Cleveland Orchestra: Christmas Concerts

(The full program is at the end of this post)

I honestly wasn't sure about the Christmas Concerts; I had this fear that being "popular music" and seasonal that they'd be rote and threadbare. That fear was quickly pushed aside with one of the finer performances I can recall of the full Cleveland Orchestra Chorus and a perfectly passioned performance by the Orchestra*. The concert opened with the most beautiful version of O Come, Emmanuel I can recall having heard and pretty much maintained that standard throughout.

While there were "standards" that you hear everywhere -- including yet another appearance of White Christmas, which I enjoyed slightly more this time around but if I don't hear it again this year or next I really won't be disappointed -- the majority of the program was fresh with a blend of well known and lesser known works, and the pacing was on the nice and quick side with the Hallelujah Chorus from Handel's Messiah seeming to edge close to the speed limit. I liked it.

Even with a slight headache and sharing the box 3 with some fidgety children** I can't point to a single piece that I didn't enjoy at least a bit, and conversely it's difficult to choose a favorite. In strong contention, though, was The Wexford Carol with Cleveland baritone Brian Keith Johnson and orchestra member Mary Kay Fink playing Isish whistle -- it was completely new to my ear. Another strong contender was Spirit of the Season from Polar Express, which paired nicely with the Suite from Polar Express in the Hollywood Movie Magic concert on Wednesday: The strings don't soar quite as high, but the voices were wonderful.

A suite of arrangements by Leroy Anderson independently nicely highlighted three major major sections of the orchestra and the chorus independently. Opening Part Two, Strauss's Overture to Die Fledermaus stood out as the only piece that's not overtly "Christmassy" and seemed to be the longest on the program -- but was nevertheless enjoyable.

Lastly but certainly not least and worthy of mention was the wonderful 'Twas the Night Before Christmas narrated by Reuben and Dorothy Silver: I didn't know that an orchestral version of the poem existed and it was certainly a pleasant insertion on the program.

So for the full program (and the program repeats, with some variations on the 12th (matinee), 17th, 18th (matinee and evening), and 19th (matinee and evening)...

Part One
Traditional: O Come, Emmanuel (arr. Parker)^
Traditional: Ding, Dong! Merrily on High (arr .Mager)
Traditional: In dulci jubilo (arr. Anderson) [Orchestra Brass only]
Traditional: O Little Town of Bethlehem (arr. Anderson) [Orchestra Strings only]
Traditional: Lo, How a Rose E'er Blooming [Chorus A Capella]
Traditional: Patapan (arr. Anderson) [Orchestra Woodwinds only]
Traditional: The Wexford Caroll (arr. Wilberg)^^
Traditional: Sussex Carol (arr. Bradford)^
Adam: O Holy Night (arr. Wilson)^^^
Traditional: O Come All Ye Faithful (arr. Willcocks)
Handel: Hallelujah chorus from Messiah.

Part Two
Strauss: Overture to Die Fledermaus^^^^
Silvestri & Ballard: Spirit of the Season^
Bass: 'Twas The Night Before Christmas^^^^^
Traditional: The Twelve Days of Christmas^
Anderson: Sleigh Ride^
Berlin: White Christmas (arr. Bass)^
One Encore.
Robert Porcco, conductor.

^- The Cleveland Orchestra and Cleveland Orchestra Chorus
^^ - Orchestra; Chorus; Brian Keath Johnson, baritone; Mary Kay Fink, Irish whistle
^^^- Orchestra; Chorus; Lyle Steelman and Michael Miller, fuegelhorns
^^^^- The Cleveland Orchestra only.
^^^^^- The Cleveland Orchestra; Reuben and Dorothy Silver, narrators.

Lincoln
*- Style gurus: I know the preference is for The Cleveland Orchestra (note the capital T) but when omitting Cleveland, should it be the Orchestra or The Orchestra? I have come close to loosing sleep on that question. I occasionally revel in minute detail.
** - Whose parents were quick to react without prompting, unlike the couple in Box 4 that I could hear carrying on a full-fledged conversation 3 boxes over. My death stare didn't work; it was the first time I've considered grabbing an usher during the concert.

Cleveland Play House: This Wonderful Life

(Through December 19th at the Cleveland Play House, 8500 Euclid Ave)

Complimenting the beautiful display of Christmas Trees in the lobbies, the Cleveland Play House is presenting a fresh take on a seasonal classic with This Wonderful Life (an adaptation of Frank Capra's It's A Wonderful Life).

