Presents Debut of Its Reson8 Vocal Octet in Eclectic Program
By GEORGE B. PAROUS
Sunday afternoon at the Calvary Episcopal Church, Shadyside, marked the debut of a Resonance Works first – Reson8, their new vocal octet featuring some of the best singing talent available, right here in the Pittsburgh area. There were familiar faces beaming back at the audience, tried and true talent known from past performances with Resonance Works and other local musical organizations, and Maria Sensi Sellner was in her familiar post as conductor. There were concerted numbers for eight, some featuring solo singers, a capella pieces and a solo or two that made for variety and interest in the afternoon of widely varied music.
For the record, the talent comprising the group are Charlene Canty and Amelia D’Arcy, sopranos; Timothi Williams and Zanna Fredland, mezzo-sopranos; Robert Frankenberry and Andrew Bloomgarden, tenors, and Daniel Teadt and Graham Fandrei, baritones. Walter Morales provided piano accompaniments.
L to R – Zanna Fredland, Amelia D’Arcy and Charlene Canty
“The repertoire demonstrates the versatility and range of our eight singers,” Ms. Sensi-Sellner has said, “and includes music by J.S. Bach and 20th century American icons Leonard Bernstein, Aaron Copland, and George Gershwin, as well as some of the most exciting voices in classical music today, including David Lang, Reena Esmail, and Caroline Shaw.
“The pieces I’ve selected have an over-arching theme of hope, compassion, and the need for community, from the invocation of the sun in Copland’s ‘Lark,’ to a reflection on how each of us is ‘the result of the love of thousands’, to the plea for connection in Stephen Sondheim’s powerful ‘Being Alive’.
Diverse the program may be, and it is well-balanced as to give a fair hearing not just of the concerted numbers, but of the solo singers as well. Daniel Teadt, baritone, was the first heard, in Stacy Garrop’s “Smile, O voluptuous cool-breathed earth!” from Terra Nostra. He has a powerful baritone voice of good quality, used with musical intelligence, but perhaps the vast church sanctuary muffled his diction. The always impressive Timothi Williams, mezzo-soprano, sang Nancy Galbraith’s “Music, when soft voices die,” with her customary assurance and plush, velvety tones. The music is well suited to display her fine voice to its best advantage. She was among the highlights of the afternoon.
Standing – Daniel Teadt (Timothi Williams, Amelia D’Arcy, Graham Fandrei, Andrew Bloomgarden and Robert Frankenberry, seated, with Walter Morales at the piano.)
A crowning moment of the second half came when Charlene Canty sang “Take Care of This House” from Leonard Bernstein’s 1600 Pennsylvania Avenue. As in Ms. Williams’ case, a number best calculated to display the beauties of her lovely soprano voice was chosen by the program maker. She has a voice of clear and secure, solid tones, ample throughout its range, and she provided some of the most satisfying singing that was heard during the afternoon.
Standing – Charlene Canty (Daniel Teadt and Andrew Bloomgarden, seated.)
Most of the ensemble numbers were programmed to show the octet at its best, from Aaron Copland’s a capella “Lark,” led in by Graham Fandrei, baritone, to Reena Esmail’s “The Love of Thousands,” a piece with strong, complex melodies which the singers blended hauntingly, making it one of the best pieces of the program. Christopher Theofanidis’ “Messages to Myself: 2. Rumi,” rang out, difficult and dissonant, and Caroline Shaw’s “Her beacon hand beckons,” from To the Hand, allowed for exquisitely beautiful harmonization, the tones of the female voices gradually joined by their male counterparts. Bach’s “Lobet den Herrn, alle Heiden,” was another vocal gem, kept in time and tune by Ms. Sensi-Sellner and her singers.
Gilda Lyons’ “Appalachian” “Prayer,” was an a capella trio that was a fine display of the voices of Ms. Canty, Ms. D’Arcy and Ms. Fredland. Ms. D’Arcy’s tones were strong and secure, Ms. Fredland’s warm and mellow, and Ms. Canty’s pure and appealing. Another number in the Appalachian vein was Gwyneth Walker’s “Every Night (When the Sun Goes Down),” led in by the pure, strong tenor tones and precise diction of Robert Frankenberry. This versatile performer similarly provided the opening phrases for the octet’s “Ye, who seek the truth,” by Julia Perry. The burnished tenor voice of Andrew Bloomgarden had been heard to advantage throughout the afternoon.
Samuel Ward’s “America the Beautiful,” arranged by the late Robert Page, was one of the best offerings on the program, and, with Page’s arrangement of “Being Alive,” from Company, brought the concert to a close. An appreciative audience applauded loud and long.
There is still a chance to hear Reson8 repeat their debut program. Visit the Resonance Works website for more information and tickets, for the same concert will be performed on Sunday, September 29, 4:00 pm, at the Fox Chapel Presbyterian Church.
Many thanks to Resonance Works for allowing us to be a part of the launching of this new chapter of their history.
Photography – Alisa Innocenti
The Reson8 Octet conducted by Maria Sensi-Sellner, center.
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