ADAMS AT DISNEY 

I consider John Adams to be the preeminent living American composer. So when a program is billed by the Los Angeles Philharmonic as “John Adams Conducts”, say no more, I wanna be there. It turns out Adams holds the position Creative Chair of the LA Phils. That meant this night he was more curator than conductor.

A world premiere set to open the program was cancelled due to performer illness. The Los Angeles Percussion Quartet filled in. Their selection, “Aura” played on a large ensemble of percussion instruments was performed in the dark. No really, the house lights were turned off and the players wore LED lights on their hands. It was less of a spectacle than what you might expect and for a percussion piece unexpectedly subdued.

Adams came to the stand for the second piece, yet another world premiere. Scored for brass, piano, harp and percussion, Anthony McIntosh’s “Shasta” proved to be more academic than engaging.

After intermission Adams came on stage microphone in hand to introduce the concluding two pieces. Both works he said were by composers he’d known and worked with during his early days in San Francisco. I’d read his delightful autobiography, “Hallelujah Junction” so I had a pretty good idea of what to expect.

First up, Julius Eastman’s minimalist “Evil Nigger” scored for four pianos. Notes reiterated, themes appeared and disappeared, all the while sonority rolled along. Intriguing though prolonged.

And then the finale, Salvatore Martirano’s “L.’s G. A. for Gas Masked Politico, Helium Bomb and Two-Channel Tape”. In which L is for Lincoln, G.A. is for Gettysburg Address and in which a gas masked narrator recites portions of Lincoln’s text while hitting on nitrous oxide and prowling the stage backed by a rudimentary psychedelic film and prepared tape. Silly? Perhaps. Then again, it's a preserved artifact of another time when the potential of creativity seemed infinite, at least so it seemed in 60’s San Francisco.

In all an evening more interesting than enthralling. I would way have preferred a full philharmonic orchestra filling this beautiful place with John Adams compositions. At least it was a return visit to the Frank Gehry architectural masterpiece that is Disney Hall.

 

 

Headed down to the Music Center we wondered, “Why are we even doing this?” The evening’s presentation, Leonard Bernstein’s “Candide”, had never been on our radar. But it was what the LA Opera was offering during our visit. From experience we expected a world class production which, it turned out, is just what we got: brilliant direction, an engaging cast and super stagecraft.

Kelsey Grammer sang but mostly acted, cleverly transitioning between the dual roles of Voltaire and Dr. Pangloss. I’d only ever seen Grammer on TV as Frazier Crane on two series I’d never watched through a complete episode. Acting in a TV series entails working small on tight sets. The challenge of performing on the immense Dorothy Chandler Pavilion stage is just the opposite. Grammer nailed it. His speaking voice, unamplified, easily filled the hall. His singing voice, not operatic but strong, suited his only solo number just fine.

              The other leads, soprano Erin Morley as Cunegonde and Jack Swanson as Candide where just what we’ve come to expect at the LA Opera, strong, vibrant and youthfully attractive. Indeed, the entire cast including Broadway star Christine Ebersole, was exceptional.
 

 

               I’m guessing “Candide” was programed in recognition of the Leonard Bernstein centenary. I’d always known Bernstein as a great conductor. I’ve a shelf full of his Beethoven recordings. I quite recall watching him conduct the Young Peoples Concerts from the black and white days of TV.  I’m less familiar with him as a composer. As a pious former altar boy I was thoroughly confused by his “Mass” which I’d watched when it was televised as part of the Kennedy Center inauguration. It wasn’t like any mass I’d ever served. And then, of course, there’s” West Side Story.”

“Candide” is more operetta than opera although there are some stirring operatic parts including some soaring choral work. It’s also a pastiche of musical styles, some blues, some Broadway, a tango and, imagine that, some satirical bel canto soprano parts. I look forward to hearing more Bernstein this centennial. He did write three symphonies, a dance suite, chamber music, choral music and (I gotta hear this) “La Bonne Cuisine: Four Recipes for Voice and Piano”. Meanwhile I’m happy to have attended a fine production of “Candide” and hope the work stays in the repertory.