eugene symphony

ArtsWatch Weekly: a Persian R&J

Outdoor Shakespeare with a twist; more music festivals; Mozart & Bach; an ArtsWatch apology; a profusion of prints

Summer and Shakespeare seem to go together like Abbott and Costello, or toast and jam: You can have one without the other, but somehow they’d feel incomplete. Little danger of that in Oregon, where we get our summer Shakespeare aplenty, often with a twist.

 

Nicholas Granato as Romeo/Majnun in Bag&Baggage’s “Romeo and Juliet (Layla and Majnun).” Casey Campbell Photography

Consider Romeo and Juliet (Layla and Majnun), an interweaving of Shakespeare’s romance and the 12th century Persian poet Nizami’s epic tale of a feud between families. Bag&Baggage’s premiere opens Thursday on the outdoor stage of the Tom Hughes Civic Center Plaza in downtown Hillsboro, in a production that B&B artistic director Scott Palmer believes blends R&J with one of its primary sources. “When you read the texts side by side, the parallels between the two tales are really astounding,” Palmer tells ArtsWatch’s Brett Campbell. “There’s no smoking gun, but we do know (Shakespeare) was reading Italian sources and those were heavily influenced by Persian masterpieces from the 11th and 12 centuries. There is just no question that Layla and Majnun had a powerful, although indirect, influence on Romeo and Juliet.” Read Campbell’s full story here.

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ArtsWatch Weekly: Media Blitzen

A pair of premieres at Center Stage, dance and theater openings, Brett Campbell's weekly music picks, Christopher Rauschenberg & more

It’s a busy weekend at the Armory, where Portland Center Stage hangs its hat: world-premiere opening nights Friday for Wild and Reckless, the new concert/play from the band Blitzen Trapper, and Saturday for Lauren Weedman Doesn’t Live Here Anymore. Both will be playing on the Main Stage, in repertory.

We haven’t (of course) seen either show yet, so we’ll quote the company on what’s up with Wild and Reckless: It “traces the unforgettable tale of two kids on the run, in a futuristic vision of Portland’s past. Evoking a bygone era of Portland, this sci-fi love story features a rock-and-roll score that pairs unreleased songs with favorites from the band’s catalog, including Black River Killer and Astronaut.” And what, precisely, is a futuristic vision of Portland’s past? Francis Pettygrove and Asa Lovejoy tossing a coin in spacesuits to name the city? Probably not. But tune in Friday, or anytime through April 30, to find out.

Eric Earley as The Narrator and Leif Norby as The Dealer in “Wild and Reckless.” Photo: Patrick Weishampel/blankeye.tv.

Lauren Weedman we know a little better from her smart and edgy previous one-woman shows at Center Stage and elsewhere. She could run a clinic on how to grab and hold an audience’s attention: She can be funny, and she can be fierce, and she has the focus of a hawk hunting rabbits in an open field. This newest show, also through April 30, homes in on heartbreak and how to mend it, and arrives with big hair, tight jeans, and a passel of country tunes. Plus, a backup band.

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Eugene Symphony music director search: Clear choice

With the orchestra’s series of audition concerts now complete, one candidate stands head, shoulders, and baton above the rest

by TOM MANOFF

The Eugene Symphony has announced three candidates to succeed current conductor Danail Rachev: Dina Gilbert, Ryan McAdams and Francesco Lecce-Chong. As ArtsWatch’s feature about the selection process showed, all three young, rising conductors offered strong credentials in the race to join a distinguished lineage that includes stars Marin Alsop and Giancarlo Guerrero.

Francesco Lecce-Chong led the Eugene Symphony last week. Photo: Amanda Smith.

But the ultimate test was how successfully they directed the musicians each aspires to lead. Last week’s final audition concert leaves no doubt about the most qualified choice — the candidate who best meets Eugene’s needs today. Here are my observations from all three audition concerts.

Dina Gilbert

Active in Quebec, Gilbert has been the assistant conductor at the Orchestre symphonique de Montréal and has also conducted a number of youth orchestras around the world. Compared with the other two candidates, her bio is particularly thin.

