Saturday, August 2, 2014

Family Night at the Symphony is a Home Run - Review of Triple Play the PSO's Aug. 2nd 2014 Performance


Family Night at the Symphony is a Home Run
Review of Triple Play the Pittsburgh Symphony Orchestra's Aug. 2nd 2014 Performance

From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  Aug. 02, 2014


The Pittsburgh Symphony Orchestra closed their 2014 summer season on Saturday, August 2nd, with a concert entitled Triple Play.  For a baseball loving family, we thought the concert was a home run.  With my partner’s children visiting for the summer, this was a great concert to take the whole family to.  It featured opera and operetta overtures in the first third, a stunningly played piano concerto in the second, and for the final third movie music from some of our favorite action blockbusters.  Now I normally report mostly on the music and just a little on the experience, but for this review I will share how fun it can be to take the whole family to the symphony.

We have only been here for a year, so this was the first opportunity to bring the kids to Heinz Hall and it was so fun to see their reaction walking into the beautiful hall.  They were in aw just as we were the first time.  But the most quote of the evening came as we were getting seated.  We had two sets of seats: two media seats fifth row/stage left, and four towards the back/center section/isle seats - still main floor mind you.  First, we got Dad (Mike VanStipdonk), Martin (15), Josie (13), and Quinn (10) seated and then Nina (7) and I proceeded to find our seats.  After we at least located them I asked Nina if she wanted to go back and hang out with the rest of the family until the concert started.  She replied, “No I don’t think I want to go way back there.  These seats are WAY better.”  And with that we now have a seven year old, prime seating connoisseur.  Instead we practiced reading the concert notes, which proved to be very good concert preparation even for her.

Christian Capocaccia
(photo courtesy: PSO)
With a countdown of the side stage doors closing one by one, we were tuning up for our first family PSO experience.  As a result of her pre-concert reading, Nina was able to point out the evil dwarf played by the basses in Glinka’s Overture to Russlan and Ludmilla.  Next was one of my favorites of the evening, Franz Von Suppe’s Overture to The Beautiful Galatea.  Nina thought she might have been familiar with the third piece, Intermezzo and Barcarolle from The Tales of Hoffmann.  But at its conclusion, said “Maybe I know one of his other songs, because I did not know that one after all.”  To close out the first section of the concert, the PSO played Rossini’s Overture to William Tell.  Guest conductor Christian Capocaccia playfully reminded us that we should also recognize it from many cartoons, like Looney Tunes.  During this piece Nina nudged me and perceptively pointed to the words thunderstorm, countryside, and triumphant return during each of the respective sections.  During the first intermission we met up with the rest of the troops for a leg stretch and work out the wiggles walk.  Quinn noted that he heard lots of cymbals during the Bugs Bunny song.

Xiayin Wang
(photo courtesy: PSO)
Next on deck was Ravel’s Concerto in G major for Piano and Orchestra.  As we readied for the second part of the concert and enjoyed a rootbeer barrel, Nina noted how beautiful the pianist Xiayin Wang is and that she studied from another person named Nina (Svetlanova).  Miss Wang played exquisitely.  The program notes used the perfect words to describe each of the movements, the first sparkling, the second graceful, and the third whirling.  Wang’s care in how she played each note was stellar and her interaction and balance with the PSO was perfect.  As we got up for the 7th inning stretch (yes, exactly after seven movements) Nina again pointed out how primo our seats were and that we could actually see Miss Wang playing each note even in high heals and a pretty purple dress with sparkly gems.

Reluctantly Nina, shared her great seats with Martin and Josie for the last section of the concert.  Leading off was a Medley from Pirates of the Caribbean by Hans Badelt and then Hans Zimmer’s Music from Batman: The Dark Knight Rises.  And finally, as maestro Capocaccia pointed out, no movie music section is complete without John Williams.  The concert concluded with Suite from Star Wars including The Imperial March, Princess Leia’s Theme, and the Main Title.  Watching the older kids from afar made Mike and me smile to see how engaged they were enjoying the music.

