By Nancy Plum

A 40-year history is commendable for any performing organization, and Princeton Pro Musica, which presented its first concert in the spring of 1980 and has only had two music directors in four decades, celebrated this milestone this past weekend with a festive concert at the Princeton University Chapel. Pro Musica’s decades-long musical roots provided bookends to Saturday afternoon’s performance of the music of George Frideric Handel as founder Frances Fowler Slade led the 100-voice chorus in the opening and closing works on the program. Current Artistic Director Ryan James Brandau conducted the chorus and an accompanying chamber orchestra in several of Handel’s lesser-known but equally as appealing pieces, recreating a concert atmosphere which could have taken place in Handel’s time in a space which well suited the performers and repertoire.

Slade retired from Pro Musica in 2012, but many of the current singers performed under her direction for a number of years. Slade took the podium to lead the chorus and orchestra in two “Coronation” anthems of Handel, a composer whose music Pro Musica performed every year since its founding. Slade maintained a lively tempo in both pieces, keeping a crisp conducting style and encouraging the blocks of sound for which the chorus has been known. The University Chapel can be a cavernous space for a large chorus, and the choral sound that seemed to work best for Pro Musica included the ensemble’s trademark expansive homophonic passages. In both “Zadok the Priest” and “The King Shall Rejoice,” Slade guided the chorus well through the Baroque lilt in the music, demonstrating that even in retirement, she is still looking for precise endings and phrasing. more

By Nancy Plum

Los Angeles Philharmonic Music Director Gustavo Dudamel, who has been in residence at Princeton University for this academic year, finished his year-long stay on the campus with a jammed-packed week of multicultural events featuring performing talent both local and international. In a residency centered on “Uniting our World through Music,” Dudamel focused the April activities on exploring art and nature, with particular emphasis on art, politics, and society. The final week of April, which concluded Dudamel’s residency, featured a film screening, performance by international chamber musicians, conversational lecture on The Artist in Society, concerts of El Sistema-based instrumental ensembles, and a culminating event of Dudamel leading the Princeton University Orchestra and Glee Club in two performances reaching more than 2,500 people. Demanding the same expectations of Princeton University musicians as he would the LA Philharmonic professionals, Dudamel set a very high musical bar for the close of the academic year. more

By Nancy Plum

Boheme Opera NJ is marking its 30th anniversary this season, and the regional opera company is not celebrating quietly. In this past weekend’s productions at the College of New Jersey’s Kendall Mainstage Theater, Boheme Opera NJ took on a blockbuster from a master of Italian dramatic opera in Giuseppe Verdi’s monumental Aida. An opera in four acts (the last two are often combined), Verdi’s 1871 Aida was a departure for the composer in that there were no show-stopping arias of vocal fireworks for superstar singers; rather, the technical demands were evenly spread among all performers. The principal singers assembled by Boheme Opera NJ for Friday night’s performance (the production was repeated Sunday afternoon) consistently demonstrated their mastery of Verdi’s rich harmonic score and musical drama. Against a simple set leaving much of the locale depiction to a digital backdrop, the performers in this production were able to easily captivate the audience throughout the poignant story.

The timeframe of Aida is deliberately vague and open to interpretation, described only as during the “Old Kingdom of Egypt” (covering a good four centuries), and  Boheme Opera NJ placed the story “during the reign of the Pharaohs,” with virtual set artist J. Matthew Root’s digital scenery showing settings of Luxor in Upper Egypt and inner tombs of pyramids while the opening orchestral prelude was played. The orchestra assembled in the pit, and led by Artistic Director and Conductor Joseph Pucciatti, began the opera to the digital accompaniment of the Nile River flowing by as lean violins and graceful wind solos moved the tempo along as smoothly as the Nile. more

By Nancy Plum

One musical bright spot after every winter in Princeton is the spring concert of the Princeton University Orchestra, when the ensemble presents winners of its annual Concerto Competition for undergraduate students. As evidenced by the audience reaction in this past weekend’s concert at Richardson Auditorium, this year’s winners have not been squirreled away practicing to the expense of everything else, but are fully participating in the Princeton University experience, with armies of friends who came to support them in their solo performances. Four of this year’s winners performed with the University Orchestra Friday night (the concert was repeated Saturday night), demonstrating musical poise, technical dexterity, and the culmination of their enormous capacity for hard work.  more

