filmusik

Filmusik in the Park: Gamera vs. Zigra from Filmusik on Vimeo.

The best things in life are free, especially in the summer. There’s French music (Debussy, Faure, 20th century classical/jazz crossover composer Claude Bolling, et plus in a free show Saturday at southeast Portland’s Community Music Center, courtesy of flutist Robert Beall and his colleagues. Or you can head over to nearby Sewallcrest Park to hear Willamette Radio Workshop voice actors dub corny English dialogue over a screening of the 1971 Japanese monster flick Gamera vs. Zigra. The free screening is part of Portland’s Filmusik series, which pairs composers and musicians with old films and results in new, original live soundtracks. This original score is written by one of Oregon’s most promising young composers, Justin Ralls, founder of Contemporary Portland Orchestra Project.

Beyond that, this weekend again looks sparse for classical music events in Oregon, with the biggest being the annual William Byrd Festival’s closing liturgical service (Saturday night’s performance of the English Renaissance composer’s magnificent Mass for Four Voices) and concert  (Sunday night’s survey of motets and anthems by Byrd and some his English colleagues). English organist Mark Williams conducts the excellent Portland choir Cantores in Ecclesia in both performances.

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Taylor emcees OTO's first show, "Will Kill for Vaudeville" at Someday Lounge (2007)

In a blow to the city’s music scene, one of Portland’s artistic visionaries, Katie Taylor, has stepped down as Opera Theater Oregon’s artistic director.

“After five years on the pony – the zesty, prancing pony that is OTO — I’ve decided it’s time for me to step down. I was going to invent a sex scandal (not involving ponies) to explain my departure, but then I remembered that this is Portland, and no one would be likely to care, even if ponies were involved,” Taylor wrote on the innovative company’s website. “So…I’ll just say straight out that it’s been an amazing ride, and I feel lucky to have met and worked with so many amazing people, but it’s time for me to say goodbye.”

Taking the Tarnhelm (redubbed the Tan-helm in OTO’s Baywatch-style version of Wagner’s The Rheingold) at OTO will be the alternative opera company’s musical director, Erica Melton, and film division director Jen Wechsler.

The company will throw a farewell party for Taylor at one of OTO’s original venues, Someday Lounge, on June July 24, which will include a short film and “opera karaoke.”

During her half-decade at the helm, OTO distinguished itself as one of Portland’s most creative performing arts companies, with ambitions inversely proportional to its budgets. A bastion of the city’s burgeoning alt-classical scene, the company used humor, pop culture references, a fun, informal atmosphere, and especially beer (at venues such as Someday Lounge, Alberta Rose Theater and Clinton Street Theater) to lure enthusiastic younger audiences to modern, sometimes wacky productions of classic operas, including producing a Portland-centric version of John Gay’s play The Beggar’s Opera (also the inspiration for Brecht and Weill’s Threepenny Opera).

Taylor directed a spooky, Twilight Zonish version of Gian Carlo Menotti’s The Medium at Someday and co-commissioned a new score for Filmusik’s Hercules vs. Vampires. Although they winked at some of opera’s stuffy pretensions, OTO’s productions always took the music itself seriously in the quest to “make opera safe for America.”

OTO has also been celebrated for partnering with other alt-classical outfits, including Electric Opera Company, Filmusik, and Classical Revolution. Taylor and Dark Horse comic artist Dan Schaefer (Batman, Spiderman, et al.), created a “singing comic book” for this year’s production of Massenet’s Werther called Out of Eden.

Taylor’s departure comes just weeks after she shepherded the organization to a stable  home at McMenamin’s Mission Theater. That somewhat eased the sting of Taylor’s heroic, close-but-no-candy-cigar efforts to obtain downtown’s Guild Theater as a home and performance venue for several of the city’s other alternative classical organizations.

All that work apparently came at a price, however. The company is run by volunteers, and Taylor has had to pick up work to recover her finances.

“Running the organization left me with little time for the actual writing that was the most important part of the work for me,” Taylor says. “I will miss it very much, but it was definitely time to move on. I’m also excited to see where Erica and Jen take OTO.” She told OAW she’s “working on a cross-genre book of short stories whose protagonists all have psoriasis and a sci fi novel about a new weight loss gimmick with hideously complicated side effects, raising the question of how much of who we are is our bodies and how much is our minds.”

Let’s hope we’ll see more of Taylor’s prodigious talent, inclusive attitude, and artistic ambition on Portland stages soon. And let’s hope OTO thrives without her leadership.

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