In the words of

Timothy A Corpus

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Charles Dutoit leads the Chicago Symphony Orchestra in classic French repertoire

The grand maestro Charles Dutoit has returned to the Chicago Symphony Orchestra for a program of all French music. One of the great conductors, maestro Dutoit is the current artistic director and principal conductor of the London Royal Philharmonic Orchestra. Dutoit has a great understanding of French music. His command of the orchestra is matched by his sensitivity to the music and ability to make a dynamic performance with our beloved orchestra.

The concert begins with Ravel’s Rapsodie espagnole, a standard in orchestral music, but I would consider it the lesser brother of his “choreographic symphony” Daphnis & Chloe. Although the work is wonderfully composed and full of exciting moments, it’s all too similar to Daphnis to be programmed on the same concert. Written in 1907, the rapsodie was the necessary predecessor to one of the greatest orchestral works of all time, Daphnis & Chloe (1909).

Along with Ravel’s works were two other classic French compositions. Each work featured French-Canadian pianist Louis Lortie. His performance was involved and joyous. Symphony on a French Mountain Air by Vincent d’Indy was the surprise of the evening. A beautifully written first movement is followed by similar stylistic wandering to a bubbling and joyous finale. Starting off the second half is Cesar Franck’s Symphony Variations for Piano and Orchestra.

This work, composed in 1885 sounds like it was composed in 1885. What the piece lacks in verve was complimented by Lortie’s magnificent playing.

Ravel’s masterpiece Daphnis & Chloe always brings a crowd. The CSO is quite familiar with this, as they recorded the full ballet in 2007. This is a work that one must see live. The colors and melodies mixed within this 15 minute work are anything but dull. It achieves arguably the most vivid sunrise scene in all of orchestral music. Perhaps the concert could have benefitted from some more adventurous programming, but witnessing Charles Dutoit, a master of French music, conduct Daphnis & Chloe is an honor.

This program continues on Saturday, March 14, 2015 at 8:00pm and Tuesday, March 17, 2015 at 7:30pm. Tickets are available at www.cso.org.

Silk Road Ensemble at Symphony Center

Boisterous audiences can be hard to find at Symphony Center, but when the Silk Road Ensemble shows up, so do exuberant audiences. After 15 years of tours, performances and workshops, the veteran ensemble returned once again for a performance in Chicago’s beloved Symphony Center. The Silk Road Ensemble, led by musical hero Yo-Yo Ma, represents a global array of cultures. The ensemble features virtuoso players from around the world, including Syria, Russia, Iran, India, China, Japan, USA and Spain. Even when the sounds are foreign, quality musicality is universal. The ensemble takes your ears away from standard 4/4 time signatures and into a whole new world of sound.

Seeing chaAmber music at Symphony Center is a must for any true concertgoer. The magnificent solo moments make one even more aware of the quality of sound that can be produced in the 111 year old hall. The concert was intimate even though the house was full. Each piece of the six on the official concert list brought their own energies and story. What’s so great about the Silk Road Ensemble is how they connect with their audience. Yo-Yo Ma’s personality is such that audiences adore – he speaks to his audience as if they are all old friends. Along with phenomenal musical performances, there were jovial antics between the performers.

It’s not just the humor; it’s the inviting nature a joke has to the audience. The audience is then a part of the joke, and then a part of the concert experience.

Amidst a concert full of strong compositions, the standout work was Paramita by Zhao Lin. This work, an arrangement of his own Double Concerto for Cello and Sheng, was massive in scope, full of color and passionate melodies. The entire concert, including the encore works, was ear-catching and fulfilling. This concert proves Symphony Center’s dedication to cultural programming at a time when even our own state is not. The Silk Road Ensemble ends their nine city tour in Goshen, Indiana on March 7, 2015. The next time the ensemble comes to town, be sure to join the crowds, you won’t be disappointed.

“STOMP” is back in Chicago!

Trash cans, match boxes, grocery carts and newspapers, these are just a few of the noisy instruments used by the members of STOMP. In an unrelenting performance of the smash hit STOMP, the Chicago cast of young and exciting percussionists took the audience on a sonic journey through everyday items.

The performers “make a rhythm out of anything we can get our hands on that makes a sound,” says co-founder/director Luke Cresswell. The evening’s performance was a blend of percussion, movement and visual comedy. The performers danced across the stage, threw buckets through the air and made a point of making the audience laugh.

