classical | The Sleepless Critic

REVIEW: Season 5 of WGBH’s ‘Sing That Thing!’ still packs a vocal punch

Posted on April 12, 2019 by The Sleepless Critic

Maybe there was a moment watching American Idol or The Voice where that person auditioning is a friend, acquaintance, or just familiar somehow. Perhaps it’s a moment of six degrees of separation where suddenly Kelly Clarkson, Lionel Richie, or Katy Perry are not so out of reach now that the person you know knows them.

Now imagine how much likelier that might happen watching WGBH’s popular local singing competition, Sing that Thing! kicking off its fifth season on Friday, April 12 on WGBH 2. Composed of eighteen dynamic choral ensembles over this season from Boston and beyond, each group competes by creating a unique vocal performance within variety of music genres as coaches decide who will make it to the next round and give feedback on their performances. Click here for further details.

Divided into three categories consisting of adult, high school, and college, the coaches measure on factors such as visual performance, musicality, intonation, and projection during the course of eight episodes. Expect less of the Hollywood glitz and glamour and much more insight into what it truly takes to deliver a thrilling performance.

Sing that Thing’s Season five coaches include Anthony Trecek-King, President and Artistic Director of the Boston Children’s Chorus, Jared Bowen, Executive Arts Editor at WGBH and host of Open Studio, and Annette Phillip, vocalist and creative director of Women of the World and Assistant Professor at Berklee College of Music.

From L to R: Coaches Anthony Trecek-King, Annette Phillip, and Jared Bowen Photo credit to Meredith Nierman/WGBH

Sing that Thing’s season five premiere returns to its roots in a way by showcasing a couple of talented groups from its first season. Season one returning champs Boston Arts Academy Spirituals competes with The Zumbyes from Amherst College also featured on the first season. Univoz Vocal Ensemble also joins the competition, making their debut on the show with original compositions. Sing that Thing! offers a peek into how these ensembles prepare to perform and get ready for their sheer energy! Whether singing a tender ballad or a resounding hymn, these sophisticated and lively ensembles are the real deal.

Click here for more on Sing that Thing’s new season starting on Friday, April 12 at 8 pm on WGBH 2. This program can also be seen on WGBX 44, WGBY, New Hampshire PBS, Vermont PBS, Maine Public, and CPTV – Connecticut Public Television. Apply to be a part of Sing that Thing’s sixth season here and catch up on previous episodes here. Find out more about Sing that Thing! on Twitter, Facebook, and Instagram using #singthatthing.

REVIEW: Versatile singer Joyce Didonato performed classics with a compelling twist as Celebrity Series presented ‘Songplay’

Posted on March 14, 2019 by The Sleepless Critic

It is easy to see why mezzo soprano Joyce Didonato has such a following on social media and otherwise. For one night only, she took the stage to share what she has learned from music and more as Celebrity Series presented Songplay on Friday, March 1 at New England Conservatory’s Jordan Hall at 8 p.m. Click here for more information and here for where Joyce Didonato will appear next.

Celebrity Series of Boston presented Joyce Didonato for one night only on March 1 Photo courtesy of Celebrity Series

Celebrity Series has a knack for welcoming artists that not only show off their talent, but teach the audience a thing or two about their craft, leaving the audience some material to ponder. With a lively, charming presence and a versatile voice that defies a definitive genre, mezzo-soprano Joyce Didonato shattered a few traditions and came up with a refreshing repertoire that combined opera, jazz, baroque, and other genres making a few classic songs new again.

Emerging from backstage in a shimmering emerald evening gown, this dynamic singer was greeted by a full house. This particular show seemed to be tailor-made for professionally-trained singers as Joyce shared details of her extensive vocal training, recalling in jest and self deprecation the tools that helped her become the professional singer she is. She also shared some personal reflections and comical stories between songs about her life and music.

With soaring, soothing vocals and an impeccable range, Joyce’s voice is as sophisticated with an aria as it is playful with jazz and Broadway numbers. Fans of opera and jazz would especially enjoy the show, but Joyce and her band offered enough variety and humor with each transformed song that most music fans could appreciate it as well.

Throughout the evening, she introduced her acclaimed band one by one with anecdotes and playful music interludes. Each band member had their individual chance to shine. Behind a large Steinway and Sons grand piano sat pianist and arranger Craig Terry with whom she shared more than a few lighthearted moments with. They kicked off the evening with the Italian aria, Caro mio ben and later Craig performed a captivating rendition of Dizzy Fingers.

Hailing from Buenos Aires, Lautaro Greco introduced the bandoneon, a unique instrument which is played like a piano, shaped like an accordion, but sounds like a horn. He joined her lively band that included revered double bassist Chuck Isreals, acclaimed percussionist Jimmy Madison, and legendary trumpet player Charlie Porter. The band’s random, surprising music notes added a few humorous and cheeky moments to the performance, the horn chasing her soaring vocals during a jazz-infused interlude. All in good fun.

