March 12, 2014

The Princeton University Orchestra concerts this past weekend had something for everyone, featuring two student instrumental soloists, one faculty vocalist, and two conductors. The music spanned close to 200 years, with a variety of ensemble combinations.

Saturday night’s performance in Richardson Auditorium (the concert was also presented Friday night) focused on student talent in the first half, with two exceptional underclassmen who were winners of this year’s University Orchestra Concerto Competition. Australian junior Nicholas Stead took on one of the most difficult piano concerti in the repertory — Maurice Ravel’s Piano Concerto for the Left Hand. Composed as a single movement concerto for a performer who had lost his right arm, this work presented Mr. Stead with the unique challenge of avoiding the temptation to add his right hand to the full keyboard range of the music. The strength required of the left hand was substantial to sustain the slow and intense dynamic and harmonic crescendo as the piece seemed to rise from the sea.

Conductor Michael Pratt led a smooth and flowing Allegro, emphasizing the many coloristic effects and percussive orchestration. The solo piano part required the same dexterity from the left hand as the most difficult works for two hands, and Mr. Stead showed no difficulty handling the intricate lines. Timing between piano and clarinets was exact, and the concerto was enhanced by elegant instrumental solos from English hornist Tiffany Huang and bassoonist Louisa Slosar. No one created musical sunrises better than Ravel, and as the University Orchestra reached full force at the end of the piece, the effect was dramatic.

Sophomore violinist Jessie Chen selected his solo challenge from the late 19th century, with the four-movement Scottish Fantasy of Max Bruch. Each movement incorporated a different folk song with its own unique character. The late 17th-century tune “Auld Rob Morris” was set for plaintive violin solo and orchestral accompaniment, giving the impression of the broad landscape of Scotland. Mr. Chen maintained a very folk-song style while conveying the tuneful theme against the broad string strokes of the orchestra. Mr. Chen was decisive when he needed to be, as the orchestra, led by Ruth Ochs, built the intensity of the movement well. The second movement country dance included numerous double stops for the violin soloist, and Mr. Chen was joined in a playful duet by flutist June Yoon. The most virtuosic passages for the violin solo came in the fourth movement, which Mr. Chen played against an elegant harp accompaniment.

In commemoration of the 100th anniversary of Benjamin Britten’s birth, the University Orchestra presented the composer’s dramatic cantata Phaedra, based on the mythological story of the daughter of Minos of Crete. Mezzo-soprano Barbara Rearick, a member of Princeton’s voice faculty, dramatically conveyed the text with its minimalistic accompaniment provided by a small orchestra including harpsichord. Britten sought a Baroque approach to this piece, but the harpsichord in this case had a more percussive and pointillist effect than the usual accompanying chords heard in Baroque music. Ms. Rearick worked effectively to present a vocal line that was not always melodic, accompanied by graceful accompaniment, especially from cellist Bradley Berman. Mr. Berman played an especially poignant melody toward the end of the work, as a commentary on the death of Phaedra, as conductor Mr. Pratt allowed the piece to fade away. The concert closed on a chipper note, with a spirited performance of Mozart’s Symphony No. 38 in D Major. The University Orchestra had no trouble finding the drama in Mozart’s music and the six wind players providing flute, oboe and bassoon accompaniment were especially strong in the Finale.


March 5, 2014

Richardson Chamber Players presented a concert this past weekend entitled “Quiet City,” named for incidental theatrical music by Aaron Copland, but devoted to the music of several 20th-century composers. The Sunday afternoon concert at Richardson Auditorium featured regular Richardson Chamber Player performers, and also included a number of Princeton University students who added great depth to the performance of the final Copland piece. In his introductory remarks, Music Director Michael Pratt commented that the five composers represented on Sunday’s program all lived at the same time, but “each could not have had a more different voice.” The musicians of the Richardson Chamber Players had no trouble finding the uniqueness in each composer.

No one is more identifiable in 20th-century American music than Leonard Bernstein, who composed some of the most recognizable tunes of the century. Bernstein composed Sonata for Clarinet and Piano on the edge of World War II and at a very young age, and the work clearly showed the beginnings of the innovative musical ideas which emerged in his musicals and orchestral music throughout the mid-20th century. Clarinetist Jo-Ann Sternberg and Elizabeth DeFelice both worked with Bernstein during his lifetime, and each had a good command of the composer’s rhythmic drive and jazz influence. Ms. Sternberg played with a mellow instrumental sound, finding direction in the very melodic lines and bringing out the tenderness in the lyrical melodies especially well.

Ms. DeFelice and Ms. Sternberg moved exactly together into the faster sections, and created quite a substantial sound in certain sections. One could hear in the piano accompaniment that Bernstein was quite a keyboard artist, and Ms. DeFelice executed well the precision required in the accompaniment, especially in the second movement.

Shortly before Bernstein wrote his clarinet sonata, Samuel Barber composed String Quartet in B minor, Opus 11. Barber intended the piece to be premiered by a string quartet ensemble from his alma mater, Philadelphia’s Curtis Institute of Music, but the work was not completed in time for the designated premiere event. When the String Quartet finally was premiered, the second movement Adagio exceeded Copland’s own description of it as a “knockout” — “Barber’s Adagio” has become one of the most beloved pieces in orchestral repertoire and certainly one of the most recognizable.

Following the first performances of String Quartet in B minor, Copland arranged the Adagio for string orchestra, and it became an instant hit through a national radio broadcast by the NBC Symphony Orchestra. However, as performed in its original form, this piece offered a more intimate and personal opportunity for string quartet musicians. Violinists Anna Lim and Sophia Mockler, violist Kyle Armbrust, and cellist Alistair MacRae presented a starker and less luxurious interpretation than audiences might be used to from hearing this piece in film scores, but one could clearly discern the counterpoint and dialogues among the players. The bulk of the musical drama fell on first violinist Ms. Lim, who played consistently with a light vibrato. This piece has many resting places, and the four musicians arrived at cadences together, making these points all the more poignant.

The Players moved into a more contemporary musical genre with Roy Harris’ Abraham Lincoln Walks at Midnight, a “Cantata of Lamentation” setting the poetry of American poet Vachel Lindsay. The 1914 poem “Abraham Lincoln Walks at Midnight” links Lincoln’s torment of the tragedy of the Civil War with the horrors of World War I, and Harris brought both of these times to life through instrumentation of violin, cello, piano, and soprano voice. Ms. Lim, Mr. MacRae, Ms. DeFelice, and soprano Sarah Pelletier conjured numerous images of Abraham Lincoln through their collective performance. Ms. Pelletier sang with a rich and clear sound as if she were setting the scene of Lincoln’s life, telling the story well and paying particular attention to the poetic details of the text. One could hear Lincoln’s insomnia in the restless strings, and Ms. Lim and Mr. MacRae particularly achieved lyrical sonorities. Effectively accompanying the players was Ms. DeFelice, allowing the piano to “walk” through the score with harmonic chords.

Ms. Pelletier also performed Elliott Carter’s song cycle Tempo e Tempi, accompanied by oboe, clarinet, violin, and cello. Carter’s tribute to Italian culture was both song cycle and quintet, with all instruments being of equal importance. Premiered in 2000 when Carter was 90 (he was active through most of his incredible 103 years), Tempo e Tempi combined Carter’s settings of varied Italian poets into a work which explored a wide range of instrumental combinations and effects. Ms. Sternberg doubled on both clarinet and bass clarinet, and Matt Sullivan played both oboe and English horn as the other players handled syncopations and ostinato well. With instruments often in competing meters, this piece was described before the performance as “redefining what it means to play together,” and the Richardson Chamber Players’ performance found the complexities within the piece.

The Players closed the concert with Aaron Copland’s Quiet City, bringing together an ensemble of both professional and student musicians. Even though no longer connected to a play in its format as a concert piece, Copland’s work was programmatic in its dialogue between trumpet and English horn, played by Wayne du Maine and Matt Sullivan, respectively. The play for which the piece was written was not successful, but Copland’s depiction of a “nocturnal cityscape” was effective in capturing the broad spaciousness of music found in other Copland works. Mr. du Maine showed his vast experience in jazz, complemented by Mr. Sullivan’s lyrical English horn playing. Perfectly matched in pitch and timbre, these two artists, accompanied by the large ensemble of strings, painted a broad palette of colors and moods to bring the concert to a close.


February 6, 2014

The musical birthday accolades to scholar and philanthropist William H. Scheide just keep coming in honor of his 100th birthday; the latest was a tribute concert of the Dryden Ensemble presented this past weekend in Solebury, Pennsylvania and Princeton. Sunday afternoon’s performance at Princeton Theological Seminary’s Miller Chapel (the concert was also performed Saturday night in Solebury) was devoted to Bach, paying tribute to both Mr. Scheide’s Bach expertise and his long-time support of the Dryden Ensemble. Nine instrumentalists and four vocalists presented a Bach “CantataFest” — two complete cantatas and several excerpts from other cantatas.

Joining the Dryden Ensemble were four more than excellent singers, each with a long history of Baroque performance practice. Soprano Teresa Wakim, mezzo-soprano Kristen Dubenion-Smith, tenor Jason McStoots, and baritone Mischa Bouvier were individually featured in arias and joined together for the opening and closing chorales of the cantatas. Ms. Wakim demonstrated a glorious top register, quickly finding the optimum resonance of the space in Miller Chapel. She had a real ring to her voice within a Baroque context, elegantly handling melismas on specific words, such as “freundlich” in her opening aria. Ms. Dubenion-Smith sang with a remarkably smooth register, especially in the aria “Wie furchstam wankten meine Schritte” of Bach’s Cantata 33 — an aria loaded with octave skips. Conceived more instrumentally than vocally, Bach’s arias can be difficult for mezzos because of range and register, but not for this mezzo. Ms. Dubenion-Smith handled the tough intervals and figures with a voice as smooth as silk and her Cantata 33 aria was particularly gracefully accompanied by violinist Vita Wallace and Daniel Swenberg playing theorbo.

Tenor Jason McStoots demonstrated a lyrical and lighter sound, singing expressively with clean diction. Mr. McStoots’ aria “Woferne du den edlen Frieden,” from Cantata 41, was a complex dialog between voice and violoncello piccolo, played by Lisa Terry. In this aria the musical roles were almost reversed, with the cello taking on most of the melodic movement and the voice serving in more of an obbligato role. Mr. McStoots also provided a complementary voice to baritone Mr. Bouvier, with whom he sang a duet toward the end of Cantata 33. Mr. Bouvier had his opportunity to shine in the aria excerpt from Cantata 62, “Streite, siege, starker Held.” Mr. Bouvier clearly had the potential for a great deal of vocal firepower, with well-handled and articulate coloratura on the words “Streite” (“struggle”) and “kräftig” (“mighty”). The closing Cantata 97 featured each soloist in an aria, with Ms. Wakim’s voice like icing on the cake over the counterpoint of the other three soloists.

As instrumentalists, the Dryden players stayed true to the Baroque character of the music. The concerto-like opening Sinfonia contained delicate swells in the music with clean trills, with sequential phrases which were always going somewhere. Organist Webb Wiggins provided bell-like passages on a chamber organ and the ensemble as a whole maintained a clean texture, even when at full sound. Ms. Wallace had several opportunities for obbligato playing with one of the vocal soloists, playing especially sensitively in the tenor aria of Cantata 97. Oboists Jane McKinley and Julie Brye provided chipper playing, often in thirds, and were particularly supple in accompanying Ms. Wakim in her Cantata 97 aria. Cellist Lisa Terry, bassoonist Sue Black, theorbo player Mr. Swenberg (also playing Baroque lute) and Mr. Wiggins provided solid continuo playing throughout the performance, allowing each of the instruments to speak well in the space.

The Dryden Ensemble has devoted itself to music of the 17th and early 18th century, and Sunday afternoon’s all-Bach performance was particularly appropriate for its dedication to Mr. Scheide. On first glance, Dryden Ensemble concerts may not seem to have a great number of pieces on the program, but Sunday’s performance was well-informed with nuance, and introduced four great singers to a Princeton audience.

The Dryden Ensemble will present a birthday concert to J.S. Bach on Saturday, March 22, 2014 at Miller Chapel on the campus of Princeton Theological Seminary. This concert, in honor of Bach’s 329th birthday, will feature chamber music by Buxtehude, C.P.E. Bach, and J.S. Bach. Ticket information can be obtained by visiting


January 29, 2014

Joy comes in many forms and has been represented in music in many ways. Joy was definitely the overriding theme of the annual William H. Scheide “Birthday Benefit” concert held last Saturday night to a full house attendance at Richardson Auditorium. What was special about this concert was its celebration of Mr. Scheide’s 100th birthday (his actual birthday was January 6). Born on the edge of World War I, Mr. Scheide has seen a century of tumultuous events, larger-than-life personalities, and great music. William and Judith Scheide brought together honorees of past Scheide birthday concerts, as well as many old friends, to celebrate Mr. Scheide’s music, philanthropy, and humanitarianism.

This year’s “Ode to Joy” concert benefitted Westminster Choir College, honoring the Choir College’s model of “how to work together in harmony for the service of others.” Featured in performance was Westminster’s renowned Symphonic Choir, which clearly enjoyed its role in the celebrations. One of the vocal soloists for the keynote piece, Beethoven’s Symphony No. 9 in D minor, also had a past connection with Westminster.

