The National YoungArts Foundation organized its signature program which is aimed at fostering interdisciplinary collaboration between communities besides providing guidance to the finalists to prepare for moving on to the next stage of development. The organization is primarily engaged in identifying and nurturing the upcoming generation of artists in the fields of design, performing arts, literature and visual arts. In the event, the audience experienced the work of gen next artists by performances of jazz, theatre, classical music and dance and also screening of movies. The event was held in multiple locations- the movie screenings at New World Centre, literary events at the YoungArts Jewel Box and the design, photography and visual arts events are the YoungArts Gallery.
Following the success of the Miami Summer Music Festival’s adorable production of Hansel and Gretel last weekend (and we mean adorable – see our previous post about the instrument petting-zoo), we decided to check out the festival’s concert at the New World Center this past Saturday, July 25th. The New World Gala concert offers a “best of,” from the festival, showcasing singers from the Opera Institute and competition winners from the Composition, Piano, and Conducting Institutes respectively, and closing with a major orchestral work.
‘Tour de Force’ would be a more apt descriptor for the concert than ‘gala.’ Under the baton of its founder and artistic director, Maestro Michael Rossi, the evening opened with a set of zarzuela, or Spanish operetta pieces, which resonated with the audience, many of whom could be heard humming along to familiar melodies. Most notable of these was a spirited rendition of the old standard “Granada,” by Lara, shared between three tenors in a duel for the most show-stopping high notes (Jose Mangelós won this reviewer’s vote, charming the audience with a brilliance in his timbre and disarming charisma).
The iconic first movement of Grieg’s Piano Concerto in A minor (Op. 16) was so elegantly executed by 18 year-old Isabella Ma that the audience seemed compelled to erupt into applause afterward, breaking traditional conventions to hold ovation for after the entire work. Standouts from the opera scenes were Israeli mezzo-soprano Maya Gour as a richly voiced Rosina with lightning accuracy in her coloratura, and baritone Anthony Potts for his comedic timing as Figaro in the trio, “Ah! Quel colpo inaspettato… Zitti, zitti, piano, piano,” from Rossini’s Barber of Seville. Soprano Allison Lonstein also made an impression as the tragically lovely Mimi in “Donde lieta usci,” and the subsequent quartet from La Boheme, her dark tone ever present and plaintive over the doubling of Puccini’s lush orchestration. Here Rossi led the orchestra with skillful navigation of the work’s wide dynamic range, demonstrating clear deference for the stylistic nuance of the Italian composer.
The MSMF orchestra is comprised of students, pre-professionals, and emerging artists from over 20 different countries. Their reading of Stravinsky’s enormous instigation Rite of Spring, however, was above and beyond for a young orchestra. One would think the most compelling feature of the Miami Summer Music Festival is that it provides opportunities for young musicians to cut their teeth in the professional world – but rather, the Festival’s true gift is the energy in the music it provides its community. Young performers commit to their craft with an enthusiasm rarely exhibited by professional orchestras, and Stravinsky’s ballet was no exception. The hushed introduction of the opening act still simmered in anticipation of the explosive Augurs of Spring to follow, where the percussion ensemble stole the show, following Rossi’s lead with precision and flourish. The dramatic second act, the Sacrifice, reprised their exuberance in full cacophony. Maestro Rossi shaped the reading in an enormous arc, never retreating from the rise in intensity in its most cathartic moments.
The takeaway from the concert is clear; the Miami Summer Festival is carving an important place for itself in South Florida’s classical scene. Set in the off-season, the Festival provides musical enrichment and accessibility the city has been thirsting for, produced by exceptional performers at affordable prices. They will close their 2015 season with two fully staged operas set to premiere this week, the whimsical fairy tale Cendrillon by Massenet (Jul. 30, Aug. 1), and Mozart’s titillating Don Giovanni (Jul. 31, Aug. 2). Both productions will be held at Barry University’s Broad Auditorium. Tickets range from $15-20 and feature full orchestra.
More information and tickets can be found at www.miamisummermusicfestival.com .