I wasn't really sure what I had purchased a ticket for (a ticket acquired on pure impulse--"One for the next show, please" during the Light Up The Night festivities earlier this week) and had some fear when I learned it was a one-man show. The theatrical Christmas show is just about as hackneyed as a department store's Black Friday sale. The one-man show is a risky venture for both theatres and audience: Inexpensive to produce, if the audience hates that one-man they hate the entire cast.

This Wonderful Life, though, is a risk that pays dividends. The one man, James Leaming inhabits his characters. Arriving a bit early I caught the tail end of a talkback he was hosting; as talkback gave way to the audience invocation gave way to the action the transition was seamless; Mr. Leaming greeted arriving audience members, gave the cellphones-and-exits speech (though he didn't mention if seat cushions could be used for floatation) and then the real entertainment began. Though not roll-on-the-floor funny there are plenty of asides, tongue-in-cheek references, restrained sight gags, and double entendres sprinkled throughout to keep things amusing.

One challenge I often have with one-man/one-woman shows is filtering through the noise of over-the-top costume changes or accents and to keep track of who is whom. There are no costume changes, though the occasional accent is sparingly used to add depth.

Though the general plot is unlikely to surprise anyone even vaguely familiar with the film, looking at it in a wholly new context brings fresh clarity and relevance to the classic, and that ultimately selflessness reaps bountiful harvests and true friends are of immeasurable value.

This holiday season value your loved ones and friends...and seek always to make new friends.

Lincoln

Cleveland Play House: Festival of Trees Lighting (And Happy Thanksgiving!)

The weather outside isn't frightful (yet), there's no fire but still inside is delightful at Cleveland Play House's Festival of Trees.

It's hard to believe that we're at the tail end of November and that this coming Thursday is Thanksgiving but here we are. An annual tradition for the Cleveland Play House is their festival of trees where the lobbies and corridors of the Play House's complex are filled with Christmas trees sponsored and decorated by a variety of local organizations.

Tonight was the official lighting of the trees and in the beauty of the trees, the joy of the music, and the energy in the rooms one couldn't really help but to slip into the holiday spirit.

So on your next visit to the Cleveland Play House this season, take a few moments to stare in awe at the beautifully decorated trees. The centerpiece of the festival is a giant 25-foot-tall tree in the main rotunda decorated with program covers from the Play House's 95 seasons -- showing the evolution in graphic design (what I wouldn't give to thumb through some of the early programs!), theatrical tastes, and the Play House itself. But at the same time enjoy the scrappy but lovingly decorated tree nearby.

A variety of factors are conspiring to keep me from making the trip home to spend Thanksgiving with my family, but be your loved ones physically near or far may they be close and safe this holiday season.

Lincoln

Cleveland Pops Orchestra: New Year's Eve (Broadway Rocks)

Of the four years I've lived in Cleveland I've done the CPO's New Year's Eve concert thrice. (2007, 2009, 2010). I don't really remember 2007 and was unmoved (to put it kindly) by 2009... but if this concert is a harbinger of things to come 2010 should be a good year.

My box and the adjoining box was shared with a family of 10 who was doing the concert for the first time... and wow, could that family have a good time. To give you an idea: The two older women were doing it disco style during I Will Survive which was just plain hysterical (it took effort to control my laughter, a rarety) -- two of the guys replaced the O-H-I-O sequences in Sloopy Hang On with Z-O-N-A (apparently they're PAC 10 fans)... And how can I forget the hand gestures at key points in the Greese medley? During You Can't Stop The Beat the ladies were swing dancing in the back of the box like they had their original hips.

That pretty well set the tone for the evening -- just plain fun for all ages and completely relaxed atmosphere... the meistro's chatter was kept to a reasonable level and the orchestra was fantastic. The soloists, likewise, were pleasant to listen to and interacted well with the orchestra (this was my chief complaint with regard to last year when it seemed like the "guests" dominated the program to the detriment of the orchestra)

The program was thoroughly enjoyable -- I would have love a few more pieces, but the selections were well played. I think the Grease Medley was my favorite, but Oh What A Night was enjoyable if for no other reason than the memories* -- and seeing the work performed by a full orchestra*. Also Sprach Zarathustra was fun, but seemed to lack the same depth that the piece took on when played earlier in 2009 by the Cleveland Orchestra.

Happy 2010!