At her December 8 audition concert, Gilbert seemed quite nervous walking to the podium, which carried into the first piece: the overture to Mozart’s opera, The Magic Flute.  Perhaps these nerves prompted her too-fast tempo for the overture’s opening, a pace the orchestra had a hard time keeping up with.

This Mozart overture is widely known, and, as it happens, has a tricky part for conductors, a section that many conducting students struggle to master. Mozart wrote a threefold utterance of an Eb -flat chord at the opening on the work (in homage to the Masons,) each of these chords with a short “pick-up.” Under Gilbert’s baton, the initial series of threefold statements was a bit shaky, but passable. However, when the threefold statement with pick-ups returned midway through the work, one was botched quite badly. The mistake revealed a flaw in Gilbert’s conducting technique, a problem that dogged her throughout the night.

Dina Gilbert conducted the Eugene Symphony in December. Photo: Amanda Smith.

Because I’m especially interested in conducting technique – there are so many styles that work – I was sitting in the balcony as far left as allowed. From that vantage point I could see most of what the conductor was doing. Gilbert has a hitch in her beat, coming down and then bouncing forward, a confusing motion, and certainly the problem with that missed Mozart chord.

Best performance on this night came next – Korngold’s schmaltzy Violin Concerto, played by a wonderful violinist , Elena Urioste. While Gilbert rarely imparted phrasing to the orchestra, the violinist did, and the result was satisfying.

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“Ode To The Future”: Nurturing young Oregon composers

Eugene Symphony's November 17 concert features the world premiere of collaborative composition produced in innovative educational program

By GARY FERRINGTON

When the  Eugene Symphony began planning its 50th anniversary, the organization wanted to celebrate the past while looking to its future. Executive Director Scott Freck decided to invest in the future of Oregon music with an inventive, multifaceted  new program that combines mentoring and making new music.

That effort culminates this Thursday when the orchestra premieres Ode to The Future. The nine-minute theme and variation piece, written by five young composers in collaboration with Dr. Robert Kyr, head of the University of Oregon School of Music and Dance’s Composition and Music Theory and his graduate students this past summer, concludes the Oregon Young Composers project.

Young composers Wesley Coleman, Marissa Lane-Massee, Joseph Miletta with Dr. Robert Kyr. Photo: Eugene Symphony.

Young composers Wesley Coleman, Marissa Lane-Massee, Joseph Miletta with Dr. Robert Kyr. Photo: Eugene Symphony.

The Ode to The Future will first be performed during the symphony’s November 15th iCompose Youth Concert in which some 3,000 elementary school students will also hear pieces by other composers, such as Mozart and Bizet, who began writing music in their youth. Also planned is an activity that will introduce the children to the building blocks of composing by encouraging them to participate in a creative music-making task at the concert.

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Arts Sampler: Eugene by train for a car free, arts-stuffed weekend

Eugene offers arts lovers a walkable bazaar of music, theater, dance and more

Story, video and photos by GARY FERRINGTON

As the fall arts season opens, arts-loving Portlanders and other Oregonians seeking a relaxed, car-free weekend exploring dance, music, theater, and the visual arts can look 100 miles up river from Portland. Visitors arriving by train from Portland or points north will find most of Eugene’s cultural activities within walking distance of downtown lodging options — a healthy alternative to driving. If motor transportation is needed, the nationally award-winning LTD bus system and numerous taxi companies provide reliable travel about the city.

Eugene at the headwaters of the Willamette.

Eugene at the headwaters of the Willamette.

Amtrak Cascade train service makes rail passenger travel along the corridor between Eugene and Portland, with connections to Seattle and Vancouver, B.C., a comfortable coach or business class option for sitting back and watching the scenic Willamette valley roll by as sleek modern Spanish designed Talgo trains pass through a rural countryside not easily seen from the ever increasingly congested I-5 freeway.

The coming arts season offers some excellent opportunities for visitors to enjoy an arts-saturated weekend in Eugene. Read on for a guide to venues, dining options, exhibitions, performances, and discover some historical architecture along the way.