As we were exiting the concert hall we got many compliments on how well behaved everyone was and that we brought them at all.  As a note to other parents who might be thinking this all happened in the twilight zone of perfection… the evening was not without little reminders to not have our feet in the chairs or that you can read the program but not whip it around like a fan.  We took potty breaks, exploration walks, and had a piece of hard candy before the show and at each intermission.

There was something for everyone in the family at our night at the symphony.  Other than the music being “very pretty” and the PSO being “really good,” the kids noted the hall is beautiful, the 12 chandelers are “very sparkely,” the main stair case is “really old and cool,” and the small round red couch in the ladies lounge is “so fun.”

On the ride home, we went around the car and all shared our favorite pieces from the concert.  Here are the final stats:
Nina (7) – Overture to William Tell AND Star Wars: The Imperial March
Quinn (10) – Star Wars
Josie (13) – Medley from Pirates of the Caribbean
Martin (15) –  Music from Batman: The Dark Knight Rises
Dad – Ravel Piano Concerto and Star Wars: The Imperial March
Miss Stephanie – Overture to The Barcarolle and Ravel Piano Concerto

So if you are on the fence about taking your children or grand children to the symphony, our advice is to take them.  It is an experience they will always remember, and you will too.  The PSO has two great series that are extra family friendly PNC POPS! And Fiddlesticks Family Concerts presented by Macy’s.  As for our experience, we all thought our evening at Heinz Hall with the Pittsburgh Symphony Orchestra was an out of the park home run.


Fiddlesticks Family Concerts presented by Macy's – Recommended for children ages 3 to 8
Introduce your children to music at these special Saturday morning concerts with your world-class Pittsburgh Symphony Orchestra!  During the pre-concert DISCOVERY TIME ADVENTURES, children will have the opportunity to sing, dance, create a take-home craft, meet musicians and listen to stories – all unique to each concert.  PittsburghSymphony.org

PNC POPS! – Rated E: For Everyone
Welcome to a season of big pictures, accompanied by big sounds. Popular movies, beloved Broadway musicals, animated Disney adventures, successful television shows and award-winning jazz artists take front and center stage in the 2014-2015 season of PNC POPS! It's entertainment for the ages. For all ages.  PittsburghSymphony.org

By:  Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Saturday, June 7, 2014

And the Award for Best Dramatic Backstage Performance Goes To… Review of Noises Off, PPT's June 5th 2014 Performance

And the Award for Best Dramatic Backstage Performance Goes To…
Review of Noises Off, Pittsburgh Public Theater's June 5th 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  June 07, 2014


Upstairs: Garret Long
Downstairs (l to r): Noah Plomgren, Laura Woyasz,
Helena Ruoti, Preston Dyar, Karen Baum
Photo Courtesy: Pittsburgh Public Theater
For anyone who has ever performed on stage, probably the most memorable moments did not occur on stage, but instead at rehearsals and back stage - where there is typically WAY more drama.  The Pittsburgh Public Theater is wrapping up their 39th season with Michael Frayn’s comical farce “Noises Off,” directed by Don Stephenson.  The O’Reilly Theater was roaring with belly-aching laughter at the opening show on June 5, 2014.

Now most businesses have at least one person that is a pro at stirring up workplace drama.  You know the pretty person who somehow skates by on looks and not much more, the annoying over-analyzer, the dinosaur who is way past their prime and barely contributes, or an egotistical, arrogant, condescending boss?  Well in the world of the arts, specifically theatre, those are ALL practically cast staples only amplified – a lot.  “Noises Off” is a hilarious play full of misinterpretations, innuendo, and big personalities that is a window into the world of live stage acting.  Ok, so it may be slightly over exaggerated, that’s what a farce is… but really, only slightly.

