oregon repertory singers

‘Israel in Egypt’ review: full-blooded Handel

Oregon Repertory Singers, orchestra and soloists deliver a performance that matches the great baroque oratorio's epic scale

by BRUCE BROWNE

It’s a plague, it’s a pestilence, it’s a flood, a conflagration. Is it a Camus play, a new video game or first run science fiction flick? No, it’s the dramatic unfolding of the Old Testament of the Bible and the 290-year-old oratorio Israel in Egypt.

For George Frideric Handel, the late 1730s were a period of upheaval. He suffered and recovered from a neurological event while living in London on the up side of his forties and down side of his opera successes. But Handel dug in and evolved. He stepped back from Italian opera and, by the end of the decade, he was composing and mounting his new favorite musical genre, the oratorio, which is like opera without elaborate costumes, props, theatrical character interaction or secular subject matter. (If you’ve seen Handel’s later Messiah, you’ve seen an oratorio.) Israel in Egypt, one of his first enduring oratorios, was premiered in 1739.

Oregon Repertory Singers performed Handel’s ‘Israel in Egypt’ at Portland’s First United Methodist Church. Photo: Allison Silverberg.

In the Oregon Repertory Singers‘ performance at First United Methodist Church last weekend, music director Dr. Ethan Sperry presented Israel in Egypt, as it is most often, in the two-act version created by Handel after a less than enthusiastic response to his three-act premiere. Thankfully, Handel retained the exquisitely virtuosic single and double choruses and several lovely arias presented by director Sperry, choir, orchestra and soloists.

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MusicWatch Weekly: new sounds from Oregon

This week’s Oregon music schedule boasts numerous new works by today’s composers from the Northwest, Midwest and beyond, mixed in with classics from across the ages and oceans

Big Horn Brass, a baker’s dozen of brass players and two percussionists, feature brassy new music by Cascadia Composers Greg Steinke, Jan Mittelstaedt, John Billota, Greg Bartholomew, and fellow Northwest composer Anthony DiLorenzo at their Saturday night concert at Beaverton’s St. Matthew Lutheran Church. Some other guys named Debussy, Bach and Puccini will provide filler.

New Oregon music by Eugene composer Paul Safar is also on the program when Eugene’s excellent Delgani String Quartet goes all homicidal Friday at Portland’s and Saturday at Springfield’s Wildish Theater. The program features music inspired by murder, with theatrical readings from literary works that inspired them interpolated by actor Rickie Birran of Man of Words Theatre Company. Janacek and Shostakovich will be represented too. Read Gary Ferrington’s ArtsWatch preview.

Speaking of new music by Oregon composers, read Gary’s ArtsWatch preview of Oregon composer Ethan Gans-Morse’s new composition commissioned by Rogue Valley Symphony, which the orchestra performs this weekend in Medford and Grants Pass. Beethoven is the closing act.

Estelí Gomez sings new music by University of Oregon composers at  Eugene’s Beall Concert Hall. Photo: Gary Ferrington.

There’s even newer Oregon music for voice Sunday at the Oregon Composers Forum’s Sunday concert at the UO’s Beall Concert Hall. The superb soprano Esteli Gomez, one of the singers in Grammy winning Roomful of Teeth ensemble, returns to sing new music by UO composers.

Joe Kye performs at Portland State Friday.

That same night, Portland based, Korea-born songwriter-composer and looping violinist Joe Kye plays his engaging, often autobiographical songs at Portland State’s Lincoln Recital Hall.

Shades of Sufjan Stevens and his albums inspired by American states! Does a symphony called “Portland” and named after Oregon’s largest city qualify as Oregon music — if it wasn’t written by an Oregonian? Decide for yourself at the University of Portland’s free concert featuring Erich Stem’s orchestral work Tuesday night at Buckley Auditorium. His website bio says nothing about where Stem resides or was born, but Indiana seems a likely suspect. The piece is part of Stem’s project called America By: A Symphonic Tour, which includes a collection of commissioned works from across the country, “each work reflecting the unique qualities and history of a specific location.”

