Now, singers engaged for one can also perform for the other. Opera Delaware will present a staged version of “L’elisir” next week; cast and conductor, in effect, got the advantage of having a couple extra run-throughs of the piece in Baltimore. The singers had the score in their heads (no music stands for this performance, as has often been the case). And, having been through some of the staging rehearsals for Wilmington, the cast easily tossed in a lot of acting (and inter-acting) here. The performance was anything but a mere concert. I was especially interested to hear William Davenport again. The tenor showed unusual promise when he was a Peabody Conservatory student not that long ago. Judging by the confidence he demonstrated in his portrayal of lovesick Nemorino in “L’elisir,” it seems that Davenport is settling into the profession nicely. In terms of styling, the singer is a natural, attentive to text and the shape of phrases; “Una furtiva lagrima” was elegantly molded. I was a little disappointed, however, in Davenport’s tone. I often wanted to hear more warmth and evenness to complement fully the admirable musicality. Still, this guy clearly has something. So does Trevor Scheunemann, whose hearty baritone and delectably colorful phrasing fleshed out the role of the pompous Belcore. A classy performance all around. Sharin Apostolou encountered some technical inconsistencies, but was an engaging Adina.
Now in its eighth season, the Sing to Live Community Chorus has grown to over 80 singers who year-round enjoy friendship and harmony in weekly rehearsals in Oak Park and Glenview. Director Dr. Wilbert O. Watkins earned his Ph.D. in Music from Florida State University, where he served as the graduate teaching and conducting assistant to Dr. Andre J. Thomas. Dr. Watkins has been the Music Director at Pilgrim Congregational Church in Oak Park since 2002. He also conducts the Lutheran Choir of Chicago. The Sing to Live Community Chorus has a special place in Dr. Watkins’ heart as his twin sister is a breast cancer survivor. General admission is $20; Students & Seniors, $15. Breast cancer survivors are complimentary. For tickets visit www.singtolive.org.
Concert preview: Jason Aldean has no appetite for music debate
It evolves. You canat write the same subject matter for 50 years.a A bold statement given the number of songs about trucks, beer and flags going around, but Aldeanas point is well taken. We canat expect an entire genre to stay under glass, perfectly formed and pure, forever. Still, the question of where country music is going is debated among musicians, on online chat boards, everywhere the traditionalists and pop country fans gather to butt heads. aItas not interesting to me. Music is always evolving,a says Aldean. aLook at what hip-hop used to be compared to where it is now. Or rock music, for that matter. People making a big deal of it doesnat make any sense to me.a This doesnat mean that Aldean has no sense of the history of country music. He grew up in a house full of outlaw country like Gary Stewart and Johnny Rodriguez, and still swears by it. His early albums leaned a little more toward neo-traditional, even if you could already hear the rock backbone in his first few singles. aI love rock, I love John Mellancamp, a80s rock and Bob Seger, but if anyone wants to do a pop quiz on old country, Iall take aem on. Just because itas not what I play as my version of country doesnat mean anyone has a right to judge what I do.a Aldeanas aversiona of country music has made him a very popular man indeed. It took him three albums with decent sales before he hit pay dirt with 2010as My Kind of Party and a series of massive singles like Donat You Want to Stay and Dirt Road Anthem.
Concert preview: ‘STOMP’ coming back to Salt Lake City
4-6, 2013. Junichi Takahashi Summary Twenty years after the rhythmic show burst onto Broadway, the tour has performed in more than 50 countries and is coming back to Salt Lake City. What do garbage cans, dancers, brooms and acrobats have in common? If youve been paying any attention the past 20 years, youd likely know that they all come together in STOMP, opening at Kingsbury Hall Oct. 4-6, when the national tour hits Salt Lake City. Described as an inventive and invigorating stage show thats dance, music and theatrical performance blended together in one electrifying rhythm, STOMP has toured around the world in more than 50 countries and performed in front of more than 24 million people. Rhythm is really universal, said Fiona Wilkes, an original cast member of the hit sensation. There is no language barrier its just the rhythm of life, and everybody can relate to that. Though focused on high energy rhythmic performance, STOMP also has theatrical elements that change from year to year; even if youve seen STOMP before, youll experience something different. This year, the newest routine uses shopping carts. There are new routines and new people, Wilkes said. People forget its not just stomping, its comedy and dance, music, and theres theater. And its a great way to introduce your kids to theater, she said. Its a family show across the board; its rhythm. That rhythm is tapped, pounded, crashed and stomped out by a cast of 12 members, eight on stage on any given night, all from various backgrounds drummers, dancers, theater people, acrobats, you name it even a triathlete, said Wilkes, who was the only trained dancer in the original cast. They really do become your family, she said. If you think about it, were throwing around dangerous objects; you really have to trust the people that youre working with. We always have a great respect for each other. And that goes for the backstage crew, too.