Foreground: Helena Ruoti and Noah Plomgren
Background: Karen Baum
Photo Courtesy: Pittsburgh Public Theater
“Noises Off” is a show in a show.  No, “Nothing On” is a show in a show with a cast of actors who play actors in “Noises…”  No, that’s not right either, did the chicken or the egg?  Ok, “Noises Off” is a funny show in another funny show, in which the cast portrays a cast of actors with big personalities.  Explaining this is like those little Russian doll things, Matryoshkas or Babushkas.

Wait no I’ve got this… in the hilarious show “Noises Off” a cast of fabulous professional actors (undoubtedly with big personalities) play a troupe of mediocre British actors with stereotypical theater personalities, in “Nothing On,” a sexy comedic play about characters who, with the tiresome and haphazard orchestration of a sassy house keeper, unknowingly end up in situations that could be misinterpreted and then intertwine the cast into a swirl of humorous and compromising situations.  Whew!  We see the cast of “Nothing On” attempt a dress rehearsal, then see the same show a month into the tour, from backstage and after the cast has become shall we say more “familiar” with each other, and then finally again two months out on tour when the drama from backstage really spills over to the front and the wheels come off.  But the show must go on!

Laura Woyasz
Photo Courtesy: Pittsburgh Public Theater
Just to be clear the wheels didn’t come off “Noises Off.”  It was amazing and so much fun.  The intricate choreography of “Noises Off” to create the impression of not-quite-perfected or mistake-and-accident-prone staging of “Nothing On” was outstanding.  Characters going into closets then reappearing through the wrong door, plates of sardines remaining in the kitchen when they are supposed to be brought out by one person for a different character to play off of in the next scene in a different room, missed lines, preempted entrances, props breaking on stage, were all carefully choreographed to purposefully seem like the hokey mishaps of an Ed Wood movie or Night of the Living Dead.  If “Nothing On” was a movie, the guys from Mystery Science Theater would have a field day.

Led by the accomplished director and actor, Don Stephenson, the cast of Noises off was phenomenal.  Noah Plomgren, Laura Woyasz, Preston Dyar, and Garrett Long were all very funny, as they were creatively corralled by the hilarious Helena Ruoti as the house keeper in “Nothing On”.  The angst of the on stage director trying to coordinate this show was too funny.  Michael MacCauley reminded me of Fred Armisen from Saturday Night Live and Portlandia.  The entire cast was so good and so funny!  “Noises Off” is a must-see, it was so much fun!

Additional Performances:
Show runs through June 29th, 2014 at the O’Reilly Theater


By:  Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Monday, June 2, 2014

My Favorite PSO Concert!!! Review of PSO's Vivaldi's Four Seasons, Mozart, and Haydn Concert, June 1st 2014 Performance

My Favorite PSO Concert!!!
Review of PSO's Vivaldi's Four Seasons, Mozart, and Haydn Concert, June 1st 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  June 02, 2014


I’ll lead this review off with the tweet that I sent right after the Pittsburgh Symphony Orchestra’s Sunday, June 1st 2014 performance.  “Today was my favorite @phgsymphony concert of the season!  3 great pieces. Ye-Eun Choi was stunning. Loved Loved Loved Nicholas McGegan!”  And, that pretty much sums it up.  In my first PSO concert and review on Jan. 17, 2014 I wrote, “Now of course, I should let on that I’m partial to this era of music and the one before it.  So in my opinion Franz Joseph Haydn and his contemporaries of the first Viennese School hit that sweet spot.”  So you can imagine my excitement about this concert.  Vivaldi, Mozart, AND Haydn, it was like Christmas morning at the symphony.

Ye-Eun Choi
The concert began with Vivaldi’s Four Seasons and got better and better with each concerto.  Violinist, Ye-Eun Choi making her PSO debut played beautifully.  She showcased both energetic virtuosity and lovely lyric lines full of passion.  She is very young and demonstrates the technical capabilities and musicianship that will develop even more with time like a fine wine.  By the middle movement of Autumn the entire ensemble settled into a groove with smiles and acknowledgements to each other that capture the essence and intimacy of chamber music.  The music was gorgeous and full of energy, but it is taken to a whole other level when you can observe sincere enjoyment of the players.  It was fun to listen to and watch – Baroque music is fun and makes you want to dance, not like the electric slide, but you know a Gavotte, Minuet or Chaconne!

