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.

Tyrone Clinton Senior Student Conducting Recital

I was given the opportunity to take part in the senior conducting recital of Tyrone Clinton.  The music in which he conducted was very diverse and was truly a treat.  

Having the opportunity to work through music with Tyrone was great.  He was a great motivator, determined to fix all imbalances and communicated effectively with him ensemble.  My favorite pieces of the recital were “Bogoroditse Devo” by Rachmaninoff, and “O Praise the Lord” by Dr. Uzee Brown.  During the learning process Mr. Clinton made sure to inform his recital of what we were singing about and other information that would be of importance for delivery.

“Bogoroditse Devo” by Rachmaninoff in simple is the Russian version of Ave Maria.  It turned out to be one of the best pieces in which the ensemble preformed.  The piece is unaccompanied and slow however, Mr. Clinton enforced that we follow all dynamic markings in order to effectively deliver the beauty of the piece.  The Spelman students in the ensemble followed all markings but Morehouse students forced Mr. Clinton to present them with every nuance.  Mr. Clinton is such a powerful and easy director to follow that Morehouse could not help but to do what they were given.

One of the more challenging pieces of the recital was Dr. Uzee Brown, “O Praise the Lord”.  The song was harder to learn and conduct because of the counterpoint throughout and the frequent use of dissonance within the voice parts.  The organ and ensemble went against each other for most of the piece.  However, the piece turned out to be a huge success.

Tyrone Clinton is a fabulous conductor and I am excited for the day that we cross paths again in our professional endeavors.

Sakinah Davis Senior Recital

On May 3, 2009 I went to see the senior recital of Sakinah Davis.  Davis has a beautiful voice and the mastery and control she has over her voice is wonderful.  After the concert I shared with peers, “that I want to be like her when I grow up.”  The time and devotion that she put into her recital showed.  It appeared effortless and excited me for the possibility of my own next year.

Davis melodic voice filled Sisters Chapel from her very first note.  Her diction within each of her languages was superb.  I was especially thrilled with the Spanish set on her program.  While I was in Italy I was given the opportunity to sing Villa-Lobos Bachianas Brasileira, which begins on the vowel ah and concludes with humming.  I noticed a connection in her Spanish set and Bachianas Brasileira.  Davis song originated from Argentina and mine was from Brazil, the countries are relatively close to each other and it was easy to notice in the music.  In one of the Spanish sets Davis hums.  Her ability to hum and fill the chapel was excellent.  In personal experience sustaining a pitch and melodic idea on a hum in a piece is complicated.  The piece Gato in her Spanish set was great.  The piece was not so much about her singing but about the piano accompaniment.  The intricacies of the piano part were great.  Trey’s articulation and delivery of the fast rhythmic piece was excellent.

I left Davis’s recital that day overjoyed.  I will truly miss her here at Spelman but Cincinnati has an excellent musician coming to them.  I hope they’re ready because she is about to take them by storm.

Indra Thomas Recital at the Historic Ebenezer Baptist Church

On April 26, 2008 I went to see the recital of Indra Thomas presented by The Metropolitan Atlanta Musicians Association at Ebenezer Baptist Church. 

The concert began with four French songs.  In diction we are continually told that French is a language of long vowels.  As the performance continued I noticed that I hardly heard any consonants at all in the French section.  The only consonant I can recall hearing are the r’s in rose as compared to German in her performance of Zigeunerlider Opus 10 by Johannes Brahms.  In German I heard both vowels and consonants.  In some words it appeared as if they were said wrong but had to be pronounced in that manner as a result of the word that followed.  Indra’s stage presence was wonderful.  She became each character or emotion that was to sing.  A prime example of this was in Zigeunerlieder Opus 103 by Johannes Brahms.  I the set of songs she had to quickly become each character or emotion whether it was happy or sad and so, on.

In the Negro spiritual section of the program it was clear that she was enjoying herself.  She told each story yet again as if it were her own.

My voice instructor always speaks of my tone and how I should sound.  As I listened to Indra Thomas sing I realized the sound that I should have when I sing.  Now my goal is to work on developing that sound with my voice.  The concert was very beneficial to me personally because it helped me to see and have a real life example of what people are expecting of me vocally.

Leon Bates Steinway Recital

On April 16, 2008 I saw Steinway Artist Leon Bates perform in concert to recognize Spelman College as an all Steinway School.  The purpose of this concert was to celebrate Spelman College as the only Historically Black Institution to be an all Steinway School.  President Dr. Beverly Daniel Tatum and Provost Dr. Johnella Butler accepted the award on Spelman’s behalf.

The Concert began with Three Impromptus, Opus 90 Franz Schubert (1797 – 1828).  Each Impromptus had its own feeling that it bought to the performance.  The first No. 2 in E flat Major varies between lively and dark colors.  In Leon Bates performance he elongates the darker sections and accents the upbeat in the lively sections.  Next No. 3 in G flat Major he keeps a fluid tone of ideas.  A circle of 5ths progression can also be heard.  Lastly, No. 4 in A flat Major returns back to a lively feeling as in the first Impromptus.  The distinctions between major and minor are very clear because of the change in tone from lively to somewhat sad.  The melody was maintained in the soprano.

Leon Bates made an arrangement of four pieces in the concert.  Each of the three pieces had a jazzy feeling and swing to them.  It was a contrast from the other pieces within the concert.  He included seventh chords and had dramatic pauses and retards throughout the piece Chelsea Bridge.  In A Flower is a Lovesome Thing; he outlines the chord in his right hand while maintaining tonic and root on the left.  He achieved this be establishing a clear pedal tone.

Finally he performed Rhapsody in Blue.  It was great to hear him play because I recall hearing him perform that piece at the Brooklyn Academy of Music while in High School.  At that time Bates stressed the importance that the piece never comes across the same every time.  It varies depending upon mood.  It was wonderful to see him play on a different stage with a different feel.