A few of the evening’s highlights included a heartfelt, angst-ridden rendition of Will He Like Me? from the Broadway show, She Loves Me, a tender, reflective rendition of Gene Scheer’s Lean Away dedicated to Andre Previn, Duke Ellington’s classic Solitude, and a song Joyce always dreamed of singing, Edith Piaf’s La Vie en Rose.

At one point during the show, Joyce referred to playing traditional music just one way as an emotional straight jacket. Watching her put a creative spin on these classics with humor, grace, and gusto was a liberating experience.

Celebrity Series of Boston offers a dynamic roster featuring the annual Stave Sessions, Alvin Ailey American Dance Theatre, Shawn Colvin, and much more. Click here for more information and for tickets. Tickets can also be obtained at the Celebrity Series of Boston’s box office. Follow Celebrity Series of Boston on Facebook, Twitter, and Instagram.

Cambridge Symphony Orchestra’s renowned conductor Cynthia Woods discusses ‘Angels and Heroes’ and describes her inspiration

Posted on March 9, 2019 by The Sleepless Critic

On International Women’s Day, the Sleepless Critic pays homage to women who are making their mark around the world. One woman who is thriving in the Boston area and beyond is renowned Cambridge Symphony Orchestra (CSO) conductor, Cynthia Woods.

Cynthia has toured around the world and put together Cambridge Symphony Orchestra’s latest show, ‘Angels and Heroes,’ a one day only concert performance on Sunday, March 17 at Kresge Auditorium at Massachusetts Institute of Technology (MIT). Click here for more information and tickets. The Sleepless Critic interviewed her about her exciting music background, what inspires her, ‘Angels and Heroes,’ and her future plans.

Photo courtesy of Cambridge Symphony Orchestra

Sleepless Critic: Grammy award-winning composer Nan Schwartz has not only composed arrangements for Natalie Cole and is from a long line of women composers, but she has also created orchestration for several films such as My Week with Marilyn, Life of Pi, Harry Potter and the Deathly Hallows Part 1, and Julie and Julia. What inspired the Cambridge Symphony Orchestra to take on Nan Schwartz’s latest work, the 15-minute trumpet tone poem, ‘Angels Among Us?’ I understand this piece will be performed live for the very first time.

Cynthia Woods: I met Nan Schwartz a few years ago and immediately thought her music would be a great way to broaden our programming. I asked her to keep me in the loop about her works for concert orchestra and she very kindly did.

Simultaneously, I was actively looking for some fresh concertos that use the brass to break up the piano or violin concerto routine and found a great fit when I heard Angels Among Us. Its beautiful lines and lush melodies evoke shimmering imagery and its rich, jazz influence brings a breath of freshness to the concert repertoire.

SC: One of the featured soloists for the afternoon is trumpeter Joseph Foley. He has performed all over the country and his first solo CD makes its debut this year. How did he become part of this performance? I understand this is a particularly challenging piece.

CW: I knew I needed an exceptional trumpet player who was also very comfortable crossing idioms and had a range that went much higher than what is considered standard. Joe, whom I have known for years, came to mind right away as the perfect choice.

SC: It is easy to see why this performance is called ‘Angels and Heroes’ because Joseph Schwanter’s powerful piece, ‘New Morning for the World’ pays tribute to the great Dr. Martin Luther King, Jr. Reverend Ray Hammond of Bethel AME Church will narrate some of Dr. King’s most acclaimed speeches.

CW: As you know, Art reflects the times we live in and the struggles we face as a society. I wanted to program something that reflected some of our current struggles we face while adding a historical context. Schwantner’s brilliant ‘New Morning for the World’ was a perfect choice. Dr. King preached hope and love and Schwantner represented that by using bold, fractured rhythmic cells to represent the unrest and despair of inequity against the soaring, vocal-like writing of the strings and brass.

The text is drawn from a series of some of King’s most famous speeches including ‘Behind the Selma March’ ‘Letter from a Birmingham Jail’ and ‘I Have a Dream.’ We are thrilled Reverend Dr. Raymond Hammond is joining us to narrate these speeches and to bring renewed life and hope to Dr. King’s words.

SC: The theme of this concert is using your voice to break through feelings of powerlessness. Please expand on that. I understand the pieces in this performance complement each other.

CW: Yes, all the works in some way celebrate the human spirit and its ability to transform our lives for the better. The ‘Angels’ of Schwartz’s work are the ordinary people such as parents, teachers and friends, who, in the quietest way, change our lives for the better. Schwantner reminds us while we may face many challenges and heartbreak in life, we must have hope for change ‘because the arm of the moral universe is long, but it bends towards justice’ (Dr. Martin Luther King Jr.). The Sibelius, which was inspired by the simple beauty of 17 swans soaring overhead, reminds us of the simple beauty and inspiration our lives hold on a daily basis.

SC: You have worked all over the world. Please tell me what first inspired you to choose a career in music and what has been your favorite career moment so far?

CW: My parents enrolled me in a Preschool for the Performing Arts when I was three, and I think I have had the music bug ever since. I have very vivid childhood memories from when my folks would take my brother and me to the local orchestra concerts, which were conducted by the pioneering conductor Catherine Comet. My eyes were glued to her and thought it looked like fun! My passion for music began early and never dimmed.

