hannah consenz

MusicWatch Monthly: Too many notes

Summer gets all sweaty, with classical and jazz festivals, operas, experimental sound art, and a bit of good old-fashioned NW gonzo punk

Garden wall at Lan Su Chinese Garden. Photo: Gary Ferrington.

La Finta Giardiniera
July 12-27, Newmark Theater
In The Penal Colony
July 26-August 10, Hampton Opera Center

It’s oddly appropriate that Portland Opera is closing its season with summer performances of Mozart and Philip Glass. Both composers are that rare breed: equally adept at performing their own chamber music, writing grand symphonies for orchestra, and collaborating on a variety of comic and tragic operas on themes both timeless and timely.

They have both also been accused, perhaps justly, of writing too many damn notes, and that’s part of why the best way to experience theatrically-inclined composers like Mozart and Glass is in their native habitat: the opera house. That’s really where their music lives best, in live performances rich with grand singing, engaging sets and costumes and lighting and the other “works” which give opera its name—plus the comedic and dramatic intimacy that is live theater’s specialty.

July 12-27, PO stages the lesser-known Mozart opera La Finta Giardiniera, in its second Portland production of the year (PSU Opera put on their own production earlier this year). Lindsay Ohse stars; Chas Rader-Shieber directs.

July 26-August 10, Jerry Mouawad (co-founder of Portland’s Imago Theatre) returns for another modern “pocket opera.” PO specializes in presenting these chamber operas by modern composers, thrilling Portland audiences recently with Laura Kaminsky’s As One and in 2017 with Mouawad’s production of David Lang’s The Difficulty of Crossing a Field and The Little Match Girl Passion. Martin Bakari and Ryan Thorn star in Glass’s adaptation of the terrifying Kafka story.

Jazz and Blues

Waterfront Blues Festival
July 4-7, Waterfront Park

For over three decades, Portland’s iconic blues festival has been a hot, sweaty, messy, crowded, rite of passage. It’s such an undertaking they’ve got a handy little guide for navigating the four-day, four-stage fest sprawled across the west side of the river, wedged between the waves and the construction cranes.

Take a look at the line-up right here. If any of those musical legends and other hot-shit artists sound like you’d want to get into a sweltering, sunscreen-slathered groove with them and a thousand other vibing blues fans down on the sun-baked shore of the Willamette River—then pack yourself a bag full of bottled water, grab a big floppy sun hat, and get your ass down to the water.

Waterfront Blues Festival, July 7, 2018.
Waterfront Blues Festival, July 7, 2018.

Jazz in the Garden
Tuesdays, July 16-August 20, Lan Su Chinese Garden

Across six Tuesdays this summer, Lan Su Chinese Garden in Old Town Portland hosts PDX Jazz’s Summer Music Series, featuring a variety of international and local artists. On July 16th, it’s Malian supergroup BKO Quintet; on July 23, Portland vibraphonist Mike Horsfall pays tribute to Cal Tjader; on July 30, erstwhile Portland saxophonist Hailey Niswanger returns from Brooklyn with her band MAE.SUN. In August, jazz and soul singer China Moses performs on the 6th, pianist Connie Han plays on the 13th, and on the 20th Bobby Torres Ensemble commemorates Woodstock.

The Territory
July 15, Kaul Auditorium, Reed College
July 16, Lincoln Performance Hall, Portland State University

Local superstar jazz composer and pianist Darrell Grant is having a busy year, as usual. His nine-movement suite for jazz ensemble The Territory, premiered at Chamber Music Northwest in 2013, led to the formation of the “Oregon Territory Ensemble,” which has continued performing the landscape-inspired music and recorded it with Grant in 2015.

They’ll perform The Territory here twice in July, and the line-up is pure local A-list: Florestan Trio cellist Hamilton Cheifetz, vocalist Marilyn Keller (From Maxville to Vanport), bass clarinetist Kirt Peterson, multi-instrumentalist John Nastos, trumpeter Thomas Barber, drummer Tyson Stubelek, bassist Eric Gruber, and vibraphonist Mike Horsfall.

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‘L’amour de Loin’ & ‘The Place Where You Started’: Love from Afar

Contemporary operas show the consequences of idealizing, or stereotyping, strangers

Hardly a week goes by when I don’t hear about the premiere of yet another new opera. Much of the action is in Los Angeles and New York and Chicago and Europe, of course, but signs of vitality are springing up even in places like Fort Worth and Long Beach. After decades of relentlessly retro programming, Oregon too shows recent signs of operatic revitalization: Christopher Corbell’s Cult of Orpheus, which this month revived the Portland composer’s original 2015 opera Viva’s Holiday and has a new opera based on Antigone coming next year; Opera Theater Oregon, which co-produced Viva and is bringing Eugene composer Justin Ralls’s Two Yosemites to Portland in June; Eugene Opera’s recent productions of operas by living composers; and even normally stodgy Portland Opera’s upcoming David Lang one-acts.

‘L’Amour de Loin’ is broadcast in select theaters December 21.

Along with Corbell’s re-Viva, this fall has brought two more contemporary operas to Portland, one internationally renowned, created by a pair of Parisian immigrants, and showing in a few Oregon movie theaters this Wednesday, December 21, the other homegrown. Both seem timely given today’s social concerts, showing the consequences of our perennial tendency to view others through the distorted lenses of our own desires — or fears.

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