Thursday, October 21, 2010

Vivacious Vivaldi

It was a perfect afternoon for Brandywine Baroque’s Venetian Carnival. A warm breeze was blowing the leaves from the trees outside the Barn at Flintwoods. The program was sold out, and the concert manager had to add more chairs to accommodate the extra guests. All told, over 100 people were fit into the intimate performance space to enjoy the concert. An all-Vivaldi concert is surely what people want to hear, these days. Often light and airy, this music is the antidote to our everyday worries.


First up was the lovely Sinfonia Alla Rustica, RV151. In three movements, the piece quickly transported us to Venice, with its ornate, textured lyricism. It was a thrill to hear Grant Herreid on the guitar, with his beautiful tone penetrating the full-bodied music. For other pieces in the concert, Herreid performed on his theorbo, a large, lute-like instrument with 14 to 19 courses or strings. The unfretted bass-strings or “bourdons” make it the perfect figured bass instrument for a small Baroque ensemble.


Cynthia Freivogel and Martin Davids performed together in the Concerto for two violins in A minor/RV 523 and the Concerto for two violins in D major, RV 511. Accompanied by the small chamber “orchestra”, these two violinists played flawlessly and perfectly in tandem. At times, their tones and phrasing were so similar and well-blended, it was hard to tell who was playing. They were paired with Douglas McNames and Donna Fournier (cellos), for the Concerto for two violins and two cellos in G major, RV 575. McNames and Fournier performed the Concerto for two cellos in G minor, RV 531. A winning piece, the two cellists played it with both warmth and gusto.


It’s always a treat to hear soprano Laura Heimes. Her silvery voice floated through the motet Nulla in mundo pax sincera. The standard repeats were the perfect opportunity for her to showcase her agile trills and ornaments.


Vivaldi exploited the rich, romantic timbre of the cello in his Concerto for Cello in B minor, RV 424. McNames handled the long, legato lines of the Largo with sensitivity and attention to phrasing. There were moments when it seemed Vivaldi had vaulted right out of the Baroque period and into the early romantic period: the structure of the phrases are lyrical and often brooding, and the thematic development is sophisticated.


http://www.brandywinebaroque.org

Monday, October 11, 2010

Digested: Another Fringe Wilmington Recap


 I wanted my time at the second Wilmington Fringe Festival to be as bizarre, surreal and extreme as possible; unfortunately, it's impossible to see everything. I set my interary with the 48-Hour Film Festival at the center, plus some offbeat live performances, as well as the Visual show.

On Wednesday, I kicked things off with a tour of the Visual Fringe Gallery at the Shipley Lofts. The work ranged in visual media, from installation to video, illustration, painting and sculpture. It was a strong show overall for sure, with some standouts: Stephanie Bell's "Anxiety" series confronted viewers as they entered, with a gas mask-wearing woman with "guts" of wire spilling out of her stomach. Downstairs, I was most fascinated by Tiernan Alexander's "Cuddle," a wood cradle strewn with braided human hair and Daniel Potterton's pieces, which appear to be collages of found objects (things like take out menus, tickets, torn pieces of product packaging), but on close inspection are completely, intricately created by hand. An installation/performance piece by Ron Longsdorf was projected on one of the walls - a live Skype stream of the artist and a friend having a conversation in a cafe in South Carolina. Skype makes an interesting art medium, especially as viewers realize that they are also being video streamed to the other side (more on the piece here). For a full list of Visual Fringe artists, click here.


Splendid Spelling!

Bootless Artworks’ season opened with the spirited 25th Annual Putnam County Spelling Bee. This farcical show, with music and lyrics by William Finn and Book by Rachel Sheinkin, worked well on the cafetorium floor of the Reach Academy for Girls in Claymont, Delaware. The four-piece orchestra, conducted from the keyboard by Musical Director Brittany Fisher, played behind the actors. Directed by Kimberly Pryor, choreographed by Alyssa Novello, and produced by James Fuerst, the show included guest “spellers” from the non-profit and arts community. The night I attended, playwright Matt Casarino, AIDS Delaware’s executive director, John Klein and the Draggillious girls lent their orthographic talents.


This sweet little musical has it all: drama, intrigue, improvisation, unrequited love and dysfunctional families. Leaf Coneybear, played endearingly by Justin Walsh, wears capes and flared pants he designs himself. Each turn at the podium, the poor guy (self-described as “not that smart”) must spell rodent words like “Capybara” and “Acouchi”. After he stumbles on “Chinchilla”, he sings a goofy, impassioned goodbye song with the help of his bass-voiced rodent at the microphone.


Logainne SchwartzandGrubeniniere, whose long last name is the result of having two dads, is a kind-hearted competitor who traces words on her arm. Ashli Rice is adorable in the role, lending a perky, innocent touch. She tries hard to please her two self-involved dads (Wade Brodsky and Justin Walsh) but finally asks them, “What about me?”


The first to lose the bee is Chip Tolentino, played convincingly by P.J. Schweizer. His crush on Coneybear’s sister inspires an “erection destroying perfection,” distracting him from his spelling. An all-American boy scout, he returns to haunt the other contestants well after he is eliminated. His ultimate demise is his job hawking candy and potato chips to the audience.


The nimble Jeremy Gable is a neurotic and peanut-allergic William Barfee (that’s “BarfAY!” The accent ague is there for a reason!), who sweeps the shape of every letter with his agile foot. Even while dodging water on the floor, he manages to collect the trophy.


Rosanne DellAversano, the company’s artistic director, is excellent as Rona Lisa Peretti, the bossy head of the bee. A bumbling Vice Principal Panch (William Swezey) is consumed by a hilarious burst of violent rage as he bemoans his “assistant” principal title. As the lovable thug on parole, Mitch Mahoney (Wade Brodsky) gives out juice boxes to the losers of the bee. The versatile actor also appears as several dads in the production.


“The I Love You Song” is one of the most moving numbers in the show. Here, Olive Ostrofsky (Caroline Rhodes) sings sweetly about things “chimerical”- her spelling word – as she grapples with feelings of abandonment. Another character to find herself during the show is Marcy Park (Ahn Truong), a girl expected to do everything perfectly. Her quirky song “I Speak Five Languages” takes us on a whirlwind tour of talents in sports, languages and academics. When she flubs a simple word on purpose, she suddenly feels free.


The show’s theme of self-discovery peeks subtly through its sub-plots. Different every night because of the guest spellers and the improvisation, the show is truly entertaining!

http://www.bootless.org