Serafin String Quartet Welcomes Violist Sheila Browne

Post content courtesy of press release from Serafin String Quartet...
Serafin String Quartet (SSQ) is pleased to welcome Shelia Browne as its new violist. Ms. Browne replaces Esme Allen-Creighton, who stepped down after four years with SSQ to pursue a degree in music therapy.

Ms. Browne has also recently been named the new Assistant Professor of Viola at University of Delaware's Department of Music. She joins both the University and the Quartet from her position at University of North Carolina School of the Arts, where she has been on the faculty for 10 years.

The Quartet is delighted that Ms. Browne has accepted the position. They will be working together this summer to prepare for an exciting first season, with performances at the University of Delaware, where the Quartet has recently accepted re-appointment as Quartet in Residence for the next three years.

A preview of SSQ's 2016-2017 season, including performance dates on local series at The Arts at Trinity and The Music School of Delaware, will be announced soon.

See www.serafinquartet.org.

Candlelight (Re)Introduces You to the Classic, "The Music Man"

New Candlelight Theatre's production of The Music Man.
Photo by Ken Grant

By Guest Blogger, Ken Grant
Ken Grant has worked in Delaware media, politics and marketing for 25 years. He and his Lovely Bride enjoy Wilmington's arts and culture scene as much as they can.

Meredith Wilson was born in Mason City, Iowa in 1902 and played flute in John Philip Sousa's band from 1921-1923. He went on to a full and successful career in music, radio and film. This background and experience was clearly the inspiration behind his biggest hit – The Music Man.

The musical is based in the Summer of 1912 and centers on the exploits of a two-bit con man with no expertise who gets the town of River City, Iowa convinced that there's a danger to the town's future and their only hope is to buy what he's selling. Thank goodness we live in 2016 and everyone is too sophisticated to fall for such fear-mongering from such a blatantly dishonest and opportunistic fraud. :)

Fortunately, the good people at The Candlelight Theatre in Arden are able to transport us back in time to enjoy a summer of pageants in the small town that grows to to accept and even live the con man. The con man – "Professor" Harold Hill – is portrayed pitch-perfectly by Bob Miller. Through Miller, the audience can see the gears turning as he charms the town's women and convinces the men to join voices and divert attention away from his lack of credentials.

While the town's transformation occurs at a steady pace throughout the production, Hill's growth is more of a slow burn that reveals itself late in the second act.

The primary inspiration for that growth is the town's librarian and legitimate music teacher, Marion Paroo, played by Lauren Krigel. She exudes strength, smarts and clarity, seeing through Hill's deceptions, but also seeing a way to challenge him into becoming more than he expected.

The more than 20 cast members bring River City to life with voices and choreography that fills the entire theater space.

The heart and soul of The Music Man is, of course, music. With such iconic songs as Trouble, Seventy-Six Trombones, Gary, Indiana and Shipoopi (to name a few), the audience finds itself smiling and toe-tapping during the production.

Whether you've seen the film, enjoyed the cast album or have yet to experience Meredith Wilson's masterpiece, you should make your way to Arden to enjoy this fun production (and tasty buffet dinner included with your ticket price).

The Music Man plays through August 28 at The Candlelight Theatre.

See www.candlelighttheatredelaware.com. 

Wilmington’s Creative District Unveils Veterans Freedom Mural

Content of this post courtesy of press release from the Creative District Wilmington...

Wilmington Renaissance Corporation (WRC) and Creative District Wilmington dedicated the Veterans Freedom Mural on Tuesday, June 28, 2016 at Marcella’s House in downtown Wilmington. Governor Jack Markell and Secretary of State Jeff Bullock were among the distinguished speakers at the event.

The Veterans Freedom Mural, Getting Back to the World, is the inaugural project for Wilmington’s first-ever free public art training program, entitled Public Art Prep Program (PAPP). Creative District Wilmington and Connections Community Support Programs, Inc., partnered to develop PAPP as an opportunity for local artists to learn new skills as well as expand their experience in neighborhood mural-making by combining community engagement practices and public art-making techniques.

The Veterans Freedom Mural is on the exterior wall of Marcella’s House, a 31-unit veterans’ residential facility owned by Connections Community Support Programs, Inc. at the intersection of 9th and Washington Streets. Mural-making at its core is a community process, and the Veterans Freedom Mural is a collaborative effort that engaged a number of key stakeholders in community planning meetings and community paint days.

Muralist Eric Okdeh was the lead artist on the project, and facilitated workshops where artists observed and learned from his process, practicing the techniques while creating the Veterans Freedom Mural. Okdeh facilitated community engagement meetings, teaching participants how to elicit feedback and distill it into mural imagery. Participants learned how to use the parachute cloth method to create the mural and the actual installation of parachute cloth. They also learned how to create and install glass mosaic. Participants who

completed the Public Art Prep Training workshop series received a non-credit certificate of completion.

