Classical Music Review: Something new in ‘A Shakespeare Evening’ from Montclair Orchestra
By WILLIAM AMORY
For Montclair Topical anesthetic
Billy Sunday's opening concert of Montclair Orchestra's 2018-2019 season, "A Shakespeare Evening," treated the capacity audience at St. Luke's Priest Church to something new: euphony inspired by Shakspere's plays, interlocking with Shakespeare's words themselves. "A Shakespeare Even" succeeded amply — the non-verbal eloquence of the music poured into the communicative Shakespeare, and back over again, both modes of expression leading the audience through a deep Shakespearean get. The concert included scenes performed aside actors with scripts in hand, and music akin to "A St John's Eve's Woolgather;" "Much Ado about Nothing," "Macbeth" and "Romeo and Juliet."
A MIDSUMMER Dark'S DREAM
The character of Oberon opened the concert in a scene from "A Midsummer Night's Daydream." Here Oberon, played by Geoffrey Owens, instructs Puck, played by Colin Ryan, to do his work in magically charming Demetrius, a non-loving lover. It was a perfect set-prepared for the magic of the music ahead, Then Bottom, changed to a donkey, played by Henry Louis Aaron Practice, who has become the love object of fairy pou Titanium dioxide, played past Sophia Seidenberg. Owens and Ryan are both working actors, while Drill and Seidenberg are recent alumni of Montclair High's School of Visual and Performing Humanities.
Then came the allied music, Felix Mendelssohn's "Overture" and "Nocturne" for "A Summer solstice Night's Dream." These pieces are relatively familiar to many medicine lovers, but this performance attractively introduced them to those that hadn't heard them. The performances enfolded listeners in the a dream up of midsummer, communicated through Shakespeare, through Mendelssohn, then done music director David Chan and his fervent, accurate, but never dry, players.
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LOOK: 'A SHAKESPEARE Eve' OPENS MONTCLAIR ORCHESTRA'S Moment SEASON
READ: MONTCLAIR ORCHESTRA CONNECTS THE DOTS
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MUCH ADO ABOUT NOTHING
The next turn in "A Shakespeare Evening" "Untold Ado about Zero," with XT between Beatrice and Benedict, played by professional Pamela Kahl and Drill. Unfortunately, the actors were not uniform in beingness able to project their voices and words from their position behind the orchestra, so some of their communicative fireworks were lost.
Erich Wolfgang Korngold's vivid "Much Ado About Zipp" entourage was a Book of Revelation in its kinship with tonight's Mendelssohn's work. Information technology seemed as if both composers' inspiration, of naturally arising from the same playwright, resulted in a similarly colorful, amply dramatized soundscape. In improver, Chan had programmed a pretty-pretty genus Viola-cello duet, transcendentally played away Dov Scheindlin on viola and Joel Alfred Noyes on cello.
MACBETH
The cardinal witches of "Macbeth" arrived subsequently pause, played by Seidenberg, SVPA alumna Vivian Belosky and Kahl, the 3 weaving like a baleful pleach down the center aisle. There they hovered, allowing the audience to eavesdrop on their excellently offensive "Double, double, toil and trouble" scenery.
This led into Giuseppe Verdi's preliminary to his opera "Macbeth," which was excitingly and incisively played away the orchestra. Much gripping still was Verdi's ballet music for "Macbeth," which was so fervently entered into away the players, both in drama and lyricism, that entirely the colors and excitement of the entire drama of the Scottish Take on were delivered in this put together for ballet. A special bravo to the plaque!
ROMEO AND JULIET
Next appeared Juliet, played by Vivian Belosky, speaking from her balcony, played on the evening by the lofty pulpit of St. Luke's. Romeo, played by Drill, was below. They were cardinal very believable major-crossed young lovers. Tchaikovsky's "Romeo and Juliet" followed.
The orchestra had wonderfully exciting rhythmic energy and speed.l
Overall, however, the next time a collaboration with actors is programmed, more resources could be devoted to staging. Lines were often unintelligible, even from the sixth row: speaking directly bent on the audience, as opera house singers are taught to do, would have helped much. And to be commensurate with the high professional standards of the orchestra, actors should have lines memorized rather than reading from scripts.
Acoustics were not ever balanced; when the establishment was playacting with abandon, it was hard to try the strings. When the melody was in the brass, this set up was glorious in its overflow of sound, but the acoustics of St. Luke's are non always favorable to a good orchestral balance. I I n Sunday's concert, the abandon and lyric sweep of the performin remunerated for some imbalance This is unrivalled reason Chan is so effective as a conductor: his obvious concern for detail and preciseness never obviates sweep and passion.
"A Shakespeare Evening" centered on account. Altogether the colours, every last the humanity, love, magic, sweetness, and yes, death, in Shakespeare's stories were heard and felt in the music and the scenes. Montclair Orchestra has brought a cooperative emotional state into their performances. By adding this collaboration to its mission to serve prepare Whitney Young players for future careers, Montclair Orchestra's collaborative concert took an important stair forward for the arts in our community.
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