Gabriela Sandoval Requena, Executive Director

Patricio Molina, Ph.D., D.M.A, Artistic Director

Marina Catalan, Master of Ceremonies

Weill Hall at Carnegie Hall, New York, NY

October 15, 2021

The Notes for Growth Foundation, led by Gabriela Sandoval Requena and Patricio Molina, was the presenter of Tremün: Celebrating Indigenous Roots Concert, at Carnegie Hall on October 15, 2021. The foundation’s stated mission is as follows: “[we] strongly believe all children, no matter their present circumstances, should have the opportunity to benefit from music education.” The foundation operates in New York and New Jersey, as well as Chile. In the pre-concert introduction, it was stated that 34 pianos have been delivered to Chile and 6000 children who otherwise lacking access to music education have been reached. To learn more about this wonderful organization, follow this link: Notes for Growth.

Tremün means “growth” in Mapudungun, the language of the Mapuche people. The program featured music by and inspired by indigenous peoples around the world including Perú, México, Jamaica, and Chile. There were world premieres of works by five Chilean composers – Patricio Molina, Ramón Catalán, Aina Sandoval, Carlos Zamora, and Sebastián Vergara. Mr. Molina collaborated with Mapuche poets Roxana Miranda Rupailaf and María Lara Millapan setting two of their poems to music. Actress Marina Catalán was the Master of Ceremonies, introducing the performers and the works.

The printed program had QR codes about the program and artists – a very 21^st century touch. The reader should click on the following links to learn more about both: Program notes , Artist bios. There is also a documentary available to view about the making of the program: Tremün documentary. As it is not within the scope of this review to speak of each work and each artist, I offer my apologies and wish to express my admiration for all.

Let’s get the negatives out of the way first. I do have to mention (again) about concerts presenting so much material as less than ideal for all involved (and that’s not just the audience, but the performers themselves). I do understand the constraints placed on the presenters by the venue- in this case, 90 minutes without intermission. To present fifteen works in this timeframe had the effect of not allowing the listener to let a work “sink in” before the next was almost immediately launched. Even with the introductions of each work, there was never more than a minute between, for which I commend the artists for their organization and efficiency, but it seemed like an assembly line. I understand the motivation to present as much as possible, but maybe deleting two or so pieces would have helped.

Some of the works had moments where the music verged on sounding derivative (several brought to mind Chopin, Liszt, Bach, Beethoven, and even Yanni and Suzanne Ciani). One in particular could have been played over the 2^nd movement of Rachmaninoff’s 2^nd Piano Concerto without much harmonic or stylistic clash for the greater part of the piece. Just put this quibble in perspective, however, the audience either did not notice or care about such drawbacks and reacted with enthusiastic applause.

Enough about reservations. Let’s get to the good (and there was an abundance of good!). A general observation first: These are excellent musicians without any doubt. Vibrant and engaging playing/singing, true intonation, and superior ensemble balance were all there. It’s not as common as one might believe, as there are many times when some of these elements are either lacking or missing all together.

All the works presented had their merits and all could be discussed in depth, but I do wish to make special mention of two that stood out to this listener: Otoño en Tierra del Fuego (Autumn in the Land of Fire) by Aina Sandoval, a promising emerging talent, for the taut energy and colorful writing, and Kürüf (Wind), a haunting, apparition-like work for viola and piano, by Sebastián Vergara.

Patricio Molina’s works made a huge impression on this listener. His voice is distinctive – indeed I could not perceive any obvious antecedents (or even subtle ones!) – and his style is confident and assured. Mr. Molina knows his craft. He is the “real deal” in a world where many composers rely on gimmicks or obfuscations. Not only this, but he is also an excellent pianist and has a winsome personality, a true triple-threat! The setting of the two poems, Te Gusta Mi Bosque (You Like My Forest), and Kecha Tregülfe were evocative, bringing the simple power of these poems to life with his emotionally charged writing. El Condor Pasa: Fantasia for Violin and Piano is a showstopper, weaving a popular Peruvian folk melody into a true tour-de-force for the violinist. Alejandro Mendoza (described by Mr. Molina as “Chile’s greatest violinist”) played with élan, in the spirit of Paganini. All that was missing were sparks flying off his bow!

