James DePreist, Nadja Salerno-Sonnenberg and the Oregon Symphony

The atmosphere at the Oregon Symphony's concert last Sunday struck me as very odd. For some reason, I just couldn't get into the music. The concert was fairly well attended. The house looked like it was 85 percent full, and lots of folks were geared up for laureate music director James DePreist, who returns once each season to conduct.

I was especially looking forward to the Wagner piece, because, in all of the years that I have been attending concerts here, I can't recall DePreist ever conducting a Wagner piece despite the fact DePreist's conducting style fits Wagner's music perfectly. I had the overture from Die Meistersinger stuck in my head when the first notes were played, and realized that they are playing the Prelude to ActII of Die Meistersinger. This is a subdued, quiet, piece, and it was elegantly played, but dang, I wanted to hear the festive, marching Wagner instead of the melancholy one. (Side note: DePreist has been conducting more and more Wagner lately. He conducted Ring excerpts with Jane Eaglen this past summer at Aspen and he has a whole raft of ring excerpts scheduled for a concert with Tokyo Metropolitan Symphony. See his schedule here.)

Next came Max Bruch's Violin Concerto with virtuoso Nadja Salerno-Sonnenberg. Maybe I was out of sorts, but Salerno-Sonnenberg's playing just didn't grab me. She seemed to dig into the notes at times when they didn't need to be dug out, and some of the themes seemed to be disjointed. Of course, NSS was entirely in her element in the fiery last movement, and the audience responded with wild applause.

DePreist remained in his wheelchair on the podium during the entire intermission. This has been his standard way of doing things for the last several years (after his kidney transplant operation), and when the second half began, he didn't turn to the audience to acknowledge their applause. He just simply launched into Rachmaninoff's Symphony No. 2 in E minor. This is a piece that he and the orchestra know well. They recorded it in 1992, but most of those players are not in the current roster.

I heard lots of committed, emotionally gratifying playing on Sunday evening. The lush, beautiful melodies were expansive. The sforzando entrances and acceleration into the faster passages were exciting and precise. One time, the woodwinds cascaded over and onto the rest of the ensemble with too much volume (Charles Noble in his blog noted that the orchestra might have overreacted to DePreist's gestures here and there.) Still the musicians created many magical moments, like when principal clarinetist Yoshinori Nakao pours out pure, warm, smooth legato lines.

What troubled me though was DePreist's baton movement. He just didn't have the usual expansive gestures that are his trademark. This is a big fellow with a very large wingspan. But he didn't use it at all. And during his acknowledgments of the enthusiastic applause from the audience, he used a very limited gesture to the violins on his right and then to the violas on his left. It left me with some sadness to think that he may not be feeling well. This tremendously talented fellow, who has not let his skin color, polio, kidney disease, and who knows what else, stop him from sharing his gift for making music, seemed to be somewhat diminished. I hope that I'm wrong.

PS: I liked seeing GeorgeAnne Ries in the flute section again. She has also been playing in the Portland Opera orchestra during their production of Cinderella. So, Ries earns the freelance player of the week award!

Cappella Romana's recent concert packs them in Portland but not in Seattle

One of Portland most unique, top tier groups, is Cappella Romana, a vocal ensemble that specializes in performing music from Byzantium. More specifically, they sing the traditional liturgical music of the Greek Orthodox Church, developed over a long period of time from the beginnings of the Byzantine Empire in 330 until the fall of Constantinople in 1453. Cappella Romana has released a number of recordings of this music, have performed at the Smithsonian, the Metropolitan Museum of Art in NYC, and at the Getty Museum in LA. They have developed a large devoted audience in Portland that typically fills St. Mary's Cathedral (which can hold well over 600 people) to the brim. Cappella Romana's first performance of the season on Friday evening at St. Mary's was almost standing room only. But their concert at Town Hall Seattle looked as if it had an audience of 150. That was the performance that I attended, and it was worthy of a larger audience despite several acoustical challenges that this venue poses.

The first half of Cappella Romana's program consisted of five chants (two of which were from Medieval Germany) that spanned centuries from approximately 600 to 1360. Baritone John Boyer did and excellent job in singing the leading the chants, and the five men (led by artistic director Alexander Lingas) gave a good unified sound. The four women in the ensemble had a harder time with the chants -- a couple of disagreements in intonation in St. Hildegard of Bingen's "O viridissima virga" and "Alleluia O virga mediatrix."

The second half of the program was devoted entirely to a World Premiere of Robert Kyr's "A Time for Life," a long work of that ponders our relationship to the environment with texts drawn from the Bible and from Native American songs and prayers. The singers were accompanied by two vielles (a predecessor of the violin) and a viola da gamba (an early form of the cello

Kyr wrote this piece extremely well. The music has immediacy, and it moves through the texts at an even pace. Kyr could have easily beaten us over the head with the serious nature of the texts, such as "We defile your oceans, Harming and killing sea life. We forget who we are." But the music and singing never bogs down and the piece ends on a glorious note of hope.

Unfortunately, the acoustics at Town Hall Seattle are not advantageous to an eight member vocal ensemble. Instead of the warm, lush sound that Cappella Romana gets at St Mary's, we heard a clear yet sterile sound at Town Hall Seattle. The singers had to work very hard to fill the space with sound and their voices sometimes strained. In particular, this marred the end of "A Time for Life" when everyone had to sing at full throttle.

Some of the problem at Town Hall Seattle is certainly due to the carpet that runs throughout much of the space. Carpet really sucks up sound waves. Also, there wasn't any reverberation at all. A little reverberation would have helped.

If the voices of Cappella Romana had been doubled or tripled, then I think it could made a much better concert and wouldn't have taxed the singers nearly as much. They return to Town Hall Seattle for their next concert on January 12th. But if you want the full effect of this group, then you should come to Portland and hear them on January 11th at St Mary's.

PS: I'll be reworking some of these thoughts in a review that I am writing for on Cappella Romana and Portland Baroque Orchestra for and upcoming issue of The American Record Guide.

In MUSO magazine

It's kind of odd to trumpet where and when I publish articles, but sometimes I use this blog as a brag bag. So here goes: I've published two articles in MUSO publications. One article deals with helping young classical musicians to find grant and scholarship money for their summer music education. The article is called "Show Me the Money," and it appears in the MUSO Yearbook 2008, which contains 122 pages of really useful information about music schools in the US and Canada. The other piece is "Pennies from Heaven" discusses finding financial aid scholarship for music study in general. This article is in the fall issue of MUSO. I've just written another piece that surveys undergraduate and graduate vocal programs in the US and Canada. That is scheduled for the next issue. You can find MUSO magazine here.

Portland Opera's Cinderella has plenty of charm

On Friday evening, Portland Opera presented a lively and enchanting version of La Cenerentola (Cinderella), with Angela Niederloh in the title role. The production has a lot going for it with young, vibrant singers in all of the roles, but the orchestra was sometimes too loud in the first act, especially when Niederloh had to motor down into her lower range. Tenor Michael Colvin as the Don Ramiro (the Prince) also sang well, but had to hold when he reached his uppermost notes. I heard some great singing from Steven Condy as Don Magnifico, Derrick Parker as Alidoro, and Sharin Apostolou and Hannah Sharene Penn as Cinderella's mean sisters. But it was Morgan Smith in the role of Dandini, the Prince's valet, who almost stole the show.

This production featured new scenery built for Portland Opera, and it worked well except of the Prince's palace, which just didn't look opulent enough. I'd say more, but I have to write a review for Opera magazine (London). Overall, I can heartily recommend this production, and you have the benefit of seeing Niederloh and her colleagues at the beginning of what might be long and noteworthy careers.

Robert Kyr work in this weekend's Cappella Romana concert

This weekend's Cappella Romana concert features a world-premiere of Robert Kyr's A Time for Life. Written for 8 voices with string accompaniment. A Time for Life combines the text from a Greek Orthodox service for the environment with words Native Americans. The strings consist two vielles and a viola da gamba, which are medieval predecessors of the modern violin and cello. Kyr teaches composition at the University of Oregon.

Pre-concert talks are at 7pm by Rev. Dr. John Chryssavgis, and post-concert reflections begin at 9:30pm with the composer and a panel of environmental leaders.

Concert dates:
Friday, November 2, 8:00 pm at St. Mary's Cathedral Portland
Saturday, November 3 8:00 pm at Town Hall, Seattle

Also, CR has just released a new recording: Byzantium in Rome: Medieval Byzantine Chant. This two CD set contains music dating back to the 13th century from the Greek Orthodox community that was located just outside of Rome at the Abbey of Grottaferrata (the Iron Grotto).

Angela Niederloh talks about her upcoming Cinderella

Angela Niederloh, one of Portland's own divas, is featured in the title role in the Portland Opera's production of Rossini's La Cenerentola, which opens this weekend. Niederloh emerged from the opera program at Portland State University to become a terrific mezzo-soprano who has recently sung principal roles with Houston Grand Opera and with Portland Opera. I exchanged email with her to ask her a few questions about her upcoming performance.

How are rehearsals going?

Niederloh: Rehearsals are going very well. It always makes for a smooth, yet fun production process when there is a good repartee among the cast members. Not only is everyone incredibly talented, but also they are good people to boot.

Oddly enough, this is the first La Cenerentola for most of the cast; including myself. I think this makes for an interesting experience for all of us. Potentially when you have a cast that has performed in several of the same production, it can be hindering to the creative process. Meaning, it is difficult to look at something with fresh eyes and ears when you have performed it for the umpteenth time. With that said, for those that have had the pleasure of being involved with La Cenerentola before, they too bring a unique insight into the show -- (that is) traditions that have been handed down from generation to generation, potential pitfalls, helpful hints and creative cuts (to the music).

Have you done this opera before? If so, where and when?

