Friday, November 9, 2018

Timeless Drama Review


Beauty Beyond Time, Beyond Place
By Bryce Christensen
“Any great art work,” declared the great composer and conductor Leonard Bernstein, “ . . . revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world—the extent to which it invites you in and lets you breathe its strange, special air.”  Exulting in that “strange, special air,” hundreds of music lovers gathered in Cedar City’s Heritage Center on the night of November 8th for a concert performed by the Orchestra of Southern Utah (OSU) in celebration of the centennial of Bernstein’s birth.  Aptly devoted to the theme “Timeless Drama,” this concert compellingly reminded listeners of the marvelous timelessness of Bernstein’s musical readaptation of time and space. But during the evening’s program, OSU’s talented musicians also demonstrated to listeners that great composers besides Bernstein have shared his power to revive and readapt time in ways that draw listeners into delightful new worlds.

Indeed, even before the evening’s concert began, local pianist Cody Stratton had set the tone for the evening with lobby music that defied the limits of time and space, blending together a musical potpourri of classical music and his own delightful creations.  Carrying listeners out of the concert hall to a sylvan world beneath the stars, Stratton’s “Campfire Bird” especially prepared listeners for an evening of musical transports.  

In welcoming the audience to the concert, OSU president Harold Shirley first focused on the music written by Leroy Anderson,  a 20th-century American composer who shared with his more famous contemporary Bernstein a great power to revive and readapt time and space.  Fittingly, Shirley promised that the two Anderson compositions the orchestra was about to play would stir nostalgia as they took listeners back to the simpler and less factious America of Fifties.

While listening to Anderson’s “Blue Tango,” many in the audience might well have sworn they were back in Manhattan Center in 1952 when Hugo Winterhalter and his orchestra launched this composition into enduring fame.  Named for a dance renowned for the close embrace maintained by couples performing it, this number became a harmonic tango that kept flutes, oboes, clarinets, bassoons, horns, trumpets, trombones, violins, violas, cellos, and all of the other instruments very close in an exacting musical choreography rendered deceptively effortless.  OSU assistant conductor Adam Lambert demonstrated superb skill in wielding the baton keeping the entire orchestra in perfect synchrony. Somewhere the shade of Winterhalter must have looked down--and listened in--with warm approval.  Swaying in sympathetic response to the exotic rhythms revived and readapted from an earlier era, many in the 21st-century audience would have leaped to the dance floor had one been open to them. 

In turning next to Anderson’s “Belle of the Ball,” the orchestra maintained the dance theme, but did so while reviving and readapting a very different time and place.  Explaining that in “Belle of the Ball” he had sought to recapture the enchantment of Viennese waltzes, Anderson gave Lambert and the musicians under his direction a number that drew from the strains of Strauss and other masters of the waltz the beguiling inspiration for ethereal elegance, melodious and otherworldly.  Long a mainstay of the repertoire of the Boston Pops, Anderson’s “Belle” afforded Lambert and the Orchestra of Southern Utah an opportunity to do a collective impersonation of the famous Boston orchestra that was every bit as convincing as their previous impersonation of Winterhalter’s ensemble!  Leaving an enraptured audience unsure whether they were in 21st-century Cedar City, 20th- century Manhattan or Boston, or 19th-century Vienna, OSU delivered both Anderson standards in all their enthralling loveliness. 

Time and space yielded to artistic wizardry in a different fashion in the concert’s final pre-intermission number--Antonio Capuzzi’s Concerto in D Major.  As Shirley explained in his prefatory remarks, this time-dissolving work conveys the brilliance of a musical era when the Baroque metamorphosed into the Classical.   Originally written in Italy for the double bass, this selection captured the audience as the occasion for a remarkable solo performance by trombonist Michelle Lambert.  With admirable poise and skill, Lambert rendered every 18th-century flourish with 21st century verve.  Lambert moved from the profound depths of her instrument’s lower register into the mellower tones of its higher notes with liquid grace.  Particularly brilliant in the kinetic final measures, Lambert’s singular virtuosity captivated all who heard it. But perhaps no one found greater pleasure in hearing her memorable solo than did the man on the conductor’s platform:  Adam Lambert, whose identity as the soloist’s husband made him the ideal conductor for this number.   Never were musical and marital concord more beautifully joined!

In welcoming concertgoers back to the hall after intermission, Shirley spoke glowingly of the composer especially honored this night: Leonard Bernstein.  Bernstein, Shirley explained, was a composer whose genius could not be hidden, even during an era of McCarthyist hysteria and cowardice.

