Concert review: NOCCA season ends in a melding of cultures

nOCCAChoirs-review
Members of Kokopelli, University of Pretoria Youth Choir and Okanagan Indian Band Cultural Immersion School Choir mingle in the Marie Fleming Room at the Performing Arts Centre before their concert — image credit: Christine Pilgrim

Below is a review of the fabulous final concert of NOCCA’s 2015/16 season. Don’t forget you can now reserve your seats and subscribe to the upcoming 2016/17 season “A Grand Year to Hear” at ticketseller.ca

Review published on April 29th, 2016 by  Christine Pilgrim – Vernon Morning Star

There aren’t enough superlatives in English to describe the North Okanagan Community Concert Association’s offering of African music. So, in Zulu: hle kakhulu!

Three youth choirs, numbering almost 150 members in total, graced the Performing Arts Centre stage and, as one audience member observed, “Every face was beautiful,” in creating a rainbowed feast of united energy, rhythm and song.

It’s rare to see a standing ovation halfway through a program but that’s what we saw when the University of Pretoria Youth Choir  (UPYC) performed We Dance from the musical Once on This Island.

The song tells of the conflict between landowners and peasants who come together through dance because “if the gods move our feet, we dance.”

The gods surely moved UPYC’s feet, and their voices, regardless of which language they used.

It’s also rare to hear applause for an introduction. That, too, was the case when visionary UPYC choir director, Lhente-Mari Pitout, spoke of her South African “born free generation,” choir members who are “at peace with each other in the realization that we are all connected with the same spirit.”

Pitout went on to state what is possible if we forgive.

She rehearses with students from 36 different South African high schools for several hours once a week. The result was an ocean of music and movement that gratified the soul.

We tasted Africa’s sunshine and smelled its warm rain, while Pitout spoke of the choir’s wonder at the still lingering snow at Silver Star.

She thanked Kokopelli Youth Choir’s founder and artistic director, Scott Leithead, for sponsoring UPYC and countless other African choirs over the past 20 years.

Among those choirs was one from Namibia. Its soloist, Nelson Nagenda, was featured in Kokopelli’s outstanding opening segment.

His voice blended sublimely with the young man’s mature interpretation in both the Zulu gospel prayer, Phind’ukhulume, and the North American hit, It’s Almost Like Being in Love, sung back in the 1940s by Frank Sinatra, Nat King Cole, Judy Garland and, later, Gene Kelly in the filmBrigadoon.

But none touched Nagenda’s style nor that of the 11 Kokopelli members who accompanied him, vocally creating musical instruments, percussion and harmonies.

Perhaps it’s unjust to single out favourites. The whole was equal to the sum of its parts, and that sum was beyond measure.

It included pint-sized members of the Okanagan Indian Band Cultural Immersion School’s choir, who gave a prayer and welcome song in the Syilx language. And they observed elder Madeline Gregoire’s instruction before the show, to remember they were not there for themselves.

All three choirs performed “off book.” The resulting freedom of movement and expression paid huge dividends, particularly for UPYC and Kokopelli. Simple but effective choreography, steeped in the essence of Africa, prompted another audience member to say, “It makes you want to go there.”

If unable to do so, we were at least blessed to experience some of the finest choral music produced anywhere.

– Christine Pilgrim is a freelance writer who reviews the North Okanagan Community Concert Association series for The Morning Star.

Reserve your seats and subscribe to the upcoming 2016/17 season “A Grand Year to Hear” at ticketseller.ca

Kokopelli Choir

Kokopelli & The University Of Pretoria Youth Choirs

Kokopelli Bio Photo 2012Kokopelli & The University Of Pretoria Youth Choirs
Monday April 25, 2016 7:00 pm
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From two countries, two choirs with over 100 youthful voices interweave, creating musical magic. Award winning Kokopelli Youth Choir from Edmonton, Alberta plus internationally acclaimed University of Pretoria Youth Choir (UPYC) from South Africa are coming to Vernon to present a vibrant musical experience with over 100 voices on stage for this special Monday evening NOCCA concert on April 25th at 7:00 pm.