New American Sounds

One of the most frequently performed and commissioned composers of choral music, Minnesota’s Jake Runestad, seem poised to follow Morten Lauridsen and Eric Whitacre as a choral music star, and he’s also written several operas and other works. On Saturday night at Lewis & Clark College’s Agnes Flanagan Chapel, Choral Arts Ensemble and Linn-Benton Community College Chamber Choir team up to present the Music of Jake Runestad, the first major opportunity for Portland to get a healthy sampling of his heartfelt songs and broad, audience-friendly musical range.

Bells toll in Chicago composer Augusta Read Thomas’s new, half-hour orchestral composition, Sonorous Earth (an evolution of her earlier Resounding Earth), which Eugene Symphony performs Thursday at the Hult Center to complete her artistic residency there. Each of its four-movements also uses techniques associated with the major composers who made percussion the defining sound of 20th century classical music: Stravinsky, Messiaen, Varese, Berio, Cage, Ligeti, Partch and Oregon’s own Lou Harrison.

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MusicWatch Weekly: updating traditions

Holiday happenings and more music on Oregon stages this week

It’s December, and time for the annual Battle of the Messiahs. This year, Portland Baroque Orchestra’s historically informed performances on period instruments seem to have vanquished all Portland pretenders, but fans of anachronistically modern instruments and oversized venues can still find their seasonal bliss in Eugene.

Other holiday choral concerts this year offer refreshingly diverse and modern music for the season, including Choral Arts Ensemble’s mostly 21st century show, Oregon Repertory Singers’ 20th century program, and Portland Chamber Orchestra’s multicultural menu. There’s actually some non-holiday oriented music too, and if you’d like to recommend other Oregon musical events to our readers, please avail yourself of the comments section, infra.

“(Music) for a Time and Space”
Portland-based interdisciplinary artist and composer Ben Glas’s exhibition, which opens Thursday, “explores intently ideas of spatial compositions, alternative modes of hearing and subjective sonic experiences as guided by tonal interactions in space.”
Thursday, Variform Gallery, Everett Station Lofts, Portland.

Korgy & Bass
Drummer/composer Barra Brown (Shook Twins, Ages and Ages, Barra Brown Quintet) and bassist/beatmaker Alex Meltzer’s (Coco Columbia, Two Planets) sample-based beat music definitely draws on jazz, but also takes into the 21st century by incorporating influences from house and other electronica and dance music.
Thursday, Bombs Away, Corvallis; Friday, Hi-Fi Lounge, Eugene; Saturday, Wonder Ballroom, Portland.

Messiah
Even performed on anachronistic modern instruments by Eugene Symphony and Chorus, Handel’s glorious oratorio is a stirring experience, no matter how many times you’ve heard its famous tunes, including — hallelujah! — That One. There will be a harpsichord, though, manned by music director Francesco Lecce-Chong, who’ll direct the performance.
Thursday, Hult Center, Eugene.

Messiah
Each holiday season, various Portland groups stage Handel’s stirring Baroque masterpiece, and as always, Portland Baroque Orchestra’s historically informed version, played on authentic instruments and in tunings the composer would recognize, is the truest. Paul Agnew sings tenor and conducts PBO, a quartet of Juilliard-trained vocal soloists, and Portland’s own great choir, Cappella Romana. The first three performances are the full meal deal, and there’s a Monday performance of highlights only.
Friday through Monday, First Baptist Church, Portland.

Cappella Romana joins Portland Baroque Orchestra in Handel’s “Messiah.”

Choral Arts Ensemble
The choir goes beyond the usual recycling of tired holiday perennials to offer a broader, more modern musical appreciation of winter and the myth of the mother of God by by some of the finest late 20th/early 21st century choral composers: John Tavener, Ola Gjeilo, Arvo Pärt, Eric Whitacre, and Stephen Chatman. The splendidly diverse program also includes Mexican and Spanish seasonal carols (including some devoted to the major Latin American holiday, the feast day of Our Lady of Guadalupe) and classic compositions by Baroque boss Antonio Vivaldi and Renaissance master Francisco Guerrero.
Friday-Saturday, St. Andrew Catholic Church, 806 NE Alberta St. Portland.

