Driving Mr. Asner

I, along with co-worker Andy Gilbert, had the distinct honor of driving Ed Asner around Portland while he was here for his one man show, FDR. 

How cool is that?

Growing up as a kid I used to watch him faithfully on The Mary Tyler Moore Show, and then Lou Grant.  And recently when I watched Up with my daughter, I was pleased to see his name among the credits. 

Driving our talent around can be a scary thing. That may sound silly but for me it’s true.  Will I get “star-struck” and not know what to say?  Will they not want to talk with me?  Will I say something foolish?  Will I get lost?  Will I be on time?

I didn’t need to worry with Mr. Asner.  He is a gem.  As I was driving and Andy was chatting with him, I detected a twang coming from Mr. Asner.  I knew that twang, had heard it my whole life from my father so I summoned up my courage and asked, “Where are you from originally because I detect a twang coming from you.”  He replied he has spent his whole life trying NOT to have the twang and that I must have read his bio somewhere but I replied, “No, I just heard the twang.”  He said he was from Kansis City, KS and I said, “I knew it!” and proceeded to tell him my father was from Kansis City, MO.  From that point on I wasn’t nervous anymore.

We brought him to a couple media interviews and the entire time he was gracious with his fans, patient as many photographs were taken and autographs given, joked with the men and flirted with the women, and the entire time had a twinkle in his eye and emitted an undying love for acting.

His performance as FDR that night left me wondering how a man of 80 years could spend over and hour-and-a-half on stage, alone, with no intermission and not be totally and utterly exhausted, and then proceed to a private reception with members and special guests and stay until he had met every single person there. All this after spending the day giving interviews.  He was remarkable. 

It was a very memorable day for me, one that I won’t forget.  We joked with each other, teased each other and shared time together.  I realized he is just an ordinary man with exceptional talents, and as I watched him at the Oscar’s Sunday night I said to myself proudly, “I know that man!”

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Brooklyn Rider leaves its mark on Portland – and takes a bit home with them

Over the course of less than 48 hours, the string quartet Brooklyn Rider gave generously to Ovations’ audiences and received much in return.

Our time with Brooklyn Rider started at Hannaford Bros supermarket on Forest Avenue. … in the back of the produce section no less! Friday night the ensemble setup with their music stands and performed for unsuspecting audiences during rush hour. A small crowd gathered. Two small children danced enthusiastically and freely. A couple commandeered the bench that had been placed out and snuggled close. Several people stood with their cell phones in the air, taking photos and videos. It was a musical happening that went beyond any of our expectations, including the quartet’s, who while completely game for the idea, had some questions about how it would play out.  

The next morning during an Ovations Members’ Salon, the quartet shared their passion for chamber music, the relationship they have to and respect for the traditional literature, and the audiences they are trying to reach now. That afternoon, a mere 23 hours into their two-day residency the quartet commented that they were really connecting with Portland and that they too were getting much out of the experience,  which by then included a fabulous dinner at one of Portland’s excellent restaurants.

The sharing, intimacy and rather organic course of the two days continued during the musical conversation that flowed between ensemble member Colin Jacobson and composer/USM Assistant Professor of Music Dan Sonenberg during the pre-performance talk

And then there was the concert itself, which featured a work by Colin, pieces by Philip Glass, John Cage, and Claude Debussy and an encore presentation of “Ascending Bird,” from their collaboration with Persian master musician Kayhan Kalhor. I fear any critique or review I try to impose here would only detract from what proved to be a magical, in-the-moment, live performance experience.

I hope others who experienced this time with Brooklyn Rider will also share.

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New Deal for Art

More than 50 people attended the lecture co-sponsored by Portland Ovations and the Maine Historical Society, “New Deal for Art: Public Murals in Depression-Era Maine and America” given by USM professor Dr. Donna Cassidy.  This evening lecture is part of our community collaboration tied to the upcoming Ed Asner as FDR.

Filled with beautiful slides of murals and other artwork and sprinkled with interesting quotes from artists, government bureaucrats, and every day people, Dr. Cassidy gave a comprehensive overview of the long-term impact of New Deal programs that supported the arts and artists throughout the Depression. The numbers of programs and the variety of artworks funded and produced were staggering.  Our neighbor to the south, Mexico played a part in encouraging the New Deal’s mural programs. 

Most interestingly, vestiges of the New Deal support for visual art are still evident today through the “percent for art” program that provides an opportunity for communities to choose artworks to be placed in newly designed public buildings.