Lincoln

(The image above was one of the first taken with a digital camera that mysteriously appeared on my doorstep two days ago ;) ... I'm still getting used to it)

The Program

Carl Topilow, Conductor; Capatha Jenkins and J. Mark McVey vocalists

R. Strauss: Also Sprach Zarathustra

Gaudio: Oh, What A Night (from Jersey Boys)

Krieger & Enyen: And I Am Tellin' You (from Dreamgirls)

J. Strauss: Fuerfest Polka

Schreiner: Immer Kleiner

Beethoven: Turkish March

Strouse, arr. Muller: Bye, Bye Birdie (medley)

Schonberg: Bring Him Home (from Les Miserables)

Peren & Fekaris: I Will Survive

Ebb & Kander: All That Jazz (from Chicago)

Ashman: Suddenly Seymour (from Little Shop of Horrors)

Wildborn & Bricusse: This Is The Moment (from Jekyll & Hyde)

Jacobs & Case, arr. Custer: Greese (Medley)

Farrell & Russell, arr. Cerulli: Hang On Sloopy

Anderson: Syncopated Clock

John & Rice: Circle of Life (from Lion King)

Shaiman & Wittman: You Can't Stop The Beat (from Hairspray)

* - Ok, so the memories and orchestra thing kind of go hand in hand: I had seen Jersey Boys twice (perhaps three times, but I only positively remember two) during its debut at the La Jolla Playhouse prior to making the leap to Broadway & the national tour. At one performance, Des McAnuff (the director for all three versions) and Frankie Valli were several rows in front of me. The show is played with a very small orchestra -- 13 musicians -- and it was interesting to see/hear the piece with a full orchestra.

Merry Christmas & I'm covered in paint

First... wishes for a Merry Christmas for those whom aren't offended by such wishes.

Since it seems like a waste of a blog post to end there...

The paint on the ceiling of my living room/dining room/kitchen (the wonders of an open-floorplan townhouse) has been mildly annoying me for a while now. Roller marks were visible from the previous painters, and I didn't exactly help matters with some "touchup" work I did a few months ago. (Having the laundry on the 3rd floor is awfully convenient but it makes for lots of collateral "fun" if you ever have a leak)

I don't like painting generally and I hate painting ceilings -- the painting itself can be fun, but the prep and cleanup is interminable.

But between the fact that I don't need to be back in the office for 12 days and the fact that my annoyance with the quality of the paint has overwhelmed by hatred for painting I decided to tackle that task. I have to say that it looks much better then when I started...

I have to say for 3 hours of prep, 700 square feet of plastic drop cloth, a few hundred yards of painter's tape, and a gallon of paint (totalling about $60) it turned out refreshingly well.

I'm not sure though if I managed to get more paint on myself or on the ceiling and will probably be picking ceiling paint out of my hair well into the new year.

Lincoln

CIA: American Casino And It's Beginning to Look A Lot Like Christmas

Just in case last night's Cleveland Orchestra concert wasn't enough to nudge me into the Christmas spirit, today -- the first meaningful snow on this side of town is certainly helping.

As a technology geek, ahem, professional, I'm ashamed to admit that I don't own a digital camera, the below stills came from my home:

Since I don't have to shovel anything yet I'm still in the "oh, isn't it cute" phase of winter. I decided I needed a movie today... something to get me out of the house without involving the outdoors or requiring putting any attention to the way I looked in public... I actually have been in the mood for a few weeks but nothing mainstream sufficiently moved me.

I noticed American Casino was on the schedule for CIA's Cinamatheque this evening and the topic intrigued me, so I made my way that direction for the 5:30 showing.

The film is, essentially, a documentary on the Wall Street/Housing
meltdown and it is informative but it doesn't really reveal any new information. Aside from a reference to Wall Street being a casino early on in the film the title is never really developed, and by taking a scatter shot approach to story telling -- some politicians, some displaced homeowners, some former employees of the various financial concerns, even several different cities -- you're left with a feeling more that you've gotten a very general survey than developing anything approaching an in-depth look; I also found it very hard to develop a connection with any of the individuals. Dobama's The Cleveland Plays, Part II: Dream/Home last season covered pretty much all of the same ground but really drew you into a more personal connection with the individuals.

Near the end of the film, though, it was a little depressing to see Riverside County, California featured, as I grew up in Southern Riverside County. During this segment it was interesting to learn the tertiary impact of foreclosed/vacant homes in the manner of pest control: Pools get turned off to save money, algae grows, mosquitoes multiply and spread disease; meanwhile vegetation grows uncontrolled creating a fine habitat for snakes... and of course the costs to abate both of those issues are borne by the taxpayer.