I have so many wonderful memories. One of my favorite moments might be our recent ballet production of Mendelssohn’s A Midsummer’s Night Dream. It ended up being everything I could have hoped for artistically as a synthesis of music and dance, two of my favorite art forms.

SC: Is there a particular conductor that has inspired you over the years?

CW: It’s hard to choose because there are so many wonderful conductors out there, but my favorite one would be Bernard Haitink if I had to choose. He seems to overflow with music every time he performs.

SC: I understand you conducted Conrad Pope’s The Little Match Girl, such a compelling tale. You also worked on Morgan Neville’s documentary on Amar Bose. Please tell me more about that.

CW: Two seasons ago, the CSO was very fortunate acclaimed Hollywood composer Conrad Pope agreed to write The Little Match Girl for us. With youth runaways and homelessness at an all time high, we envisioned a tone poem outlining a story that is still very relevant today. Instead, it found its essence as a ballet filled with various scenes of our heroine’s life, from snow ball fights to teasing a grumpy old man to her vivid memories of her grandmother waiting for her in heaven. Due to this evolution, both Pope and I hope to see it fully staged at some point in the future.

I worked with Morgan Neville on his documentary about Amar Bose filmed on location at various parts of MIT where Bose was a student and he designed where the CSO performs, the Kresge Auditorium. Anytime you work with artists of different fields, it gives you a broader sense of your own idiom. It was an inspiring and rewarding experience.

SC: When you are not conducting, you are also a lecturer and writer. Any new projects you’d like to let people know about?

CW: We are busy planning lots of great things for our 45^th anniversary season next year including a newly commissioned ballet of Prokofiev’s Romeo and Juliet. We also hope to commission a new work for our Family Concert series as well as continue to highlight diverse and relevant programming that inspires our audiences. I think it will be our most challenging and rewarding season yet.

Cambridge Symphony Orchestra’s latest show, ‘Angels and Heroes‘ will be held Sunday, March 17 at Kresage Auditorium at MIT. Click here for more information on Cambridge Symphony Orchestra and for tickets.

REVIEW: Captivating and lighthearted, Boston’s annual Holiday Pops as festive as ever

Posted on December 19, 2018 by The Sleepless Critic

In its 23^rd year, The Holiday Pops are in full swing and as festive as ever! Illustration and illumination dominated this year’s performances woven into a wide spectrum of Christmas carols, spiritual hymns, and holiday traditions. Whether it’s the excitement of the all-volunteer Tanglewood Festival Chorus, the Boston Pops adding their own unique, personal flair, or their highly anticipated sing-along, The Holiday Pops makes it easy to alleviate the stress of the season and happily embrace what truly matters. Sponsored by Fidelity Investments and led by Keith Lockhart, The Holiday Pops at Boston Symphony Hall continues through Christmas Eve. Click here for more information and tickets.

Elegantly adorning the intrinsically-detailed gold balconies are twinkling lights on thick, festive wreaths, just a sampling of the stunning surroundings inside Symphony Hall. During the show, the stage spontaneously came to life with a variety of scenery illuminated above the stage from flickering candles to colorful, dancing snowflakes.

This beautiful performance of Holiday Pops delivered equal doses of reflective material and lightheartedness, the first half playful and spiritual. Leroy Anderson’s A Christmas Festival which included Deck the Halls, God Rest Ye Merry Gentlemen, and Silent Night kicked off a memorable first half. The Boston Pops orchestra performed a harmonious and airy rendition of Parade of the Wooden Soldiers accompanied by a bright, festive short film created with original artwork and animation by FableVision Studios.

The Holidays Pops reflected on the revelation of Jesus during Shepherd’s Chorus as well as The Festival of Lights in an increasingly uplifting Songs of Freedom: A Celebration of Chanukah featuring detailed portraits illustrated by children’s book artist, Judith Clark. With stirring excerpts from O Little Town of Bethlehem, What Child is This, Go Tell it On the Mountain, and more, acclaimed baritone David McFerrin narrated The Christmas Story illustrated with Tomie dePaola’s original artwork.

Brimming with beloved classic Christmas carols and guest appearances by Santa and more, the second half of Holiday Pops was a vibrant, yuletide spectacle. While bulbs glowing to the beat, the jolly Tanglewood Festival Chorus delivered a string of Christmas waltzes, singalongs, and more including the annual reading of Clement Charke Moore’s Twas The Night Before Christmas, read enthusiastically by special guest, Boston journalist Janet Wu.

Boston’s charming signature versions of Sleigh Ride and the always clever and amusing 12 Days of Christmas were welcome additions to the mix as Santa Claus made his grand entrance. Holiday Pops concluded with Let There Be Peace on Earth, as Earth shone overhead, brilliantly conveyed the quiet hope for the coming New Year.

The Boston Pops presents the beloved holiday film, ‘Home Alone in Concert’ with live orchestra December 29 and 30. Photo credit to Twentieth Century Fox/Boston Pops

Before ringing in the New Year, The Boston Pops will offer special presentations of Christmas film favorite, Home Alone featuring the music of John Williams with live orchestra at Symphony Hall on December 29 and 30. The Boston Pops will cap off the year with their annual New Year’s Eve concert led by actor, animator, singer, and filmmaker, Seth McFarlane.

