Seattle is fortunate to have one of the best Gilbert & Sullivan troupes around—and has had for the past 61 years. This year’s production of that perennial favorite, The Pirates of Penzance, opened Friday at the Bagley Wright Theatre for eleven performances (weekends through July 25th: tickets here). Although this is the ninth time the company has presented it (first in 1956), each production has new ideas and clever, imaginative touches while never adulterating the tried-and-true base of the original work.
This time it is as fresh as if they had never performed it before, and also shows a changing of the guard. There are new faces everywhere in this production. There is a noticeably younger generation on stage in roles both principal and chorus. Mike Storie has stepped down from producer (for the past 18 years) in favor of Kim Douglass (who worked with him, and whose title is now producing artistic director), Christopher Nardine has succeeded Christine Goff this year as stage director, and many of the singers are new to the Seattle Gilbert & Sullivan Society. This is all as it should be and it is a pleasure to report that the true G & S spirit is unchanged and the production as lively, charming and fun as always, much as devotees may miss performers they’ve expected to see forever.
One unchanged old-timer, Dave Ross as the Major-General, has lost none of his inimitable ability to sing pattersong at warp speed while making most of it audible to the audience. His daughters, all 12 of them, are young, pretty, vivacious and good actors and singers, while the heroine, Shelly Traverse making her Society debut as Mabel, is as pert, cute, and feisty as she is intended to be and an excellent actress as well. To have one of her sisters be a bookworm is a delightful touch.
Derek Sellers as her swain Frederic is the right age and has the requisite agility as well as voice—this is an energetic production and all the males need to be able to leap up, over or around while singing. Many of the pirates are old-timers but have retained their energy while Pirate King Brian Pucheu, another Society newcomer, leaps highest of all and wields a mean sword he doesn’t hesitate to draw.
One of the delights is Erin Wise as the rough-and-ready nursemaid Ruth. For this, Wise cultivates a voice which could cut through metal and a dialect accent to match. Last but not least of the principals, Police Sergeant Michael Drumheller, also a debut here, leads the bumbling constables as they caper through ruins and get thoroughly beaten by the pirates in a thrilling fight choreographed by Ken Michels. And all of them—pirates, police, girls, principals—can act as well as they sing and they all do, all the time. Nardine has done a stellar job of stage direction.
New sets are by Nathan Rodda, colorful costumes by Candace Frank and the whole is tied together by music director Bernard Kwiram with his orchestra of 28, well-paced and supportive of the singers.
The Northwest Boychoir has just embarked on its latest concert tour, but before leaving Seattle it gave a preview concert Tuesday night for a packed audience at Plymouth Church. The written program included everything the choir would sing while away, each concert having just a selection of these as it did here, one half being sacred music, the other secular.
The Boychoir is a great ambassador for music in Seattle. The quality of the singing is up to the standards of the best English cathedral choirs, not a random observation as the tone is very similar: clear and pure. For the first half, the boys sang, unaccompanied, Mozart’s “Laudate Dominum” and Durufle’s very tricky “Tota pulchra es” with absolute perfect pitch sense. It isn’t easy to be that perfect, particularly when singing with no vibrato. The slightest waver in pitch is instantly noticeable and it did not happen here. Piano accompanist Christina Siemens joined them for Randall Thompson’s “The Place of the Blest,” and in Pergolesi’s “Stabat Mater,” of which they sang eight sections.
This was all a delight to the ears musically and the resonant acoustics of Plymouth Church enhanced the boys’ voices. However the acoustics there are death to diction. It was impossible to hear words at any time from two-thirds back in the church, even when conductor and choir director Joseph Crnko announced selections. Since works were not sung in the order given in the program it was sometimes quite a scramble to figure out what was being sung if the music was not familiar.
The same continued in the second half, which ranged from arrangements of folk songs and gospel songs to songs from musicals and even the Beatles. All of the arrangements seemed done with boys’ voices in mind, so that there was a sameness in style no matter what the original was. Thus “When you Wish Upon a Star” had the same feel as “Deep River” or “Home on the Range.” However, all had energy, nuance and dynamics, and the final “America the Beautiful” ended the concert on an uplifted note.
The boys’ demeanor also deserves mention. They stood without fidgeting, their hands by their sides or holding their music books, all the same way, so that nothing distracted from what they were singing. This kind of professional discipline is remarkable in children aged 10 to 14. Crnko deserves great credit for their training in every aspect of performance, as he has done for two generations of boys in the choir.
What’s better than a great live music show? A great, free live music show. And what’s better than a great, free live music show? An entire series of ‘em.
Downtown Seattle’s providing just that with its Out to Lunch Concert Series, a sizable handful of free live gigs going on for the remainder of the summer. The lunch party begins this afternoon with a set by the Seattle Women’s Jazz Orchestra, playing at noon today at City Hall Plaza.