By Nancy Plum

The Princeton Singers continued its long-standing collaboration with the Princeton University Art Museum this past weekend with a performance tied to the Museum’s current “Family Album” exhibit of 18th-century British painter Thomas Gainsborough. Princeton Singers Artistic Director Steven Sametz led the professional chamber vocal ensemble in a program of British a capella choral music spanning more than six centuries. Performing in varied configurations in the Museum’s medieval gallery, The Singers made full use of the unusual space and complementary acoustics in bringing music of “This Sceptered Isle” to life.

The Princeton Singers’ late Saturday afternoon performance (the concert was repeated later Saturday night) was centered on a five-part work by 16th-century English composer William Byrd. Byrd bridged the Protestant and Catholic music traditions while composing several settings of the Catholic liturgical mass at a time when it was politically dangerous to do so. Sametz built Saturday’s concert around Byrd’s late 16th-century Mass for Four Voices, interspersing secular works of British choral music among the mass movements.

With interesting trivia-laden and informative introductions to each selection, Sametz illustrated his programming concept for this eight-work concert. The chorus opened with a “Pastyme with Good Company,” with music and text likely by King Henry VIII, who apparently had time for composing amidst his many wives. The Singers generated a very bright sound in the space of the gallery, with a joyous and chipper choral tone aided by uniform vowel production among all singers. more

By Nancy Plum

Continuing Princeton University Concerts’ 125th Anniversary season, Richardson Chamber Players presented an afternoon of mixed chamber works composed during the inaugural season of the Concerts series. In a Sunday concert at Richardson Auditorium entitled Then and Now, six musicians of the Richardson Chamber Players juxtaposed works composed in 1894 and 1895 with music of today, demonstrating connections among pieces written more than 100 years ago. Most of the works on Sunday afternoon’s program paid tribute to the University Concerts’ inaugural year, with the Eric Nathan’s very contemporary Threads for clarinet, violin, cello, and piano making the compositional leap into the 21st century.

The Chamber Players began their journey into Then and Now with a work for solo piano as pianist Geoffrey Burleson performed a paraphrase for solo piano of 19th-century French composer Camille Saint-Saëns. Paraphrases were virtuosic solo instrumental works based on popular melodies of the time, in the case of Saint-Saëns’ La mort de Thaïs, music from Jules Massenet’s opera Thaïs. Saint-Saëns set the opera’s “Vision” tableau of Act III, as well as the more well-known “Meditation,” and Burleson began the work with clarity in opening octaves punctuated by rolling arpeggios. Burleson played percussively, creating tension which moved the music along. This paraphrase was more driven than dreamy, although Burleson was effective in stretching the lines in a more pensive second section. Burleson finished the Saint-Saëns piece in majestic style, with virtuosic flourishes from the keyboard.

German composer Richard Strauss composed a generation later than Saint-Saëns, which can be heard in his boundary-pushing harmonics and emotional setting of text. Strauss composed more than 200 songs, and soprano Rochelle Ellis, accompanied by Burleson, presented four of them in thoughtful and unhurried fashion. The four songs performed by Ellis set poetry of varied text and mood, and Ellis well demonstrated Strauss’ picturesque writing with solid control of the vocal lines and animated storytelling. The third song in particular, “Heimliche Aufforderung,” showed an especially free-flowing accompaniment from Burleson and a sensitive ending to the text from Ellis. more

By Nancy Plum

Princeton Symphony Orchestra celebrated its 10-year relationship with Music Director Rossen Milanov this past weekend, with concerts paying tribute to the musical leadership which resulted from Milanov’s first concert with the Orchestra. Saturday night’s performance at Richardson Auditorium (the concert was repeated Sunday afternoon) featured Ludwig van Beethoven’s Symphony No. 5 — the work which Milanov conducted in his debut with Princeton Symphony — as well as a Brahms piano concerto within the classical framework.

