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Center Stage Opera's The Marriage of Figaro
By Jonathan Weichsel
Since 2005 Center Stage Opera has been bringing operatic classics to the San Fernando Valley Area. Center Stage Opera focuses squarely on the music, singing, and acting. Center Stage Opera is going strong in its fourth year, and shows no sign of letting up.
A large part of their success rests on the shoulders of resident soprano Shira Renee Thomas. Not only does Thomas have a great operatic voice that can fill a room, but she possesses a rare comedic ability. Mozart's The Marriage of Figaro is an Opera Buffa, or comic opera. It requires performers who are able to balance comic timing and exaggerated comic performances with the heavy musical demands of Mozart's score. The performers all succeeded hilariously, and I was not the only person in attendance exploding with laughter. Shira Renee Thomas played Susanna with all of the buoyancy and whimsy that the comic part requires, but she also infused the role with a very deep passion which is the hallmark of all great opera.
The orchestra was just excellent. The overture to The Marriage of Figaro is one of the most recognizable pieces of classical music. The orchestra played it in a straightforward style that accentuated its lushness, and its many famous movements. Mozart's score is a quintessential example of comic music. It is colorful, rises to dizzy heights, and is full of punctuations. The orchestra, lead by conductor Brian Onderdonk, attacked it with professional mastery, expertly navigating its many twists and turns.
The Marriage of Figaro was directed by Shira Renee Thomas' husband, founder and artistic director Dylan F. Thomas. Dylan Thomas' staging was simple and logical, presenting the opera in a straightforward theatrical style that put the plot out in the forefront.
The plot itself is complete silliness, but it is the kind of comedic silliness that transcends the ages. Based on the play by Beaum-archais, with a libretto by da Ponte, the story, a sequel to Beaumarchais' The Barber of Seville, takes place on the day of the wedding between Figaro, played with roguish gusto by Carl King, and Susanna. The morning of their wedding day, Susa-nna tells Figaro that the count (Gabriel Manro) has been trying to have his way with her. Figaro vows to get his revenge on the count, and what ensues is a series of elaborate pranks and schemes, with both the count and Figaro trying to outwit each other.
Gabriel Manro played the count with all of the noble frustration that the part requires. Not only does the count spend all of his time chasing women, but he doesn't seem terribly good at it. On top of that, he is constantly being outwitted by his servant, Figaro.
While audiences enjoy the conspiracies the characters hatch against each other, it is the love story between Figaro and Susanna that is central to the opera. King and Thomas have very good chemistry with one another, and really allowed love to take its place as the overriding theme of the opera.
Center Stage Opera is truly one of the gems of the valley. Their performances are presented in small, intimate settings that allow the music, singing, and acting to come to the forefront.
The Center Stage Opera’s next performance, Puccini's Tosca is June 27th and 28th at The Madrid Theater in Canoga Park. For more information or to purchase tickets visit Center Stage Opera's website at:
www.centerstageopera.org.
JAZZ IN LA: BRAVO-ENCORE!
By Lisa Davenport
The kickoff night for Jazz at Vitellos launched by April Williams was an impressive hit. The restaurant, located in a quiet niche of the valley exuded a sophistication and refinement that creates a wonderful backdrop and ambience for this great music. The artful place set the tone reflecting the cool spirit of southern California. It has a suave, engaging, tangible allure-a welcome venue for LA nightlife and style. In the three story restaurant, there is a space for cocktails and mingling at the top of the stairs just before you enter the room for music and dining. The gracious staff exuded energy and warmth with a dash of "wow" -much like jazz music itself often elegant and wonderfully offbeat at the same time. The tasteful food reflected a well thought out menu, an overall inviting Italian cuisine.
Such musical luminaries as Arthur Rubenstein and others who are considered some of the best musicians on the planet attended the kickoff. For them it seemed like a gathering of old friends. I had a table right upfront next to the bandstand. Vitellos designed the room so that everyone had comfortable space to dine and enjoy the music yet still feel very much a part of the night. The music impressed, dazzled and delighted. Gary Foster's quartet filed the evening with swift, soulful renditions of bebop and modern jazz--silky smooth yet thrilling numbers that perked up your soul and handily captivated your senses. They livened up the room with an energy that seemed electric. The musicians' seemingly effortless improvisations come through with the velvety style of the pianist. Gary's sax made you crave for more. The drummer drummed his way into a deep emotive fantasia. And the bassist's savvy, sassy, and saucy, style had everyone rapt. He helped command the night. Luckily, this was the first of such nights to come. Such musicians as Gerry Gibbs and April herself will perform in upcoming weeks.