See www.creativedistrictwilm.com.

DelShakes' The Comedy of Errors Delivers Madcap Fun Under the Stars

By Guest Blogger, Ken Grant

The Comedy of Errors stage at Rockwood Park. Photo by Alessandra Nicole.

Ken Grant has worked in Delaware media, politics and marketing for 25 years. He and his Lovely Bride enjoy Wilmington's arts and culture scene as much as they can. 

Before the Stooges and the Marx Brothers, there was The Comedy of Errors.

The play, one of William Shakespeare’s earlier works, is a madcap, slapstick, double mistaken-identity romp.

True confession: While driving to the opening night performance at the beautiful Rockwood Mansion, this reviewer asked his Lovely Bride to pull up the play synopsis on her smartphone and read it to him. Arguably, to offer a written synopsis of the play will lead to frustration and confusion for both writer and reader – The Comedy of Errors simply must be experienced.

And the experience with this cast and musicians under the direction of David Stradley is delightful, fun and surprising.

Luke Brahdt and Brendan Moser play the identical twins – both named Antipholus – separated at birth by shipwreck.Chase Byrd and Sean Close play the identical twins – both named Dromio – separated at birth by shipwreck.

(L-R): Brian Reisman (Dromio of Ephesus), Luke Brahdt (Antipholus
of Ephesus), Abdul Sesay (Officer). Photo by Alessandra Nicole.

Go back and re-read those last two sentences, and you’ll see why a written synopsis can be confusing and frustrating.

[Quick side note]: If you are a high school English teacher who only has your students read Shakespeare’s plays, please stop. Allow the students to experience the power, comedy, drama, tension, fullness, beauty, grittiness and even the silliness of Shakespeare through a live performance or even a video – you will help to shape a better future for all of us. [End of side note.]

The performances by this cast are wonderfully over-the-top, the dialog is downright musical, and the choreography has all of the fun of slapstick with none of the pain.

Everything about this comedy supports the creativity and innovation that is associated with the Delaware Shakespeare Festival: a long runway for a stage with doors on wheels; colorful lighting, costuming that is at once colorful and useful (remember, two sets of twins – the costumes really help in keeping the whole thing straight); and a jazz trio – saxophone, bass, percussion – that perfectly sets and elevates the tone throughout the performance.

If you're ready for a lighthearted, fun, engaging evening, you'll want to get these tickets, pack your lawn chairs or picnic blankets and come out to Rockwood Mansion. Oh, and read the signs on the sidewalk on the way up; there’s some great information there that will make the show that much more enjoyable.

The Comedy of Errors runs for 13 performance this month, Wednesday to Saturday at 7:30pm with gates opening at 6:15pm for preshow entertainment and picnics. Sunday performances begin at 6:00pm (gates open at 4:45pm). No shows are scheduled for Monday or Tuesday nights, although Tuesday, July 26 is a rain date, if needed.

The fourth annual Janssen’s Market Picnic Contest – in which patrons bring their best spreads to compete for the coveted Picnic Contest trophy and bragging rights – will take place on Saturday, July 23. General admission to the festival is $18 (some of the most affordable live theater tickets around). Tickets are $16 for seniors (65+), and active military (and their families), with identification. Student tickets are $14. Children 5 and under are free at every performance.

Every Sunday is Family Night, with special activities for children 12 and under admitted free with a paid adult admission.

See www.delshakes.org.

Delaware Symphony Orchestra Closes Its 16-17 Season at Gold Ballroom

By Christine Facciolo

One of the Delaware Symphony Orchestra’s greatest strengths is its roster of talented musicians that can be called upon to organize performances in a wide range of complexity and moods in a single evening.

The result is often a delightfully strange assemblage of pieces and the orchestra’s final chamber series concert of the season — “David Amado and Friends” — in The Gold Ballroom of the Hotel du Pont was one of the most curious, featuring Schubert’s richly lyrical Piano Trio No. 1 in B-flat Major, Op. 99, Shostakovich’s polystylistic Piano Trio in E minor, Op. 67 and Ysaye’s virtuosic Sonata No. 4 for Solo Violin.

The first item on the program — the Ysaye Sonata — was also the most notable outlier. Though not as well-known as Nos. 2 and 3, this sonata is fiercely expressive and violinist Erica Miller captured its virtuosity perfectly. Her mastery of the instrument was complete: her downbow attacks were strong, her intonation precise. She took a rhapsodic approach to the opening Allemnda, showed a reverent calm in the Sarabande and delivered the pyrotechnics of the Finale with poise.

The rest of the pre-intermission portion of the concert was taken up with the Shostakovich trio, one of his most enduringly popular compositions. It was written in 1944 in memory of one of the composer’s closest friends, polymath Ivan Sollertinsky, who died unexpectedly of a heart attack that same year. Shostakovich had also lived through the siege of Leningrad and his anxiety about death permeates the entire work.