Nicholas McGegan
The concert was lead by world-renowned conductor Nicholas McGegan, and for the Vivaldi he did so from the console of the harpsichord.  It was a treat to see the work not only played beautifully but also in this configuration that would more than likely have been how it was performed back in 1725.  The only unfortunate thing was that the big, beautiful Heinz Hall kind of swallowed up the harpsichord.  McGegan evoked both the lush swells of passion-filled themes and clean precision, full of energy, from the small ensemble.  More impressive was his ability to quickly lead the shifts from one style to the other at the manic changes characteristic of Baroque music.

The second half of the concert began with a fun and stately Mozart ditty, Chaconne from Idomeneo, Re di Creta.  It showcased several contrasting sections that were each played with due flair.  The featuring of the woodwinds was really quite lovely.  The concert was capped off with Haydn’s Symphony #103 in E-flat major and was great.  Beginning with its nickname “Drumroll,” the work featured a neat timpani part and great wind passages.  A standout was the violin solo in the second movement by concertmaster Noah Bendix-Balgley.  I love hearing and watching him play; he makes it look and sound so easy.

Did I say I love this style of music?  It makes me feel like Agnes from Despicable Me when she expresses her excitement about the stuffed unicorn, “It’s so fluffy.”  It’s just so fun!  The music was expressive and energetic.  I would imagine the rehearsals were fun and productive, and I would have paid to see them too with McGegan’s commentary.  The PSO rocked it (Baroque and Classical style – you could say they barocked it) and I absolutely LOVED watching Nicholas McGegan conduct!

By:  Stephanie Sue Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Tuesday, May 27, 2014

Can't Get Enough of Chris Duarte, The Ultimate Guitarist, Review of Chris Duarte Concert May 18th 2014 Performance

Can't Get Enough of Chris Duarte, The Ultimate Guitarist
Review of Chris Duarte Concert May 18th 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Mike Van Stipdonk (my wonderful boyfriend)  |  May 18, 2014


Sunday evening at Moondog’s in Blawnox I reconnected, in a way, with an old friend. Chris Duarte and I aren’t really friends, but after over twenty years of seeing him play live (we’re talking at least 25 times), I’ve decided to make him an honorary one. He provides inspiration, companionship, motivation, and good times – many of the things I expect from such an individual.

First, though, a bit of history. Looking for our usual distraction from the grind of graduate work in chemistry at Texas A&M University, my usual group of friends and I headed to the Stafford Opera House in downtown Bryan, TX to see House in Orbit, our favorite band from Austin, Texas. Their infectious covers of classic and current songs (for that time), done in a style best described as bluegrass-ska, never failed to make us forget whatever was ailing us that day, week or month. Upon arrival that Friday night, we noticed a very different sound coming from the sound-check, and an unfamiliar name on the board outside the entrance. Chris Duarte. Who? Motivated, I’ll admit, by nothing more than a desire to avoid the other club options for the night, I said, “why don’t we check this out?” The cover charge was a reasonable five bucks, and there was something raw and exciting to me about the guitar sounds leaking out from inside the club. So we went in.

If you ask me, some of the best moments in life are those that happen when you chuck the plan and see where things end up. That night, I forgot all about House in Orbit and became a life-long fan of the amazing Chris Duarte. And while I like to think it happened completely by chance, it was probably more a result of my inability to read correctly the weekend’s concert schedule. House in Orbit played the previous night. But who cares?