Niederloh: I have not performed Angelina (Cinderella) in her entirety. However, I have done many scenes from the show for concerts and recitals. It is interesting to me having had the pleasure now of being acquainted with this character’s journey. Before I would have snap shot views into her as a character, but now diving into the whole role, it makes such a difference. For instance, I have sung Angelina’s final aria, Non piu mesta for many years now. In the aria she sings about being born into sadness, singing to herself by the fireside. But like a lightning bolt, her life changed. I feel like I sing it completely differently now. Having the advantage of experiencing the role in it’s entirely gives you the big picture experience, the whole journey , not just the cliff notes.

How do you learn a foreign language like Italian?

Niederloh: Probably the best way to learn a language is to completely immerse yourself into it, try to assimilate and absorb all that the culture has to offer. I, on the other hand, did not completely go this route. I studied languages in college and later in my young artist programs. Both experiences put a lot of emphasis on conversing. Instructors would tweak our sentence structure, but for the most part, they wanted us to be uninhibited in the act of communicating. Were all of my conjugations completely up to par? No, but I was communicating and that is ultimately what we as performers are trained to do from the stage; communicate.

What is one of the trickiest things you have to do for this opera (for example, sing while lying flat on your back or while dancing, or…)?

Niederloh: Well, I don’t have to participate in a lot of tricky stage shenanigans, thank goodness. The obstacle for me is to spit all of the words. Rossini is known for his lightening speed, coloratura musical lines and rapid fire, albeit, clever word patter. I guess I owe a hardy “Thanks” to Chris Mattaliano, the stage director, for taking pity on me and not having me participate in an elaborate gymnast routine, when I have enough trouble as it is to stick the landing!

How long have you been working on this opera?

Niederloh: I have been working on Cinderella for about a year now. Not all of that time was spent strictly on music. A lot of time is devoted to, what I refer to as, “kitchen table” work. This is were you spend a lot of time translating the piece and speaking through it so that it sounds natural, not robotic. Another part of the process is spent doing more “left brained” activities, like learning the notes and rhythms of the work. Memorizing the piece is another aspect to one’s opera prep. The expectation in the opera world is to show up with your part learned and memorized so that we can start staging the piece right away.

I think you mentioned that you were teaching somewhere like Pacific University. Are you teaching at PSU, too?

Niederloh: Yes and yes! I have been teaching private voice and directing the annual music production at Pacific since the fall of 2005. I just started teaching private voice instruction at PSU. I love having the balance of teaching voice and performing. I think my students benefit too from having a teacher who is trying to practice what she preaches.

What other gigs do you have lined up for the near future?

Niederloh: I have mostly concert work coming up because of my busy teaching schedule. I am performing the grand Beethoven 9th and Missa Solemnis and Mozart’s Requiem.

Thanks Angela and best wishes for Friday night!

Concession to Halloween

One of the scariest things you can do as singer is to sing a work that is filled to the brim with dissonant chords. I just finished singing a brand new work by Judith Lang Zaimont called "Rememberance" (four movements - about 23 minutes) with my colleagues in the Portland Symphonic Choir, and the Zaimont piece was one of the most nerve-wracking things that I've ever done. It ranks with a performance of Stravinsky's "Les Noches" that I did with the PSC some 14 years ago. "Rememberance" was extremely difficult because the choir constantly had to find pitches that were cast in very odd relationships to the notes that led up to the notes that we were asked to sing. It's one thing to play an instrument (like the piano) and just play the notes, but as a singer, you have to find the notes inside of you. Zaimont's "Rememberance" was filled with clashing sounds that challenged our abilities to the max. But we made it, and we survived. Whew!

Portland Symphonic Choir concert at Temple Beth Israel

Stephen Zopfi conducts the Portland Symphonic Choir this weekend in two performances of music by Jewish composers. We (I'm in the tenor section) will be singing three numbers from the "Talmud Suite" by Sid Robinovitch (including the restful "Prayer Before Sleep", Bernstein's "Chichester Psalms," Joel Hardyk's "I Never Saw Another Butterfly," three arrangements of folk songs, and the world premiere of Judith Lang Zaimont's "Rememberance," which was commissioned by the Portland Symphonic Choir.

Sat. Oct. 27 - 7:30 pm or Sun. Oct. 28 - 2:30 pm
Congregation Beth Israel, NW 19th and Flanders
$25 at the door - $20 for seniors/students.

New grants available for individual Oregon artists

Yesterday, the Oregon Arts Commission announced that individual artists (like musicians and singers) should apply for a new grant to help their careers. The OAC has a total of $40,000 to give away during this first year, so the size of each grant will range from $300 to $1500, which ain't much, but every little bit helps. See www.oregonartscommission.org/grants for more information. The first deadline (for this quarter) is November 14th. You can apply online. Good luck!

Goodbye to Choral Classics at KBPS

The final Choral Classics program on KBPS (89.9 FM) airs this Sunday at 7 pm. Hosted for the past six years by Phil Ayers, this program will die a quiet death unless another stellar volunteer from the ranks of KBPS listeners puts his/her voice/foot forward. I talked with Ayers, a retired Episcopalian priest who sings with the Portland Symphonic Choir, and he is simpling looking forward to having more time to pursue other interests.

I hope that another interested person will contact KBPS about continuing this program. There is no other program on 89.9 FM that features choir music. In the meantime, Ayers deserves a big round of applause for keeping choral music on the airwaves. Thank you Phil!

Monica Huggett and the Portland Baroque Orchestra rock out on Vivaldi

To open their 24th season, the Portland Baroque Orchestra performed a whole evening of Vivaldi concertos last night at First Baptist Church, and that's a pretty tough program. I mean, even though most audiences love Vivaldi's music, it's a real challenge to make each piece sound unique and interesting and beautiful. Well, artistic director and virtuoso violinist Monica Huggett and the PBO kept digging deeper and deeper into the music and delivered outstanding performances of four concertos from Vivaldi's Opus 11 (1729) and two from his Opus 3 (1711), which is also known as "L'estro armonica" (Harmonic innovation).

Huggett, the featured soloist in all of the concertos for solo violin, strings and basso continuo from Opus 11, combines a marvelous technique and artistry that is mesmerizing to watch and hear. Her control allows her to speed up and slow down in the same measure. It's sort of like watching a great basketball player shift gears in mid stride, then change his shot, and swish the ball through the hoop without touching the rim. At one moment Huggett seems to be whirling her right hand like with an egg beater motion and in another moment, a lush, silken, lyrical melody starts.

These Vivaldi concertos for solo violin are not all that different from attending a rock concert with an gifted guitarist in the spotlight. Only this time it is Huggett who gets to riff all over the place.

I also like the way the Huggett inspires the ensemble, which is a top notch group of musicians from Portland and around the nation. Their sound can be tight but not cramped, expansive but not limp, noble and stately, but not rigid and sterile. I heard a lot of warmth and really good rhythmic drive. So that we were always looking forward to the next concerto.

The two concertos from the "L'estro armonica" were also excellent. violin soloists Carla Moore and Joli von Einem teamed up to perform a satisfying Concerto No. 8 in Aminor (RV 522). They blended their sound perfectly, but perhaps could've been a little bit louder when the rest of the ensemble joined them. Violinists Rob Diggins and Adam LaMotte collaborated with cellist Joannna Blenduff to give a superb interpretation of Vivaldi's Concerto No. 1 in D minor. Diggins put extra verve on his playing, especially with the way he could lean into a note an put an extra sheen on it. He also shows a real joy in music making that adds a lot to the overall atmosphere.

The enthusiastic applause at the end of the concert encouraged Huggett and the orchestra to play a movement from Concerto No. 3 in A major - from Opus 11. We didn't get to hear the entire concerto, but those of you choose to attend this evening or on Sunday afternoon at Kaul Auditorium will hear it all. The concert program at each performance differs slightly, and, all of the performances are being recorded for the PBO's 25th Anniversary Vivaldi double-CD.

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PS: Apparently, rampant speculation on Vivaldi's sex life is the subject of upcoming movies and books. Click here to read that article from The Times (of London).

Some straight talk at the Oregon Symphony annual meeting

I attended the Oregon Symphony's annual meeting today and heard a serious, thoughtful and straightforward presentation, which was refreshing. Here are some highlights:

Carlos Kalmar address touched on the Waterfront collaboration with Portland Opera and Oregon Ballet Theatre. He referred to the financial struggles of the orchestra, but also said that it was playing at an exceptionally high level. For next year, the Symphony hope to draw larger audiences with big names, such as Garrick Ohlsson, Stephen Hough, Lang Lang, and Edgar Meyer. They are apparently working out a deal with Jeff Tyzik for the pops series and Thomas Lauderdale is somewhere in the mix as well.

Orchestra Committee Chair and associate concertmaster Peter Frajola remarked on the recent changes in orchestra personnel, including those who retired, resigned to take jobs elsewhere, and one who recently passed away. Frajola reasserted that the desire of his colleagues to make the Oregon Symphony a destination orchestra and not a pass through orchestra.

Walter Weyler, board chair, noted that the economic downturn in 2001 really hurt the endowment, and that the orchestra lost $1.7 million last year and that pushed their accumulated deficit to about $7. They can't continue operating with another big loss. So the object is to shore up things this season and aim to break even during the 2008-2009 season.

President Elaine Calder said that ticket sales are currently at $4 milion and the organization has targeted $5.5 million as its goal. Everyone is working to reduce costs - and one part of that has been the reduction in administrative staff. A small group of big time supporters are committed to seeing the symphony through this tough time. Everyone is working hard to make sure that the Symphony takes care of the bottom line and begins to grow again.

