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Yesterday morning I heard a woman at a crosswalk say to her friend, “Why is it that in winter, in Chicago, every day feels like a Monday?”
I could not help but cringe. It was at that moment I realised that Making Chicago Home needed to kick back into high gear. With all of the fun, amazing and unique things happening around our fair city, we have no one (and nothing!) to blame but ourselves if we are not having a great time!
When I want to kick the blues, I turn to something that always makes me feel better: music.
Yesterday I had the pleasure to shake off the chilly, rainy weather and park my tush in Symphony Center to hear the Chicago Sinfonietta present A Dream Unfolds, their annual tribute concert to Dr. Martin Luther King, Jr. The concert opened with pieces by Ulysses Kay (Theater Set) and George Walker (Lyric for Strings), both conducted by Music Director Paul Freeman.
Maestro Paul Freeman, photo by Ken Carl
If you are still dragging your heels and wondering if it’s worth shelling out $25 – $140 for you to see Cinderella, don’t. You shouldn’t have to think about it…you should be doing it. Now. And quick, because there are only seven shows left and you do not want to miss this amazing performance.
Victoria Jaiani is sad because you haven't seen Cinderella yet.
Forget what you might think about the ballet: Sir Frederick Ashton’s Cinderella not only has all the magic of the traditional fairy tale, but it is incredibly funny and moves very quickly.
It’s the event I have been waiting for! The Joffrey Ballet’s presentation of Cinderella starts tomorrow, Wednesday 17 February, and I could not be more excited. (You can watch a video on the Joffrey site, here!)
Cinderella featuring Megan Quiroz, photo by Herbert Migdoll
If you have never been to the ballet before, or if you have never seen the Joffrey, then this is the perfect introduction to both. You all know the fairytale but you may have never seen it come to life right before your eyes with truly hideous stepsisters, handcrafted outfits, a ethereal score performed by the Chicago Sinfonietta and graceful dancing. Perfect for out-of-town visitors looking to make their trip to Chicago extra magical, a sweet date or family event, Cinderella will not disappoint!
Last night I had the pleasure of celebrating the life of Dr. Martin Luther King, Jr. in the presence of great musicians, dancers, singers and fellow Chicagoans. Rarely does a symphony performance make me feel connected with everyone in the room, and leave me feeling joyous, inspired and genuinely grateful to be living in the world I do today, but leave it to the Chicago Sinfonietta to make me feel that way!
Music Director and Conductor Paul Freeman took to the stage welcomed by a roaring audience, and took a moment to speak about Dr. King and the current situation in Haiti. He asked everyone for a moment of silence for those lost and those surviving, and the audience happily obliged.
The symphony then opened the programme with Gabriel Fauré’s Pavane Opus 50, which sounds graceful and oddly familiar. The neatest part about this piece is how it starts: violinists use their fingers to pluck their strings as clarinetists provide a haunting melody. I have never actually seen anyone pluck a violin before, so I thought that was pretty cool!
For the Four Negro Spirituals for Orchestra and Soprano, arranged by Hale Smith, Ms. Jonita Lattimore (soprano), Ms. Gwendolyn Brown (contralto) and the Cerqua Rivera Dance Theatre joined the symphony on stage.
At first, I was a little confused about the choreography and how it meshed with the music. Let Us Break Bread Together is a hopeful spiritual about community togetherness and worship, and yet the eight CRDT dancers looked tortured with jerky movements and heavy breathing. It was unsettling to watch, like I was watching Lady Gaga dance to My God is an Awesome God or something. Weird.
Lattimore’s performance, however, was both technically flawless and strikingly expressive. In both of her solos in Let Us Break Bread Together and This Little Light of Mine, she sang with palpable joy in her voice while managing to avoid the distortion of any particular note.
It was Brown that blew me away during her solos in Jesus Lay Your Head in the Window and Witness. Brown has a voice that makes you get goose bumps. It is buttery, smooth and strong, and she might be the best singer/storyteller I have ever heard. In Witness she had the crowd laughing as she changed her voice to imitate characters in the song and had a few people muttering “Amen!” under their breath as she infused some spunky attitude into soulful verses. I was smitten!
The dancing eventually got better, too. With each song the dancers seemed to become less nervous and the choreography meshed better with the lyrics and music. In Jesus Lay Your Head in the Window, the dancing was like that daring, asymmetrical dress at the Golden Globes: slightly out of place but eye-catching and memorable. The dancers’ moves displayed their strength, flexibility and personality.
These are no ballerinas. Instead they danced more like warriors. Their movements were purposeful and athletic. It was refreshing.
For the finale guest conductor Kazem Abdullah (who is only 30 years old!) nervously took the stage. He informed the audience that Beethoven’s Symphony No. 9 in D minor, op. 125 (Choral) was the first symphony to have a chorus and soloists involved. Beethoven was inspired to include a chorus in the fourth movement because of the German poet Friedrich Schiller and his poem An die Freude (Ode to Joy).
