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.

             

Winter in LA 2017 Pt II

Jessica Lang Dance, Ahmanson Theater, February 17 

We weren’t familiar with Jessica Lang Dance. But the company’s appearance at a major downtown venue, The Ahmanson Theater at the Music Center encouraged us to attend. So glad we did. We discovered Lang’s innovative choreography performed by an exceptionally strong company in a theater perfect for dance.

Tesseracts of Time, the opening piece, a collaboration with architect Steve Holl performed in four parts to music by contemporary composers won is over immediately.  The opening dance to music by Pulitzer Prize winning minimalist David Lang, really just a series of clicks and tones, quickly established Lang’s gift to find the movement in the music. Buffalonians are familiar very familiar with Morton Feldman’s deliberately arrhythmic compositions. It was a daring choice to choreograph the second part to his music, a challenge met by employing video to create an otherwise physically impossible dance where onscreen performers appear and disappear among unfolding geometric patterns.

We’ve seen ever greater use of video in dance. Much of White, A Dance on Film is video on a full stage sized screen. This allows seeing dance larger than life, to see the dancer’s movements in ways never possible otherwise- close up or sped up or in slow motion.

All of the dancers in this company are exceptional. Two in particular stand out. Kana Kimura is slight and extraordinarily lithe. Milan Misko is the biggest dude I’ve ever seen in a dance company. His strength combined with her elasticity allows Lang to create astonishing duets.

This is a young company, just five years old. Choreographer and Artistic Director Jessica Lang is in her forties. As her creativity continues to evolve and her company continues to prosper, world class status is certain.

 

 

 

“Salome” by Richard Strauss, LA Opera, Dorothy Chandler Pavilion. March 2

 

 Our first disappointing LA Opera production, mostly for lack thereof. Instead of the stagecraft we’ve come to expect we got a marginally employed lackluster set. I blame director David Paul for the poorly posed presentation and for soprano Patricia Racette’s portrayal of Salome as more of a petulant princess than a sensuous seductress. Characters addressing each other stood at opposite sides of the stage facing the audience and declaimed. Only Allan Glassman as Herod showed any real acting chops.

(Racette redeems her performance with her long, powerful, erotic and perverse song to the served to her on silver head of the prophet, Jochanaan) 

The evening was saved by the glorious music of Richard Strauss. I mean, how often does one close one’s eyes during the dance of the seven veils so as to concentrate on the music.

 

 

 

Jane Monheit, Catalina Jazz Club. March 3.
It took a coupla numbers, probably until her first ballad, before I tumbled in. From then on it was a total groove hearing this superb singer live. What pipes!
What an extraordinary sense of style! She’s truly in the great tradition of chick jazz singers.

 

 Alvin Ailey American Dance Theater, Dorothy Chandler Pavilion, March 8

 

Last big ticket this tour. A big deal: six performances over five days in the largest venue in LA. Because pretty near everyone who knows me has heard my Alvin Ailey story at least once, I’m pledged not to repeat it. The gist of it is I know what to expect from this venerable dance company – challenging choreography performed by some of the best dancers in the world. All those expectations were met and exceeded. Again.

They performed four pieces:

·       R-Evolution, Dream- My personal favorite. In the company’s tradition: street dance and balletic dance and a least a coupla breath taking moments, all of it steeped in African-American culture. Choreographed by company veteran Hope Boykin and inspired, she writes, by the speeches and sermons of Martin Luther King. I’d advise anyone who might be put off by the politics to just watch the dancers.

 

·       Untitled America – hard core choreography, intense, much of it performed to thrums and clicks or spoken word. The piece asks a lot of the dancers; they excel. Inventive and compelling and crucial to the advancement of the art.

·       Ella – the only dance on the program choreographed by Artistic Director Robert Battle. Two chicks dance out the one and only Ella scatting. Great fun

·       Revelations by the late Alvin Alley. I’m sorry but this signature piece seems dated to me now. What once was ground breaking choreography seems light and uncomplicated in view of all that came before it this evening. And there is that touch of watermelon. Still, the LA audiences loved it. Cheering wildly at every turn. No really, I’ve never encountered that in a dance audience before