oregon festival of american music

MusicWatch Weekly: August catch-up

A new month brings more music festivals to Oregon

Keeping up with even the segment of Oregon’s increasingly busy music scene ArtsWatch can afford to cover (and we’d love to do more, if our readers and Oregon music institutions will help us pay for it) is nearly impossible when the season’s in full swing. It’s all we can do to tell you what’s about to happen, so you don’t miss the stuff you want to hear. That’s why we prioritize previews and reviews of continuing productions, like multi-performance operas. Readers have complained about us piling too many music stories at once, so we try to keep it to a maximum of one per day, which is about all we can handle with our current resources anyway.

That often means that reviews of non-recurring shows get pushed to the end of the line, or rather the end of the season. Which is where we find ourselves this month. With a few notable exceptions, most classical and jazz music institutions pretty much shut it down beginning in June, when western Oregonians at last joyously receive parole from our rain-huddled winter and spring imprisonment and head outside. Most of the rest, like the Astoria and Oregon Coast and Oregon Bach Festivals and Chamber Music Northwest, also call it a season when the smoke begins to descend. Which gives our writers (many of whom are working musicians and/or have day jobs) a chance to catch our breaths (figuratively at least) and finally catch up on those reviews they hadn’t time and/or we hadn’t room to deliver earlier.

That’s why you’ve been seeing reviews of events stretching back to early 2018 lately, and will be seeing more in coming weeks as our writers, once again stuck inside avoiding wildfire smoke, continue working through their backlogs. We hope you enjoy the memories until the new shows commence.

English conductor Jeremy Summerly (center) led a vocal ensemble at the 2017 William Byrd Festival.

Which actually is, er, now! Yes, while a couple of major festivals close this weekend, no fewer than four more music festivals begin this week, including the annual William Byrd Festival, which runs August 10-26 at several Portland venues. Now embarking on its third decade of bringing Renaissance choral music to Portland, the annual festival includes public lectures, open-to-the-public choral performances at church services, an organ recital, and a pair of public concerts. Friday’s opening concert at Portland’s Old Church, directed by renowned English choral conductor Jeremy Summerly, features masterpieces from 1610-11 — the transitional period between the Renaissance and Baroque eras.

Friday also marks the opening of the annual Sunriver Music Festival, with a concert celebrating the centenary of one of America’s mightiest men of music, Leonard Bernstein. Along with his ballet score Fancy Free and joyously jazzy Prelude, Fugue and Riffs, the concert includes Rhapsody in Blue by one of Bernstein’s great inspirations, George Gershwin, and a brief, brash, bustling 1992 work by the American composer whose new Passion was premiered last month at the Oregon Bach Festival.

Composer Richard Danielpour works with the Oregon Bach Festival chorus in preparation for the premiere of his ‘Yeshua Passion.’

“While Toward the Splendid City was composed as a portrait of New York, the city in which I live,” Richard Danielpour has written, he actually began it during his year-long residency with the  Seattle Symphony, a Northwest sojourn which not surprisingly gave him “serious second thoughts about returning to New York. Life was always complicated in the city and easier, it seemed, everywhere else. I was, however, not without a certain pang of nostalgia for my hometown, and as a result Toward the Splendid City was driven by my love-hate relationship with New York. The work’s title comes from the heading of Pablo Neruda’s 1974 Nobel Prize address.” He wound up going back anyway.

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MusicWatch Weekly: American classics

American songbook standards, piano classics, opera, and more in this week's Oregon music recommendations

Every summer, The Shedd’s Oregon Festival of American Music approaches its two-week series of concerts, films, talks and more from different angles, but the Eugene festival’s perennial subject — American pop music from the 1920s to just before the rise of rock — somehow remains inexhaustible. Wednesday’s opening sampler ingeniously takes the form of an innovation that emerged toward the end of songbook era and helped extend it: the TV variety show. Siri Vik leads a sextet of singers and Torrey Newhart directs a sextet of jazz musicians in songs by Loesser, Sondheim, Cole Porter, Irving Berlin, George Gershwin, Johnny Mercer, Rodgers & Hart, Edith Piaf standards, even an opera aria.

The festival’s production of Frank Loesser’s Guys and Dolls closed last weekend, but you can hear a different new production at Broadway Rose Theatre starting this weekend. And there’s more Loesser (sorry) Thursday afternoon in a concert featuring four vocalists and a dectet playing some of his greatest hits, including “Let’s Get Lost,” “Two Sleepy People,” “I Believe in You,” the recently controversial “Baby It’s Cold Outside,” and more, including some Guys and Dolls standards.

That night, vibes master Chuck Redd joinsVik and an ace jazz quintet to play American Songbook standards and others refracted through a jazz prism by midcentury stars like Benny Goodman, Red Norvo, and Lionel Hampton. Vik returns with a quintet (including cello and violin) Friday afternoon for the major departure from the American-centric program: mid-centurystandards made famous by French chanteuse Édith Piaf.

Trumpeter Byron Stripling leads a standards-fueled jazz party and more at the Shedd.

Friday night’s jazz concert is based on a book — a famous 1970s collection of jazz arrangements of standards from musicals by Rodgers & Hart, Porter, Jerome Kern and more that inspired the career of longtime Shedd pianist Vicki Brabham. That afternoon’s talk by fellow Shedd vet Ian Whitcomb also contains a recital of his top ten 20th century songs — most from the 1910s and ‘20s, few that make most other lists of standards.

Saturday night’s jazz quartet concert features classics by George Gershwin, including pianist Ted Rosenthal’s solo piano arrangement of Rhapsody in Blue and jazz versions of Gershwin tunes. Saturday afternoon boasts a community singalong, and Sunday afternoon a cabaret-style jazz party/jam led by Redd that samples songbook standards from the rest of the fest and more.

The Tuesday August 7 show is sort-of curated by Barbra Streisand and Judy Garland, whose (sometimes fluffy) faves inform the American Songbook program put together by trumpet master Byron Stripling and performed by singers Vik and Julliette Holliday with octet. Remember that the festival also offers a host of free talks, films of the era, and more.

A scene from Portland Opera’s production of Gluck’s ‘Orfeo ed Euridice.’; Photo: Cory Weaver/ Portland Opera.

Portland Opera’s Orfeo ed Euridice closes Saturday at Newmark Theatre, ending the company’s summer festival season. The tragedy of the irresistible singer Orpheus and his lover and their journeys to hell and back has tugged human heartstrings since long before the ancient Greeks transformed it into one of the world’s most enduring myths. One of the most popular musical settings is Christoph Gluck’s 1762 opera, with its hit single Dance of the Blessed Spirit. Sandra Piques Eddy and Lindsay Ohse star in the title roles, with resident artist Helen Huang singing the role of Amore, the god of love. This new production also features full chorus, ballet, and lots of rose petals, sung in Italian with projected English translations. Stay tuned for Bruce Browne’s ArtsWatch review.

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