Conductor Mark Laycock began the festive evening in a first half dedicated to Mr. Scheide’s former academic life, with J.S. Bach’s setting of Philipp Nicolai’s 1598 hymn which became Cantata BWV 140, “Wachet auf.” The Westminster Symphonic Choir, accompanied by the Vienna Chamber Orchestra, set the tone for the evening with the words “Gloria to you be sung with human and angelic voices.” As Mr. Scheide’s scholarly and performing reputation has been rooted in Bach, this was an appropriate way to open the concert. The Symphonic Choir, prepared by Joe Miller, presented a serene yet majestic sound, with the soprano section singing with an appropriately light Baroque timbre. Mr. Laycock maintained a broad tempo throughout the short selection, building the orchestra and chorus to a fortissimo in the closing lines of the chorale setting.

Johannes Brahms’ Academic Festival Overture seems to characterize academic youth, especially in its closing “Gaudeamus Igitur,” a popular student song in its day. The work’s emphasis on “rejoicing while we are young” was demonstrated in the brisk tempo with which the Vienna Chamber Orchestra began the piece. The strings of the orchestra presented a smooth and unified sound, accompanied by rippling clarinets and very clean horns. The brass sections throughout the concert were as well blended as an a cappella chorus. With Brahms’ compositional roots in Vienna, this music would be in the Vienna Chamber Orchestra’s blood, and the graceful melodic lines and playful winds showed that this overture is much more than a silly drinking song at the end.

Mr. Scheide’s own compositional skills were honored by a premiere public performance of a work he composed while a student at Princeton. Pianists Marian Nazarian and Andrew Sun performed Mr. Scheide’s 1936 Prelude, clearly inspired by the orchestral concerti of Bach, with high-spirited humor and clean counterpoint. Ms. Nazarian has long been a Scheide collaborator, bringing expertise to the keyboard in other birthday performances, and Mr. Sun proved why he is an up-and-comer to watch.

Forces came together in a variety of ways for the Beethoven Symphony No. 9, a work which holds a strong historical place in Westminster’s history and surely fits well into the Vienna Chamber Orchestra’s repertory. The orchestra began the open fifths of the first movement with sharp attacks, punctuated by well-timed timpani, in a tempo that was not too fast. Mr. Laycock kept things moving steadily along, with lyrical wind parts, allowing the orchestra to reach full volume until the recapitulation of the movement.

Mr. Laycock and the orchestra began the second movement Molto Vivace in a brisk tempo, with entrances lightly handled by the players. The wind section’s rhythmic lines were especially clean, as were the melodic lines played by the horns. Mr. Laycock created numerous small builds in the music, enabling the tricky wind entrances of the third movement to seem that much more serene.

In the third movement, the players kept the long lines smooth, with particularly rich second violin and viola sectional playing. Sections of the movement sounded quite hymn-like in tranquility as the orchestra overall played with a very lean sound. The players presented the familiar “Ode to Joy” theme of the fourth movement with very little vibrato, enabling all parts, especially during the presentation by the strings, to be heard.

The Westminster Choir and Vienna Chamber Orchestra were joined by four vocal soloists with strong operatic backgrounds, which were a necessity, even with only 18 minutes or so of music in the movement. Bass-baritone Mark Doss was dramatic and forceful, and well answered by the men of the chorus. Mr. Doss was a good vocal partner for tenor William Burden, who handled the quick pace of the “Turkish march” section well. Mezzo-soprano Leah Wool and soprano Ah Young Hong rounded out the quartet, handling the demanding quartets at the end of this challenging symphony well. An equal star of this movement is the chorus, providing a solid sound in the thematic sections, while being somewhat haunting and ethereal on the text “Do you bow down before Him, you millions?” Mr. Laycock (who conducted the entire program from memory) led the orchestra and chorus through the transitions well, wisely allowing at times to let the music play itself.

As Judith Scheide noted in her introductory remarks to the concert, Mr. Scheide begins each day with music. She also shared with understandable pride a letter received from President Barack Obama congratulating Mr. Scheide on reaching his 100th birthday and commending his “unique and important contributions to American culture and society.” For those unable to attend this past weekend’s celebratory concert, it was taped for later broadcast on PBS, and it is only 342 days until William Scheide turns 101.

—Nancy Plum

January 22, 2014

A floral supplies store would seem an odd place to shop for musical instruments, but in preparation for New Jersey Symphony Orchestra’s (NJSO) recent North American premiere of Tan Dun’s Earth Concerto, members of the ensemble’s percussion section found themselves looking at planters of varying sizes and materials to serve as drums. Audience members at NJSO’s concert last Friday night at Richardson Auditorium peered with great interest at the three sets of multiple planters, not necessarily realizing that the three percussionists were creating amazing music on items available at the neighborhood gardening emporium.

NJSO Music Director Jacques Lacombe programmed Friday night’s concert of the Tan Dun concerto and Gustav Mahler’s Das Lied von der Erde as part of the orchestra’s Winter Festival theme of the relationship between music and the elements of nature. Both the Tan Dun and Mahler works were “songs to earth” concerning man and nature. In a type of “chicken and egg” cycle, Chinese composer Tan Dun drew his inspiration for Earth Concerto from Mahler’s Das Lied von der Erde, while Mahler found inspiration for this work in Hans Bethge’s poetic translation of Tang dynasty poetry.

NJSO programmed Earth Concerto as a closing bookend to Tan Dun’s Water Concerto, performed in the Winter Festival of 2011. The complete title of the work is Earth Concerto for Stone and Ceramic Percussion With Orchestra, and the three-movement work is scored for 99 ceramic and stone instruments with large orchestra. The concerto had its premiere in 2009, and what made NJSO’s North American premiere unique was its use of local instruments. The terra cotta, ceramic, and metal planters played by David Cossin, James Neglia, and James Musto provided scales, bell-like tones, and a somewhat rustic effect which Mr. Cossin noted “brings people back to a quieter and less distracting time.”

Understandably, most of the focus during the performance of Earth Concerto was on the three percussionists, as well as guest artist Zhang Meng, who played three traditional Chinese instruments — ceramic horn, xun, and flute. The most melodic of these instruments was the xun, a globular ocarina-type instrument providing a rich and mellow sound, especially when accompanied by harp. Adding to the percussive effects of the piece was the ceramic horn, which Mr. Zhang blew into, not unlike the indigenous Australian didgeridoo. The ceramic flute, used primarily in the third movement, contrasted with the ostinato played by the three percussionists and a slightly tipsy string sound to match the movement’s title: The Drunkard in Spring.

Tan Dun’s concerto was a work of innovation, as was Mahler’s Das Lied von der Erde in its time. Composed in 1907-08, the six-movement work straddled the genres of orchestrated song cycle and symphony, while musically addressing Mahler’s obsession with mortality. Beginning with the trademark Mahlerian horn calls, Mr. Lacombe and the NJSO kicked off the piece majestically. Mahler changes musical moods on a dime, and throughout the work the players had no trouble navigating the composer’s very complex and evolutionary imagination.

American tenor Russell Thomas, who presented the first, third, fifth and final movements, sang with bright and sometimes fierce sound which was necessary to be heard over the thick orchestration. A nice Viennese flow from both singer and instrumentalists marked the reflective third movement, and like its companion third movement of the Tan Dun concerto, the fifth movement of the Mahler was sufficiently tipsy.

Mezzo-soprano Elizabeth Bishop displayed exactly the rich vocal tone and sensitivity to the text required for Mahler’s pensive approach to Bethge’s poetry. Both of these vocal soloists were necessarily operatic, and Ms. Bishop was in no hurry to rush the text, providing a bit of sauciness in the fourth movement. In the closing movement, in which both soloists sang, Ms. Bishop floated text describing the peaceful earth as Robert Ingliss’ oboe solo combined with undulating violas to depict a brook that “sings loudly through the darkness.”

The mid-19th century was a heyday for horns, and the horn section of the NJSO showed clarity and unified sound throughout. Mahler exploited almost every instrument of the orchestra in his larger-than-life musical concepts, and NJSO’s wind players in particular demonstrated both grace and strength. A pair of clarinets “wandered” through eternal love and English hornist Andrew Adelson provided supple melodic lines periodically throughout the movements. Mahler’s unique orchestration of piccolo solos, played by Kathleen Nester, added to the playfulness of the Drunk in Springtime fifth movement, and Bart Feller’s sensitive flute playing added to the pathos of the final farewell. Mahler’s underlying optimism was conveyed by the celeste, played by Elizabeth Difelice, as the New Jersey Symphony Orchestra brought the substantial yet poignant work to a close.


January 15, 2014

The academic year goes by quickly, especially with a holiday break half-way through. The Princeton University Opera Theater always takes on a challenging opera to be presented shortly after the winter break, but it is hard to imagine Princeton’s operatic students and faculty undertaking a production as testing as Claudio Monteverdi’s TheCoronation of Poppea so soon after break. Fifteen singers, accompanied by harpsichords, strings, lutes, and theorbo presented Monteverdi’s final opera this past weekend, demonstrating the depth of vocal and instrumental talent in an opera which even the Metropolitan Opera would find daunting.

Friday night’s performance in Richardson Auditorium (the opera was repeated on Saturday night) was staged with pairs of musicians on either side onstage and a small string ensemble in the pit. The directorial team led by conductor Michael Pratt and director Ethan Heard sought to complement a production of the same opera in 2001, featuring countertenor and Princeton student Anthony Roth Costanzo, now on the roster of the Metropolitan Opera. This year’s production featured a number of University singers also headed for promising careers in music.

The Coronation of Poppea harks back to opera’s beginning; with an Italian libretto by Giovanni Francesco Busenello, it was one of the first operas to use historical events and real people as subject material. Princeton University’s production was primarily in English (with translation by Peter Westergaard, Wendy Heller, and Arthur Jacobs), with the original Italian retained at specific moments, such as in a late duet between Nero and Poppea. The singers were accompanied by an appropriate combination of harpsichords, played by Nicholas Lockey and Jason Nong; as well as lute and theorbo, played by Charles Weaver and Daniel Swenson alternating among instruments. All of these period instruments spoke well in the hall, with the lute and theorbo accompaniment easily balancing the singers as solo instruments.

The description of the opera’s Prologue could easily be used to describe the state of the world today: “Fortune and Virtue argue about who holds the true power of the world; Love proclaims his supremacy.” Accompanied by a nice light touch from the strings, Fortune and Virtue, sung by Allegra Wiprud and Sarah Cooper, respectively, solidly opened the production. Ms. Wiprud, costumed a bit like Lady Gaga, showed a voice with a good ring in the hall and well handled the extensive recitative text. Ms. Cooper deftly handled the extensive runs of Virtue’s role. Varshini Narayanan joined Future and Virtue onstage as the character of Love, bringing an energetic and nymph-like interpretation to her role throughout, with consistently impressive movement and singing.

The Coronation of Poppea revolves principally around the illicit love affair between Nero and Poppea, both married to others. Contrary to Italian morality of the time, the adulterous relationships prevail, with Nero’s wife Octavia and Poppea’s husband Otto banished in exile. The two students cast as the leads Nero and Poppea have worked very hard toward probable careers in singing. Countertenor Aryeh Nussbaum Cohen has proven his scholarly and performance command of music of the 17th and 18th centuries, and soprano Katie Buzard has been refining her vocal skills both at Princeton and the Royal College of Music in London. Mr. Cohen took command of the stage immediately, showing that the extensive vocal runs (precursors to the coloratura fireworks of the subsequent decades) were squarely in his wheelhouse, showing no trouble at all with the vocal demands of Nero’s role. Ms. Buzard demonstrated a sparkling top register, also keeping the 17th-century Italianate style well in hand. Monteverdi’s music, revolutionary for its melody and humanism, served the text and the emotions conveyed by the singers, and both of these performers never lost sight of the connection among these elements.

The two hapless spouses of these conniving individuals were also well performed. Countertenor Michael Manning sang the music of Otto, deliberately composed to show Poppea’s husband as tentative and timid, lyrically, and demonstrating despair well. Marie-Gabrielle D’Arco, singing the role of Nero’s wife Octavia, sang with incredible richness and maturity and showed that she will have no trouble pursuing her chosen career in opera as she powerfully executed the almost exclusively dramatic recitative-style. Operas of the early 17th century feature upper voices, and the one significantly lower voice in this production was Jonathan Choi’s interpretation of the philosopher Seneca. Seneca’s music is bold and wide-ranging, and Mr. Choi was especially effective in the extreme lower register. In addition to the onstage Baroque instruments, conductor Michael Pratt effectively led a small ensemble of strings to support the singers. Most impressive among the strings was cellist Nathan Haley, who provided a great deal of specific accompaniment to arias and extensive solos.

Following its premiere in the mid-17th century, The Coronation of Poppea was neglected until the late 1800s and achieved new popularity in the second half of the 20th century. For a university opera company to take this production on could have been an invitation for difficulties and frustration, but the Princeton University Opera Theater provided itself to be more than up to the task.


January 8, 2014
BILL SCHEIDE AT 100: At his 100th birthday party, which he celebrated on Sunday, January 5, Bill Scheide, shown above with his wife Judy, entertained 22 children, grandchildren, and great grandchildren. He recited Lewis Carroll’s “The Walrus and the Carpenter,” played a Bach prelude, and said “I’d rather be 80.” At the upcoming birthday concert in honor of Mr. Scheide at Richardson auditorium, the program will feature a piano piece by Mr. Scheide, as well as works by Bach, Brahms, and Beethoven. Performers include the Westminster Symphonic Choir and the Vienna Chamber Orchestra. Tickets for “Ode to Joy: Celebrating the 100th Birthday of William H. Scheide” are available from or University ticketing, (609) 258.9220.