Kokopelli is celebrating its 20th season this year and brings the UPYC to showcase African music and share a vocal extravaganza of interwoven melodies and cultural understanding that will entertain and delight all those lucky enough to have a ticket to this performance.

Composed of singers aged 16 to 23 years, Kokopelli is often considered the ambassador for the six-choir association and has received several awards for its work with youth, music education and the African Projects Fund. In 2015, Kokopelli won both the National Music Festival and the Canadian Competition for amateur Choirs (Mixed Youth Choir Category).

Kokopelli is directed by Scott Leithead, founder and artistic director of the Kokopelli Choir Association, and also serves as the Vice Chairman of the Choral/Vocal Division for MusicFest Canada and longtime member of the advisory committee for the Canadian Rocky Mountain Music Festival. Leithead sits on numerous national boards and conducts and adjudicates internationally. He will be conducting the festival mass choir of 1000 at the 2016 International Kathaumixw Festival in Powell River, BC in July. www.kokopellichoirs.com

University of Pretoria Youth Choir’s April tour in Canada will showcase African music and inspire three international festivals as the feature choir. Established in January 2001 and conducted by Lhente-Mari Pitout since 2005, this choir forms part of the multi-choir model of the University of Pretoria, achieving many accolades locally and internationally over the years. They represent the full diversity of South Africa, and embracing this diversity gives this wonderful youth choir their unforgettable passionate sound and musicality. The concept Ubuntu, the Nguni term that means: ‘human kindness’ that in the philosophical sense translates to ‘the universal bond of sharing that connects all humanity’, is part of the fabric of this unique choir from South Africa. www.upyouthchoir.co.za

Opening for the choirs, students of the Okanagan Indian Band Cultural Immersion School will be offering a greeting, a prayer and a song.

SINGLE CONCERT TICKETS
Adults – $35  Under 18 – $17.50
Students on the eyeGo program – $5

Purchase tickets at:

TICKET SELLER
Phone: (250) 549-SHOW (7469)
E-mail: boxoffice@ticketseller.ca

– or –

Visit The Performing Arts Centre Foyer
3800-34th Street, Vernon
All concerts are held in the Vernon and District Performing Arts Centre.

 

Pianist Chris Donnelly and clarinetist Kornel Wolak

Concert Review: Duo is on a first-name basis with its audience

Pianist Chris Donnelly and clarinetist Kornel Wolak
Pianist Chris Donnelly and clarinetist Kornel Wolak take questions from Sunday night’s audience at the Vernon Performing Arts Centre.— image credit: Christine Pilgrim

by  Christine Pilgrim – Vernon Morning Star

The North Okanagan Community Concert audience was treated to an evening of unadulterated excellence by the Wolak Donnelly Duo Sunday.

The two musical showmen had us eating from their hands, from Kornel Wolak’s first explosion on to the stage, with his clarinet slithering through the opening notes of George Gershwin’s Rhapsody in Blue and, soon afterwards, Chris Donnelly’s discreet walk to the piano to join him, precisely on cue.

After they’d bent and moulded the dots to their own unique style and even gleaned applause before the end of Gershwin’s masterpiece, they played a medley from his Porgy and Bess.

We could feel the lazy haze during their rendition of Summertime, and when Wolak played I Loves You Porgy and Bess, You Is My Woman Now with the profound passion demanded of true, lasting love, Donnelly’s accompaniment matched it sublimely.

Wolak admitted, “We played it lovely.” He went on to announce that the duo had covered their gamut of interpretations, and, as a result, the concert was over. He topped our laughter by saying, “But we’ll play the rest of the program to fulfill our contractual obligations.”

The rest of their program did much more than that.

