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Music & Concerts

FALL ARTS 2016: Orchestra, organ, opera and then some

Mozart’s ‘Figaro,’ China Philharmonic and more pepper fall classical season



classical music, gay news, Washington Blade

Soprano Lisette Oropesa will perform in Donizetti’s ‘The Daughter of the Regiment’ in November with the Washington National Opera. (Photo courtesy WNO)

Washington National Opera presents Mozart’s “The Marriage of Figaro” Sept. 22-Oct. 2 in the Kennedy Center Opera House.

The WNO joins with the Washington Nationals for “Opera in the Outfield” on Saturday, Sept. 24 at 7 p.m. at Nationals Park. It’s free — no tickets required.

Donizetti’s “The Daughter of the Regiment” runs Nov. 12-20 with Lisette Oropesa and Lawrence Brownlee in the starring roles.

The National Symphony Orchestra has its season-opening ball/concert on Sunday, Sept. 25 with Musical Director Christoph Eschenbach and Principal Pops Conductor Steven Reineke with pianist Lang Lang, singers Brian McKnight, Nnenna Freelon and Mervyn Warren and Take 6.

In his NSO debut, Edward Gardner conducts three works inspired by Shakespeare in “From Tchaikovsky to Elgar” Sept. 29-Oct. 1.

Other NSO performances slated for fall include violinist Nicola Benedetti (Oct. 27 and 29), pianist Emanuel Ax (Oct. 6-8), the NSO Pops with a “Halloween Extravaganza” (Oct. 13-16) and more.

The NSO also has performances planned for Nov. 3-5, Nov. 10-12, Nov. 17 and 19 and Dec. 15-18 with various programs.

The Harlem String Quartet plays the Family Theater at the Kennedy Center on Oct. 17. Joyce DiDonato and the Brentano String Quartet performs Oct. 5.

Washington Performing Arts is celebrating its 50th anniversary season. Classical highlights include cellist Alisa Weilerstein at the UDC Theater of the Arts with an all-Bach program on Oct. 16, violinist Hilary Hahn in the Kennedy Center Concert Hall on Oct. 28, pianist Llyr Williams at UDC Theater of the Arts on Oct. 29, pianist Lucas Debargue at UDC Theater of the Arts on Nov. 12, baritone Eric Owens and soprano Susanna Phillips in a program of works by Schubert on Nov. 13 at the UDC Theater of the Arts and the Royal Concertgebouw Orchestra in the Kennedy Center Concert Hall on Nov. 29.

The Gay Men’s Chorus of Washington will present “Let’s Misbehave: True Confessions of GMCW” on Nov. 12 as soloists share “funny, outrageous” and “ribald” stories in this season—opening cabaret event at Atlas Performing Arts Center.

The Chorus’s holiday show “Naughty and Nice” will run Dec. 10 and 17-18 at the Lincoln Theatre.

UrbanArias, a contemporary opera company, presents “The Man Who Mistook His Wife for a Hat” Oct. 15-22 at Atlas Performing Arts Center (1333 H St., N.E.) with music by Micahel Nyman and libretto by Oliver Sacks, Christopher Rawlence and Michael Morris.

Virginia Opera brings its production of “The Seven Deadly Sins and Pagliacci” to Fairfax on Oct. 8-9 at George Mason University’s Center for the Arts Concert Hall (4400 University Drive, Fairfax, Va.).

Virginia Opera will return to the region Dec. 3-4 with Rossini’s “The Barber of Seville.”

Every Friday at 12:15 p.m., free organ recitals are held at National City Christian Church (5 Thomas Circle). The church has one of the finest organs in the city and often attracts world-class performers. Out minister of music Rev. Michael McMahon programs the series.

Washington Concert Opera has its 30th anniversary concert on Sunday, Sept. 18 with performances by Vivica Genaux, Angela Meade, Michele Angelini and Javier Arrey at 6 p.m. at the Lisner Auditorium (720 21sst St., N.W.). The company will also perform Massenet’s “Herodiade” on Sunday, Nov. 20.

The Baltimore Symphony Orchestra performs several times at the Strathmore (5301 Tuckerman Lane, North Bethesda, Md.) this fall. They’ll perform Beethoven’s Fifth Symphony on Sept. 24, “Carmina Burana” on Sept. 29, BSO SuperPops on Oct. 6, Shostakovich’s Symphony No. 10 on Oct. 15, Dvorak’s Symphony No. 8 on Oct. 22, “The Nutcracker” on Nov. 6, Mahler’s Symphony No. 6 on Nov. 10 and a full Beehoven weekend on Nov. 19. The BSO also performs regularly at the Meyerhoff Symphony Hall (1212 Cathedral St.) in Baltimore.