Out to Lunch shows are taking place from noon to 1:30 p.m. throughout Seattle on Tuesdays, Thursdays, and Fridays until September 4, at a variety of locations including Westlake Park, the aforementioned City Hall Plaza, the IBM Building, and Westlake Park, among others. The series has been going for a few years now, but this year’s lineup looks to be its best yet, making ample use of the surplus of local music talent and touching on an impressive variety of styles.
You can find the full schedule here (and yeah, there’s not a bum act in the bunch), but enclosed please find our list of the ten acts we’re most excited to see during the Out to Lunch series, in chronological order.
The Maldives (Friday July 10, Westlake Park): Seattle’s most durable roots-rock act also happens to be a rock of consistency live. I’ve seen at least ten Maldives gigs over the last five years, and every set’s been nothing less than full-on.
Craft Spells (Friday, July 24, Westlake Park): Their name says much, if not all. This band’s dreamy, British-inflected guitar pop should be a great, shuffling lilt of a soundtrack to an extra-heady summer afternoon.
Greta Matassa and Friends (Thursday July 30, City Hall Plaza): Nimble, playful traditional jazz and big-band sounds from 2014’s Earshot Jazz Vocalist of the Year, backed by an impressive instrumental ensemble? Yes, please.
The Staxx Brothers(Friday July 31, Lake Union Park): The Staxx Brothers are what that poseur Kid Rock desperately aches to be—namely, a double-barreled shotgun of steamy velour soul grooves and deep-fried southern rock that fires on all eight cylinders, with a charismatic court jester of a frontman who counters his spirited pipes with showmanship to burn.
Naomi Wachira (Thursday August 6, City Hall Plaza): This African ex-pat’s earthy variety of folk embraces her heritage while still connecting on a universal level. And she’s a riveting presence live.
Radiation City (Friday August 7, Westlake Park): In case you haven’t gathered here, and here, and maybe here, we at the SunBreak loves us some Radiation City. As amazing as this Portland quintet’s merger of chamber pop, new wave, lush vocal harmonies, and shoegazer atmospherics sounds on their recordings, though, they’re also able to deliver that mix to stunning perfection on a concert stage.
Fly Moon Royalty (Tuesday August 11, IBM Building): The alchemistic combo of DJ Action Jackson’s beats and melodies with singer Adra Boo’s siren vocals is as close to a two-person summer jam factory as you’ll get. If you ain’t moved to shake your ass, check your pulse.
The Dusty 45’s(Friday August 14, Harbor Steps): ‘Rip-snorting’ is the one adjective that most readily applies to this veteran Seattle rockabilly act. It’s likely way too dry and hot for band leader Billy Joe Huels to set his trumpet on fire onstage (as he’s done live numerous times in the past), but I wouldn’t put it past him.
Shelby Earl (Wednesday August 19, Two Union Square): Earl’s pipes–think Patsy Cline, channeled through roots-rock earthiness–makes magic from heartache and thwarted romance, so it’s a given that her dusky jewel of a voice will make even the most sweltering summer day a little more bearable.
Eldridge Gravy and the Court Supreme (Friday August 28, Lake Union Park): Again, we’ve sung the praises of Gravy and his gang of funketeers repeatedly over the years. It’s a side effect of them being sharp as hell live. Like Fly Moon Royalty, ass-shaking should be gloriously unavoidable.
After nearly a month of doing nothin’ but eating, breathing, and dreaming movies, it’s high damned time for me to take care of a serious live music itch. To belabor the metaphor, this weekend’s a Supermall-sized drugstore, and below you’ll find just a few of the dozens of brands of sonic itch-reliever at your disposal. Yeah, I’m reaching for metaphors, but I (and you) won’t have to reach far for a great music show. Or two. Or more.
Friday, June 19 (tonight!):
Kairos, Maiah Manser, Blush Cut @ Chop Suey. 21+. $10 at the door. Doors at 9:00 p.m.
You can hardly throw an empty coffee cup over your shoulder in Seattle without hitting multi-instrumentalist/singer Lena Simon, who plays with garage-surf goddess collective La Luz, groove-rock dynamos Thunderpussy, and dance band Pollens. In Kairos, her solo project, Simon wraps her coolly alluring croon in gauzy synths, textured guitars, and a percolating bed of electronic and live percussion. Some of it’s insidiously danceable, some of it’s as dreamily pretty as anything you’ll hear, and all of it’s, well, amazing (see Chris Burlingame’s great, in-depth interview with Simon on this here website for more).
Tomten, Rare Diagram, Boat Race Weekend, Hellbat @ The Blue Moon Tavern. 21+. $5 at the door. Doors at 8:00 p.m., show at 9:00 p.m.