Not to take anything away from the other performers, but the addition of Verónica Villarroel was what took an enjoyable evening and launched it into the stars. Discovered by Renata Scotto and often compared to Maria Callas, Ms. Villarroel is one of the most prominent sopranos of our time. I’ve heard countless excellent singers, but even as jaded as I might be, I was completely transfixed by Ms. Villarroel’s voice and musical spirit. I think everyone in the audience had the same experience.

At the end, the audience reacted with a loud and extended standing ovation. All the performers took the stage for a final bow. I wish the Notes for Growth Foundation much luck and success in all that they bring to the world. Theirs is a noble mission.

Vocal Artists Management Services

James Greening-Valenzuela, Manager

Gretchen Greenfield, Artistic Consultant

OPERA America National Opera Center, Marc A. Scorca Hall, New York, NY

October 14, 2021

The specter of COVID-19 still rules our everyday lives. Passions burn white-hot about how to proceed, and uncertainty is the only thing of which one can be certain. The Arts are still feeling the effects as things are slowly reopening. This week’s showcase by Vocal Artists Management Services was the first concert this listener has attended in New York City in 19 months. The last concert was virtually days before life as we know came to a standstill, as the lockdown which was supposed to last a few weeks dragged on and on; though concert life has slowly restarted, it is still far from truly open, so this concert filled me with a sense of hope that life might return to some semblance of the way it was before the pandemic. I have grown weary of “virtual concerts” – it is a poor substitute for the live concert experience, and I fear that many have now come to expect “free content” as the new normal. Time will tell.

In the backdrop of all this, the Season Showcase by VAMS was their Twelfth, and nineteen (!) vocalists were to be featured, in either solo or duets. I suspect that this showcase was two years combined into one, so as to recapture the year we lost because of the pandemic. To add to the many details to take in, James Greening-Valenzuela, Manager of VAMS greeted the audience and announced alterations to the program.

As I have noted in previous reviews at this venue, the Marc A Scorca Hall at the OPERA America’s National Opera Center is very small with very live acoustics. The feel is intimate, like a salon, with the audience members very near the performers. The seats were all filled tonight, with some overflow (including those performers who has completed their selections and joined the audience to support their colleagues).

Now, on to the business at hand. A problem with a program with so many artists is two-fold. First, it places a heavy burden on the performers to be ready after a long wait, for what might about to be a very short time on stage. It is nearly impossible to be at one’s best in these circumstances, and it might have the consequence of giving the listener a misleading view of their true merits. Secondly, it is expecting a lot from the audience to focus on so many performers for an extended time. A fidgety, tired listener who just wants to get out is often the result. It was rather notable that the audience stayed engaged to the finish, which was a delight to see.

It is beyond the scope of this review to comment on each individual vocalist and each selection. I offer my sincere apologies to any artist whose performance is not mentioned. Rest assured that all are worthy of praise. I will give the complete list of the vocalists (in alphabetical order): Karen Albert, David Rivera Bozón, Lisa Bryce, Pedro Carreras, Jr., Sang Bum Cho, Alexandria Crichlow (who was unable to perform due to illness) Andrew Egbuchiem, Erin Hannon, Kate Kyunghee Kim, Laura Kimmel, Jin Uk Lee, Cynthia Leigh, Kelly Marel, Steven Andrew Murray, Roselin Osser, Eun-Ah Roh, Adriana Ruiz, Stacey Stofferahn, and Caroline Tye. Selections by Puccini, Verdi, Mozart, Wagner, Vivaldi, Handel, Offenbach, Mascagni, Carissimi, Sullivan were featured, with the addition of newer works by Rachel Portman and Jonatas Manzolli as well.

With this caveat in mind, I would like to highlight some selections that were noteworthy to me (in no particular order of merit), but before that I must give special mention to pianist Eric Malson, who was the unsung hero of the evening. It is heroic work to undertake the task of accompanying eighteen different singers, and he did so with what looked like practiced ease, as it was certainly not easy! Bravo!

For the soloists, the vocal gymnastics and projection of soprano Eun-Ah Roh, the innocent child-like beauty of the voice of countertenor Andrew Egbuchiem, the playful whimsy of soprano Roselin Osser’s The Fox’s Aria from Rachel Portman’s The Little Prince, and the ebullient tenor David Rivera Bozón, all made very strong impressions on this listener. Another special mention goes to soprano Laura Kimmel for her Letter Dropped from the Sky (a world premiere) with her own lyrics to the music of Jônatas Manzolli – it was hauntingly beautiful.

