other communities outside of Portland or Oregon to get your work seen, see new work, and be part of a larger community.
10. Additional funding sources for touring.
11. A summer dance workshop for professionals that draws professional dancers and teaching professional from around the world.
12. Make Portland a dance center that people are interested in being a part of and staying in for the long term.

Warmly,
Your servant in dance,

Jamuna Chiarini

Candace Bouchard dances in The Nutcracker one last time before her retirement from Oregon Ballet Theatre/Photo by Blaine Truitt Covert

This week in Oregon dance, Nutcrackers reign supreme at Oregon Ballet Theatre and Eugene Ballet. A transformative work for a transformative time.

Long time OBT dancer Candace Bouchard will retire at the end of the run and the same goes for Suzanne Haag of Eugene Ballet who I danced with many moons ago at The School of the Hartford Ballet in Connecticut. Both beautiful and amazing dancers with talent that extends beyond the stage.

Imago Theatre’s two shows continue; FROGZ, a tale of frogs, penguins, cats, and inanimate objects combined with physical comedy and fantastical costumes that upends the viewers sense of reality and HOTEL GONE, in which five dancing travelers push, pull, and shove in a hotel lobby “where identities shift, love is uncertain, and souls search for substance Checking-in and checking-out take on new meaning as live music drifts through HOTEL GONE as the dancers are propelled through coat racks, exiting and entering a world of timeless seduction and trapped mysteries.”

Butoh dancer Paula Helen. Photo by Erica Howard.

Closing out the year will be Mood Factory #2: Bones and Flowers, hosted by Dan Reed Miller, Ben Martens, and Hank Logan, at 7 pm on December 30th at The Headwaters Theatre in North Portland. This eclectic evening of performances by an array of movement, theater, and music practitioners addresses spirituality and mythology, issues of gender and culture, racial justice and cultural appropriation, sexuality, feminism, matriarchy, and our innate connection to nature and ritual.

The featured artists are; Butoh artist Paula Helen, actor, dancer, director, practitioner and teacher of Action Theater improvisation Mary Rose, dancer and visiting Butoh teacher Nathan Montgomery, dancer, performance artist, improvisor, physical comedian, ritual creator, Butoh practitioner, and lighting wizard Hank Logan, dancer Alison Krochina, renaissance man, performance artist, dancer, electronic sound/musician, producer, Butoh practitioner Ben Martens, and Dan Reed Miller.

Have a wonderful holiday season. Celebrate with love and light, and see you in the new year with more dance.

Upcoming Performances

January
January 6, Community Dance Day, NW Dance Project
January 8, Free Dance Day, BodyVox Dance Center
January 12-13, I drowned in moonlight, strangled by my own bra, Leah Theresa Wilmoth
January 12, Love Heals All Wounds, Lil’ Buck and Jon Boogz, Presented by Portland’5 Center for the Arts
January 10-11, Tesla: Light, Sound, Color, Harmonic Laboratory, Eugene
January 13, Tesla: Light, Sound, Color, Harmonic Laboratory, Portland
January 15, Tesla: Light, Sound, Color, Harmonic Laboratory, Bend
January 18, Zoe Jakes & Special Guests: A Dance & Variety Revue, Presented by Narcissa Productions LLC
January 18-28, Fertile Ground Festival of New Work/Groovin’ Greenhouse
January 19, The Global Street Dance Masquerade Presentation and Film, Portland Art Museum
January 21, M/f duet + Teething, Marissa Rae Niederhauser (Berlin) and Aaron Swartzman (Seattle), Performance Works NW Alembic Artists
January 25-27, Rennie Harris Puremovement, presented by White Bird
January 28, Garden of Earthly Delights with Salem Concert Band (World premiere), Rainbow Dance Theatre, Independence

February
February 1-10, The skinner|kirk DANCE ENSEMBLE, presented by BodyVox
February 3-25, Chitra The Girl Prince, NW Children’s Theatre, Anita Menon
February 4, The Lady Of The Camellias, Bolshoi Ballet in Cinema Live from Moscow
February 15, Faculty Dance Concert featuring guest artist Vincent Mantsoe, Hosted by University of Oregon School of Music and Dance
February 17-18, Pink Martini, Eugene Ballet Company, Eugene
February 18, Chapel Theatre Open House, Chapel Theatre
February 21, Mark Morris Dance Group, presented by White Bird
February 23-25, Configure, PDX Contemporary Ballet
February 24-March 4, Alice (in wonderland), choreography by Septime Webre, performed by Oregon Ballet Theatre