Paltry turnout for exceptional Oregon Symphony performance

At the Oregon Symphony performance on Sunday night I settled into my seat in the lower balcony and surveyed a wide expanse of empty seats on either side of me. Could it be that everyone was still recovering from double wins for Oregon and Oregon State football? Or that the property tax statements knocked concertgoers into the hospital? Jeez, there must've been some great shows on TV. No, no, no. The lousy attendance was most likely due to the symphony’s Spanish Splendor program, which featured works by Luciano Berio and Manuel de Falla, two composers who are not well known here. Well, those of you who took a pass missed out on some of the best music making by the Oregon Symphony to date.

The concert was dedicated to the memory of Martha Herby, who joined the flute section in 1981. The orchestra played Christoph Willibald Gluck’s “Dance of the Blessed Spirits” with great sensitivity. Principal flutist David Buck’s solos were soothing and the strings were lovely, creating a heavenly tribute for their colleague.

The program continued with a charming and crisp interpretation of Haydn’s Symphony No. 93 in D major. The orchestra expressed the music with plenty of nuances, including sudden stops, smooth decays, and elegant phrasing. The audience chuckled when principal bassoonist Evan Kuhlmann punctuated the beautiful melody in second movement with a low note. Overall, the orchestra’s tone was sweet, spirited, and assured, making this Haydn sparkle.

The second number was Berio’s “Folk Songs,” which he originally wrote for a chamber ensemble and mezzo soprano and later arranged for full orchestra. The Oregon Symphony performance featured Patricia Risley, a beautiful, young lady with a gorgeous voice. Risley sang the eleven songs wonderfully, and added flair with her facial expressions and gestures. The orchestration was mostly light, requiring taught chamber-ensemble musicianship – especially from the violas. The orchestra accompanied Risley with much finesse so that each song acquired its own character. As a set (eleven songs in all) the effect was enchanting.

In the second half of the program, the orchestra played Falla’s complete ballet score for “The Three-Cornered Hat.” This music retells the comic story of a magistrate and his failed attempts to seduce another man’s wife. The orchestra performed outstandingly throughout this piece. From the declarative statement of the opening fanfare through all of the mood changes that captured a warm, evening in a small Spanish town, to the wild, whirling dance sounds – with the exciting piccolo trills, castanets, and maracas – this piece gave us a cornucopia of vivid imagery. I enjoyed the repeated cries of “hey”* from the orchestra and their rhythmic clapping also. How many pieces offer that?

John Cox, principal horn, stood out for his excellent playing, but all in all, every section performed at a very high level.

Over all, I’m very proud our orchestra gave it their best in spite of a house that seemed only 60 percent full. What a terrific group of musicians! And conductor Carlos Kalmar more than rose to the occasion with his remarkable leadership from the podium. All are consummate professionals who love to make music.

Finally, if Risley is engaged to sing here again, be sure to hear her!

* I found out later that the "hey" was actually "ole!"

First rate Iphigenia in Tauris for Seattle Opera

Seattle Opera’s brand new production of Gluck’s “Iphigenia in Tauris” received a glorious performance on opening night with a terrific cast led by Nuccia Focile in the title role. It’s great that Seattle Opera, acclaimed for its large-scale productions of Wagner’s operas, chose to tackle this rarely performed Baroque gem. This new realization has breathed life into a work that has only been sporadically performed since its successful premiere in 1779 in Paris.

A well-matched cast of principals led by Focile conveyed the ancient story of Iphigenia convincingly. Focile commanded the stage with an expressive and beautiful voice that swept us into the turbulent stream of emotions that ruled Iphigenia’s inner life. Her inner turmoil contrasted well with and strength and resolve she showed as the high priestess of the Scythians.

In the role of Iphigenia’s tormented brother Orestes, baritone Brett Polegato sang ardently. As Orestes best friend Pylades, tenor William Burden blended passion and lyricism with conviction. The brotherly love expressed between Orestes and Pylades was convincing, but it bordered on the edge of homo-erotic. As the bloodthirsty King Thoas, Phillip Joll bellowed about with a very wobbly vibrato. Michele Losier made an excellent impression as the goddess Diana.

An imaginative set by Thomas Lynch combined the look of an ancient temple with the heaviness of a tomb. The largest room, lit by oil lantern/sconces, featured a stone altar, and a gigantic statue of Diana, goddess of the hunt. Next to the large room was a smaller room that served as a jail and as a gathering place for the priestesses. A door from that room led to a narrow passageway to the outside and to freedom. A real highlight was how Clytemnestra (the mother of Orestes and Iphigenia) stood inside a see-through column of wall and placed one hand on Orestes and the other on Iphigenia. That was cool!

Stage director Stephen Wadsworth made sure that the action was as fluid as possible, despite the limited confines of the rooms. Thanks to choreographer Daniel Pelzig, the dancers overcame the somewhat cramped quarters with panache, although the brief highland fling by the Scythian warriors looked sort of hokey. The fight scene, choreographed by Steve Rankin, was one of the best I’ve seen on the operatic stage.

The scenery and sets were enhanced by the superb lighting of Neil Peter Jampolis. The dusky red clothing of the priestess blended well with the temple wall and the over all mood of this opera. Diana’s tight-fitting, shiny black leather or plastic get-up made her look more like cat woman than a goddess, but what the heck – you’ve got to give a goddess some leeway.

I heard lots of color and texture from the orchestra, which was paced expertly by conductor Gary Thor Wedow who also made sure that the volume near overwhelmed the singers. The chorus, prepared by Beth Kirchhoff, was outstanding, providing a balanced sound throughout the drama.

Extra note: After completing its run here, “Iphigenia in Tauris” moves to the Metropolitan Opera, which is the co-producer.

One busy fellow - conductor Ken Selden

Ken Selden, conductor of the PSU Symphony has been running at full speed. Over the past month or so, he has filled in as cover conductor at the Oregon Symphony, because resident conductor Gregory Vajda has been in directing a production of Verdi's "A Masked Ball" for Opera De Montreal. So, in addition to his duties at the university, he has been running down to the orchestra hall to help with rehearsals and be on call in anything happens to Carlos Kalmar.

In the meantime, Selden has been preparing his orchestra at PSU for their first concert, which is this October 19th at Lincoln Hall. On their program is a U.S. premier of "Disembodied Instruments" by David Horne and Vaughn Williams Symphony No. 5. The piece by Horne is right in line with Selden's interest in new music. In fact, his leadership in new music earned PSU national recognition after receiving First Prize in Adventurous Programming from ASCAP and the American Symphony Orchestra League. You can find out more about the PSU Symphony here.

Also, Selden has been engaged to lead a concert by the Newport Symphony and another by the Portland Youth Philharmonic. The PYP concert is coming up soon on November 10th, so Selden is one busy fellow.

A terrific piano recital by Endre Hegedûs

The next time pianist Endre Hegedûs comes to town, you ought to hear him. The Hungarian virtuoso gave a spectacular recital at the Old Church on Friday evening (Oct. 12) of works by Chopin and Liszt, including a rarely heard Liszt fantasy of Bellini’s “Norma” and a Liszt transcription of Wagner’s “Tannhaueser.” Hegedûs plays with a style that makes the piano sing and at the same time has a genuine, earnest feeling.

Hegedûs masterfully controlled the tempi and volume to create a warm and fluid sound that worked well for Chopin’s”Nocturnes” (No. 1 in B flat minor and No. 2 in E flat major). Hegedûs easily expanded the dynamic range for his interpretation of Chopin’s Sonata in B minor and the Polonaise “Heroic” in A flat major, making an impressive statement that ended the first half of the program with verve.

The second half was devoted to Liszt. Hegedûs interpreted “At the stream” with grace and elegance. He then polished off a terrific rendition of the “Mephisto Waltz No. 1” with all of its knuckle-crunching sounds ringing about. Hegedûs then delivered a nostalgic and poignant “Forgotten Waltz No. 1,” which evoked the dance-like atmosphere from ballrooms of an earlier era.

Hegedûs‘s playing of Liszt’s “Norma – Grand Fantasy” was very dramatic and beautiful and may have been the best piece of the evening. This piece contains seven melodies from Bellini’s opera and Hegedûs brought all of them forward wonderfully. The Liszt transcriptions of two themes from Wagner’s Tannhaueser (Walfram’s “Romance to the Evening Star” and “The Entry of the Guests”) was performed by Hegedûs with remarkable depth and clarity. (This makes me think that there should be a way to promote Portland operas with piano transcriptions.)

The audience rewarded Hegedûs with a standing ovation, and he responded with an encore, Bartok’s “Evening at the Village.”

PS: Hegedûs didn’t hum or make other sounds while he was playing. André Watts, in his most recent recital in Portland, has taken up this annoying habit.

Preview of Endre Hegedűs piano recital

The virtuoso Hungarian pianist Endre Hegedűs will play tomorrow evening at The Old Church. His concert is sponsored by Oregon Hungarian Communion of Friends, and this is the second time that he has played here. Hegedűs has won several international piano competitions, soloed with many orchestras, made 24 recordings, is a Steinway Artists, and teaches at the Liszt Ferenc Academy of Music.

I talked to Hegedűs over the phone about his life and upcoming concert.

Did you grow up in a musical family?

E.H.: Yes, my father was a self-taught musician. He played piano beautifully and played popular songs, folk songs, jazz, everything except classical music. He established a dance orchestra in my home town. My mother wanted to be a professional pianist, but her dream was cut off by the WWII, and she had to find work to make ends meet. So music for me was a given.

When did you start becoming interested in the piano?

E.H.: I was interested as soon as I could walk. My walkings as a young child led me to this mysterious flat box that was in the center of our living room. At that time, the keyboard was just my head, so I would stretch and try to tickle the keys. As a child, I spent a lot of time alone, I didn’t have any sisters or brothers. Since the age of four, both my parents had to work, so they left me at home and taught me how to use the radio. So, as soon as I heard a nice melody I would rush to the piano and try to figure it out. I began piano lessons at the age of five.

