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Concerts review: Classical music 'kids' Goulding and Allen are all right

Caroline Goulding and Matthew Allen are probably glad to be going back to Cleveland and its cold, lousy weather and gray, dingy landscape. Not that they had a bad time in El Paso. It's just that between four concerts, numerous rehearsals, various outreach appearances and the occasional social event, they should pretty much be worn out by now.

Going back to classes at the Cleveland Institute of Music probably sounds pretty good right now for the 18-year-old phenoms. Goulding is a petite blonde Michigan native who plays the Stradivarius she uses with a light but commanding touch, sweet and heartstring-tugging at one moment, fiery and furious the next. Allen is a husky Texas native who plays the cello like he's on a mission, his square-jawed facial expressions illustrating the beautiful, sometimes very challenging music he played.

They're both obvious technicians, but they bring passion, soul and panache to their playing in quantities that far exceed what you'd expect from musicians so young.

I also suspect they're very disciplined young players, willing to put in the extra work needed to nail a piece. I happened to walk by the Chavez Theatre entrance Tuesday on my way to "Monty Python's Spamalot" and there they were, practicing Johannes Brahms' double concerto in the lobby as El Paso Symphony Orchestra conductor Sarah Ioannides looked on.  

They didn't get dinner until after Saturday's performances with the orchestra because they'd been practicing that afternoon with pianist Navah Perlman for Sunday's final El Paso Chamber Music Festival concert at UTEP's Fox Fine Arts Center Recital Hall, the 22nd year El Paso Pro-Musica has put it on and the sixth in which EPSO and EPPM have teamed up for a concert.

You could tell by the enthusiastic ovations they received over the weekend that local audiences appreciated just how developed and mature these young talents are. It started at Thursday's free Bach's Lunch performance at the El Paso Museum of Arts, when Goulding resourcefully navigated John Corigliano's solo violin caprices used in the movie "The Red Violin." The nearly 200 or so who filled most of the seats in the gallery sat rapt through her performance.

The response was a bit more muted for Allen, whose inventive play and confident command were very much in evidence on a difficult, moody, melancholic solo cello sonata by Hungarian composer Zoltan Kodaly that showed off Allen's technique without being showy. It's not the kind of upbeat piece that engenders enthusiastic responses, it requires a kind of patience and concentration that's a bit of a challenge in that setting (and, by the way, they really need to be putting these musicians on platforms so the audience can actually see the musicians).

I didn't go to Friday's concert with the EPSO, but I heard they got a loud and entusiastic response from the more than 1,200 in the audience for their performance of Brahms' double concerto, properly known as Concerto for Violin and Cello in A minor. I did go to Saturday's performance in the Plaza Theatre, which was attended by more than 1,000, who clearly liked what they saw and heard. Saturday's audience tends to be older than Fridays, and more reserved, so the response wasn't as enthusiastic as I heard Fridays was.

Certainly, Goulding and Allen seemed an inspired pairing for the Brahms piece, an episodic work that requires a certain simpatico between the soloists, the orchestra and its conductor. The fact that they are schoolmates and friends helped. They played like people who enjoyed the comfort of the familiar. They even shared a few smiles, and the warmth of the chemistry was obvious.

The piece functions more like a musical conversation, with the soloists and the orchestra taking turns introducing, repeating or responding to various motifs. Maestra Ioannides seemed quite comfortable taking a back seat to the two young musicians and did a nice job of balancing the various elements Brahms so expertly strung together in this peace offering to an estranged friend.

The second half of the EPSO program, which did not include the soloists, featured Robert Schumann's Symphony No. 2 in C Major, written late in the composer's (and Brahms champion's) life, when he battled mental illness. Ioannides guided the orchestra through the lengthy piece's four movements, traveling from the darkness of the earlygoing to the lightness of its resolution with a focused intensity that seldom lagged.

The kids, as some symphony and Pro-Musica people took to calling them, completed their busy weekend with another Brahms composition, Piano Trio No. 2 in C Major, which teamed them with pianist Navah Perlman. It took up the second half of the festival's "International Competition Winners" concert, so named because of some of the awards Goulding and Allen have won.

Like the double concerto, the piano trio does involve some various groupings of the instruments, but was at its most powerful when all three played in unison. Perlman knew when to pull back or push forth, and her quiet leadership gave Goulding and Allen plenty of chances to strut their stuff.