All performances take place at Boston Symphony Hall, 301 Massachusetts Ave in Boston, Massachusetts. Click here for more information and tickets, through SymphonyCharge at 888-266-1200, and at the Symphony Hall Box Office, 301 Massachusetts Ave, Boston, Massachusetts. The Holiday Pops are also available at home with A Boston Pops Christmas: Live from Symphony Hall album through ITunes, Amazon, and Amazon MP3.

REVIEW: With comic wit and vintage flair, Boston Ballet’s ‘Genius at Play’ is an exhilarating dance celebration

Posted on September 14, 2018 by The Sleepless Critic

Honoring the centennial birthdays of legendary choreographer Jerome Robbins and composer Leonard Bernstein, The Boston Ballet opened its 55^th season on a joyous, lighthearted note on Thursday, September 6 with Genius at Play continuing through Sunday, September 16 at the Boston Opera House. Genius at Play certainly lives up to its name, a production with glimpses of Robbins and Bernstein’s signature dance moves, music, and lively banter sure to leave the audience in carefree spirits. Click here for more information and for tickets.

Accomplished conductor Beatrice Jona Affron opened the show, leading the orchestra with Leonard Bernstein’s sparkling and triumphant masterpiece Overture to Candide, first performed in 1957. Much of Genius at Play celebrates the very nature of dance and its playful competitiveness and Overture to Candide quite fittingly sets the tone.

Boston Ballet in Jerome Robbin’s Interplay; photo by Rosalie O’Connor; courtesy of Boston Ballet

Interplay, with choreography by Jerome Robbins, rewinds the clock as women pile on high ponytails in casual, colorful costumes by Santo Loquasto. As the mischievous, upbeat rhythm of Morton Gould’s American Concertette plays, dancers Maria Alvarez, Dawn Atkins, Chyrstyn Fentroy, Dalay Parrondo, Isaac Akiba, Paul Craig, Sun Woo Lee, and Lawrence Rines take part in some friendly competition. Creativity runs wild as dancers perform lifts, spins, and high leaps while also paying subtle homage to Robbins as they rhythmically snap their fingers and playfully shake their hips.

With choreography by Jerome Robbins and jazz-infused music by Leonard Bernstein, Fancy Free is the source material for what became the hit Broadway musical and Academy award-winning film, On the Town, a tale about three sailors portrayed here by Irlan Silva, Derek Dunn, and Michael Ryan, who are on shore leave in New York City. Taking a page from the old movies with cheerful 40s costumes by Kermit Love, these sailors realize they are in over their head when they meet three passers-by portrayed by Emily Entingh, Viktorina Kapitonova, and Dawn Atkins. With a multi-dimensional, romantically-lit set equipped with a vivid, leaning lamp post, these sailors depict a wonderful camaraderie as they embark on an amusing night with plenty of surprises.

Boston Ballet in Jerome Robbin’s Fancy Free; photo by Rosalie O’Connor; courtesy of Boston Ballet

With music by Philip Glass and choreography by Jerome Robbins, Glass Pieces is quite the gem. Taking place in what looks like a subway station, Glass Pieces has a palpable rhythm and urgency as dancers are unleashed into a celebration of dance in the city. From a plain landscape into a spectrum of color, Glass Pieces transforms into a splendid piece of artistry as dancers perform in a variety of styles in silhouette, reflective, and in unison.

Lia Cirio and Paulo Arrais in Jerome Robbin’s Glass Pieces; photo by Rosalie O’Connor; courtesy of Boston Ballet

With comic wit, vintage flair, and renowned choreography, The Boston Ballet proudly presents Genius at Play through Sunday, September 16 at the Boston Opera House. Click here for more information and for tickets. For future events and more, follow Boston Ballet on Facebook and Twitter.

REVIEW: Athletic grace, intensity, and enchanting beauty drive The Boston Ballet’s debut of ‘Obsidian Tear’

Posted on November 9, 2017 by The Sleepless Critic

Featuring an enthralling, unconventional start, renowned choreographers depict a rich array of contrasting tones as The Boston Ballet opened its 2017-18 season with the captivating, North American debut of Obsidian Tear continuing through Sunday, November 12 at the Boston Opera House in Boston, Massachusetts. What is particularly intriguing about this program is its delicate balance of triumph, suspense, sorrow, and beauty in a blend of traditional and contemporary artistry featuring two revered works by composer Jean Sibelius. Click here for more information and tickets.

The Boston Ballet strikes an impressive, emotional balance with the combination of a special, orchestral performance of Finlandia by Jean Sibelius, Obsidian Tear, and Fifth Symphony of Jean Sibelius. Led by guest conductor Daniel Stewart, the Boston Ballet opened with a stirring orchestral performance of the Finnish National song, Finlandia, composed as a tone poem by Jean Sibelius. Magnificently led by conductor Daniel Stewart, Finlandia is a triumphant, gripping masterpiece from its ferocious open to every subtle, enchanting note in between.