That genius shone brightly as the orchestra performed Bernstein’s Overture to ‘Candide,’ a composition demonstrating how the composer’s art could revive and readapt the imaginative vision of the Enlightenment satirist Voltaire (Fran├žois-Marie Arouet).   Taken from a light opera based on a mercilessly ironic novel by the French philosopher, Bernstein’s overture readapted the time and space of an Enlightenment satire in the dynamic rhythms of 20th-century drama, so exposing the hypocrisies and deceptions of the composer’s own time. Under the always-impassioned and inspiring baton of OSU conductor Xun Sun, OSU’s percussion section rose to the challenge of the complex rhythms of this daunting number, as drums and cymbals together played off the rest of the orchestra, taut with the irresistible energy of its cadences.  As the concert hall pulsed with the sprightliness of this ever-popular work, concert-goers occupied a time and place stunningly distant from modern Iron County. 

But Bernstein’s skill in reviving and readapting time and space manifested itself most spectacularly in the evening’s final number:  just as enchanting in 2018 as it was when first performed more than sixty years ago, Bernstein’s music for Symphonic Dances from West Side Story dazzled listeners as it revived and readapted the time and space that once were Shakespeare’s Romeo and Juliet, reconceived as inter-ethnic romance in a blue-collar neighborhood in 20th-century New York City.  In the soaring lyricism of “Tonight,” listeners thrilled to that incomparable moment when young love first knows itself.   In the stirring Latin rhythms of “Maria,” they shared a passion transcending ethnic prejudice.  In “America,” they felt anew the irresistible appeal of a land that nurtures lofty aspirations; and in “One Hand, One Heart,” they joined in the tender hopes of a vulnerable couple anticipating marriage, blissfully unaware of the tragedy awaiting them.  Under Sun’s versatile directing, the OSU instrumentalists performed all of the iconic passages from Bernstein’s West Side score with a sureness of interpretive touch that put the audience back in time to 1957 and away in geography to Broadway, where Bernstein’s genius helped make this play a blockbuster.

At the evening’s close, as concert-goers filed out of the Heritage Center, they reflected on how a half-dozen musical numbers, unforgettably performed, had transported them to readapted times and spaces, making them happy if temporary inhabitants of astonishing imaginative realms outside of their habitual chronology and geography.  These satisfied concert-goers felt deeply indebted to Xun Sun, Adam Lambert, Michelle Lambert and all the other OSU performers, and the Sorenson Legacy Foundation and other concert sponsors for having afforded them the opportunity to experience the air of a rare Cedar City night in November as something intoxicatingly strange and special. 






Music "names the feelings for us, only in notes instead of words" Leonard Bernstein


Harold Shirley introduces the concert.
Thanks to everyone involved in the Nov. 8, 2018 concert.  We appreciate the musicians, audience, and financial supporters who help us keep the music live.
Concert review link

(Thanks to Rollan Fell, Rebekah Hughes, Sara and Des Penny for photos)

Adam and Michelle Lambert with Xun Sun at intermission.

Xun Sun directing Bernstein pieces, photo by Rebekah Hughes.
Cody Stratton provided lobby music.
Adam Lambert directing the LeRoy Anderson pieces

Michelle Lambert performs trombone concerto by Capuzzi.

Michelle receives flowers after performance. 

Dress rehearsal

Backstage

Backstage

Librarian Mandy Minkler keeping track of all of that music.
Part of the lobby display, a vintage Bernstein book
"Music moves . . That movement can tell us more about the way we feel than a million words can," Leonard Bernstein
Thanks to the financial donors who help OSU.  If you see any errors please contact Rebekah Hughes at beckyosucedarcity@gmail.com

Saturday, October 20, 2018

Timeless Drama Concert on Nov. 8


Celebrate the Centenary of Leonard Bernstein with music from West Side Story and Candide on Thursday, Nov. 8, at 7:30 p.m. at the Heritage Center. The Orchestra of Southern Utah presents Michelle Lambert as trombone soloist and also has some delightful LeRoy Anderson pieces for your enjoyment.

The Concert takes place on Nov. 8 at the Heritage Center (105 North 100 East, Cedar City) begins at 7:30 pm. Children over 6 are welcome with adult supervision. No babies please as the concert is recorded. Tickets are available now by either phone (435-592-6051) or by purchase at Heritage Center/Festival Hall.