I hope many of the people who attended last night will also attend the Ed Asner as FDR on March 5th and the free pre-performance lecture that deals with historical and cultural aspects of Campobello with Skip Cole, Donald Soctomah, and Jean Flahive.

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Dancing in the Aisles with Maria de Barros

My husband and I almost didn’t go to see Maria de Barros on Saturday. We had purchased tickets months ago for a concert in Boston on Sunday and planned to leave early that morning to take advantage of a day in the city. However, I was intrigued by the description of her music and we decided to forgo our Saturday night dvd routine and head over to Hannaford Hall. A half hour later we found ourselves dancing in the aisles – along with audience members ranging in age from 7 to 70!  If ever there was a demonstration of the power of music to bring together different kinds of people it was at this concert. Maria de Barros engaged the audience in the most wonderfully graceful way using humor and warmth. And her band seriously cooked. It was one of those nights when you feel really lucky to live in a small town that sometimes feels like a big city in the best possible way. Thanks to Ovations for introducing me to a new artist and for reminding me that getting off the couch and experiencing the joy of live performing arts can be – well - just so much fun.

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100 Years of Audience Delights

As the new Marketing Director of Portland Ovations this is my first blog and it is a little exciting, I have to say. I have only been a part of a few events here in my first month, but since I worked for a musical theatre company for three years, I feel Neil Berg’s 100 Years of Broadway is an appropriate event to begin with.

One habit I have brought with me from previous jobs in marketing the performing arts is to watch the audience as much as the show. My personal opinions of a performance are one thing, but to see and hear the joy of an audience watching the show is another. And when an audience is truly delighted and engaged in what’s coming from the stage, I feel my job is validated. I had that experience on Saturday night as I watched Neil Berg and his Broadway pals belt out tunes from current musicals and from an era gone by. Things have changed a lot on Broadway. The times and influences on the Broadway musical as a genre have changed, but the warm, lit-up faces of an audience that is charmed and full of smiles has not. I saw a lot of couples out for Valentine’s Day. I heard a lot of audible reactions to familiar songs that bring back memories. I heard people enjoying a good time and I am proud to have been a part of it.

Also, seeing some local singers get on stage and join the show at the end was encouraging to the future of the art form. It was a fun night and I hope you enjoyed it too. If you were at the performance for a special night out and had that warm, lit-up experience while there, I’d love for you to post a note about it.

I’m excited to be here and I look forward to our future conversations.

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Making Music from Scrap Metal

Today’s Portland Press Herald had two articles about recycling.  Ironically, we at Portland Ovations are hosting some events around a “green” theme this week as well: we are bringing ScrapArtsMusic to Portland for performances Tuesday night and Wednesday morning.  But in addition to the upbeat performances on Tuesday night, there will be a panel discussion of “Greening the Arts” in Merrill Auditorium Rehearsal Hall from 5:30-6:30 pm with Gregory Kozak and Justine Murdy of ScrapArtsMusic, Elliott May from Reverb and Missi Labbe from EcoMaine.  It’s free; you are welcome to join in the discussion.  And as an extra incentive to think about how creatively we can use scrap and recycled materials to create great art, take a look at the art and instruments made by 5th grade students from Reiche Elementary in Portland as you enter the lobby of Merrill Auditorium.  Lincoln Middle School and PATHS will exhibit some of the unique table scapes they designed and created from scrap metal for the tables at Portland Ovations’ Epicurean event.  So, let us know how you are going “green” in your life.  Tell us about your experiences with art or music made from recycled materials.

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On the Road with Philip and Kenny

Today I will be at King Middle School, Freeport High School, and the Telling Room with artists Philip Hamilton and Kenny “The Human Orchestra” Muhammad.  Tomorrow we will be at NYA, Lincoln Middle School and a Portland Ovations board meeting at CIEE.
I can’t wait to see Philip and Kenny in action with students, teachers, and community members in and around Portland.  Both men are incredibly talented musical artists and so charismatic.  I’m eager to get feedback from those who will be sharing their “voices” with Philip and Kenny.  What was your experience working with them?  Lend us your “voice”; let us hear from you.

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Sometimes even NYC can feel like a small town

This past week I was in NYC for the annual Association of Performing Arts Presenters (APAP) conference, which attracted nearly 4,000 from all U.S. states and 39 countries. In such a large crowd, in such a busy city, it might seem odd to assert that NYC could have a small-town feel. However, I had just such a “what a small world moment” at the showcase for choreographer, Aszure Barton.