Boston Ballet in Wayne McGregor’s Obsidian Tear; photo by Rosalie O’Connor, courtesy Boston Ballet

The Boston Ballet added to its fervent tone with the North American debut of Obsidian Tear followed by the elegant, world premiere of Fifth Symphony of Jean Sibelius. Choreographed by Wayne McGregor and accompanied by the haunting and evocative rhythms of Esa-Pekka Salonen’s Lachen verlernt and Nyx from violin soloist, Christine Vitale, Obsidian Tear builds to a palpable sense of urgency as each of the nine male dancers, including Daniel Cooper, Derek Dunn, Samivel Evans, John Lam, Alexander Maryianowski, Eric Nezha, Patrick Palkens, Desean Taber, and Junxiong Zhou, appear.

Irlan Silva in Wayne McGregor’s Obsidian Tear; photo by Rosalie O’Connor, courtesy Boston Ballet

Surrounded by a warmly-lit stage and minimal black backdrop, each dancer exhibits their own, distinct appearance and style, gliding in long, sweeping movements. Often dividing into pairs, their athletic prowess drives each complex step as exuberance, mischief, cooperation, and combativeness, flood an increasingly busy landscape. Thrilling and poignant, Obsidian Tear is a thought-provoking, mesmerizing journey about belonging and the darkness within.

Boston Ballet in Jorma Elo’s Fifth Symphony of Jean Sibelius; photo by Rosalie O’Connor, courtesy Boston Ballet

The world premiere of Fifth Symphony of Jean Sibelius, gorgeously choreographed by Jorma Elo, evokes the light, romantic tone of traditional ballet. The pure, delicate beauty of the ensemble in pale pastel envelops the stage in graceful splendor as a single black halo hovers above. In elegant costumes designed by former Dutch National ballet dancer Yumiko Takeshima, Fifth Symphony of Jean Sibelius delivers its own sophisticated rhythm, building into a flurry of circular motion and blossoming lifts. As some divide into attractive pairs, dancers soar, leap, and float joyfully to a soft, urgent rhythm. A particular highlight depicts the dancers lying sideways across the stage as a pair nimbly twirls into pirouettes and refined lifts. As Obsidian Tear often focuses on individuals, this performance is much more an ensemble piece, forming dazzling soft color portraits in a breezy, jovial state.

Boston Ballet in Jorma Elo’s Fifth Symphony of Jean Sibelius; photo by Rosalie O’Connor, courtesy Boston Ballet

Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. All performances take place at the Boston Opera House, 539 Washington Street in Boston, Massachusetts. Subscriptions and group rates are also available. Follow the Boston Ballet on Facebook and Twitter.

REVIEW: Led by CeCe Winans, Boston Pops Gospel Night rings in a joyous 25 years

Posted on June 30, 2017 by The Sleepless Critic

Over the past 25 years, Boston Pops Gospel Night has stood the test of time as a glorious and revered annual tradition. An illuminated brass backdrop, shining music notes, and a floating, celluloid film strip adorned the Symphony Hall stage while an enthusiastic crowd filed in for this highly-anticipated, one night only, 25^th anniversary event.

Each year, Gospel Night features a special blend of acclaimed musical guests, a variety of beloved and new songs from the Boston Pops Gospel Choir, and memorable performances. With multiple Grammy Award-winning singer CeCe Winans, a resounding, patriotic, monumental speech about freedom and peace, and rousing performances from the Boston Pops Gospel Choir, the Boston Pops Gospel Night has certainly outdone itself. It’s an annual concert with toe tapping reverence and a spirited finale that always brings the audience to its feet. Click here for more information on the Boston Pops, upcoming events, and more.

Warmly greeting the crowd and the orchestra was accomplished conductor, pianist, and composer Charles Floyd, who has been conducting Gospel Night for the past 23 years. Click here for a closer look at Charles Floyd and his career. Distinguished looking in a white tuxedo with black pants and a bow tie, Charles Floyd gave an appreciative wave before opening the 25^th anniversary concert with Aaron Copland’s spirited Fanfare for the Common Man, as horns blared distinct and clear. It was a mix of tender, powerful, and upbeat melodies that included Bach’s Little Fugue in G Minor and Chadwick’s Jubilee, which culminated into a vigorous finish and wondrous applause.

Gospel Night also recognized what would have been the recent 100^th birthday of the late President John F. Kennedy by paying tribute to him and also honoring award-winning conductor, John Williams, who was the subject of this year’s Boston Pops season. Young and naturally charismatic Reverend Thomas Crowley who is Senior Pastor of Myrtle Baptist Church, passionately delivered JFK’s famous inaugural address, “Let the Word Go Forth,” a stirring and thrilling speech which remains especially prevalent today. The audience was captivated as the Reverend spoke of freedom, peace, ambition, and achieving the American ideal of brotherhood as musical excerpts of John Williams film score, JFK and Celebration 2000: Journey of John Williams rose underneath.

