Andrew Hsu

MusicWatch Weekly: solos and duos

Duo pianists and string players, a doomed love duet, and solo pianist, singer, and percussionist highlight this week's Oregon music

Portland Opera opens its season with Verdi’s Bohemian Parisian perennial La Traviata, which runs this Friday night and Sunday afternoon, and next Thursday and Saturday at Portland’s Keller Auditorium. Romanian soprano Aurelia Florian, tenor Jonathan Boyd and Weston Hurt star in this traditional production sung in Italian with projected English translations.

Jonathan Boyd as Alfredo and Aurelia Florian as Violetta in Portland Opera’s production of Verdi’s ‘La Traviata.’ Photo: Cory Weaver/Portland Opera.

• For opera music of more (sadly, in the wake of the latest right-wing gun- and bigotry-fueled massacre) immediate relevance, you’ll have to head up to Seattle’s Benaroya Hall for the powerful Music of Remembrance series, which remembers the Holocaust through music. Performed by Seattle Symphony members, this 20th anniversary concert, includes highlights from MOR’s varied repertoire of Holocaust-era music and new works its commissioned: excerpts from Tom Cipullo’s award-winning chamber opera After Life, imagining a confrontation between the ghosts of Gertrude Stein and Pablo Picasso; Jake Heggie’s opera Out of Darkness, Lori Laitman’s oratorio Vedem, Paul Schoenfield’s Camp Songs. Northwest Boychoir sings Yiddish songs that Viktor Ullmann arranged in Terezín death camp. Members of Spectrum Dance Theater reprise dances that choreographer Donald Byrd created for The Dybbuk.

Courtney Freed, cutting loose as Freddie Mercury.

• Just in time to piggyback on the new Queen movie (or is that the other way round?), Courtney Freed’s one-woman Freddie Mercury tribute concert Mercury Rising returns Friday to Portland’s Artists Repertory Theatre. Aided by David Saffert on keys, Josh Gilbert on reeds, Bernardo Gomez on bass and Tom Goicochea on drums, she’ll sing Queen songs arranged by Reece Marshburn. “Freed thankfully didn’t try to embody the outsized rock star,” ArtsWatch’s Angela Allen wrote after the show’s brief April run at Coho Theater,” but “Mercury fans, who comprised most of the audience, were all over the songs—doing the Wave, cheering, singing and mouthing the words. She added some vamping and dancing (her singing is much better than either) and interspersed her songs with spicy narration…. The music leaned far more toward jazzy cabaret than ear-killing British rock. And even if you weren’t a diehard Queen fan, you couldn’t resist Mercury’s melodies.”

Orchestral Attractions

• The Oregon Symphony brings another musical/theatrical combo Saturday through Monday at Arlene Schnitzer Concert Hall. Petrushka tells the story of a puppet come to life, so it’s only appropriate that creative director Doug Fitch enhances Stravinsky’s sublime 1911 ballet score (in its 1946 revision) with puppets, dance, set design, audience participation and other visual touches designed to evoke the 1830s St. Petersburg fair that inspired the original. One of the season’s best classical programs also boasts Haydn’s stirring penultimate symphony, William Walton’s African music-influenced Johannesburg Festival Overture, and Swiss composer Arthur Honegger’s unseasonably sunny Summer Pastorale.

Doug Fitch’s puppetry enhances Oregon Symphony’s ‘Petrushka’ this weekend.

• On Saturday and Sunday at Newport Performing Arts Center, Newport Symphony plays Schubert’s Overture In the Italian Style, along with Ravel’s gravely beautiful At the Tomb of Couperin, and brings in trumpeter Katherine Evans to lead the way in Hertel’s third trumpet concerto and the late Seattle-based composer Alan Hovhaness’s haunting Prayer of Saint Gregory. The show closes with Mendelssohn’s ebullient “Italian” Symphony #4.

• Speaking of the peripatetic Mendelssohn, Vancouver Symphony Orchestra plays his “Scottish” Symphony No. 3, Berlioz’s Roman Carnival Overture, and Khachaturian’s Piano Concerto, with soloist Dimitri Zhgenti on Saturday and Sunday at Skyview Concert Hall.

Continues…

Angelo Xiang Yu & Andrew Hsu review: Brahms’s indiscretions

Hit Chamber Music Northwest duo deliver soul-warming performance of the German master’s heartfelt works for violin and piano

by JEFF WINSLOW

Johannes Brahms and his music both have forbidding reputations. Yet on his rambles around 19th century Vienna, the great Romantic composer would give away candy to children – who would keep on the lookout for “Papa Brahms.” And he wrote two of the sweetest, most amiable violin and piano sonatas you could ever hope to hear, plus a third bursting with passion. Brahms may have realized how much he let his guard down writing them; in a letter to a close friend he called the first sonata “my latest indiscretion.”

Andrew Hsu and Angelo Xiang Yu performed at Portland’s Old Church concert Hall. Photo: Kimmie Fadem.

The last Sunday in October, that most amiable of duos, international prize-winning violinist Angelo Xiang Yu and rising star pianist Andrew Hsu, offered up all three plus a youthful scherzo as part of Chamber Music Northwest’s 2017-2018 season. CMNW artistic director David Shifrin tried to let on that the pair were, unbeknownst to him, only joking when they suggested the all-Brahms program as an encore for their standout performance at CMNW’s 2016 summer festival. Maybe so, but the full house at the Old Church in Portland was obviously glad he took them seriously. Yu and Hsu gave us an afternoon of serious beauty, holding at bay all thoughts of upcoming Halloween spooks. It might have been transcendent, but for one consistent problem.

Continues…