Portland Chamber Orchestra
Abetted by the excellent Portland Persian/Middle Eastern ensemble Shabava, PCO’s multicultural holiday show includes Kurdish, Spanish-Sephardic, French-Moroccan, Swedish and other music, which they’ve quilted into a single multifarious musical tapestry inspired by the structure of Handel’s Messiah. 
Friday, New Song Church, Portland, and Saturday, St. Anne’s Chapel Marylhurst University.

Northwest Community Gospel Choir sings with the Oregon Symphony.

Gospel Christmas
Oregon Symphony and Northwest Community Gospel Choir’s ever-popular annual show featuring holiday favorites usually sells out, so get your tickets pronto!
Friday-Sunday, Arlene Schnitzer Concert Hall, Portland.

Oregon Repertory Singers
For four decades, the big choir’s annual Glory of Christmas concert has offered enough traditional tunes and singalongs to satisfy the purists while also including less frequently heard but no less enjoyable and intriguing modern music. Along with new and old carol arrangements, this year’s edition includes new music by America’s most esteemed living choral composer, Beaverton native Morten Lauridsen and several 20th century masterpieces, by Benjamin Britten’s (the English composer’s beautiful A Ceremony of Carols), Franz Biebl’s perennial Ave Maria, portions of American composer Randall Thompson’s Frostiana: Seven Country Songs, and winter-themed songs by revered Estonian choral composer Veljo Tormis, who died earlier this year.
Friday and Sunday, First United Methodist Church, 1838 SW Jefferson St. Portland.

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MusicWatch Weekly: no leftovers

This week's Oregon concerts, with trimmings

MusicWatch has a confession to make: it seriously overindulged at last week’s holiday table. In truth, MusicWatch has been putting on the preview poundage (the freshman 1500?) quite a bit since leaving parental supervision for its own place, so ArtsWatch paterfamilias Barry Johnson staged a needed intervention, placing MusicWatch on a strict 800-word limit (and eventually 500, but we can’t go, uh, cold turkey right off the bat) until it slims down to the concision of  A.L Adams’s svelte DramaWatch or achieves the noble balanced proportions Jamuna Chiarini’s ample DanceWatch. If you want to add your own garnishes, please do so in the comments section, where they won’t count against the word limit or MusicWatch’s waistline.

Legends of the Celtic Harp
Patrick Ball, Lisa Lynne and Aryeh Frankfurter combine Celtic and English seasonal music (using three Celtic Harps, Swedish nyckelharpa, fiddle, bandura, bouzouki) and stories including A Child’s Christmas in Wales, a chapter from The Wind in the Willows, and passages from Shakespeare, Yeats, and Thomas Hardy.
Friday, Cerimon House, Portland.

Portland Gay Men’s Chorus performs its holiday show this weekend.

Portland Gay Men’s Chorus
Christmas, Hanukkah, Kwanzaa, Winter Solstice and other seasonal songs.
Friday-Sunday, Newmark Theater, Portland.

Cinderella
Portland State’s acclaimed opera program presents a piano quartet operetta of the classic fairy tale concocted from vintage German and French songs. Stay turned for Angela Allen’s ArtsWatch review.
Friday-Dec. 17, PSU Studio Theater, Lincoln Hall, Portland State University.

Oregon Symphony and Andre Watts
Scandinavian sounds by Grieg, Nielsen, Sibelius, and fellow Finn Joonas Kokkonen.
Friday, Smith Auditorium, Willamette University, Salem, and Saturday-Monday, Arlene Schnitzer Concert Hall, Portland.

Andre Watts performs with the Oregon Symphony.

Soror Mystica
ParaTheatrical ReSearch PDX’s latest ritual music/ theater/ dance/film/performance art creation (See Mitch Ritter’s ArtsWatch review of the company’s earlier Bardoville.) Friday-Sunday, Performance Works NW, Portland.

ISing
The annual free concert (with donations benefiting a good cause) features familiar carols with 80 voice choir, a brass octet, taiko drums, kotos and massive organ.
Friday and Sunday, Bethel Congregational United Church of Christ 5150 SW Watson, Beaverton, and Saturday,
St. Peter Catholic Church, 8623 SE Woodstock Blvd, Portland.

Beaverton’s iSing chorus used video in its winter 2013 concert.

