in mulieribus

ArtsWatch Weekly: let’s start over

A new year, a fresh start: Oregon gets set for a cultural revival in January and 2017

We’ve got that nasty old 2016 in our rear-view mirror now, and as our newest Nobel Laureate for Literature once warbled, Don’t look back. Nothing to see there. Or too much to contemplate. Sure, sure: what happens in 2017 will build on what happened in 2016, which built on what happened in 2015, and on and on down the line. But right now, let’s look ahead.

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TRADITIONALLY, JANUARY IS IN THE MIDDLE of the artistic season and also the beginning of what’s called “The Second Season” – a chance to buckle down after the holidays and reinvigorate. Here are a few things, big and small, coming up this month to keep your eye on:

Kara Walker (American, born 1969), “The Emancipation Approximation (Scene 18),” 1999–2000, courtesy the artist. Part of “Constructing Identity” opening Jan. 28 at the Portland Art Museum.

Fertile Ground 2017. This is one of the biggies, made up of all sorts of “smalls.” Begun as an annual festival in 2009, it’s blossomed into one of the biggest, most sprawling, and most intriguingly unpredictable events on Portland’s cultural calendar. For eleven days, in venues scattered across the city, dozens of new performance works by Portland artists will take the stage: plays, dances, solo shows, puppet shows, interactive shows, musicals, more. Shows will range from the biggest companies to indie pop-ups, and from full-blown world premieres to workshops and readings. Trying to keep up is bound to leave you breathless. Jan. 19-29.

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In Mulieribus review: A decade of delicious dissonance

Vocal ensemble’s laudable tenth anniversary concert provides holiday spirit, over the top

by BRUCE BROWNE

There are many fine mixed choirs in the Northwest, but far fewer adult treble choirs and men’s choirs. In the category of exclusively non-mixed choirs, two in the Portland area stand out: the male group Male Ensemble Northwest, and the other, heard in their recent holiday concert, In Mulieribus.

This group of seven singers (director Anna Song, Kari Ferguson, Susan Hale, Arwen Myers, Jo Routh, Catherine van der Salm, and Ann Wetherell) is celebrating their tenth year. After beginning in modest circumstances, they have achieved an illustrious reputation during this last decade.

They’ve staked out their niche and stuck to it: singing early music (from c. 1150), seldom venturing past the 1800s, although more recently singing more modern works, including commissions. Many of the singers have been together for the duration. Co-founder Anna Song took complete charge when Tuesday Rupp moved to New York City; she’s returning for In Mulieribus’ tenth anniversary concert in May.

Last week’s concert exemplified their mission: the program offered choral music spanning some 650 years, some originally for boys, but all, of course, for trebles. And the task is not so easy.

In Mulieribus celebrated its tenth anniversary.

First, assemble all the right voices, attached to excellent ears, willing to compromise their solo voice for the good of the whole – check!

Next, research and choose just the proper literature, solos for some singers, catering to the impeccable musicianship, with thematic interest  — check!

Then, get the perfect venue: St. Mary’s or St. Elizabeth’s in Portland; St. James in Vancouver – check!

But here’s the real challenge. Monochromatic choral sound is, to a degree, inescapable for any non-mixed group. The literature we heard last night, at least in the first half, was all polished marble — beautiful, luminous, but monolithic, and much the same. Eight posts of gleaming marble in shades of white are a lot to take in. Nonetheless, Dr. Song managed even that challenge as well as anyone could.

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ArtsWatch Weekly: whale of a week

A look at the week that was in Oregon arts. A glimpse ahead at the week that's going to be.

