Orfeo & Euridice

Today I was presented with the opportunity to go to the Atlanta Opera to see Orfeo & Euridice.  I jumped at the opportunity because I had never previously seen a full scale Opera from the Atlanta Opera.  A patron of the Opera wanted to purchase tickets for a Morehouse and Spelman student that was involved in music and the performing arts.

The opportunity to attend the opera happened at such a perfect time.  In History of Western we had just learned and viewed parts of the opera L’Orfeo by Monteverdi.  I was very familiar with L’Orfeo because I had the opportunity to see the full opera while in Italy and my History of Italian Opera course went into a full analysis of the work.  Now having seen both versions of the same story I can full heartedly say that I prefer the version of Monteverdi.

Gluck’s version was very interesting especially in part because of the role of the countertenor.  I was first introduced to a countertenor while in Italy.  My first introduction to a countertenor was interesting because I was not expecting such a bright, soprano like sound to come from a man.  The countertenor in Orfeo & Euridice was great and taught me something new.  I was aware of classifications of of voice types but I did not know the same can apply to countertenors.  My first exposure to a countertenor sounded similar to that of a soprano however, the countertenor in this production reminded me greatly of a mezzo-soprano.

Overall the production was great but much of my focus was on the countertenor. The way in which he produced sound and then receiving the opportunity to hear his story of how he learned he was a countertenor was quite interesting.

Otis Redding Foundation Benefit

I attended the Otis Redding Foundation Gala at the Woodruff Arts Center.  The event was star-studded filled with performances by Estelle, Anthony Hamilton, Kenny Lattimore, Chante Moore, Karina and Redding’s children Dexter and Otis III.  The concert began late however, once it began it was not disappointing.

Estelle began the evening saying, “I’m just trying to do his song justice,” who sang “Satisfaction.”  Satisfaction is a Rolling Stones song that Redding covered. “I hope I come close to making the song sound great just like him.”  Estelle’s performance left the audience wanting more.  She was the perfect person to begin the night.  It was quite odd however, watching her perform in a setting that was not her own concert.  I remember seeing Estelle live this summer in New York and she was very free in spirit.  However, due to the occasion of the night Estelle maintained her composure to deliver just to one of Otis Redding’s songs.

It had been quite sometime since I had heard Chante Moore sing but her performance of “Respect” reminded me of just how much I missed her voice on the music scene.  Anthony Hamilton performed “Try a Little Tenderness” with Redding’s sons Dexter and Otis III.  Hamilton’s entrance on stage was superb.  I could not have imagined a better person besides Redding, himself.  As the song came to a close towards the last chorus Redding’s children introduced their father and a video began to play of Redding’s performance.  It was a great evening and homage to their father.

Redding established himself in the early 1960s as a first-rate songwriter, penning and recording “Respect,” which Aretha Franklin made a No. 1 hit. His biggest hit, “Sittin’ on the Dock of the Bay,” was released after his death in a plane crash in December 1967.