You are beginning your program with Chopin. Is he one of your favorite composers?

E.H.: Yes, I consider myself a Romantic. I like the ideas of the great Romantic composers: that the piano is capable of expressing the color, voices, even the volume of an entire symphonic orchestra. Music is a mirror of our lives, but it can also take us to a better world. Music must come from our hearts.

The composers gave us their works, but there is a lot of freedom within each score, and that gives the performers a chance to put their personal perspective on the music. So there are many, many ways to interpret a piece.

Can you tell us about the other works you’ll be playing?

E.H.: Liszt’s “At the stream - from the 1st Year: Switzerland” describes the mood and attitudes of being in the forest. It’s a beautiful description of nature. I think that this a beautiful miniature.

The “Mephisto Waltz” is program music that describes a scene from Nicholas Lenau’s Faust. This is the story about the learned man Faust who makes a contract with the devil. At one point, there is a wedding reception where the town musicians are playing slowly and poorly. Mephisto takes the violin out the hands of the violinist and plays a wild and fiery tune that gets everyone to dance crazily. And Faust is swept off to hell in the end. It’s an exciting piece.

Liszt also made transcriptions and fantasies of operas. I’ll a couple of these that retell the music from Bellini’s “Norma” and Wagner’s “Tannhaeuser.” When Liszt wrote these pieces, they became a great way for people to experience the music of these operas. This also helped to make the music of these composers better known. Liszt had an extraordinary technique and limitless imagination. I have recorded 34 opera transcriptions and fantasies of Liszt. He wrote 85 of them. Most pianists play only three or four of them.

When did you last perform in Portland?

I played in Portland last year at the 50^th anniversary of the Hungarian revolution of 1956. I enjoyed Portland and hope to take a walk again in the woods near the home of my friend Lajos Balogh. It’s wonderful to perform in Portland again.

Endre Hegedűs "The Tender Chopin and Fireworks Liszt"

October 12, 2007 at 7:30

The Old Church, 1422 SW 11^th, Portland

Tickets: General admission: $25.00, Students: $10.00, Children under 14: free. Available through Brown Paper Tickets: 1-800-838-3006 or http://www.brownpapertickets.com/event/19587

For more information, visit: www.mbk.org , www.hungarianpianist.com.

Review of Andre Watts recital

Andre Watts stopped in town to give two recitals (October 7 and 8) in the Newmark theatre. These concerts opened the Portland Piano International’s recital series, which began 28 years ago as the Portland State recital series and changed its name to PPI in 2005. PPI has added Monday evenings to its schedule (last year was Sunday afternoons only), and the appearance of a popular artist like Watts, helped to make sure that both concerts would come close to selling out.

Watts devoted the first half of the program to works by Scarlati, Mozart, and Schubert. He began with two sonatas (L. 187 and L. 422) by Scarlati, and his playing was clear and crisp – perhaps a little too brittle over all. It was as if he wanted to separate the notes distinctly so that they would sound more like a harpsichord.

The sound grew more expansive with Watt’s performance of two rondos by Mozart, the A minor (K. 511) and the D major (K. 485). Watts poignantly brought out the melancholy theme of the first rondo, and the second rondo sparkled, but in a sensible way.

With Schubert’s “Three Piano Pieces (D. 946), Watts got closer to the full-blown romantic sound that seems closer to his heart. The Schubert pieces became a spirited romp that Watts plays as well as anyone on the planet.

Watts changed his program for the second half. He sat down at the piano and turned to the audience, and announced what he would like to abandon the all-Chopin selections that were listed in and instead play works by Ravel, Debussy, Liszt, and Chopin.

He performed Ravel’s “Oiseaux tristes” (“Sad Birds”) with lots of dynamic range and color. This short, impressionistic piece became the hit of the evening, because the impression Watts created was so vivid and inspiring.

In his performance of Debussy’s “Pagodas,” Watts created an oriental landscape that was powerful and beautiful. He also unleashed two mystical and dreamlike treasures by Liszt: “La Lugubre gondoa” (The lugubrious gondola”) and “Schlaflos, Frage und Antwort” (“Sleepless, Question and Answer”).

Watts then gave forceful yet fluid interpretations of works by Chopin, including two Etudes and the Ballade No. 1 in G minor. The audience erupted in applause, and Watts returned for two encores. I think that the second was one of Liszt’s works.

One thing about Watt’s style of playing it that he doesn’t waste any time. As soon as he sits down at the piano, he takes less than five seconds to begin a piece. The man has a tremendous amount of focus, and it showed in this concert.

New scribblings in two publications

I've recently published a couple of articles on outstanding local musicians. One article is a profile of pianist Susan Chan, who also teaches at PSU. She performs a very diverse repertoire on concert stages (including Carnegie Hall) and performs much of the same pieces for retirement homes and hospitals. The article, "Generous Performer," appears in the fall issue of PSU Magazine, which is sent to all PSU alumni.

The other article describes conductor Ralph Nelson and his Bach Cantata Choir. Ralph is the founder of this 45-voice ensemble, which will sing all of Bach religious and secular cantatas over the next 20 years. That's because there's over 200 of these works to perform. The article - with a cheesy title - "Bach to the future!" appears in the Hollywood Star newspaper.

Both articles, I'm sorry to say, are not available on the web (although the PSU Magazine will post the Susan Chan story at a later date.

In the meantime, I'm happy to note that Ralph will be the director of the choir at First Immanuel Lutheran (Northwest 19th and Irving) where I sing. So, if you'd like to see what Ralph can do, stop by some Sunday at 11 am.

Oregon Symphony - Rach 2 concert review

I have been so busy lately, that I’m now just getting around to posting this review. A week ago (Sunday, September 30th) I heard the Oregon Symphony’s season opening concert. The Schnitz seemed to be nearly 95% full, and the atmosphere buzzed in anticipation of the program, which featured two crowd-pleasing pieces: Rachmaninoff’s Piano Concerto No. 2 and Richard Strauss’s “Also sprach Zarathustra.”

The concert opened with Dvorak’s “Symphonic Variations,” a complicated work that has 27 variations on a main theme. I liked the clean and crisp playing by the violin section, and that seemed to speak well of the concertmaster Jun Iwasaki. Iwasaki also had at least one solo in this piece, and he handled each passage very fluidly with excellent tone.

In the hands of some conductors, the “Symphonic Variations” could become a real bore, but Kalmar and the orchestra worked well together to give this piece some shape. Each variation tickled our ears with something different and unique. The piece culminated with a big, Bohemian-sounding (or Dvorak-sounding) fugue that had a tremendous fanfare-like blast.

I’m sure that Valentina Lisitsa has played the Rach 2 many times, but she surprised everyone by pouncing on the opening notes a little too fiercely. I think that she hit the bass so loudly that it caused the piano to sound out of tune. So, some of us in the audience got a little jumpy during the first passage, but Lisitsa, being the artist that she is, got it all under control and delivered a very inspired, poetic performance the rest of the way. I saw people leaping out of their seats at the end of the finale, and jubilation erupted from every corner.

The orchestra accompanied her elegantly, and, as usual, principal clarinetist Yoshinori Nakao, poured out the liquid, clear lines that are a pure delight to hear. I also admired how the bassoon or bassoons could play lithely in their upper register. Plus the slight shimmer of sound that Niel DePonte gets from the small cymbals adds oh so much to the magical quality of this work.

Following intermission, the orchestra gave a stirring and vigorous interpretation of Strauss’s massive tone poem. The two tubas and the battalion of trumpets, trombones, and horns made sure that the opening statement was grand, but it was also crisp and delineated. I really enjoyed hearing the sound reduce or distill down to the bass fiddles – only to watch the sound grow again gradually adding the cellos, then one bassoon, then the second violins, the violas, all bassoons, the first violins, and finally everyone else.

I heard a lot of great playing from everyone, and it was fun to watch Iwasaki and associate concertmaster Peter Frajola work together during the Viennese waltz.

I did note to myself that the flute section didn’t look quite right, because Martha Herby wasn’t playing. It is with much sadness to hear the news that she died just a few days ago. The opening concert was dedicated to the memory of Symphony benefactor Jean Vollum, and I’m sure that the next set of concerts (Oct. 13-15) will be dedicated to Herby.

Review of the Free Marz String Trio "Constallations" concert

A capacity audience of over a 150 – with some standing along the back wall – heard the Free Marz String Trio concert on Friday Sept. 28th at the Community Music Center in SE Portland. They created a festive atmosphere for an evening of music that few had ever heard before. Several pieces were dedicated to the memory of Mstislav Rostropovich and Jimi Hendrix, two favorite performs of artistic director and composer, Bob Priest.

The concert presented an array of new music from around the globe. Marylhurst music professor and composer John Paul kicked things off with “Chara,” his new composition for string trio. The Free Marz String Trio (consisting of violinist Inés Voglar, violist Joël Belgique, and cellist Adam Esbensen) dove into the rhythms of this piece with gusto. I liked how one player would finish the phrase that another began. Also impressive was how the ensemble negotiated the sudden downshifting to a lower gear, as if to jump from the fast lane of a freeway to drifting about on a pond in a rowboat. The finale of the piece was emphatic and so was the applause of the audience.

Next came “De Profundis,” an unusual piece for viola and bass by Austrian composer Thomas Daniel Schlee. This music had sections in which the bass played much higher notes than the viola before both instruments go through an agitated phase and the bass descends to the depths. Violist Belgique and bassist Jeff Johnson deftly handled the unusual sounds and improvisational character of this piece, which concluded with the bass rumbling in the basement.

