Who says classical music isn’t a hoot and a holler? At Tuesday evening’s “Two Grands, Six Hands” concert in Portland State University’s Lincoln Hall, part of Chamber Music Northwest’s summer festival, eight hands played Romantic composer Albert Lavignac’s “Galop-marche.” Read More
“Higher! Louder! Faster!” That’s how 36-year-old composer Andrew Norman describes the “emphatic trajectory” of his 2004 “Gran Turismo.” Eight violinists played this violins-on-speed piece as part of Chamber Music Northwest’s “The Power of Strings” concert Fourth of July weekend (July 3 and 4) at Portland State University’s Lincoln Hall. Read More
To imagine that The Magic Flute is merely beguiling child’s play is to sell W. A. Mozart’s masterpiece short. His last staged opera’s enchanted world, clear-cut good vs. evil themes, lyrical music, and fanciful characters like Queen of the Night, Papageno and Tamino appeal to children of all ages. Read More
“Sting is one of the seminal artists of my generation,” says Portland pianist/composer Darrell Grant. As the leader of The Police (1977-1984) and as a solo artist, the former Gordon Sumner sold more than 100 million records, and his eclectic genre-crossing solo career exerted a huge influence on both Grant and fellow Portland singer and Sting-lover Marilyn Keller when each was shaping a musical career in the ‘80s. Read More
Virtuoso saxophonists were the Coltrane-centric Portland Jazz Festival’s backbone Feb. 18-28: Joe Lovano, Gary Bartz, Nicole Glover, Charles Lloyd, Sonny Fortune, Renato Caranto, Pharoah Sanders, Ravi Coltrane — not in that order.
The keyboardists, though, stole my heart — not only the soloists but the sidemen who played in trios and quartets, duos and big bands, alongside the headliners. Read More
At last we see a full-fledged production led by Seattle Opera’s new general director Aidan Lang. Hired 18 months ago to fill Speight Jenkins’ large shoes, Lang shows with this Marriage of Figaro that he can put together the pieces of a production with genius and charm. What a vibrant Figaro it is! Its sets, singing, timing, costumes and supra-titles make this production, which continues through January 30, as far from ho-hum as one of the 10 most often performed operas could be. Read More
Imagine a balmy June afternoon in Riberac, one of southwest France’s charming hilly villages. There you are – there I was with my Dutch-born husband – in a sun-filled church renovated for performances rather than worship. In strides Dutch world-renowned baroque conductor and keyboardist Ton Koopman wearing a bright red tie (and black suit) and his signature irrepressible bring-it-on smile. Read More
Telemann? Fasch? The notes pave a route, like Hansel and Gretel’s breadcrumbs. We keep walking, ears wide open.
After twists and turns, we locate the source. The melody resonates under an arch near the Zwinger, one of Dresden’s opulent Baroque buildings. A brass quartet is blowing in baseball hats and rain parkas. Read More
“Coltrane has the power to move people,” says up-and-coming Portland-grown saxophonist Nicole Glover. “He can reach that special place in you that only you have access to. Some people may call it soul. … But you don’t have to be a spiritual person to feel it move you.” Read More
Double-billed with Georges Bizet’s silly Dr. Miracle, Bon Appetit is the more delicious of the one-acts cooked up this month by Portland State University Opera. It’s an indisputable hoot about Julia Child making a real-life “gateau chocolat.” The show plays through Dec. 13 at PSU’s Lincoln Hall’s 84-seat Studio Theater, a small space to contain such a lot of laughs – but it works. Read More