Michele Mariana

Kids, music, and the heart’s desire

Wishes fulfilled: After 22 years, Bruce Adolphe's "Marita and Her Heart's Desire" returns to Chamber Music Northwest, where its journey began.

Chamber Music Northwest has entered its fifth and final week – the venerable summer festival winds up its 46th season on Sunday, July 31 – and on the previous Saturday afternoon I zipped over to Reed College’s Kaul Auditorium to catch a family concert, Bruce Adolphe’s Marita and Her Heart’s Desire, a show I had first seen 22 years earlier when it premiered at CMNW, with the same narrator, the terrific Portland voice actor Michele Mariana. Marita was being performed the following two nights, too, on a more formal program that also included some Milhaud, Kurt Weill’s Threepenny Suite, and selections from another Adolphe piece, Einstein’s Light. But I wanted to see the kids, and the quirkily titled pre-show “Instrument Petting Zoo” in the lobby, and so I went to the shorter and more casual daytime show.

A trip to the moon, gossamer wings not included: "Marita and Her Heart's Desire."

A trip to the moon, gossamer wings not included: “Marita and Her Heart’s Desire.”

For anyone worried about the future of great music, the petting zoo was a revelation. Kids crowded the lobby, rushing up close to the instruments while their parents lurked behind. Trombones, violins, cornets: the place was cluttered with musical noisemakers, and kids were touching, blatting, bowing, trying things out. This was the musical nitty gritty: not just listening, but making music, even in crude and elementary form, and I couldn’t help thinking that some of these kids were going to choose an instrument, and buy one (that’s where the parents come in), and start practicing, and make this a lifelong thing. That’s how you pass it along.

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IT’S BIG. VERY BIG. And if you want to take the whole thing in, Matt Stangel writes for ArtsWatch readers, you’re going to have to ramble all over the state of Oregon. In his opening report, Portland2016: Disjecta goes gigantic, Stangel points out the sheer massiveness of this year’s Disjecta Oregon biennial art show. Curated by Michelle Grabner, who was also co-curator of the 2014 Whitney Biennial, this latest Oregon biennial of contemporary art takes the word “Oregon” seriously, spreading the art around to 25 spaces, 15 of them outside of Portland, in locations including the Schneider Museum of Art in Ashland, Crow’s Shadow Institute of the Arts on the Confederated Tribes of the Umatilla Indian Reservation, in Pendleton, La Grande, Astoria, and elsewhere. And Grabner mixes things up: several Portland artists showing in venues across the state, several state artists bringing their work to Portland. What’s more, many of the artists have created pieces specifically for the spaces they were assigned.

"The Silva Field Guide to Birds of a Parallel Future," digital image of imaginary avians, dimensions variable, 2014–2015, Portland2016/ Image courtesy of the artist, Rick Silva.

“The Silva Field Guide to Birds of a Parallel Future,” digital image of imaginary avians, dimensions variable, 2014–2015, Portland2016/ Image courtesy of the artist, Rick Silva.

Even in Portland, you’ll need to travel to several venues to see what’s in the biennial. But a single visit to Disjecta’s home space in North Portland will grant you a look at one piece of work by each of the 106 artists whose studios Grabner visited – a decision viewed as inclusive by some onlookers and needlessly unfocused by others. Stangel writes: “Though a bit overwhelming, bringing everyone together in one place seems to be a practical remedy to the geographical largeness of this year’s exhibition—which presents a sizable travel ask of any one person who wants to see everything. So, this bouquet of artwork serves as an invitation to find something you like and, perhaps, explore it further at a satellite location.”

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