Nov. 8, 2018: Timeless Drama by OSU at 7:30 pm
Heritage Theater: 105 N 100 E
Tickets- $12 Adults and $6 Students. Groups up to six $40.

Full Publicity Article to Share:
Orchestra of Southern Utah to Honor Leonard Bernstein in November Concert
By Tanisa Crosby

        As the weather begins to get cooler the Orchestra of Southern Utah (OSU) prepares for the November 8 concert, 7:30 p.m., at the Heritage Center.  The concert is centered on “Timeless Drama” and the well-known composer Leonard Bernstein (1918-1990). This year marks the 100th anniversary of his birth and the Orchestra will perform pieces that celebrate and highlight his life.  Leonard Bernstein was a composer, conductor, educator and humanitarian and is regarded as a singular figure in American cultural history.
        Bernstein is known for his visceral and life-affirming compositions and created music that has echoed through generations.  His classical music was his biggest contribution and he continues to be one of the most widely performed composers. His music incorporated elements of rhythmic vitality of jazz and the lyrical intensity of art song while managing to still utilize musical roots, creating a diverse and wholly unique body of work.  To honor his musical legacy, the Orchestra will perform selections from West Side Story, which will feature popular tunes from the legendary musical.  They will also perform the ever popular Overture to Candide which is a classic for orchestras and bands alike.
        To go along with the theme of honoring composers from the 20th Century, OSU will perform two pieces by Leroy Anderson: Belle of the Ball and Blue Tango.  Leroy Anderson was another beloved composer from Bernstein’s era.  He is well known for using creative instrumental effects and occasionally using sound-generating items such as typewriters and sandpaper.  
Lastly, the Orchestra will display drama from an early time period and will be graced by trombone soloist Michelle Lambert performing Concerto in D Major by Antonio Capuzzi.  Lambert is an active soloist and teacher who also serves as a member of the Iron County School Board.
Xun Sun and Adam Lambert will be directing the concert.
        The “Timeless Drama” concert will take place on November 8th at 7:30 pm and will take place at the Heritage Center Theatre(105 N 100 E, Cedar City, UT, located behind Lins).  Tickets cost $12 for adults, $6 for students, and $40 for groups up to six. Children 6 and older are welcome to attend with adult supervision.  For more information contact OSU Manager Rebekah Hughes at (435)592-6051 or osucedarcity@gmail.com.
The Sorenson Legacy Foundation is the major concert sponsor and also assists with the VIP program that introduces 4th graders to the orchestra in the crucial year when they are deciding which instrument to study.
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Calendar Highlights:
Who:  Orchestra of Southern Utah
What: Timeless Drama Concert
Where: Heritage Theater, 105 N. 100 East, Cedar City
When: Thursday, Nov. 8 at 7 p.m.
How:  You are invited to enjoy live music with your orchestra

Full bio for Michelle Lambert:
Michelle Lambert earned a Bachelor of Music degree from Brigham Young University in
trombone performance. Over the last twenty years, she has played professionally with the Joe
Muscolino Band, Calor Tropical, Sundance Summer Theater, and the Utah Shakespeare
Festival. In addition, she has engaged in numerous freelance performing and recording
opportunities. She has been featured as a soloist on recitals at Chadron State College, the
University of Wyoming, Southern Utah University, and the Temple Square Recital Series. Since
1995, she has maintained a professional teaching studio in which she has instructed low brass
players of every skill level. She remains an active teacher and performer as adjunct faculty at
SUU and as principal trombone and brass section leader with the Orchestra of Southern Utah.
Michelle recently earned a BA in English from SUU, and last spring she was appointed to the
Iron County School Board. She and her husband, Adam, are the parents of four children.



Sunday, October 14, 2018

A Scintillating Storm of Song


By Bryce Christensen

Intent on drawing a richer, fuller sound from the instrumentalists playing under his baton, the great Italian conductor Arturo Toscanini would often exhort them during rehearsals, “Cantare!  Cantare!”  (“Sing! Sing!”)  The metaphoric aptness of the maestro’s exhortation was never more evident than during the Orchestra of Southern Utah’s October 11th concert, when instruments of all kinds truly did sing, and did so as the perfect complement to the music of three marvelous choral ensembles, who with their own vocal cords made amply manifest in Cedar City’s Heritage Center the reason for Toscanini’s earnest pleading: “Cantare!  Cantare!” 

Welcoming the audience to the concert devoted to the theme “Stormy Highlights,” OSU President Harold Shirley reminded listeners that the fiercest storms are often those that rage not in the external elements but rather in our own hearts and minds.  Nothing, he remarked, does more than songs to sustain us through such internal tempests. 

