Ammon’s rollicking Madness, Rack, and Honey. photo by Chris Hardy
NEW THIS WEEK
WATCH BERNSTEIN’S MASS ON KQET
THE RAVINIA FESTIVAL’s production of Leonard Bernstein’s musical setting, starring Tony Award-winning baritone Paulo Szot and featuring the Chicago Symphony Orchestra. Baltimore Symphony Orchestra artistic director Marin Alsop conducts. Friday, May 15, 8pm; Saturday, May 16, 3pm; KQET serves the Monterey Bay Area on Channel 25. Click HERE
WEDNESDAY’S DANCE FROM SMUIN ARCHIVE
SMUIN CONTEMPORARY BALLET offers a free streaming of Garrett Ammon’s rollicking Madness, Rack, and Honey in this week’s installment of its Hump Day Ballets series. Known for his ability to “stir things up [and] blend tradition with adventurous new ideas,” Ammon fuses his passion for dance and poetry in this ambitious and distinctively quirky ballet. Madness, Rack, and Honey will be offered beginning Wednesday, May 13, with by a video introduction by former Smuin dancer Benjamin Warner, whose performance “mixing art, grace and comedy” was highly lauded in the world premiere of the piece in September 2016. The recorded performance will be available for 48 hours only, with streaming instructions announced through Smuin’s email list (sign up smuinballet.org) or via Smuin’s Facebook (facebook.com/SmuinBallet) and Instagram instagram.com/smuinballet.
SF OPERA STREAM THIS SATURDAY, 10 AM
SAN FRANCISCO OPERA’s production of Bellini’s The Capulets and the Montagues, starring Joyce DiDonato and Nicole Cabell, directed by Frank Zamacona. You’ve never seen Romeo and Juliet like this. To watch and listen, click HERE
SOME REGIONAL PERFORMERS…
HAVE PROVIDED links to their archives. However several announce them only a day or two in advance. Meanwhile, here is a rarity from Espressivo: Music for Small Orchestra composed in 1926 by Ruth Crawford Seeger, recorded October 18, 2019, Peace United Church, Santa Cruz. Michel Singher conductor.
SAN DIEGO COMPOSER WINS 2020 PULITZER
UC SAN DIEGO composer Anthony Davis writes operas about conflict and clash. He just won the Pulitzer in Music for his opera The Central Park Five. Donald Trump is a character in it calling for the death penalty. Click HERE
PLAYWRIGHT’s musical A Strange Loop, “a discursive meta-tale about a young, gay, black musical theater writer, who’s writing a musical about a young, gay, black musical theater writer, and so on down the rabbit hole.” Click HERE
ANOTHER CONSTANT READER
I LOVE READING the PAMB Weekly Magazine! I always find something of interest in it, eg., the almost hour-long program about Joshua Bell performing in Cuba. Also, I have shared it with friends interested in classical music back East. A really good resource!! ~Nick Royal, Santa Cruz
HOMEBOUND ARTISTS ARE WORKING
COMPOSER HENRY MOLLICONE is currently completing the orchestration of a concerto for SF Bay Area horn player Brian Holmes.
