Dear Diary

Original image of the Branford Marsalis Quartet at the Folly Theater by There Stands the Glass.

Monitoring social media missives from colleagues attending last week’s SXSW conference and Luck Reunion celebration in Texas made me blue. Rather than continuing to sulk, I crafted a plan for a full day of music in the Kansas City area on Saturday, March 15. A betrayal by the Kansas City Symphony tripped me up from the outset. 

I intended to begin my spree with oboist Kristina Fulton’s 11 a.m. master class at Helzberg Hall. The event was listed on the Symphony’s site the previous day, but every door of the Kauffman Center for the Performing Arts was locked when I circumnavigated the building on Saturday morning.

With my carefully calibrated schedule immediately out of whack, I began improvising. I hit Dawson Jones’ matinee at Green Lady Lounge two hours earlier than intended. While I loved it, I was unwilling to stick around for Rod Fleeman’s subsequent first set as originally planned. Annoyed, I ate lunch at home while watching televised college basketball. 

I’d intended to walk to a youth concert at a church presented by The Friends of Chamber Music and from there to Made in France’s gig at a nearby café, but it suddenly occurred to me that I might purchase a discounted ticket to the Big 12 Conference men’s basketball championship game at the T-Mobile Center rather than sticking to that plan.

After pulling the trigger on an all-in $21 ticket, I returned to downtown to see Houston take on Arizona. My assigned seat placed me amid Arizona boosters. Those are not my people. I felt at home after sneaking across the arena to embed myself three rows behind Houston’s pep band.

Unfortunately, I was compelled to leave the close contest with five minutes left on the game clock. (The good guys won.) Several months ago I bought a front-and-center ticket to a concert by the Branford Marsalis Quartet for $43. I didn’t dare miss a minute. Cold rain soaked my feet as I hustled from the T-Mobile Center to the Folly Theater.

The jazz notables met but did not exceed my high expectations. DJ Diesel’s free outdoor show at the KC Live complex was supposed to wrap up my big day out. Imagine my disappointment upon discovering heavy snow as I exited the Folly Theater! Just as my hopes were dashed ten hours earlier, my day ended with an unexpected letdown.

Flute Faction

Original image of Emmanual Pahud, Ellen Sommer and Grace Farney by There Stands the Glass.

I learn more at musicians’ master classes than I do from conventional performances of classical music. Emmanuel Pahud’s tutoring at Helzberg Hall on Saturday, January 18, was no exception.  The preeminent classical flutist’s commentary about sheet music discrepancies, composers’ intentions and musical interactions provided new insights. The Swiss star’s critiques of four locally based flutists sounded surprisingly undiplomatic to members of the audience of several hundred who hadn’t taken in his clinics online. Acknowledging that his words were occasionally “harsh,” Pahud respected the intrepid flutists by treating them as peers. Unsurprisingly, occasional demonstrations of Pahud’s golden flute were breathtaking.

Concert Review: Alisa Weilerstein with the Kansas City Symphony at Helzberg Hall

Original image by There Stands the Glass.

The aspiring conductor seated next to me at Helzberg Hall on Sunday, September 15, assessed Matthias Pintscher’s approach during intermission by suggesting “he lets the orchestra play”. The absence of self-aggrandizing posturing was a refreshing change for The Kansas City Symphony.

I invested $37 to join an attentive audience of about 1,000 in the last of three concerts of Pintscher’s first weekend as the ensemble’s conductor and musical director. Pintscher’s humble demeanor aside, it’s too soon to assess if or how the quality of the Symphony has changed. 

I consider the opening selection a promising signal. The mild dissonance of Unsuk Chin’s “subito con forza” is not dissimilar to Pintscher’s exciting original compositions. Here’s hoping for more like this.

There’s no getting around the fact that the featured piece, Antonín Dvořák’s “Concerto in B Minor,” is a drag. Not even the presence of star cellist Alisa Weilerstein could make the composition interesting.

A reading of Igor Stravinsky’s stupendous “The Firebird” more than compensated for the dullness of Dvořák. Like the characters in the corresponding ballet, I was entirely enchanted. As for Pintscher, the verdict is still out.

Concert Review: Matthias Pintscher Conducts Symphonic Dances: West Side Story and Rachmaninoff at Helzberg Hall

Original image by There Stands the Glass.

I joined more than 1,000 concert-goers at the last of three de facto coronation ceremonies at Helzberg Hall on Sunday, March 24. Matthias Pintscher, the incoming Music Director of The Kansas City Symphony, appears to be a talented, benevolent and humble potentate.

Prior to the performance, the audience was told that Pintscher was mourning the death of his mentor Peter Eötvös. The distressing news raised the stakes for a vibrant reading of Leonard Bernstein’s Symphonic Dances from ‘West Side Story’.

Composer Errollyn Wallen was in the house for the world premiere of her Violin Concerto. I couldn’t discern the hushed passages played by guest artist Philippe Quint from my seat in the rafters.