BILL SCHEIDE AT 100: At his 100th birthday party, which he celebrated on Sunday, January 5, Bill Scheide, shown above with his wife Judy, entertained 22 children, grandchildren, and great grandchildren. He recited Lewis Carroll’s “The Walrus and the Carpenter,” played a Bach prelude, and said “I’d rather be 80.” At the upcoming birthday concert in honor of Mr. Scheide at Richardson auditorium, the program will feature a piano piece by Mr. Scheide, as well as works by Bach, Brahms, and Beethoven. Performers include the Westminster Symphonic Choir and the Vienna Chamber Orchestra. Tickets for “Ode to Joy: Celebrating the 100th Birthday of William H. Scheide” are available from or University ticketing, (609) 258.9220.

Princeton philanthropist William H. Scheide, known affectionately as “Bill,” turned 100 on Monday. For the past six years, the ever youthful music lover, Bach scholar and bibliophile, whose name is associated with numerous educational institutions, has celebrated his birthday with an annual concert of music conducted by former music director of the Princeton Symphony Orchestra Mark Laycock. 

This year, “Ode to Joy: Celebrating the 100th Birthday of William H. Scheide” will take place Saturday, January 25, at 7:30 p.m. at Richardson Auditorium in Alexander Hall, on the campus of Princeton University.

As befits the special occasion, the concert will feature a stellar line up that includes the local and the international: Westminster Symphonic Choir, the Vienna Chamber Orchestra (Wiener KammerOrchester), soloists Ah Young Hong (soprano), Leah Wool (mezzo-soprano), William Burden (tenor), and Mark S. Doss (bass-baritone), and pianists Mariam Nazarian and Andrew Sun.

Several of the performers have strong connections to the Princeton area. Ms. Wool received her Bachelor of Music magna cum laude from Westminster Choir College and Mr. Sun, who is currently pursuing his Master’s degree at New York University, was born in West Windsor.

Many local residents will recall a small recital held at Jasna Polana in which Mr. Scheide joined Ms. Nazarian at the piano. Ms. Nazarian made her U.S. debut in 1995 with a solo recital in Princeton as well as in Washington, D.C., New York and Philadelphia. At age 16, she was the youngest pianist in the history of Carnegie Hall to have performed J.S. Bach’s Goldberg Variations, BWV 988. She is associate director of the Scheide Fund and has also served as programming advisor to the Arts Council of Princeton (incidentally, she recently coached Elijah Wood for his role in the upcoming thriller, Grand Piano).

The concert, which Mr. Scheide will attend, pays tribute to his love of Bach by opening with the composer’s “Gloria sei dir gesungen” from Cantata BWV 140. Brahms’ Academic Festival Overture (Op 80) will follow and then a work composed by Mr. Scheide in his student days: Prelude for Piano Four Hands. The evening will culminate with a performance of Beethoven’s Ninth Symphony, “Choral,” with Mr. Laycock conducting the Wiener KammerOrchester for the third time at a birthday celebration for Mr. Scheide.

Known for his work with Opera New Jersey, especially a concert of Mendelssohn’s rarely performed Symphony No. 2, Lobgesang, with the New Jersey Symphony Orchestra, Mr. Laycock was music director of the Princeton Symphony Orchestra for more than 20 years. He is credited with transforming what was a small chamber orchestra into a full and critically acclaimed professional symphony orchestra.

Westminster Symphonic Choir, led by conductor Joe Miller, is considered among the world’s leading choral ensembles and is composed of all juniors and seniors and half of the graduate students at the college.

Each year, proceeds from the annual Scheide birthday concert go to a worthy cause. In past years, lsles, Centurion Ministries, The Arts Council of Princeton, Princeton HealthCare Foundation, Princeton Public Library, and the Princeton Recreation Department have benefited. This year, Westminster Choir College of Rider University has been chosen as the local institution to receive funding that will be used for renovations to rehearsal space that has seen some of the world’s greatest conductors, including Leonard Bernstein, Kurt Masur, and Simon Rattle.

“I have a deep and abiding belief in the critical role that Westminster Choir College plays in our community, bringing the joy of music into our lives,” said Mr. Scheide in a letter that accompanies the concert program. Mr. Scheide has had long and faithful relationships with Westminster Choir College where he served on the Board of Trustees.

Born in Philadelphia on January 6, 1914, Mr. Scheide is the only child of John Hinsdale Scheide and Harriet Hurd. He grew up in a household that was passionate about music, culture, rare books, and the well-being of humanity. His father played the piano, and his mother sang. At the age of six, he began piano lessons.

In a “This I Believe” essay broadcast in New York during the 1950s, Mr. Scheide said that his early love of music has made him “sensitive to values that cannot be expressed in language.”

Mr. Scheide attended Princeton University (Class of 1936) where he majored in history simply because at that time there was no music department. He went on to earn an MA in music at Columbia in 1940 and became the first American to be published in the Bach Jahrbuch journal of Bach scholarship. In 1946, he founded and directed the Bach Aria Group, a vocal and instrumental ensemble that performed and recorded for 34 years.

The Scheide Library, now housed in Firestone Library at Princeton University, contains books and manuscripts that Mr. Scheide, his grandfather, Willam T. Scheide, and his father, John H. Scheide (Class of 1896) acquired. It holds copies of the first four Bibles ever printed; materials on the invention and history of printing; books and manuscripts on the early voyages to the Americas; and musical manuscripts of J.S. Bach, Beethoven, Schubert, and many others.

Mr. Scheide’s long life has been dedicated to fostering the arts, education, civil rights, health, and poverty relief programs. In his “This I Believe” essay he stated his own credo: “When Bach set to music the words “Credo in Unum Deum,” — I believe in one God — he did not express a pious ideal or a devout or romantic aspiration. The here and now poured out of him. What inspired was simply the basic material of his life. That, he recognized, was his belief. And that, I think, is any man’s belief if the word is to have any actual substance that can be grasped.”

His own words from over half a century ago bear repeating in this his centennial year. “I believe that a democratic society must be ultimately founded on love for enemies, real and fancied enemies, who daily and inevitably trample our personalities and threaten to destroy our innermost beliefs — that is, our essential natures. I believe also that a love for enemies, as I conceive it, is impossible without that vague but deep thing which is usually called belief in God …. Belief in an ultimate absolute makes love and tolerance possible in a group of creatures seen through a glass darkly …. My faith is both that which I am and that which I feel I ought to be. It represents the energy — sometimes more, sometimes less — with which I cling to life, but which also confers the apprehension of a higher and more perfect life. When I am at my best, I work on the problem of bringing this higher life to realization.”

Mr. Scheide’s essay can be heard by visiting:

“Ode to Joy: Celebrating the 100th Birthday of William H. Scheide” will take place Saturday, January 25, at 7:30 p.m. at Richardson Auditorium. General admission tickets are $35 each from University ticketing, (609) 258.9220, or online from


December 18, 2013

As a professor in Princeton University’s music department specializing in Russian and Soviet music and dance, Simon Morrison is an expert on the famed Bolshoi Theatre. The Moscow arts institution has been frequently in the news since the bizarre acid attack last January that left Sergei Filin, the artistic director of the Bolshoi Ballet company, nearly blind.

Mr. Morrison, who is writing a history of the 227-year old theatre, has been frequently called upon by The New York Times and other news outlets to comment on the volatile situation, especially since Russian dancer Pavel Dmitrichenko was found guilty this month for his role in the attack. A Moscow judge ruled that the dancer and two co-defendants had intentionally caused grievous bodily harm to Mr. Filin, who had a jar of acid thrown in his face by a masked assailant.

Mr. Dmitrichenko, who maintained that he wanted Mr. Filin roughed up but didn’t expect acid to be hurled in his face, was sentenced to six years in prison. Yuri Zarutsky, convicted of carrying out the attack, got 10 years.

“The horrible part of Dmitrichenko’s defense is that he said what happened to Filin wasn’t so bad,” Mr. Morrison said during a recent interview in his office at the University’s Woolworth Center of Musical Studies. “But I was in Moscow in October and I met Filin, and what was done to him is ghastly. He has crimson lines on his face from the battery acid that was used.”

The attack last January left Mr. Filin writhing in pain in the snow outside his apartment building. The incident revealed the bitter behind-the-scenes rivalries that exist at the Bolshoi. Mr. Dmitrichenko was reportedly angry with Mr. Filin for denying him and his girlfriend, a ballerina, important roles in Bolshoi productions. Mr. Filin said that Mr. Dmitrichenko had spread false rumors about him having affairs with ballerinas. Defense witnesses portrayed Mr. Filin as imperious and Mr. Dmitrichenko as a champion of those afraid to speak out against the artistic director.

“The problems are multi-layered,” Mr. Morrison said. “It seems clear that there were favorites. There was no proper collective agreement. No union represented the dancers properly. So if you got sick or got pregnant, you were in trouble. That absence of a proper collective bargaining agreement is the cause of the problem, and it needs to be fixed.”

The Russian government dismissed the Bolshoi Theatre’s longtime director Anatoly Iksanov last July. The new director, Vladimir Urim, is trying to make things more equitable. “He’s a no-nonsense guy,” Mr. Morrison said.

Mr. Morrison has lectured and written articles on numerous topics related to Russian and Soviet music and dance. He is the author of the book Lina and Serge: The Love and Wars of Lina Prokofiev, which was published by Random House this year. He plans to return to Moscow next month to do more research on his history of the Bolshoi Theatre. He has done extensive studies of the works of composers Shostakovich and Prokofiev, both of whom were involved in the Bolshoi.

“I’ve loved ballet for many years,” Mr. Morrison said. “I took some classes as an adult, just to know what I’m talking about. I’ve been involved in staging historic projects on campus. And it has become a real addiction, through research.”

Mr. Morrison said he was surprised that Mr. Dmitrichenko was sentenced to six years in prison instead of the 12 that Mr. Filin’s lawyer requested. “Given how volatile he is, he will have a hard time,” he said of Mr. Dmitrichenko. “He’ll go to a ‘strict regime’ prison, and he’ll be made to work a lot.”

The recent scandal will play a minor but important part in Mr. Morrison’s upcoming book. “It’s not the main part of the book, but something I have to mention,” he said. “And it’s relevant, because it’s reflective of the system of the past.”


December 11, 2013

There are numerous musical ensembles on the Princeton University campus which occasionally combine for joint concerts. An unusual musical collaboration took place this past week as the University Orchestra and Concert Jazz Ensemble combined their efforts in Richardson Auditorium for a program celebrating the concept of freedom. Dedicated to the memory and legacy of Nelson Mandela, Friday night’s performance (the concert was also presented Thursday night) intermingled the musicians of both ensembles for a concert that was “about as American as a concert can get.”

Current events have influenced musical composition for centuries, and Princeton University Jazz Studies director Anthony D.J. Branker found inspiration and message in the 2012 Trayvon Martin case in Florida. Dr. Branker composed Ballad for Trayvon Martin, that was premiered at these performances, as a “song of healing that speaks to the urgent need for all of us to continue to work together.” Featuring guest tenor saxophonist Ralph Bowen, Ballad for Trayvon Martin honored victims of several civil rights incidents of the 20th century, and musically brought together members of the Jazz Ensemble with the string sections of the University Orchestra.

Branker brought a sprightly energy to the conducting of his work, creating a flowing lilt in the Bach-like canonic entries from the strings. He placed saxophonist Bowen within the orchestra and alongside a trio of piano, double bass, and drums, allowing Bowen’s smooth and rich sound to emerge from the instrumental texture as Branker finessed the colors within the strings. Throughout the one movement piece, Bowen changed tempo with the pace of the work, but never lost the sleekness of the line.

University Orchestra conductor Michael Pratt added brass and winds for a second world premiere, demonstrating that American jazz is a continually evolving form. David Sanford’s Teatro de Strada was a more abstract piece than the Branker work and was commissioned by the University Orchestra and Concert Jazz Ensemble to also feature tenor saxophone soloist Ralph Bowen. The one movement work was marked by the improvisatory sounds of street music and the urban musical environment, with conventional harmonies juxtaposed against the free playing of Mr. Bowen. The University Orchestra was joined in the piece by the complete Concert Jazz Ensemble, including trumpets, trombones, and a trio of double bass, piano, and drums. Pizzicato strings showed the work’s classical side, while a bit of “wail” in the saxophone solo and solo brass parts emphasized the variety of colors within the complex piece.

The Princeton University Orchestra continued the “freedom” theme with a piece composed for a theatrical production that was a play concerned with oppression. Ludwig van Beethoven’s Overture to Egmont incorporated “the heroic triumph of good over evil” into crisp music performed with elegant wind solos by the University Orchestra players, especially oboist Katrina Maxcy, clarinetist George Liu, and flutist Marcelo Rochabrun. Led by the orchestra’s Assistant Conductor J.J. Warshaw, the familiar thematic passages were played very cleanly, and Warshaw clearly had the piece well in hand.

These three one-movement works were preludes to the final symphony on the program, which fit into the overall theme. Antonin Dvorak composed Symphony No. 9 in E minor just as jazz was emerging from the American musical scene and as his own expression of American musical idioms and traditions. A rich and clear lower string sound opened the first movement and with crisp rhythms and subtle dynamic builds the orchestra was off and running. Conductor Michael Pratt allowed the sound to flourish on its own, with tunes that recall the open spaces of early 20th-century America. Clean horns and elegant winds, including from clarinetist Paul Chang, flutist Lila Xie, and oboists Alexa McCall and Ms. Maxcy, kept the lively themes at the forefront.