Their presence on the program, which also included a solo by Perlman on a Schumann arabesque and a duet with Pro-Musica artistic director and cellist Zuill Bailey on Chopin's Cello Sonata in G Minor that showcased a shared lyricism by both musicians, also served as a hint of things to come. In his remarks before the performance, Bailey noted the end of the nearly monthlong festival and promised a 2010-2011 season, his 10th as EPPM A.D., in which there would be more emphasis on education and young (also cheap) talent via residencies through the Perlman Music Program, students apprenticing with guest musicians and even impromptu performances.

Sounds like the in-transition chamber organization is hoping to up the ante artistically and react to the economic uncertainties of the times by raising more money and securing some less expensive talent, namely some student talent. As for "the kids," I'll bet they'd just like some sleep and a little break.

I suspect they'll want to come back, with a lighter workload, no doubt. I'm quite sure the nearly 3,000 people who watched them perform this week would like to see and hear more of them.

Concert update: Ricky Martin tix on sale Feb. 4

Tickets for Ricky Martin's April 28 return to the Coliseum will be $30.50, $50.50, $80.50 and $126, plus the inevitable service charges.

They'll go on sale Feb. 4 at the box, Ticketmasters, ticketmaster.com and 800.745.3000.

It's the "Livin' La Vida Loca" superstar's first concert tour in more than three years. He'll be touring in support of "Musica  + Alma + Sexo," his first studio album in six years, due Feb. 1.

He's also promoting his biography, "Me," released in November, which confirmed what many had long suspected, that the former Menudo star is gay.

 

Omar update: Rodriguez Lopez releasing hits comp, playing Coachella, SXSW

Modern-day guitar wizard, bandleader and filmmaker Omar Rodriguez Lopez will release a two-CD, four-LP complilation album of his solo efforts, called "Telesterion," on April 16, which is Record Store Day.

He's also playing South by Southwest in March and Coachella in April, leading me to wonder if he might bring his Omar Rodriguez Lopez Group to the old hometown either before, between or after those major gigs.

"Telesterion" packs 37 songs (38 on vinyl) from nearly as many solo projects (OK, it's more like 20; the guy's prolific, what can I say?). It comes with a 20-page booklet and liner notes by his longtime art director, Sonny Kay.

Today's announcement includes four confirmed performances: March 19 at Emo's Annex, part of the Sargent House showcase; March 21 at Fitzgerald's in Houston; March 22 at House of Blues in New Orleans and April 15 at Coachella in Indio, CA.

There's a lot of room in that schedule for a local date. Hear's hoping the former At the Drive-In and current The Mars Volta guitar man will squeeze one in.

 

 

 

Concert update: Ricky Martin, TSO, Stone Sour et al, Seger?

A flurry of concert news this morning, all of it involving the Coliseum.

Let's get right to it.

Recently self-outed Latin pop superstar Ricky Martin will bring his "M.A.S." tour to El Paso's County Coliseum on April 28.

It's his first tour in more than three years and comes on the heels of his announcement that he is gay. Martin is promoting his new autobiography, "Me," and the forthcoming "Musica + Alma + Sexo" album, his first studio album in six years.

It comes out Feb. 1, the same day he'll perform first single "The Best Thing About Me Is You" (the Spanish version is "Lo Mejor de Mi Vida Eres Tu") on NBC's "Today" show.

Coliseum officials don't have ticket prices or an on-sale date yet, but since the tour was announced today, you can bet they'll go on sale soon, maybe in the next two weeks.

Meanwhile, Trans-Siberian Orchestra will be returning to the area, but not with its popular Christmas show. The rock 'n' roll orchestra is bringing its "Beethoven's Last Night" tour to the Coliseum at 7:30 p.m. May 5.

Tickets are $34.50, $44.50 and $54.50, plus service charges, on sale at 10 a.m. March 5 at the box office and Ticketmaster.

And metal fans won't be left out. The first annual Avalanche tour — with Stone Sour, Theory of a Deadman, Skillet, Halestorm and Art of Dying — comes to the Coliseum on April 17. 

Most dates are going on sale Feb. 5. A presale starts Feb. 1 on avalanchetour.com. No ticket prices announced yet.

In related news, Detroit rock legend Bob Seger announced today he's going back out on the road in March, his first tour in 2006 (and that was believed to be his last). I don't want to get anybody's hopes up too high, but I've heard there could, stress could, be a local date. We'll see.

