Grammy-Award Winning Vocalist Performs in Benefit for Christina Cultural Arts Center

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Photo courtesy of Gregory Porter

Just before he takes the stage at London’s Royal Albert Hall, Grammy Award–winning jazz singer, songwriter and actor Gregory Porter makes a rare stop at The Grand Opera House at 7:30pm on Friday, October 17. The one-night-only performance in the Baby Grand Theater is a benefit for Christina Cultural Arts Center.

“We’re thrilled to be able to bring an artist of Gregory’s caliber to Wilmington,” said CCAC Executive Director, Raye Jones Avery. “The event is even more meaningful for us because the proceeds benefit Christina Cultural Arts Center — one of our city's celebrated arts organizations helping to elevate WIlmington's vibrant cultural scene and to inspire our children, youth and teens through the arts.”

Special pre- and post-event ticket packages (one including a post-concert dinner with Porter) are still available by contacting The Grand Box Office at 37.800.GRAND. Single concert tickets are $45 and can be purchased online at TicketsAtTheGrand.org or by calling the box office.

This performance is just part of Christina Cultural Arts Center’s focus on presenting intimate live performances by both local and nationally known musicians — both in the Clifford Brown Performance Space of CCAC and other venues in and around downtown Wilmington. Past concerts sponsored by the organization include a sold-out performance by jazz-funk ensemble Snarky Puppy and Esperanza Spalding, as part of the Clifford Brown Year-Round Jazz Series in partnership with the Grand Opera House and the City of Wilmington.

Gregory Porter’s new album, Liquid Spirit, earned him a Grammy Award for Best Vocal Jazz Album in January. The album features three covers and 11 original songs including the title track (Liquid Spirit), Hey Laura, and No Love Dying. Called “the next great male jazz singer,” by NPR Music, Porter made his U.S. television debut last year with an appearance on The Tonight Show with Jay Leno.

This engagement of Gregory Porter is made possible through the Jazz Touring Network program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

Christina Cultural Arts Center, Inc. is a premier community school of the arts with a mission to make affordable arts education and live multicultural performances accessible to children, teens and adults in a safe, family environment. CCAC’s leading-edge programs promote self-development, healthy lifestyles, social change, educational success and economic empowerment. CCAC is a partner in Wilmington’s Creative District project and the Center City Wilmington Delaware Readiness Team — a task force aiming to prepare Wilmington’s East Side and Southbridge area children for Kindergarten readiness.

See www.ccacde.org.

Fringe Wilmo Gets Frightening Every Weekend in October!

Join WILMINGTON FRINGE FANS every Saturday night in October for Midnight Musicals at Theatre N at Nemours to support the Fringe Wilmington festival. Admission is only $5! Sing-a-alongs, themed cocktails, giveaways, props, local actors, 50/50 raffle and more! Costumes strongly encouraged.

Schedule and details:
October 4: Sweeney Todd
October 11: Little Shop of Horrors
October 18: The Rocky Horror Picture Show
Sponsored by Delaware Theatre Company
 October 25: Young Frankenstein
Sponsored by Oddity Bar

Oddity Bar hosts a pre-game party before each main event, from 9:00-11:00pm.

The Fringe Wilmington Festival is a five-day celebration of unconventional and experimental art held three times annually as Live Fringe, Film Fringe and Visual Fringe. 2014 Live Fringe Wilmington Festival runs November 19-23, 2014.

Live Fringe presents Delaware’s most outrageous and edgy live performances by local, regional and national artists. Improv, dance, comedy, clowns, magic, drama, musical theater and the indescribable can be experienced in local theaters, vacant storefronts and unexpected spaces.  The Live Fringe Preview Party kicks-off the festival with three-minute “samples” by each of the performing artists at World Café Live at the Queen.

Bravo to the 'Heroes and Heroines' of the DSO!

By Guest Blogger, Chuck Holdeman
Chuck is a regional composer of lyrical, contemporary classical music, including opera, orchestral music, songs, chamber music, and music for film.


The Delaware Symphony kicked off its 2014-15 season Friday evening at Wilmington's Grand Opera House. Board chair Charles Babcock — thrust into his role by the sudden death last summer of then chairman Bruce Kallos — gave a light-hearted (if lengthy) welcome to the near full house.