The second movement Largo featured an eloquent English horn solo played by Tiffany Huang which became more expressive as the movement progressed. Mr. Pratt and the players brought out the “Goin’ Home” theme gracefully from a number of instrumental solos and combinations, from pairs of clarinets and oboes against pizzicato double basses to a solo string quartet. A sensitive horn solo by Gabe Peterson and intense playing by the orchestra brought the broad symphony and challenging program to a close.


December 4, 2013

Black Friday is principally known for early Christmas shopping, but music has its own post-Thanksgiving tradition in Princeton with New Jersey Symphony Orchestra’s annual “Black Friday” concert. Starting within just a few minutes of the packed house at the Palmer Square tree-lighting, Friday night’s NJSO performance at Richardson Auditorium was no concert of holiday fluff — Music Director Jacques Lacombe programmed an evening of demanding piano and orchestral music, including a world premiere.

The NJSO New Jersey Roots Project has become an integral part of the organization’s commitment to bringing the works of the state’s composers to the forefront. Lowell Liebermann found inspiration for Barcarolles for a Sinking City in the city of Venice, but the four-movement work began with a somewhat dark view of the “Floating City.” The barcarolle, a song of the Venetian gondoliers, rolls along in a motion depicting a boat on waves. The opening Funeral Gondola of Liebermann’s work maintained the smooth roll, but dark melodies from solo instruments and sectional violins made it clear that this was not a sunny ride through canals.

The second movement paid direct tribute to the most well-known barcarolle in music with Liebermann’s incorporation of Jacques Offenbach’s Barcarolle from The Tales of Hoffmann into a hymn-like orchestral fabric punctuated by unusual instrumental effects. Throughout the Quodlibet movement, refined instrumental solos came through the texture, including from trombonist Charles Baker, bass clarinetist Lino Gomez, and English horn player Andrew Adelson. The carillon effect of the third movement Ostinato/Carillon was created by the scoring of marimba and xylophone, contrasted by Alexandra Knoll’s eloquent oboe solo. Like Hungarian composer Bela Bartok (whose Concerto for Orchestra closed the concert program), Liebermann likes to explore all instruments of the orchestra, and Barcarolles for a Sinking City created a palette from a myriad of instrumental combinations and abrupt shifts in dynamics which were well-handled by the NJSO.

Mr. Lacombe turned his attention to virtuosity in Maurice Ravel’s Piano Concerto in G Major, featuring a dazzling pianist in Texas native Adam Golka. Although only in his mid-20s, Mr. Golka has amassed an impressive array of credits, both as a recitalist and concerto soloist. Ravel’s concerto is short by concerto standards, but full of technically demanding passages within an impressionistic palette. The key to this performance was precision, beginning with the percussive snap which opened the first movement. Mr. Golka excelled in both languid and technically quick passages, showing very fluid playing against the orchestra’s light and crisp sound.

Ravel patterned the middle movement Adagio after the music of Mozart, leaving great opportunity for Mr. Golka’s sensitive playing. The steadiness of his left hand never stopped, with graceful counter melodies provided by flutist Bart Feller and English horn player Mr. Adelson. The NJSO brought out the jazz influences in the work with klezmer-like winds and fierce percussion in the closing passages of the work.

Bartok’s five-movement Concerto for Orchestra showed the capabilities of almost all the players in the orchestra, with solid lower strings in the opening movement and wind scales going in many different directions. This piece required vigorous playing from the strings, complemented by sweet timbres from the English horn, bass clarinet, and a pair of harps. Winds were kept busy with solos, including from Ms. Knoll and clarinetist Karl Herman, and pairs of winds effectively brought out the Eastern flavor of the work. A rare movement of double bass exposure in the third movement was contrasted by clean piccolo playing from Kathleen Nester as Mr. Lacombe gently tapered phrase endings amid the full sound of the orchestra. Mr. Lacombe also worked hard to build dynamics slowly, effectively closing the concert with the orchestra in robust form.


November 27, 2013

The Westminster Conservatory, which houses the Westminster Community Orchestra, has within its ranks a wealth of musical talent not often heard on area public stages. The Community Orchestra and conductor Ruth Ochs have a long relationship with Westminster Conservatory pianist Phyllis Alpert Lehrer (who performed with the orchestra last season) and this past weekend showcased another conservatory colleague in pianist Ena Bronstein Barton. Sunday afternoon’s concert by the Community Orchestra in Richardson Auditorium featured a Beethoven piano concerto played by Barton with both lyrical classicism and a bit of dramatic fire. 

Beethoven’s Piano Concerto No. 4 in G Major had an auspicious start at its premiere in 1808, sandwiched among at least five other monumental works by Beethoven, but has since found its place in concerto repertory. A concerto from this period should be  marked by classical sparkle, and a pianist of Barton’s caliber would no doubt bring drama to the piece, and neither aspect of the performance disappointed the audience.

Barton opened the concerto with elegant but strong chords, cleanly answered by the strings. Both orchestra and soloist brought out the dynamic accents heard to the extreme in late Beethoven. Subtle instrumental solos by oboist Helen Ackley and flutist Judy Singleton complemented Barton as she launched into keyboard runs in the middle of the first movement. Barton used a bit more pedal than some might be used to in a piece from the early 19th century, but she maintained exceptional clarity, especially among parallel thirds as her hands flew over the keys.

Throughout the concerto, the Community Orchestra matched Barton’s level of virtuosity, as Ochs watched Barton carefully to keep ensemble and soloist exactly in time. Barton found intense fire in the cadenza to the first movement, with shades of drama amidst the long melodic scales and false cadences.

Ochs paired the Beethoven concerto with an expansive symphony by Antonin Dvorak, whose works contain complex ideas within small spaces and require great orchestral stamina to maintain musical intensity. In the opening movement of Dvorak’s 1884 Symphony no. 7 in D Major, Ochs brought out the rolling drama of the music with trumpets and trombones which were always clean. The first and fourth movements of this symphony had an overall dark character, but Dvorak can also be nimble and airy, and the oboes, clarinets, and flutes of the Community Orchestra aided in creating contrasting lighter sections.

The orchestra achieved its fullest sound of the afternoon toward the end of the first movement of the Dvorak, with a trio of clean horns paying homage to Wagner’s orchestration. Throughout the symphony, wind playing was precise, including solos from flutist Ms. Singleton, clarinetist Daniel Beerbohm, and oboist Ms. Ackley, and the winds particularly came to the forefront in the Trio of the third movement. Ochs whipped the orchestra into a frenzy for the close of the third movement Scherzo, with the rhythmic motives of the movement clear. This is a work which grew more settled within the players as the movements progressed, with the back row of brass, including trumpets, trombones, and tuba, always accurate. The fourth movement in particular contained a myriad of musical ideas, and the orchestra always managed to hang onto their focus to convey the complex instrumental palette.

The Dvorak symphony was an especially challenging work for the Westminster Community Orchestra, and Conductor Ochs was deservedly proud of the players following Sunday’s performance. The Beethoven concerto held the audience’s attention for Ms. Barton’s exceptional playing, and the Dvorak brought the Community Orchestra together to reach a demanding and difficult new performance height.


November 20, 2013

Each year at this time, Princeton takes on Yale in a football game that, for more than a century, has been bringing out the best in student competition. Over the same century, the Princeton and Yale Glee Clubs have presented a joint concert to kick off the weekend of collective school spirit and friendly rivalry. Glee clubs have a long tradition of fostering camaraderie but collegiate choral singing is not just for drinking and football songs anymore. This past Friday night’s “Centennial Football Concert” with the Princeton and Yale University Glee Clubs in Richardson Auditorium featured a challenging mixture of choral works, together with a commissioned premiere.

Princeton Glee Club conductor Gabriel Crouch and his Yale counterpart, Jeffrey Douma each programmed a range of music reflecting a variety of anniversaries as well as their own personal repertoire specialties. Following works by Brahms and Victoria, Dr. Douma led the Yale Glee Club in music of the late 20th and early 21st centuries, including his own arrangements. In the Brahms piece, which opened the program, Douma found a Viennese flow to the music, showing off a light and clear sound from the sopranos in the Glee Club. In a refreshing piece by Mark Sirett, the 16-voice Yale Glee Club Chamber Singers demonstrated the same exact tuning under the direction of Yale Masters student Kathleen Allan.

Douma paid tribute to British composer John Tavener, who died this month, with a performance of Song for Athene, probably Tavener’s most well-known piece. Although the low choral drone was hard to hear from these young voices, the lone melodic lines were well sustained and harmonic shifts from major to minor were well executed. The singers achieved particular intensity on the text “Life: a shadow and a dream.” Douma closed his half of the concert with two of his own imaginative compositions, as well as a medley of football songs by historic Yale Glee Club conductor Fenno Heath, sung to the backdrop of the obligatory friendly heckling from the Princeton Glee Club members in the balcony.

Princeton Glee Club conductor Gabriel Crouch focused his half of the concert on the late 19th and early 20th centuries, acknowledging a myriad of anniversaries. Most significant was the choice of Herbert Howells’ Take Him, Earth, for Cherishing, composed for the funeral of President John F. Kennedy 50 years ago this week, and the Carol (Maiden in the Mor Lay) who would have turned 100 on the same date as Kennedy’s assassination. Interspersed throughout the Glee Club’s program were other unofficial anniversaries, including 400 years since the death of Carlo Gesualdo and 70 years since the death of Sergei Rachmaninoff, both composers of works in the concert. With his choice of the jazzy I’m a Train, Crouch may also have inadvertently paid tribute to the legendary “Princeton locomotive” cheer heard so often in Richardson Auditorium over the past decades.

In their opening selections from Rachmaninoff’s All-Night Vigil, the Princeton Glee Club presented large blocks of sound, with an effective flow to the music. Crouch kept the members of the nearly 80-voice Glee Club close together, allowing the solid chords to ring through Richardson as they would have resounded through spacious Russian churches. Commendable in the second selection Blagoslovi, dushe moya, Gospoda was mezzo-soprano soloist Saunghee Ko, who displayed a rich sound well beyond her years and complete ease with the low register of the solo.

Crouch’s conducting “bread and butter” is the music of late 19th-century and early 20th-century England, and he showed his mettle with the Glee Club in the music of C.V. Stanford and Herbert Howells. The harmonies in Stanford’s Beati quorum via unfolded luxuriantly from the women’s voices, and the difficult harmonies in Howells’ Take Him, Earth were well-handled by the chorus. Crouch showed a lighter side of the Glee Club Chamber Chorus in a double-chorus selection by Bach, with a polished and clear sound from the singers. He also gave a student the chance to lead the Glee Club, and Princeton senior Kamna Gupta showed that minimal conducting gestures can produce tremendous results in a crisp presentation of Britten’s Carol.

The two University Glee Clubs joined forces for a premiere of a work by Finnish composer Jaakko Mäntyjärvi commissioned specifically for this occasion. The Famous Tay Whale, led by both conductors (each conducted their own respective chorus in tag-team conducting) was a jazzy and homophonic setting of humorous text appropriate for the concert. Pianists Paul Noh and Min Joo Yi well handled a keyboard accompaniment which was entertaining in itself.

As one can read elsewhere in this paper, Princeton beat Yale in the football game Saturday and is on its way to an Ivy title. Friday night’s performance by the two Glee Clubs showed that the students from these two Universities were well capable of handling complex and difficult choral music while asserting their places in their respective scholastic histories. Equally as important, this engaging concert also proved that healthy competition in a choral setting can do as much as sports to create fine young individuals in a college setting.


November 13, 2013
TRUTH AND CONSEQUENCES: Chris (Peter Giovine) pleads with his mother (Uchechi Kalu) to face reality, move on, and leave the past behind, as his father (Jordan Adelson) looks on in Theatre Intime’s production of Arthur Miller’s “All My Sons” (1947) at Hamilton Murray Theater on the Princeton University campus through November 16.

TRUTH AND CONSEQUENCES: Chris (Peter Giovine) pleads with his mother (Uchechi Kalu) to face reality, move on, and leave the past behind, as his father (Jordan Adelson) looks on in Theatre Intime’s production of Arthur Miller’s “All My Sons” (1947) at Hamilton Murray Theater on the Princeton University campus through November 16.

In the manner of Aeschylus, Sophocles’ Oedipus and the great tragedies of Henrik Ibsen, Arthur Miller’s All My Sons (1947) is a drama of retrospective analysis. Written and set in the wake of World War II, All My Sons, Miller’s earliest success, just two years before Death of a Salesman, depicts one tragic day in the life of the Keller family. When the play begins, most of the key events of the story have already taken place. The dramatic action on stage is an exploration and revelation of a past that shapes and weighs upon the tortured lives of the main characters.

All My Sons, currently playing at the Hamilton Murray Theater on the Princeton University campus, is the story of Joe Keller (Jordan Adelson) and his wife Kate (Uchechi Kalu). It takes place “in the outskirts of an American town” on a Sunday in August, 1946. Their son Larry, an air force pilot, has been Missing In Action for three years, but Kate cannot give up hope and let the family move on with its life. Joe, jailed three years earlier when his aircraft engine business issued damaged cylinder heads that resulted in the deaths of 21 pilots, has recently been exonerated, released, and returned home, where he lives with his wife and 32-year-old son Chris (Peter Giovine), who is back from military combat service in Europe.

Recently arrived and staying at the Kellers’ house is Annie (Nadia Diamond), formerly engaged to Larry and currently anticipating a proposal from Chris, who has been corresponding with her by mail over the past two years. Annie, who grew up next door to the Kellers and whose father was a partner with Joe in the aircraft engine manufacturing business and who is still serving time in the penitentiary, serves as a catalyst figure in the drama, forcing the family to confront the truths of Larry’s death, of Joe’s guilt, and of the necessity of moving forward with their lives.