The launching of jazz at Vitellos is vital to the LA jazz scene as well as to notable jazz advocates like Flip Manne, President of the Los Angeles Jazz Society and widow of Shelly Manne, jazz great from the 50s and 60s. Flipp has pointed out that even though jazz is the only true American art form it has never been a "mainstream" music. Mann has been with the organization since its inception in 1985. (Terri Merrill-Aarons was the founder.) The goal: to keep jazz thriving-"to keep jazz alive" in the midst of the rise of "new" music like hip-hop, rock, and pop. It's always been a challenge to find audiences for jazz which have constantly changed since its heyday in mid-20th century America. What was once a young people's music now thrives among a generation of older musicians and fans. The generation gap among jazz fans and fans of other music has seemingly widened in past years. April likewise has expressed a desire to bring in youthful audiences to Jazz at Vitellos--Jazz has held its own but has lost some grounds in the technological age. To compete with the more popular music and to stimulate interest among the youth, LAJS created the Jazz in Schools. "Jazz in Schools" sponsors free concerts in schools during February, Black History Month. The Society sponsors many other programs that include the Annual "Jazz Tribute Awards Dinner and Concert" which bestows awards on artists who have made significant, often legendary, achievements in jazz. Past "Jazz Tribute" Award honorees include Herbie Hancock, 2002, Quincy Jones, 2003, Terry Gibbs, 1997, Shelly Manne 1984, and Horace Silver, 1998. Flip describes the society as essential to keeping jazz thriving in LA especially in this new millennium. She professes that it would not have achieved what it has without her dedicated associates, Lois Saffian, First Vice President, and Larry Hathaway, Second Vice President. To April, Vitellos, and LAJS,
"Bravo-Encore!"
Sterling's Upstairs at Vitello's
4349 Tujunga Avenue, Studio City.
(818) 754-8700
www.myspace.com/sterlingsupstairs
The Playboy Jazz Festival at the Hollywood Bowl
By Jonathan Weichsel
Since 1979 Hugh Hefner has been turning his lifelong love of jazz music into one of the world's greatest celebrations of jazz, the Playboy Jazz Festival. Recently I was lucky enough to visit the Playboy Mansion for a preview of what is in store for us June 13th and 14th at the Hollywood Bowl.
The highlight of the afternoon was when jazz legend Quincy Jones presented his newest protégé, Alfredo Rodriguez. Rodriguez is a Cuban pianist who was recently granted political asylum by the United States. Although only 23 years old, Rodriguez is a virtuoso musician, able to pull both strange and recognizable sounds from the piano. Based on the two short pieces he played, I can say that Rodriguez really has it.
Rodriguez approaches his playing with the attitude of the old Jazz greats. That is, he is primarily interested in exploring new territory with his sound, and expanding music's language. His playing is deep, passionate, and involved, and his music combines intricate jazz rhythms with equally intricate almost classical sounding melodies. He is set to play the evening of June 14th.
Much hyped was a fifty year anniversary tribute to the Miles Davis jazz classic Kind of Blue, lead by Jimmy Cobb's So What Band. Kind of Blue is the best selling Jazz record of all time, and is also considered by many to be the greatest Jazz album of all time. Percussionist Jimmy Cobb is the only surviving member from the original recording, so he is a logical choice to lead the album's fifty year anniversary celebration. He has promised to deliver dynamic, straight ahead interpretations of the original album pieces.
Another headliner for the festival is Wayne Shorter. Wayne Shorter's career goes back over fifty years, and he has played with everybody from Art Blakey to Miles Davis. Wayne Shorter will be sure to take festival goers on a real musical journey.
There are going to be two very different New Orleans groups playing at the festival this summer, The Neville Brothers and the New Birth Brass band. The Neville Brothers play New Orleans style R&B, rough yet funky music meant to get people on their feet. The New Birth Brass Band is part of a renaissance of New Orleans brass band renaissance. Their style is more fusion than traditional, and they are going to bring hip-hop, funk, and modern jazz into the mix.
Show up at any time throughout the festival and you will be sure to stumble upon a jazz legend, such as be-bop trumpet player Jack Sheldon, or a rising star like Esperanza Spalding.
The complete lineup is as follows:
Saturday June 13, 2:30 P.M. - 11:00 P.M.
Tickets are available through ticketmaster at www.ticketmaster.com, or by calling (213) 365-3500 or (714) 740-7878. For more information about the Playboy Jazz Festival visit www.playboyjazzfestival.com.
Last year over 35,000 jazz fans turned out for the Playboy Jazz Festival. Spend an afternoon at the Hollywood bowl this summer, and be a part of this cultural happening.