Chris Duarte is a brilliant guitarist, songwriter, and singer originally from San Antonio; but I will always associate him with what was great about the Austin music scene in the early 1990s. Duarte plays in a Texas blues-rock style that reminds most people of another Texas legend, the late Stevie Ray Vaughan. Whether listening to Duarte’s guitar playing or the general style of his original songs, you certainly hear the influence of Vaughan. But you also hear so else, such as jazz influences and whispers of other guitar greats like Johnny Winter, John McLaughlin and Jimi Hendrix (more on that later). If you’re a fan of guitar, regardless of what style, devote three hours to Chris’ next show (we should all encourage a speedy return to Pittsburgh). You’ll walk away a convert. I swear it.

I last saw Chris play in 2009 in St. Charles, MO while with my two oldest kids. Again, quite by accident, he was playing a free show along Main Street. Martin, Josie and I sat on the street curb, just to the side of the stage, for the beginning of his first set. The kids weren’t sold at first, but they were patient, listening to my requests of “wait for it” and “you’ll see”. From the minute Chris started playing, though, the kids couldn’t take their eyes off of him. The evening ended with Chris signing his latest disc for them, and talking about how important the creativity of music is to life (He’s also a part-time philosopher!)

On Sunday night, Moondogs was a perfect venue for the reunion. Saying that was an intimate is an understatement, as nearly everyone who showed up had a close-up seat. We were treated to over three hours of music by a virtuoso. Backed by Dustin Sargent on bass (guitar), and John McNight on drums, Chris provided a clinic to those who needed to see some good guitar playing and foot-stomping entertainment for those there to hear blues-rock. And, perhaps, others may have, like my first time, experienced their own “why don’t we check this out?” moment?

The first set was devoted to songs that highlighted the great chemistry between Chris and his band and to his talents, both as a guitarist and vocalist. Later, in the second set, he included songs that provided greater opportunity for extended solos. Those are the ones that remind me most what made me a Duarte fan in the first place. On the drive to Moondogs, I excitedly played several songs to Stephanie (The new girl in the ‘burg) to make sure she’d understand what she was about to witness, in case Chris didn’t take care of that himself within the first few minutes of the show. One of the songs was “Like Eric”, off of Duarte’s 2003 album Romp. The song, a tribute to another fantastic guitar player (Eric Johnson), perfectly illustrates the level of Chris’ talent by revealing his amazing ability to channel the spirit and sound of great guitarists into his own performance. This is one of the most impressive things about the guy. He can announce to you, the listener, who his influences are by crafting songs that integrate, seamlessly, each of their unique sounds.

I remember saying to a friend who joined us that night, “He’s amazing. He does this one song that manages to blend Carlos Santana and John McLaughlin, with a bit of Duane Allman.” These masterpieces leave you saying, “Good grief…is there anything, or anyone, this guy can’t do?” In return for the impromptu PR work, my honorary friend rewarded me by beginning the first encore with just that song (“Azul Ezell,” off the Love Is Greater Than Me album). When I slapped my friend on the shoulder as the song ended, all he could do was shake his head. Most likely that was part amazement, and part recognition that he just witnessed a performance by someone that is truly the best at his trade.

After the show ended and the road crew was tearing down the equipment, Stephanie and I made our way to the merchandise table. We selected the Chris Duarte Group’s recent 2 CD live disc and made our way to the stage to talk to Chris. After he signed the disc, I told him that this was Stephanie’s first show, and the two of them engaged in an interesting discussion about skill and passion and other things that musicians can relate to. I then told him about my first show. I said “Bryan, Texas”, and he replied with “Wow…Old School. Way back!” He then reminded himself that the show was at the Stafford Opera House. We shook hands, and his parting words were, “We look pretty good for old guys”. I think we do.

By:  Mike Van Stipdonk
Analytical Chemistry Associate Professor
Duquesne University

Sunday, April 13, 2014

"Once" Not Enough, Must See Again! Review of Once the Musical March 11th 2014 Performance

"Once" Not Enough, Must See Again!
Review of the Once the Musical’s March 11th 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  March 12th 2014


From the get-go, Once the Musical had the audience of the Benedum Center captivated and it remained that way the entire performance. Lacking jazz hands, kicklines, hammy acting and spontaneous group song and dance numbers, Once the Musical felt more like an episode of tv sit-com How I Met your Mother peppered with organic radio-worthy music that was somewhere between the style of the Lumineers and Lady Antebellum. It was awesome. I loved it. And you should totally go see it!