Johannes Brahms’ 1858 Piano Concerto No. 1 in D minor reflected the composer’s homage to Robert Schumann, who served as a mentor to Brahms, and was originally intended as a sonata for two pianists — Brahms and Schumann’s wife Clara. Featured in this weekend’s performances by the Princeton Symphony was pianist Dominic Cheli, who received his training both at Yale University and Manhattan School of Music and is currently pursuing an artist diploma at the Colburn Conservatory of Music in Los Angeles.   

Like Beethoven’s Symphony No. 5 which followed in the program, Brahms’ Concerto stated the music ferocity from the outset, with an extended orchestral introduction to the piano solo marked by both subdued strings and effective dynamic swells from timpanist Jeremy Levine. In his opening piano solo line, Cheli emerged from the orchestral texture seamlessly with thoughtful and sensitive playing, positioning the piano as a fellow instrument in the orchestra, rather than set off with its own part.    more

By Nancy Plum

Since late November, New Jersey Symphony Orchestra has been presenting a Winter Festival throughout New Jersey, with performances depicting how “Music Speaks.” The Orchestra brought the Festival to Richardson Auditorium last Friday night with both a performance of contemporary poetry set to music and a towering 19th-century symphony featuring text drawn from an early 19th-century anthology. In this concert, New Jersey Symphony Orchestra Music Director Xian Zhang conducted a lean first half of chamber instrumental textures and a second half of lush Romantic orchestration tempered with Viennese buoyancy.  

Composer and Minnesota native Maria Schneider has been credited with revitalizing the big band sound in the 21st century, as well as fusing the jazz and classical worlds. Schneider’s 2013 Winter Morning Walks, a setting of nine poems by Iowa poet Ted Kooser, has received a Grammy for Best Classical Composition, and has been championed by soprano Dawn Upshaw, for whom it was composed.  In Friday night’s performance of this work, Schneider combined three musicians from her own jazz orchestra with strings from the NJSO to accompany Upshaw in conveying Kooser’s descriptive Americana poems. Upshaw and some of the instrumentalists were amplified, which took away a bit from the soprano’s acoustic resonance, but Upshaw used the amplification well to convey the text through the hall. more

By Nancy Plum

Princeton Symphony Orchestra explored three unique composers this past weekend in a Sunday afternoon concert in Richardson Auditorium. Bookending Niccolò Paganini’s monumental Violin Concerto No. 1 in D Major, Op. 6 were two 20th-century works written only two years apart. In a concert featuring musical surprises and ear-catching effects, Princeton Symphony Orchestra, together with an exciting and very contemporary violin soloist, performed to a spellbound audience in Richardson.  

Leoš Janáček’s 1926 Sinfonietta, as arranged by Erwin Stein, reflected the composer’s fascination with military bands and showed Janáček’s imagination in scoring each of the five movements for a different group of instruments. Led by Music Director Rossen Milanov, the musicians of Princeton Symphony played Janáček’s largest purely orchestral work cleanly and precisely. An effective pair of horns opened the first movement fanfare, together with exacting timpani and a quartet of trumpets. A Gypsy feel marked the second movement, which recalled Janáček’s hometown of Brno in what is now the Czech Republic, and elegant solos were heard form flutist Niles Watson, oboist Lillian Copeland, and later English horn player Lauren Williams. Throughout the five-movement work, Milanov kept the five musical vignettes flowing seamlessly, well capturing an atmosphere of Eastern Europe in the early part of the 20th century. more

By Nancy Plum

Anyone who came to the Richardson Chamber Players performance on Sunday afternoon at Richardson Auditorium learned a great deal about unusual instruments and composers. The ensemble took the audience on a musical journey from throughout the Americas to Brooklyn, New York Sunday afternoon with a concert of 20th-century works of composers both known and unknown from Argentina, Brazil, Cuba, Paraguay, and Mexico, and of course, Brooklyn.  The concert, which included a large number of players, was designed to explore music from South and Central America and the Caribbean from composers who in some cases had huge repertories of pieces which were largely unknown. more