The Nymphs and the Shepherd Close Brandywine Baroque's 16-17 Season

By Christine Facciolo

BrandywineBaroque warmed a late winter night and concluded its 2016-17 season with an all-Vivaldi program.

There was no grand thought or theme unifying the concert at The Barn at Flintwoods on March 10, unless it was the sheer delight in virtuosity and the delightfully relaxed approach to the music by all concerned.

The centerpiece of the evening’s program was a performance of La ninfa e il pastore (The Nymphs and the Shepherd). This rare and beautiful gem was composed in 1715 when the thirty-something Vivaldi became music director of the Ospedale della Pieta in Venice, a charitable institution dedicated to the care of orphaned and abandoned girls.

The work is not an opera but a related dramatic genre — the serenata. Serenatas first appeared in the mid-17th Century and were often composed to mark a festive or celebratory occasion. They usually consisted of two acts presented “in concert” by two or more soloists who did not wear costumes or act. In fact, there was no action to speak of. Rather, serenatas employed laudatory texts that featured discursive debates between allegorical figures. In this instance, the text refers to the trial and imprisonment of Jansenist propagandist Abbe Jean de Tourreil for his refusal to accept papal authority regarding the doctrine of predestination.

The Serenata a Tre: The Nymphs and the Shepherd paints a pastoral scene in which lust triumphs over reason. The lovelorn nymph Eurilla (soprano Laura Heimes) discovers that Alcindo (tenor Tony Boutte) with whom she is smitten is perfect in every respect save one: He is incapable of love. Encouraged by her friend Nice (soprano Julianne Baird) she sets out to correct this flaw. Passion gets rebuffed by false humility, love feigned becomes love in earnest and the chickens come home to roost.

Singers and players gave concertgoers ample opportunity to enjoy Vivaldi’s melodic gifts. The instrumentalists — Eileen Grycky (flute), Martin Davids and Edwin Huizinga (violins), Amy Leonard (viola), John Mark Rozendaal (cello) and Karen Flint (harpsichord) — played with enthusiasm and tonal finesse.

Laura Heimes was a pure-toned Eurilla, singing with lightness and agility while exercising consistent control and vocal precision throughout her impressive range.

Nice was a figure of wisdom as portrayed by Julianne Baird. Her soprano is lush and full-bodied, but she judiciously restrained her instrument to convey a steadfast sagacity.

Tony Boutte was delightful in the role of the hapless protagonist Alcindo who gets his comeuppance at the hands of the cunning nymphs. His tenor was secure and convincing as he negotiated the lion’s share of the virtuosity.

Both acts of the serenata were preceded by performances of flute concertos in G Major (RV 435) and D Major (RV 427). Soloist Eileen Grycky managed everything with her customary technical fluency and charm. These are hardly routine pieces and Grycky points up every turn with playing that uncovers the originality of Vivaldi’s idiom. The accompanying ensemble complemented with playing that was both spirited and superb. 

See www.brandywinebaroque.org. 

Pippin Arrives Larger Than Life at The Playhouse

By Guest Blogger Alessandra Nicole
Alessandra is a writer and photographer-at-large and proud supporter of the local arts community.
 
It is amazing to realize that this larger-than-life show could possibly be contained on our home turf here at The Playhouse. Pippin questions its own existence in a wonderfully tongue-in-cheek way — there are balancing acts, air suspension and gravity-defying flips that left us astonished. The fact that the show's lead Housso Semon as the "Ring Leader" effortlessly dances on high-heeled shoes for lengthy numbers left us feeling a bit lazy in our seats. 

The Cast of Pippin. Photo courtesy of The Playhouse on Rodney Square.

Catchy, interactive songs moved the quirky plot along with honesty and good humor, which also employed subtle (and not-so-subtle) sight gags and double-entendre (that is probably not suited for all ages, although perhaps with the show's sleight-of-hand, such humor wouldn't register with more innocent eyes and ears in the audience).

Director Diane Paulis has garnered several awards for her direction on this dazzling touring production of Pippin, and it's easy to see why — but perhaps the proverbial spotlight should be on this show's stunning lighting design. Kenneth Posner has been nominated for the Tony Award for Best Lighting Design 10 times for various productions including Wicked and Hairspray. His work for Pippin has accentuated the captivating Fosse-esque choreography by Chet Walker, which is easily the number one reason to see Pippin — the energetic and physical feats of acrobatic and dance excellence!