The history of art, in a way, is a history of obsession. And who is more obsessed than Captain Ahab, feverish hounder of the great white whale? Herman Melville, perhaps, creator of the novel Moby-Dick, or, The Whale, and thus creator of the monomaniacal Ahab. Or Orson Welles, the mad genius of the cinema, who attempted to latch on to Melville’s harpoon and ride it to obsessive triumph in an unlikely stage adaptation of a novel that might be both untamable and unadaptable. Or, maybe, Scott Palmer, the adventurous artistic director of Bag&Baggage Productions, who’s taken Moby Dick, Rehearsed, Welles’s obsessive adaptation of Melville’s obsessive novel, and brought it to the B&B stage. In his fascinating (and in its own way, obsessive) review of B&B’s production, ArtsWatch’s Brett Campbell quotes Palmer on the book that started it all: “Moby-Dick isn’t a novel, it is an entire imaginative world. It is massive, bulky, colossal, terrifying, majestic and ultimately unfathomable. It is the physical representation of one man’s will, one artist’s transcendent vision, an entire internal universe externalized …”

Bag&Baggage's magnificent obsession. Casey Campbell Photography

Bag&Baggage’s magnificent obsession. Casey Campbell Photography

Giant whales and such, as Brett points out, have been something of a communal obsession in Portland lately, from Portland Experimental Theatre Ensemble’s season-long serial [or, the whale] to Portland Story Theater’s The Essex, the Northwest Film Center’s Welles-fest, a reading of excerpts from the novel at Portland’s Mother Foucault’s bookshop, and the musically adventurous AnyWhen Ensemble’s Moby-Dick inspired Boldly Launched Upon the Deep.

And how does this magnificent obsession (or cascade of obsessions) work out? Campbell writes: “Neither Ahab nor Melville nor Welles nor Palmer let the challenges of their tasks daunt them. Ahab caught his prey, but it cost him his life and those of his crew. Melville’s novel was widely regarded as a crazy failure in its time, and its overabundance of non-dramatic material still repels many readers. Welles’s misguided attempt to turn so inward-gazing a novel as Moby-Dick into compelling stage drama amounted to hunting a white whale; as Palmer acknowledged in a pre-show talk, it’s perhaps a good thing that Welles devoted himself to filmmaking rather than playwriting. In nevertheless choosing to stage Welles’s whale folly (in his centennial year), Palmer again plays the white knight, this time trying to save the white whale. Does he catch the object of his obsession in this new production and redeem Welles’s hubristic vision? Like the others, it’s a foredoomed, magnificent failure that, if you can stick with it long enough, you ultimately can’t let go of.”

America is, of course, a land of magnificent attempts and magnificent failures, which makes this whole thing seem so, well, American. It’s like a magnificent stab at the great American production of the great American adaptation of the great American novel: Who needs perfection when you’ve got a series of obsessions the size of a great white whale?

 


 

Vin Shambry (left), Chantal De Groat, and Chris Harder in "We Are Proud To Presnt ..." Photo: Owen Carey

Vin Shambry (left), Chantal DeGroat, and Chris Harder in “We Are Proud To Present …” Photo: Owen Carey

America is also obsessed with race, and the great stain of its racial history, which continues to trouble and obsess us in everything from policing to housing to job opportunity to our political campaigns, where it is sometimes used like a hidden (or not so hidden) persuader of fear and loathing. ArtsWatch’s Barry Johnson delves into this not-so-magnificent American obsession in his review of Artists Rep’s new production of We Are Proud To Present a Presentation About the Hero of Namibia, Formerly Known as Southwest Africa, from the German Sudwestafrika, Between the Years 1884-1915, Jackie Sibblies Drury’s smart and searing play about race, and our continuing difficulty in talking about it honestly, often even when we have the best of intentions. “We Are Proud to Present is a scorpion of a play,” Johnson writes, “and its tail packs a serious punch made all the more deadly by the light tone of the beginning.”

 


 

Tamisha Guy and Vinson Fraley Jr. in Kyle Abraham’s ‘The Getting’. Courtesy White Bird, © Jerry and Lois Photography All rights reserved http://www.jerryandlois.com

Vinson Fraley Jr. and Tamisha Guy in Kyle Abraham’s ‘The Getting.” Courtesy White Bird, © Jerry and Lois Photography. All rights reserved. http://www.jerryandlois.com

And while we’re on the subject: In Kyle Abraham dances about race, Nim Wunnan writes for ArtsWatch about the dance troupe Abraham.In.Motion’s canny and provocative performance in the White Bird series, a trio of works rooted in hip-hop, modern, and contemporary dance. The show “confidently and gracefully engaged both historical and very immediate issues of race and the individual’s place in this culture,” Wunnan says, and adds: “We start to understand in this work that certain movements and positions are almost exclusive to black bodies in this culture. And we rightly start to feel uncomfortable in our seats, notably when the usually vibrant and fluid [Tamisha] Guy sinks to the floor with a leaden exhaustion, face down, with her hands behind her back in an unmistakable position of submission, of arrest. The one Oscar Grant was in when he was shot point blank in the back.” Grant, in case you’ve lost track amid the the seemingly endless string of “incidents” involving police and black citizens, was slain by a Bay Area Rapid Transit policeman in the early hours of New Year’s Day 2009 in Oakland.