For the duets, the charming Barcarolle from Les contes d’ Hoffman from mezzo-soprano Caroline Tye and soprano Cynthia Leigh enchanted. The fiery passion of the Act I Love Duet from Tosca was on full display from soprano Stacey Stofferahn and tenor Pedro Carreras. Jr, and the monumental Dawn Duet from Götterdämmerung was given a passionate and powerful performance from soprano Lisa Bryce and tenor Steven Andrew Murray. Soprano Erin Hannon and baritone Jin Uk Lee ended the night in style with a showstopping duet from Act II of La Traviata. The power was electrifying – one could see the audience members held with rapt attention. Mr. Lee evidently had a fan base in attendance (a large group that greeted his arrival in the hall pre-concert with applause!) and he pulled out all the stops to delight them. Ms. Hannon most likely made many fans tonight with her fine work.

The audience reacted with a standing ovation. The performers all gathered on-stage for a group picture, Thank you VAMS and all participants for this evening. It was a joy to be back at a live concert again. Congratulations to all!

Michael Avagliano, conductor; Emil Chudnovsky, violin soloist; Julia Zilberquit, piano soloist

Merkin Hall, Kaufman Center, New York, NY

March 7, 2020

A concert advertised as an “All J.S. Bach Program” was presented at Merkin Hall, March 7, 2020, by The Bachanalia Chamber Orchestra, marking the revival of the Bachanalia Concert Series that noted violinist Nina Beilina founded in 1988. This concert was organized in her memory by her son, violinist Emil Chudnovsky, who was host, teacher, storyteller, performer, and at all times loving son as he spoke of his mother. The full hall was witness to an evening full of emotion, along with some exquisite music making.

Scheduled soloist violinist Michael Guttman cancelled due to illness, so the originally programmed Concerto for Two Violins in D minor, BWV 1043, was replaced with the Violin Concerto in E major, BWV 1042. In addition, Michael Avagliano offered his talents as conductor. Regrettably, there was no list of the names of orchestra members in the program.

The Brandenburg Concerto No. 3, BWV 1048, opened the concert.  The bold, assertive playing, combined with the impeccable articulation, precise intonation, and ensemble balance, made this listener sit up and take notice immediately. One can’t hide behind a large section in such a small ensemble – any weak players are immediately exposed. Rest assured, there are no weak players in this ensemble (and this listener was seated so close to the stage as to be able to focus on any number of individual players).

The second movement Adagio consists of a single notated measure of a Phrygian half-cadence, which invites improvisation (by harpsichord or violin), and in this case it was harpsichord. The (uncredited!) harpsichordist offered an elaborate and virtuosic cadenza, after which the orchestra launched the Allegro assai finale. The ensemble played with great brio. The audience was a bit late in reacting, as it seems that perhaps the 2nd movement confused some regarding the order of movements, but they applauded respectfully. If anything, this audience seemed a bit too restrained in their responses to these fine musicians, who deserved resounding ovations!

Mendelssohn’s Capriccio from Four Pieces for String Quartet, Op. 81, followed the Brandenburg. Wait, didn’t the publicity say “All J.S. Bach”? Mr. Chudnovsky explained to the audience about Mendelssohn’s leading role in the Bach revival, particularly the 1839 revival of St. Matthew Passion. The Capriccio prominently features a fugue. When one thinks of fugues, the name J.S. Bach is the gold standard and the undisputed master of the form. The programming of the Capriccio is what is nowadays would be called a “hat tip” to Bach. It was played with polish.

After the stage was rearranged and a piano moved to the center, Julia Zilberquit took the stage as the soloist for the Piano Concerto in D minor, BWV 1062, Michael Avagliano conducting. Your reviewer has had the pleasure of hearing Ms. Zilberquit in a past concert (Long Island Orchestra with Julia Zilberquit), so I was well aware of her qualities, both technically and artistically. I admired her approach to this work; it was free of the extravagances and eccentricities that beset too many performances. The outer movements were child’s play in her hands, but her artistry in the central Adagio was what won me over completely. It was moving without any “romanticizing,” just pure beautiful Bach. Ms. Zilberquit offered the Vivaldi-Bach Sicilienne, BWV 596, as an encore.  Let’s not forget the orchestra and Mr. Avagliano – they were every bit as compelling as Ms. Zilberquit.

