From exploring live theatre and music to nature to science to space as well as taking on racism, climate change, and many more important topics all involving a vast array of community members, organizations, and performers, Boston Landmarks Orchestra is so much more than a beautiful free Wednesday night concert outing at the Esplanade. Boston Landmarks Orchestra Gala will celebrate 90 years of free concerts on the Esplanade in October.
WCRB is a media partner for the Boston Landmarks free concert series. Click here for Boston Landmarks Orchestra’s complete summer schedule at Boston’s renowned Hatch Shell and here for further details on the upcoming Gala.
It was an honor to speak with Christopher Wilkins, Boston Landmarks Orchestra’s conductor and Music Director, who took time out of his busy schedule to discuss the highlights of the Boston Landmarks Orchestra’s summer season and what is coming up.
The Sleepless Critic: The season kicked off on July 10 with the second annual “Season Tune-Up” party. What was that like?
Christopher Wilkins: It was a gorgeous night with a great turn out. Lots of children attended and we introduced our audience to many of our partner organizations which include musical organizations, music educational schools, and partners like the New England Aquarium and the Museum of Science. The “Season Tune-Up” Party featured fun games, a performance from the Everett High School band, and our Maestro Zone where kids can step up at the podium, wave the baton, look at a score, and get a conducting lesson. We offer Maestro Zone at our regular concerts as well.
SC: We’ve been blessed with some beautiful nights this summer. You have been the Music Director and conductor for the Boston Landmarks Orchestra since 2011. What has it been like for you collaborating with different theatres and new works each year?
CW: Our mission is to engage as many Bostonians as possible from all walks of life and one of our strategies is to develop partnerships. They feature an array of organizations to get their fans, their folks, and their constituency excited to come to a concert and work with us.
One of our best strategies is to create composer residencies in different neighborhoods around Boston so people who might not ever encounter an orchestra can develop some way of making music or dancing or some other performing art that they can bring to our stage and perform with the orchestra. We have a lot of inexperienced young performers throughout the summer and some who have never been onstage before. We do all that along with an eclectic lineup of Dvorak, Broadway, symphonies, and a great choral repertoire.
SC: It must be an incredible experience to see how everybody interacts with each other and how it turns out onstage.
CW: It’s wonderful to perform it in the Hatch Shell because it is an iconic venue, people associate it with orchestral music, and it is in the heart of the city. The Hatch Shell is also quite enormous. We can fit 5,000 people or more at our concerts and that is typically what we draw when the weather is nice.
SC: Such depth in a free event.
CW: It’s important to many people that can’t afford to come otherwise. It’s also a powerful emblem of the idea of universal access. Everybody is welcome.
We just think about access barriers, which are not only economic. Cultural assumptions in a community can cause people to stay away. At Landmarks, we think deeply about what those barriers are and do what we can to get rid of them.
SC: Yes, and you have held many events so far this season. For example, you recently celebrated the 50th anniversary of the Moon Landing with Symphonic Space Odyssey. How did you pay tribute to this historic event?
CW: We performed that in Jordan Hall because it was a stormy night. Jordan Hall is one of the most beautiful venues in America and the sound indoors just rattles your bones. We didn’t have to change the program at all, just the venue.
The Moon Landing is one of the most amazing achievements in the history of mankind. It was an awesome night and we celebrated it with the Museum of Science which was perfect because they have had an exhibition ever since the moon landing occurred. The Museum of Science prepared fabulous video footage relating to the moon landing, space travel, rockets, and deep space taken from materials produced in house at the Hayden Planetarium for their full dome experience.
SC: What are you most looking forward to this season?
CW: Each week is so over the top that it’s hard to pick a favorite. We have a wonderful collaboration on August 14 with the New England Aquarium featuring some remarkable video material that will be synchronized live to the orchestra.
The subject is climate change and we’re performing Vaughan Williams Symphonia Antarctica which is originally a film score, but now set to a more recent film made by Natural History New Zealand featuring all shots from Antarctica.
Then we have a beautiful photographic sequence put together by Boston Globe writer David Arnold called “Above and Below.” He’s taken Brad Washburn’s iconic aerial photographs of glaciers and coral reefs mostly from the 1930’s and then taking the same shots today. Of course what you see is a devastating record of loss set to Adagio for Strings. The program also includes optimistic shots from Boston Harbor and other places from then and now which shows tremendous improvement environmentally and send the message that we can do something about climate change.
We did an extremely interesting panel discussion recently which has some caused useful and in depth panel conversation called “Who Should Sing Ol’ Man River?” around race and the portrayal of racial themes at WBUR CitySpace. Our moderator was Emmett G Price III, a celebrity in Boston and a wonderful musician, historian, pastor, and radio personality. It was a wonderfully experienced and informed panel who weighed in on a lot of these questions and shaped how we put together the following week’s concert.
SC: Ol’ Man River from Rodgers and Hammerstein’s “Showboat” is such an amazing song and I’ve seen it done is so many different ways.
CW: It’s a showstopper. Our base Alvy Powell has sung Ol’ Man River in the White House for the last six sitting Presidents in a row. He sang it at George H.W. Bush’s funeral at President Bush and his wife Barbara’s request. He also sang it at Gerald Ford’s funeral. If anyone should sing Ol’ Man River, it’s Alvy Powell and he performed it that night.
SC: What kind of conversation sprung from that panel?
CW: That’s a good question. We got into questions of language, dialect, the history of black music, and cultural appropriation. Quite an interesting segment was when we were looking at where we go from here. One of our panelists was Ashleigh Gordon, founder of an organization that has attracted a lot of praise and attention called Castle of Our Skins. It celebrates African American composers and performers. She’s done an amazing job furthering the discussion and coming up with creative ways of producing eye catching programming.
They are opening a permanent set of offices at the Boston Center for the Arts. We are collaborating with Ashleigh, Castle of Our Skins and Anthony Green, a composer she works with frequently on the Esplanade on August 21 for our Landmarks Dance Night. The project surrounds the music and dance of Haiti because we are also including the Jean Appolon Expressions Dance Company.
It’s often our best vehicle for showcasing the diversity of traditions and types of cultural expression. I grew up here, but the city is infinitely more diverse now than it was when I grew up.
SC: Absolutely. What have you liked most over your time with the Boston Landmarks Orchestra?
CW: We’ve had lots of great moments over the last eight or nine years. My first concert was conducting Beethoven’s 9th at Fenway Park so that is pretty hard to top. We did an amazing night celebrating the 50th anniversary of Martin Luther King’s I Have a Dream Speech with Governor Deval Patrick as our narrator and featuring a lot of video and photographic imagery.
We did a memorable collaboration with the Isabella Stewart Gardner Museum when their director, Peggy Fogelman, first arrived in Boston. Another highlight was a series of programs with Commonwealth Shakespeare Company. We performed full productions of musicals or a Shakespeare play such as “Midsummer Night’s Dream” with Mendelssohn.
The musicians learn something they know so well and are able to put it into the context of the play while the actors now can play off a symphony. Now how often does that happen? It is amazing for the performers and the audience.
SC: You’ve performed all over the United States. What do you like best about your time with the Boston Landmarks Orchestra?
CW: I love our mission. It’s readily understandable to most people in the community which I think is why we are receiving increasing levels of support from all quarters from individuals and foundations and from political reps because we are using great music with its level of complexity, depth, and emotional appeal and a first class professional orchestra as a means to gather community together.
I don’t know another orchestra that has a mission defined in this way. I learn a lot and meet all kinds of interesting people doing interesting work. We get to come together in a musical setting and it’s almost guaranteed everybody has a wonderful time.