“Singin’ in the Rain”
Peg Major directs, Robert Ashens conducts and Caitlin Christopher choreographed The Shedd’s original production of Betty Comden and Adolph Green’s 1985 stage adaptation of their classic film comedy about 1920s silent film stars making the turbulent transition to talkies.
Friday-Dec. 17, The Shedd, Eugene.

“Amahl and the Night Visitors”
For decades beginning in 1951, American composer Gian Carlo Menotti’s beloved one-act opera was a perennial holiday treat on NBC television. Thanks to Menotti’s appealing score and story about three kings, a family, and a series of miracles, Amahl is still the most frequently produced opera in the world — a family friendly holiday performance presented by one of Oregon’s finest chamber vocal groups, The Ensemble of Oregon, composed of top singers from the city’s big choirs.
Saturday-Sunday, First Christian Church, 1314 SW Park Avenue, Portland.

Christina & Michelle Naughton
Along with European classics by Debussy and Ravel (his enchanting child-inspired Mother Goose music), Mozart, Chopin, Schubert, and Tchaikovsky, the award-winning sibling duo pianists play 20th century American music, including delights by wild card Conlon Nancarrow, John Adams’s Hallelujah Junction, and Paul Schoenfield’s Five Days from the Life of a Manic Depressive.
Saturday & Sunday, Portland State University, Lincoln Hall.

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MusicWatch Weekly: autumn bounty

This week's Oregon music highlights

In one of the peak weeks in the fall season of Oregon music, terling sopranos sing old and new songs, and other highlights include contemporary electronica, jazz, choral music, and sounds from Argentina, Mali, Japan, Europe, and beyond — including Oregon composers. Please add your recommendations in the comments section below.

BallakŽe Sissoko and Vincent Segal perform Tuesday at Portland’s Old Church concert hall. Photo: Claude Gassian.

Julianne Baird and Marcia Hadjimarkos
The superb early music soprano and the acclaimed Portland-born pianist, long based in Europe, perform music from Jane Austen’s world. The immortal writer was also a musician who practiced pop tunes of her time on fortepiano (which Hadjimarkos will, appropriately, play here) daily before breakfast, and filled her room with sheet music and her books and letters with references to public and private music events. Along with music by Haydn, Handel, Gluck, and more, including female songwriters, the show features songs about country life, drinking, and love, plus Turkish and Moorish motifs, female character pieces, and songs about naval victories and the French Revolution. A pair of narrators interpolate readings from Pride and Prejudice, Persuasion, Emma, Sense and Sensibility, and more.
Wednesday, Hudson Hall, Willamette University, Salem.

Kaitlyn Aurelia Smith performs Thursday in Portland.

Kaitlyn Aurelia Smith
The Orcas Island native, now based in LA, has moved from the contemporary classical niche to broader acclaim and audiences in electronic music, including opening for Animal Collective and collaborating Suzanne Ciani. The synth-savvy sound sculptor is releasing three albums this year to go with five earlier releases, numerous film scores, and more.
Thursday, Doug Fir Lounge. Portland.

Eugene Symphony
When the rising young pianist Conrad Tao appeared at the University of Oregon’s Beall Hall in 2011, he was a 17-year-old prodigy who could seemingly almost play masterpieces with one hand tied behind his back. Having grown both a beard and a reputation as a solid performer and composer, he’ll almost get the chance in Maurice Ravel’s dramatic 1931 piano concerto written for the great Austrian virtuoso Paul Wittgenstein, who’d lost his right arm to a Russian bullet in World War I. He’ll also solo in Liszt’s wild, colorful 1838 Dance of Death (Totentanz), and the orchestra will play a Mozart symphony about which its composer wrote, “I hope that even these idiots will find something in it to like.” He was talking about Parisians, not Oregonians, who’ll find plenty to enjoy in Mozart’s so-nicknamed Paris Symphony.
Thursday, Hult Center, Eugene.

Marquis Hill’s Blacktet plays two shows in Portland.

Marquis Hill Blacktet
The 2014 Thelonious Monk competition winner earned further notice with his gig in Joe Lovano’s band, and the sweet toned trumpeter has become a fine bandleader himself with this group that integrates bop, hip hop and R&B. Two shows.
Thursday, Fremont Theater, Portland.