We were on first name terms in no time and primed for more laughs. Chris played his composition about his nightmarish gig at the Edmonton club of a bankrupt called Henry. Kornel told of their Kaslo billet the previous night, when he’d asked their host how many cats he’d lost to coyotes. The casual reply was, “We get through two a year.”

There were also serious moments of great beauty.

For instance, when the two paid homage to Mozart with the Adagio from his Clarinet Concerto in A Major the audience sat, hushed, and finally breathed a collective sigh before letting rip with applause.

And they watched in awe when Kornel played the entire Prelude from Bach’s Cello Suite No. 1, adapted for clarinet, without taking a breath.

We learned about, and practised his circular breathing technique during the duo’s question and answer session in the second half of the program.

But not before we’d been treated to a second contribution by Bach; this time, the Allegro from his Violin Sonata No. 3, played brilliantly on clarinet by Kornel and accompanied spectacularly, on spoons, by Chris. First, they playfully tuned the spoons to the clarinet to enhance this unique experience.

We’d already tasted Chris’ percussive expertise, as well as his clowning ability, when he’d augmented his left hand on piano with maracas in his right, to accompany Kornel’s race through Zequinha de Abreu’s Tico-Tico no Fubá (Swallow in the Corn Meal) made famous by Carmen Miranda in the 1947 movie Copacabana. When the pace grew to fever pitch, Chris threw the maracas over his shoulder and used both hands on the keyboard.

He too had his hour of glory, when he played Hymn to Freedom written by Oscar Peterson to support the Civil Rights movement in 1962.

Wolak and Donnelly topped the evening with their interpretation of Rossini’s Introduction, Theme and Variations. It earned them a spontaneous standing ovation and us the encore: Flight of the Bumblebee.

An all-round entertaining evening opened graciously with music by classical guitarist Brent Matterson.

Christine Pilgrim is a freelance writer who reviews the North Okanagan Community concert season for The Morning Star.

Wolak-Donnelly Duo

Wolak-Donnelly Duo – Sunday March 20, 2016

Wolak-Donnelly Duo

Wolak-Donnelly Duo – Piano & Clarinet
Sunday March 20, 2016 7:30 pm
BUY TICKETS

Armed with a clarinet, a piano and a mischievous sense of humour, Polish born Kornel Wolak and Canadian Chris Donnelly, delightfully weave jazz into the classics. Playing favourites from Mozart’s Clarinet Concerto to Gershwin’s Rhapsody in Blue, to Oscar Peterson’s Hymn to Freedom, Kornel and Chris captivate audiences with their virtuosity and sense of fun. The young men obviously love music and performing – both as exceptional soloists and as a beautifully harmonized duo. Their talent is not limited to the stage. They frequently work with schools and communities, offering educational performances and workshops.

In September 2013 they released a CD “Common Ground”, which is available for download from iTunes.


Concert Program:

George Gershwin (1898 – 1937) Rhapsody in Blue
Porgy and Bess Medley
Johann Sebastian Bach (1685 – 1750) Prelude from Cello Suite No. 1 – for clarinet solo
Chris Donnelly (1983 – ) Henry’s Song and Dance
W. A. Mozart (1756 –1791) Adagio from Clarinet Concerto in A Major, K. 622
Zequinha de Abreu (1880 – 1935) Tico-Tico no Fubá
Intermission
Nicolò Paganini (1782 – 1840) Moto Perpetuo
Johann Sebastian Bach (1685 – 1750) Allegro from Violin Sonata No. 3 – for clarinet solo
Oscar Peterson (1925 – 2007) Hymn to Freedom
Gioacchino Rossini (1792 – 1868) Introduction, Theme and Variation

SINGLE CONCERT TICKETS
Adults – $35  Under 18 – $17.50
Students on the eyeGo program – $5

Purchase tickets at:

TICKET SELLER
Phone: (250) 549-SHOW (7469)
E-mail: boxoffice@ticketseller.ca

– or –

Visit The Performing Arts Centre Foyer
3800-34th Street, Vernon
All concerts are held in the Vernon and District Performing Arts Centre.

