Red {an orchestra} led by Artistic Director and Conductor Jonathan Sheffer, provided an introduction to the music of Alma Mahler in the opening concert of Red’s fourth season Saturday evening at Masonic Auditorium. Mr. Sheffer devises intriguing programs around a central theme with a sometimes oblique tangent in another direction. In the early 20th century in Vienna, Arnold Schoenberg created chamber versions of large pieces, usually performed by his students. Thus, we have ‘salon’ reductions of Strauss waltzes along with smaller versions of works by Debussy and Mahler, among others.
The small group of musicians began the evening with a somewhat shaky rendition of the Emperor Waltz by Johann Strauss. Another rehearsal would probably have made a true ensemble of the group. Still, the arrangment was charming, and Mr. Sheffer provided due emphasis on the Viennese afterbeat.
Using words from Alma’s diary, Mr. Sheffer contrived a short dramatic episode as a prelude to her songs. Alma was portrayed by actress Alicia Kahn and Gustav by Scott Plate. Mezzo-soprano Linda Pavelka entered to sing the six songs, which were followed by another short spoken scene. Translations of the titles (or songs) was not provided, but they were unquestionably lovely. Ms Pavelka has a warm, rich and expressive voice, which easily carried throughout the large space, conveying the emotion of the songs. (German titles: Die stille Stadt, Ich wandle unter Blumen, Laue Sommernacht, Bei dir ist es traut, In meines Vaters Garten and Der Erkennende.) Mr. Sheffer accompanied the first three songs at the piano, and conducted the orchestra in his arrangements of the final three. Surely, I wasn’t the only member of the audience who would like to hear more of these songs.
Alma and Gustav were both prickly characters, talking at each other, rather than to. After a visit to Freud in 1907, Mahler came to realize what he’d done by compelling Alma to forgo her musical career. Personal tragedies had changed both of them by that time, however, so we can’t be sure of just how much she might have created, otherwise.
After intermission, another Schoenberg arrangement, this one of Debussy’s Prelude to the Afternoon of a Faun featured the silvery, limpid flute of Mary Kay Ferguson, with Thom Moore’s oboe and the harmonium of Robert Schneider. Although it sounded thin in comparison to the 100+ musicians usually employed in a performance, it was entirely believable, and well-played. Even when utilizing just 11 musicians, Red’s intonation is second to none.
Gustav Mahler’s Songs of a Wayfarer is another piece arranged for small instrumental ensemble. This was perhaps the most workable of the three such versions on the program. Baritone David Adam Moore convincingly portrayed a young man facing the loss of his love, in the four dramatized songs. His fickle lover was shown in the background with her new lover, prompting him to turn to wine for solace.
Gregory Keller was the stage director and lighting was by Chris Schick.
As an encore, Mr. Sheffer accompanied himself on the piano as he sang Tom Lehrer’s famous ode to Alma. It was the perfect ending!
For tickets or information about upcoming concerts, visit http://www.RedAnOrchestra.org or call (440) 519-1733.
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net''' (:divend:)