Kazem Abdullah (look how young!)
Abdullah concluded that the piece was perfect for MLK, Jr. Day because one of the lines in Schiller’s Ode to Joy summed up the aura of Dr. King, “all men become brothers”.
The Sinfonietta’s rendition of Beethoven’s 9th was just jaw-dropping. The first movement (Allegro ma non troppo, un poco maestoso) was played the way you feel after you accomplish something great, with a cocky-I-am-on-top-of-the-world feel, paired with barely contained bubbling joy.
Of course, the most recognisable second movement (molto vivace) ebbed and flowed from a series of melodic and harmonic climaxes, creating an urgent and triumphant piece. The best decision that both Abdullah and the Sinfonietta made was to let the piece breathe by providing longer silences between the climaxes (they are usually very short). It felt a bit like watching a juggler throw five bowling pins in into the air and waiting to see if s/he can catch them. Amazing!
The third movement was beautiful but I was focused more on Abdullah, marveling at his energy and excitement for conducting. Since I could not see his face, I kept staring at the coattails of his morning coat and how they would flap together violently as he waved his baton. His hand movements reminded me of the traders on the floor of the Chicago Board of Trade: one flip of a palm would cue the drummer, another would make the violinists come to life.
The fourth and final movement, the presto allegro assai, the Ode to Joy, brought back to the stage Lattimore and Brown and also included the Northwestern University Symphonic Choir, Richard Drews (tenor) and Bruce Hall (baritone). It was fantastically epic and echoed throughout the music hall.
Hall definitely had a pair of lungs in him because he carried out notes for so long his face started to turn red. Drews had great stage presence and a voice so loud that he drowned both Hall and Brown out, as well as some of the instruments! I could barely hear Brown, but Lattimore was sensational and stole the attention away from everyone else whenever she opened her mouth. As to be expected the NUSC was pitch perfect and added a lovely volume and importance to the piece. Everything was perfect for the fourth movement!
If you have not experienced the Chicago Sinfonietta, then you are missing out. There are two more concerts from the CS left in their 2009-2010 season, so you should make sure to buy tickets before it is too late!
Dev xx
If you are still wondering how to celebrate Martin Luther King, Jr.’s legacy, may I suggest buying tickets for tonight’s A Dream Unfolds, hosted by the Chicago Sinfonietta?
This popular annual tribute to Dr. MLK, Jr. is a joyous celebration and a Chicago tradition, as it honours the vision and legacy of one of the greatest civil rights pioneers of the 20th century. A Dream Unfolds will be performed at Chicago’s Orchestra Hall at Symphony Center, 220 S. Michigan Avenue, tonight at 7:30 p.m.
Maestro Paul Freeman will open the programme with Gabriel Fauré’s Pavane Opus 50. Composed in 1887 for his patron, Countess Elisabeth Greffulhe, Fauré’s serene and elegant masterpiece evokes the same grace, passion and idealism for which Dr. King was best known.
The Cerqua Rivera Dance Theatre, photo by Renee Gooch
If the Chicago Sinfonietta were to have an unofficial motto, it might be “Taking Chances on New Things”.
Before any discussion on what they produce, they should be commended. That idea alone is surely the heart of Chicago’s cultural vibrancy: The Chicago Sinfonietta is not about providing the cultural authority to our city. Rather, they demonstrate the vitality of the Chicago street.
The Chicago Sinfonietta "holiday" picture. Courtesy of Chicago Sinfonietta.
This message is most poignant at the holidays. In the midst of what can be a traumatic trip to the mall for many Americans, the Chicago Sinfonietta presented their second annual Global Holiday Celebration. It’s a little too easy these days to become jaded by the holiday season. Our ironic, post-modern age has become very aware of the man behind the curtain. Anyone familiar with former Chicago resident David Sedaris will never look at Santa’s elves again. Or Macy’s, for that matter.
As you know, the Chicago Sinfonietta’s Holiday Concert, “Global Holiday Celebration,” is today (16 December) at the Harris Theater.
MCH is going to be there! Will you?
If you are still dragging your heels, then here is something that might make up your mind:
In honor of the season, the Chicago Sinfonietta has partnered with three worthy organisations to help those in need. For every $25 ticket purchased to the “Global Holiday Celebration” holiday concert, the Sinfonietta will donate $5 to the charity of your choice from the following organizations: Deborah’s Place, Make-A-Wish Foundation, and Voices for Illinois Children.
To designate a donation choice when ordering tickets online, simply enter the name of the organization in the field marked “How did you learn about this performance?” When ordering by phone, simply mention it.
Courtesy of JASC Tsukasa Taiko
In addition to helping out your favourite charity, you will get to enjoy the music of the Chicago Sinfonietta, who will feature the Taiko drummer Tsukasa Taiko (pictured above). Definitely not your grandma’s holiday concert!
For more information about this programme, make sure to visit the Sinfonietta’s website!
See you there!