The truth of Shirley’s words became manifest with the first notes sung by the Master Singers, Cedar City’s all-male chorale under the direction of Allan Lee.  With their first number “Stormy Weather” (written by Joseph Waddell Clokey, arranged by Caroleen Lee), the Master Singers’ voices transported listeners to a realm of emotional turbulence--and musical solace.  Accompanied by Caroleen Lee at the keyboard, the choir fused inner turmoil with harmonic comfort in the haunting chant of a soul seeking the residual meaning that persists when the joys of summer-like warm relationship disappear in the frigid snows of winter-like abandonment.  

The metaphoric significance of weather manifested itself again in the Master Singers’ second number: Harold Arlen’s “Stormy Weather.”  Reflecting its Cotton Club origins, this moody number (arranged by Hal Campbell) voices the misery of a woman experiencing a personal rainstorm because her lover has gone away.  With Danny Hansen as the accompanist for this number, the choir rendered the jazz harmonies and teary syncopation that make a great blues number at once woeful and beautiful. 

After the Master Singers concluded their second selection, the Red Rock Singers took to the stage to extend the concert’s foray into the emotions and melodies incubated by stormy weather.  In their first number, “Rainsong” by Houston Bright, this choir (under the direction of Keith Bradshaw) expressed the melancholy gloom of one mourning the loss of a loved one, experienced as a downpour of  “raindrops falling from a sodden sky.”  With Tracey Bradshaw accompanying at the piano, the vocalists in this ensemble powerfully conveyed the dark burden of this plangent number. 
As their second number, the Red Rock rose above the winds and clouds creating terrestrial storms to visit the moon, an orb long relied on by romantics to enlighten and lift them above ominous storms. Expressing a hopeful outlook on our sublunary experiences, choir members rendered this lovely song with a tenderness of nuance, so creating the perfect backdrop for soprano Marlo Ihler’s heart-piercingly beautiful solo, lyrical and poignant. 

As the third chorale of the concert, the all-female In Jubilo swept the audience into the tragedy of a storm caused by a lack of storms—namely, the human storm of drought-induced starvation.  Listeners felt the force of this terrible storm of continental proportion in In Jubilo’s first number, “Famine Song,” written by the four-woman group known as VIDA and arranged by Matthew Culloton.  Under the direction of Jackie Riddle-Jackson with Teresa Redd accompanying on the piano, the choir conveyed the profoundest human pathos as they voiced the earnest pleadings of an acutely distressed community of Sudanese basket-weavers pleading for the lives of loved ones threatened by extreme hunger in horribly parched Sub-Saharan Africa. 

The tone shifted when In Jubilo performed their second number, “High Flight.” Karen Linford Robinson’s musical arrangement of a famous poem by John Gillespie Magee, Jr.,”High Flight” distills the most exalted moment in the life of  an American pilot who flew for the Royal Canadian Air Force until his tragic death in 1941.  Capturing the pilot’s exultant feeling upon completing a high-altitude test flight, the lyrics of this empyreal song—sublimely rendered by the choir—lifted listeners above clouds and storms, up to the very presence of the Divine. 

In their final number, “The Poet Sings” by Randall Stroope, In Jubilo again took flight, soaring above ugly and destructive storms of life not on an airplane’s wings but rather through a poet’s visionary aspirations.  In notes of sincere yearning for a better world, the choir sang of all that future generations might become if inspired by radiant dreams expressed by brave voices.

As an amusing change of pace, the last number before the intermission brought all three choirs together (under the direction of Jackie Riddle-Jackson) for a facetious break from serious and storm-focused solemnity.   In singing Henry Mollicone’s playful “National Weather Forecast,”  the four score singers from the three ensembles joined in a delightful send-up of the quasi-scientific ritual of weather forecasting.   Their mischievous parody hilariously culminated in a mock paean of praise for California’s mild and sunny weather, free from the storms that fill skies elsewhere.  With all of the singers quickly donning sunglasses for the final measures, this puckish number left listeners chuckling at intermission.    

