Wichita Symphony Orchestra: “The Gershwin Experience”

Wichita Symphony Orchestra
Daniel Hege, Music Director and Conductor
Lisa Vroman, soprano
Rick Faugno, dancer/vocalist
Jeffrey Biegel, piano

I reviewed “The Gershwin Experience,” a concert with multimedia elements (including still photos and archival footage projected onto a screen) celebrating the music of George Gershwin, presented by the Wichita Symphony Orchestra with the guest artists listed above. Many of Gershwin’s classic songs were performed, as well as the complete Rhapsody in Blue and excerpts from some of Gershwin’s other instrumental works. You can read my review for the Eagle here.

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Wichita Symphony Orchestra: Handel/Mozart, Messiah

I had the opportunity to review the recent performance of Messiah by the Wichita Symphony Orchestra and Chorus this weekend. The version they performed was the 1789 revision of George Frideric Handel’s work by Wolfgang Amadeus Mozart. My review for The Wichita Eagle can be found here.

Messiah
George Frideric Handel, orchestrated by Wolfgang Amadeus Mozart

Wichita Symphony Orchestra
Daniel Hege, Music Director and Conductor

Janet E. Brown, Soprano
Barbara Rearick, Mezzo-soprano
Dinyar Vania, Tenor
Timothy LeFebvre, Baritone

Wichita Symphony Orchestra Chorus
Michael Hanawalt, Chorus Director

Wichita Symphony Orchestra with Sarah Chang, Violin

Wichita Symphony Orchestra
Daniel Hege, Music Director and Conductor
Sarah Chang, Violin

Till Eulenspiegel’s Merry Pranks, Richard Strauss
West Side Story Suite for Violin and Orchestra, Leonard Bernstein (arr. David Newman)
Tzigane, Maurice Ravel
La Valse, Maurice Ravel

I reviewed the opening concert of the Wichita Symphony Orchestra’s Classics Concerts series for The Wichita Eagle; the article can be read here.

Wichita Symphony Orchestra with Samuel Ramey: Duke Bluebeard’s Castle

Bluebeard.Chihuly

Béla Bartók: Duke Bluebeard’s Castle, Op. 11

Samuel Ramey as Bluebeard
Nancy Maultsby as Judith

Wichita Symphony Orchestra
Daniel Hege, Music Director and Conductor
Marie Allyn King, Stage Director

This past weekend I had the opportunity to hear the Wichita Symphony Orchestra’s performance of Bartók’s 1911 opera with Samuel Ramey in the title role, enhanced by Dale Chihuly’s glass sculptures (seen above). A deeply penetrating psychological study, the opera is based on the fairy tale about a young bride who uncovers her new husband’s bloody secrets, but the text (by Béla Balázs) replaces a literal retelling of the story with one almost completely interior. Productions typically include staging that brings out the symbolism in the text (such as Michael Powell’s 1963 production for West German television that places a nuptial bed at the center of the action), and Chihuly’s sculptures were no exception. The sculptures, in the shape of spears, bulbs, flowers, and more, represented images as diverse as an armory, a hoard of gold and jewels, and a lake of tears.

Bluebeard.Powell2

A particular challenge to the stage director is the ambiguity of the ending; Powell’s direction can be read as an interrogation of coercion and consent, with the clear implication that Judith dies to learn the truth. For the WSO’s performance, Marie Allyn King chose to keep the ending mysterious, allowing the audience to reach their own conclusions. In any case, Judith’s character arc is a tricky path for any actress, and one which Nancy Maultsby successfully threaded, both pushing Bluebeard to uncover his secrets (at one point she turned the tables on Bluebeard with a gesture as simple and economical as a hand raised in denial of him) but fearing what she may uncover. (In this regard, Bluebeard’s Castle has much in common with the sumptuous gothic horror of Roger Corman’s Poe films, making the truth something to be both yearned for and dreaded.) King’s staging and Maultsby’s performance suggested, at least to this viewer, that Judith ultimately fell victim to the powerlessness of being put on a pedestal: the prison of royalty. As Ramey said in a Q&A after the performance, “She was warned!”

Bluebeard.Powell1

Here’s what I wrote for the Wichita Eagle.

Wichita Symphony with Stephen Hough, piano

Sergei Prokofiev: Symphony No. 1 in D Major, Op. 25, “Classical”
Ludwig van Beethoven: Piano Concerto No. 2 in B-flat Major, Op. 19 and Piano Concerto No. 1 in C Major, Op. 15
Stephen Hough, piano

British pianist (and composer, author, etc.) Stephen Hough joined the Wichita Symphony Orchestra under the direction of Maestro Daniel Hege for a performance of two Beethoven piano concertos and Prokofiev’s “Classical” Symphony. You can read my brief write-up of the concert for The Wichita Eagle here.

Wichita Symphony Orchestra with Time for Three

Manuel De Falla: Ritual Fire Dance from El Amor Brujo
Jennifer Higdon: Concerto 4-3
Igor Stravinsky: Suite The Firebird (1919 revised version)
Leonard Cohen: Hallelujah
Arturo Márquez: Danzón No. 2
Mumford and Sons: Little Lion Man

On January 31, I attended the Wichita Symphony Orchestra’s Blue Jeans concert, a casual-dress program featuring eclectic string trio Time for Three.
Here’s what I wrote for The Wichita Eagle.