After intermission, the second half opened with the Violin Concerto in E major, BWV 1042, with Mr. Chudnovsky as soloist. Perhaps due to the short notice (Mr. Guttman cancelled five days before the concert), Mr. Chudnovsky used the music. As far as I could see, he never really looked at the music a single time (although Mr. Avagliano made a deft page turn for Mr. Chudovsky as he conducted!). Whatever the case was, Mr. Chudnovsky showed no signs of rushed preparation. He played with the confidence of one who knows he has everything under control. His tone was full-bodied, his intonation impeccable, and his ensemble with the orchestra superb. It was truly impressive.

The story behind the last work on the program, the Bach-Busoni Chaconne from Violin Partita No.2, BWV 1004, is too good not to relate (which I will do very briefly). Charles Jaffe  arranged the Busoni arrangement of Bach’s monumental violin Chaconne to be played as a string quartet, then later arranged it further for string orchestra at the behest of Eugene Ormandy. When Jaffe left the Philadelphia Orchestra in 1945 to join Toscanini’s NBC Orchestra, Ormandy angrily cancelled the premiere. Fast-forwarding sixty-two years (2007) Michael Avagliano was asked to play violin at a 90th birthday party for a gentleman who “loves violin music.” That 90-year-old turned out to be…Charles Jaffe! Jaffe told Mr. Avagliano about his string quartet arrangement and gave him the music, with an additional fifth part for bass. Fast forwarding another eleven years (2018), Mr. Avagliano pulled the music out to prepare for performance, and this evening’s performance was scheduled – so, after seventy-five years, we heard the world premiere of the Bach-Busoni -Jaffe Chaconne! It was the highlight of the evening; effective, powerful, and maintaining all the grandeur of Busoni’s arrangement.  Bravo!

Alexei Tartakovsky, piano

Baisley Powell Elebash Recital Hall, The Graduate Center, CUNY, New York, NY

February 24, 2020

Pianist Alexei Tartakovsky appeared at Baisley Powell Elebash Recital Hall at the CUNY Graduate Center as part of the Ph.D/D.M.A. Programs in Music on February 24, 2020. He is currently pursuing his doctorate with Richard Goode at CUNY Graduate Center, where he was awarded the Graduate Center Fellowship.

Mr. Tartakovsky has an impressive list of accomplishments that the reader can learn more about by visiting https://www.atartakovsky.com/. His program was all twenty-four of Chopin’s Op. 28 Preludes, Einojuhani Rautavaara’s Passionale, and Schubert’s Sonata in B-flat major, D. 960.

The first half consisted of the Chopin. These Preludes have loomed large in this reviewer’s personal and professional life, and consequently, some rather strong opinions have developed about how these pieces should be played. (The reader might already be thinking that my objectivity is compromised, but rest assured I do not claim to own the truth, only my truth.)

Mr. Tartakovsky’s excellent program notes about the Preludes quote Schumann (some rather backhanded compliments), and Liszt (more generous praise). I would like to add two more. Musicologist Henry Finck said that, “if all piano music in the world were to be destroyed, excepting one collection, my vote should be cast for Chopin’s Preludes.” Chopin biographer Jeremy Nicholas writes that, “Even on their own, the 24 Preludes would have ensured Chopin’s claim to immortality.”

With all that being said, let’s get to it. Mr. Tartakovsky’s conception of the preludes is to treat the set as a single work with (as he states in his notes) “a clear beginning, middle, and end.” I am in general agreement with this concept, even if there is dispute over whether this was Chopin’s actual intent. It is a thoughtful, intelligent approach, and given Mr. Tartakovsky’s consistency in overall style, it also was compelling. That style was one of avoidance of any overt emotion or any exaggerated romanticism, basically “playing it straight.” For this listener, it struck me as overly cautious. It is certainly not a question a technique, as Mr. Tartakovsky has more than enough firepower to handle these works, and his accuracy was outstanding. I’m not wanting hyper-exaggerated emoting, but a little more exploration of emotional depth in a few preludes (notably the E minor, the F# major, and the A-flat major). To be fair, the G major and C# minor were exquisitely done, the D-flat major “Raindrop” had a surprising freshness of quality for such a well-known work, and the B-flat minor (which has caused innumerable pianists to crash and burn as they flew off the rails catastrophically) was lightning fast with each note clearly articulated – truly exceptional. Honorable mentions go to the E-flat major (another ferociously difficult prelude that has snuffed out the dreams of many a pianist), and the final Prelude in D minor. After the last of the three hammer blows on the low D, the audience gave Mr. Tartakovsky a standing ovation.