Far from California, storm clouds gathered again after intermission for Tchaikovsky’s tempestuous “Storm Overture.”  Performed not by a chorus but by the instrumentalists of the Orchestra of Southern Utah, this magnificent composition reminded listeners that Toscanini is not the only conductor who can draw song from an orchestra.  With the passion that has become his much-beloved trademark, OSU director Xun Sun led the orchestra in an instrumental song weaving the voices of strings, brass, reeds, and percussion in an irresistible outpouring, electric with all of the energy of a summer squall.  Beginning with the deep brooding of a storm in gestation, this number repeatedly erupts with the blinding brilliance of lightening, the awe-inspiring crash of thunder.  As the warring elements relax, the orchestra subdues its song in tranquil and pacific interludes, only to break forth again with majestic violence.  The amazed audience could only marvel that this particular Tchaikovsky number has received relatively  little attention and give thanks that it did so on this particular storm-and-song filled night.

For its second number, the orchestra tuned its many voices to The Sorcerer’s Apprentice by Paul Dukas, a work based on a ballad by Goethe and made famous through its cinema dramatization in Walt Disney’s Fantasia.  But as this number unfolded the story of a hapless apprentice who unwittingly lets loose a great storm of untethered magic, the audience realizes this is no Mickey Mouse challenge for the orchestral voices tasked with singing its musical narrative.  Just ask the bassoon section, who ably carried a challenging thematic solo through a key passage of the work!  But praise for the musical achievement of playing this number belongs to more than the bassoonists: the entire orchestra—drums, horns, strings, and reeds—sang their parts at perfect pitch and tempo even as that tempo tightened as the apprentice’s misappropriated spell spun completely out of control.  Indeed, the very loss of control that unleashes a flood when the apprentice’s enchanted broom and bucket run amuck demands ever-more complete control by the musicians blending their instrumental voices to sing the increasingly frenetic musical story.   Under Sun’s ever-poised baton, the OSU musicians achieved and maintained that difficult degree of control.

The orchestra melded their instrumental singing in a final number perhaps even more intensely difficult: “Lion Dance” by Yiping Wang, which plunged the audience into the maelstrom of intense human activity requisite to enact the mysterious Middle Kingdom’s traditional mimicry of the wild pouncing of the world’s fiercest predator.  Believed to bring good fortune to those who perform and behold it, the musical version of this stormy dance mesmerized listeners with its Tarantella-like cadence, sustained first by oboe, then viola, then clarinet, then French horn, then trumpet in a tense interplay of piquantly contrasting instrumental songs. The sheer pleasure of hearing this marvelous interplay convinced those in the audience that this Lion Dance had indeed ushered in good fortune--to them as listeners.  

After a day and evening of showers, the night skies were clear over the Heritage Center as concert-goers departed.  But all were very grateful for the musical storms that had swept its stage, and for the songs--vocal and instrumental--that conveyed all the revivifying power of those storms.  Those in attendance also appreciated the Recreation Arts and Parks tax which had underwritten the concert, so allowing area music lovers of limited means to share in that refreshing power.   The abiding attraction of an orchestra ever ready to sing whether it be about storms or some other theme amply ensures that most of those in the audience this night will be back for the “Timeless Drama” of OSU’s November concert.  

      
Combined choirs

OSU President Harold Shirley introduces the music.

Orchestra of Southern Utah by Gia Miller.
    


Friday, October 5, 2018

"Stormy Highlights" Opens Orchestra Concert Season




            “There is peace even in the storm,” said Vincent Van Gogh. The Orchestra of Southern Utah is set to explore the excitement and drama of musical storms on Thursday, Oct. 11, at 7:30 p.m. in the Heritage Center complete with three community choirs: Red Rock Singers, Master Singers Men’s Chorus, and In Jubilo (A Women’s Chorale).

Choral works open the beginning of this exciting concert and feature songs showcasing the textures, emotions and stories inspired by stormy weather.

The Master Singers will perform a classic American song “Stormy Weather” by Harold Arlen and arranged by Hal Campbell.  The “Snow Legend” by American composer Joseph Clokey is based on a text by Anna Temple and arranged by Caroleen Lee.  Alan Lee directs the Master Singers with Danny Hansen as pianist.

            Red Rock Singers will perform “Rainsong” by Houston Bright and “The Wisdom of the Moon” by Susan La Barr.  The local choir is directed by Keith Bradshaw with Tracey Bradshaw as pianist.

            In Jubilo sings a dramatic “Famine Song” composed by Vida and “The Poet Sings” by Stroope.  Take a journey with “High Flight” as it recaptures a test flight from 1941 in poetry by John Magee. It is one of the most famous aviation poems ever written.  Jackie Riddle-Jackson serves as In Jubilo director.  Teresa Redd serves as pianist.