Music Director David Amado led the orchestra and audience in an enthusiastic rendition of our national anthem. Those of us who attended the pre-concert lecture had already met the soloist for Beethoven's 5th piano concerto — Venezuelan Gabriela Martinez, a charming and lovely young woman, is a graduate of Juilliard and winner of the Anton Rubenstein competition. Her conversation with Amado revealed her strong feelings for the music of Beethoven and her ability to learn concertos quickly — her budding career has included filling in for indisposed soloists.

While their discussion prepared us for a concerto of heroic dimension, the performance by Martinez and the DSO seemed to be propelled instead by lyrical sweep. Martinez plays with a clarity that communicates with great immediacy to an audience. I also enjoyed her use of the pedals, which colorized her sensitive phrasing. While she could always be heard over the orchestra, she nevertheless finessed her approach with daring pianissimos. She and Amado suggested that the second movement was the opposite of the first, introspective as opposed to heroic, yet they chose a tempo a little quicker than some, emphasizing the congenial rather than the mystical. Martinez had spoken of the chamber music implication of Beethoven's detailed writing for the orchestral instruments. Her obvious intense listening to those voices produced a beautiful unanimity, also enhanced by the sensitivity of conductor Amado, himself a pianist. The brilliance of the finale was as much due to Beethoven's witty side as to the composer's heroic strokes. I much preferred to take this concerto on its own terms, rather than be put in the frame of mind of Beethoven's publisher, who dubbed the piece "Emperor." I think for Beethoven, it was just music.

The second half gave us Russian composer Rimsky-Korsakov's suite Scheherazade, based on this heroine's endless spinning of tales during 1,001 nights, successfully fending off the threat of the murderous Sultan. As a musician myself (a former bassoonist in the DSO), I realized I had performed this piece much more often than I had actually heard it from the audience. What a brilliant masterpiece it is! Most of the piece plays itself: the rich Arab-tinged harmonies, the memorable tunes, the rhythmic propulsiveness, the striking instrumental solos.

As in their lyrical approach to Beethoven, Amado and the orchestra relished the sweeping melodies, the swells of Rimsky's ocean. The only place that may not have worked quite so well was in the second movement, The Kalendar Prince, which is highly sectionalized. Yes, a good story has many fascinating episodes, but there must be a dramatic tension binding them — as with comedy, it's in the timing, which might have been more dramatically satisfying in this performance. I cannot fail to mention many of the featured musicians, quite a few of whom were my colleagues when I was in the orchestra. One who came after me is the youthfully ebullient concertmaster David Southorn, who shown brightly in Rimsky's numerous violin cadenzas, representing the storyteller, also functioning as a unifying motif. An older musician might display a broader range of expression, especially in the intimate direction, but the audience responded to Southorn's drama, command, and beauty of tone with hearty shouts of 'bravo' during the concertmaster's many bows at the conclusion.

Similar command was shown by my longtime colleague, bassoonist Jon Gaarder, whose pacing and virtuosity were just terrific. Charles Salinger's clarinet and Kim Reighley's flute sounded as lovely and apt as they always do, and Stephanie Wilson, taking the principal oboe role, made a strong impression every time she entered. I can tell you that for double reed players, who generally make their own reeds, the mark of having a good night on stage is having a good reed. Stephanie, nice reed!! Trumpeter Brian Kuszyk, wow, what triple tonguing. And those solos for second trombone, bravo Richard Linn. There was plenty for both first and second horn, bravi Karen Schubert and Lisa Dunham. And thank you, Doug McNames, for those particularly generous glissandos on the 'cello.

Amado and all the strings deserve high praise for the third movement, The Young Prince and Princess. The sound was lush and the ultra-romantic interpretation was remarkably complex, and everyone managed to do it together! One colleague I missed is cymbal-player Tom Blanchard. Rimsky, like many Russian composers, wrote a lot for the cymbals, and Blanchard is a player who can actually build a phrase with this crashing instrument. I like a loud cymbal, but the substitute last night tended to just play loud.

It was indeed a very beautiful concert with an especially large and vocal audience, a terrific launch to the new season by The Delaware Symphony Orchestra! The next program will be given on October 17 & 19 at The Tatnall School.

See www.delawaresymphony.org.