Cellist Naomi Gray opened the trio with a note that would be challengingly high, even for a violin. Gray succeeded in striking a delicate balance between beauty and pain which continued as the other instruments joined in. Violinist Luigi Mazzocchi executed the relentlessly jabbing notes of the second movement without sacrificing clarity or intonation. DSO Music Director David Amado’s dramatic phrasing and scrupulous attention to dynamics carried the third movement which consists of a series of heart-wrenching variations over the piano’s bass line. The work culminates in a dance-like finale which features Shostakovich’s first use of Jewish klezmer music, a reference to the influences of the Holocaust around him. The performance concluded with barely audible notes in each instrument’s highest register, moving the whole affair into a different realm.

After intermission, the musicians offered a glittering performance of Schubert’s Piano Trio in B-flat Major, D. 898. This piece was a perfect showcase for the players’ keen sense of ensemble. The performance was a true dialog between piano and strings as well as between the strings themselves. The first and second movements featured song-like phrases from each other players while the scherzo received a sense of urgency. The Rondo finale was full of surprises as the musicians accommodated the sudden accents, key changes and false endings that permeated the movement.

All in all, the trio played with a joyous emerging that brought Schubert’s trio and the concert — and season — to a rousing conclusion.

See www.delawaresymphony.org.

Delaware Chamber Music Festival Wraps 31st Season

By Christine Facciolo

The Delaware Chamber Music Festival (DCMF) turned to Scandinavia for the penultimate concert of its 31st season, programming works by some famous and not-so-famous Nordic composers.

The concert opened with a performance of Handel/Halvorsen’s Passacaglia for violin and cello. Halvorsen (1864-1935) was a celebrated violinist, conductor and composer best remembered today for this brilliant extrapolation of Handel’s passacaglia for an intrepid duo of two masterful musicians, in this case Hirono Oka, violin and Burchard Tang, viola. DCMF Music Director and Violinist Barbara Govatos noted that the piece is primarily used for educational purposes, so it was a real treat to hear it performed in concert.

It is indeed amazing to hear how much music a composer can coax out of the scant resources of two stringed instruments. Some of the variations require numerous double and triple stops and multi-note chords to achieve full four-part harmony while others employ swift melodic lines to create a linear harmonic effect over time. The result was a jaw-dropping dialog between two virtuosic performers.

The brilliance of the Handel/Halvorsen segued to the serious of Sibelius’ String Quartet in D minor (Voces intimae) delivered with strength and sympathy. The four musicians showed polish and clear phrasing in the opening Andante; conveyed purpose and excitement in the perpetual motion of the Vivace; captured the dream-like quality of the Adagio; charmed in the Allegretto and brought frantic energy to the closing Allegro.

The final offering of the concert was Grieg’s String Quartet in G minor, Op. 27. Like Sibelius, Grieg attempted the genre several times but left only one mature effort in the form. The Quartet tells the tale of minstrels who sell their souls to a water sprite in exchange for virtuosity. Grieg manages to imbue the work with a richness and scope that evoke the power of an orchestra with just four string players. The ensemble did a stellar job of capturing the romantic drama of the piece. Cellist Clancy Newman offered some remarkable playing at the end of the first movement. All in all, the ensemble maintained a good balance, blend and clarity to the rousing conclusion.

Pianist Marcantonio Barone joined the quartet for Sunday’s finale, which featured a work each from the 19th, 20th and 21st Centuries.

Barone and Govatos joined together for a performance of David Finko’s Sonata for Violin and Piano (2010). The duo sounded determined to show just how easily they could dispatch this Russian-American composer’s deliberately taut and acerbic music and they did so quite impressively.

Cellist Clancy Newman brought a big rich sound, thoughtful musicianship and technical capability to his performance of Prokofiev’s Sonata in C Major for cello and piano, Op. 119. The sonata opened with grave, low cello phrases, but quickly moved into outbursts of pizzicato around heavily marked themes in the piano. The composer’s naturally good humor returned in the scherzo-like second movement where the piano assumed much of the action. It was prominent again in the third movement but Newman and Barone were never anything less than an equal pair as the cello’s arpeggios were accompanied by piano figures that swept the keyboard.

The concert — and the season — wrapped up with Govatos joining Newman and Barone in a spirited performance of Schubert’s Piano Trio in E-flat Major, D. 929. It’s hard to believe this lighthearted work was composed the same month (November 1827) as the more somber Winterreise song cycle but we got a gentle reminder in the C minor Andante con moto, with a melancholy exchange between cello and piano. The players showed themselves to be completely in Schubertian sensibility from the dramatic rhythms of the opening movement to the jaunty delivery of the final movement, where despite moments of sadness, Schubertian bonhomie reigned.

See www.dcmf.org.