 

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Concert update: Rebecca St. James coming to Cruces

A new album, single, book and a new husband (her first)  are ahead this year for Christian pop singer, actress and abstinence advocate Rebecca St. James.

So is a Feb. 26 show in Las Cruces.

St. James, whose new album "I Will Praise You" comes out April 5, will play the First Assembly of God, 5606 Bataan. at 6 p.m. Feb. 26.

Tickets are $30, $50 and $75, plus service fees. Meet-and-greet packages are $55, $75 and $100, plus service fees. They're  on sale at the Pan Am Center box office, Ticketmaster outlets, ticketmaster.com and 800.745.3000.

It's a fundraiser for an effort to build a new high school for Mesilla Valley Christian Schools.

James, who started out as a teen star, will release "Shine Your Glory Down," the first single from the new album, on Feb. 11.

It kicks off a flurry of activity that includes her ninth book, "What Is He Thinking?," in September.

And she announced on Jan. 3 that she's engaged to be married to Jacob Fink, whom she met in Los Angeles.

St. James, 33,  has been a visible advocate of sexual abstinence before marriage. No wedding date has been announced.

 

Theater review: 'Spamalot' lovingly, laughably mucks with Broadway

Broadway musicals are silly enough without Monty Python's Eric Idle mucking about.

Of course, Monty Python's clever humor is silly enough, too, without Broadway mucking it up.

What would happen if you mixed the two?

Idle did. It's called "Monty Python's Spamalot."

It takes some of the most popular scenes — and the most commonly re-enacted by fans — from Python's 1975 movie, "Monty Python and the Holy Grail," adds one of the more ironically funny and upbeat songs from their Biblical spoof "Life of Brian," and throws them into a food processor full of inverted musical theater cliches.

The result is one energetically fast-paced, tear duct-cleansing, illogically irreverent smoothie of a musical. And it had a mostly Baby Boomer crowd packed into the sold-out Plaza Theatre on Tuesday in stitches.

A Python purist understandably might object to the notion of turning such beloved and time-tested skits as "I'm not dead yet," the coconut debate and Arthur's political argument with a mud-covered peasant as some kind of sacrilege. Which, I suppose, it is.

But sacrilege of the warmest, sharpest, kindest and funniest kind is what the British comedy troupe dealt in so effectively and intelligently as the '60s rock 'n' roll counterculture that produced them gave way to movie audiences that embraced them in the '70s and '80s.

Idle turning beloved Python skits into a musical that sends up musical is a sort of subterfuge in its own right, but he does it with love for his old mates and the art form.

"Spamalot," which takes its name from a line in the "Holy Grail" song "Knights of the Round Table" doesn't have much more plot or logic to it than the movie. It's still about the earnest and indignant King Arthur and his quest for the Holy Grail. He still enlists the aid of several not-so-good, not-so-smart, not-so-brave knights.

They still encounter outrageously lewd and nasty French castle guards (in the middle of 10th century England, no less), a limb-losing, reality-denying Black Knight and a killer rabbit capable of chewing a man's head off.

But there's so much more in this loving send-up of musical theater in general and Broadway in particular, with plenty of Pythonesque naughty jokes and sight gags, occasionally off-color humor and tongue-in-cheek offensiveness.  

In the inventive low-budget movie, Arthur and his ragtag band of knights, including the not-so-brave Robin and overly violent Lancelot, ride their fake horses (with hoof beats performed on hollo coconuts) seek the Holy Grail, only to be arrested on the beach by British cops at the end.

In the musical, Arthur and his knights take a trip to Vegas to tap dance with bumping and grinding showgirls. They also run away after a frustrating and scary encounter with those butt-trumpet blowing French guards, leading Arthur and his coconut-playing sidekick Patsy to a "dark and very expensive forest," where the Knights Who Say Ni first demand a shrubbery, then a Broadway musical.

They'd already sent up Andrew Lloyd Webber power ballads in the fast first act's "The Song That Goes Like This." They take the Broadway broadsides even farther in the funnier and seemingly faster second act.

There's "The Diva's Lament," in which the Lady of the Lake, a character created for this show, complains to the audience about her lack of stage time. "You Won't Succeed on Broadway" features the musical theater-loving Robin advising the king that he'll need a Jew to stage a successful Broadway musical.

