Fortified by delicious brisket from Live Oak Barbeque, we very much enjoyed seeing the crowd assemble. Many could not resist dancing on the Capitol lawn as we heard such favorite hits as “No mas un puno de tierra,” “tragos amargos,” “casas de madera,” “un rinconcito en el cielo,” and many, many more.
As always there was much meeting and greeting. Congressman Lloyd Doggett took the stage and spoke briefly to great applause. Big news is that, in celebration of the fortieth anniversary of the Mexican American Legislative Caucus, Ramon Ayala y sus Bravos del Norte will give a free concert in the south grounds of the Capitol, from 6 to 9 pm on May 15. Here are the FAQs for the event.
Henry Zimmerle and his conjunto have played many times at this event and are always a treat to hear. Our great favorites are Los Dos Gilbertos, and they never disappoint.
When we left, between 6 and 7 pm, people were beginning to pour in and there was already a crowd. Toy-camera photos and unedited videos can never come close to capturing the delight of this festival. How wonderful it is for Austin to enjoy this wonderful annual event, made for all ages!
The Austin Lyric Opera orchestra sounds better and better and the cast of singers is outstanding. We are privileged to enjoy a memorable production of Gounod’s Faust.
All begins well. Faust has the opening of the opera to himself, and Jonathan Boyd sings beautifully and compels attention. The scene-stealer throughout is Mephistopheles, and Jamie Offenbach commands the audience from his very first entrance. The silent-screen-villain business is made for him. Once the soul-selling bargain is complete, we first meet the soldier Valentin and then his sister, Marguerite, soon to be the object of the attentions of the rejuvenated Faust. The character of Valentin is essential to the plot and Hyung Yun is an example of the excellent casting of this production. Jan Cornelius, our Marguerite, is a fine physical actress and has a beautiful voice, employed to full effect. From Siebel (Claire Shackleton) and Marthe (Cindy Sadler) to every member of the chorus, the singing is delightful.
The music never loses its enchantment, but the embodiment of the plot on stage becomes a bit peculiar, even ludicrous at times. Satan and the three devilettes in red wigs, the tableau vivant in which the figures become animated, the insane asylum, and more just cannot be properly described, but must be experienced in person. Several members of the audience near us really couldn’t completely stifle their laughter, and that’s understandable. In addition, what began seeming to be a sensible utilitarian set and production design required two quite lengthy scene changes behind a closed curtain in the final act. The projection of various words in bad typefaces added nothing praiseworthy, either.
At any rate, there’s one remaining performance, today at 3 pm at the Long Center, and tickets are still available. KMFA radio, at 89.5-fm, will broadcast it live, with commentary beginning at 2:30 pm. The music is sung in French and supertitle translations are shown above the stage proscenium. There are excellent reasons for the immediate and continuing popularity of this opera. It’s always a treat to hear it played and sung so beautifully.
Even the many dogs along the parade route looked happy. Children appeared to be happier still.
Every group in the parade was a delight, and there was some wonderful musicianship. Among the extensive list of those in the parade, there’s no way to pick favorites, really, but we truly did love the Biohazard Brass Band, a super-sharp military aggregation, here all the way from Fort Sam in San Antonio.
Spirits were high, ‘though the day was chilly. Celebrate Texas organized a fine parade. There were veterans’ contingents, a Shiner Beer van distributing Shiner lapel buttons, Lone Star flags for the little children, two contingents of lions and dragons, and much, much more, including two wonderful bands from Austin high schools: the Eastside Memorial Panthers and the Bowie High School marching band.
James and Annetta White of the Broken Spoke were the parade honorees. Spirits were lifted by the singing of an a capella choir, from the Cowboy Church. The Daughters of the Republic of Texas passed by on horseback. The Texas Cowboys startled a dog or two.
The Eastside Panthers marched with pride in t-shirts and shorts, despite the chill. The Bowie band turned out in full uniform, complete with plumes; the band seemed to be 150 strong. We loved them both.
Congress Avenue was intended as to be a processional way. See some unedited videos and recall the fun or see and hear some of what you missed. We love a parade!
If you missed the parade, you missed large balloons, costumed greyhounds, jugglers, unicyclists, Star Wars characters, Police Chief Acevedo, Fred Cantu, the Travis High School rebel band, the 36th Infantry Division band from Camp Mabry, Los Texas Wranglers, the Summitt Lion and Dragon dance team, the Biscuit Brothers, and many, many more dancing, marching, playing, and singing groups. Watch for toy-camera images from the parade.
It’s not too late to give to Blue Santa and brighten the holiday season.
Pagliacci has come and gone now, but all lovers of music should mark their calendars for the next two Austin Lyric Opera productions: The Marriage of Figaro (January 31; February 2, 3, 2013) and Gounod’s Faust (April 25, 27, 28, 2013). These promise to be the giant crowd-pleasers that Pagliacci was. The orchestra just gets better and better and all was most pleasing about this production. We saw the Friday performance, and then confirmed our appreciation by listening to the Sunday live performance on KMFA 89.5-fm. The audience loved the surprise encore concert after the performance, when, accompanied by the orchestra, leading singers were joined by the chorus (also excellent) in song.