Lincoln

Cleveland Orchestra: Christmas Concerts

I was once again impressed. This evening's concert lacked any form of ostentation and was just plain fun. It was at least as enjoyable as last evening's concert and I am currently fighting the temptation to return for at least one of the remaining concerts of this program.

The concert was a wonderful mix of well known and not so well known pieces; the Orchestra and chorus(es?) gave a wonderful new vibrancy to well-worn carols. Mr. Porco certainly knew how to work the house, and the there was a wonderful bit of timely humor courtesy of an unannounced visit from Santa-- bet you didn't know he took TARP funds and was running with only four reindeer as a cost-cutting and green measure!

Frequently the first piece on the program telegraphs the mood for the evening, and the Orchestra had me captivated from the first swell in O Come, All Ye Faithful... a feature I've not previously noticed. Marking the third time I've heard it preformed this week, tonight's Hallelujah Chorus was my favorite of the three. Carol of the Bells was also particularly lively; and this is probably a good moment to point out that there was a fantastic handbell group preforming prior to the concert.

In the second half, I wasn't the biggest fan of the audience participation shtick for The Twelve Days of Christmas -- it was fun, but it disrupted the flow of the piece which started wonderfully.

Overall, it was just a laid-back, fun evening of great music in a great hall. It's also worth noting that I shared Box 4 with a couple, pastor and wife, celebrating their 42nd wedding anniversary (though they certainly didn't look it!) by visiting Severance Hall for the first time. They enjoyed the concert and I hope they return to Severance in the future.

I look forward to making this a new holiday tradition.

Lincoln


The Program:
Robert Porco, Conductor; with The Cleveland Orchestra Chorus, and members of the Cleveland Orchestra Youth Chorus.
Traditional, arr. Wilberg: O Come, All Ye Faithful
Bach, arr. Stokowski: Sheep May Safely Graze from Cantata No. 208
Traditional, arr. Dragon: God Rest Ye Merry, Gentlemen
Traditional, arr. Brdaford: Carol of the Bells
Humperdinck: Dream Pantomime from Hansel and Gretel
Rutter: What Sweeter Music
Rutter: Donkey Carol
Tchaikovsky: Dance of the Sugar Plum Fairy, Chocolate, Coffee, and Polinchinelle from The Nutcracker.
Traditional, arr. Rutter: Joy to the World
Handel: Hallelujah Chorus from Messiah
Traditional, arr. Wilberg: Fum, Fum, Fum
Bizet: Farandole from L'Arlesienne
Bernard, arr. Miller: Winter Wonderland
Jessel, arr. Gould: Parade of the Wooden Soldiers
Rutter: The Twelve Days of Christmas
Anderson: Sleigh Ride
With three announced encores: White Christmas, Silent Night, and We Wish you a Merry Christmas

Cleveland Orchestra: Eileen Ivers - An Irish Christmas

"Wow." I entered the hall with some pessimism and left with none.

While certainly not the orchestra's traditional fare, this evening's concert was incredibly energizing. The Orchestra played the role of idle audience to Ms. Ivers and band for a larger chunk of the program than I would have liked, but all were thrilling to listen to.

It appeared that everyone -- including the orchestra, and most notably Mr. Feddeck was enjoying themselves; I think I can safely say I've never noticed a conductor's head bobbing so vigorously. I have also never seen so many players pour so much energy into their music; I nearly worked up a sweat just watching. It's hard to pinpoint one specific favorite piece, but opening with A Christmas Festival, while not as wildly energetic as some of the later pieces, certainly made for great listening, as did Parchelbel's Frolics

The crowd was a willing participant in the show, and I was not unaffected by the surplus of energy... tapping my foot through a large part of the show, and during the encore succumbing to the rhythmic clapping. Also of note were the number of first time or rare guests to Severance in attendance.