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Music News & Notes

Recent happenings in Oregon music

Been awhile since we rounded up recent news in Oregon classical music, so here’s some items that lit up our screens in recent months.

Laurels and Plaudits

• Composition Champ. University of Oregon composition professor Robert Kyr was one of four American composers to win this year’s American Academy of Arts and Letters $10,000 Arts and Letters Award for outstanding artistic achievement by a composer who has arrived at his or her own voice.

Mia Hall Miller

Mia Hall Miller

Wonder Woman. Pacific Youth Choir founder and director Mia Hall Miller received the Oregon Symphony’s 2016 Schnitzer Wonder Award, a $10,000 prize that “honors an individual or organization that directly works to build community through the next generation of artists and/or student musicians.” Now in its 13th year, PYC boasts almost 300 singers in 10 choirs.

Violin Virtuosa. Portland violinist Fumika Mizuno is the only Oregonian selected among the 109 young musicians (age 16-19) from across the country for the fourth annual National Youth Orchestra of the United States of America. It’s her second stint with the NYO, which (after a training residency in New York) performed with the great pianist Emanuel Ax at Carnegie Hall in July, then played concerts led by Valery Gergiev at Amsterdam’s Concertgebouw, in Montpellier France, Copenhagen, and Prague.

• Operatic ascent. Portland tenor A.J. Glueckert was one of six winners of the $10,000 George London awards, one of America’s oldest vocal competitions.

Eugene jazz musician Tony Glausi. Photo: Tyler Sams. 

Eugene jazz musician Tony Glausi. Photo: Tyler Sams.

Trumpeter on the rise. Eugene jazz trumpeter and composer Tony Glausi has been named the recipient of the 2016-17 Laurie Frink Career Grant, a biennial $10,000 award to give a “young brass player an opportunity for serious study or to undertake a creative project.” One of America’s most revered brass instrument teachers, Frink, who died in 2013, played in some of the finest jazz orchestras (including those of Maria Schneider, Benny Goodman Orchestra, Mel Lewis, Gerry Mulligan, John Hollenbeck, Darcy James Argue and more), performed with Broadway orchestras, co-wrote the definitive book on trumpet improvisation, and mentored some of today’s top trumpeters including Dave Douglas and Ambrose Akinmusire. Read Gary Ferrington’s ArtsWatch profile of Glausi.

The Marylhurst Chamber Choir performs at the 2016 Cork International Choral Festival.

Choral Voyagers. Marylhurst University’s premiere choral ensemble, the Marylhurst Chamber Choir, was one of only 34 choirs from around the world, and the only American choir invited to perform at the Cork International Choir Festival in Cork, Ireland in May. It placed third to choirs from Sweden and Turkey in a close contest for the placed third in the festival’s top honor, the Fleischmann Award and won the Peace Award for the choir that best embodied the spirit of the festival.

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Eugene Symphony preview: Northwest dawn

Eugene composer Robert Kyr’s new Piano Concerto was inspired by Oregon landscapes

By GARY FERRINGTON

When Eugene composer Robert Kyr was a 16 year old cellist, his high school music director asked him to compose a piano concerto for the orchestra– and perform as the soloist. “After we premiered the work, the director decided to record it—on vinyl!—and the entire experience of composing, performing, and recording instilled in me a love for orchestral composition, which has only grown stronger over time,” Kyr remembered in an ArtsWatch interview.

University of Oregon Prof. Robert Kyr. Photo: John Strieder/OPB.

University of Oregon Prof. Robert Kyr. Photo: John Strieder/OPB.

Next Thursday, May 12, pianist Alexandre Dossin and the Eugene Symphony Orchestra premiere the first piano concerto Kyr has written since then, Dawning of the World, at the Hult Center for the performing arts. The third and last new work the ESO commissioned for its 50th anniversary season (along with Mason Bates’s Gramophone Depot and Roberto Sierra’s Loíza), it closes a circle began with that previous concerto, written a couple of years after the Eugene Symphony was founded.

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