The jazz band performed first, and then the 36th Infantry Division concert band, which appeared to be the jazz band plus many additional musicians. Another configuration of the band marched in the Congress Avenue parade earlier in the day. These are musicians of the highest ability. There can be no finer setting for music than the outdoor terrace at the Long Center for the performing arts, with its spectacular view of the downtown Austin skyline. The capacity audience was delighted from start to finish by the spirited and stirring music. Also heard was a traditional recitation piece called “A Toast to the Flag.” The jazz program included the best performance of “In the Mood” that I’ve ever heard. We were treated to a Filmore march (“Americans We”) and two Sousa gems, complete with piccolo embellishments (“Washington Post” and “Stars and Stripes Forever”). Musician and vocalist SPC Bonnie Wellington sang a moving “America the Beautiful.” Austin is indeed the live music capital of the world. The toy-camera images and unedited videos do not come close to doing justice to this occasion.
Every year during the Austin City Limits Music Festival in Zilker Park, you can expect that at least a few artists will tape an episode of the Austin City Limits television show. This year, as the new season starts to air (Radiohead’s performance aired on 10/6 and Bon Iver aired this past Saturday), they’re continuing to add more artists to fill out the rest of the season. Jack White taped an episode Sunday night at the Moody Theater. The Austin City Limits television site is posting its own taping recaps now. They have a pretty comprehensive background on the night including a set list. There’s also one from the Tim McGraw taping in August. Norah Jones also did a taping late this week.
Jack White has graced the Austin City Limits stage once before with Raconteurs in Season 32 (2006) which coincided with his first appearance at the music festival. The Raconteurs played the festival again in 2008 and he famously had to cancel the White Stripes headlining slot at the festival in 2007 due to Meg White’s health issues. I’m assuming that his choice of set list as a solo artist was influenced by the desire to get some White Stripes songs on Austin City Limits. I’ve been to several tapings over the years and this was the first one I can recall where the artist was allowed to alter the set. They didn’t obscure or block the Austin skyline, but they changed the stage from its usual black to white and had two spotlights that bathed the bands in a blue or white light. It managed to give them their own style while still sticking with the Austin City Limits tradition.
White has two backing bands and switched between them halfway through the set. He appeared to have brought his own Hasidic appearing road crew to manage the switch. I don’t want to touch off a gender war, but the all male Buzzards, the first backing band, definitely rocked harder than their female counterparts, the Peacocks. I enjoyed both thoroughly. The Buzzards, all in black, consisted of drums, bass, fiddle, keys and a multi instrumentalist. The Peacocks, all in white, had one more member than the Buzzards. I’d never noticed this before, but the keyboard / piano setup at stage left had a rather large mirror for the keys facing stage left so that the player could still see Jack and the rest of the band. Jack ended up restarting “Hypocritical Kiss” with the Peacocks so they could get it right. I think he was the one that made a mistake or the tuning was slightly off. Being a drummer, I noticed that the drummers from both bands, Carla Azar with the Peacocks and Daru Jones with the Buzzards sit very high over their kits. Jones also angles all of his drums downward away from him at a fairly steep angle. To each their own, but I can’t see being able to play like that night after night.
Look for this episode to air in January.
Patience played to a full house, including all the children who arrived early for a special program and remained for the entire matinee performance yesterday, just as entranced as the rest of us.
H.M.S. Pinafore, The Pirates of Penzance, and The Mikado seem to be the most frequently performed masterpieces, but, thanks to our very own Gilbert & Sullivan Society of Austin, we are privileged to enjoy every gem and delight in the Gilbert and Sullivan repertory.
Sparkling in the intimate new performance setting of the arts center of Brentwood Christian School (map), which seats 400 and boasts an orchestra pit that conceals the professional-quality 15-piece orchestra, Patience is a complete theatrical experience. The 22-voice chorus (11 men, 11 women) sang with a snappy vigor and the clarity that made the supertitles showcasing the lyrics really unnecessary.
Every principal singer shone, and the audience welcomed the return of comic and musical stalwarts Arthur Di Bianca, Holton Johnson, Jeanette Jones, and Russell Gregory. Meredith Ruduski, as Patience the dairy maid herself, was a fine lyric and comic presence.
Everyone associated with this production should be very proud. A lot of the stage business and choreography was quite demanding. The audience laughed everywhere it was supposed to and nowhere it was not.
Just five performances remain: Thursday, 14 June, at 8 pm; Friday, 15 June, at 8 pm; Saturday, 16 June, at 3 pm and at 8 pm; and Sunday, 17 June, at 3 pm. For ticket information, call 474-5664; advance prices are $20 for adults ($25 at the door), $15 for students over 18 with identification ($20 at the door), and $7 for those 18 and under ($10 at the door).
Do not deprive yourself. If you love music or theater or both, treat yourself to Patience.