             Jackie Riddle Jackson brings these dynamic choirs together to join voices and sing the “National Weather Forecast” by Henry Mollicone a piece that is sure to entertain.
           
The Orchestra of Southern Utah will be performing the second half under the direction of Xun Sun opening with the familiar Sorcerer’s Apprentice by Dukas. Based on a poem by Goethe and popularized with Mickey Mouse, this is a musical adventure complete with crashing percussion and exacting woodwind passages. OSU also performs the dramatic Storm Overture by Tchaikovsky inspired by a play written in 1864. The composer was just 24 years old when he wrote it and this early work portends the dramatic orchestrations yet to come that we are so familiar with.  The final orchestra piece is a Lion Dance by Yiping Wang. For thousands of years the Chinese have performed the Lion Dance for auspicious occasions, with the powerful lion chasing away evil and bringing good fortune. Enjoy the colors and pulsing rhythms depicted in this traditional Chinese piece.

Major sponsors for this concert is the RAP Fund for Recreation, Arts and Parks through Cedar City.  “OSU thanks all financial supporters for making it possible for us to present live music,” said Rebekah Hughes, OSU Manager.

The Concert takes place on October 11 at the Heritage Center (105 North 100 East, Cedar City) begins at 7:30 pm.  Children over 6 are welcome with adult supervision. No babies please as the concert is recorded. Tickets are $12 for adults and $6 for students. Season Tickets (Soiree Included) cost $45. Tickets are available now by either phone (435-592-6051) or by purchase at Heritage Center/Festival Hall.

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October 11, 2017: Stormy Highlights by OSU at 7:30 pm
Heritage Theater: 105 N 100 E
Tickets- $12 Adults and $6 Students. Groups up to 6 $40.

More information:
Rebekah Hughes
Phone: (435) 592-6051

(poster design by Rollan Fell of the Print Shoppe)

Listening previews:  Click here to hear some of the music.


Wednesday, September 19, 2018

Fall Recital Finale on Sept. 25: Lines of Lineage


OSU September 25th Recital Themed “Lines of Lineage”
By Tanisa Crosby

            This September has been a success of talent and good music, as the Orchestra of Southern Utah’s Recital Series draws to a close.    The last Tuesday Recital will take place on September 25th, at 7:30 p.m. at the new location 21eleven (located on 2111 North Main),
            The theme for this evening is “Lines of Lineage” and the music will be structured around look back at ancestry.  The recital will begin with the group In Jubilo, a Women’s Chorus group.  In 2001, Jackie Riddle-Jackson had a dream of starting a group for women to sing together in Cedar City.  The group began in 2002, with 12 members and has since grown to include approximately 60 women.  The group is a leader among community based women’s choirs in Utah.  “In Jubilo is known for adventurous programing and a consistently high standard of performance”, says Riddle-Jackson, conductor of the chorus group.  “We’re teenagers and elders; artists, engineers, retirees, grad students and mothers.  Some of us are lifelong or professional musicians; for others, this is the first opportunity since college to sing with a women’s chorus.”  They will be accompanied by pianist Teresa Redd and will be sing songs such as Lineage by Andrea Ramsey and Shake the Papaya Down, arr. Melissa Leavitt
            Following In Jubilo will be Cellist Nina Hansen.  Nina Hansen recently returned to Cedar City after living in Chengdu, China for two years teaching English, music, art, and American Culture in schools throughout the area.  Cedar became home back in 1983 where she began her teaching career at Cedar Middle School.  Nina studied cello from the late Roger Drinkall, Daniel Gaisford, Jim Hardy, and Ellen Bridger.  She will be performing “Bring Him Home” from Les Miserable and “Colors of the Wind” from Walt Disney’s Pocahontas by Alan Menken and will be joined for Tina Calamity, who will be playing drum, and accompanied by Teresa Redd.
            Bonnie Nielson, soprano, will also perform a selection of pieces during the concert.  She is a singer and actor who studied music at Snow College and is currently studying theatre at SUU.  She will perform Scarlett Ribbons by Harry Belafonte and Tell My Father by Frank Wildhorn.  She will also perform Danny Boy Arr. Weatherly. She will be accompanied by Jana Dettamanti.  Violinist Lindsey Szczesny will perform Concerto in D Major, 2nd Movement by Tchaikovsky and will be accompanied by Brian Chan, a new SUU accompanist.
            Recitals take place every Tuesday in September @ 7:30 p.m. at 21eleven (2111 North Main).  Suggested donation is 8 for adults and $5 for students.  For more information contact OSU Manager Rebekah Hughes at (435)592-6051 or osucedarcity@gmail.com.
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For Calendars:
Every Tuesday in September at 7:30 pm
21eleven:  2111 N. Main
Suggested Donation- $8 Adults and $5 Students.