Miller’s characterizations are deep, complex, and interesting. The plot, focused on the single day when the crises of the past emerge to engulf the Keller family, is carefully articulated and intense. And the issues here — ethical dilemmas of capitalism, corporate greed and its human consequences, family strife, dealing with loss — are universal, perhaps even more timely today than they were 65 years ago.

Unfortunately, however, although Theatre Intime, with a cast of 10 undergraduates under the capable direction of sophomore Oge Ude, does present a worthy production of this difficult work, the plot occasionally creaks, some dialogue seems forced, and the characterizations do not always ring true.

All My Sons is similar to Death of a Salesman, Miller’s next and most famous play, in many ways: characters, dramatic structure, theme and tragic impact. The plotting of the earlier play, however, seems more contrived, some dialogue less realistic, the monologues less gripping, and the parent-son relationships less emotionally gripping than those in the later play.

The young Intime company will certainly settle into its rhythm and its characterizations more fully in its second weekend, but opening night last Thursday revealed some difficulties in the realistic portrayal of both generations of troubled characters.

Mr. Adelson as the central figure is a fascinating picture of denial, attempting to elude, to rationalize the ugly truth of his past. “That’s business. That’s a mistake, but it ain’t murder.” Experienced and comfortable on stage, and well-rehearsed, Mr. Adelson delivers this brusque character with clarity and force, though the character stretch across 40 years and an unfathomable depth and darkness of life experience, at times proves daunting and makes this protagonist less than fully credible.

Ms. Kalu, facing similar challenges, succeeds in creating a convincing and sympathetic wife and mother, grasping and communicating Kate’s struggles to accept her son’s death, her husband’s guilt, and the necessity of burying her false hope and moving forward with her life.

Mr. Giovine’s Chris is uneven in his performance, though mostly appealing and intriguing in his anguished relationships with his father and mother, his haunting memories and survivor’s guilt from the war, and in his budding romance with his brother’s former girlfriend. As Ann, Ms. Diamond provides a worthy match for Chris and a welcome freshness and air of truth from outside the tortured Keller family.

Charlie Baker lends helpful support as Ann’s brother George, a lawyer, arriving in the second act with vital, devastating information just received from his father in prison. Nathalie Ellis-Einhorn as a meddling, troublesome neighbor; Evan Coles as her beleaguered husband; Blake Edwards and Tess Marchant as another, contrastingly upbeat neighboring couple; and the spirited young Adam LeCompte as a boy in the neighborhood — all provide capable, significant support to the principals in the first act, with less stage time in act two, as the drama narrows its focus to the Keller family.

Matt Seely’s sturdy, functional unit set depicting the Keller backyard, with symbolic apple trees (“Larry’s tree” is struck down in a storm just before the play opens.) and a small trellised arbor upstage is realistic, except for an expressionist touch on a stage right wall covered with newspapers, presumably the fateful newspapers from three years earlier that broadcast the crime and punishment of Joe Keller and his partner.

Lighting by Hannah Yang and Rebekah Shoemake and appropriate 1940s costumes by Joane Joseph effectively complement the actors and plot. Ms. Uge’s direction unifies the production elements effectively, moves the action along smoothly, and mostly sustains the audience’s interest in this, at times, long-winded drama.

“The tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing — his sense of personal dignity,” Arthur Miller wrote in his 1949 essay “Tragedy and the Common Man.” “From Orestes to Hamlet, Medea to Macbeth, the underlying struggle is that of the individual attempting to gain his ‘rightful’ position in his society.”

That is the struggle of Joe Keller and also of Willie Loman and of all the tragic protagonists of a cluster of other great plays written by this giant of the 20th century American Theater. In All My Sons the ambitious Intime company brings to life this classic tragic pattern of inevitable, shocking climax, followed by catharsis and restoration of the moral order with accompanying lessons for society.


Between the 150th anniversary of the Civil War and next year’s 70th anniversary of D-Day (as well as a few World War I anniversaries) there are a myriad of opportunities to acknowledge the role of music in and around the military. War and anti-war songs and marches are straightforward in interpretation and role, but musical works inspired by times or literature of war are more subtle and pieces which link two completely different battle periods are especially intriguing. Princeton Pro Musica took advantage this past weekend of its opening concert’s close proximity to Veterans Day by presenting four works connected to U.S. involvement in war over the past two centuries. Pro Musica Artistic Director Ryan James Brandau found a common theme in works using the same poetry in some cases to showcase Pro Musica in precise choral form in both chamber and full force configuration.

Saturday night’s performance began with an acknowledgment by Dr. Brandau of veterans in the Richardson Auditorium audience, together with a musical tribute by Aaron Copland to all the “common men” involved in the war effort of World War II. One of ten fanfares commissioned by the Cincinnati Symphony in 1942 (and the only to survive with any longevity), Copland’s Fanfare for the Common Man has often been a go-to piece to convey patriotism, and the eleven brass players of the orchestra accompanying Pro Musica for the evening filled the hall with clean playing and spirit. The sectional sound from the trumpets, an unofficial instrument of battle, was especially vibrant and ringing.

Both early 20th-century British composer Ralph Vaughan Williams and mid-20th century American composer Jeffrey Van musically set the poetry of Walt Whitman, in some cases the same poems. Vaughan Williams composed his choral/orchestral Dona Nobis Pacem from the depths of uncertainty between World Wars I and II, while Van’s 1990 A Procession Winding Around Me was inspired by the composer’s visit to the Civil War battlefield Gettysburg, and both pieces find commonality in the post-Civil War poetry of Whitman. Van’s four-movement work was scored for chorus and guitar (Van is a member of the guitar faculty at the University of Minnesota), and Dr. Brandau presented this piece with the 35-voice Pro Musica Chamber Chorus, accompanied by guitarist James Day.

Van’s setting of Whitman’s poems was primarily homophonic, with a clear-cut declamation of the text. The singers in the Pro Musica Chamber Chorus demonstrated clear diction, with a consistently well-blended sound (especially from the men) and with vowels reliably pure. The setting of the third poem, “Look Down Fair Moon,” was the hardest to tune (admirably achieved by the chorus), beginning with whistling as from afar and well accompanied by Mr. Day with guitar playing that was both accompanying and percussive. Van composed some particularly effective word painting passages in the fourth poem, “Reconciliation,” which ended the piece on a positive note.

The Dona Nobis Pacem of Vaughan Williams was textually more complex than Van’s work, combining verses from the Bible with Latin liturgical text and Whitman’s poetry. Vaughan Williams composed the six-movement free-flowing choral/orchestral work as a plea for peace, using chorus and orchestra with soprano and baritone soloists. Williams began the work with text from the last part of the Latin mass — starting right off in despair. Soprano JoEllen Miller consistently sang with pure and ethereal tone, contrasting with the chorus’s expression of past devastation and impending return to war. This composer wrote effectively for chorus, and the full forces of Pro Musica handled well the driving rhythms and demand for sustained sturdy sound.

The Civil War was a very different kind of war from World Wars I and II, yet Vaughan Williams brought Whitman’s poetry new meaning in the 20th century with sensitive orchestration and solo writing. Baritone Paul Max Tipton (who also sang an Edward Cone song setting poetry of 19th-century British poet Matthew Arnold) sang Vaughan Williams’ version of “Reconciliation” with compassion, aided by the full-bodied sound of the chorus and refined solo playing from oboist Carl Oswald. Soprano Miller returned periodically throughout the piece as the voice of the people, interpolating the text “dona nobis pacem” into Whitman’s verses. Throughout the Vaughan Williams work and the entire concert, the chorus, soloists, and orchestra together brought life to music paying tribute to the dead, and presented well these four pieces which are not heard often enough.


November 6, 2013

A crisp and sunny fall afternoon on Sunday contradicted the unifying theme among the works presented by the Princeton Symphony Orchestra this past weekend. Led by Music Director Rossen Milanov, the Princeton Symphony performed three pieces focused on “notions of death and the eternal,” two by Romantic composer Richard Strauss and one by contemporary American composer Aaron Jay Kernis. Despite the dark themes and intense musical tone, the Princeton Symphony played with sensitivity and continuous focus through some very challenging music.

Aaron Jay Kernis composed the three-movement Colored Field in 1994 as a concerto for English horn and orchestra. Rooted in the tragedy of World War II as interpreted by the composer himself through visits to Auschwitz and Birkenau, Colored Field uses the solo instrument as a voice of anguish. Following the work’s premiere, Mr. Kernis rescored the piece for solo cello and orchestra, and this was the version the Princeton Symphony brought to Richardson Auditorium Sunday afternoon. Joining the Symphony was soloist Susan Babini, principal cellist of The Milwaukee Symphony Orchestra and soloist in this piece’s East Coast premiere with Mr. Milanov’s other ensemble, Symphony in C. As solo cello has often represented a voice of pathos to composers, Ms. Babini had no trouble conveying the despairing vocal character of Mr. Kernis’ work.

Ms. Babini began Colored Field with a somewhat light but definitely intense tone, conveying simplicity while maintaining a musical dialog with oboist Rita Mitsel. The Princeton Symphony cleanly played the many repeated patterns in the first movement, as the solo cello line blended well into the orchestral fabric, but just a step or two apart from the ensemble in character.

Despite the complexities of the Kernis piece, the audience persevered in catching every nuance and musical gesture. Mr. Milanov kept conducting patterns strict, so that there was no question for the players as to where Colored Fields was going. The sound was rather harrowing at times in effect, and elegant wind solos (including from clarinetist Alexander Bedenko and bass clarinetist Sherry Hartman Apgar) were so well submerged in the texture that one had to look hard to see where the player was. Through it all, Ms. Babini maintained firm control over the intricate music, meeting both the virtuosic demands and the call for sweet melodic lines.

Mr. Milanov paired the Kernis piece with two programmatic works of the pioneering 19th-century composer Richard Strauss. Tod und Verklärung (Death and Transfiguration) is one of Strauss’ most well-known symphonic poems, a form which Strauss brought to a zenith with lush orchestrations and unique combinations of instruments. Although based on a somewhat depressing story line (a man’s final days), Death and Transfiguration ends in uplifting fashion.

The symphonic poem began peacefully, with stylish wind solos, especially by Ms. Mitsel, accompanied by harpist Andre Tarantiles. An identical melodic fragment passed among players, from oboe to flutist Chelsea Knox, English horn player Nathan Mills, and concertmistress Basia Danilow. Notwithstanding the lavish orchestration, the work never sounded thick, with melodies clearly heard. This being Strauss, there was a heavy emphasis on brass in the texture, and the brass sections of the Princeton Symphony played cleanly, never allowing the music to become bombastic.

Mr. Milanov kept an even flow to the music, bringing out the heroic character which is inherent in many Strauss symphonic poems. The Princeton Symphony extended this flow into frenzy in the closing work on Sunday’s program — “Salome’s Dance” from Strauss’ opera Salome. This high-spirited operatic excerpt began with a brisk Middle Eastern musical effect, with a snake-charmer melody from Ms. Mitsel, who carried the bulk of the melodic work of the piece. Rich unison upper strings contrasted with steady celli and harp, and Strauss’ unusual percussion effects added to the seductive character. Mr. Milanov whipped the Princeton Symphony into an appropriate frenzy, but the music always gracefully returned to the Middle Eastern melodies from the winds.

These three works may have been rooted in concepts of death, but Sunday afternoon’s program by the Princeton Symphony was subtitled “Eternal Light,” recognizing the optimism beneath each piece. This was a very challenging program for the players, who more than rose to the occasion, but may well have felt they had been through the “Dance of the Seven Veils” themselves by the end.


October 30, 2013

The New Jersey Symphony Orchestra (NJSO) subtitled its concert series this past weekend “Lacombe & Gluzman.” This moniker referred to the conductor of the concert and the soloist in its featured work, but the descriptive title was so much more. NJSO Music Director Jacques Lacombe and Israeli violinist Vadim Gluzman have had a long performance history together, and this combination of conductor and soloist took a rarely-heard musical gem to new heights. Although this concert series was not presented in the NJSO’s home base of Newark’s NJPAC, audiences in the other four venues (including Richardson Auditorium Friday night) were treated to an extraordinary three-way partnership among conductor, violinist, and orchestral ensemble.

The piece which Mr. Gluzman brought to life was Leonard Bernstein’s programmatic Serenade for Violin and Orchestra. Composed between 1953 and 1954, this five-movement work inspired by Plato’s philosophical text Symposium reminded the audience at Richardson of Bernstein’s legacy as one of the great melodists in music history. Bernstein orchestrated this piece uniquely for strings, harp, a wide range of percussion, and a solo violin, whose line was at times contrary to the ensemble and other times a precise and integrated part of the orchestral fabric.

Mr. Gluzman began the opening movement solo line with both confidence and inquisitiveness into the melodic depth of the Serenade and its emotional impact. Melodies were expressively passed back and forth across the stage as the NJSO demonstrated rich sectional playing from violas and celli. Mr. Gluzman’s energy was limitless, matching the jazz elements in the music and showing that this soloist lives the music he performs. In several of the movements, the solo line never stopped (often with virtuosic demands) and Mr. Gluzman seemed to make a particular effort to play in solidarity with the first violin section, executing perfect timing with pizzicato strings and punctuating harp. Intensity throughout the work was built by the extended percussion section, complementing well Bernstein’s poignant musical dialog among soloist, strings, and percussion.