As you may recall from previous blog entries, I am an avid follower of Aszure’s work. She was represented here last season on the Les Ballets Jazz de Montreal program. Since then she has been commissioned by the National Ballet of Canada and American Ballet Theater and been in residence at the Baryshnikov Arts Center, Jacob’s Pillow Festival and The Banff Center. Assembled like sardines in one of the City Center studios, the packed room anticipated her showcase. As the lights dimmed, Aszure came out and introduced the program noting that all three pieces were set to music by a young Russian-born composer, who happened to be standing directly behind me with his infant son and wife. The first two pieces came and went in signature Aszure style – smart, quirky, multi-layered. As the third work started I immediately recognized the music; in fact, I found myself almost humming along. As soon as it was over I quickly turned to the composer and confirmed that the last piece was indeed his. Yes, he replied. Then I asked: did Brooklyn Rider record and perform it? YES! again. I shared with him my excitement at meeting him as we have Brooklyn Rider coming to Ovations next month. The sharing garnered me an introduction to their son, Benji, an incredibly well-behaved little guy. I imagine he sees a lot of performances. That was my small town moment in the middle of the bustling Big Apple….

Also on my dance card was seeing highly respected Doug Varone and Dancers in a work-in-progress showing of Chapters from a Broken Novel. The new piece draws from Doug’s collection of overheard conversation snippets, lines from films and popular music. I am thrilled to share that Portland Ovations is a commissioning partner of this new work along with fellow Maine dance presenter, Bates Dance Festival (BDF). This is a unique year-long collaboration. Doug and his dancers will be in residence at BDF this summer, developing the new work, teaching and performing. Ovations dance patrons will be invited to get a special inside look at the creative process and meet the artists. Stay tuned for details. Next season (February 2011) Doug Varone and Dancers will return to Maine to present the new work as part of our season, again in collaboration with BDF. The early sketches I saw revealed an intelligent, personal work that resonated deeply—told through big dance and nuanced drama. Speaking of Bates Dance Festival (BDF), I also was able to see for the first time Monica Barnes Company, whom BDF is bringing this summer. She is a must see of lovers of contemporary dance and/or theater.

Finally, one last dance note. I was also able to take in the work of Alison Chase. Alison is one of the founding members of Pilobolus, now a resident of Maine and a Maine Arts Commission Performing Arts Fellow. She has recently created a new Maine-based company, Apogee Arts. Great things are expected.

Other highlights from my trip include the Under the Radar Festival dedicated to emerging experimental theater at which I attended several performances and an amazing session on puppet theater (one of my personal passions) featuring leaders in the artform: Dan Hurlin, Roman Paska, Basil Twist and Christopher Williams, moderated by Cheryl Henson. Yes, that Henson, her father was Jim Henson. The family produced for several years the world-renounded Henson International Festival of Puppet Theater. On Broadway I caught FELA! a show of such energy and amazing music that sitting still was not an option. 

I also heard some fantastic music, much of which I hope will appear next year on the 2010-11 Portland Ovations season. Too early to give away too much more here. Again, stay tuned…

Other than missing last Saturday’s Chris Botti concert, which I hear was one of our best yet, it was an excellent time in the city.

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Hot Jazz on a Cool night

Here we are several days later and we are all still walking on air over here at the Ovations office. The concert was so fabulous.  I couldn’t believe Merrill could feel so intimate.  When Chris Botti came down into the audience and played unplugged, well, it was spectacular!  He was one of the best artists I’ve ever seen in Merrill; and his band and guest artists were just as exciting and talented.  What a treat!

We Portland Ovations staff members sometimes sit behind the sound board during performances.  For most patrons, they might not want to sit in those seats because perhaps the sound board is too distracting. The blinking lights, the sound tech hovering over the board, laptop graphics glowing and shifting.   However, I love sitting in those seats.  I love the synesthetic effect of the sound and colors.  And at the Botti concert, I was blown away by not only by artists but also the quality of the sound mix.  It was just right!  Not too loud, not too much bass, incredibly bright and a perfect blend of sound for the trumpet… I can’t imagine the acoustics in Merrill Auditorium being any better.  Chris Botti actually commented on them.  The precision, clarity, and beauty of the sound produced by Botti and all his musicians and guest artists literally warmed the space and made it sparkle with “cool” jazz.  Of course, Botti’s charisma on and off the stage was magnetic!