Apparently the show is based off of the 2006 movie also called Once, which didn’t fair so well at silver screen box offices. Obviously I didn’t see it. But I’m telling you the musical is terrific. It is a romantic comedy and romantic tragedy in one. Fresh and set present day;  Witty and tender;  If you’ve ever loved, been heartbroken, felt loss, or felt giddy anticipation, you’ll see yourself in the story and music of Once the Musical. Laughter and tears included.

The very organic and intimate feel of the entire production is initiated 15 minutes before the show begins when audience members can join the cast on stage of the Dublin pub set for drinks and music. As audience members are privately asked to take their seats, the cast continues to play another couple of songs and seamlessly transition into the show. The house lights finally go down a solid 10 minutes into the show as the unnamed Czech Girl enters the pub after hearing the moving voice and guitar playing of unnamed Irish Boy.

The typical romantic story unfolds. Stricken by woes of the heart, Boy swears off playing music; classically trained pianist, Girl has Boy fix her Hoover vacuum, Girl helps Boy piece his life back together; annoyed humoring begets a tentative friendship; friendship begets romantic hopes; but there’s always something that complicates things… life, commitment, bad timing. I won’t give away the ending, but will say true love is powerful.  Equally relatable themes are the importance of family and community:  small family business, loss of a parent, the new life as a widow, struggling to advance professionally.

The content of the show was touching, but how it was delivered was unique as well.  Every character plays an instrument.  Not only are they the cast, but the orchestra too.  And to prove it the pub set is lined with framed mirrors, which showcased the piano playing skills of Girl and brought a dimension to the set that pulled you in more.  To create different scenes great lighting was used and encouraged the imagination of the audience, including when they were on top of the set looking out into the ocean.

The whole experience was a fresh take on "going to a Broadway musical" and it was great.  I loved it so much I came home and downloaded the music on itunes and looked up when the show would be in the cities of my parents and siblings and told them that they had to go.  So I'll say to you too, take a break from kicklines and showtunes, not that I don't love me some traditional musicals, this is a show that you don't want to miss!

Additional Performances at the Benedum Center:
Wednesday, March 12th  |  7:30 PM
Thursday, March 13th  |  7:30 PM
Friday, March 14th  |  8 PM
Saturday, March 15th  |  2 PM and 8 PM
Sunday, March 16th  |  1 PM and 6:30 PM


By: Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Sunday, February 23, 2014

Dandy Dreams - A Review of Paul’s Case, Feb. 22nd 2014 Performance

Dandy Dreams
A Review of Paul’s Case, Feb. 22nd 2014 Performance
From: Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By: Stephanie Curtice | Feb. 23, 2014


Some things have not changed since 1906. Times are tough, but America still is the land of opportunity. In school, society encourages kids to dream big and work hard to be successful. But young, starry eyed Paul went off the rails at the work hard part. When the young and dumb blaze their own trail and buck the system, there can be stark consequences to pay.

Last night Paul’s Case fittingly made its local debut at the Pittsburgh Opera. The 2013 American opera is half set in Pittsburgh, including the Carnegie Music Hall. Based on the like-titled 1905 story by Willa Cather, composer Gregory Spears and co-libretist Kathryn Walat bring together minimalistic and baroque musical elements to depict Paul’s self-centered life.

Paul's Case at the Pittsburgh Opera
(photo courtesy: David Bachman)
Paul is a polite, but smart-alecky high school student who wants to break free of the working class life of Pittsburgh and enjoy the glitz and glam of New York City’s easy street. The allure of the shiny stage lights and fame are fed by his part-time job as an usher at the Carnegie Music Hall. After getting expelled from school his father shows Paul some tough love by forcing him to work a “real” job.