Third Angle New Music & Tony Arnold
The Portland new music string quartet and New York new music soprano team up in music by the fine California composer Gabriela Lena Frank, colorful Australian composer Brett Dean, Greek-French composer Georges Aperghis, and midcentury Italian modernist Luciano Berio. Read Gary Ferrington’s ArtsWatch preview of the same team’s Creative Academy of Music concert Saturday.
Thursday and Friday, Studio 2 @ N.E.W. Portland.

Portland Jazz Composers Ensemble
The plucky organization dedicated to cultivating 21st century music by Portland composers and improvisers celebrates its tenth anniversary with a a TED-style talk from Executive Director Douglas Detrick, silent auction with some really enticing offers, and three pieces of music that tell the PJCE story—by PJCE founding Executive Director Andrew Oliver, former Grasshoppers (the young composers mentored by established Portland jazz musicians via PJCE’s admirable program) mentee Andres Moreno, and the world premiere of a new piece by one of Portland’s busiest and most inventive musicians, drummer/composer/improviser Barra Brown.
Friday, Fremont Theater, Portland.

Sound of Late
The exciting Portland/Seattle ensemble gives the West Coast premieres of music by youngish British composer Anna Clyne (former composer in residence with the Chicago Symphony and other orchestras) and Sarah Kirkland Snider, plus works by by Japanese composer Somei Satoh, Italian modernist Giacinto Scelsi, and the world premiere of a new piece by young Seattle composer Noel Kennon. The show is enhanced by video art by Seattle artist Stefan Gonzales.
Saturday, N.E.W. Expressive Works, Portland.

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ArtsWatch Weekly: full-tilt boogie

Imago tilts the action in a topsy-turvy Greek classic, Brett Campbell's best music bets, "Jersey Boys" croons into town, new theater & dance

The question echoes down the centuries from the Greek myths and Euripides’ play, which was first set on stage in 431 B.C. and just keeps coming back: was Medea balancing the scales of justice when she murdered her husband’s new wife and her own children, or was she falling off her rocker? People have been arguing the point ever since (Medea shocked its original audience, coming in dead last in that year’s City of Dionysia festival), and the question of teetering out of control remains foremost, right down to Ben Powers’ recent adaptation of Medea for the National Theatre in London.

The ups and downs of rehearsal: Imago’s tilting stage for “Medea.” Imago Theatre photo.

Enter Jerry Mouawad of Imago Theatre, whose own theories of balance reach back to his mentor Jacques Lecoq, the French mime and movement master who advocated a “balance of the stage.” In 1998 Mouawad and Imago took the advice literally, creating a large movable stage, suspended three feet above the floor, that tips and leans as the actors shift position on it. They used it for an acclaimed production of Sartre’s No Exit, in which the constantly shifting balances became a metaphor for the play itself. The show was revived several times and traveled to theaters across the country.

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Doing anything Friday night? How about hanging out on 82nd Avenue?

The East Side strip, which runs north-south for many miles, was once considered a barrier of sorts between the city and the sprawl, and also an economic barrier, with a richer urban population to the west and a poorer, semi-rural population to the east. East County didn’t get in the game very much, and when it did, it was often as a political football. 82nd became neon central, home to everything from used car lots to Southeast Asian restaurants to massage parlors – and, increasingly, a rich stew of ethnic and immigrant cultures.

Signs of the times: Sabina Haque's 82nd Avenue.

Signs of the times: Sabina Haque’s 82nd Avenue.

That’s what makes it interesting to Portland artist Sabina Haque, a very good painter and collagist whose work in recent years has moved also toward installation, film, and cultural and cross-cultural projects, including her provocative series on drone warfare in Pakistan, where she grew up.

Haque, as artist in residence for the Portland Archives & Records Center, has been digging deeply into the area’s long and complicated history, finding a cultural through-line to match the strip of concrete that divides culture from culture and east from west. From 6 to 9 p.m. on Friday she’ll unveil what she’s created in Annexation & Assimilation: East 82nd Ave, a giant exhibition/event in the 8,000-square-foot APANO/JADE multicultural center at 82nd and Southeast Division Street. The free event will include video projections on 20-foot screens, oral histories, shadow theater, poster installations and more – for some, a rousing introduction to a part of Portland they hardly know; to others, a simple statement of the place they live.

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