Legendary, Grammy award-winning Gospel singer CeCe Winans Photo courtesy of the Boston Pops

The excitement for multiple Grammy award-winning singer CeCe Winans was tangible. Dressed in a black and multi-colored floral gown, Cece Winans took the stage to roaring applause. CeCe Winans is a flawless soprano whose vocal tone at times is reminiscent of Whitney Houston. CeCe and Whitney collaborated together for the uplifting song, Count on Me in 1996. With a joyful warmth and tenderness and as the Boston Pops Gospel Choir swayed and clapped, CeCe performed an array of faith-filled songs from her latest album, Let Them Fall in Love such as Run to Him, Dancing in the Spirit, Peace from God, Never Have to Be Alone, and the title track. “Welcome to church,” CeCe exclaimed as she gracefully took the stage. Many of her songs spoke about finding hope in despair, forgiveness, and in the state of the world today, how much we are in need prayer. She concluded with a beautiful cover of Fanny Crosby’s hymn, Blessed Assurance, bringing the crowd to their feet.

Featuring a number impassioned performances from talented soloists, Charles Floyd continued to lead the Boston Pops Gospel Choir. Soloist Suzanne Buell and Raymond Martin opened with upbeat, jubilant renditions of Celebrate followed by Carolyn Saxon and David Grandy singing King of Kings. A particular highlight was Katani Sumner’s powerful, expressive, and bluesy rendition of When Sunday Comes. Katani’s smooth version of the song hinted of Ella Fitzgerald in its delivery.

Each year, Gospel Night offers a grand, spirit-fueled finale. Led by The Boston Pops Gospel Choir Artistic Director Dennis L. Slaughter, it is a party that could go all night long, if only they could. One of the biggest highlights of the evening came from soloist Renese King, who sang a tambourine-infused, rollicking rendition of the classic Gospel hymn, Oh Happy Day. Oh, Happy 25^th Anniversary indeed.

REVIEW: South Shore Conservatory presents fascinating art exhibition, ‘South Shore Photographers’ through April 30

Posted on March 31, 2017 by The Sleepless Critic

No matter how talented an artist is, there is nothing like discovery and opportunity. South Shore Conservatory is dedicated to mold and provide opportunity for promising talent in the arts through their classes, workshops, and exhibits. Click here for further insight into the South Shore Conservatory with two locations in Hingham and Duxbury, Massachusetts.

Curated by Judith Montminy, South Shore Conservatory and South Shore Art Center offered an opening reception for an insightful exhibition featuring 44 South Shore Photographers’ inspirational works of art on Thursday, March 23 at 6 p.m. Visit South Shore Photographers exhibit through Sunday, April 30 at South Shore Art Center.

SS Conservatory Opening Reception and exhibition

‘South Shore Photographers’ feature 44 artists on two floors Photo courtesy of South Shore Art Center

Linked by a regal wooden staircase, The South Shore Art Center is brimming with carefully selected framed pieces on two floors. Delicious free food and wine were available for guests at the reception as they carefully perused bright colors and abstract pieces. Other pieces portrayed water and people.

Part of the exhibit for ‘South Shore Photographers’ Photo courtesy of Michelle McGrath

Soft landscapes, bright, sparkling water, snow steeped winter scenes, colorful highways, emerald green wooded views, and a pair of Bengal tigers is just a taste of what these deeply observant photographers offer in this ongoing exhibition. Convinced that one portrait will be a perfect fit to take home? Each framed photo is on sale.

Keri McAndrews Trees in Fog at exhibition

Guests gather at ‘South Shore Photographers’ opening reception and ponder ‘Trees in Fog’ by Keri McAndrews Photo courtesy of Keri McAndrews

South Shore Art Center presents South Shore Photographers exhibition through Sunday, April 30 at South Shore Conservatory, One Conservatory Drive in Hingham, Massachusetts. Click here for more information, how to donate, and the full calendar of upcoming events. Follow South Shore Art Center on Facebook.

Flutist Sarah Paysnick delves into Grand Harmonie’s rollicking ‘March Madness’ concerts

Posted on March 17, 2017 by The Sleepless Critic

For a musician, choosing the right instrument is the key to success. For Grand Harmonie flutist and co-founder Sarah Paysnick, family and Sesame Street played a big part in her choosing the right one. When a group of successful musicians got together to pursue something new and exciting, the innovative and eclectic music ensemble, Grand Harmonie was born.

Grand Harmonie in action Photo courtesy of Sarah Paysnick

Grand Harmonie will deliver March Madness, two exciting and inventive concerts that mixes a little bit of everything. Featuring conductor Scott Allen Jarrett and soprano Jacquelyn Stucker with horn by Yoni Kahn, March Madness kicks off on Friday, March 24 at Arts at the Armory in Somerville, Massachusetts at 7:30 p.m. On Sunday, March 26, March Madness will take the stage at the Second Church of Newton in West Newton, Massachusetts at 3 p.m.

Grand Harmonie Scott Allen Jarrett conductor

Grand Harmonie conductor Scott Allen Jarrett Photo courtesy of Scott Allen Jarrett

Sarah Paysnick discusses her music career, Grand Harmonie’s educational outreach, the excitement behind Grand Harmonie, and a closer look into March Madness. Click here for more information and for tickets.