After stealing a hefty sum from his new employer Paul a makes run of it in New York City. He uses his stolen funds to bankroll a lavish up-scale life with new dapper duds and residency at the Waldorff Astoria. With one poor decision after another, he spends a drunken night on the town, only to find himself waking to more than a hangover. He is found out and his actions begin to catch up with him. Revolver in hand and no further dreams than living the high life, young Paul goes into a tailspin.

The cautionary tale is chock-full of hopes and dreams, disappointment and failure, depicted with dissonant tonal clusters, large oscillating jumps, and repetitive melodic snip-its. The performance featured fine singing, a small chamber orchestra, and very minimalistic production. Of the small 7 person cast, Daniel Curran (Paul) and Alex DeSocio (Father) were my favorites with clear and beautiful singing that was easy to understand. The intimacy of the Pittsburgh Opera in the Strip District was the perfect setting for this opera. The engaging performance will leave you feeling truly connected to Paul and his father, and bewildered by the tragic ending.

Additional Performances:
Friday, Feb 25th  |  7 PM  |  Pittsburgh Opera
Friday, Feb 28th  |  8 PM  |  Pittsburgh Opera
Sunday, Mar 2nd  |  2 PM  |  Pittsburgh Opera


By: Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Saturday, February 22, 2014

Symphonic Test of Endurance - Review of the PSO's Casella, Prokofiev and Schumann Feb. 21st 2014 Performance

Symphonic Test of Endurance
Review of the Pittsburgh Symphony Orchestra's
Casella, Prokofiev and Schumann Feb. 21st 2014 
Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  Feb. 22, 2014

Gianandrea Noseda
(photo courtesy:
Sussie Ahlburg 2012)
A flurry of musical energy filled Heinz Hall as guest conductor Gianandrea Noseda lead the Pittsburgh Symphony Orchestra in a vivacious set of works that some may find a little less well known. The intensity each of the works demanded was shown in the aerobic conducting, feverish bowing, hustling percussion, and dramatic playing by piano soloist Jean-Efflam Bavouzet.

The concert opened with two sets from Alfredo Casella’s 1932 opera La Donna Serpent. Both featured bombastic martial themes peppered with lush melodies that beautifully highlighted the woodwinds. The second set began with a tinge of Middle Eastern sounds in “King Altidor’s Dream,” and then with each piece layering more and more energy the work culminated with a return to the blustering fury of “War March.”

Jean-Efflam Bavouzet
(photo courtesy: Paul Mitchell)
The intensity of the concert continued with Sergei Prokofiev’s Concerto No. 5 in G Major, featuring Jean-Efflam Bavouzet. The work has numerous thematic passages that are woven together through five movements with the complexity of a patterned friendship bracelet. Each of the colored strands represented by the piano soloist, trumpet proclamations, and swelling strings, intricately patterned with jarring syncopations, tangled dissonances, and large leaps in the prickly keyboard part. And as erratic as the piece itself maybe, Bavouzet played with a flair and confidence that both balanced with the orchestra and brought the chaotic piece into a very appreciable focus.

A delightful and fun addition to the concert was a quick little encore by French pianist, Jean-Efflam Bavouzet, playing Debussy’s “La fille aux cheveux de lin.”

After a well deserved intermission break for Noseda and the orchestra, the concert ramped back up to finish with Robert Schumann’s Symphony No. 2 in C Major. The robust work had a stirring feel that culminated in a Beethoven “Ode to Joy” feel that was victoriously grand and full of inspiration.

The programming of this concert was intense and a test of endurance. After noticing a smile on the face of almost every cellist during the second movement of the Prokofiev, I spoke to principle cellist Anne Martindale Williams. She said that pieces were fun, and confirmed the demand of this concert both due to the nature of the music itself and because they are less frequently played pieces. The exciting evening of symphonic grandeur was celebrated with standing ovations both at intermission and the end of the concert.

Additional Performances:
Sunday, Feb 23rd  |  2:30 PM  |  Heinz Hall

By:  Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
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