The musical settings were by ten composers: Michael Cox, Alice Gomez, Rosephanye Powell, Robert Seeley, Jill Gallina, Patti Drennan, Stefania de Kennessey, David Friedman, W.T Greer III, and Joseph Martin. Pamela Martin Tomlinson provided the text for the second part, called “Sing for the Cure”: ten poems, linked by a narration, based on stories told by breast cancer survivors and the families of those who died. The first of its two parts (each of which could have filled an entire program), was called “Heartsongs” and celebrated the life and poetry of Mattie Stepanek, who died just before his 14th birthday of a rare neuromuscular disease his words were set to music by Joseph Martin. This unusual concert was less a musical than an emotional event. The audience displayed as much involvement and enthusiasm as the performers a record number of flashing cell phones preserved this enjoyable, successful event.ĭCINY – Heartsongs- “Photo by Stefan Cohen/DCINY Production.”
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The arrangement was by bassist/composer Victor Kioulaphides, who also contributed an original work called Purcelliana a slow prelude and a lively canon, it was played beautifully by the strings. Their seriousness and hard work showed in their performance of Vivaldi’s Laudamus Te, Parry’s Jerusalem, and especially Franck’s Panis Angelicus, which featured an impressively talented boy soprano, Ajonte Anderson. Coming from various backgrounds, its 16 members are selected by audition and rehearse several times a week. The oldest such choir in New York, it is the only one not affiliated with a school. The Church’s Boys’ Choir got its turn in the spotlight in the program’s opening works. Their animal costumes were simple but imaginative one hopes they will wear them again at Halloween. However, all the children’s performances were admirable, natural and spontaneous, carefully coached but not drilled. Some of the younger children were at times unsure of the pitches and their voices were a bit shrill. Noah, the Gossips, and several of the older children stood out. The singing, acting and dancing were excellent Andrew Martens’ Noah, Leslie Middlebrook’s Mrs. The cast entered through the aisles, affording the audience a close-up view. The staging used the Church’s layout to good advantage. The trumpets go into glorious action to announce and celebrate good news two pianists at one piano provide a harmonic framework the organ adds sonority in the climaxes the orchestration – for strings, recorders, percussion and handbells – is so discreet and the playing at this performance was so fine and sensitive that the instruments never covered the voices. The work begins with the percussion erupting in a frightening imitation of the coming storm then God’s voice is heard through a loudspeaker. Conducted by the Church’s Music Director, Claudia Dumschat, the performance was a delight. Judging from the performers’ names, the production was a community effort, with entire families participating in various capacities.
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The lovely Church of the Transfiguration (affectionately known as “The Little Church Around the Corner”) was an ideal setting for this endearing, intimate work. The audience is invited to join in the singing of three hymns, and given a chance to learn the tunes during the first of several verses. Noah’s wife is depicted as a shrew she refuses to leave, but is overpowered by her husband and their children, and, once on the Ark, gives up her resistance. Auden’s adaptation of a Chester mystery play, and tells the story of how God commanded Noah to build the Ark and save himself, his family, and assorted animals from the impending storm and flood.
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Writing for musicians and actor/singers, all a mix of professionals and amateurs, and a large group of children, he deliberately kept his music simple, accessible, tonal, and only mildly dissonant. The Church of the Transfiguration, New York, NY June 6, 2010īenjamin Britten (1913-1976) composed his chamber opera “Noye’s Fludde” in 1957 specifically for church performance.