Of course the performance and staging are impressive, but the connection the audience forms with the performers is absolutely amazing! The hilarity that ensued with newspaper antics and garbage bag music shared the stage with some incredible displays of musicality. STOMP’s economic use of the stage and flowing relationship between scenes is what makes this show work. The show is almost two hours long, but the energy is high, loud and constant.

This is a show that everyone must see. This is the type of show that inspires kids to drum and reminds us all that creativity can be made with anything.

NYBinsLeap5x7STOMP is only here for a week, so see it now.

Two Oh One Five

Wow. It’s 2015. I’ve been not so great at updating this place. Sorry about that, all you crazy readers out there. It’s been cold as Mars over here in Chicago. According to the Adler Planetarium the real feel in Chicago is colder than the temperature of Mars. That’s just ridiculous. Anyways, asides from hibernating-literally, I had’t left the house in days- I’ve been busy with much. Mainly I’ve been busy with a puzzle. Around the New Year, Heather and I became really interested in puzzles. So now Thomas Kinkade has a disassembled painting on our coffee table.

We also did a lot of rearranging of the office. It’s now complete with my guitars, a new desk and new art!

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Loyola Drumline

Loyola’s Men’s basketball team has been playing incredibly well. Well, incredibly well for them. It’s amazing to have them playing well because it makes my work days much more fun. This Sunday is the Wichita St. vs. LUC home game. It’s selling out and it’s going to be terrific, even though the chances of them winning is slim. Just go to ESPN and see how good Wichita St. is.

New Music & an International Tour

So the most exciting current news is that I will be touring to Ireland in April! I will be speaking at the Dublin Conservatory of Music & Drama on Friday April 24th and then the Concorde Ensemble will be performing at the RHA Gallery in Dublin on April 26th. They will be performing Bird in Space with a projected photo of Brâncusi’s Golden BirdThis is an incredibly exciting event and I cannot wait to go. I’ll do my best to write a post each day of the tour.

I am a selectee of the 2014/15 3Arts Projects

In April 3Arts will be hosting an online crowdfunding platform that allows everyone to invest directly in the work of Chicago artists. It’s an incredibly cool organization and I am honored to have been selected to be a part of this. I will share more about this project in the upcoming months, but it will be funding the production of a new CD with brand new works! Yay new music!

There’s also new music on Soundcloud, go take a listen!

Music Reviews

Have your read all of my reviews? They are all available on my Facebook as well as the Chicago Stage Standard website. Go check ’em out. I’d love to hear your comments!

 

“Chamber Music Monday’s” – Seth Boustead

O n a foggy Monday afternoon, local new-music advocate Seth Boustead performed his first piano recital. In the audience-favorite venue, Preston Bradley Hall, the composer filled the shoes of a performer. “I play the piano and I wanted more experience as a performer,” explained Boustead. The composer-turned-pianist presented a recital of his own music with a few selections by jazz greats Duke Ellington and Thelonious Monk. The standout work from the concert was Summation Piece Number Two, a work that felt like the hybrid child of jazz and modern music. His performances were smooth, making splendid use of silence and space.

The audience was full of Chamber Music Monday enthusiasts and listeners who are not always well-accustomed to new music. It’s an appreciative audience, honestly inquisitive and devoutly appreciative to the arts. This was a concert for exposing new and different music to faithful audiences and the common wanderers exploring the Chicago Cultural Center. These are the perfect little concerts to leave the audience wanting more. Clocking in at about 45 minutes, the concert series is perfect for the lunch break.

It is becoming more and more rare to see the composer at their instrument. Mr. Boustead is a composer comfortable in front of an audience. A familiar voice to the new music community, Seth is the radio host of Relevant Tones on WFMT and is Executive Director of the Chicago-based new music nonprofit, Access Contemporary Music. This past week, Boustead’s work as the advocate for new classical music was recognized in an article by Chicago Tribune writer John von Rhein. Boustead’s casual presentation gave the audience the inside scoop on the thoughts and ideas from the composer. He brought the appropriate amount of laughter and charm to warm the audience to 21st Century music.

The series continues next Monday and every Monday at noon. The price is free, which if that doesn’t convince you to attend a live classical concert, than the presentation of high quality music should. Highlights include Chicago Chamber Musicians, Tesla Quartet and the Musicians Club of Women.

The next performance of composer Seth Boustead’s work is at University of Wisconsin – Whitewater in February 2015.