Thurs., Jul. 30 – 7:30 pm
Sat., Aug. 1 – 7:30 pm
Don Giovanni (Mozart)
Fri., Jul. 31 – 7:30 pm
Sun., Aug. 2 – 2:00 pm
The Shepard & Ruth K. Broad Performing Arts Center
11300 Northeast 2nd Avenue
Miami, FL 33161
And sometimes opera isn’t even operatic… it’s just adorable.
We’ve heard a lot of hype about the Miami Summer Music Festival recently, which opened this week and already held two recitals at the Betsy Hotel in SoBe. The brainchild of Washington National Opera conductor Michael Rossi, the Festival attracts young pre-professional and emerging musicians from all over the world to gain experience performing at the intensity level of professional companies, but with instruction and masterclasses to polish its performers. It held its inaugural run last year and was well received in its endeavor to mount three fully-staged operas and multiple orchestral concerts in a four-week period. This year, to raise the stakes, the Festival is programming four fully-staged operas. In four weeks.
The ambitious programming, however, has been clever. The Festival opened the incredibly family-friendly children’s opera Hansel and Gretel last night (instrument petting zoo… ‘nuff said), but will also put up the more mature-themed Albert Herring by Britten next week, and then the French fairytale Cendrillon (Massenet) and the sexy Don Giovanni (Mozart) the week after. These operas all range in themes, musical styles, and targeted audiences, meaning there will ultimately be something for everyone to enjoy.
Last night was for the kids and it was, as we mentioned before, ADORABLE.
The festival is grooming the next generation of opera lovers by offering an outreach component with a children’s production. To kick off the evening, members of the orchestra waited outside the venue with a range of instruments – horns, strings, plenty of percussion – and invited families with young children to come try them out. The musicians were quickly swamped with little ones jumping at a chance to bang on the snare or channel their inner Satchmo on the trumpet sans inhibition. The lobby was filled with the clamoring, inharmonious noise of children getting to test drive instruments they might later want to study in without the pressures of potentially getting it wrong.
When everyone was finally corralled for the start of the show, founder Rossi turned to the audience and asked for a volunteer. Hands went up like lightning bolts, and a 6-year old girl beat out the rest to join him at the conductor’s podium. “Have you ever conducted an orchestra before?” he asked his young guinea pig. Under his tutelage, she made her debut with clear sense of rhythm and natural precociousness – the first great performance of the night.
Next up to bat was Maestro Yuriy Bekker of the Charleston Symphony Orchestra, who conducted the performance with warmth. A children’s opera, Hansel and Gretel, by Engelbert Humperdinck, is usually sung in German, but was performed in English for this run – another smart move to increase accessibility with families. It opens with the siblings bored and hungry, attempting to drudge through their chores. Here Jooyeon Song shone as a believably gangly and boyish Hansel in both her acting and interpretation, harnessing the elegance of her mezzo-soprano timbre to betray her character’s quick-changing emotions.
The children ultimately upset their mother and are sent into the woods to pick strawberries where they dawdle until night falls, setting them up for their adventure. The sandman, played by Kara Smoot, entices the children into a deep sleep, but before they fall under her spell, both remember to say their prayers in the beautiful duet, “When at Night I Go to Sleep.” Latini’s clarity and Song’s warmth, buoyed by a chorus of fourteen angels, was a touching and serene moment in an otherwise boisterous story.
The cast hit its stride during the scenes at the Gingerbread House, where it’s likely everyone in the audience wanted to warn Hansel and Gretel of the danger to come. The witch, sung by Melissa Tegeler, was just endearing and warm enough to make a family-friendly villain, and Latini and Song played off of each other’s emotions as real siblings might, working together to outsmart the witch and save the day. The opera has a refreshing ending, wherein the children save themselves, and the two leads bubbled over with energy in their final scenes, reunited with their parents.
Effective, charming, and perfectly targeted to its audience of children ages 5-15 and their families, the MSMF’s opening opera was a delightful experience to partake in. If we can expect the same level of polish and enthusiasm from the Festival’s participants in their upcoming productions, Miamians will be in for a treat.
At time of publication, Hansel and Gretel is enjoying an encore matinee performance with a different cast at Barry University’s Broad Theater.