March
March 1-3, Urban Bush Women, presented by White Bird
March 4, The Flames Of Paris, Bolshoi Ballet in Cinema Live from Moscow
March 8-10, Jessica Lang Dance, presented by White Bird
March 14, Compañia Jesús Carmona, presented by White Bird
March 15-17, HEDDA, NW Dance Project
March 22-24, To Have It All, choreography by Katie Scherman, presented by BodyVox

April
April 4, iLumiDance, Rainbow Dance Theatre, Corvallis
April 5, Earth Angel and other repertory works, Rainbow Dance Theatre, Corvallis
April 5-7, Stephen Petronio Company, presented by White Bird
April 8, Giselle, Bolshoi Ballet in Cinema Live from Moscow
April 9, Noontime Showcase: Jefferson Dancers, Presented by Portland’5
April 12-14, Contact Dance Film Festival, presented by BodyVox and Northwest Film Center
Apr 14-25, Peer Gynt with Orchestra Next, Eugene Ballet Company, Eugene
April 12-21, Man/Woman, choreography by Mikhail Fokine, Darrell Grand Moultrie, Nicolo Fonte, James Canfield, Jiří Kylián, performed by Oregon Ballet Theatre
April 19-28, Early, push/FOLD, choreographed and directed by Samuel Hobbs
April 20-29, X-Posed, Polaris Dance Theatre, Robert Guitron
April 24-25, Alvin Ailey American Dance Theater, presented by White Bird
April 24-25, The Wind and the Wild, BodyVox and Chamber Music Northwest

May
May 4-5, Current/Classic, The Portland Ballet
May 10-12, New work premiere, Rainbow Dance Theatre, Western Oregon University, Monmouth
May 10-19, Rain & Roses (world premiere), BodyVox
May 11-13, Compose, PDX Contemporary Ballet
May 14, Noontime Showcase: OBT2, Presented by Portland’5
May 16, Ballet Hispȧnico, presented by White Bird
May 17-20, CRANE, a dance for film by The Holding Project
May 23-June 3, Closer, original works by the dancers of Oregon Ballet Theatre

June
June 8-10, Up Close, The Portland Ballet
June 10, Coppelia, Bolshoi Ballet in Cinema Live from Moscow
June 14-16, World Premiere – Ihsan Rustem, MemoryHouse – Sarah Slipper, NW Dance Project
June 15-17, New Expressive Works Residency Performance
June 24, Salem World Beat, Rainbow Dance Theatre, Salem

 

MusicWatch bi-Weekly: holiday traditions

Oregon serenades 2017 to an end — and none too soon — with Celtic, French, Spanish, Indian and more music from across the globe and the centuries

While everyone hunkers down for the holidays, the music plays on, but not nearly as often as usual, so MusicWatch is taking the rest of the year off as part of its musical fasting treatment for 2017’s overindulgence in Oregon’s musical overabundance. Meanwhile, here’s a few solstice-brighteners to take us through the end of the year.

In Mulieribus

Tickets have long been sold out for Wednesday’s “Vivaldi’s Magnificat and Gloria,” a historically informed performance of a pair of Italian baroque classics by the period instrument performers (from Portland Baroque Orchestra and others in the region) presented by Northwest Baroque Masterworks at Portland’s Trinity Episcopal Cathedral, but click the link above and see if someone cancels. One of the best shows of every holiday season, though, In Mulieribus’s annual concert, does have seats available. On Wednesday at Vancouver’s Proto-Cathedral of St. James the Greater and on Friday at Portland’s St. Mary’s Cathedral, the sublime Portland women’s vocal ensemble this time takes a French twist, with medieval carols, nativity songs and other music from the Renaissance and earlier by Binchois, Dufay, England’s John Taverner, and more.

Another annual Oregon holiday tradition, if a five-year run can qualify for that status, comes to a close Friday when Mark O’Connor and his 2017 Grammy winning musical family band bring their final Appalachian Christmas show to Portland’s Arlene Schnitzer Concert Hall. Oregon Symphony cellist Nancy Ives, who wrote about it for ArtsWatch last year, returns, and another family, the Seattle (O’Connor’s hometown) trumpet and piano team of Allen and Laura Vizzutti open for the multi-Grammy award winner who may be the world’s greatest fiddler, who’s played with many of the planet’s finest musicians and again brings his Americana-tinged holiday tunes to Oregon one last time.