Charles Ives’ loopy “Three Places in New England” was my favorite piece. I sense the subversive programing is an indication of Pintscher’s plans for the Symphony. Aside from the prominence of a saxophone, Sergei Rachmaninoff’s “Symphonic Dances” didn’t do much for me.

All tickets were $37 for the concerts billed as “Matthias Pintscher Conducts Symphonic Dances: West Side Story and Rachmaninoff”. Having gladly made the investment, I’m eager to evaluate the responses to Pintscher’s oversight of the Symphony at three European concerts in August. Here’s to fresh starts and new beginnings.

Concert Review: Joyce DiDonato at Helzberg Hall

Original image by There Stands the Glass.

Deanna Ray Eberhart fangirled during her session at a master class conducted by Joyce DiDonato at Helzberg Hall on Thursday, January 11. Rather than responding appropriately to a vocal example provided by DiDonato, Eberhart exclaimed something like “hearing that up close is so cool!”

I completely sympathize with Eberhart. DiDonato, the iconic international star from Prairie Village, Kansas, was my 2022 Artist of the Year. DiDonato’s innovation approach has been a key component of my gradual embrace of operatic music. Her magnificent voice is among my favorite instruments.

I spent $39 for a lousy seat high above the stage during the first of DiDonato’s three concerts with the Kansas City Symphony on Friday, January 12. Yet for a moment I felt something akin to Eberhart’s experience. Due to an odd acoustical effect, the first offstage missive made by DiDonato in her dramatic entrance to Charles Ives’ ethereal “The Unanswered Question” seemed as if it had been whispered directly into my ear.

Nothing else in the lengthy program equaled the Ives, although a rendition of Gustav Mahler’s "Ich bin der Welt abhanden gekommen" appeared to be excellent from my dicey location. I also relished DiDonato’s separate encores of Strauss’ “Morgen!” and sappy but heartrending readings of “Danny Boy” and “Shenandoah”.

I won’t include my opinions about the remainder of the program here, other than to note intriguing new pieces by Joel Thompson and Chen Yi and Zhou Long were performed. Rather than splurging on a good seat for the two repeat performances this weekend, I might binge on a few of the hours of previous DiDonato master classes online.

Concert Review: András Schiff at Helzberg Hall

Pre-recital image by There Stands the Glass.

Unlike her intemperate husband, my life partner isn’t prone to hyperbole. So I took notice when she proclaimed “this is a once-in-a-lifetime experience” during the intermission of András Schiff’s solo piano recital at Helzberg Hall on Tuesday, November 14.

Indeed, the circumstances were fortuitous. I purchased tickets for a pair of seats in the third row when a deep discount was offered to the public by The Friends of Chamber Music on Halloween. We were ideally positioned to witness Schiff’s delicate fingering and pedal work amid the attentive audience of about 1,000.

Schiff made eye contact with us while introducing each selection with illuminating and highly entertaining analysis. And what music! By my count, he rendered four pieces by Johann Sebastian Bach, two apiece by Ludwig van Beethoven and Franz Schubert and single selections by Joseph Hayden and Wolfgang Amadeus Mozart.

The centuries-old works seemed brand new in Schiff’s hands. He seemed aware of the transcendent“once-in-a-lifetime” spell he cast as he played for well over two hours. Even at 70, Schiff gave the impression that he was entirely willing to perform all night.

Concert Review: Orquestra Sinfônica do Estado de São Paulo conducted by Marin Alsop at Helzberg Hall

Original image by There Stands the Glass.

I can’t recall the last time I had so much unadulterated fun at the Kauffman Center for the Performing Arts in Kansas City.  Overseen by the unassuming star conductor Marin Alsop, Orquestra Sinfônica do Estado de São Paulo did away with the veil of pretension that too often stifles joy at Helzberg Hall on Monday, October 10.

With the artificial construct of high culture eradicated, the Brazilians’ elite renderings of compositions by Heitor Villa-Lobos and Nikolai Rimsky-Korsakov could be appreciated without the default filter of stodgy formality.  From my perch in the least expensive seat ($38.50!) high above the stage, I had a bird’s eye view of how exceptional artists can thrive in the absence of the haughty affectations associated with traditional concert halls.

Only “Concerto for Harmonica and Orchestra, Op. 86” and José Staneck’s subsequent encore of “The Girl from Ipanema”- ugh, a bane of my existence!- didn’t fully succeed.  As is usually the case in the room, the sound of the amplified instrument died before it reached the cheap seats.  An invigorating reading of the ear-tickling “Scheherazade” after intermission made up for the lapse.

The 1,600-capacity room was half full. The low turnout heightened the sense of relaxed intimacy. During a post-concert chat, Clark Morris, the Executive and Artistic Director of the Harriman-Jewell Series, cited a concurrent professional football game as the reason for the empty seats. Alsop responded with words to live by: “with music, you always win.”