my choir's concert review (long)
suki
Saturday, March 20, 1999 D&C
by Sharon McDaniel, Staff Music Critic
c. 1999 Rochester Democrat & Chronicle
If you remember Christopher Seaman's harpsichord prowess as guest conductor
in Vivald's "The Four Seasons" two years ago, try kicking that performance
up a notch. Or two.
Now the Rochester Philharmonic Orchestra's music director, Seaman not only
conducted, but also doubled as outstanding harpsichord soloist and tripled
as arranger Thursday night. From Handel's complete "Water Music," Seaman
arranged and orchestrated a brilliant and appealing seven-movement "Suite."
But Brahms and Seaman were an even more magical combination. He led a
deeply personal Brahms' Ein deutsches Requiem (A German Requiem), aided by
some of the best singing I've heard by the Rochester Oratorio Society.
Prepared by Music Director Roger Wilhelm, the 190-member chorus showed off
its strengths early with warm tone, clear lines and whisper-soft passages
in the second movement ("Behold, all flesh is as grass"). In the sixth
movement ("Here on earth we have no continuing place"), the chorus of
victory over death and the stirring German words "Preis und Ehre" (honor
and might) were superb.
Only in the final movement ("Blessed are the dead") did the chorus lose
focus. Its tone became more shrill, the well-maintained pitch began to
drop and phrases died abruptly. At times, the Oratorio singers rushed
ahead of Seaman's measured pace.
Soprano soloist Beverly Hoch, at her best, was the voice of innocence. She
sang with an irresistible gentleness and phrased her message of consolation
endearingly. But her tone and pitch were at times unsteady. For all her
ringing high notes, her low notes faded.
Baritone William Stone also projected best at the top of his range, even in
this unusually high part. His is a lovely light tone, full of color that
could fuel emotional solos. Although his voice had a laser-like focus, it
lacked the weight needed for a commanding, authoritative presence. In his
last sixth-movement solo, he was nearly upstaged by the orchestra's
building intensity and acceleration.
The RPO portrayed the weight of grief and regret- the burden of pain- with
remarkable sensitivity. Seaman's big-picture pacing as well as his
carefully chosen rhythmic details ensured vitality and drama throughout the
hourlong work. The ony exception was the third-movement ending, after the
long D-Major choral fugue, which seemed abrupt, mistimed and musically
incomplete.
Exceptional woodwind and brass solos-- the best horn playing this season-
made the familiar fresh. And so often, the trombones, timpani and
double-basses hit you at gut level.
This "Requiem" had more human touches than are usually explored even in
this beloved work. The hushed tones- choral and orchestral- resembled a
whispered lullaby in one phrase, a prayerful plea in another. Moments of
triumph danced.
Add to that the dancing Handel "Suite," crisply played and overflowing with
ornamental flourishes from woodwinds and superb French horns. Seaman's
chamber-orchestra version brightened the "Water Music," exposing more of
its crisscrossing undercurrents. Playing the Eastman School's two-manual
Herz harpsichord, Seaman added startling splashes of color-- even a touch
of antique varnish to the harmonies-- and a Bach-style solo cadenza.
Not everything worked as smoothly. House lights were on for the Handel
when they should have been off, and off as the Brahms began, when they were
needed for reading the text. The Eastman Theatre wasn't open early enough,
so the 500 early birds streamed down the aisles during Seaman's pre-concert
chat. Onstage, a missing rear panel exposed the cinderblock beyond.
The logistics were a mess; the music a marvel. ~
The program repeats tonight at 8 at EAstman Theatre, 60 Gibbs Street. For
tickets- $10 to $40 and discounts- call 222-5000.
Parts of the Handel "Suite" repeat tomorrow at 1 in the Casual Sunday
Matinee at the Eastman Theatre. A free bagel-and-juice reception begins at
noon at the Brasserie. For $10 tickets, call 222-5000.
----Ms. McDaniel is NOT one of our favorite reviewers, though I consider
this review OVERLY gracious. How Ms. Hoch could be "at her best" with "her
tone and pitch......at times unsteady" I'm not sure. I was disappointed in
the soprano, though she has a lovely voice and her high range was mostly ON
pitch,
I found her tone and technique disappointing. I thought the bass had a
lovely voice, but I was grossly disappointed that one with such a practiced
and perfected voice should sing desperately lacking emotion and color for
this piece. His was a flat performance with strong technical practice.
The choral review is very gracious indeed. But we were grossly taxed and
at the end of the 6th movement, WE died, sounding as if rigor mortis had
set in as the orchestra too erred for a very rough ending. All energy was
spent with little to nothing left for the sopranos' critical 7th movement
where our pitches were sadly off and our energy gone, technical merit with
it. We rushed through hoping to end the misery.
All credit for this performance goes to the conducting genius of
Christopher Seaman. I have worked under other conductors, and his skill
and mastery just knocked my socks off. So did his personality, which
showed glimpses of being an extreme bastard at times. The orchestra found
little to none of his humor worth so much as a smirk or gracious
half-smile.
Ms. McDaniel's warranted critical comments regarding logistics smell
slightly reminiscent of articles touting Rochester's questionable need of a
new concert hall.