After intermission, Mr. Tartakovsky opened with Passionale, written in 2003 by Finnish composer Einojuhani Rautavaara. This listener is an admirer of Rautavaara’s works, so it was a wonderful bonus to hear this piece. Rautavaara is “modern” (for lack of a better term) in his harmonic language, but always remains highly accessible to the listener. Passionale is the modern Chopin or Liszt in its romantic conception, but the sound is unmistakably Rautavaara. Mr. Tartakovsky really let loose and “went for it” in a fantastic performance. It was easily the favorite of the night for this listener.

After the Passionale, Mr. Tartakovsky returned to the thoughtful, intellectual side with Schubert’s Sonata in B-flat major, D. 960. Written in the last year of Schubert’s life (1828), it was not published until ten years after the composer’s death. Mr. Tartakovsky writes in his notes that “one can’t help but feel that this sonata is Schubert’s epitaph to himself,” which is not altogether without reason. Thematic material and ideas from previous works abound throughout. Mr. Tartakovsky’s artistry was on full display here. The long lines and autumnal qualities that are much more difficult to render effectively than many realize were done with a natural, organic quality. It’s another thing to keep the listener involved in this very long sonata, but the audience was held in rapt attention, which is no mean feat. I have observed much restlessness from listeners in other performances (by “big name” artists), and that was not the case here. Mr. Tartakovsky can be proud of his superb playing. The audience rewarded him with a loud and extended standing ovation.

Mr. Tartakovsky offered two encores, Schubert’s Liebesbotschaft arranged by Liszt and Chopin’s Waltz in A-flat major, Op. 34. No.1, both played with graceful elegance.

Kara Mulder, soprano

Anna Shelest, piano

Weill Recital Hall at Carnegie Hall, New York, NY

February 23, 2020

On the afternoon of February 23, 2020, soprano Kara Mulder gave her solo debut at Carnegie Hall as the Alexander and Buono Competitions’ 2019 Grand Prize Winner. She presented a program with songs from Richard Strauss, Debussy, Rachmaninoff, Weill, and Gershwin, and Puccini arias from La Bohème and Madama Butterfly. Pianist Anna Shelest (a past A&B prize winner) was Ms. Mulder’s excellent collaborator.

Barry Alexander and Cosmo Buono welcomed the audience to the concert. Mr. Alexander spoke of the mission of Alexander and Buono (alexanderbuono.com) and served as a musical docent. He spoke of the composers, the works, and shared anecdotes from the stage, expressing his unabashed admiration for Ms. Mulder and Ms. Shelest. Mr. Alexander is a gifted speaker with a definite dramatic flair. While this listener would have preferred to read notes rather than to hear them, it was very well received by the audience and did add context to the excellent performances. The program booklet was of keepsake quality, in sharp contrast to the missing programs and cheaply produced photocopies that are all too frequent these days. It speaks of a first-class organization that is committed to excellence in not only musical content, but in the marketing and presentation as well.

This reviewer has had the pleasure of hearing both Ms. Mulder and Ms. Shelest last year. Interested readers can read that review by clicking the following link: Winners of the Barry Alexander International Vocal Competition.

At the risk of repeating myself, Ms. Mulder is outstanding not only in her singing, but in her exceptional dramatic skill. I’m fairly certain that she has invested much thought into her acting, but it all appears completely spontaneous, which is quite remarkable. There are many fine singers who are, to be frank, rather poor at projecting any natural movements or expressions. Some might find my admiration out of place for the non-musical aspect, but it is all part and parcel of the performance.

I’m not going to discuss all twenty-three (!) songs/arias that Ms. Mulder presented. Rather, I’m going to consider them as sets by the individual composers and rank them, in reverse order of my preferences. Please note this is not to say that I disliked or had major issues with any of the selections.