“Handel’s Messiah” – The Apollo Chorus

T radition, that’s what the Apollo Chorus’s performance of the Messiah is, tradition. Saturday afternoon marked the 135th annual performance of George Frederic Handel’s masterpiece, The Messiah. First presented by Apollo Chorus in 1879, The Messiah has been a long standing tradition for the visitors of Orchestra Hall. This year’s performances, led by veteran Stephen Alltop, included soloists Elisabeth Marshall (soprano), J’nai Bridges (alto), Samuel Levine (tenor) and David Govertsen (bass).

This 3-part sacred oratorio clocks in at about two-and-a-half (2.5) hours, a marathon for any performer. Maestro Alltop showed his eighteen years of experience with a sensitivity to the orchestra, the chorus and the soloists. The orchestra is full of top-notch performers who are able to give a full sound with minimal forces. For the full house of orchestra hall, the main attraction was the chorus. The Apollo Chorus features 120 volunteer members that work hard to uphold their status as an iconic Chicago ensemble. The ability of this chorus shows why they are a lasting establishment in Chicago.

Between the polyphonic choruses, Handel sprinkles in a mix of recitatives and arias. Soprano Elisabeth Marshall made her Apollo Chorus debut. Her performance was smooth and artistic, a soothing lone voice in a sea of polyphony. J’nai Bridges, recently seen on stage at the Lyric Opera in Il Trovitore, performed a vibrant rendition of “He was despised and rejected…” from Isaiah 53:3 in the “Part The Second”. She was, however, much less enthusiastic than her duet partner Samuel Levine. The young and spirited tenor is returning from the 2013 performance of the Messiah with Apollo Chorus in addition to a host of other national performances. Through every twist and turn of the show, he truly looked like he was having fun. Another familiar face, David Govertsen (recently seen in The Rape of Lucretia with Chicago Fringe Opera), evoked a confidence and maturity. His command of the libretto was honest, with a voice that filled all of orchestra hall.

This is a show for the whole family, although some members of the family were nodding off to sleep. It’s a Christmas tradition that Chicagoans hold dear.

Following the holiday concerts, the music of the Apollo Chorus will continue in March with Britten’s Simple Symphony, Lauridsen’s Lux Aeterna and Schubert’s Mass in A-flat onSaturday, March 7 at 7:30 p.m. at University of Chicago’s stunning Rockefeller Chapel, 5850 S. Woodlawn Ave. The exhilarating season finale Spring Concert, International Voices, will take place Friday, May 1 at 7:30 p.m. at Fourth Presbyterian Church, 126 E. Chestnut Street, and Sunday, May 3 at 3:00 p.m. at Elmhurst Christian Reformed Church, 149 W. Brush Hill Rd. in Elmhurst.

1917 with CSO

The Apollo Chorus is Chicago’s oldest musical organization, founded in 1872 in the aftermath of the Great Chicago Fire, performing preeminent choral works at premier venues. Its approximately 120 auditioned members include men and women of all ages, races, and backgrounds brought together by their love of music. The Apollo Chorus has performed at notable historic events, such as the 1893 World’s Columbian Exposition, the Century of Progress International Exposition, the opening of Medinah Temple, the opening of Orchestra Hall (Apollo was considered the official chorus of the Chicago Symphony Orchestra prior to the formation of the Symphony Chorus), the opening of Navy Pier, and the “Oprah Surprise Spectacular.” The chorus will also perform this year at the 125th Anniversary Gala of the Auditorium Theatre on Dec. 9, 2014 with a rousing rendition of “Do You Hear the People Sing?” from the iconic musical, Les Misérables. They also performed at the venue’s 1889 opening. The Apollo Chorus continually strives to advance musically and to share the power, beauty and majesty of choral music by presenting concerts and educational programs for diverse communities throughout Chicago and beyond.

Tickets to Handel’s “Messiah”  on Saturday, December 20, 3:00pm at Harris Theater for Music & Dance, 205 E. Randolph Drive range from $18-80. To purchase individual tickets or to book a group, call The Apollo Chorus at 312.427.5620 or visit www.apollochorus.org.  Tickets are available by visiting or calling the Harris Theater for Music and Dance at 312.334.7777.