The Strathmore also has a few other classical concerts planned as usual.

Mike Mills from the band R.E.M. presents his “Concerto for Violin, Rock Band and String Orchestra” at the Music Center at Strathmore on Nov. 3 and the China Philharmonic Orchestra under the direction of Long Yu performs at the Strathmore on Dec. 9.

The National Cathedral (3101 Wisconsin Ave., N.W.) has organ recitals on Sunday afternoons throughout the fall. On the slate are Erik William Suter (Sept. 18), Paul Thomas (Sept. 25), Jung-A Lee (Oct. 2), the Lafayette Square Duo (organ and harp) (Oct. 9), Chuyoung Suter (Oct. 30), Leon Couch (Nov. 6) and George Fergus (Nov. 20).

Other classical recitals planned at the Cathedral for fall include the Schumann Piano Quintet (Sept. 14), Cathedral Choral Society: Berlioz Te Deum (Oct. 16), a Veteran’s Day concert (Nov. 11), and Handel’s “Messiah” (Dec. 2-4).

Baritone Eric Owens will perform a program of works by Schubert on Nov. 13 at the UDC Theater of the Arts. (Photo by Dario Acosta; courtesy Bucklesweet Media)

Baritone Eric Owens will perform a program of works by Schubert on Nov. 13 at the UDC Theater of the Arts. (Photo by Dario Acosta; courtesy Bucklesweet Media)

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Music & Concerts

Washington Arts Ensemble to host immersive concert

Creating a dialogue with D.C.’s history and culture



The Washington Arts Ensemble will host an immersive concert experience on Saturday, June 18 at 7 p.m. at Dupont Underground.

This concert will show how distinct genres influence pop culture and articulate the commonality between classical, jazz, and electronic music while creating a dialogue with D.C.’s history and culture.

Some of the works that will be performed include “Switched-On Bach selections” by Wendy Carlos, “The Swan” from The Carnival of the Animals by Camile Saint-Saens, among other works.

Tickets cost $25 and can be purchased on the Washington Arts Ensemble’s website

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Music & Concerts

John Levengood releases anthem “Say Gay!” to protest discrimination

Slated to perform new song at 2022 Capital Pride Festival in June



Recording artist John Levengood’s latest song ‘Say Gay!’ is out Friday. (Photo courtesy Levengood)

“Say gay! Say gay! Say gay!
“Say what? Say what?
“One little law won’t shut us up!”

Slated for digital release this Friday, recording artist John Levengood’s latest song “Say Gay!” confronts anti-LGBTQ legislation such as the “Don’t Say Gay” law by encouraging others to “profess their queerness loudly, proudly, and never in the shadows,” Levengood said in a press release shared with the Blade on Tuesday.

On June 12, Levengood is set to perform the song’s live debut at the 2022 Capital Pride Festival in Washington, D.C., to streets teeming with community members, food trucks, and local vendors, according to the press release.

“The rise in oppressive legislation and proposals have many in the LGBTQ+ community alarmed,” the press release says. Levengood “hopes this song can be used as a metaphorical weapon to blast holes in the argument that teaching children about acceptance and diversity is more appropriate at home than school.”

The bill, enacted by the Florida Legislature earlier this year but not yet in force, would limit teachers’ ability to teach LGBTQ topics in some school settings and obligate school officials to disclose students’ sexual orientation and gender identity to their parents upon request.

A D.C. resident himself, Levengood currently works over the weekends as resident host and karaoke emcee at Freddie’s Beach Bar in Arlington, Va., an LGBTQ bar and restaurant.

Levengood is no stranger to the music scene, in 2013 moving through multiple rounds of auditions for the third season of “The X Factor” before coming up short of formally appearing on the show, according to the release.

Growing up in the Shenandoah Valley of rural Virginia, the press release added that music has been an outlet for Levengood to express himself from an early age. The new song marks his seventh musical release.

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Music & Concerts

Tori Amos spins magic at Sunday night D.C.-area concert

First show in the area since ’17 finds Gen X icon vocally subdued but musically energized



As with many veteran rock stars, it’s sometimes hard to get a handle on how hot or cold Tori Amos’s 30-year-old solo career is at the moment. It sometimes seems like she’s moving past the take-her-for-granted-because-she’s-never-away-for-long phase, and there certainly was that sense in the air Sunday night for her D.C.-area stop of her current “Ocean to Ocean Tour,” her first show here since 2017, which, with COVID, feels like a lifetime ago.