For more information about the Miami Summer Music Festival’s other upcoming productions, visit www.miamisummermusicfestival.com .
Never judge a book by its cover. Or a classical music concert by its warehouse location.
Miami Light Project rounded out their Bang on a Can All-Star Marathon with a stacked deck at last night’s closing performance, featuring a lineup of Nu Deco Ensemble, Bang on a Can All-Stars, and Latin-funk favorites Spam All-Stars.
Performed at the Light Box in Wynwood’s Goldman Warehouse, the Miami Light Project is our favorite recent discovery… but it’s not so new. The M.L.P. was founded in 1989 as a non-profit, and provides multi-format performances of both international and local artists alike, with a strong community outreach presence. The Light Box is a special artistic space, tucked in the heart of Wynwood and easy to pass on the street without notice. From the website:
“Envisioned as a laboratory for artists and an intimate place of gathering where new work is experienced in its various stages of development, The Light Box will provide a creative setting in which artists are able to intersect with audiences in new ways.”
Last night’s concert was indeed an intersection of classical music and the breakdown of classical performance traditions.
Miami’s Nu Deco Ensemble opened the concert with their small chamber orchestra conducted by the charismatic Jacomo Rafael Bairos. Instead of grimacing with the furrowed brow we’ve all come to expect from classical conductors, thanks in part to Bugs Bunny, Bairos presides over his ensemble with a handsome smile and energy for days. The entire orchestra, a non-profit “designed for the 21st century,” performs with a joyful presence. Of their set, the most fun was co-founder Sam Hyken’s own composition, “Daft Punk Suite,” a fantasia on the work of the French DJ group. While attempts at integrated classical music into pop repertoire can often come off as camp, the infectiousness of the dance rhythms and lush instrumentation pulled it off and got the audience loose and moving early in the concert.
The headliners, Bang on a Can All-Stars, jumped in next for a set of truly “new” music that paired well with their industrial venue. Led by guitarist Mark Stewart, the NYC-based ensemble specializes in the performance of post-minimalism and ‘alt-classical’ works. Their penultimate set piece last night, “Closing,” by Phillip Glass, features the clunky rhythmic hydraulics that give the composer away instantly. The ensemble, however, managed to impart a larger sense of phrasing to the composition by leaning into its ethereal harmonic development to a lovely, serene effect. Their standout number and closing piece was Louis Andriessen’s “Workers Union,” a cacophonous hum of dissonance and rhythmic variation. The piece requires excellent artistry despite its seeming raucous nature. With no one conducting, the ensemble members must coordinate exact attacks and releases collaboratively, and the instruments are often used in non-conventional ways (pianist Vicky Chow could be seen arpeggiating across the piano with balled fists). The crunching dissonance and energy of the group was more hypnotic than jarring, and stood at as a favorite performance of the evening.
After a short breather, hometown heroes Spam All-Stars performed the least classically composed set, but their self-imposed genre, “electronic descarga,” is still a carefully crafted sound. Anyone who’s been dancing in Calle Ocho recognizes their blend of hip hop, dub, and Latin beats, with a small horn section and Afro-inspired calls and responses. The decision to send these guys on last was a smart one; Miamians can’t be asked to sit still even in a traditional black-box format when there’s dancing music on… and dance they did. Though the venue is more reserved than Spam’s usual haunts, they had audience members salsa-dancing in the aisles within the first couple songs of their set.
The program itself demonstrated an awesome evolution of new music composition techniques and the relationships of old and new: from the opening traditionalism of a chamber orchestra breaking boundaries with repertoire, to the amplified contemporary sextet defying performance traditions, to the fusion of improvisational jazz and electronic DJ arrangements, the Miami Light Project put on a concert last night that maintained interest the entire time.
The Light Box is constantly hosting events across all performance platforms, and we’re not going to miss anymore now that we know how special its offerings are.
For more information about the Miami Light Project and Light Box, visit:
The Light Box is located at
404 NW 26th St
Miami, FL 33127
For more information about the ensembles who performed last night, check out their websites below:
Bang on a Can All-Stars
Nu Deco Ensemble