 


 

Heath Koerschgen and Danielle Weathers in "Davita's Harp." Photo: Friderike Heuer

Heath Koerschgen and Danielle Weathers in “Davita’s Harp.” Photo: Friderike Heuer

A few things to keep in mind on this week’s calendar:

Davita’s Harp. The Jewish Theatre Collaborative has been preparing all season for this world-premiere adaptation (by Jamie M. Rea and director Sacha Reich) of Chaim Potok’s 1985 novel about a contentious family in the New York of the 1930s, as the world is churning toward disaster. Opens Saturday; through April 9 at Milagro Theatre.

Arvo Pärt and The Ensemble. Justin Graff gets us all in the mood for the notable chamber and vocal group’s weekend performances of the mesmerizing music of Pärt, “one of the world’s greatest living composers.” And in A Pärt Pilgrimage, Graff gets considerably more personal, telling the tale of his journey to Talinn to meet the master, of sharing chocolates,  and a session at the keyboard. All pilgrimages should be so rewarding. The performances: 7 p.m. Saturday at Eugene’s Central Lutheran Church; 4 p.m. Sunday at Portland State University’s Lincoln Recital Hall.

Northwest Dance Project. The Portland ensemble’s newest concert is called Louder Than Words, which might be appropriate, because it’s been raising the roof lately with performances in New York and elsewhere. A new work from the company’s talented resident choreographer, Ihsan Rustem, plus one each from artisitic director Sarah Slipper and Brazilian dancemaker/filmmaker Alex Soares. Newark Theatre, Thursday through Saturday.

 


 

 

ArtsWatch links

 

Wangechi Mutu, “Histology of Different Classes of Uterine Tumors”/Courtesy of PNCA

Wangechi Mutu, “Histology of Different Classes of Uterine Tumors”/Courtesy of PNCA

 

Wangechi Mutu and the revolt of the female form. Grace Kook-Anderson looks at 511 Gallery’s Northwest premiere exhibition of this post-colonial, feminist, New York-via-Nairobi artist. “Mutu’s women are distorted figures, hybrids of animals and natural elements, bodies that are capable of great force,” she writes.

Michelle De Young: heavy going. What happens when a Wagnerian powerhouse of a voice meets an art song in recital? Katie Taylor went to the acclaimed singer’s Friends of Chamber Music concert and found the combination of voice and material sometimes disconcerting.

Oscar nominee Ciro Guerra: an interview. Erik McClanahan talks with the Colombian-born director of the foreign-language nominee Embrace of the Serpent. Bummed that he didn’t haul home an Oscar? “We were kind of relieved we didn’t win,” Guerra said. “There was a favorite going in and it’s great not to be the favorite. It can be a lot of pressure. Even winning can be a lot of pressure. So we just made the best of it and enjoyed it.”

Toxic glory: Heathers: The Musical. Christa Morletti McIntyre takes a look at the ’80s glory that was the cult teen movie, and the new glory of its musical-theater adaptation, which is is getting a slam-bang co-production from Triangle and Staged!

Born to run (and to film): Wim Wenders, continued. Marc Mohan looks at more of the Northwest Film Center’s fascinating series by the German director. This time around: Paris, Texas; Kings of the Road; The American Friend; The State of Things.

In Mulieribus: hours well spent. Bruce Browne celebrates the “happy marriage” at Mt. Angel Abbey of the outstanding choir’s Renaissance music and exquisite projected art from a medieval book of hours.

Last chance: Jacques Rivette’s twelve-hour Out 1. The French New Wave director’s ambitious, audacious, half-a-day opus has rarely been seen in the past forty-five years, but the Northwest Film Center’s been showing it, cut into digestible segments. Marc Mohan pays his respects.