Jeanne Denizard: What first sparked your interest in music and what inspired you to pursue it as a music career?

Sarah Paysnick: In kindergarten, many of my friends started learning piano. They would teach me what they were learning, so I begged my mom for piano lessons. I remember wanting to quit after a short time, but my mom told me I had to finish the year. A few years later, many of my friends started learning string instruments. I have a cousin my age that played the violin and she’d teach me when we got together. When I told my mom I also wanted violin lessons, she said that I have two cousins who play the violin and I should pick something else. Watching Bob on Sesame Street and because another cousin was learning it, I decided on the flute.

In 4th grade, when asked what we wanted to be when we grew up, I said I wanted to be a cantor because Judaism and music were important to me. I didn’t have proper training as a singer. Something told me, over the next few years, it would exclusively become a music career even though Judaism is still important to me. I never really thought about doing anything outside of music, though my music path has taken me in a variety of directions. Ultimately, it led me to historical performance on flutes and teaching piano to children.

JD: How did you become a founding member of Grand Harmonie and what do you enjoy most about this group?

SP: I knew Yoni Kahn, our horn player and soloist for this concert! With Yoni Kahn and a couple of other founding members, we were interested in starting something new and exciting. Though my favorite music to perform falls a bit earlier than Grand Harmonie’s core repertoire, I am constantly inspired by my colleagues who push me every day to be a better musician and honored to be an organizing member of the kind of ensemble people enjoy working with. Everyone has such a positive, generous attitude and it’s infectious!

Yani Kahn, horn Photo courtesy of Grand Harmonie

JD: Grand Harmonie is very versatile and can transform from a symphony orchestra to an opera orchestra, or even become a chamber ensemble. Is the unexpected part of what sets Grand Harmonie apart from other groups?

SP: Yes, Grand Harmonie is a bit of a moving target. People attempt to put us into a box and we don’t fit into one. Every performance is different, but it also makes anything possible!

JD: Grand Harmonie will be touring through Somerville and Newton on March 24 and 26 for March Madness. Is this Grand Harmonie’s first time performing March Madness? Where did the idea come from?

SP: This is our first time doing this performance as well as splitting up the movements of a symphony and sprinkling them throughout a concert. In the 19th century, performances were quite different than they are today. Maybe a full symphony wasn’t performed or it was performed in its entirety but not straight through. Perhaps a small chamber ensemble gave listeners a break from the big symphonic sound or a soprano would delight everyone with her beautiful voice.

Grand Harmonie Jacquelyn Stucker Soprano

Jacquelyn Stucker, soprano for March Madness Photo courtesy of Jacquelyn Stucker

These concerts were a social event and audiences didn’t remain silent as they think they are expected to today. Grand Harmonie wants to break the tension and allow people to clap when they want to, explore the space around them, and enjoy the concert without fear of getting stared down if they clap at the wrong moment or make a noise during the music.

On Friday night, the cash bar at the Somerville Armory will be open all night. Through a generous donation from Aeronaut Brewing Company, the first 30 ticket purchasers will receive one free beer! On Sunday in Newton, we encourage people to relax and enjoy themselves, but the concert will not include alcohol and will be a more traditional performance.

JD: This concert will be a particularly intimate and uplifting concert experience since it will take place in-the-round. Additionally, Grand Harmonie will deliver classical pieces in an entirely unique and rollicking way. Putting something like that together must have been a lot of fun.

SP: Friday’s show is a really exciting experiment in how to make a “classical” concert more accessible and we can’t wait to experience it with our audience! Sunday’s show will be more traditional with the audience in pews and the orchestra in front, but we still expect it will be a rollicking good time!

JD: For March Madness, Grand Harmonie weaves Mozart, Beethoven, and Weber into one big concert. You have a unique way of breaking up Beethoven’s First Symphony during this “in the round” concert experience.

SP: It may sound unique to split up a symphony today but this was not unusual in the 19th century! Sometimes even a single movement was chosen for a particular program.

JD: Grand Harmonie also participates in educational outreach. Please tell me about that.

SP: Grand Harmonie has given master classes at the Longy School of Music at Bard College, MIT, and Harvard, among others. We have also given informational lecture/demonstrations at MIT and Yale’s Lewis Walpole Library. We love sharing what we’ve learned with musicians and music enthusiasts young and old! Audience members are very curious about our instruments and we are happy to engage with them.

JD: A few Grand Harmonie concerts are coming up before the end of the season. Please tell me about Grand Harmonie’s future plans.

SP: March Madness is the official close of our season, but we have plenty coming up! We will be performing Haydn’s The Creation with Edward Jones and the Harvard University Choir and Mendelssohn’s Symphony No. 2 Lobgesang with Edward Jones and the Harvard-Radcliffe Chorus. We have loved working with Ed at least once a year since we began and it’s fair to say we have a mutual admiration for each other. In NYC, we will be partnering with On Site Opera to perform a wind octet Harmonie arrangement of Mozart’s The Secret Gardener by our own Yoni Kahn on horn and Thomas Carroll on clarinet. Also, keep an eye out for us during the Boston Early Music Festival the second week in June!