Sergei Saratovsky

Concert Review: Steinway’s last stand

Sergei Saratovsky
Sergei Saratovsky leans against NOCCA’s 1887 Steinway before a performance so dramatic that he and tuner Matt Arnett had to check for broken strings at the Performing Arts Centre Sunday, Feb. 21.— image credit: Christine Pilgrim

by  Christine Pilgrim – Vernon Morning Star

Sunday afternoon on February 21st, 2016 saw the swan song of the North Okanagan Community Concert Association’s 1887 Steinway piano.

It was grand.

NOCCA president Paul Maynes announced that all the keys on the association’s virtual piano, raising funds toward the cost of the association’s replacement Steinway, had been sold.  Only two of its three pedals remained.

When Maynes introduced the curtain raiser, a young lady of poise, grace, talent and charm took her seat at the majestic old instrument.  Megan Van Den Maagdenberg, whom some may have enjoyed at NOCCA’s youth showcase last month, played her own composition, Gentle Defenestration (roughly translated as a gentle push out of a window), and proceeded to accompany herself singing two lovely songs, A Fine, Fine Line and Samson in a clear voice as pure as water tumbling down BX Creek.

She promised an evening of bliss.

And pianist Sergei Saratovsky delivered… He introduced the pieces from a podium, reading from witty, insightful notes in a melodiously thick Russian accent while he saved his hands for his virtuoso performance.

It opened sublimely with two of the 555 sonatas composed by Domenico Scarlatti. The first, in E Major (K.380), still resonates. Its playful successor in G Major (K.146) rippled over the keyboard in response to Saratovky’s rejuvenating touch.

Frédéric Chopin’s famous Minute Waltz followed. If the emphasis is placed on the second rather than the first syllable, minute becomes “minute” (as in “tiny”) and seems a more apt subtitle to Valse in D Flat Major Opus 64 No. 1, particularly as even speedy Saratovsky and precise Streisand, in her Colour Me Barbra sung version, can’t come in under two minutes.

Saratovsky’s segue into Chopin’s second popular waltz in Opus 64, was as seamless as his segue from one Scarlatti sonata to another, as well as those between Anatoly Lyadov’s five preludes in the program’s second half.

Claude Debussy wrote L’isle joyeuse (The Joyful Island) in 1904 when he fell in love on, and with, Jersey, an island in the English Channel. We fell in love too when Saratovsky’s expressive passion conjured pictures of gulls swooping, sun gleaming and waves crashing.

Our dramatic pianist rose breathlessly from Debussy’s climactic ending to introduce Franz Liszt’s Liebestraum (Dream of Love).  He explained Liszt’s three concepts of love: religious, erotic and unconditional, saying, “Liebestraum is a definitive illustration of the latter.”  Then he went on to prove it.

His mastery of all aspects of music was manifested in Liszt’s Fantasia quasi Sonata, written after a reading of Dante’s Divine Comedy.  When Saratovsky’s interpretation of hell, purgatory and paradise ended, my neighbour sighed, “Now I believe in aliens. This man’s superhuman.”

The second half of the program required more work from the audience.

Tchaikovsky’s Dumka (Russian Village) evoked images of cold streets and worn faces. Relief came with Lyadov’s five preludes and a loving anecdote about his laziness.

Lyadov’s magical Music Box also provided a perfect encore to the program which ended with Sergei Rachmaninoff’s mighty Sonata No. 2 in B Flat Minor Opus 36.  Even though this was the shorter version, rewritten in 1931 when Rachmaninoff was 58, its meaty variations between the explosive and lyrical left us, the piano and Saratovsky exhausted.

Apart from this final tour de force, every piece in the program was written when its composer was in his 30s or 40s (including Rachmaninoff’s original manuscript), to contrast our fond, grateful adieu to NOCCA’s much older Steinway.

Christine Pilgrim reviews the North Okanagan Community Concert Association’s season for The Vernon Morning Star.