OPEN LETTER TO MAX BRAGADO-DARMAN
DEAR MAX, This coming weekend was supposed to provide you the opportunity to ‘put paid’ to your long tenure here as music director of the Monterey Symphony—alas denied you and your many fans in Monterey County due to COVID-19. In fact, there’s no telling when your orchestra will actually return to the symphonic repertoire, old and new, even as the Symphony still hopes to begin its 2020-21 season with the four candidates for your post starting this fall. During your fifteen years with the Monterey Symphony, it has been my pleasure and honor to have offered Performing Arts Monterey Bay readers with reportage, commentary and criticism of your performances and interpretations of great classical music across some three centuries. (I specially regret not hearing the Richard Strauss and Gustav Mahler that you selected for your farewell.) If I have been in any way perceptive of your time in Monterey, it has been to record as best I know how the dynamics of your relationship with your musicians, guest artists and audiences. In so doing, I have sought to provide accurate, detailed reporting, sufficient background and context to your programming, and rigorous intellectual discipline for the benefit of those readers and subscribers to PAMB who share those values. I have also tried to provide our readers with insights into the conductor’s art and craft. I have taken this task seriously. Lastly, I want to thank you for aiming for the highest standards and delivering to your chosen successor an orchestra with the highest possible discipline. I realize my views on criticism are not always shared. But I have never forgotten that without people like you, people like me wouldn’t have much to do. SM
THE HYPERTRAGIC NOTCH
DAS WUNDER DER HELIANE
IN A LAND where laughing and loving is forbidden, a nameless Stranger had come to spread his message of joy and light among the people. The Ruler ordered his arrest and immediate trial, and the death sentence himself. Left alone, the Stranger is soon attended by a woman, Heliane, the wife of The Ruler, who is sexually impotent. She is entranced by The Stranger and succumbs to his appeal to her hair, her feet and finally her naked body. Though her love—and stark nakedness—are not carnal, she is made to stand trial for adultery. In the trial she ‘confesses’ to all this in the opera’s famously ecstatic aria, “Ich ging zu ihn,” ending with the words “Now kill me.” (See and hear it as sung by Lotte Lehmann, below.) To save her, The Stranger stabs himself to death. The “miracle” takes place in the third act where Heliane seeks to resurrect to life the dead Stranger. Based on a mystery play, Die Heilige, by the short-lived Hans Kaltneker, and despite an uneven allegorical libretto by Hans Müller-Einigen, Korngold’s music is sensational, yearning, extravagant, calling for a huge orchestra with chorus, and both chromatic and rhythmically challenging. Korngold regarded Das Wunder der Heliane (The Miracle of Heliane) as his greatest work, but the opera has been neglected since its premiere in 1927. This 2018 production from the Deutsche Oper Berlin features the American soprano Sara Jakubiak as Heliane and the American tenor Brian Jagde as The Stranger in director Christof Loy’s acclaimed staging. The Orchestra and Chorus of the Deutsche Oper Berlin deliver the large forces required for this hyper-Romantic opera, under the baton of Marc Albrecht. The opera’s neglect began almost immediately when romantic allegories simply felt out of touch to a war-weary world. Ernst Krenek’s snarky, jazzy Jonny spielt auf (Johnny Steps Out) of 1927 and Kurt Weill’s Threepenny Opera, 1928, became instant hits at the expense of such gushing romanticism. In this recent DVD/BluRay release, the stage set and lighting create the atmosphere of courtroom, which serves the production well by not trying to gild the Korngold lily. The opera first came to my attention in the Decca CD recording conducted by John Mauceri for Decca’s Entartete Musik (‘degenerate music’ banned by the Nazis) series and released in 1993. At last having an opportunity to see this remarkable work is most welcome and for many will come as a complete–even shocking–surprise. SM
FIRST BLACK COUNTRY MUSIC STAR
FROM KEN BURNS’ COUNTRY MUSIC series, one might get the impression that Charley Pride was the first successful Afro-American black country artist. Meanwhile, DeFord Bailey’s harmonica as freight train flawlessly added ‘lonely.’ His story is told by Deana Bianco. Click HERE
JUNO Award nominated Ron Davis’ brilliant SymphRONica, the internationally celebrated electric/acoustic jazz/pop/string group, plays Ron’s composition “Brahms for JB” as arranged by Louis Simão. The piece is a jazz tribute to Johannes Brahms and his third Symphony. From the record “Instrumental Music Liberation Front.” Ron Davis, piano, leader; Kevin Barrett, guitar, SymphRONica Music Director; Mike Downes, bass; Steve Heathcote, drums; Brielle Goheen, violin; Jeremy Potts, violin; Sebastian Ostertag, cello; Laurence Schaufele, viola; Louis Simão, accordion. From Toronto, February 2020.
LAST WEEK’S LYNN HARRELL ENCORE
IT’S En la paz by Salvador Candel.
LITTLE RICHARD, 1932-2020
CAN’T imagine rock ‘n’ roll without him
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Scott MacClelland, editor; Rebecca CR Brooks, associate editor