With the hilarious "His Name is Lancelot," the knight comes out of the closet and celebrates with his effeminate love object and a bunch of maraca-shaking cabana boys in a number suitable for one of the more laughable dance sequences in our summer spectacle "Viva! El Paso."

The show even has a bit of fun with the audience, sending Arthur's sidekick Patsy (who's partially Jewish) into the audience to find the grail and bring the person sitting in the magical chair, in this case one Sylvia Cardenas, to pose for a picture and be immortalized, Arthur told the audience, along with El Paso native Debbie Reynolds.

True to musical form, Arthur finds his grail and gets the girl.

There's even a message among all this irreverence, that you should follow your own dreams, your grail, and always look on the bright side of life. OK, it's nothing too deep or insightful, but this is a musical after all, albeit one that draws heavily from Python lore.

Comedy master Mike Nichols, who won a Tony for his direction, played it all for laughs on the Great White Way, and his touring replacement, B.T. McNicholl, keeps the laughs coming at a rapid pace. The show was more than two hours in length, including intermission, but it sure felt much shorter. It played that fast.

The cast had real energy. To a man and woman, they looked like they were enjoying themselves. There are some real talents in the youthful company, particularly big-voiced Caroline Bowman, whose Lady of the Lake not only got all the soaring vocals, but threw in enough cleverly-placed vocal ticks, including scratching and a snippet of Beyonce, to make any contemporary R&B singer green with envy.

Steve McCoy's Arthur is a bit slow, but earnest, which is a great way to get laughs in a show like this.

The resourcefulness of his supporting cast serves the warped Arthurian tale well, including a stoic Adam Grabau as the violent, sexually confused Sir Lancelot, preening Jacob L. Smith as narcissitic Sir Dennis Galahad and the appealing Martin Glyer as Sir Robin, the pant-soiling chicken who loves to sing and dance. Many of them play multiple roles, just as the Pythons did.

Even the ensemble of backup singers and dancers was strong. Some of the supporting cast stood out, particularly John Garry, a rubbery-limbed, delicately-featured triple threat who sang and danced well (as a flying nun, no less)  and got some of the biggest laughs as Not Dead Fred, a plague victim who didn't quite bite the dust, and Herbert, the limp-wristed dude in distress rescued by the confused Sir Lancelot.

It's fun to see such an on-target Pythonesque spoof of big, mushy, formulaic and overly sentimental musicals. Even the hand-out program is a parody.

It's also a relief to see the Python material treated with reverence, and how well their unique humor adapts to the musical format. This loving lampoon wouldn't be as cleverly and satisfyingly funny had Idle and collaborator John Du Prez not been so well-versed in the Broadway milieu.

The purists just have to look on the bright side. They didn't muck it up.

 

 

Concert update: Neon Desert date set, Vikki Carr returning

(Note: This has been updated to correct Paul's first name and the number of partners in Splendid Sun.)

The Neon Desert Music Festival is a go.

The first-time event will be April 30 in downtown El Paso, near where the Downtown Streetfest takes place on Santa Fe Street.

Zachariah W. Paul, one of the three partners in Austin's Splendid Sun Productions, confirmed the date today after the city council agreed to support it, he said.

Paul and his partners, at least two of which are based in Austin, formed Splendid Sun in part to put on the festival. Originally conceived as a two-day, multi-stage events, organizers decided to scale it back for the first year at least and try to build it up from there.

They aren't ready to announce any confirmed artists at this point, but did say that it will be a mixture of national and local acts.

In other show news:

• El Paso-born singer Vikki Carr, who has performed here a couple of times over the past two years, will be back Feb. 5, but not to perform.

She'll make speak and sign autographs at the Seniors Love Conference from 9 a.m.-2 p.m. that day in EPCC's Administrative Service Center Building A. It's free.

The event will include exhibitors, speakers, awards and performances.

It's being put on by EPCC's Senior Adult Program and Humana.

Info: 833.7801.

 

Concert update: NSAL's fundraising concert on Jan. 29

The local chapter of the National Society of Arts and Letters will showcase professional and student talent in a fund-raising concert at 2 p.m. Jan. 29 at the International Museum of Art, 1211 Montana.

Dr. Orit A. Eylon, a mezzo soprano and associate professor of voice at UTEP, will direct the concert, which raises money for the organization, founded locally in 1946 to assist young people involved in the arts.

