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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ArtsWatch Weekly: Defying disaster

Anonymous Theatre beats the odds, Brett Campbell picks the top music of the week, pick of the weekend fests, Ashland shakes it up, more

It was theater. It was comedy. It was song and dance. And from the reaction of the audience at Monday night’s performance of Urinetown by Anonymous Theatre Company, it was sports all the way. The sold-out crowd in the mainstage auditorium at The Armory clapped and roared and hollered, cheering loudly every time an actor rose from among the audience, shouted out a line of dialogue, and hustled up to the stage to play ball with the rest of the cast. It was edge-of-the-seat stuff, a little like watching game seven of the NBA championships with the outcome still on the line.

Chrisse Roccaro as Penny collars Amelia Morgan-Rothschild as Hope in Anonymous’s “Urinetown.” Photo: Sydney Kennedy

If you were there Monday night – and more than 500 people were – you know what I’m talking about. If you weren’t … well, you just sat out the season. This one’s done and gone. Anonymous is called Anonymous for good reason. In this annual highlight of the theater calendar, none of the actors knows who any of the other actors are until they meet onstage; everyone rehearses in isolation; the culminating performance is a one-and-done: one dangerous shoot-the-moon evening, and that’s all she wrote. In Who’s on first? Anonymously yours, ArtsWatch wrote about the preparations for this year’s show.

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ArtsWatch Weekly: ice, ice, baby

Your guide to staying culturally cool while the heat wave shimmers

As Cole Porter put it in his musical comedy Kiss Me, Kate, it’s Too Darn Hot. Maybe not quite, in the words of another musical-theater chestnut, 110 in the Shade. But, well, shading perilously close to it. How hot is it? So hot that the Northwest Film Center’s breezy Top Down: Rooftop Cinema series, which usually screens al fresco atop the parking garage of the Hotel DeLuxe, is moving indoors this week to the cool and comfy Whitsell Auditorium of the Portland Art Museum. Cary Grant and Irene Dunne will be heating up the screen, but not the air temp, on Thursday evening in the 1937 screwball comedy classic The Awful Truth. Museums, as you know, are carefully temperature-controlled to protect the artwork from the elements. Just chill.

As a public service on this hottest week of the year, ArtsWatch Weekly brings you this cooling image by the German Romantic painter Caspar David Friedrich, “The Sea of Ice” or “The Polar Sea.” We will not mention the painting’s third alternate title, “The Wreck of Hope,” which refers to the ship crashed among the floes, not the rising temperature. 1823/24. oil on canvas, 50 x 38.1 inches, Kunsthalle Hamburg, Germany.

 


 

COMING UP THIS WEEK:

First Thursday. Portland’s monthly gallery walk is this week, with most openings on Thursday and a few scattered on other days. Among the many exhibitions opening, we have an eye on veteran historical illusionist Sherrie Wolf’s new show Postcards from Paris, which includes paintings of postcards of paintings in still life settings, at Russo Lee; Sara Siestreem’s new show of paintings equidistant, at Augen; Butters Gallery’s 29th anniversary group exhibit; and Blackfish Gallery’s We the People, a “participatory installation” by thirty Blackfish artists and others.

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Cantores in Ecclesia performs
at the William Byrd Festival.

This weekend’s relatively sparse classical music action mostly happens in Portland churches. The annual William Byrd Festival continues Saturday and Sunday at Holy Rosary Church with liturgical services and two masses by its great English Renaissance namesake performed by the fine Portland choir Cantores in Ecclesia.

Friday offers a rare summer glimpse of instrumental Baroque music at north Portland’s St. Stanislaus Polish Catholic Church, where the early music ensemble Musica Maestrale (comprising some of the Northwest’s historically informed specialists including Portland lutenist Hideki Yamaya and Seattle viola da gamba player Polly Gibson) performs Polish music by Renaissance and Baroque composers you’ve probably never heard or even heard of — Milwid, Dlugoraj, Cato — except possibly Silvius Leopold Weiss.

On Saturday at southeast Portland’s All Saints’ Episcopal Church, Baroque oboe specialist Robert Morgan (who also plays with Chicago modern instrument orchestras and commissions new works for the instrument) headlines the annual Northwest oboe seminar and closing concert, which also features other masters of the instrument, such as Oregon Bach Festival and Chamber Music Northwest veteran Alan Vogel.

Also on Friday, the Salem Chamber Orchestra introduces its new principal conductor, Nikolas Caoile, who’ll play piano in a chamber music concert at Villa Bacca Collina featuring two 20th century masterpieces: Aaron Copland’s Duo for Flute and Piano (with Sarah Tiedemann) and Debussy’s Violin Sonata (with Daniel Rouslin).

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Blake Applegate leads Cantores in Ecclesia at the William Byrd Festival

Oregon boasts a scintillating lineup of classical and other music festivals — the Oregon Bach Festival, Chamber Music Northwest, Pickathon, the Northwest String Summit, Cathedral Park Jazz, Portland International Piano Festival, etc etc. As impressive as they are, however, they’re far from unique. Other American cities enjoy summer chamber music festivals, even Bach festivals, and everyone knows about Newport’s legendary jazz fest and the profusion of summer outdoor rock fests. Even our fascinating Time Based Arts festival is part of a circuit of similar fringe fests around the world.

But Oregonians can count on a pair of singular late-summer celebrations that are hard to find elsewhere. Nowhere else but in Portland will you find a festival so devoted to the works of a particular English Renaissance composer. And you’d be hard-pressed to encounter as thoughtful and diverse an exploration of American music as happens every summer in Eugene.

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Portland Taiko’s Michelle Fujii

For fans of European classical music, this weekend brings the closest approximation of the doldrums we’ll see this year. Oh, there’s a few scattered events in parks and elsewhere, but really, this is the weekend to stretch your music boundaries.

This weekend and next, Portland Taiko artistic director Michelle Fujii brings her new one woman dance/theater/installation, “Choking”, to the Interstate Firehouse. Her regular group performs in Portland’s Waterfront Park and at a festival.

At Portland’s Hollywood Theater, the prolific Filmusik organization offers a new live soundtrack (performed by Retake Productions), of an Italian Mad Max rip-off called Warriors of the Wasteland.

At Oregon’s quintessential jazz club, two of the state’s finest young jazz outfits — pianist Andrew Oliver’s Kora Band, which beautifully fuses the West African lute with appealing, trumpet-fueled modern jazz, and another great jazz pianist’s ensemble, the Ben Darwish Trio.

The twentieth annual Zimbabwean Music Festival returns to Corvallis this weekend, offering opportunities to hear and learn to play some of the planet’s bubbliest music on mbira, marimba, and more. There’s more learning and listening opportunities over in Oakridge, where you can catch the wave of the  ukulele revival. And the thirteenth annual Pickathon brings an attractive array of rootsy sounds from national and regional acts to Pendarvis Farm southeast of Portland.

Eugeneans have the annual Oregon Festival of American Music to reacquaint themselves with some of the most engaging sounds of the 20th century — the great songwriters Harold Arlen, Johnny Mercer and more, including a fully staged version of the Gershwins’ sublimely silly 1930 musical Girl Crazy, which spawned more hits than almost any other musical of its era.

And if you happen to be down in the state’s southwest corner for, say, a theater orgy, and the annual Oregon Country Fair didn’t quite fill your cravings, check out the trippy world music options at a big new festival that’s rounded up some well-known performers.

We’ll resume our regularly scheduled Euro-centric classical coverage soon.