Mr. Lacombe preceded this work with the light and airy Hector Berlioz Overture to Beatrice and Benedict, and followed it with the substantial Symphony No. 4 in F minor by Peter Ilyich Tchaikovsky. The Berlioz work sustained a bit of French quirkiness, with very crisp and clean orchestral playing from the ensemble as a whole. Instrumental solos, especially from flutist Bart Feller and oboist Melanie Feld provided elegance against rich string playing and clear-cut trios of trumpets and trombones. Mr. Lacombe effectively ended sections gracefully and whipped the orchestra into a grand finish to the Overture.

Tchaikovsky’s Symphony No. 4 was a myriad of musical personalities as the composer was consumed with fatalism, yet conveyed final hope at the conclusion of the four abundant movements. The opening Fate motive was cleanly presented by the brass in a crisp Classical style, as Mr. Lacombe kept the mood driven and forceful. The concurrent melodic line from bassoonist Robert Wagner and clarinetist Karl Herman sounded as one instrument, with very light strings toward the end of the first movement. Throughout the symphony, the players maintained control over accelerandos at the ends of movements, while at the same time allowing instrumental solos to be heard.

Oboist Ms. Feld demonstrated a pastoral and continuous line in the poignant second movement, echoed by the cello section and answered at times by flutist Mr. Feller. Like Bernstein, Tchaikovsky was a great melodist, most evident in the second movement Andantino, and these tunes were made all the more touching by the juxtaposition of a languorous melody against incisive wind flourishes and instrumental echoes.

The third movement was uniquely scored for extended pizzicato strings, an unusual effect which is not easy to pull off as a large orchestra. The collective result of ensemble pizzicato against the intervening wind passages, combined with the dynamic ranges found by the players in the closing movements, accentuated the pathos and tenderness of the symphony, and brought the concert to an eloquent close.


October 23, 2013
SERPENTINE SITUATIONS: Green Snake (Tanya Thai McBride, left) and White Snake (Amy Kim Waschke), spirit demons who have changed their shapes from snakes into young maidens, plan to descend from their mountain cave and mingle with mortals in McCarter Theatre’s production of “The White Snake,” adapted by Mary Zimmerman from a classic Chinese fable and playing at McCarter’s Matthews Theatre, 91 University Place through November 3.

SERPENTINE SITUATIONS: Green Snake (Tanya Thai McBride, left) and White Snake (Amy Kim Waschke), spirit demons who have changed their shapes from snakes into young maidens, plan to descend from their mountain cave and mingle with mortals in McCarter Theatre’s production of “The White Snake,” adapted by Mary Zimmerman from a classic Chinese fable and playing at McCarter’s Matthews Theatre, 91 University Place through November 3.

Transformations are a recurrent theme in Mary Zimmerman’s distinguished career as playwright and director. As a writer, she brilliantly adapts stories, myths, and fables for the stage: her Odyssey at McCarter in 2000; Metamorphosis, based on Ovid’s tales, a Tony Award winner on Broadway in 2002; The Secret in the Wings (2005), from an array of European fairy tales and Argonautika (2008), the story of Jason and the Argonauts, both also at McCarter. But even more striking than her clever literary transformations is her wildly creative visual magic in bringing these stories to life on the stage. 

The White Snake, based on a classic Chinese fable and currently playing at McCarter’s Matthews Theatre in a lavish, aesthetically stunning production, embodies that theme of transformation in every facet of its plot and production. Snakes, of course, among other rich symbolic associations, are known for their shape shifting and skin shedding. And certainly a defining characteristic of the theater art itself is its capacity for transformation, as it uses the tools of light, sound, film, props, set, costumes and make-up to transform actors into characters and creatures, and bare stages into multiple worlds.

From the outset, Ms. Zimmerman and her White Snake protagonist are bent on taking the art of transformation to new levels. Originally produced by the Oregon Shakespeare Festival last year, The White Snake is the story, whose origins are more than a thousand years old, of a snake who studies the Tao, learns how to fly through the air and travel through the clouds, then how to change her shape into that of a beautiful young maiden. She then wishes to leave her mountain cave and visit the world below, where she meets and falls in love with a mortal man.

The story itself has changed shape many times over the years in numerous tellings and retellings — in oral recounting, in novels, plays, stories, opera, and film. In earlier versions the white snake woman is often depicted as villainous. In one version she and her serpent accomplice slaughter a would-be lover and devour his heart and liver. In most versions a religious figure becomes the antagonist representative of the status quo, exposing the disguised snake woman and imprisoning her under a stone pagoda.

In Ms. Zimmerman’s adaptation, and in most more recent versions of the tale, the White Snake, transformed into Madame White, is a sympathetic figure and the fable becomes a love story. White Snake marries a man named Xu Xian and they must battle the intolerance of a fierce Buddhist monk who is determined to expose Madame White and destroy this relationship between an immortal demon and a mortal man.

As she plots her visit, in the guise of a beautiful lady, to the world of mortals, White Snake (Amy Kim Waschke) teams up with Green Snake (Tanya Thai McBride), a fiery, outspoken sidekick who provides moral and physical support throughout the proceedings.

Madame White and Greenie meet a young man, Xu Xian (Jon Norman Schneider), in the park. Madame White uses her supernatural powers to bring on a rain storm so that she and Xu Xian will share an umbrella. Soon afterwards they share their hearts. With Greenie as go-between and procurer of money, Madame White and Xu Xian are soon married and working together in their pharmacy shop.

Their lives are peaceful and happy for a while, and, with Madame White’s supernatural healing powers, the pharmacy thrives, until a visit from Fa Hai (Matt DeCaro), the suspicious monk who has heard about a demon white snake missing from her cave in the mountains and about the astonishingly successful pharmacist, casts doubt in the mind of Xu Xian.

The rest of the story follows Fa Hai’s determined efforts to expose White Snake and break up her forbidden relationship with her husband, as Xu Xian and White Snake struggle to overcome his doubts and her deceptions to achieve a true, lasting, loving relationship.

In staging this tale of transformations and the transforming power of love, Ms. Zimmerman, her actors and her production team present a dazzlingly beautiful tour de force of imaginative performance and stagecraft. Dramatic tension here is a notch below that of Ms. Zimmerman’s earlier masterpieces. This story melds abundant narration with intriguing magic, vibrant characterizations, romantic intrigue, bits of humor and intense conflict, but it lacks the richness of the multiple adventures of Odysseus on his journey home and of Jason and his ill-fated quest. Nor can this fable, captivating though it is, match the variety and allure of Metamorphosis’s amazing, titillating Greek myths or the peculiarly dark and fascinating fairy tales of The Secret in the Wings.

The sheer beauty and ingeniousness of the staging, however, does carry the performance, and if the plot is not always riveting nor the resolution fully satisfying, the audience cannot help but enjoy the visual and auditory feast provided here.

Production elements, under the direction of Ms. Zimmerman, are so closely melded with each other and with the performances of the superb acting ensemble that it’s difficult to single out the artists’ individual contributions, but Ms. Zimmerman’s team of actors, musicians, and designers is thoroughly first-rate.

Starting with the snakes themselves — sometimes manipulated by actors in puppet fashion with two sticks, sometimes represented by a row of actors carrying parasols, sometimes appearing in the form of the two maidens themselves with long tails emerging from their clothes — the visual manifestations of the concrete and abstract elements of the story are striking.

Daniel Ostling’s minimalist set relies on billowing silky fabric and the audience’s imagination to create mountains, clouds, rivers; long strips of blue fabric descending from above to denote rain; a parasol carried by an actor for the moon; a single medicine cabinet with its numerous drawers and large jars on a shelf rising from the floor of the stage to represent the apothecary shop, opening up to become Madame White’s bed chamber; colorful, picturesque model boats pulled across the stage to create the dragon festival; multiple light, sound, film, and design elements to create an epic battle with White Snake and Green Snake calling on all their water spirits to flood the monastery and the mountain and engulf Fai Hai and all his cloud spirits; and a striking display of colorfully costumed actors carrying bright lanterns to celebrate the festival of lanterns.

And even more memorable and clever are the visual and musical/sound manifestations of abstract qualities — like doubt, depicted here by the indispensable Emily Sophia Knapp with her extra-long fingernail attachments attacking poor Xu Xian and drumming relentlessly on his head; or love, when Madame White and Xu Xian’s hands first touch while passing the umbrella and the moment resonates with sound, lighting effects and the excited trembling of the romantic pair; or soon afterwards when red rose petals fall from above, a huge red wedding ribbon descends and the bride and groom entwine themselves in the shimmering sash.

Mara Blumenfeld’s colorful traditional Chinese costumes, T.J. Gerckens richly varied, expressive and dramatic lighting design, Andre Pluess’ remarkable original music and sound design with Tessa Brinckman on flute, Ronnie Malley on strings/percussion and Michal Palzewicz on cello in the orchestra pit, Shawn Sagady’s intriguing projections — all contribute invaluably, vitally to the creation of this exotic world and the telling of this strange tale.

As part of the narration of this story, characters at times read from a 1936 book titled Secrets of the Chinese Drama. In traditional Chinese drama there is no scenery, so costumes, music, props and movement take on particular symbolic meaning. According to the book’s preface, “There is so much of imagination and so little reality. So many of the actions are symbolic and so few of the properties are real!” Among the many wonders displayed on the Matthews stage in this beautiful production of The White Snake, there is little wonder that the infinitely inventive Mary Zimmerman would find a fulfilling vehicle for her rich gifts and powers of transformation in this Chinese tale of transforming snakes and transformative love.


The Princeton University Orchestra started the year off with a musical bang this past weekend, with a concert program that belied the fact that the school year began less than two months ago. Conductor Michael Pratt led an orchestra chock full of players this year in a program of Paul Lansky, Mozart, and most impressively, Gustav Holst’s The Planets, one of the most complex works in the orchestral repertory.

Friday night’s performance at Richardson Auditorium (the program was repeated Saturday night) showed the orchestra increasing in size from small to large as the concert progressed, with Paul Lansky’s Line and Shadow scored for a scaled-down instrumental ensemble. The somewhat impressionistic one-movement piece began with low flutes, and its palette of musical colors and effects, together with the accessibility of the work as a whole, seemed to complement Mr. Lansky’s background in electroacoustic music. Mr. Pratt kept the orchestra subdued, allowing the syncopated rhythms and offbeat winds to speak, and the orchestra only reached its full sound at the end of the piece.

Mr. Pratt carried the same musical care and chamber character to Mozart’s Violin Concerto No. 5 in A Major, with more substantial string sections (but only a pair of oboes and horns) and featuring University senior Nicolas Apter-Vidler as soloist. Mr. Apter-Vidler has been studying music for a good ten years, including at Mannes College of Music, and his poised and confident performance demonstrated his solid musical training.

Mr. Pratt began the concerto gracefully, with a light touch from the oboes and horns which was vintage Mozart. Mr. Apter-Vidler began his solo with a delicate triad and light quick vibrato as he launched into the first movement Allegro. Mr. Apter-Vidler maintained a song-like quality in the principal themes, and was perfectly in time with the rest of the strings in rhythmic passages. With clean and sweet double-stops in the cadenzas to both the first and second movements, Mr. Apter-Vidler’s playing well complemented the saucy repeated phrases and effective deceptive cadences from the rest of the ensemble. A clever and tuneful Rondo containing both popular 18th-century gypsy elements and shades of Mozart’s Marriage of Figaro (composed a decade later) closed the concerto tastefully.

The most astounding piece on the University Orchestra program was Holst’s monumental The Planets, a seven movement complex orchestral suite which expanded the University Orchestra roster to almost every instrument imaginable. Mr. Pratt expanded the string sections to a total of at least 60, and wind and brass sections added the bass instrument in almost every category.

Each movement in this work describes a different planet, assigning character and purpose to the heavenly bodies. The orchestra began Mars with precise string bowings, accompanied by low horns. The driving rhythmic motive which held the movement together was strongly sustained throughout, and the orchestral sound was well unified and certainly the loudest of the evening. The rhythm was well controlled by timpanists Isaac Ilivicky and JJ Warshaw, and the war-like intensity was eased by a melodic euphonium solo by Riley Fitzgerald. Frequently throughout the suite, horn principal Kim Fried provided solos which were pure in tone, accompanied in the Venus movement by a quartet of flutes. Also effective throughout the seven movements were periodic violin solos, sweetly played by Kate Dreyfuss, as well as wind solos played by oboist Alexa McCall and clarinetist Ryan Budnick.

Holst scored this suite for a wide range of percussive and keyboard instruments which add ethereal musical effects. Jason Nong added a celestial character from the celeste, augmented by very high bell effects played by the very busy percussion players. The most well-known of the movements contains what became a very popular English hymn, and Mr. Pratt conducted the familiar melody broadly, bringing out the grandeur of Jupiter. Two harps played by Cara Souto and Connie Wang added a bit of sparkle to certain passages, as did an offstage women’s chorus conducted by Kamna Gupta.

The Lansky and Mozart pieces were certainly enough to challenge the University Orchestra so early in the season, but The Planets clearly required the concentration and focus of every player on the stage. The University Orchestra musicians were well up to the task, and the bar has now been set very high for the year to come.


October 16, 2013

Along with fellow Hungarian Zoltan Kodaly, composer Béla Bartók was one of the early leaders in the emerging field of ethnomusicology in the 20th century. Both of these composers wrote standard works in addition to their research into indigenous music of their native region, including in Bartók’s case six string quartets. The Takács String Quartet, founded at Budapest’s Liszt Academy in 1975, presented back-to-back performances in Richardson Auditorium last week of all six Bartók quartets, treating those who chose to attend both nights insight into the unique harmonies and musical complexities of this composer.