Dev xx
by guest blogger Ruthie Freeman (no relation to Paul Freeman, mentioned in the article!)
Courtesy of Chicago Sinfonietta
There were really two ways the Chicago Sinfonietta could go with Laughter. Somehow, draw on the humor of classical music itself, or, use it as a backdrop for the naturally charming Maestro Michael Morgan. Wisely, the Sinfonietta did both: its lighthearted collaboration gave an opportunity to showcase musical composers’ giddier moods and an example of showbiz professionals demonstrating their verve. Part of the Chicago Humanities Festival’s exploration of the theme laughter, the Sinfonietta’s November 2nd audience was lucky enough to experience the one night only performance.
It’s easy to wonder what role an orchestra can play in a festival devoted to levity, but the answer lies within the Sinfonietta itself.
Founder and musical director Paul Freeman began the Chicago Sinfonietta twenty three years ago in response to the dearth of opportunity for classical musicians of color. In 1987, the Chicago Symphony Orchestra was all male and all white. Talented and top-notch of course, but a bunch of white guys nonetheless. Even now, less than 3% of musicians in the top 1,000 orchestras are people of color.
Approximately half of the Sinfonietta’s staff, musicians, Board of Directors, and audience are people of color. The orchestra is also gender-balanced, believing truly in “excellence through diversity.” Whatever it is that people typically think of classical music, Paul Freeman has certainly begun to change it. An orchestra with the spark and tenacity to break down institutional barriers most definitely does not shy from pushing the boundaries of what its music is really about.
Saturday night I had the pleasure of attending Joffrey Ballet’s presentation of Othello, which is in fact not based on the Shakespeare play but adapted from the 1566 story by Giraldo Cintio. I say this because if you go into the ballet thinking you are seeing Shakespeare’s adaption you will be confused throughout the performance.
Othello is presented in three acts and is expertly accompanied by the Chicago Sinfonietta.
The first act comprises three scenes: Desdemona and Othello getting married in a cathedral in Venice; Cassio giving a tribute to the new couple in the Great Hall (and Othello giving Desdemona a magic handkerchief); and Iago venting his fury because Othello promoted Cassio and not him.
The show-stealer in the first act is Cassio played by Aaron Rogers. He is going to blow you away with his energy, precision and grace. Classical ballet is all about fighting gravity to appear weightless and airy. Rogers seemed to always be airborne, only grazing his toe shoes lightly against the stage before leaping into yet another joyful, fast-paced jump. His arms fluttered about him and he kept his back so straight that it seemed he was being suspended by string, like a puppet.
By scene three you are ready to experience the rage that Iago, played by Matthew Adamczyk, has bubbling inside of him. His synthesis of modern dance and ballet is violent and angry, a perfect contrast to the nicey-nice dancing between Othello and Desdemona in earlier scenes. Adamczyk starts out with choppy, robotic moves that act as an aside. As the tempo picked up, it was clear Iago is at war with himself: He tossed his body to the ground; he pounded his fists; every limb was hyper-extended to the point where it looked disconnected from his body.
It was painful to watch.
When his wife Emilia, played by Valerie Robin, joins him, try not to blink. She unsuccessfully tries to console him and he responds with violent fury executed beautifully.
The second act opened with a desperate, haunting dance with the women of Cyprus waiting for their husbands to return home from war. The homecoming dance between Desdemona and Othello is pretty, but forgettable. In contrast to Iago and Cassio, Othello, played by Fabrice Calmels, is a head-and-shoulders taller, much brawnier and never seems to be able to shake the clumsiness that comes along with his size. He is apeish, always rounding his shoulders and slouching, as if the weight of Desdemona’s death was already bearing down on him, even before he killed her.
Something odd happened during Othello’s angry solo dance, however, that changed my mind about his performance. The Chicago Sinfonietta whipped out horns and blew jazzy tunes over the usual classic repertoire. All of a sudden, Othello’s clumsiness felt more like a man dancing the blues and it made sense.
Act three is by far the best. In Othello’s chamber Iago describes the details of Desdemona and Cassio’s affair to Othello. As Iago is recounting the stories you can see how Othello pictures the affair: behind the two men, upstage right, stand Cassio and Desdemona, acting out the infidelities. They look dream-like and are cast with thick, projected fog and soft lighting. Of course, as Othello thinks about his wife cheating, he becomes enraged.
In Desdemona’s bed chamber, Othello tosses out Emilia to be alone with Desdemona. Surprisingly, a very loving dance between the two follows, with only several moves alluding to Othello’s anger. When the music picked up pace and low notes floated through the auditorium, Othello threw Desdemona to the ground and chokes her with the handkercheif. Othello’s hands visibly tremble as he pulls the handkercheif tighter and tighter around her throat until at last her body shudders.
Othello offers something for everyone and keeps you on the edge of your seat. You will be so entertained, enraged, joyful and absorbed that each scene will go by quickly and leave you wanting more. And more. And more.
Dev xx