Volgar blended extraordinary control and artistic sensibility in the following piece, “Mikka,” by Iannis Xenakis. A continuous variety of glissandos captivated the audience with buzzing, high-pitched growling, gnawing, screaming, and sighing. The four-minute piece became a real show-stopper in Volgar’s hands, and it elicited an enthusiastic response from the audience.

After a brief pause that featured the recorded ambient sounds of Karlheinz Stockhausen’s “Tierkreis,” Esbensen played “Declamato & Fuga” from Benjamin Britten’s Suite II for cello. Esbensen showed a lot of nimbleness as he negotiated the sporadic, random sounds of this very abstract piece. I had a hard time getting into this piece.

Actor David Loftus gave a short recitation from Arthur Schnitzler’s novella “None But the Brave,” and garnered lots of laughs of self-recognition from most of the audience.

After this non-music interlude came “Pisces, Libra & Leo, an arrangement by Bob Priest of Stockhausen’s “Tierkreis.” Each member of the Free Marz String Trio took a positions on either side of the audience or on the stage, forming a triangle as they played this whimsical arrangement. I sat nearest to Voglar, who played impeccably throughout, and I think that the others did as well.

The trio returned after intermission to play Priest’s “Four By Igor,” his recent arrangement from Stravinsky’s “Les Cinq Doigts.” The four short numbers that made up this work had a simple and direct character. The third movement was lithe yet haunting, and the fourth alternated intriguingly between plucking and a smooth legato-like sound.

Violinist Erin Furbee joined the string trio to play Priest’s “Formula PH: Three Moves for Jimi,” an abstract homage to the music of Jimi Hendrix. The sound went in many directions, but I was unable to identify any particular Hendrix quote. The audience loved the music and applauded enthusiastically between each “move.”

The concert concluded with “Gypsy Eyes,” an arrangement for string quartet by David Balakrishnan and the Turtle Island String Quartet. This piece had a lot of driving glissandos and the violins and viola were played like mandolins at one point. A highlight was Belgique’s singing "I love your gypsy eyes" (or something to that effect) towards the end. That took everyone by surprise. Okay, now I'm ready to see what Belgique can do with an electronic viola!

A standing ovation followed with lots of cheering for the ensemble and Priest, who put everything together.

I was impressed with the audience, which gave its fullest attention to each piece. Among the listeners, I spotted several members of the Oregon Symphony like principal flutist David Buck, cellist Trevor Fitzpatrick, and new concertmaster Jun Iwasaki. Composer Tomas Svoboda also attended the concert. One of his pieces was featured at the Third Angle New Music Ensemble concert at The Old Church yesterday (Oct. 5th).

Pierce batons in the hands of Riccardo Muti

Maestro Muti gave Alan Pierce's baton a test drive at one of the Chicago Symphony concerts right before they went on their European tour (click on this link for tour info). "Muti loved my baton," said Pierce. "And he said that he would use it from now on. He prefers batons that are about 14.5 inches. He expressed his gratitude and I felt very proud."

Pierce also sold six batons to three conductors who were attending the rehearsals. If you are interested in Pierce baton, check out his web site here.

Reviewing the Eugene Symphony

This past few days have been a busy for me. The Eugene Register-Guard asked me to review opening night of the Eugene Symphony because all three of their regular reviewers were not available. So I drove to Eugene on Thursday evening, heard the concert (with one of my nieces who is attending the U of O) and wrote the review, which appeared in today's Register-Guard here.

Talking with Carlos Kalmar

Last Friday I visited with Oregon Symphony’s director Carlos Kalmar at his office, and we talked about a variety of topics. At the end of our conversation, I snapped a picture of Carlos that you see above. Behind his desk is a large, colorful painting by George Broderick.

Summertime in Chicago, Baltimore, and Wyoming

Every summer, Kalmar conducts the forces at the Grant Park Music Festival in Chicago. This year they finished up two recordings under the Cedille Records label, and both CDs are scheduled to be released in April.

“All of the recordings are live,” says Kalmar. “We record the concerts live and then have a patch session. So after the concert, you take a shower and then return to the stage to re-record. It’s demanding.”

One recording features the music of Aaron Jay Kernis.

“We recorded a new piece for large orchestra that Kernis wrote in 2005,” says Kalmar. It was written for James Conlon and the Chicago Symphony for their summer Ravinnia concerts. So, the Chicago Symphony premiered it but didn’t record it.

“We also recorded a Kernis piece called ‘Newly Drawn Sky,’” adds Kalmar. “Very colorful and excellent writing. Also, Kernis took out a movement from a concerto he wrote for guitar, violin, and small orchestra, and orchestrated it for a medium-sized orchestra. That movement is called ‘Too Hot Toccata’. It’s very jazzy, crazy, and technically difficult to the extreme.”

The other recording features mezzo soprano Jennifer Larmore, a rising star in the operatic world.

“This is an interesting recording if you look at what singers usually do when they put out a recording. Singers typically include flashy arias – lots of high notes and coloratura the usual stuff. So Jennifer and I and the orchestra went in a completely different direction.

We recorded music about four queens and none of the selections are operatic pieces. So this recording includes ‘Le mort de Cleopatra’ by Berlioz, Barber’s ‘Andromache's Farewell,’ Ravel’s ‘Shéhérazade,’ and Benjamin Britten’s ‘Phaedra.’ This is very late Britten, a very strange, wacky piece of music, and you think that it’ll never work. Then we got into it. Jenny got into it. I got into, and we thought that this is great and it’s scary, too.

Carlos also conducted in Jackson Hole, Wyoming at the Grand Teton Festival and he conducted Beethoven’s 9th in July with the Baltimore Symphony.

“I broke my own rule,” comments Kalmar. “I usually don’t do any work in July, but this year I did the performance with the Baltimore Symphony. It’s a great orchestra, and we are good friends.”

Oregon Symphony’s new concertmaster Jun Iwasaki

I also asked Kalmar to give me some of his impressions about the new concertmaster Jun Iwasaki.

“Jun is very energetic,” says Kalmar. “He has excellent leadership and relates to others well. He reads already very well. He has to adjust to me and the orchestra. There’s a learning curve, too. I try to listen to what the orchestra offers to me, and Jun offers a lot. It’s an exciting time, and I think that he will do very well. The training from conservatories is spectacular, and in every audition that we had, there were people who were very good, but we went for the outstanding. We went for the very special. So we selected Jun.”

Fall concerts with the Oregon Symphony

We touched briefly on the Van Cliburn gala concert (which was performed last week). Kalmar enjoyed working with Van Cliburn and noted that he brought his piano with him and felt very comfortable with the orchestra.

Rachmaninoff Piano Concerto No. 2 – Sept. 29-Oct. 1

Valentina Lisitsa is filling in again – this time to replace an ailing Horacio Gutiérrez in a performance of Rachmaninoff’s Piano Concerto No. 2. Back in March, Lisitsa made a terrific last minute replacement for Denis Matsuev on Tchaikovsky’s First Piano Concerto.

I couldn’t help but ask how Kalmar first heard of Lisitsa.

“I found her in Chicago in 1998,” replies Kalmar. “She was the soloist at Grant Park for a concert that I didn’t conduct. I was guesting and for some reason staying another day. Jim Palermo, the festival’s artistic director, suggested that I hear this fantastic Ukrainian pianist. Now we’re talking music. She is really pleasant to work with and a wonderful pianist.”

Lisitsa’s appearance will a highlight on a program that features Dvorák’s “Symphonic Variations” and Strauss’s “Also sprach Zarathustra,” which American audiences still heavily identify with the film 2001 A Space Odyessy. So the Strauss piece will create a lot of splash as well. We’ve got terrific players in the orchestra.

Spanish Splendor – Oct. 13-15

This concert begins with Haydn’s Symphony No. 93.

“It’s one of the late ones – from the London group,” says Kalmar, “but it isn’t one of the famous ones. Still, it’s excellent Haydn.”

“This program has some unfamiliar music,” notes Kalmar. “People have heard the suite compilation “– 12 to 15 minutes – of Falla’s “The Three-Cornered Hat.” We will play the entire thing. It’s a ballet piece and it contains some extremely symphonic writing. It would be great to have music showcased by dancers on stage, but in this case the music has a lot of substance and carries the story well. I’ve always had great results with this piece.”

Also on the program is Berio’s “Folk Songs.”

“Luciano Berio was married to the American singer Cathy Berberian,” says Kalmar “and he wrote this for her. There are two versions. One is a different orchestration than the other. If you like the version we will play you can hear this piece in the chamber music version for seven players with Fear No Music and a mezzo-soprano a couple of months later. It’s a compilation at random of folk songs from very different countries and very different characters. It starts with two American folk songs. For me, not coming from this country, I always wonder if people know these songs. They should be able to recognize the first one: “Black, black is the color of my true love’s hair.” It’s the folk song in the original version with Berio redoing it. Beautiful with very intelligent writing with modern parts that are in conjunction with the original. Then the music travels to Armenia, France, three songs from Italy. It’s stunning what happens there. Also has a song from Azerbaijan. Every song is sung in the original language. So our guest mezzo soprano, Patricia Risley will show her skills in different languages.”

“This concert came about because I always wanted to the Berio folk songs,” continues Kalmar. “That piece goes well with the Three Cornered Hat’ because it starts with a trumpet fanfare, then you hear a female voice, but you don’t see the singer, then the piece evolves and in the middle of the piece you hear the voice again, but again you don’t see the singer. So that’s the connection with Berio.”

Dvorák’s Symphony No. 9 – Inside the Score – Oct. 21

Carlos and the orchestra will explore the New World Symphony, This piece is considered an American piece. But what does that mean and is that true?