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Singing is the Spirit of the Season

There’s something about the holidays and singing together.  I don’t know exactly what it is - maybe the sense of community and sharing on cold nights or in acoustically “live” houses of worship - that gives me goose bumps. A cappella music especially.  Maybe that is why NBC is airing the “Sing-Off” right now.  It’s going to do for a cappella singing what “So You Think You Can Dance” has done for the explosion of the interest in dance.  Although I’ve sung in choirs, choruses, and madrigal groups, I had forgotten much of the technicality and nuance that unaccompanied voices are capable of producing and the terminology my choral directors used to critique performances.  As one of the judges, Ben Folds, said two nights ago about the Sing-Off, “It’s a different way of listening to voices without all the technology of processed sound backing them up.  You get a much better appreciation for the talent of the vocalists.”

Over the past few months, I’ve had the opportunity to speak with Philip Hamilton about a cappella singing and the concept of “voice,” both as it applies to self-actualization and in a literary sense as well as the larger musical sense.  He’s a composer and creator of an a cappella group called VOICES that we’re bringing to Portland for performances in April and residency activities in February and April.  We’ve talked about his mission, his life, his calling around music—bringing people together.  For him, it’s not just about the music.  It’s about the vocal sharing and blending of people from many different backgrounds/cultures that creates a more global understanding, but at the same time honors the uniqueness of the individual.  It’s about empowerment and listening.  I’m enjoying our collaboration to create a choral primer to support the VOICES presentation and learning more about types of vocal techniques such as throat singing and beat-boxing with one of Philip’s tribe, Kenny Muhammad.  I’m hopeful that as many students as possible throughout the area will participate in residency activities such as workshops and lecture/demonstrations. 

And I’m looking forward to singing Christmas carols with friends on Christmas Eve, reviving a time-honored tradition of caroling around the neighborhood to bring “Peace on Earth and Goodwill to All.”  (I’m also asking Santa for a hug from Chris Botti!)

Happy Holidays!  See you in the new year.

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Make Portland Your Destination for School Field Trips in the Arts, Culture, and Humanities

In this time of tight or non-existent budgets for field trips and arts experiences, Portland Ovations has found a silver lining.
With funding from the Sam L. Cohen Foundation, we are able to assist some schools in coming to Portland by bus in order to make efficient, economical, and environmentally friendly use of time spent outside the classroom on field trips. What a great way to extend learning by attending a Portland Ovations school-time or evening performance and combining it with a visit to another arts, cultural, or historical organization in Portland.  Teachers or groups can extend learning opportunities by visiting one of our collaborating organizations:  Children’s Museum and Theatre of Maine, Maine Historical Society, Portland Museum of Art, Portland Harbor Museum, Portland Public Library, or the Museum of African Culture.
To learn more visit http://portlandovations.org/offstage/events/type/school-time_performances/.  All aboard!  Thanks to Sam L. Cohen Foundation for engineering support for Destination Portland!

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Pianist Peter Serkin Captivates and Surprises

“Peter Serkin made us work hard this afternoon - and it was worth it,” audience member Peter Alexander commented as he left Merrill Auditorium yesterday afternoon.

Like Mr. Alexander, I too was challenged, surprised, and captivated. Throughout I remained in awe of Serkin’s style – the way he approached (sometimes attacked) each piece as its own gem. I am fortunate to have attended the Ovations Offstage lecture with Dr. Elliott Schwartz, whose insights helped knit together the perspectives of the various composers, their works on the program, and the curatorial underpinning that is uniquely Serkin’s. When a concertgoer commented to Mr. Serkin after the recital about the emotion he delivered in his performance, he simply stated, “That’s not me, it’s already in the music.” And they were speaking specifically to the Schoenberg pieces.

Mr. Serkin concluded the adventurous program with two encores: 1) Bach’s Prelude and Fugue in B-flat Major from the First Book of The Well Tempered Klavier and 2) Chopin’s Etude in G-flat, fOp. 25.

A program that includes unfamiliar and contemporary music is a perspective shared by other artists on this year’s chamber series. Brooklyn Rider—a string quartet of innovative musicians, who in addition to retaining a claim on traditional classical repertoire have worked on cross-cultural, cross-genre projects such as Yo-Yo Ma’s Silk Road Ensemble – will again bring together the known and the unknown.

As I noted in yesterday’s program notes, one of the pieces Brooklyn Rider will perform is an original composition by ensemble member Colin Jacobsen that is directly inspired by the ensemble’s work with master of Persian music Kayhan Kalhor. That collaboration resulted in a recording, “Silent Night,” which Gramophone praised as “superbly conceived, organically evolved, and wonderfully rich.”

With that, I am pleased to share with you the program for Brooklyn Rider on Saturday, February 27, 2010:

Colin Jacobsen - Achilles’ Heel
  Lydia’s Reflection
  Second Bounce
  Loveland
  Shur Landing

Philip Glass - String Quartet #5
John Cage, arranged Justin Messina - In a Landscape
Claude Debussy - String Quartet in g minor, Op. #10

As we did with Peter Serkin we will post the Brooklyn Rider program notes - in this case with contributions by the ensemble - to the Ovations website as soon as we have them. We hope these will help you chart your own course of discovery.

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Celebrating Cirque Mechanics

I love my job. Now entering my fourth season with Portland Ovations I have been exposed to all forms of live performance. It was with Ovations that I saw my first opera, my first modern dance performance (2007’s presentation of Alvin Ailey – very hard to top), and now, with last night’s Birdhouse Factory, I’ve seen my first cirque. With all of these performances, it’s not just my own enjoyment of the novel spectacle before me that gives me satisfaction; it’s also the energy and varied reactions of the crowd.

For many of our shows, you can usually find me hanging around the rear of the Grand Tier. Smack dab in the middle of Merrill, I have a prime vantage point for both the stage and the audience. Last night, I could hear children and adults alike laughing at the buffoonish, yet poetic, antics of Jesse Dryden as he played the clown (and heart) of the stunning production; see mouths gape and eyes widen as one acrobat spun his German Wheel to preposterous and precarious angles or another balanced improbably atop a stack of wooden spools; or witness everyone’s glee as three troupe members bounded from stage floor to ceiling in a marvelously choreographed trampoline routine. I even got to watch the reactions of show creator Chris Lashua as he would duck in and out of the audience to make sure every detail of his obviously lovingly created piece was being executed to everyone’s satisfaction.

Cirque Mechanics: Birdhouse Factory was a marvelous night of theater, definitely one of the highlights of MY season. Thank you to all that entertained me, both on and off the stage

Laura A. Stauffer
Programming & Development Administrator

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I love Cirque

I love cirque. There I said it. And it’s not simply the spectacular acrobatics, though those certainly hold great appeal. So, why do I love cirque?

First off, it’s a rich, longstanding tradition that incorporates the best aspects of theater: a thoughtful story, inventive props, music and the body as communicator. The imaginative, transcendent world cirque nouveau artists create is unique unto the moment and expounds the ephemeral quality of live art. It is not simply about dazzling acrobatics. It’s about the story.

Cirque nouveau, or contemporary circus, is one of the most thrilling art forms to develop in the latter part of the 20th century. It has become an art form of worldwide appeal given the success of Cirque du Soleil, Pickle Family Circus, Cirque Eloize and many others. Cirque Mechanics is firmly anchored in this legacy. Canada, in particular Montreal, has been a hotbed for the explosion of cirque nouveau due in part to the internationally renowned Ecole Nationale de Cirque. (Hence, our presentation of Cirque Mechanics is part of this year’s Traversée la Frontiere series.) This success has lead to a proliferation of contemporary cirques, not all of whom measure up to the quality and integrity of the aforementioned troupes.

My passion for cirque was first ignited by the Montreal-based company Cirque Eloize. Their work is inventive, provocative and sophisticated and often intended for adult audiences. It’s been further fed by visiting places like the Musée de la civilisation in Quebec City and an exhibit on the history of cirque nouveau. Back in Vermont, I annually attended Circus Smirkus and was awestruck by the skill, strength and professionalism of the young performers. This summer, I gave “Water for Elephants”—an historical novel on traveling circus culture in the U.S.—a read, which coincided perfectly with my visit to the Circus Smirkus Big Top in Freeport this past August. In fact, the artists of Cirque Mechanics will also visit Freeport’s Merriconeag Waldorf School tomorrow for a circus arts workshop (registration full) hosted by Smirkus Freeport, the folks behind the annual summer presentation of Circus Smirkus. Company members of Cirque Mechanics then head over to P.A.T.H.S. for a Thursday workshop with students and teachers.

