Review: Portland Opera concert showcases jazz and operatic gems from Terence Blanchard

Terence Blanchard performs onstage at the Keller Auditorium in "Absence: Terence Blanchard featuring The E-Collective and Turtle Island Quartet with the Portland Opera Orchestra." Photo by Christine Dong/Portland Opera.

Portland Opera continues to change things up in a big way. Instead of presenting its annual gala concert with a blend of arias and choruses from opera and musicals, it brought multi-Grammy-winner Terence Blanchard to the Keller Auditorium for a program (May 26) that showcased his brilliant work in the fields of jazz, film, and opera. In addition to Blanchard, the show featured the E-Collective, the Turtle Island Quartet, Karen Slack, Will Liverman, conductor Damien Geter, and the Portland Opera Orchestra. The hybrid performance engaged a diverse audience with a new, expanding musical perspective, which was refreshing to experience.

First off, let’s set the scene. Two huge towers of speakers were positioned like monoliths on the extreme right and left sides of the stage. A forest of microphones took up the center stage area, which was arranged so that Blanchard and his E-Collective ensemble were positioned up front and the orchestra (plus conductor Damien Geter) towards the back. A substantial drum kit shielded in part by plexiglass, a Steinway, and a small synthesizer keyboard occupied a fair amount of real-estate towards the front. Behind the orchestra was mega-sized-screen for projected images that accompanied the music.

 Photo by Christine Dong/Portland Opera.

Blanchard, age 61, is a major creative force. He has written over 40 film scores – of which two have garnered Oscar nominations. His discography of jazz recordings is well over 20 – not counting his appeances with other groups like Art Blakey's Jazz Messengers. And if that weren’t enough, he has written two operas: “Fire Shut Up in My Bones” and “Champion.” Both have been produced by the Metropolitan Opera, making Blanchard the first African-American composer to have his works performed there. His work has been acknowledged with six Grammys and numerous accolades, including a 2022 Emmy.

The concert was divided into three parts with selections from Blanchard’s film music, his album “Absence,” and his opera “Fire Shut Up in My Bones.” All of the performers were amplified, and all were projected at varying times on the big screen, blending in with images from films and other works related to the music being played. Now and then a kaleidoscopic collage of real-time photos direct from the stage was projected, adding to the fun, informal style of the concert.

The music kicked off with a bold statement from Blanchard’s trumpet for the “Malcolm X Suite.” His blurry, buzzy tone melded with the orchestra to convey a sense of seriousness as images from the movie were displayed.

The “BlacKkKlansman Suite,” involved members of the E-Collective – Blanchard’s jazz ensemble that added saxophone, guitar, piano, electric bass, and drums. This suite started with “Dixie” and the “Swanee River Song,” which added a sense of irony to the accompanying images of the Black Power movement. The music became more rhythmically heavy and acquired a depth that embraced the earnestness of projections from the movie.

Heavier still were three selections from Blanchard’s album “A Tale of God’s Will (A Requiem for Katrina),” which contains music that he wrote for Spike Lee’s film “When the Levees Broke.” It expressed the sadness, anger, and loss of the people who endured Hurricane Katrina and the devastation it wreaked on New Orleans.

The Turtle Island Quartet joined Blanchard and the E-Collective for three selections from Blanchard’s “Absence” recording. It began with David Ginyard’s “Absence,” which had an inviting, hazy quality. Blanchard’s “I Dare You” staggered forward then picked things up a notch with a propulsive beat and several solos that was topped off by appealingly light, free-range riffs on the piano by Taylor Eigsti. The Turtle Islanders elicited a fiddling and countrified twang with David Balakrishnan’s “The Second Wave.”

Will Liverman and Karen Slack perform selections from "Fire Shut Up in My Bones". Photo by Christine Dong/Portland Opera.

The concert saved the best for last with eight selections from “Fire Shut Up in My Bones” that were sung by soprano Karen Slack, who is also Portland Opera’s Artistic Advisor, and baritone Will Liverman. Slack sang the role of Billie in the opera’s world premiere at the Opera Theatre of St. Louis, and Liverman sang the role of Charles in the Metropolitan Opera production.

Liverman electrified the audience with “Tears of Anger and Shame” in which he sang of having a gun in his hand and anger in his heart for something that had happened in the past. It was one of the most gripping opening arias I have ever heard. From that point on Blanchard had everyone in the palm of his hand. Slack offered comforting reassurance with “Leave It In The Road,” and they created stunning duets with “Golden Button” and “Peculiar Grace.”

The fusion of jazz into the orchestral palate was so superbly done that it was seamless. The Portland Opera Orchestra under the direction of Geter sounded terrific. Now I want to experience the entire opera. When are we bringing it to Portland?

Damien Geter conducts "Absence." Photo by Christine Dong/Portland Opera.

 Photo by Christine Dong/Portland Opera.