James DePreist and Najda – November 3-5

Laureate Music Director DePreist returns with one of his favorite soloists, Nadja Salerno-Sonnenberg to perform Bruch’s violin concerto. Also on the program is Rachmaninoff’s Symphony No. 2 and Wagner’s “Prelude to Act III of Die Meistersinger.” I’m looking forward to the Wagner piece, because it’s a natural fit for DePreist’s sweeping Romanticism, plus he never conducted Wagner (or if he did it was very rarely) during his tenure here. He recently conducted Wagner at the Aspen Music Festival (with soprano Jane Eaglen), and has, in fact, done lots of Wagner in the past two years.

Haydn & Beethoven – November 17-19

Finnish conductor Hannu Lintu returns for an engagement with the orchestra. Guest cellist Ralph Kirshbaum will play the Hayn cello concerto. Sibelius’ 6th Symphony and Beethoven’s 8th are also on tap.

“Lintu is extremely musical,” says Kalmar. “He works well with our orchestra. He has just been appointed the new chief conductor of Tampere Philharmonic Orchestra in Finland. That’s a very fine orchestra, and I’ve worked with them twice.”

Vivaldi’s Four Seasons – December 1-3

This program feature’s Vivaldi’s famous piece, Elgar’s “In the South,” and Berlioz’s “Roman Carnival Overture.”:

“I’m looking forward to working with Finnish violinist Elina Vähälä,” states Kalmar. “We got some material from this artist from her agency. We think that she has something special. Of course, we always check references, too. Once I’ve worked with people and I like the way they work, I tend to still with them. The best example for me is the cellist Alban Gerhard. With him, music making is always great.”

Four orchestras in four weeks – the Kalmar marathon

For four weeks between the last week of October and the last week of November Kalmar will be ping pong his way around Europe. On October 28 he conducts Orquesta Sinfónica de Galicia at A Coruña (located in northern Spain), then he ricochets to Ireland where he conduct the RTÉ National Symphony Orchestra on November 9. Kalmar heads back to Spain to conduct the Bilbao Orkestra Sinfonikoa on November 15 and 16 (in a program that features the great pianist Benedetto Lupo), and he winds up on November 23 with the Flemish Radio Orchestra in Brussels

Kalmar knows how to live out of the suitcase.

“I’ve been doing this work for 20 years,” says Kalmar, ‘”I can pack a suitcase in 25 minutes. I know what has to be there. It’s easy. I’m proud and lucky not to forget things.”

Composer Bob Priest and his Free Marz String Trio concert

I recently talked with Bob Priest about the upcoming concert of new music that his Free Marz String Trio will be performing this Friday at 8 pm at the Community Music Center. The music is built upon several interlocking themes - centered on birthdays, zodiac signs, and other constellations of the mind. Priest, I think, is a fellow who can push free association to the limits. Well, in this case, the outer limits.

This concert features music by John Paul, Benjamin Britten, Thomas Daniel Schlee, Iannis Xenakis, Karlheinz Stockhausen, Igor Stravinsky, Darol Anger, Bob Priest, and Jimi Hendrix. The Free Marz String Trio consists of violinist Ines Voglar, violist Joel Belgique, and cellist Adam Esbensen, all of whom are members of the Oregon Symphony and of Fear No Music. They will be joined by violinist Erin Furbee (also a member of the OSO and FNM) and bassist Jeff Johnson (OSO member) on a couple of pieces. Also, actor David Loftus will read an excerpt from Viennese author Arther Schnitzler"s novella "Lieutenant Gustl."

The Marz name is a Priest's shortening of Marzena, and Marzena, a popular name for Polish women, means "dream." Priest liked that name so much that used it for the Marzena Performance Ensemble, which was featured in two music festivals that Priest created: the Seattle Spring Festival of New Music and World Arts (1988 to 1992) and the Seattle Summer Festival of New Music (1994).

"For a while in Seattle, I lived a few blocks from the Free Mars Cafe," says Priest, "which used to stay open until four in the morning. Anyway, it made me think of altering the ensemble's name. Also the first Mars landing happened on my 26th birthday."

This concert begins with "Chara," a string trio by Johan Paul, who is the head of the music department at Marylhurst University.

"Chara means joyous or to celebrate in Greek," explains Priest. "It sounds Americana, very motoric, very sprightly, a straight ahead piece. Incidentally, before Paul went into academia, he wrote some video game music for Atari. He's an interesting fellow."

Next is a work by Thomas Daniel Schlee, an Austrian composer and a professional touring organist who lives in Vienna and runs a music festival in the south part of Austria. Schlee and Priest have been friends since they met in Paris at a class taught by Messiaen in the late 1970s. Schlee's piece, "De Profoundis" is written for viola and double bass.

"This is a dramatic, tough number," says Priest.

Ines Voglar follows with by a short work by Xenakis, who would have been 85 years old had he lived longer.

"The Xenakis is an over the top glissandi piece," explains Priest. "It will push the envelope a little bit."

Next comes a tribute to Rostropovich. Adam Esbensen will perform the first two movements from Britten's seconds suite for solo cello.

"Rostropovich had a tremendous influence on Britten," says Priest. "Britten wrote five major works based on his connection to Rostropovich and that helped to transform the cello repertoire."

"Rostropovich is one of my absolute favorite people," adds Priest. "I saw him play on two occasions in Los Angeles, and he was electrifying. I couldn't sleep after hearing him play. I also got an autograph from him. He was larger than life. Another connection to Rostropovich is Ines. He conducted a youth orchestra that she played in and toured around Europe."

Next comes a short reading by David Loftus from Schnitzler's "Lieutenant Gustl" (which was retitled in the English version as "None but the Brave").

"I like to have something that is more than just music on the program," explains Priest. "This excerpt is an interior monologue by the main character who is sitting in a concert an muses on all sorts of things."

Interspersed between these pieces, the audience will hear selections from Karlheinz Stockhausen's "Tierkreis” (Signs of the Zodiac) which he wrote for music boxes. Priest has arranged three of these pieces for Voglar, Belgique, and Esbensen, who will play them from different areas of the stage.

After intermission, the Free Marz String Trio will play four movements of Priest's arrangement of Stravinsky's "Les Cinq Doigts" ("The Five Fingers"), which he wrote for piano in 1921.

"I'm calling my arrangement 'Four by Igor'" says Priest, "because he orchestrated the music for an ensemble of 15. So, I'm primarily using the original piano arrangement, but I'm also referring to the larger arrangement, too. So, my piece has four the of the eight movements."

After the Stravinskian excursion, Erin Furbee joins the Free Marz Trio -- making it the Fear No Music string quartet -- to play Priest's "Formula PH: 3 Moves for Jimi."

"I wrote this piece in 1998," states Preist. "It has three movements and uses elements of Jimi Hendrix's music. It's all abstracted from and inspired by Hendrix's music, but it's not like the Kronos arrangement of 'Purple Haze.'"

The last number on the program is an arrangement by Darol Anger (current Portland resident and former violinist of the Turtle Island String Quartet) of Hendrix’s “Gypsy Eyes.” You may have have heard it on the TISQ's recording "Who do we thing we are."

"You have to put a lot of verve into this piece," says Priest, "and you have to sing and play at the same time, too."

Whew! That's a lot of new stuff! You can enjoy a reception of interesting food at the end of the concert, too. And it's all gratis!

Jossie Perez puts wow factor into Portland Opera's Carmen

Jossie Perez in the title role as the spicy, sexy, cigarette-factory girl in Portland Opera's Carmen delivers an over-the-top performance that you should see if you haven't already purchased your tickets. Perez looks the part, she acts the part, and she sings it all superbly, and she adds so much sexual tension to the story that the air conditioning at Keller Auditorium last night was running at full blast. Supported by a terrific cast of principals, including Richard Zeller, Maureen O'Flynn, Richard Troxell, ad Mark S. Doss, this season opener is very strong and convincing.

I'm writing a review of the production for Opera, the London-based magazine, so I won't say much more than to say that you won't see a better performance of Carmen than Perez's.

Back in the Saddle Again

I'm back to singing in the tenor section of the Portland Symphonic Choir again. I took a year off because of ongoing scheduling conflicts with some music critics conferences that I wanted to attend (they included a Ring Cycle in Toronto, Canada, and the Spoleto USA festival in Charleston, South Carolina).

After passing a rigorous audition, I'm delving into the nitty gritty of learning some difficult Jewish music. We will be presenting concerts on October 27 and 28 at Temple Beth Israel in NW Portland. The trickiest piece is Judith Lang Zaimont's Rememberance, which was commissioned by the PSC. Zaimont frames this work in four movements to poems by Shakespeare, Sir John Suckling, Christina Rossetti, and to texts from Reform Judaism's prayerbook for the High Holy Days.

This concert features other pieces, of course, and I'll mention them at a later date. In the meantime, I have to say that the choir is sounding better than ever. I am really impressed by the professionalism of my singing colleagues. The choir, in fact, has been invited to sing at the American Choral Directors Association conference in Vancouver BC in late February. I think that everyone is looking forward to that!

Thank you KBPS!

I signed up to receive the new email newsletter from KBPS called e-NOTES. During their kick-off drive last month, they lured people like me by giving away a CD every day to one of us who signed up during that period. I was one of the lucky ones; so, in the mail a couple of days ago came a copy of Rene Flemming's new recording, By Request, which I heard her in recital a few years ago at Benaroya Hall in Seattle, and she is a marvelous artist, one of the finest sopranos on the planet right now.

In the meantime, I heard that more than 400 people signed up for e-NOTES during that CD give-away period.

Pavarotti sales at Classical Millennium going up, up, up!

After noticing and article about the steep demand for Pavarotti recordings in England, I called Michael Parsons, proprietor of Classical Millennium, to see how Pavarotti sales are doing at his store.

"There's a significant increase in demand," he quickly replied. "The recordings that are compilations of his famous performances are going fast. Among the opera recordings, La Boheme is leading the pack."