Grand Harmonie group Photo courtesy of Hannah Shields

Click here for all of Grand Harmonie’s upcoming concerts and here for more on Grand Harmonie’s educational outreach. Follow Grand Harmonie on Facebook and Twitter for upcoming events and more.

REVIEW: Boston Ballet presents William Forsythe’s brilliantly compelling ‘Artifact’

Posted on March 2, 2017 by The Sleepless Critic

World-renowned choreographer William Forsythe, dressed in a baseball cap and modest attire, addressed an eager, mesmerized audience in a post-show talk with Boston Ballet’s acclaimed Artistic Director Mikko Nissinen after the evening performance of William Forsythe’s Artifact on Saturday, March 25. Mikko Nissinen introduced Forsythe with enthusiasm and said that working with him has been a lifelong dream fulfilled. William Forsythe and Boston Ballet’s Artistic Director Mikko Nissinen have a five-year partnership, working together to establish each season’s performances, highlighting one of Forsythe’s exceptional works each year.

The Boston Ballet Photo courtesy of Rosalie O’Connor/Boston Ballet

Friendly and unassuming, Forsythe spoke about his beautifully-unconventional production, Artifact, a piece he created over 30 years ago and a work that audiences and critics alike have embraced ever since. Veiled on the Boston Opera House stage and enhanced with minimal props, lies a complex, timeless, and thought-provoking masterpiece which makes a powerful statement on the essence of the art of ballet. Shown in its full length, Forsythe revised Artifact’s finale specifically for the Boston Ballet, which is a thrilling, compelling spectacle that blends classical and contemporary dance in a unique way.

Boston Ballet presents ‘Artifact’ Photo courtesy of Rosalie O’Connor/Boston Ballet

Boston Ballet presents William Forsythe’s Artifact through Sunday, March 5 at the Boston Opera House. Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. Take a closer look at William Forsythe’s Artifact here.

Blending humor, philosophy, drama, and a wide range of traditional and contemporary ballet, William Forsythe’s Artifact, since the show was introduced, set a significant precedent in the inspiring works that followed. A production packed with a wide range of welcome surprises, each distinct character offers their own insight into this mysterious tale. Featuring a shimmering backdrop that matched the majestic, glittering black gown worn by Dana Caspersen, a statuesque woman in grey portrayed by Caralin Curcio, and a dapper, yet frustrated older man with megaphone portrayed by Nicholas Champion, Artifact is an intensely fascinating work from its start.

Raina Sawai as Woman in Gray and Nicholas Champion as Man with Megaphone

Caspersen’s performance is full of jubilance and inquisitiveness from the moment she welcomed the audience with a peerless smile. Curcio delivers a haunting, athletic, and captivating non-verbal performance, her movements sharp, poised, and vigorous while she appears in unexpected places. Dignified and authoritative, Champion’s dynamic performance boasts comedic moments, especially in his interaction with Caspersen. While Champion’s musings are incomprehensible and muffled, Caspersen’s seem philosophical and poetic.

Artifact, divided into four parts like a symphony, features piano by Margot Kazimirska and delves into a full range of emotions as the piano seems to have a mind of its own, often breaking convention. The music, featuring J.S. Boch: Chaconne from Partita Nr. 2 BWV 1004 in D-Minor by Nathan Milstein, Sound Collage by William Forsythe, and music from composer and pianist Eva Crossman-Hecht, progresses from playful to somber then frantic to rhythmic.

Sao Hye Han and Paul Craig in William Forsythe’s ‘Artifact’ Photo courtesy of Rosalie O’Connor

Dressed in rich, vibrant color and launching into choreography ranging from romantic and sweeping to freestyle to stiff and regimented, the Boston Ballet often break convention under the direction of Curcio. A few of the highlights are ballet dancers breaking away into romantic, sweeping duets as they spin, sway, and soar. With a verbal countdown, they perform intrinsic dance combinations such as a row of dancers drop to the floor in unison, embracing. Another thrilling highlight is the ballet directs the curtain to lift and close, creating snapshots of various, choreographed scenes. As Artifact culminates into an unpredictable, uplifting, and magnificent finale, unified dancers are as mesmerizing as the dancers breaking away into frantic, dynamic arrangements, performing pirouettes to a wild rhythm, blossoming into a new entity.

Seo Hye Han and the Boston Ballet in ‘Artifact’ Photo courtesy of Rosalie O’Connor/Boston Ballet

Click here for tickets, call 617-695-6955, or visit the Boston Ballet box office at 19 Clarendon Street in Boston, Massachusetts. Subscriptions and group rates are also available. Follow the Boston Ballet on Twitter.

The Boston Ballet’s 2017-18 season boasts masterful works such as Kylian/Wings of Wax from March 23 through April 2, Robbins/The Concert from May 5 through May 27, Obsidian Tear from November 3 through November 12, and the return of Tchaikovsky’s beloved holiday classic, Mikko Nissinen’s The Nutcracker from November 24 through December 31, 2017. Click here for a closer look at all of Boston Ballet’s 2017-18 season highlights.