I'm looking forward to tomorrow evening's concert, but for now... I need to be at work in the morning ;)

Lincoln

The Program
James Feddeck, Conductor with Eileen Ivers, Celtic Fiddle
Anderson: A Christmas Festival
Traditional, arr. O'Carolan & Starobin: Planxty Loftus Jones
Bach, arr. Finno: Jesu Joy of Man's Desiring
Ivers & Keane, arr. Sammut: Medley: Bygone Days
Traditional, arr. Sammut: The Holly Tree
Traditional, arr. Sammut: Medley: Deck the Halls
Bizet: Farandole from L'Arlesienne
Traditional, arr. Sammut: Pachelbel's Frolics
arr. Sammut: Mrs. Fogarty's Fruitcake
Whelan, arr. Hollenbeck: Riverdance
Traditional, arr. Finno & Levine: Medley: Christmas Time Is Here
With One Encore, title and composer unknown.

Trinity Cathedral: Handel's Messiah (Abridged, Sing Along Version)

Upon the suggestion of my violin teacher I made my way downtown to Trinity Cathedral for a long lunch today. The program? The church's "something-ith annual" Messiah Sing.

Today's performance was markedly more enjoyable; yet it's still not a piece that I feel any particular fondness for. Aside from the "For Unto Us" and "Hallelujah" courses it simply doesn't move me or hold as much of my attention as I would prefer.

The differences between this incarnation and the version I heard on Saturday were great but I don't endeavor to make a pure apples-to-apples comparison between the two. For one, while the Cleveland Orchestra presented a nearly-complete rendition, this one was significantly abridged. Both have their merits, but I got the point with the abridged version (and otherwise would have been even later back to the office).

The biggest improvement came in the soloists' department. While I couldn't see them to compare body language, there was no doubt as to what language they were singing in (as I initially had at the orchestra's performance), and there wasn't the incessant warbling that grated on my ears.

Generally, the atmosphere was more festive and genial; the music was well-played but had a much "lighter" feeling. Between the acoustics of the cathedral and the fact that you couldn't help but to find yourself surrounded by dozens of singers there was a much more jubilant feeling in the air; true surround sound. Almost as if one were a funeral service and the other was wedding. Based on what I learned about the origins of the piece the point can certainly made that to be historically accurate it should not be jubilant... but the jubilance certainly pushes it in the direction of being enjoyable.

(For the record, I didn't sing. I am sure this simple fact contributed to the enjoyment of many this afternoon.)

I'm still having a hard time getting myself into the "Christmas Spirit" though; hopefully the next two days of holiday concerts at Severance Hall can help break my funk.

Lincoln

Cleveland Orchestra: Handel's Messiah

Through the second half of the performance I had an internal dialogue with myself, and my thoughts fell into two distinct but related categories.

"The Importance of Body Language" and "They can't all be winners".

The biggest issue I had with the concert itself were the male soloists. I wasn't enamored by their singing but particularly distracting was their body language when not singing. I've seen people in line at the DMV who looked like they were enjoying themselves more: Imagine three people sitting in front of the orchestra who look like they're undergoing some sort of painful medical exam staring at you for two hours. It should be noted that my comments do not apply to Ms. Wilson who was both pleasant to listen to, and looked like she was enjoying listening to the concert when not singing.

The concert was nearly sold out by my estimation, and otherwise unremarkable.

This is the first time I've heard anything other than the Hallelujah chorus from the piece, much less a "Complete" version. While I certainly enjoyed parts of it (the Cleveland Orchestra Chorus was fantastic) the vocal lines just got too repetitive and I didn't get the spark of excitement, that, for example I got from last week's concert. As a oratorio, the music plays second fiddle to the voice... and if you don't love the voice...

I don't know that it's a piece I need to hear in its entirety again. I would be interested in hearing Mozart's take on the material with a larger orchestra... perhaps next year?

The pre-concert lecture was particularly illuminating and humorous, especially the comments on the origin of the standing (perhaps it was a case of gout; perhaps the king was confused and thought it was part of the national anthem) the amount of time the piece was composed in (most likely because he wasn't doing well financially and needed to get something on stage), the fact that this staple of "Christmas music" was actually written for Easter... and the fact that the music for the "unto us a Child is born" number was lifted from an Italian opera Handel had written.

Meanwhile, because the business of the arts intrigues me almost as much as the art itself, I stumbled across this article (Philanthropy Journal, Patron Churn: Love Them or They'll Leave) that I wanted to share. I don't think any of that is news... but the one specific suggestion stood out to me as a great idea that I don't think anyone in Cleveland is doing. I'll let you guess which one.

Lincoln

Happy Thanksgiving!

To the 92% of my readers that come from the United States, I hope everyone has, had, or is having a happy Thanksgiving. (To the other 8%... happy Thursday?!?)

Lincoln