Lisa Smith, head of dance at UTEP, will direct the concert, 

The program will consist of classical voice, including arias and art songs. Some will include dancers from UTEP, directed by Smith.

Flor de la Garza will accompany on piano. Retired KVIA news anchor Gary Warner will host.

Eylon, by the way, will perform in El Paso Opera's "Madama Butterfly" on March 10 and 12 at the Chavez Theatre. Smith has new choreography in her department's "The Rite of Spring and Other Dances," which will be performed Feb. 10-13 at UTEP's Wise Family Theatre.

Tickets for the concert are $10 for adults, $7.50 for students and $5 for children 5 and under.

Information: 543.6747 (museum); 747-8656 (Dr. Eylon); 747-6254 (Carol Miller, treasurer).

 

 

Concert update: Blues jam stream, Roots, Murder FM, Senses Fail, Guitar Fest and Wynonna

This sounds cool. The El Paso Blues Society will host a live stream of their blues jam from 8-11:30 p.m. Feb. 2 at King's X.

It'll be hosted by local singer-guitaritst Austin Jimmy Murphy, the blues-loving alter-ego of El Paso Museum of History development director Jim Murphy.

I don't know if it's going to make history, but it's a good idea.

You can catch the live stream at www.elpasojams.com.

In other show news:

• With drummer ?uestlove doing a DJ set at the Reyn Theatre on Jan. 25 and rapper Black Thought bringing his Live Mixtape tour to Wet Ultra Lounge on Jan. 29, awareness of the great hip-hop band the Roots may be at an all-time high around here this week.

The group, the house band on NBC's "Late Night with Jimmy Fallon," will play its seventh annual Roots Jam Session on Feb. 12 in Los Angeles. That's Grammy Eve. Fallon will host.

The group is up for six Grammys for their "How I Got Over" album and "Wake Up!," their collaboration with John Legend on R&B songs from the civil rights era.

Tickets for ?uestlove's Jan. 25 show are $20 and $25 at the club (if there are any left) and Ticketbully.

Tickets for Black Thought's Jan. 29 performance are $20 at the club and Ticketbully.

• El Paso hard rocker Norman Matthew's band, MurderFM, is returning Feb. 6, part of a headlining tour with Cage9, featuring members of Powerman 5000, and Betawolf.

El Paso's BB Gun Johnny will open the 7 p.m. show. Tickets are $8 at the club and Ticketbully.

It comes at a busy time for the group, which has been touring constantly since 2009. Their new single, "Machine Gun Kisses," hits iTunes today. And Norman says it's going to be featured in the next edition of "Rock Band," which comes out this spring.

You can check out the song, and video, at myspace.com/murderfmmusicblog.

• Hard rockers Senses Fail bring their PMA tour to Club 101 at 6 p.m. March 28.

The Ghost Inside, Man Overboard and Transit are also on  the bill.

It's a 6 p.m. show.

Tickets are $15, on sale at Ticketbully.

• Tickets for those Guitar Fest concerts Feb. 4-5 at the Chamizal are $10 and $15. They're on sale at Kirk's Music and Olivas music stores.

The concerts will feature several local artists performing various styles of music, from folk to classic rock to flamenco. They include Glenn Leffler and Armin Harrison.

• Wynonna Judd, who has been doing some shows with her mother, Naomi Judd, is bringing her solo show to the Inn of the Mountain Gods on Feb. 16. But you know that already.

You may not know that Wynonna has become an author. Her book, "Restless Heart," comes out Jan. 25. It's a novel, but the storyline about a young singer's self-discovery, sure sounds autobiographical.

She'll be promoting it on Jan. 25 with appearances on "The Today Show," "The Joy Behar Show" and "Access Hollywood."

Tickets for her Inn of the Mountain Gods show are $25, $50, $60, $75 and $100, plus service charges, on sale at the casino, Ticketmaster outlets, ticketmaster.com and 800.745.3000.

 

 

 

 

Chat update: Read the replay here

Man, what a day. Interviews with MercyMe (headlining the Rock & Worship tour coming Feb. 25 to the Don) and Ronan Hardiman (who wrote the music for "Lord of the Dance," coming to Pan Am Jan. 30 and Spencer Theater Jan. 31), blog updates and a live chat with readers at 3 p.m.

It went well and thanks for the questions. It's good to know what people are curious about and nice to be able to try to answer their questions.

If you missed the chat but want to know what people asked about, here's a link to read the replay: