Inventive, engaging and an out-and-out performance romp, the latest collection of Opera Project arias and vocal superpowers lit up the Woodhouse Brewery last month. A clever concept. Matching the voices of performers with flights of well-made craft beers (the IPA and the chocolate stout were outstanding!), from lightest to darkest/deepest, the afternoon offered a high-energy outpouring of opera and music comedy delights.
Singers Lori Schulman and Jordan Best—the Project co-founders—were joined by tenors Jorge Torrez and Alex Cook, bass Edward Tavalian and mezzo Solmaaz Adeli taking turns seducing the full house with sprightly offerings from Hamilton, The Magic Flute, Les Miserables, Faust, et al. All were accompanied smartly by Shannon d’Antonio on violin and Daniel Goldsmith on piano. Outstanding one and all, but most memorable for me included Tavalian’s shamelessly bravura rendering of “I Am a Pirate King” by Gilbert & Sullivan. And the shimmering legato of Jordan Best with Vilja’s song from The Merry Widow. Her gorgeous voice produced chills. Torrez’s deeply expressive “Dear Theodosia” from Hamilton had me in tears. Wow, just wow. The Project, fueled by the effervescence of Schulman, continues to attract new admirers of all ages, leaning into the accessibility of light opera—the beginning steps just before Verdi, Puccini, and…Wagner. Watch for their next performance! santacruzoperaproject.org.
SC Youth Symphony Wows
Congratulations to the musicians of the Santa Cruz Youth Symphony. The professionals of tomorrow gave a polished and utterly enjoyable concert at UCSC’s Recital Hall last week. In his 15th year as music director, Nathanial Berman knows how to elicit the very best from his 40 young musicians. They worked their way confidently through an ambitious evening. Wisely programming music both challenging yet accessible to his players, Berman has developed his players’ technical skills through classical masterworks they clearly enjoy performing. For me the surprise was a suite of highlights from the hit movie Wicked. A blend of pops and classical, the intricate selections composed by Stephen Schwartz and arranged by Ted Ricketts was diverse enough in style and orchestration to show off the colors of each section—brass, percussion, strings, and woodwinds. Soaring and playful, the Wicked excerpts led to my favorite of the night, a vigorous dispatch of two movements from Dvořák’s brooding and heroic New World Symphony. Special praise for pianist Matthew Mather and Amiel Goodman, whose sensitive flute embroidered the Dvořák. Impressive. And they’ve got another big concert in the spring.
Chorale Carols the Season
The mighty Santa Cruz Chorale will present its Winter Concert under the baton of maestro Christian Grube on Dec. 20–21 at Holy Cross Church. Honoring the Yuletide season, the program offers an enchanting array of carols from around the world—Lithuania, Germany, Spain, Estonia, England, as well as some beloved works the audience might fondly recall from childhood Christmases past. Joining the worldwide celebration of the 90th birthday of legendary Estonian luminary Arvo Pärt, the Chorale will present Pärt’s Magnificat, composed for Christian Grube and his Berlin boys’ choir. Plus the stunning O Magnum Mysterium by Morten Lauridson. To celebrate the centennial of American composer Kirke Mechem, the Chorale will present three pieces displaying Mechem’s unexpected and beautiful key progressions. In the gorgeous acoustics of Holy Cross Church, this stunning concert will open hearts to the spirit of the season. santacruzchorale.org
Smokin’ Hot Scoville Units
The rhythms of Brazil syncopated their way through sensuous music by Jon Scoville that had the packed Kuumbwa crowd hoppin’ on Nov. 14. To honor composer Scoville’s incredible career as a world music jazz creator, Tandy Beal & Company joined forces with Kuumbwa to produce an unprecedented display of powerhouse musical chops. The opening tour de force of Brazilian-inspired thunder absolutely brought down the house. Mambo and bossa nova flowed through many of these cross-cultural tapestries of progressive chords and alternative timing. In other pieces, such as Selabrise, the influence of Scoville’s studies in Java and India sifted up through the energy of one of the best bands ever put together in this town.
Keeping the percussion edgy and loaded with texture was Steve Robertson on a pulsating array of congas, gongs, scrapers, tambourines, maracas, woodblocks, you name it. Keeping it all driving was Dillon Vado on drums. Art Khu on piano simply dazzled, working through Scoville’s astonishing repertoire with Yale-trained classical chops as well as some awesome jazz improv. Dave McNab unleashed smokin’ hot rock ’n’ roll riffs on Outhood, among others, while Michael Wilcox on electric bass nailed down every moment.
Charlie McCarthy’s suite of woodwinds showed off his long career working with giants of pop song. Mark Pascucci-Clifford worked the vibraphone into a new dimension, practically levitating with sexy invention. Arranger and keyboard ace Jeffrey Gaeto kept the ensemble on track. After only four rehearsals of this complex music the group of Bay Area all-stars provided superb interpretation of Scoville’s finest. Let’s just say that everybody in the whole place—from audience, old friends (a who’s who of local music honchos), the musicians themselves, and the composer—was blown away. Kudos to all.
