Poulenc Trio combines talent with tangos

By Burt Saidel

Impresaria Elana Bolling pulled out another magic bunny from her magician’s hat. For 45 seasons, Vanguard Concerts has brought the finest imaginable chamber music to the magnificent Renaissance Auditorium of the Dayton Art Institute and to its loyal audience.

There has been a buffet of wonderful string quartets, piano trios, soloists and chamber orchestras.  Always on the look out for something different and exciting, Elana engaged the Poulenc Trio to play the November Vanguard Concert.

The trio - oboe, bassoon and piano - are a rare combination with a highly specific sound and literature.  An experimenter, but not a risk taker, Elana researched the trio and its music exhaustively.  The result, the Vanguard audience made new friends and heard new and delicious sounds.

The three musicians, Irina Lande, piano, her husband Vladimir Lande, oboe, and bassoonist Bryan Young are Baltimore based.  They all have extensive teaching responsibilities.  They also play in a rich variety of musical ensembles in
addition to their touring as the Poulenc Trio.

The program covered composers from the 18th Century to the present.  To acquaint our ears with this music, the concert opened with two early trio sonatas by Quantz and Glinka.

There was no doubt of the artistry of the trio but the musical excitement level remained predictable. What we heard were three virtuosi in complete command of their instruments.

The bassoon, usually relegated to a supporting role, shone with a sound best described as a George London bass-baritone.  I fully expected to hear the lyrics of a Boris Gudunov aria emanate from Bryan Young’s mellifluous bassoon.

After intermission, the program grew in excitement and musicality.  Andre Previn’s contemporary Trio expanded the range of all the instruments and our own experience.  Astor Piazzolla is the tango king.  We hear his music in so many forms. His Trio, transcribed by our musicians, was a unique experience in the complexities of the tango rhythms.

The program concluded with the trio’s signature work.  Francis Poulenc was devoted to the double reed sound.  Poulenc’s Trio was the germ which brought the musicians together to form an ensemble in his name.

The music, energetic, muscular and yet so beautiful is a tribute to composer and to the gifted musicians who played it.  Now, they must be charged with the
responsibility of presenting Impresaria Elana with more great music to match their great talents for future concerts.

Scott Piper

Scott Piper has become Dayton’s favorite tenor.  Making his Dayton Opera debut in 2000, Piper’s vocal talents have enhanced such leading roles as Edgardo in “Lucia,” Alfredo in “Traviata,” Rhadames in the Aida which opened the Schuster and Cavarodossi in the Tosca of 2005.

His busy international schedule has kept him away from Dayton for two seasons, but Scott considers Dayton Opera and Dayton to be his artistic home.  Singing at the Schuster, appearing with Dayton Opera and working with Maestro Tom Bankston are stellar attractions for Scott.  Add to that his addiction to fried chicken at The Chili King, we can understand his affection for our city.

This season, Scott has had several major roles.  He appeared for an extended run at Glimmerglass Opera as ?teva in their JenÛfa, singing his first role in Czech.  New York City invited Scott to sing the role of Don Jose in their production of Carmen.
We were fortunate to have his first performance coincide with our grandson’s first birthday, making a visit to the Big Apple imperative.

The opera Carmen is a true blockbuster.  It contains some of the most familiar and beloved music.  Its action, a tragic love story, is compelling.  The opera should be “bullet proof,” always a smash hit.  

The New York City production got off to a very lackluster start.  We had seen the set before, an interesting use of wooden beams and lattice work.  The orchestra, under Gary Wedow, sounded fine.

It was the stage direction, as wooden as the beams of the set, which prevented the opera from exploding.  Every movement, including the children’s chorus, was choreographed with a very heavy hand.

The voices, all strong, did not connect with the audience.  Scott’s appearance, handsome as ever, was squelched by an ill-fitting uniform.  The Carmen, Vanessa Cariddi, had all the tools.  She is attractive, seductive and has an excellent mezzo voice.  Again, something held back the audience connection even in the Habanera and Seguidilla.

For me, the opera really began in Act II with Don Jose’s Flower Song.  Scott was able to pour heart, soul and vocal power into this famous aria.  From that instant, the opera picked up pace, pith and moment.

The final scenes brought out the power and appeal of Carmen.  Backstage, Scott was elated.  He has been offered a contract for extended performances of the same role next year.  I am certain that his  imposing presence will make the next production a great succes.

Gaelic Storm to perform in concert Nov. 17-18

The Celtic Academy of Irish Dance presents Gaelic Storm in concert.  Famous for their performance as the steerage band in the movie Titanic,  and headline appearances at the Dayton Celtic Festival, Gaelic Storm returns to Dayton for two   shows on Friday and Saturday, Nov. 17 and 18 at 7 p.m. each night at the IUE Local 755 Hall, 1675 Woodman Drive, Dayton.  

Tickets are $16; children under 5 are free.  Cash bar and food will be available.  Visit www.celticacademy.com or call 937-532-3294 for further information.

top of page

November 14, 2006
Volume 15, No. 46

front page
arts
schools
sports
editorial
'round town
people
events
obituaries