More information: (435) 592-6051 or osucedarcity@gmail.com
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Program for OSU Recital Series
September 25th 2018
“Lines of Lineage”

Lineage……………Andrea Ramsey
Shake the Papaya Down………….Arr. Melissa Leavitt
In Jubilo
 Teresa Redd, Pianist

Colors of the Wind……….Alan Menken, Lyrics Stephen Schwartz         Walt Disney’s  Pocahontas
Nina Hansen,  Cello
Tina Calamity, Drum
Teresa Redd, Pianist

Scarlett Ribbons………Harry Belafonte
Tell My Father…………Frank Wildhorn
Bonnie Nielsen, Soprano
Jana Dettamanti, Pianist

Concerto in D Major, 2nd movement
Canzonetta by Tchaikovsky
Lindsey Szczesny, Violin
Brian Chan, Pianist

Bring Him Home………………Claude-Michael Schonberg
Nina Hansen, Cello
Teresa Redd, Pianist

High Flight……Karen Linford Robinson
Poem by, Pilot Officer John Gillespie Magee Jr,
In Jubilo
Teresa, Pianist
Danny Boy……….Arr. Weatherly, The Celtic Women
Bonnie Nielson, Soprano
Pianist, Jana Dettamanti

Will the Circle Be Unbroken……….Traditional Appalachian
In Jubilo
Pianist, Teresa Redd

More information on performers:
 
Bonnie Nielson
Bonnie Nielson is a singer and an actor. She studied music at SNOW College and is currently studying Theatre at SUU.  Bonnie has performed with groups and as a soloist across the country. Bonnie Believes that because of music nobody is alone. We are all notes in one big coloratura; wholes, halves, quarter notes. Music connects us with people we know and people we don’t. It connects us to our loved ones who have passed and those who will be, it celebrates our lineage.  

In Jubilo

In Jubilo provides community service through singing

In Jubilo
In 2001, Jackie Riddle-Jackson and LuWenn Jones had a dream of starting a women’s chorus here in Cedar City, UT. For Christmas that year, a local LDS group of 12 women had prepared a concert for their local Stake, and then the following February, several additional women joined the group to perform for a women’s conference. With the expertise of Jackie as the music director, the group began to grow from there. 

The winter of 2002 was the official beginning of In Jubilo. There are now approximately 60 women who dedicate their time to the chorale every season, with several who have been with the group since it began.  

In Jubilo is a leader among community-based women’s choruses in Utah; known for adventurous programming and a consistently high standard of performance. Our performances reveal the beautifully blended sound of an all-female chorus as an instrument in its own right, whose repertoire provides a deeply satisfying and complete musical experience for performers and audience alike.

We’re teenagers and elders; artists, engineers, retirees, grad students and mothers. Some of us are lifelong or professional musicians; for others, In Jubilo has provided the first opportunity since college to sing with a women’s chorus. What we have in common is our love of singing, our joy in one another’s company, and our dedication to sharing our unique repertoire with the public.

In Jubilo’s name means ‘of joy’ or ‘with joy’, and it is a most apt name; as they bring joy to everyone who hears their music. The ladies of In Jubilo are very happy to be a part of the wonderful arts community in Cedar City, and look forward to many more exciting choral seasons to come.

 
Nina Hansen, OSU cellist

Nina performing at Artisans during a Final Friday Art Walk

Nina Hansen
1. Bring Him Home from Les Miserables. Music by Claude-Michel Schonberg   Lyrics by Herbert Kretzmer and Alain Boublil  Arranged by Al van der beek, jon Schmidt and Steven Sharp Nelson.   (I chose this for lines of lineage because I feel we are all trying to bring somebody home by doing our family history and I played it for my dad's funeral. 
2. Colors of the Wind from Walt Disney's Pocahontas. Music by Alan Menken  Lyrics by stephen Schwartz.    I chose this even though it is a little cheesy because  my 13th great grandmother on my mothers side was a cousin to Pocohontas. She was from the Powhatan tribe. I always hoped I had some native American in me and this connection was just recently discovered by my mother. The relation comes from her Paternal Grandmother. 
Teresa Redd will be my accompanist with Tina Calamity on Native American flute.