Bullshot Crummond rides again. Lakewood Theatre’s world-premiere production of the latest Crummond comedy, a sequel to a 1970s parody of the old Bullshot Drummond British adventure series, revels in an old-fashioned sort of fun, Christa Morletti McIntyre writes.

Bolai Cao: abundant talent. It was a propitious meeting at Portland Piano International, Jeff Winslow writes – the rising young pianist Bolai Cao performing a new work by the veteran Oregon composer Bryan Johanson, a piece created in homage to Domenico Scarlatti.

Hello, My Name Is Doris: Sally Field talks about her new movie. ArtsWatch’s Marc Mohan chats with the two-time Oscar winner about her latest turn, as a “socially inept, eccentrically clad” office worker who develops a crush on her younger boss. “Some people have called it a love story, but I think it’s a coming of age story,” she says. “The challenge of being a human being is will we open up to every different stage of our life?”

Johanson and Prochaska: media speak. Borrowing from Marshall McLuhan’s famous dictum “the medium is the message,” Paul Sutinen looks at new shows by veteran painter/printmakers George Johanson and Tom Prochaska and declares the medium does matter.

 

Tom Prochaska, "Hillside Nevada," 2016, acrylic on canvas, 16 x 20 inches. Photo: Dan Kvitka

Tom Prochaska, “Hillside Nevada,” 2016, acrylic on canvas, 16 x 20 inches. Photo: Dan Kvitka

 


 

About ArtsWatch Weekly

We send a letter like this every Tuesday to a select group of email subscribers, and also post it weekly on the ArtsWatch home page. In ArtsWatch Weekly, we take a look at stories we’ve covered in the previous week, give early warning of events coming up, and sometimes head off on little arts rambles we don’t include anywhere else. You can read this report here. Or, you can get it delivered weekly to your email inbox, and get a quick look at all the stories you might have missed (we have links galore) and the events you want to add to your calendar. It’s easy to sign up. Just click here, and leave us your name and e-address.

 


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In Mulieribus review: Hours well spent

Portland vocal ensemble's happy marriage of Renaissance music and visual art

By BRUCE BROWNE

“The ear tends to be lazy, craves the familiar and is shocked by the unexpected; the eye, on the other hand, tends to be impatient, craves the novel and is bored by repetition.” — W. H. Auden

Those audience members who came to Mt. Angel Abbey for In Mulieribus’s concert last Friday, March 4, who are primarily concert-goers probably anticipated that the musical experience would be enhanced by the visual art projected behind the singers. Those attending primarily to take in the visual art might have thought that the music would “accompany” the Mt. Angel Abbey book of hours collection (horae), through projected videography. For me, however, the manner of presentation allowed the arts to meld into one unifying and moving experience.

In Mulieribus used video projections of illuminated manuscripts in Horae.

In Mulieribus used video projections of illuminated manuscripts in Horae.

In “Horae: A Musical Book of Hours,” programmed brilliantly by IM artistic director Dr. Anna Song, the eight women, in solos, quartets and full ensemble, sang the audience through the eight sanctifying “hours” of Catholic spiritual practice. These women have as many formations as the Dallas Cowboys, and make use of each different lineup with satisfying results.

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In Mulieribus review: Approaching perfection

Women's vocal ensemble gives pristine performances of medieval and Renaissance music

by BRUCE BROWNE

“Perfection is the child of time” – Joseph Hall

We don’t see it, we don’t hear it; most of us don’t know it, at least not intimately. But if Hall is right, then by taking time to plan, listen, experiment, change – rehearsal time in our art – we hone a sonic product toward perfection.

What we heard December 21 at Portland’s St. Philip Neri church was pretty darn close. The eight women of In Mulieribus have reached a certain pinnacle in a number of ways: chief among these is their very clear sensitivity and empathy with one another. If breathing together is a promoter of good health, then these singers must be among the most fit humans on the planet. Phrasing and articulation were particularly well cloned in this performance.