So plan ahead if you are looking for a Pavarotti album...

Local soprano sang for Pavarotti

As I walked through my neighborhood (Irvington) in Portland a couple days ago, I saw a sign placed in one of the front yards, stating "Thank You Pavarotti!" So, I stopped by that house and chatted to the owner to find out about her connection to the great tenor. I was introduced to Nancy Olson-Chatalas, who teaches voice as an adjunct faculty member at Portland State University. She put the sign on her front lawn as a tribute to Pavarotti, and she told me of a time when she sang for him.

"I was in the finals of the International Arts and Letters competition," recalls Olson-Chatalas. "You had to have a high grade point average, be in certain age range, create a recital of five arias, work your way through the levels. And there was a lot of money involved if you won. The competition was held every year for about 12 years. I was in the 1979 finals which were held in Frank Lloyd Wright Auditorium in Scottsdale, Arizona, and Pavarotti was an adjudicator."

"Were you scared?"

"Not really," says Olson-Chabalas. "I was excited. In the master class he said that 'talent cannot be taught' and he gave me kisses, and I tied for first place with Susan Robinson who later taught at Westminister College. Pavoratti stood behind me with his hands on my waist and said 'breathe into my hands,' and I did that, and he said 'good, good.'"

Olson-Chatalas is retiring from teaching voice at PSU and wants to concentrate on writing and hiking. She now only has five students, but she is still working on singing Schubert lieder.

Debut recording by the Rose City Mixed Quartet

A few months ago, the Rose City Mixed Quartet released its debut CD entitled Outstanding! This recording contains 16 songs that feature some tightly wrought a cappella singing that puts a fresh twist on tunes that we take for granted. Take their opening number, Ain’t Misbehavin’, which detours into the realm of barbershop or Can’t Buy Me Love, which has accents of a madrigal or ’Tis a Gift to Be Simple, which has a jazzy underlying rhythm.

Other numbers on the RCMQ recording are Someone to Watch Over Me, Embraceable You, Home on the Range, Danny Boy, Lonesome Road, Short People, Lazy River, Blackbird, Isn't It Romantic, Java Jive, Little Red Riding Hood, In My Life, and Goodnight Sweetheart. Some of these arrangements (at least the background harmonies) are in the spirit of the Swingle Singers, an octet (now based in London, England) that has been bridging the gulf between classical music, popular music, and jazz with several chart-climbing albums since 1967.

The RCMQ consists of soprano Cameron Griffith Herbert, alto Helen Deitz, tenor Dale Webber, and bass Mark Petersen. They are longtime members of the Portland Symphonic Choir, and I have sung with all of them many times as a member of the PSC.

I’ve enjoyed this group’s ability to thread the needle in performing these complex arrangements. It’s great to have a mixed ensemble like this in Portland. Check out RCMQ’s Outstanding! when you get the chance. Here's a link to their web site.

Chan's piano recital elicits strong reaction

"That was weird. That was really weird," exclaimed one audience member after hearing pianist Susan Chan play "Memories in a Ancient Garden" by Alexina Louie. Chan was standing and had finished reaching into the Steinway to strum its string like a harp. The strumming created an odd atmospheric effect - evoking the sense of someone who had stumbled into a long forgotten garden - and it received a strong reaction.

A round of enthusiastic applause followed the comment and seemed to cover over any awkwardness. But I think that it was very cool that this music received such a strong reaction. The audience of about 200 people in Lincoln Hall's auditorium had been following the second half of Chan's program very intently. This program featured new compositions of Asian composers (all living)and the music evoke a lot of Asian influence in the structure of the harmonics.

One piece, "Incarnation II" by Somei Satoh, consisted of closely hue tone clusters that were mostly in the lowered register of the piano. The repetitive playing of the tones caused a lot of overtones in the upper register even though no notes were played in that part of the keyboard.

A piece by Doming Lam perked up everyones ears with its unusual harmonics, and all of the numbers gave a good shape to this program, which Chan gave as a preview of the performance that she will present in Carnegie Hall later this fall.

The first part of the program consisted of works by Bach, Chopin (8 of the 24 preludes), and Busoni's arrangement of Bach's Chaconne in D minor. All of these were played extremely well by Chan - although I think that her interpretation was a little freer with the first three Bach numbers (Prelude in B minor, Sheep May Safely Graze, and Jesu, Joy of Man's Desiring).

Rare cooperation between Portland Opera and the Oregon Symphony

As the comment to the previous post noted, Jossie Perez will be singing a selection from Carmen at the Oregon Symphony's Waterfront concert tonight. Perez is a rising star in the opera world, especially noted for her performances of the naughty girl who works in a cigarette factory in Spain and runs around with gypsies who are involved in illegal activities near the border. That's part of the story of Carmen, which the Portland Opera will be performing later in the month. I'm not crazy about the photo of Perez that Portland Opera is using to promote Carmen, but Perez does have some delicious pics of herself on her website: jossieperez.com.

In any case, I think that this marks the first time in many, many years that someone is appearing in a Portland Opera production and with the Oregon Symphony. I'd like to see more of this kind of thing. It's cross promotion and well worth the effort. And I'd like to see Carlos direct a Portland Opera production some day, too.

Robert Ainsley talks about Carmen

Portland Opera's very talented chorus master Robert Ainsley will give a free lecture about Bizet's Carmen during lunch hour on September 7th in the U. S. Bank Room at the Central Library (801 SW 10th Ave.). It's a free presentation that will include background information about the opera. You'll also be able to to hear some of the musical highlights from the Portland Opera Studio Artists.

Although you may think that you know everything about Carmen, Ainsley will probably give some new tidbits to ponder. These presentations are fun, and they are free!

Reviews of Carlos Kalmar from Chicago and Baltimore

Oregon Symphony's artistic director is a busy fellow during the summer. He has a full schedule at the Grant Park Music Festival in Chicago and does some guest conducting at the Grand Teton Music Festival and with the Baltimore Symphony.

I didn't find an online review of his concert with the Grand Teton Festival Orchestra, but I did find three reiviews (all positive) of Kalmar's conducting in Chicago and Baltimore.

Here's the review by John von Rhein in the Chicago Tribune:
http://www.chicagotribune.com/entertainment/chi-ovn0820carlosaug20,0,4037025.story

Wynne Delacoma of the Chicago Sun-Times nods favorable to Kalmar near the end of her review:
http://www.suntimes.com/entertainment/music/classical/516801,CST-FTR-grant20.article

Here's the review by Tim Smith in his Baltimore Sun bog (scroll down to the July 27th entry):
http://weblogs.baltimoresun.com/entertainment/critics/blog/classical_music/

Sidenote: Smith is the president of the Music Critic Association of North America (of which I am also a member).

Kalmar is back in town next week to lead the Oregon Symphony's Waterfront Festival concert on August 30th.

Music from the Outer Limits - upcoming Free Marz concert

If you want to hear something new and unusual, be sure to attend the upcoming concert by the Free Marz String Trio. Artistic Director Bob Priest has put together a program that will bring the music of the spheres to your ears. Called "Constellations: Recent Music from the Outer Limits . . .," this concert features brand new works by Priest, Darol Anger (who used to play with the Turtle Island String Quartet, Marylhurst Professor John Paul, Thomas Daniel Schlee (an Austrian composer), and works you've probably never heard by avant-garde, Greek composer, Iannis Xenakis, and Benjamin Britten.

Members of the Marz String Trio are violinist Ines Voglar, violist Joel Belgique, and cellist Adam Esbensen. All three are also members of the Oregon Symphony.

The concert is free (reputedly underwritten by aliens) and will be presented on Friday, September 28 at 8 pm at the Community Music Center (3350 SE Francis St., Portland). A reception follows the concert.

BTW: last year's concert by the Free Marz Trio was standing room only. So, get there early if you want a seat.

I'll follow up this announcement with an interview with Priest closer to the date of the concert.

Susan Chan gives a preview of her Carnegie Hall recital

Pianist Susan Chan, a relative newcomer on the Portland music scene, will be playing an unusual recital of music from East and West in Carnegie Hall on September 16th. As a preview of this concert, Chan will give the same program on Thursday, August 30th at 7 pm.

Here's her program:

Bach/Siloti - Prelude in B Minor
Bach/Petri - Sheep May Safely Graze
Bach/Kempff - Jesu, Joy of Man’s Desiring
Chopin - Twenty-Four Preludes, Op. 28 Nos. 1, 6, 13, 22, 21, 15, 23, 17
Bach/Busoni - Chaconne in D Minor
Doming Lam - Gu-Chu: A Transcription for Piano after the
Fashion of Chin and Pipa (1971)
Moonlight Over Spring River NY Premiere
Chen Yi - Ba Ban (1999)
Somei Satoh - Incarnation II (1978)
Alexina Louie - Scenes from a Jade Terrace (1988) Memories in an Ancient Garden
Warrior

Chan is a member of the music faculty at Portland State University and is a very fine artist who deserves serious consideration by Portland's piano cognoscenti. She has played in Carnegie Hall before - in 2004.

Tickets for the preview concert on August 30th are $20 for adults, $16 for PSUAA members, and $12 for seniors and students.
Faculty, staff and students will be admitted free with a PSU ID. Tickets are on sale at Ticketmaster or the PSU Box Office 503-725-3307

New foursome makes debut

Fourscore, a new quartet of male voices, will make their debut concert on August 25th at The Old Church. The foursome consists of three tenors: Ben Landsverk, Brian Francis, and Stephen Marc Beaudoin,and baritone Ben Kinkley. Their program is called "Elegies and other sad songs" and includes the following pieces:

*Rufus Wainwright - "Pretty Things"
*Franz Schubert - "Das Grab"
*William Byrd - "Wounded I am" and "Delight is Dead"
*Joanna Newsom - "En Gallop"
*Charles Strouse - "Maybe"
*Henry Purcell - selected songs
*Hanns Eisler/Bertolt Brecht - selected songs
*John Dowland - selected songs
*Selected barbershop quartet tunes
*Traditional Irish laments

The concert begins at 9 pm, so you have plenty of time to finish your evening meal. Tickets at the door are $10.