Bio: Nina Hansen recently returned to Cedar City after 2 years living in Chengdu, China where she taught English, music, art and American Culture in schools throughout Chengdu.  She is the Director of ESL Summer camps in Cedar City and teaches cello at SUU. Nina is the Principal Cellist for the Orchestra of Southern Utah and runs a private cello studio in her home. Cedar City became home to Nina in 1983 where she began her teaching career at Cedar Middle School (now a parking lot) as the Iron County Swimming teacher, diving coach and teaching 8th grade Health. Nina holds a Bachelor of Science degree in Physical Education/Health, received her Masters of Education at SUU and is certified in TESOL. She is the mother of two boys and one daughter in law. Family, cello, the arts, nature, sports and natural health are her passions. Nina has studied cello with the late Roger Drinkall, Daniel Gaisford, Jim Hardy and Ellen Bridger. 




Lindsay Fife Szczesny grew up in Enoch, Utah as a young violinist in the Cedar City Suzuki Strings program. Her parents, Boyd and Carol Fife, supported her growth as a young musician throughout childhood and into college. In 2003, Lindsay graduated from Utah State University with a degree in Music Education and has gone on to teach private violin and viola lessons since then. She directs the Suzuki Strings orchestra and plays in the Orchestra of Southern Utah and Southern Utah String Quartet. She is currently the treasurer for the Cedar City Arts Council and is earning a Business Certificate at Southwest Applied Technical College. Lindsay, an avid hiker, is married to Stan Szczesny and they have five children.




Solo Auditions for Handel's Messiah on Sept. 27



Orchestra of Southern Utah Announces Messiah Soloist Auditions
By Tanisa Crosby
       On September 27th at 6:00 pm in the grand lobby of the Heritage Center, 105 N 100 E in Cedar City, Utah (located behind Lins), the Orchestra of Southern Utah (OSU) is excited to announce that they will be holding soloist auditions for the 2018 Messiah concert.  The Orchestra and Chorale tradition in the Cedar City performing this cherished work is a holiday event that is held dear within the community and amongst OSU and its members. To perform alongside the Orchestra as a featured soloist in this renowned work is an opportunity not to be missed.
The Orchestra will be looking for talented vocalists, those soloists who would like to be considered should be prepared to sing one full aria or air from Messiah, and  sixteen bars of other piece[s] they wish to be considered for. This will be a juried audition; a panel of judges will listen and adjudicate all those auditioning. Soloists will  be heard between the hours of 6 – 8:00 pm on Thursday September 27th. Piano accompanist will be available to play for all those who are auditioning. No audition appointment is needed.
Messiah chorale rehearsals will begin on October 14th from 7-9 pm at the Rock Church, located on 75 E Center Street.  They will be held every Sunday, including Thanksgiving weekend. Soloists are expected to also sing with the Chorale. The Messiah score that we use is the Novello version. If you don't have one, you can purchase one at Cedar Music Store. Please invite new people to come participate. 
For more information on what pieces to prepare for the audition please visit www.myosu.org.  For questions about auditions please contact Jackie Riddle-Jackson jacksonja@suu.edu, or  Southern Utah Chorale <soutchorale@gmail.com>
Sponsors for this community concert are State Bank of Southern Utah and the Leavitt Group.


Solo repertoire for this season:
5 Thus Saith the Lord, Recitative (Bass/Baritone)
6 But Who May Abide, Air (Bass/Baritone)
8 Behold, a Virgin Shall Conceive, Recitative (Alto)
14 There were Shepherds, And Lo! The Angel of the Lord, Recitative (Soprano)
15 And the Angel said unto Them, Recitative (Soprano)
16 And Suddenly, Recitative (Soprano)
18 Rejoice Greatly, Air (Soprano)
19 Then Shall the Eyes of the Blind, Recitative (Alto)
20 He Shall Feed His Flock, Air (Alto)
23 He Was Despised, with cut, Air (Alto)
31 He Was Cut Off Out of the Land of the Living, Recitative (Tenor)
32 But Thou Didst Not Leave His Soul in Hell, Air (Tenor)
34 Unto Which of the Angels, Recitative (Tenor)
36 Thou Art Gone Up On High, Air (Bass/Baritone)
47 Behold, I Tell you a Mystery, Recitative (Bass/Baritone)
48 The Trumpet Shall Sound, Air, (Bass/Baritone & Trumpet)
49 Then Shall Be Brought to Pass, Recitative, (Alto)
50 O Death, Where is Thy Sting, Duet, (Alto/Tenor)