Maine enjoys its own rich history with circus arts. One of the leading mime artists of the 20th century, Tony Montanaro, made his home in Maine until his death in 2002. A student of Marcel Marceau and Marceau’s teacher, Etienne Decroux, Montanaro went on to found Celebration Barn Theater in 1972 in South Paris, Maine. A world-renowned theater/school of mime, improvisation, storytelling and other performing skills, Celebration Barn became a mecca for performers who came from around the world to study with this man who was redefining mime and theater. From Celebration Barn, generations of mimes, physical comedians, storytellers, and actors, guided by Montanaro’s genius, have gone on to successful careers, including circus artists with Cirque du Soleil. In fact, Cirque Mechanics alum and former director of Celebration Barn, Fritz Grobe, will present our Ovations Offstage pre-performance lecture at 5:30 pm Thursday evening.

Finally, the industrial setting of “Birdhouse Factory” resonates deeply with Maine’s history as a mill town state. From shoes to paper to fish canneries to matchsticks and candy, as everyone knows Maine was a major player in the New England industrial revolution. The state’s great rivers were the setting for factories that made use of Portland as a deepwater port. The landscape remains dotted with converted (some now artists studios and live/work spaces) and abandoned mills. Re-imagination and innovation is called for as time marches on, just like in “Birdhouse Factory.”

Suffice it to say, the relevance and resonating themes between Cirque Mechanics’ “Birdhouse Factory” and Maine are numerous and exciting to contemplate. These, combined the deepest sense of quality are why we are so pleased to bring Cirque Mechanics’ “Birdhouse Factory” to our community. It’s been over two years in the making to get them here – Thursday can not come soon enough.

Is it too late to run away and join the circus? I will let you know…

Aimée M. Petrin
Executive Director

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A Thrilling Ovations Program in the Works from Pilobolus—& Revisiting Aszure Barton

Wow. Simply … wow. We have just finalized the evening program with Pilobolus and it is thrilling. From the seminal masterwork Pseudopodia - a solo that celebrates the wonder of the human body and the beauty of the natural world, to more current works such as the edge-of-one’s-seat Megawatt, performed to the music of Primus and Radiohead - the evening promises a night of contemporary dance audience members won’t soon forget. Also on the incredibly rich and varied program: Walklyndon and Lanterna Magica, each of which deliver a delightful mix of dazzling acrobatics, whimsy, myth, and vaudevillian humor and physicality, and Gnomen, another one of the company’s earlier works, a quiet, poignant male quartet set to a lovely score by Grammy-winning, Maine-based composer Paul Sullivan www.rivermusic.com.  The program is a journey of the mind, body and soul. Nearly 40 years since its start, Pilobolus remains one of the most inventive yet accessible dance companies in the world. If you are considering attending your first dance performance or want to bring an uninitiated friend to share in your passion for dance, Pilobolus is an excellent choice. And don’t forget the Ovations Offstage masterclass with a Pilobolus company member, pre-performance lecture with dance scholar Nancy Salmon, and the post-performance discussion with the company if you really want to immerse yourself. http://portlandovations.org/offstage/events/show/pilobolus/

Other news in Portland Ovations dance – you may recall the name Aszure Barton. Hers was the second piece on the Les Ballets Jazz de Montreal program last season, Les Chambres des Jacques. She’s an exciting young choreographer coming out Canada’s contemporary dance scene who I’ve been watching for the last couple of years. I was thrilled to introduce her work to our audiences last season. Aszure has her own company for which she develops work and, as she did for Les Ballets Jazz, she builds work for other companies, too. Her latest endeavor is with American Ballet Theater, which just opened its season with a bold new work created by Aszure. This follows an incredibly busy summer for Aszure and her company, which had a creative residency at White Oak Plantation, plus more creative time as well as a performance at The Banff Center. Aszure also taught at Jacob’s Pillow Dance Festival. Next up for this exciting choreographer: the world premiere of a new work for the National Ballet of Canada. A unique and prolific choreographer to continue watching . . .