Me? I had trouble with the words initially, not realizing we had dimmed
lights, I sitting at the end where they were having trouble with them in
dress
rehearsal. I figured I didn't know them well enough. My high range needs
significant work but I threw myself into the high notes with enough energy
to achieve them from a descending approach, excepting the 7th movement. I
should have packed my books and left after the sixth, my energy spent, my
pitch poor.
I'll end here. I've got some practicing to do-- I'm petrified for tonight.
Add to that the fact that I can't find a babysitter and hubby's working
0800-2400. ---
--
suki-- an archer
jaZZmanian Devil
> Triple-threat Seaman proves magical- and more magical
>
> Saturday, March 20, 1999 D&C
> by Sharon McDaniel, Staff Music Critic
> c. 1999 Rochester Democrat & Chronicle
<review snipped>Nice job, suki. From the sounds of the reviewer, you have
little to complain about. All in all, the criticism was light and didn't sound
pointedly mean, and the majority of the commentary was favorable. Congrats!
> I'll end here. I've got some practicing to do-- I'm petrified for tonight.
> Add to that the fact that I can't find a babysitter and hubby's working
> 0800-2400. ---
Ooooof..... lost sitter day of the show. Sucks. Good luck.
jaZZ md
--
"Slo gin dancing with the angel of death"
-- Perceptor (a.p.s)
Leo Sgouros
Hey Suki, what do you do when you have vocal strain and still have to
perform?
>--
>suki-- an archer
>
>
>
suki
<RbRI2.221$JD5.5...@newse3.tampabay.rr.com>...
>
> Hey Suki, what do you do when you have vocal strain and still have to
> perform?
i really haven't had that problem, for the most part, only in less extreme
amounts from practicing for daily lessons, chuch choir and oratorio, and
concerts.
--
suki-- an archer- (no soloist-- yet)
Leo Sgouros
suki wrote in message <01be72fb$29681f80$44dd82d1@default>...
Believe it or dont, when we had to do several nights in a row, four hour
sets, I would do something different according to the way my voice felt.
Also it was good having a very large song list to choose from to ease
things.
But when you are expected to do certain numbers, and your best friends
mothers uncle drove from East Alacia to see you guys do that number, unless
you are toally unable or a jagXXX, you do it.
I found that getting up earlier than usual, and leaving myself slightly
fatigued at gig time, usually gave me the control I needed.
However, that only worked for 2 or 3 days.
Then it was sleep alot with a scarve around my neck,and allow myself to be
really hungry by gig time, and it goes without saying no booze smoke milk
etc etc{funny how people think rock gigs are all cakewalks}
THAT wasnt hard at the beginning, lemme tell you.
I bet you think it is funny comparing rock to The Three Tenors.
Or not.
Or, well I am chatty.
Leo
suki
>
> suki wrote in message <01be72fb$29681f80$44dd82d1@default>...
> >Leo Sgouros <dar...@tampabay.rr.com> wrote in article
> ><RbRI2.221$JD5.5...@newse3.tampabay.rr.com>...
> >>
> >> Hey Suki, what do you do when you have vocal strain and still have to
> >> perform?
> >
> >mouth it.
> >
> >i really haven't had that problem, for the most part, only in less
extreme
> >amounts from practicing for daily lessons, chuch choir and oratorio, and
> >concerts.
> >
> >--
> >suki-- an archer- (no soloist-- yet)
> >
> >
>
> Believe it or dont, when we had to do several nights in a row, four hour
> sets, I would do something different according to the way my voice felt.
> Also it was good having a very large song list to choose from to ease
> things.
Believe. Four hours of rock performance, several nights in a row, sound
very taxing. Did you ever take lessons to make sure your technique was
acceptable and not destroying your voice?
> But when you are expected to do certain numbers, and your best friends
> mothers uncle drove from East Alacia to see you guys do that number,
unless
> you are toally unable or a jagXXX, you do it.
Understandable. Performers are here to make folks happy, especially to
please family and friends with our prowess.....
> I found that getting up earlier than usual, and leaving myself slightly
> fatigued at gig time, usually gave me the control I needed.
I am a "new soprano," for about a year or less. Obviously I am still
working on my upper range but it was quite a change. Oddly, I found myself
more easily able to reach the higher range when I had a cold coming on and
I was taking some triaminic. I figured that I didn't work as hard and was
forcing less. Recall that with vocalizing there is much to be accomplished
with relaxation of vocal cords, neck and throat, etc. No, I honestly
haven't had much formal training in this, just known from osmosis.
> However, that only worked for 2 or 3 days.
> Then it was sleep alot with a scarve around my neck,and allow myself to
be
> really hungry by gig time, and it goes without saying no booze smoke milk
> etc etc{funny how people think rock gigs are all cakewalks}
Funny our regiment of diet, exercise, self-care and how fussy we are for
our needs.
> THAT wasnt hard at the beginning, lemme tell you.
> I bet you think it is funny comparing rock to The Three Tenors.
> Or not.
Not. Same. Vocalization is vocalization. It's all on a spectrum-- ROY G
BIV-- same difference.
> Or, well I am chatty.
Thanks. Chatty is welcome. Takes my mynd off the problems at hand and
enjoy thinking about tonight......
--
suki-- an archer