Speaking of Americana holidays, Oregon Mandolin Orchestra plays seasonal tunes at Portland’s luminous Festival of Lights at the gorgeous Grotto on Saturday. Lots of other bands and choirs are performing there throughout the holidays, so click the link to check ‘em out.

ArtsWatch has covered this combined music and theater event elsewhere, but here’s another reminder to catch the merry pianist and Liberace channeler David Saffert with Jillian Snow Harris in A Liberace & Liza Christmas at Portland’s Coho Theater December 21-30, with guest artists including singer Susannah Mars, star thespian Isaac Lamb, and more.

Next week at Arlene Schnitzer Concert Hall, Portland Youth Philharmonic’s annual day after-Christmas concert takes a mostly Spanish turn with music Enrique Granados adapted from his piano pieces inspired by Francisco Goya’s paintings, Goyescas; Albeniz’s musical depiction of Seville’s famous Corpus Christi Day procession, and some of the finest ballet music of the 20th century, a suite from Manuel de Falla’s colorful The Three Cornered Hat. An unrelated bonus: music from John Williams’s score to the reptilian screen classic Parque Jurassic. 

On December 30-31 at Portland’s Community Music Center, another annual holiday music tradition, Oregon Renaissance Band’s holiday concert, goes all Celtic, with a baker’s dozen specialists on wonderful archaic instruments like sackbutts, viola da gamba, cornamusen, krummhorns, racketts, tartold, bagpipes, spinettino, tabor, and even early recorders and violins playing and singing ancient tunes by Turlough O’Carolan, William Byrd, John Playford, Thomas Weelkes and more.

South India’s Carnatic tradition is just as venerable as all these European early music shows, and Oregon is fortunate to boast a family of musicians whose lineage on the beautiful, ancient long-necked veena lute stretches back eleven generations. Renowned India born veena virtuosi Sreevidhya Chandramouli and Chandramouli Narayanan join their sons Kapila and Sushruta Chandramouli and ghatam (clay pot) percussion master Ravi Balasubramanian December 30 for a Carnatic classical concert at Portland’s Christ United Methodist Church.

The Oregon Symphony plays music from Beethoven’s Symphony #9 on New Year’s Eve at Arlene Schnitzer Concert Hall.

On December 30 and New Year’s Eve at Arlene Schnitzer Concert Hall, “Pink Martini New Year’s Extravaganza” returns with Portland’s own retro-Latin-Euro big band’s annual joint venture with the Oregon Symphony, now expanded to three performances, but tickets remain for only the last, late night bash. Along with orchestra-enhanced hits from throughout Pink Martini’s career and recent CD Je Dis Oui!, the Oregon Symphony will perform the glorious final movement of Beethoven’s Symphony #9.

For a smaller scale NYE, catch Portland’s venerable Florestan Trio, 41 years old and counting, as they precede a champagne and dessert reception with an hour of chamber music classics by Franck (from his famous violin sonata, Mendelssohn, Poulenc, Rachmaninoff, Falla and more at Portland’s Old Church Concert Hall.

The Florestan Trio performs in Friends of Chamber Music’s New Years Eve concert.

The Christmas myth is many things, but one of them involves a resurrection story, which should resonate with fans of Eugene Opera, which just arose from its most recent near-death experience. Its New Year’s Eve opera buffa, Rossini’s 1816 The Barber of Seville, also has some here-and-now resonance, with its story of a powerful older man trying to coerce a much younger woman into an abusive relationship. Eugene Opera’s cast mixes a pair of Met vets (baritone Malcolm MacKenzie and mezzo Heather Johnson) with local stars Jake Gardner, Bill Hulings, recent arrival Craig Phillips (the New York Polyphony singer now at the UO) and more, all conducted by Andrew Bisantz, who’s added the title of artistic director to his EO portfolio. Maybe the triumph of true love over sexual predation will get 2018 off to a better start than the year it’s replacing.

After some post holiday dieting, the slimmer, sleeker MusicWatch will return in 2018, and don’t worry, in the meantime, ArtsWatch will have a few other music stories to tingle your ears as we bid a pffft! farewell to a troubled year. Meanwhile, here’s a new video from Oregon singer Marti Mendenhall to put you in the holiday mood.

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