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Peter Serkin Announces Program for Portland Ovations

Bringing together the old and the new in one ambitious recital has long been the hallmark of pianist Peter Serkin. The program he has just announced for Portland Ovations is a sparkling example of his unwavering commitment to this ethos:

Schoenberg | Three Pieces, Op. 11
Debussy | Epigraphes Antiques
Kurtág | Four Pieces from Jatekok
    Pen Drawing, Valediction to Erzsebet Schaar
    (…and round and round it goes)
    Portrait
    The Mind Will Have its Freedom…
Charles Wuorinen | Scherzo

Intermission

Chopin | Polonaise in C minor, Op. 40, No. 2
    Impromptu in Ab Major, Op. 29
    Nocturne in F# Major, Op. 15, No. 2
    Nocturne in B Major, Op. 32, No. 1
    From Trois Nouvelles Études, No. 2 in Ab Major
    Prelude in Ab Major, Op. Post.
    Nocturne in E Major, Op. 62, No. 2
Schoenberg | Suite, Op. 25

I am thrilled that Mr. Serkin – an artist of uncompromising integrity – is bringing to our community a program of such diversity and intellectual heft. It beautifully illustrates the long-standing tradition of classical music and the immediacy of this very alive art form. With this program, Mr. Serkin sets the bar high for a 2009-10 chamber series that throughout the season weaves together the old and the new, the traditional and the contemporary, the known and new discoveries.

Shortly, I look forward to also sharing with our audiences the program for season opener Pilobolus. Like Mr. Serkin, this pioneering contemporary dance company will bring to Portland a thrilling program that combines recognized masterpieces from the company’s early days with some of the company’s most current repertoire.

All season long, whether you love classical music, have a passion for dance, opera or Broadway, or are moved by cultural traditions from other countries, I invite you to explore with us the old and the new, the traditional and the contemporary, reacquainting yourself with the familiar while making new discoveries of your own.

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Celebrating Woodstock and Arlo Guthrie

This week marks the 40th anniversary of Woodstock, the mammoth music and arts festival that was (and remains) a cultural touchstone for many in my generation, myself included. All of the media attention and observances of the anniversary have gotten me thinking about the people, places, and things that touched my life back then and that remain connected to the person I am today.  Which brings me to Arlo Guthrie.

Arlo’s performance on Max Yasgur’s farm was one of the signature sets of that giddy, spirited and ludicrously muddy weekend 40 years ago. (Alas, I missed being there to join in the festivities because my friends and I turned back home toward the Jersey Shore while en route, chastened by radio news reports of the massive traffic jam on the New York Thruway.)

Along with Bob Dylan, Phil Ochs, and Eric Anderson, Arlo was my musical introduction to a thread that has woven through folk and folk-based music for centuries – the “protest” song, the song of social commentary, the “topical” song – music that links us to our shared humanity and the eternal quest for a better life. Arlo’s “Alice’s Restaurant” has been a staple of my annual Thanksgiving celebrations since my oldest brother turned me on to it when I was in high school. It’s an American classic and I’ve listened to it – on vinyl, cassette, CD, iTunes (and even on 8-track tape!) – every single Thanksgiving morning bar none for more than 40 years now. Like the best of Arlo’s father’s writing – Woody’s powerful tunes like “This Land Is Your Land,” “Deportee,” and “Pastures of Plenty” – it helped shape a strong idealism, a commitment to social action and community, a wry sense of humor and, dare I say it, a healthy touch of fatalism, all of which remain with me to this day.

I’m excited by the prospect of reconnecting with Arlo Guthrie and his family’s deep-seated musical tradition early in the coming Portland Ovations season.  Arlo will be on the Merrill Auditorium stage with his children and grandchildren, celebrating four generations of Guthrie family music, on November 20, just six days before Thanksgiving, the fateful day on which “Alice’s Restaurant” is set.  You can learn more about Arlo Guthrie’s politics, his relationship with his father, and the 40th anniversary of Woodstock by reading a recent New York Times Magazine interview with Arlo.  You’ll also find video clips of Arlo performing Woody Guthrie classics with his children and grandchildren on the Portland Ovations web site.

Lastly, we’d love to hear your own memories and musings about the Guthries, Woodstock or the American “folk revival” of the 1960s. Please share your thoughts and respond using the comments function below.

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Thanks for Toasting Our New Name and Season with Pink Martini

Thank you to all who joined us Monday night for the revelry that was Pink Martini, Sneakin’ Out, our 2009-10 season launch, and the announcement of our new name, Portland Ovations. What an evening!  We share with you your enthusiastic support of great live performance. I spotted several ovations throughout the night (not to mention a conga line). We look forward to many more.

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