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The program’s title, “The Tree of Jessie,” refers to the medieval iconography that “portrays the genealogy of Jesus, back to Jesse, the father of King David,” according to Song’s program notes. The idea of depicting Jesus as a direct descendant of the royal house of David (who descended from Abraham) fulfills Messianic prophecy set forth in the Old Testament, Isaiah 11:1 mentioning Jesse by name and “drawing” the image. “And there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots” (King James 2000).

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Oregon classical music releases: Five 2014 favorites

Oregon composers and performers shine in new and old music.

It’s an arts journalism tradition to fill the year-end concert void with “best of the year” lists. I can’t pretend to have heard more than a fraction of Oregon music CDs released this year, so this roundup just represents a few favorites I expect many classical music-oriented ArtsWatch readers will relish.

Portland Baroque Orchestra, J.S. Bach: Concertos for Oboe and Oboe d’amore (Avie).

“Bach used the oboe as no other composer had before,” 20-year-veteran PBO oboist Gonzalo X. Ruiz writes in the liner notes to PBO’s new CD, “treating it as an equal partner to the voice, and showering it with lyrically and technically demanding roles… the oboe must have been one of Bach’s favorite instruments,” receiving thrice as many solos as the violin in his cantatas.

PBOWhich makes the absence of any surviving manuscripts for oboe showcases in Bach’s most alluring music — the concertos he wrote in Cothen before moving to Leipzig to write primarily sacred music with voices — especially disappointing. However, some years ago, scholars realized that some of Bach’s lost oboe (and other) concertos were hiding in plain sight: in the guise of harpsichord concertos they deduced the busy Bach (obliged to deliver a huge quantity of music on deadline) had arranged from earlier concertos featuring other solo instruments — including the oboe and its older cousin, the larger and mellower oboe d’amore.

One of those scholars is Ruiz himself, who’s performed with most of the leading historically informed ensembles, teaches at New York’s Juilliard School and has mentored many of America’s leading Baroque oboists. His reconstruction of some of Bach’s Orchestral Suites with Monica Huggett’s Ensemble Sonnerie (recorded on a chart-topping, Grammy-nominated CD) proved far more persuasive than the previous editions that commonly — and mistakenly — replaced the composer’s intended oboe with flute.

“In Bach’s time, the oboe was considered to be the electric guitar of the 18th century, truly a virtuosic vehicle in the right hands,“ Ruiz told me, ”and there were plenty of right hands around. I hope this [reconstruction] stretches expectations of the Baroque oboe.”

Now, again teaming with Huggett, Ruiz continues his revelation — or more accurately restoration — of the oboe’s signficance to Bach’s music. This CD of concertos reverse-engineered by Ruiz and others from Bach’s own arrangements for harpsichord (with one exception compiled from a cantata movement and a concerto fragment) into showcases for oboe, oboe d’amore, and violin and oboe should re-establish the primacy of Ruiz’s instrument in Bach’s music. (In one case, it reclaims the spotlight from an earlier reconstruction from harpsichord to violin that, Ruiz contends, doesn’t fit that instrument nearly as well.) And, following its acclaimed 2012 St. John Passion recording, the disk could also place Oregon’s own historically informed period instrument band in the international spotlight for authentic Baroque recordings.

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Concert review: In Mulieribus

Portland vocal ensemble's veteran teamwork produces winning Byrd songs.

In Mulieribus

In Mulieribus

by  BRUCE BROWNE

Teams that retain their players over several years are more likely to play better together. Witness the Amadeus String Quartet, a unit for 40 years, or in sports, Miami Heat/San Antonio Spurs. It is this, among other things, that makes In Mulieribus who they are: a constant in tuning, blend, and balance. The women think one another’s musical thoughts, hear their sisters’ voices almost before a musical utterance. They catch every wave together. In this case, familiarity breeds content.

On Sunday at southeast Portland’s St. Philip Neri Catholic Church, the premier women’s group, founded a decade ago by director Anna Song and former member Tuesday Rupp, offered a concert of music by English Renaissance composer William Byrd and two contemporaries: Peter (Petrus) Philips, and Richard Dering. This time around, we were also treated to guest director Kerry McCarthy, who is a published authority on Byrd. Her work with IM was, according to one member, collaborative, and joyous.

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