|
CHAMBER ORCHESTRA
March 19, 2006
|
Bernstein Shines By Jeff Dunn
“Bernstein Bash” was the title of the concert, and it lived up to its name, providing a good time for all comers and a good sampling of what the program notes referred to as “probably the best-known figure in American classical music.” The first and the last of Leonard Bernstein's published works were heard and a smattering in between, all with various combinations of excellent performers and soloists. Music Director Benjamin Simon deserves credit for a stimulating and well performed program.
The afternoon at Berkeley's First Congregational Church began with two songs from Bernstein's first musical On the Town (1944): “New York, New York” and “Lucky to be Me.” Soprano Anja Strauss showed up with a New York guidebook, singing the tourist, and baritone Roberto Perlas Gomez sang the sailor. Musically they were fine, but this opening number raised a troubling issue that surfaced whenever they were on stage: how to carry out a “concert” version of stage works.
By entering from offstage as if they were wandering down Fifth Avenue, by carrying the prop, the singers create the expectation of theatricality for the audience, a promise heightened by Strauss' highly effective facial expressions and gestures. But when the singers are wearing concert attire instead of tourist garb, when Gomez must read his music from a music stand while Strauss has memorized her lines, an uncomfortable “neither-here-nor-there” atmosphere is generated. Better to be consistently one way or the other.
Next came the first published work, the Clarinet Sonata (1941-42). Teddy Abrams presented a mellow and expressive interpretation of a work beginning neoclassically in the style of Hindemith and ending somewhat out of balance in a mixture of jazz styles and quiet interludes. Pianist Sarah Cahill provided her standard excellent accompaniment. Simon emerged to lecture a bit on Candide, Bernstein's 1956 musical comedy or operetta, mentioning that despite good music, it never succeeded, even after many revisions over the subsequent years. Bringing up a topic worthy of volumes of debate was probably not a good idea. The issue could have been covered in Marion Rubinstein's program notes, but these were more concerned with providing an outline of Bernstein's life than addressing the music the audience was going to hear. Furthermore, the notes were separate from the program listing in a book printed in advance for the entire season, making them difficult to find and impossible to revise without additional expense, should program orderings be changed. Gomez and Strauss then sang “O Happy We.” Less happily, Gomez' words, while on note, were not readily discernable. Far more successful was what followed, Strauss' rendition of the Candide tour de force, “Glitter and Be Gay.” Again with her wonderful expressions, acting ability, and vocal apparatus, Strauss stood out. Most impressive was her transition from the first instance of Rossini-like patter back to the lugubrious music of the opening lament — the best I've heard any singer do, live or in recording. Her high E-flat at the end, while just ever so slightly off, was good enough to cause one audience member to exclaim afterward, “I didn't know they made ‘em that high!” Again, the attire problem surfaced: Strauss was not wearing the requisite pearl necklace referred to in the lyrics. If she hadn't brought out that guidebook earlier … The first half concluded with Simon's arrangement of a suite from West Side Story for string quintet. Without percussion, the result was slightly tame, but beautifully played nevertheless, and capped with a spirited rendition of “Tonight” by Strauss and Gomez.
The second half was devoted to Bernstein's last published work, Arias and Barcarolles, a mixed stylistic bag of beauties. It was originally written for two pianos, soprano, and baritone. This version for chamber orchestra was put together by Bright Sheng (another for full orchestra by Bruce Coughlin graces the DGG recording). The title was taken from a comment made in 1960 to Bernstein by Dwight Eisenhower, of all people, “I like music with a theme, not all those arias and barcarolles.” The work consists of eight movements to Bernstein's own texts. Whether 12-tone or of childlike simplicity, they all hit the mark, especially the last major movement, “Mr. and Mrs. Webb Say Goodnight,” a paean to married love. Both Gomez and Strauss performed their parts admirably. The smooth yet heartfelt accompaniment conducted by Simon assured that no one left the church unmoved. A pity Leonard Bernstein said goodnight far too many years ago in 1990. The American musical landscape has never been the same.
(Jeff Dunn is a freelance critic with a B.A. in music and a Ph.D. in geologic education. A composer of piano and vocal music, he is a member of NACUSA and president of Composers Inc.)
|
Anja Strauss
Roberto Perlas Gomez
Teddy Abrams