 

Chicago Fringe Opera opens season with the “Rape of Lucretia”

On Tuesday evening, the newly-founded Chicago Fringe Opera left its audience in silence. The closing night of the Rape of Lucretia by Benjamin Britten took place at Chicago’s historic Chopin Theatre. An avid supporter of the new and different, the Chopin Theatre was the perfect location for the company’s modern rendition of Benjamin Britten’s not-so-masterpiece. Premiered in 1946, just 13 months after the triumphant premiere of Peter Grimes, the Rape of Lucretia is a completely different approach to opera. Writing in 2001, Andrew Clements, of the Guardian explains, “the score is a model of economy, creating a sound world of vivid evocation.” Indeed the score is quite different from the famed Peter Grimes. With a run time of 1 hour and 30 minutes, the score boasts difficult melodies and a demanding intensity.

To help guide the intensity and pacing of the performance, the opera is set in a modern day military setting. “In an odd way,” explains director George Cederquist, “the act of rape perpetrated against Lucretia in this opera is not the story’s central event. There is little suspense in whether or not a rape will occur, as the opera’s title alone tells us what is going to happen. Indeed, in the libretto, the rape doesn’t even take place onstage.” The opera takes place during a military investigation into an alleged rape and focuses on the aftermath of sexual violence. The investigation is led by the male and female choruses who narrate the story. In a wonderfully modern use of technology, Chicago Fringe Opera used hand held cameras and projected their images on screen. The screen shows us the interviews with the characters, adding a documentarian flavor to the performance.

It was a bold move, setting the opera in a modern day military investigation. But really, that was the point. Fringe Opera wanted the audience to discuss societies roles as humans and

citizens — military or not — to work against such crimes being committed in the future. Although their goal was to examine the prevalence of rape in the military, Britten’s story focuses more on the character’s inward thoughts than on the institutional social injustices. If the undertone of the their commentary was nebulous, the message about sexual violence is clear. At the end of the performance, the audience who eagerly jabbered before the show was muted.

The performances were strong and the singing was exceptional. Led by conductor Codrut Birsan, the ensemble retained a clean sound without sacrificing drama. The most captivating performance was from the villain Tarquinius, played by Matthan Black. His actions were unrestricted, feeling as though he held nothing back for this final performance. Despite the fact that this was the companies first string of shows, they exhibited a zeal for their craft. Their anticipated productions do not lack in difficulty and will provide compelling experiences.

Founded in 2014 by way of parent organization Candid Concert Opera Inc., Chicago Fringe Opera presents American and English vocal works and re-envisions the traditional concert-going experience through minimalist and modern performance concepts. More information about the company is atwww.chicagofringeopera.com.

Anticipated Productions

Trouble in Tahiti & Paired Short-Opera | Leonard Bernstein | May 2015

Turn of the Screw | Benjamin Britten | Fall 2015

Chicago Symphony Orchestra opens the 10TH season of “CSO at the Movies”

We love movie music. We, the audience, love how movie music is the off screen character that can make us laugh and cry. As Francis Ford Coppola once said, “music is a big factor in helping the illusion of the film come to life. The same way music brings back different periods of our lives.” Through film music in concerts, one can relive the journeys of our friends Han Solo, Bilbo Baggins and even Buzz Lightyear.

This last weekend the Chicago Symphony Orchestra opened the 10th season of the CSO at the Moviesconcert series with Pixar in Concert. The CSO played a lively concert of the music from such Pixar films as Finding Nemo, Wall-E, Monsters Inc. and Toy Story. The concert was accompanied by projections of the scenes from the films. As explained by conductor Richard Kaufman, “This shows how the music brings characters and story to life!” With incredible command of the orchestra, the Grammy Award-winning maestro led the orchestra in a wildly fun display of styles. From jazz to rock to emotionally driven melodies, the CSO brought these films to life. The dynamic performance by the CSO was expected, but the emotional experience inflicted by these films was surprising. Apparently every film by Pixar is made to make one cry.

pixar_csoKaufman’s approach to the spectacle was professional, but endearing. He even took the time on stage to thank the stage crew and music librarians! It was so nice to have laughter in the hallowed halls of Symphony Center. It’s too bad it takes film music for the CSO to perform music by living composers to a full audience. This season 13 of 108 Symphony Center concerts by the CSO include music by living composers. These 13 concerts feature a grand total of five different living composers. Three of these living composers include the Helen Regenstein Conductor Emeritus Pierre Boulez and the Mead Composer’s-in-Residence Anna Clyne and Mason Bates. Although this does not include the CSO at the Movies orMusicNow series, the inclusion of living composers at the CSO is startlingly low.