Aerial dance might work well in collaboration

I just published an article about A-WOL Dance Collective's "Art in the Dark" show on livepdx.com. A-WOL specializes in aerial dance and has done very well to build an audience. I think that it would be terrific to see a collaboration between this dance company and a classical music group. Of course, Third Angle and Fear No Music are two groups that might be able to present such a show at a venue like the Wonder Ballroom or perhaps Kaul Auditorium.

Another collaboration that might be fun to see someday is one between the bicycling community and classical music. Perhaps a classical group could offer a program that featured music about motion/wheels/gears etc. Maybe tickets at a discount could be sold to people who agreed to ride their bikes to the concert. I guess it would have to be an afternoon concert and some shelter/security would be necessary to make sure that the bicycles remained dry and returned to the proper owner. In any case, the main thing would be to reach out to the bicycling culture that is gaining momentum.

Seattle Opera soars high with Flying Dutchman

Seattle Opera opened its 44th season on Saturday evening at McCaw Hall with a superb production of Der Fliegende Hollaender (The Flying Dutchman). Anchoring an exceptional cast was Greer Grimsley in the title role and Jane Eaglen as the woman who saves him from the curse of continuously sailing the high seas. Clear and straightforward stage directions by Stephen Wadsworth and a wonderfully evocative stage design by Thomas Lynch (reviving Seattle Opera's 1989 production) were complimented by the strong playing of the orchestra under the baton of Asher Fisch and terrific singing by the chorus.

Grimsley's robust bass-baritone amply rang true through the evening. He could easily throw down the throttle and match the huge and beautiful sound that Eaglen can produce. At one point in the second act, Grimsley was able to transition from a full sound to a hollowed out sound that added to the haunting anguish of his character. Eaglen sounded top notch throughout. She took the last verse of Senta's ballad in a very slow tempo that would've just left most other singers gasping for breath. Over all, it added greatly to the emotion of the story.

Exceptional singing by Jay Hunter Morris as the frustrated lover Erik and Luretta Bybee as the disciplinarian Mary helped to distinguish their characters and propel the opera forward. Daniel Sumegi in the role of ship captain Daland did a fine job, although I'd prefer that he spit out his consonants more often. Jason Collins debut as the Steersman was a bit unsteady. It seemed that he had trouble supporting his voice in the higher register. But perhaps that was his opening night jitters.

The first act opened with a Norwegian trawler stalled in fog-enshrouded waters. As the steersman falls asleep, the Dutchman's galleon, larger and imposing, dramatically draws up alongside.

The second act took place in the large workroom of a house in a coastal village. A large painting of the Dutchman dominated one wall, and the women worked on sewing projects from one end of the room to the other. The scene had an older refrigerator and an odd assortment of mismatched chairs and the women passed around a laptop as they worked and sang.

The third act featured a high sea wall where the sailors and the womenfolk lounged around. The ships were docked behind the wall, making an effective backdrop for the last part of the opera. Here Wadsworth's directions moved a lot of people around, but it wasn't too much, and they all effectively helped to communicate the story (as when, for example, the sailors listened for a response from ghostly sailors of the Dutchman's ship).

I thought that the Dutchman's crew could've sang a little louder in order to overwhelm and frighten Daland's sailors in the last act. But both the mens and womens choruses, trained by Beth Kirchhoff, sang outstandingly.

Costumes by Dunya Ramicova were modern except when the Dutchman removed his overcoat to reveal a ship captain's black and gold outfit from a much earlier era.

One of the fun things to notice was the family aspect in this production, because not only were the husband/wife team of Greer Grimsely and Luretta Bybee involved, but also their daughter Emma was one of the supernumeraries. She was the sullen teenager who sympathized with Senta, staring at the Dutchman's picture. The interaction between mother and daughter was fun to watch especially when Mary snatched a cigarette from the teenager and then smoked it herself.

In comparison with Portland Opera's production of the Dutchman earlier this year, I think that Seattle won out. Portland did have a provocative set design, but some of Christopher Alden's stage directions were very unclear and didn't help us to understand the story. Although Richard Paul Fink and Elizabeth Byrne in Portland did an excellent job, I would put the duo of Grimsely and Eaglen against any other. If they keep singing like they did in this production, their artistry will become the stuff of legends.

Ancient Music/Modern Marketing

The folks at Cappella Romana are masters of Byzantine Chant, a musical form that started at around 330 AD and continued past the late middle ages. Yet, executive director, Mark Powell, doesn't believe in old fashioned forms of publicity like town cryers and broadsides. He has led the CR's foray into myspace and the blogosphere with these web sites:

http://www.myspace.com/cappellaromana
and
http://cappellaromana.blogspot.com

I'm thinking that other organization like the Oregon Symphony and Portland Opera will be taking advantage of these venues soon, too. In the meantime, kudos to Powell and CR.

Arsis Youth Handbell Ensemble

A top notch group of young handbell ringers from Estonia will be in Portland to perform concerts on August 4 and 5. Here is the schedule for the Arsis Youth Handebell Ensemble:

Sat, Aug 4
Bethel Congregational Church
5150 SW Watson Ave
Beaverton, OR 97005
(503) 646-1191

Sun, Aug 5
First Unitarian Church
1011 SW 12th Avenue
Portland, OR
(503) 228-6389

Greer Grimsley talks about singing and The Flying Dutchman

Greer Grimsley, the terrific bass-baritone who often stars in productions with the Seattle Opera, will be singing the title role in Wagner’s Flying Dutchman. I have heard Grimsley in several Seattle productions: Lohengrin, The Girl of the Golden West, Parsifal, and the Ring Cycle, and in Portland Opera’s Tosca, and have been impressed every time. I talked with him over the phone last week about the Dutchman and singing these big, heavyweight pieces.


How are rehearsals of the Dutchman going?

Grimsley: The rehearsals are going really well. I haven’t done Dutchman with Stephen Wadsworth before, but I find it very interesting, and we are having a great time. I’ve done the role of the Dutchman many times. It was one of the first Wagner works that I’ve stepped into.

How do you learn a role like The Dutchman?

Grimsley: This role fits me like a glove. I don’t have to work around places that cause me difficulty in learning it. In general, you want to allow yourself a least a month to learn a new role, study it and get it into your muscle memory.

The first two times I got to perform Wagner, an angel must have been looking out for me because a friend of mine was running an opera company in Germany and invited me to sing parts of Lohengrin and Dutchman, so that was a great way for me to get into it instead going directly to a staged operatic version. These were concert versions. So, that helped to cement both roles. Later I did my first staged version with Utah Opera.

When you are learning a new role, you are immersed in it. You have to go at it like a sprinter does. You have to choose your sections of music and then go after it for an hour or two to concentrate on it. Then you get some time away and translate the text, research it, work on the difficult passages that are rhythmically challenging. Once you start that, your mind is always there. You are thinking about it for eight hours a day. Vocal coaches help you to shape the music.

So do you sing around the house in full volume? Your wife might not like that.

Grimsley: Fortunately, my wife is a professional singer. Her name is Luretta Bybee, and she was one of the Valkyries in Seattle's last Ring Cycle, and she'll be singing the role of Mary in this production of the Dutchman. Handling Wagner depends a lot on whether you have the natural gifts when you come into it. A lot of it has to do with what you were born with. A big component is breath control which is taxed to the maximum.

But on singing loudly -- once you get to a certain point in study, it’s more about relaxing into your body and allowing natural processes to work.

Is there an aspect of the Dutchman’s character that you try to stress?

Grimsley: Of course the brooding aspect of his character is stressed, but let's not forget about the human aspect of what got him into this predicament. Wadsworth and I agree about that and we are working on it. The Dutchman made the mistake of raising his fist to the heavens and saying that he will round the cape and the Devil damns him to this curse. It’s the story of a sea captain who wants to do the best for his crew and his ship and to get back to port no matter what. There is a human aspect to this. If one of us were a sea captain, we would want to get back to port, to get back to our families, also. You hear that in the first aria that he sings. It’s not just railing, it’s also his vulnerability. You want the audience to care about him. He had a responsibility for the crew who also want to get back to port to see their families.

How did you get started in this business?

Grimsley: It was a series of accidents. I was in drama club, and debate, and band in high school. In my senior year, I wanted to study archeology and was applying to colleges for that. A friend of mine was a character singer at the Met. He taught at my high school and encouraged me to think about music. So I did an audition and was accepted into the the Loyola School of Music in New Orleans. Archeology is a great hobby of mine, and it helps me to research opera. As a senior I thought that I would train classically and then go into musical theater.

Tell us about your work with Jane Eaglen.

Grimsley: Jane and I have known each other for a long time – 16 or 17 years. We were singing at the same time – not together – at Scottish Opera. She is a force of nature.

What do you have coming up for future engagements?

Grimsley: I will sing in New Orleans, Méphistophélès in Faust, and later the Berlioz Requiem in Buenos Aires. Then the Ring Cycle at the Deutsche Oper in Berlin. I’m coming back to Portland Opera to do Aida, then in Seattle for Tosca.

Do you have children who are interested following in your footsteps?

Grimsley: My daughter is doing really well with singing in her high school choir. She has a great voice. I’m encouraging her but not pushing her. My parents didn’t push me in any direction, and I've always appreciated that.

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Seattle Opera's The Flying Dutchman runs August 4, 8, 11, 14, 17, 19, 22, and 25 in German with captions in English at McCaw Hall. For tickets, click here.