For those who must know the entire program: Richard Strauss- Zueignung, Op 10, No.1; Allerseelen Op. 10, No. 8; Ständchen, Op.17, No.2; Cäcilie” Op. 27 No. 2; Morgen!, Op 27, No. 4

Claude Debussy- Ariettes oubliées 1.”Le vent dans la plaine suspend son haleine”: C’est l’extase langoureuse; 2.”Il pleut doucement sur la ville”: Il pleure dans mon cœur comme il pleut sur la ville; 3.”Le rossignol qui, du haut d’une branche”: L’ombre des arbres dans la rivière embrumée; 4.Paysages belges. Chevaux de bois”: Tournez, tournez, bons chevaux de bois; 5.”Aquarelles I. Green”: Voici des fruits, des fleurs, des feuilles; 6.”Aquarelles II. Spleen”: Les roses étaient toutes rouges

Sergei Rachmaninoff, Six Songs, Op. 38 -1.In my Garden at Night ; 2.To Her; 3.Daisies; 4.The Pied Piper; 5. A Dream; 6. A-oo!”

Kurt Weill Foolish Heart; George Gershwin Maybe; S’wonderful

Giacomo Puccini- “Si, mi chiamano Mimi,” “Donde lieta usci,” from La bohème; “Un bel di vedremo,” from Madama Butterfly

Ms. Shelest offered three pieces from Cécile Chaminade to start the second half. They were the Air de Ballet in B-flat major, Op. 37, and the Automne and Scherzo from the Concert Etudes, Op. 36. Ms. Shelest is known for her advocacy of female composers, and her commitment was front and center in as she wowed the audience in her passionate performance. As Mr. Alexander said to the audience after they gave Ms. Shelest a standing ovation, “I told you so!” Yes, sir, you certainly did!

Now, on to the vocal selections. The Weill/Gershwin songs highlighted Ms. Mulder’s versatility in lighter fare, which she did with style. The Puccini arias were full of both innocence and heartbreak, as they should be. They are mandatory for any soprano, and Ms. Mulder presented her bona fides with polish. The Strauss songs are filled with challenges that push even the most technically assured singer to the limit. One hearing these songs for the first time would not have had a clue about that, as Ms. Mulder made such short work of them. They were breathtaking. The Debussy songs were exquisite as well, as Ms. Mulder is a colorist who captures their sensuousness without drenching it in perfume.

It was the Rachmaninoff songs, though, that were this listener’s favorites. While Ms. Mulder excels in all she sings, it seems she has a special affinity for the Slavic (see the earlier review for another instance of this). While Rachmaninoff’s genius for song is indisputable, it still requires a gifted artist to bring that genius out to its fullest. Ms. Mulder is that artist. This listener’s favorite of this set was the one that, for Rachmaninoff, was unusually playful and whimsical, The Pied Piper. Ms. Mulder projected a cocky swagger, complete with a wink at the end, which was delightfully irreverent. One could not help but smile!

The large audience rewarded Ms. Mulder and Ms. Shelest with a standing ovation, completed with admiring fans presenting them with flowers. The sky is the limit for Ms. Mulder, and with the support of Alexander and Buono she has every chance of realizing her dreams.

Eric Whitacre, composer/conductor; Kelly Yu-Chieh Lin, piano

Distinguished Concerts singers International; Distinguished Concerts Orchestra

Stern Auditorium at Carnegie Hall, New York, NY

November 24, 2019

It does seem that each year the “holiday season” starts earlier and earlier; Halloween is barely in the rear-view mirror, Thanksgiving is still weeks away, and the retailers are all ready in full frenzy with “door busters” and deals galore. The early season also applies to concerts – today’s concert (November 24th) is the second pre-Thanksgiving holiday concert presented by Distinguished Concerts International New York (DCINY). Entitled “The Holiday Music of Eric Whitacre,” with choruses from Georgia, Wisconsin, California, Ohio, New York, Maryland, Nevada, Florida, Mississippi, Maine, North Carolina, Connecticut, Arizona, New Jersey, United Arab Emirates, and “individual singers from around the globe,” it was an afternoon of holiday cheer delivered with joy.