Whether you are new to the Chicago Symphony Orchestra or not, this is a wonderful concert series to witness. Hearing a film score live is a completely unique way to enjoy the journey of beloved characters. The music is also fantastic, owing everything to its forefathers Copland, Shostakovitch, Vaughn-Williams and Wagner. This is also a concert series for a variety of ages. Of course Pixar in Concert is targeted for youth, the other films are a great introduction to the symphony for young or new audiences.

Upcoming Concerts

Friday, May 29, at 8 p.m. – Metropolis, a unique event that highlights this genre-defying, science fiction masterpiece set to music by composers from the silent film period including selections by Arnold Schoenberg, Edward Grieg and Béla Bartók.

Friday, March 13, at 8 p.m. – Stanley Kubrick’s 2001: A Space Odyssey which features the CSO and Chorus under conductor André de Ridder in a score that brought worldwide fame to Richard

Strauss’ Also Sprach Zarathustra, the music of Gyӧrgy Ligeti and Johann Strauss, Jr’s. Blue Danube Waltz.

Tuesday, October 14 at 7:30 p.m. – Ben-Hur, MGM’s 1925 silent film classic showcases the CSO in an orchestral score composed and performed by legendary drummer and composer

Stewart Copeland (The Police), who joins the orchestra as a soloist on the drum kit for this one-of-a-kind event.

Friday, October 31 at 8 p.m. – The Cabinet of Dr. Caligari with music by Robert Wiene featuring the mighty organ of Orchestra Hall (Casavant Frères Opus 3765; 44 stops, 59 ranks, 14 couplers, 3,414 pipes).

Tuesday, February 3 & 4 at 7 p.m. Frances Ford Coppola’s landmark film, The Godfather, The Academy Award-winning drama is regularly cited as one of the greatest films ever made and in these performances, members of the CSO perform a recently uncovered version of Nino Rota’s unforgettable score.

Tickets for all CSO concerts can be purchased by phone at 800-223-7114 or 312-294-3000; online at cso.org, or at the Symphony Center box office: 220 S. Michigan Ave., Chicago, IL 60604.

Subscriptions for the three-concert CSO at the Movies series (Pixar in Concert, 2001, Metropolis) are on sale now for $75-291. Subscribers to the series can purchase tickets to any film-related Special Concerts now. Single tickets for all 2014/15 concerts at Symphony Center including CSO at the Movies or film-related Special Concerts go on sale August 8, 2014.

Discounted student tickets for select concerts can be purchased, subject to availability, online in advance or at the box office on the day of the concert.

For group rates, please call 312-294-3040.

“IL TROVATORE” @ LYRIC OPERA

When attending the Lyric Opera of Chicago there are simple standards that one expects. There will be grand storytelling, incredible staging and sweeping melodies. The Lyric Opera of Chicago presents these qualities by default, always going above and beyond high quality. Attending the Lyric Opera is sitting within hallowed walls that have beared a lifetime of opera traditions. Celebrating its 60th anniversary, the Lyric continued its season with the opening performance of Il Trovatore.

02_Stephanie_Blythe_TROVATORE_DSC_3098_cMichael_BrosilowIl Trovatore is another blazing romantic drama by composer Giuseppe Verdi. Written in 1853, Il Trovatore is composed by an experienced composer, having previously written 17 operas. Verdi’s treatment of the orchestra with his memorable melodies are the mark of experience. His treatment of main vocal lines, however, are what set this opera apart. In opera we expect poised performances with great emotion and melismatic lines, but Verdi demands much, much more. With a length of over two-and-a-half hours, the singers must reach incredible heights. Along with the beauty and emotion that the arias demand, there is a requirement of substantial power, huge range and spectacular control. It is rare to see an ensemble perform with such gusto.

03_Yonghoon_Lee_TROVATORE_DSC_3152_cMichael_BrosilowLead by revival director Leah Hausman and conducted by Asher Fisch, the ensemble of veterans gave a lively opening performance. The story focuses on the gypsy-with-a-secret Azucena (mezzo-soprano Stephanie Blythe), who has raised Manrico (tenor Yonghoon Lee) as her son. Manrico is in love with noblewoman Leonora (soprano Amber Wagner), who is also loved by Manrico’s enemy, Count de Luna (baritone Quinn Kelsey). The Count has spent his life searching for his brother, who died under mysterious circumstances involving a gypsy. Urged on by his henchman Ferrando (bass Andrea Silvestrelli), the Count takes Azucena prisoner, leading to tragic consequences for all concerned.