This bill at the U district’s venerable Blue Moon runs roughshod all over the map. Hellbat‘s unusual configuration (bass, keyboard, drums, and wonderfully alien-chirp vocals) and joyously trashy art-punk sound never neglects the fun factor, while Boat Race Weekend plays chunky and careening indie rock that borders on nu-metal. Portland’s Rare Diagram and local boys Tomten both round out the evening on a lush pop note: The former updates Pet Sounds-era Beach Boys and Harry Nilsson with 21st century oddness, and the latter put out one of my favorite local releases last year—The Farewell Party, an unerringly gorgeous and lilting collection of baroque pop tunes that translate faultlessly in a live setting.
Cockney Rejects, Angry Samoans, 13 Scars, guests @ El Corazon. 21+. $15 at the door. Show at 8:30 p.m.
Looking for a fix of old-school punk from both sides of the pond? Look no further than El Corazon this evening. Cockney Rejects sprouted from English punk’s restless late1970s loins, bashing out a blue-collar variety of punk that owed as much to traditional pub-rock as it did to the spiky-haired three-chord bursts of their peers. California’s Angry Samoans, meanwhile, represented the funnier, less-angry flipside: Their two-minute epics sport a snarky sense of humor and a streak of garage-rock seasoning to go with the ripsaw energy–it’s genetically impossible for me not to appreciate a band sporting song titles like “They Saved Hitler’s Cock” and “You Stupid Asshole.”
Saturday, June 20:
De La Soul, Brothers from Another @ EMP Museum. 21+. $25 members/$30 non-members advance. Show at 9:00 p.m.
For a couple of months last winter, De La Soul’s 3 Feet High and Rising maintained virtually exclusive residence on my iPhone. Its psychedelic playfulness, densely intricate samples, and wonderfully out-there sense of humor informed an entire New York contingent of outside-the-box hip hop (A Tribe Called Qwest, Queen Latifah, The Jungle Brothers), Outkast, local acts like THEESatisfaction and Shabazz Palaces, and current hip-hop It Boy Joey Bada$$ (who, coincidentally, plays across town at the Showbox tomorrow night). 3 Feet showed hip hop to be as infinitely expansive as any other sub-genre of popular music, and damned if the record doesn’t still sound daisy-fresh today (their two Prince Paul-produced follow-ups, De La Soul is Dead and Buhloone Mindstate, kinda rule, too). Show up to pay some respects, and congratulate ’em for successfully funding their first new record in over a decade. Make sure you get there early, too: Seattle three-man crew Brothers from Another share De La’s propensity for bluster-free, fun rhymes–albeit with a less-trippy backdrop of minimal funk beats–and a reputedly-jumping onstage presence.
The Draft Punk Festival with Girl Trouble, The Fucking Eagles, The DT’s, The Tom Price Desert Classic, and loads more @ The Swiss Restaurant and Pub (Tacoma). All ages. Free until 8:00 p.m/$10 after 8:00 p.m. Show begins at noon.
Great, no-bull garage rock crawls from the soil of Tacoma like some undying monster, so it’s worth considering a trip to T-Town for this free-for-most-of-the-day music festival. You’ll get local craft brews, a lovable 1913-vintage venue for the paid evening portion of the fest, and a dozen local rock outfits. There doesn’t appear to be a weak act in the batch, but make it a point to catch two of The City of Destiny’s most durable bands. Girl Trouble are Tacoma’s Garage Rock of Gibraltar (they’ve been carrying the torch for over thirty years now), and The Fucking Eagles thrust some roadhouse soul muscle into their muscular garage rock. Both acts belong on anyone’s local-rock bucket list of live bands.
Eldridge Gravy and his band of funky misfits the Court Supreme remain one of this ‘burg’s most reliable purveyors of deeply booty-shaking soul, so they’ll fit right in amidst the parades and naked hippie cyclists that’ll be overtaking Fremont during the Solstice Festival this weekend. Expect the likely-warm temperatures to increase by at least ten degrees once these guys get down to business. For reals, cousin.
I haven’t been to Narwhal (AKA the basement of Capitol Hill’s Unicorn bar) for live music yet, but this bill could change that, largely on the strength of Seattle band Charms‘ reputation as a potent onstage act. Their frantic music throws rapidly-strummed guitars and perpetually rolling drums into indie rock tunes that sound sort of like a super-caffeinated Modest Mouse gone new wave. It’s quite the contrast to the other three bands on the bill (Eight Bells from Portland and Seattle ensembles X Suns and Panther Attack), all of whom proffer largely/fully instrumental, complex-yet-heavy space-rock sonics in the spirit of Earth and early Kinski.
When the Auburn Symphony Orchestra was formed by music director Steward Kershaw 17 years ago it was in order, he said, to give the members of the Pacific Northwest Ballet Orchestra an opportunity to play the general orchestral literature.