DCINY favorite Eric Whitacre (in his 18th appearance with DCINY) took to the stage.  As I wrote in an earlier review, “Eric Whitacre is a true force of nature – Grammy-winning composer, conductor, public speaker, and evangelist for the cause of music. He is one of the most charismatic people in any field this reviewer has seen in action.” One is reminded of Oscar Levant’s famous quip about George Gershwin: “A concert with Eric Whitacre is an Eric Whitacre concert.” This is not to take anything away from the performers, but simply to remark on the infectious enthusiasm of Mr. Whitacre; one cannot help being drawn in by this dynamic personality.

The program itself was a mixture of traditional selections and holiday favorites, interspersed with the music of Mr. Whitacre (not all of which could be considered conventional “holiday,” but vive la différence). Interested readers can view the program by following this link: The Holiday Music of Eric Whitacre.  This is not a concert about which a reviewer fills the page with criticisms of singers not properly forming vowels and such matters, but rather takes in the experience for what it is intended to be – a celebration of music by singers of all ages and abilities giving their very best and having the time of their lives doing so.

The standards Carol of the Bells and O Christmas Tree got the concert off to a good start. The intonation was commendable for such a large ensemble, and one got the impression that Mr. Whitacre was coaxing magic from them. The first piece on the program by Mr. Whitacre, little tree (text by E.E. Cummings), followed.  With the childlike innocence of the text, combined with poignancy of the music, this piece tugs at the heartstrings.

Vince Guaraldi’s Christmas Time is Here (with lyrics by Lee Mendelson), from the classic A Charlie Brown Christmas, featured the Avondale Children’s Choir, in an arrangement by Robert Sterling that avoided those “nails-on-the-chalkboard” moments of the television version. It was delightful to hear and see these talented youngsters give such a polished performance. Great job!

Mr. Whitacre’s The Boy Who Laughed at Santa Claus, with text from Ogden Nash, ended the first half. It’s the story of Jabez Dawes, who, let’s just say, was not a very good boy. He delighted in telling all that there is no Santa Claus, but got his come-uppance delivered by Saint Nick himself! As is typical with Nash, the wordplay is hilarious. Today’s performance was the World Premiere of the orchestrated version (roughly twenty players). This is Mr. Whitacre at his whimsical best, in the vein of his early work for wind ensemble, Godzilla Eats Las Vegas!. There are quotes from Carol of the Bells, Joy to the World, and other snippets interwoven (and I detected even a small hint of Rachmaninoff’s Piano Concerto No. 3!) with highly imaginative music bringing the text alive. I was reminded of the movies of Tim Burton throughout, and this story is right up his street. If Mr. Burton ever wanted to bring this to the screen, the music is ready to go!

The second half, with all new choruses on stage, began with an old favorite, Mr. Whitacre’s Lux Aurumque. The close intervals were rendered with refinement, and the intonation was solid as well. It was a lovely way for the chorus to settle in.

Mr. Whitacre’s Winter (text by Edward Esch) is a work that Mr. Whitacre mentioned he has not heard performed in nearly twenty years. This might be due to a prominent role for sitar, playing a specific raga (Desh). It’s a fascinating work that joins the sounds of Western and Indian music together seamlessly.  Serene and atmospheric, it gives the listener the sensation of floating without ever really leaving the ground. One hopes there is not another two-decade gap before hearing it again!

Glow (text by Edward Esch) was written by Mr. Whitacre for a light-show attraction at Disneyland’s California Adventure theme park. It’s also a part of Mt. Whitacre’s Virtual Choir project, where singers from around the world record themselves, send it to Mr. Whitacre, and those thousands of individual recordings are joined together.  Mr. Whitacre said this project had over 8000 singers from 120 countries! For those people who can’t make it to Anaheim, click the following link to enjoy the show: Glow. The concert hall version was quintessential Whitacre – the maximum effect with the simplest of means. Kudos to the chorus for a beautiful performance.

About the other (non-Whitacre) selections on this half: Winter Wonderland and Lully, Lulla, Lullay were charming. Brightest and Best, with fiddle solo, had an Appalachian flavor that filled the hall with energy. Silent Night was an unconventionally low-key ending to a DCINY concert, but it was a thoughtful reminder that the real meaning of the season is not all about hoopla. The audience gave their stars a standing ovation.