Favorite players that had us talking on the ride home afterward:

• Brendon Schaefer (King Charlemagne) — for his candor, mannerisms and frivolous-yet-mature attitude on ruling a kingdom that could only come from a lifetime of experience. 
• Erica Lee Cianciulli (Fastrada) — for her devious allure and personality in stage movement where she truly made it an extension of her character.
• Rachael Britton Hart (Berthe) — for her pointed, wicked wit and charm; a seasoned flower that gives the newer kids on the block a run for their money. 
• General ensemble cast — for their remarkable adherence to complex choreography and overall magic and verve. 

Flawless accompaniment provided by the company's orchestra worked seamlessly to tell the story within a story of an idealistic boy prince who comes of age while having his life expectations jettisoned for something not only more realistic, but more meaningful than he ever imagined. It is a storyline with which all ages can connect — frustrations and disappointments that come with high ideals in life, landing on the uplifting message to keep imagination alive while accepting and stoking the sparks of love in the day-to-day of this modern life. "True greatness" is rarely in the fiery blaze, more often it is in the quiet whispers of the seemingly mundane, where even the average life is rather extraordinary if only we stop to take stock of it. 

Pippin runs through March 12 at The Playhouse on Rodney Square Tickets range from $40-85 and discounts are available for seniors, groups of 10 or more and children ages 12 and under.

See www.ThePlayhouseDE.org.

(Art) Looping it Up in Wilmo with the Good Girls

By Guest Bloggers the Good Girls — Brenda Joy and Brynn Lee
Brenda is the Executive Director of Friends of Wilmington Parks and enjoys all things outdoors, too much food and Wilmington's diverse and plentiful arts offerings. Brynn is a 3rd Grader in a Spanish-English immersion program and enjoys arts, crafts and cereal.

Artist Kevin Niemi at the Baby Grand Gallery

The Grand Opera House was our starting point, where we viewed Half & Half, a collection of vintage fashion photography and infrared landscapes by Beth Trepper.  Down the hall in the Baby Grand Gallery, we met Kevin Niemi and took in his serene abstracts (photo at right).

Jerry’s Artarama had a mosaic art showing from members of Creative Vision Factory and other contributors.  We spied a flyer pointing us to a tile carving activity at Creative Vision Factory so we headed over and Michael Kalmbach gave us some simple instructions and set us loose to create our own unique art pieces!  The tiles we carved will be fired and installed in a quilt-like mural at Stubbs Elementary School.

Nicholas Irving's
Tree of Decision

Christina Cultural Arts Center did not disappoint with its powerful display of Nicholas Irving’s tree women (photo at left), which we enjoyed to the music and dance taking place in the adjacent, visible (and audible) studio.

In celebration of Women’s History Month, Chris White Gallery offered a two-floor exhibit A Young Woman’s Exploration in Art, the photographic works of the young women of Serviam Girls Academy. LOMA Coffee had live music and showcased the renderings of Jessica Foraker of Open Spaces Artworks, including a piece painted using a credit card.

Brynn getting a "cat-icature" from
artist Malaki Rhoades

LaFate Gallery had a diverse Women’s History Month art show comprised of the works of five women, and 8-year-old Brynn enjoyed having a car — errr — cat-icature personally created for her on the spot by young artist Malaki Rhoades! (photo at right).

2^nd & LOMA, always a buzzing space, featured Denise’s bright acrylic paintings.  

NextFab's 3D print creations

ArtzScape spotlighted the Face to Face exhibit by Zathray Burton.  We ended the evening at The Delaware Contemporary, where we saw the Wilmington IN the Best Light photo contest-winning photography of Brendan Mulrooney. Some 'Loopers tried their hands in a participatory knitting activity and we were mesmerized by NEXTFAB’s 3-D printer working away on a vase while we fancied finished creations (photo at left). The evening highlighted opening receptions for Marilyn Holsing and Laure Drogoul in the Delaware Contemporary's galleries, and it’s always a treat to be able to visit the open artists' studios upstairs!

The chilly winds couldn’t keep us away — we’ve enjoyed countless art loops in all seasons since Brynn was a toddler and are looking forward to Wilmington's next Art on The Town on Friday, April 7!