Friday night’s concert at Richardson featured Quartets No. 2, 4, and 6 (No. 1, 3 and 5 were performed the night before) to a sold-out house which seemed to have no trouble assimilating the intricacies of Bartók’s music. String Quartet No. 2, composed a decade after Bartók’s first quartet, came to be as Europe was immersed in World War I. Bartók captured the melancholy of the times in this quartet through its slow movements — the piece seems to be missing the usual final movement which might end on an upbeat note. Although Bartók did not quote any regional folksongs specifically in this quartet, the minor third interval prevalent in Hungarian folk tunes was a structural cell and theme of the piece.

Of the four original members of the Takács Quartet, second violinist Károly Schranz and cellist András Fejér continue to play with the ensemble, joined by first violinist Edward Dusinberre and violist Geraldine Walther. In Quartet No. 2’s opening movement, each player in the Takács seemed to be playing in their own individual world, yet came to rest periodically in rare moments of tranquility. This quartet had several waves of musical activity, perhaps reflecting the chaotic state of the world at the time. Amidst the shifting musical sections were gems of solo playing, including Mr. Dusinberre’s sweet violin melody against strummed cello, rich low viola passages from Ms. Walther and an elegant cello melody in the third movement.

Contrasting the melancholy nature of Quartet No. 2 was Quartet No. 4, with four quick movements split to bracket a mournful Lento. This quartet contained intense entrances and driving rhythms which were well handled by the Takács players. The musicians were uniform in their handling of the technical demands of the Bartók work, executing forceful bow strokes, double and triple stops and the “con sordino” (with mutes) effects of the second movement.

Bartók composed Quartet No. 6 on the edge of World War II, just before Bartók came permanently to the United States. Each of the four movements was preceded by a Mesto or motto, the first of which was a mournful tune played by Ms. Walther. Despite its desolate start, Quartet No. 4 becomes quite light through the first movement with teasing melodic lines and a very sweet ending to the first movement. Mr. Fejér effectively provided the Mesto to the second movement and the saucy rhythms and jazzy nature of the movement were contrasted with a dramatic second violin line played by Mr. Schranz. The Mestos grew in intensity with each movement, until all instruments were playing together for the third and fourth movements. The Mesto to the third movement may have been rich in texture, but the tuning effects called for by Bartók for the second violin made one’s hair stand on end. The Takács players also found a wide variety of vibrato effects in the closing movement.

The Takács String Quartet is not a regular visitor to Richardson Auditorium, but the musicians clearly feel at home in the space. Cellist Fejér claims that the Quartet loves Richardson’s “classic, amphitheater-like shape, coming all the way from ancient Greece, which has been the ideal acoustical layout” for the ensemble’s concerts. The sold-out house at Richardson would no doubt agree that the Takács String Quartet is welcome back anytime.


October 9, 2013

The Princeton Symphony Orchestra has taken the concept of collaboration to new heights this year with its opening “Classical Series” concert this past weekend. With a musical program inspired by identifying what is uniquely “American” in music and centered on a work based on the Jacob Lawrence “Migration Series” set of paintings, the Princeton Symphony created an entire weekend of “Migration Project” activities, including discussions with the composer, a family festival, and art projects, all of which were achieved in partnership with a number of Princeton cultural and educational organizations. Princeton Symphony’s opening weekend culminated in a performance by the ensemble, on Sunday afternoon in Richardson Auditorium, of two American musical favorites and a New Jersey premiere, all commemorating the 150th anniversary of the emancipation proclamation. 

With some new faces on the roster, the Princeton Symphony opened Sunday afternoon’s concert with Aaron Copland’s suite from Appalachian Spring, a work considered representative of the American spirit. Although not directly related to a visual work of art, Copland’s Appalachian Spring could easily be connected with the broad Pennsylvania landscapes of Andrew Wyeth. Princeton Symphony Orchestra conductor Rossen Milanov opened the suite with a broad musical palette, capturing the image of the sun rising on an open field, aided by clarinetist Alexander Bedenko’s opening solo. Mr. Milanov kept the orchestral texture muted, allowing the solo lines, including oboist Nick Masterson and flutist Mary Schmidt, to speak freely. A quick transition to the second section was handled well by the ensemble as the strings and a pair of flutes were well-timed with one another. Mr. Bedenko and Mr. Masterson had a great deal of musical interplay throughout the suite, and Mr. Bedenko in particular showed himself to be an understated yet expressive player. Especially effective in the close of the piece were a bassoon and oboe duet (played by Seth Baer and Mr. Masterson, respectively) and the graceful presentation of the “Simple Gifts” theme by the viola section against pizzicato strings and offbeat winds.

Considered equally as American as Copland but on another musical spectrum was George Gershwin, whose 1935 Porgy and Bess has been revered for its inventiveness and has generated a number of symphonic arrangements. Symphonic Picture, compiled and orchestrated by noted arranger Richard Rodney Bennett, took eleven of the opera’s great tunes and set them for an orchestra augmented by unique instrumentation, including a trio of saxophones and a banjo. Mr. Milanov began Symphonic Picture with bell-like effects, complemented by an elegant English horn solo played by Nathan Mills. With a bit of swing throughout the work, the Princeton Symphony drew out the teasing atmosphere of “Bess, You is my Woman Now” and the elements of big band style from the winds and brass. This was a very full orchestra, but one could hear such details as the banjo solo on “I Got Plenty o’ Nuttin,” accompanied by flute and harp. This piece not only fit in well with the theme of the concert, but also was clearly fun for the musicians to play.

The defining piece of Sunday’s program was the New Jersey premiere of Migration Series, a five-movement work by award-winning American composer Derek Bermel, whose musical output crosses several genres. Mr. Bermel drew inspiration for this work from the Lawrence “Migration Series” set of 60 paintings (one of which was displayed in the Princeton University Art Museum for this performance). The Princeton Symphony was pared back to a small ensemble and was joined onstage by the Juilliard jazz orchestra, prepared by James Burton. The talented students of the jazz orchestra carried the bulk of the performing work in this piece, especially impressive were solos by trumpeter Joe Boga and trombonist Andy Clausen.

Mr. Milanov took a step back from conducting at times, allowing the jazz club atmosphere to prevail. The second movement of Migration Series, with its walking blues piano and gospel melodies, was especially accessible, but as might happen in a jazz club, there were times when there was an impression of musical chaos, which is not for everyone. The third movement seemed to be the most technically difficult, with the composer himself playing a mean clarinet accompanied by a combo of drums and bass. An amazing display of musical “banter” among three trombones marked a later section of the piece, as Mr. Bermel well captured the concept of “urban chatter” in musical form.

The Princeton Symphony Orchestra “Migration Series Project” was by no means limited to this past weekend; related events took place in September and will continue well into the fall at locations throughout the community. If each program of the symphony includes this in-depth a range of activities, there will surely be something for everyone as the Princeton Symphony Orchestra continues to make its mark on the region.


October 2, 2013
FAMILY TIME: Gertie (Juliet Garrett) takes drastic action to help her amnesiac daughter remember the past and make sense of her life in Theatre Intime’s production of David Lindsay-Abaire’s absurdist comedy, “Fuddy Meers,” playing at the Hamilton Murray Theater on the Princeton University campus through October 5.

FAMILY TIME: Gertie (Juliet Garrett) takes drastic action to help her amnesiac daughter remember the past and make sense of her life in Theatre Intime’s production of David Lindsay-Abaire’s absurdist comedy, “Fuddy Meers,” playing at the Hamilton Murray Theater on the Princeton University campus through October 5.

Imagine waking up every morning with no memory of your past, your identity, or your current life. Each day is a new start and a struggle to discover who you are in relation to family and the surrounding world. Theatre Intime’s current production of David Lindsay-Abaire’s Fuddy Meers takes its audiences on a wild journey in search of memory and truth along with its protagonist Claire, a middle-aged woman suffering from a rare form of psychogenic amnesia.

The world of this play is beyond bizarre. It’s a world of funhouse mirrors. That’s the “fuddy meers,” in the gibberish delivered by one of the characters whose speech is impaired because of a stroke. Claire’s dysfunctional family, with its array of physical and psychological deformities, goes far beyond the Sycamore family of You Can’t Take It with You or the Brewsters of Arsenic and Old Lace into the realm of wacky insanity and whimsical absurdity. Despite the larger-than-life, unsettlingly dark comic tone of the play, however, there is an underlying seriousness and dignity in Claire’s brave quest. The zany excesses of Christopher Durang — Betty’s Summer Vacation, in particular — and the work of Charles Ludlam’s Ridiculous Theatrical Company also come to mind, though Fuddy Meers is less sharp in its dialogue, humor, and social satire than the best of Mr. Durang and Mr. Ludlam.

A capable, energetic Theatre Intime undergraduate ensemble of seven, under the direction of Princeton University sophomore Tyler Lawrence, displays spirit and versatility in tackling this acclaimed 1999 off-Broadway hit. The 11 scenes are fast-paced and entertaining, with abundant laughter, and a sympathetic, engaging central figure.

Fuddy Meers, presenting an adventure-filled day in the life of Claire (Nathalie Ellis-Einhorn), begins as she wakes up in the morning, a blank slate, all memory erased. Her ever-cheerful husband (David Cruikshank) greets her with a cup of coffee and a book containing everything he thinks she needs to know about herself, her surroundings, and her life.

Suddenly a mysterious, scary, limping man (Pat Rounds) in black ski mask emerges from under the bed. He claims to be Claire’s brother and insists on taking her away to protect her from her husband. Claire and the audience are equally confused. The limping man and Claire drive to the house of Claire’s mother Gertie (Julie Garrett), who speaks only in gibberish as a result of a recent stroke, though she thinks and acts with complete clarity.

Next to join the gathering at Gertie’s house is Millet (Steven Tran), a sociopathic criminal who wants to be a zookeeper. He is inseparable from his outspoken, foul-mouthed hand puppet. Soon afterwards the odd assemblage is completed when the pursuing husband Richard and their pot-smoking 17-year-old son Kenny (Matt Barouch) arrive, along with a peculiar, claustrophobic woman police officer, whom they kidnapped after she attempted to stop them en route.

Violence (by knife, pistol, shovel, hot bacon grease, sewing needle, hack saw), humor, and extremes of eccentricity abound, as Claire struggles to overcome her memory lapses and the deceptions and dysfunctions of the characters who surround her in her quest to discover the truth about her past and actual relationship to these people who attempt to control her life.

Ms. Ellis-Einhorn provides a solid focal point for the proceedings. A bit more energy and intensity in this character would help her, the only “normal” character, to capture the audience’s full attention amidst the competing crazies.

Mr. Rounds as the primary antagonist is first-rate and forceful in his volatile, psychopathic demeanor. Funny and frightening at the same time, disfigured in face and behavior, this character drives the plot and consistently commands the audience’s interest.

Mr. Cruikshank’s cheery, Mr. Self-Help-Manual husband is appropriately cloying and amusing in his character incongruities, while Mr. Barouch’s son-from-hell Kenny is on-target in characterization, humorous in his outrageous rudeness and ultimately valuable in his truth-telling.

Ms. Garrett’s high-powered grandmother skillfully handles the demands of extensive dialogue in gibberish and succeeds in communicating with dynamic force and even clarity with her daughter Claire, with the other characters in the play, and with the audience. Mr. Tran and Ms. Coke provide strong support in their sometimes disturbing, often surprising, and consistently amusing, madcap roles.

Mr. Lawrence has directed with understanding, focus, and appropriately swift pacing, though the opening night set changes could have benefited from greater speed and efficiency.

Seen through Claire’s eyes, Fuddy Meers, according to the playwright, is “a world of incomplete pictures and distorted realities.” Set design here by Wesley Cornwall with lighting by Marissa Applegate, original music by Sam Kaseta, sound design by Charlotte Sall, and costumes by Julie Aromi fulfills this goal with minimal unadorned representations of the locales of the play. The set is functional, though a bit more stylization, surrealism, other-worldliness might help to further embrace the mood of this play.

In his notes in the script Mr. Lindsay-Abaire calls this play ”a world of mirrors and memories … a world where mad fun and genuine danger are wrapped around each other.” This youthful Theatre Intime company brings Fuddy Meers to life with energy and talent and offers an evening of memorable madness and entertainment.


The Princeton University department of music launched its 2013-14 season last Friday night with an old friend. The Brentano String Quartet, Performers-in-Residence at the University, set an elegant and precise tone for the year with a link of late Classical and early Romantic music with the Princeton premiere of a work by a well-established local composer. The very attentive audience in Richardson Auditorium paid careful attention to the Brentano’s musical details in the music of Beethoven, Mendelssohn, and department of music chair Steven Mackey.

Ludwig van Beethoven redefined the string quartet form, but his 1800 String Quartet in D Major (the third of Opus 18) was pretty tame by Beethoven standards, refreshing in its sweet motives, but with just enough of a twist to keep the audience on its toes. The members of the Brentano String Quartet — violinists Mark Steinberg and Serena Canin, violist Misha Amory, and cellist Nina Lee — gelled immediately from the first movement Allegro, timing accents and sforzandi together and gracefully presenting the melodies. The chorale-like beginning of the second movement was leanly played by the lower strings, contrasting with Mr. Steinberg’s teasing first violin. The quartet uniformly increased intensity and dynamics throughout the movement with a deliberate and clean ending. Following a smoothly-flowing triple meter Allegro, the Brentano Quartet closed the work joyously with moments of elegance, rather than the usual decisive chords and cadences.