The great achievement of the evening’s performance was within the solos. Amber Wagner brought the crowd to a roaring applause with her passionate performance of Cabaletta: Di tale Amor. Her control and emotional performance captivated the audience with the words “A love that can hardly be put into words.” Quinn Kelsey, another alumni of The Patrick G. and Shirley W. Ryan Opera Center along with Amber Wagner, also gave an incredible performance. While singing his heartfelt aria about his love for Leonora, his performance shakes you to the point where, for a moment, you forget he is the bad guy. The chemistry on stage was at its best between Mr. Kelsey and our hero, Manrico, played by Yonghoon Lee. The Korean-born tenor did a splendid job of playing the lover-hero and the loving son. Stephanie Blythe’s projection of the gypsy with a dark secret was melancholic but also full of rage. Rounding out the show with the only elements of humor, was Andrea Silvestrelli’s portrayal of Ferrando.

What the show boasted in solos, it lacked in chemistry. Although the dynamic between Lee and Kelsey was fierce and engaging, the chemistry between the lovers lacked real passion. Although the couple sang a marathon of notes, their effervescing love only shined in the solos. The shining of the stage was majestically brought to life by lighting designer Jennifer Tipton. With a stage mostly grey, Tipton takes us to a fiery gypsy camp, a somber convent and to the sunrise awaiting Azucena’s execution.

07_Quinn_Kelsey_TROVATORE_MSB_4778_cMichael_BrosilowThis is a performance worth seeing, if only for the tremendous performances by each star in the ensemble. Whether this is your first opera or your 60th, the Lyric’s Il Trovatore does not disappoint. With seven shows left, Il Trovatore performs through November 29. Tickets are available at www.lyricopera.org

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SPHINX VIRTUOSI AT THE HARRIS THEATER

The Eat to the Beat series at the Harris Theater is a great way to experience two of life’s greatest pleasures – music and local cuisine. Once each month the Harris Theater features lively performances mixed with a cash bar and local food trucks. In a push to attract the local business workers of Chicago’s Loop, Eat to the Beat occurs as a lunch break at 12 p.m. and happy hour at 5:30 p.m.

With a slice of Giordano’s pizza off of the food truck, I enjoyed the Eat to the Beat concert featuring the Sphinx Virtuosi. The Sphinx Virtuosi are the major performing ensemble of the Sphinx Organization. Founded by Aaron P. Dworkin in 1997, the Sphinx mission is to “transform lives through the power of diversity in the arts.”

The ensemble performed a refreshing program of American music written by living composers. Along with performances by the full string orchestra, the virtuosi included a performance by the Catalyst String Quartet.

The program opened with a full ensemble work titled Elevations. The work was an exciting start to a new music concert. Composer Mark O’Connor’s work featured a blend of neo-classical lyricism with popular elements and even a moment of a hoe-down. The next piece, Coqutteos, was a short, feeling-charged piece with energy passed back and forth between the whole ensemble. At the middle of the program was an amazing performance of John B. Hedges’ Raise Hymn, Praise Shout. This work featured bass soloist and Senior Division First Place Laureate of the 2014 Annual Sphinx Competition, Xavier Foley. Foley’s solos were majestic and personable, engaging the audience with incredible command of his instrument. Prior to the finale was a performance by the Catalyst Quartet of Marcus Goddard’s Allaqi. As the most aurally challenging work of the evening, Catalyst Quartet had great command of the music, but the music itself was too much of a drop off in energy. The full ensemble recovered the passion of the evening with the premiere of Bannerby company violinist Jessie Montgomery. Her composition was an incredibly powerful rendition of The Star-Spangled Banner. She blended multiple styles, showcasing the good and unique elements of the American melting pot. This was a performance that should not have been missed.

The major downside to the evening was the low audience turnout. Possibly the fault of lackluster marketing by the venue, this concert was overlooked by typical concert-goers, which is a shame since this ensemble represents a truly American mission of embracing diversity in the arts. To miss performances like this is to miss where our American music needs to go. I would like to see the Sphinx Virtuiosi at Symphony Center or Auditorium Theater with the robust, engaged audience they deserve.

The Harris Theater will continue their Eat and Drink to the Beat series each month. Tickets are $5 and for the most up-to-date schedule visit www.HarrisTheaterChicago.org.

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