Kershaw had been music director at PNB for many years, conducting an orchestra described by many admiring critics as “the finest ballet orchestra in the country.” While there are still many musicians who are members of both ensembles, there are others who belong to one only.
The Auburn Symphony has showed its caliber over the years since in the small city south of Seattle which showed its pleasure in having its own orchestra by giving it support, although finances have often been dicey particularly in the recent recession. (Their annual gala is coming up June 6.)
The ASO normally performs at the Performing Arts Center, which doubles as Auburn High School’s auditorium, but this past season has seen that venue in the throes of extensive renovation, and the ASO has been performing at Auburn’s Mountainview High School instead. Next season it will be back at the PAC.
Meanwhile the final concert of the 2014-15 season had a packed audience Sunday afternoon at Mountainview. The orchestra showed itself at its best in a superb performance of Mozart’s Symphony No. 29. The orchestra was the right size for this music, about 43 players, and the players in each section played as one, clean and crisp. Kershaw drew expressive details from them, the balance was perfect, and the whole an unalloyed pleasure to hear.
It’s not common to hear the bassoon as a solo instrument, but Vivaldi wrote many concertos for it, and principal bassoonist Mona Butler performed as the soloist in his Concerto in A Minor. The bassoon is the lowest of the wind instruments, but its pitch, timbre, and textures were never overlaid by the orchestral accompaniment. Vivaldi chose in this concerto to intersperse orchestra and bassoon with duets between bassoon and solo cello, ably played by Brian Wharton. It’s a concerto of considerable charm, well played by Butler, but there were many moments where orchestra and soloist were not quite together, which detracted from overall enjoyment.
She returned after intermission for a rarely heard and delightful work by Elgar, a short Romance for bassoon and orchestra. This is unmistakable Elgar from the first notes, with a much larger orchestra and clever orchestration to keep from drowning the soloist. Again however, there were moments when they were not together.
The concert ended with Bizet’s lively “Arlesienne” Suites Nos. 1 and 2, between them eight short pieces, robust, fun, colorful, foot-tapping stuff, most feeling like dances (which they may have been as accompaniments for a play by Alphonse Daudet), and of which the orchestra took full advantage. The whole was a pleasure to hear. Kudos particularly to principal flute Wendy Wilhelmi and piccolo player Laura Werner, for their zestful and musical playing.
It’s hard to provide enough superlatives for San Francisco-based Chanticleer, the men’s vocal ensemble which has been top of the charts for much of its 37 years. While personnel have come and gone, the quality remains extraordinarily high.
Performing to a packed audience on the Early Music Guild Series at Town Hall Saturday night, the twelve singers gave a concert, titled “Mystery”, of sacred songs devoted to the Virgin Mary. These ranged from plainsong from the seventh century—although it may actually be much older than that—to 20th-century Russian music, via many of the great Renaissance and Baroque composers. It’s hard to mention highlights, as every song was more beautiful than the last.
From Spain came music by Alfonso X of Castille and Tomas Luis de Victoria; from Portugal an anonymous and lively dance-style song with tambourine, meant to show music of Portuguese West Africa; from Mexico a European-tinged development of a plainsong melody by Antonio de Salazar; and more from the European greats of the great flowering of choral music from the 15th to 17th centuries: among them Giovanni Gabrielli, Josquin des Prez, Orlando di Lasso, Palestrina, William Byrd. Lastly came three from Russia, by Rachmaninov, Georgy Sviridov, and Nikolai Golovanov. Sviridov, like Byrd, lived in fear, both prohibited from writing the music they felt they must: Byrd a Catholic hounded by Protestants, Sviridov under the heavy hand of Communism. Yet all these composers wrote music of sublime beauty.
Listening to Chanticleer, with three voices in each range—soprano, alto, tenor, bass/baritone—the balance between singers made every line audible whether they were singing in four or up to eight parts. In unison the blend sounded seamless, no voice standing out, as the monks of old must have tried to do.
Their diction was clear. It was always possible to find where they were in a song, as the program gave us both the original language and English, plus phonetic translation of the Russian alphabet as well. At times, one or another would sing solo, as in the beginning phrase of the Salazar, or there would be a small group singing antiphonally with a larger group. No vibrato in the voices and the group’s remarkable pitch sense meant intervals were completely pure, a joy to hear.
The soprano voices were astonishing. We are now used to countertenors, but not many sing this high, and all of these sang with a full-throated ease which sounded close to the feminine soprano sound. Only towards the end of the concert—and the end of a three-week tour—did there begin to sound a little strain at the top end of the range, and a few notes which were not quite on pitch.
For an encore, Chanticleer went for something quite difference, a lively arrangement of the old gospel song, “Swing Low, Sweet Chariot,” sung with the same impeccable attention to detail and style and ending with what seemed an impossibly low note.