Steven Mackey’s One Red Rose was commissioned by Carnegie Hall, the Yellow Barn Music Festival, and the Nasher Center of Dallas, Texas in commemoration of the 50th anniversary of the assassination of John F. Kennedy. The Brentano Quartet will play the three-part work on November 22 of this year, the actual anniversary date, in Dallas, combining the piece with spoken remembrances of that dark day in 1963 (members of the Richardson Auditorium were invited to contribute to the taped recollections). Mackey has incorporated many sounds of that weekend into the piece — repeated strokes from the cello recall the drums of the funeral caisson, sirens can be heard in the violin lines, and the music often breaks its mood abruptly, much the same way the original news rolled jarringly through the country and the world.

In the same way as the day of 11/22/63, One Red Rose required great intensity and concentration. Dr. Mackey divided the first part into Five Short Studies, each of which was slightly different in character. Beginning with a mournful second violin, sounding as if from afar, One Red Rose opened with a series of repeated patterns accompanied by drumbeat and drone from cellist Lee. With a bell-like second section and more melodic third section, Five Short Studies well captured the juxtaposition of control and chaos so prevalent both that day and for much of the remaining decade. The Brentano Quartet played relentlessly, with sudden emphasis when appropriate and often falling back on a more reflective texture.

Especially in the third section Anthem and Aria, universal mourning can be heard in the cello, accompanied by rich and melodic playing from the two violins and viola. One Red Rose closed with rich lushness from the Brentano’s four players.

The Brentano Quartet returned to a classical giant for the closing work on the program. Felix Mendelssohn’s String Quartet in D Major, Opus 44, No. 1 began with all the freshness of the composer’s Italian Symphony and a rhythmic drive characteristic of the early 19th century. The Brentano’s overall sound in this light and airy piece was well contained and calm, keeping the rhythmic patterns moving and the dynamics under control. The violins kept the music flowing like a river in the second movement Menuetto, with especially smooth eighth notes from Mr. Steinberg in the Trio. Mr. Steinberg and Ms. Canin provided a gentle and songlike duet over pizzicato lower strings in the third movement Andante, ending the movement especially delicately.

The Brentano String Quartet has a long history with Princeton University, and in this concert last week, Richardson Auditorium seemed like home to the players. The new concert season has begun with the bar set high, and the Brentano’s performance has put everyone in the mood for great music for the fall.


September 19, 2013

If Patience Tawengwa could lift McCarter Theatre from it’s perch on University Place and deposit it in Harare, Zimbabwe, where she co-directs a dramatic arts organization called Almasi, she would make it happen. Sitting in the office of McCarter’s artistic director Emily Mann a few weeks ago, shortly before she returned home after five weeks at the theater as part of a cultural exchange, Ms. Tawengwa smiled as she imagined doing just that.

“There is a certain magic here,” she said. “I don’t know what it is, and I’ve been trying to figure it out so I can take it back with me.”

Ms. Tawengwa, who is in her 30s, spent much of August and some of this month living on Palmer Square and shadowing Ms. Mann in an effort to learn how a major arts organization works. She was struck not only by Ms. Mann’s abilities as a director, but by the simple fact of her gender.

“I come from a very patriarchal country, a boy’s club. So the fact that she is a woman and so accomplished is very important,” she said. “Then, just watching her process and how she works with the actors has given me such a shift of perspective. Her attention to detail is amazing to me. Everything is so particular and it’s all done so quickly. Just watching how she lets the actors explore on stage has made me realize that I’ve been somewhat harsh with actors. I realize you get a lot more with honey than without.”

It hasn’t been easy for Ms. Tawengwa and her Almasi co-founder, actress Danai Gurira, who is familiar to television audiences from her role on the drama The Walking Dead as well as her extensive work as a playwright. The two founded Almasi, which means “diamond” in Swahili, in 2011 as a “Zimbabwean American Dramatic Arts Collaborative Organization,” as it is written in the website. Through staged readings, educational outreach, and cultural exchanges such as the one just completed by Ms. Tawengwa, they hope to make the arts much more accessible.

“In Zimbabwe, they put very little emphasis on arts education. And there are all these talented kids out there,” Ms. Tawengwa said. “Part of what we’re doing is going into high density and rural schools, with a goal that every child knows what theater is and can get involved.”

Ms. Tawengwa was already known in Zimbabwe as an award-winning film director when she came to the attention of the U.S. Embassy there two years ago. “They wanted to do something for World AIDS Day,” she recalled. “That’s when I met Danai.”

Ms. Gurira was born in the U.S. to Zimbabwean parents and raised in Zimbabwe. Among her plays is The Convert, which appeared at McCarter, the Goodman and Center Theatre Group theaters and is part of a trilogy about Zimbabwe. As part of the exchange, McCarter’s Associate Artistic Director Adam Immewahr will travel to Harare this fall to direct a production of the play.

It was after working together on The Continuum, which Ms. Gurira co-wrote, that she and Ms. Tawengwa decided to form a partnership. “We had some unpleasant experiences with the producer. It was very disorganized,” Ms. Tawengwa said. “So we said to each other, ‘Let’s form this organization.’ We knew our niche would be strictly that we were a Zimbabwean/American collaboration.”

Ms. Gurira and three others run the American side of Almasi, while Ms. Tawengwa and three others are based in Zimbabwe.

In addition to shadowing Ms. Mann at McCarter, Ms. Tawengwa was able to spend time interacting with other members of the staff. “I have come to appreciate how non-profits are run,” she said. “This is what we envision for Almasi in many years to come. There’s a certain excellence and culture about the way McCarter is run that I’ve never felt elsewhere.”

Ms. Tawengwa’s time in Princeton also included investigations into Ms. Mann’s body of work. “I think she does art that matters,” she said. “In our country, you can’t just do art for art’s sake.” Back in Zimbabwe, Almasi will do a staged reading of Ms. Mann’s play, Greensboro.

Mr. Immewahr’s upcoming direction of The Convert at Almasi is another example of the collaboration between the two theaters. “I’m very excited to have this opportunity to direct this play that premiered under Emily Mann, and to let it be seen in the country that inspired it,” he said. “It is a thrilling play set in 1895 Zimbabwe, about women who escaped forced marriages, and I think it will be particularly resonant to see it performed in Harare with Zimbabwean actors and designers.”

Ms. Gurira has been a big part of the exchange between the two theaters. “It’s been a fluid process,” Mr. Immewahr said. “We’ve developed plays. We’ve sent Danai to Zimbabwe, and now we’re developing her next play. It’s a messy process, with many components. It doesn’t fit into a box. And hopefully it will enrich our community here at the same time it enriches the artistic community in Zimbabwe.”

Ms. Tawengwa was planning to do a talk at the American embassy in Zimbabwe upon her return home, detailing her experiences in Princeton and her plans for Almasi’s future. “We play by the McCarter way now,” she said. “We’ve got a new code.”


August 28, 2013
BLOCK PARTY: Crowds enjoyed a selection of festive activities and foods from local eateries at McCarter Theatre’s third annual outdoor Block Party last Wednesday as they listened to the Philadelphia Jazz Orchestra.(Photo by Emily Reeves)

BLOCK PARTY: Crowds enjoyed a selection of festive activities and foods from local eateries at McCarter Theatre’s third annual outdoor Block Party last Wednesday as they listened to the Philadelphia Jazz Orchestra. (Photo by Emily Reeves)

Rain stopped long enough last week for throngs of local residents and visitors to attend McCarter Theatre’s third annual block party. The event took place under festive lantern-lit trees on the lawn in front of the Matthews Theatre.

The free three-hour event, from 5 to 8 p.m., drew a crowd of all ages. Children took part in tot-sized versions of carnival like games such as the high-striker (also known as the strongman) as well as spin art, a scavenger hunt, and activities from JaZams. There were also ticket giveaways and, for the first time this year, stage tours.

People brought picnic blankets and lawn chairs and their pet dogs too. After buying food, they settled down at the tables and chairs provided or on the grass to enjoy music from the Philadelphia Jazz Orchestra.

The orchestra, which was also at the event in previous years, is made up of high school and college performers from New Jersey and Greater Philadelphia. It was led by founder Joseph Bongiovi, who also directs the Princeton High School band. Vocalists Emily Zetterberg and Caitlyn Bongiovi (Mr. Bongiovi’s daughter) wowed the crowd with renditions of jazz standards.

Food ranged from gourmet pizza and paella to hotdogs from Nomad Pizza, Mediterra, Mistral, Terra Teatro, elements,4 Daughters Franks, Bitter Bob’s BBQ + Comfort Food, D’Angelo Italian Market, among others. Sweet dessert treats were to be had from Chez Alice Catering, Gil & Bert’s Ice Cream, and Maddalena’s Cheesecake & Catering.

Christine Murray, special events manager at -McCarter, said the block party “welcomes the community into our doors in a different way.”

In past years, as many as a thousand people have turned out for the event, which makes Wednesday evening’s count something of a record. “We didn’t get an exact count but I would say we had somewhere between 1,000 and 1,500 people,” said Christine Murray, who was in charge of the event. “I am very grateful to the 80 staff and volunteers who helped make the evening run smoothly. Without the help of these fabulous people the event would not be possible.”

In addition to informative stage tours led by Stage Supervisor Stephen J. Howe, teaching artists Jillian Carucci and Stacy Horowitz presented classes throughout the day for children in grades K through 2nd and 3rd through 5th in the theater lobby.

“All of us at McCarter are thrilled by the Block Party’s growing success,” said Ms. Murray. “We feel it’s important, as a member of the Princeton community, to have an event that kicks off our new season and brings together young and old for a great night of food, music, and activities. A fun time was had by all.”

McCarter’s upcoming season includes five-time Tony winner Audra McDonald, Grammy winner Chris Botti, standup comedian Lewis Black as well as a joint recital by Pinchas Zukerman and Yefim Bronfman. Plays include Proof by David Auburn, The White Snake by Mary Zimmerman and August Wilson’s Fences and two by Beaumarchais, directed and adapted by Stephen Wadsworth: The Barber of Seville and The Marriage of Figaro. 

For more information, call (609) 258-2787, or visit:


July 24, 2013

William and Judith Scheide clearly have deep roots in Princeton, but until this past week, no one in the community knew about their strong connection to the Philadelphia Orchestra. From his earliest days at Princeton University, Mr. Scheide was a Friday afternoon concert-goer to Philadelphia’s Academy of Music, where he no doubt reveled in the orchestra’s rendition of Leopold Stokowski’s lush arrangements of Bach. Judith Scheide also attended Philadelphia Orchestra concerts, perhaps unknowingly at the same performances as Mr. Scheide. The stars converged last Wednesday night as the Scheides, conductor Mark Laycock (no stranger to the orchestra himself) and “Those Fabulous Philadelphians” came together at Richardson Auditorium for the annual Scheide Midsummer Celebration. The Philadelphia Orchestra has not performed in Princeton since 1964, and although many Princetonians likely make the journey to the Orchestra’s new home at the Kimmel Center, there is nothing like the ensemble’s clean, precise and rich playing in Princeton’s own backyard.

The legendary Philadelphia Orchestra “sound” has changed since the days of Eugene Ormandy’s performance at McCarter Theatre in 1964. Once heavy on string sonorities and legato playing, principal conductors since Ormandy, most notably Wolfgang Sawallisch and Christoph Eschenbach, crafted a leaner and more supple string sound and introduced a number of young players into the ensemble, adding to the Orchestra’s musical vibrancy. Wednesday night’s concert of refreshing and energetic works showed a wide range of dynamic and stylistic nuance, and it was clear that conductor Mark Laycock was having a great time painting on the Philadelphia Orchestra palette.

Sergei Prokofiev’s Classical Symphony No. 1 in D Major is one of the composer’s most popular works, but not many ensembles can execute it at the speed at which Mr. Laycock began the opening Allegro movement. Ultimate precision marked this performance, whether it was a pair of bassoons against pizzicato violins, the internal winds of the third movement Gavotta or timpanist Don Liuzzi finding an incredible range of dynamics — always on the front edge of the rhythm. Conducting from memory, Mr. Laycock was thoroughly comfortable with all the works on the program, and the Prokofiev was an effective way to reintroduce the Philadelphia Orchestra to the Princeton community.

Carl Maria von Weber’s opera overtures have survived almost more successfully than the operas themselves, and his Overture to Oberon well captured the early 19th-century German musical preoccupation with magic and the supernatural. Particularly marked by Jeffrey Lang’s clear and resonant horn solo, rich sectional playing from the violas and celli, and a languorous clarinet solo from Samuel Caviezel, the orchestra’s performance of this Overture emphasized the same dynamic rises in intensity as can be heard in Weber’s more familiar Overture to Der Freischütz.

The Philadelphia Orchestra demonstrated its ability to deftly shift musical gears as Mr. Laycock led the instrumentalists through the seven-part set of Variations on a Theme Of Haydn by Johannes Brahms. Remarkably light and airy in orchestration (especially the combination of winds and lower strings, and clarinets and horns), the Brahms work was led by Mr. Laycock with effective changes in tempo and character as the ensemble reached its fullest sound half-way through. The seventh variation in particular showed a nice lilt and smooth blend of sound within the Baroque Siciliano form.

The orchestra reached its height of majestic power in Robert Schumann’s Spring Symphony, full of characteristic youthful energy and rich chorale textures. A programmatic work in its connection to poetry, Schumann’s Symphony No. 1 in B-flat Major was full of difficult stops and starts which the orchestra handled well, and smooth transitions between sections, especially in the third movement alternation of Scherzos and Trios. The fourth movement Allegro Animato was played with a strong emphasis on animato, evoking the playfulness of summer. A spirited encore of the Overture to Glinka’s opera Russlan and Ludmilla brought a grand and glorious finish to a summer concert which has become equally as grand a tradition in the community.