But there are also signs that it’s never been chillier for Amos in the overall pop culture landscape. It’s been a decade since she charted a single on any chart and there were no videos or singles from her “Ocean to Ocean” album last fall. It landed just outside the top 100 on the U.S. Billboard 200 album sales chart altogether, a new low that would have been unthinkable even a few years ago when her “regular” (i.e. non-specialty/concept) albums were almost guaranteed a top 10 debut. 

The slide has been swift, too: 2014’s “Unrepentant Geraldines” hit No. 7, the next album (2017’s polarizing “Native Invader”) only made it to 39, then came “Ocean’s” thud at no. 104. There’s a lot you could point to to explain it — streaming, her aging Gen X fan base, the endless undulations of the music industry itself — but in some ways it has started to feel like she’s getting less and less return on her artistic dollar than one would expect. 

Yeah, that always happens with veteran female pop stars once they hit their 50s and beyond, but Amos and her small but mighty fan base, who for decades exhibited a devotion of Grateful Dead-like proportions, outran the trend for so long, to see it finally catching up is a bit bewildering.

But then you go hear her live at a decent-size venue like The Theater at MGM National Harbor (which seats 3,000 and was about 97 percent full), and it feels nearly like old times. Sure, some of the excitement was just that we’re all gagging at being at concerts at all and having mask restrictions and vaccine requirements paused, but there was an electricity that, while mellower than it was at Amos concerts in the ’90s, still felt magical. I’ve never in my life seen so long a line for the merch table.

The concert itself was, for the most part, sublime. It was the first time since 2009 she’s toured with a band and while her solo shows are great too, there was pent-up yearning to hear her unleash full-on with a solid rhythm section (Jon Evans on bass, Ash Soan on drums) again. Beat-heavy songs like “Raspberry Swirl” and “Cornflake Girl” sounded tepid with canned beats the last few times out, so to hear everything truly live (save a few BGVs and effects) last night was heavenly.

It was Gen X queer night out Sunday night at the Theater at MGM National Harbor for Tori Amos’s first concert here since 2017. (Photo by Desmond Murray; courtesy Girlie Action)

The show had special poignancy too, as Amos grew up in the region. She has written and commented heavily on the immense toll her mother’s 2019 death took on her personally and artistically, so that the date happened to be Mother’s Day gave the proceedings added gravitas. “Mother Revolution” and “Jackie’s Strength” spoke, of course, to the holiday, though (and this is quibbling) I would have vastly preferred “Mother” from “Little Earthquakes,” a deep cut we haven’t heard live in eons. 

Tori Amos (Blade photo by Joey DiGuglielmo)

Highlights included the slinky, rhythm-loopy opener “Juarez”; “Ocean to Ocean,” one of three cuts performed from the new record, which shimmered with Philip Glass-like piano arpeggios; the vampy, slinky interplay between the three musicians on “Mother Revolution”; and unexpected fan favorite “Spring Haze.” Amos, overall, is varying up the set list quite a bit less than is her norm, so it was one of the few surprises of the evening. 

The lengths of several of the songs were drawn out considerably. At times — “A Sorta Fairytale,” the aforementioned “Revolution” — that worked well and gave the band time to languidly jam. At other points, it felt a bit self-indulgent and even slightly boring — as on “Sweet Sangria” and “Liquid Diamonds.” 

“Russia,” a bonus cut from the last album, sounded just how it did when Amos performed it here in 2017, but took on added resonance because of current events. Closing line “Is Stalin on your shoulder” was chilling.

Overall, the show — lighting, pacing, everything — largely worked. The sound mix, which fans have said has been muddy at some venues recently on the tour, was pristine. Pacing only lagged a few times in some of the mid-tempo cuts from later albums, but just when you felt some were zoning — the flow of those entering and exiting is a good barometer — Amos whipped things back together with a fan favorite like “Past the Mission” or “Spring Haze.”

It all came to a satisfying, audience-friendly climax with “Cornflake Girl,” then the two encore cuts, “Precious Things” and “Tear in Your Hand,” both from the first album. 

Vocally, the range was there and sounded lovely, but the oomph was considerably held back. Vocal preservation for the many dates ahead? Probably. It’s understandable. Amos, at 58, may lack the stamina she had 20 years ago, but it did feel underwhelming in passages that in years past would have been full on, balls out like the “Bliss” bridge or the “nine-inch nails” passage from “Precious Things.” 

Not one acknowledgment or mention by Amos of the female folk duo openers Companion. I’d have invited them out for a few numbers to sing BGVs. I mean, heck, they’re in the house, why not? And other than the welcome, a brief soliloquy on Mother’s Day was the only Amos comment of the entire night. 

Still Amos never came off as aloof. She seemed genuinely excited to be playing live again and the queer-heavy crowd responded in kind. 

Tori Amos (Blade photo by Joey DiGuglielmo)
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