By JESSICA NEU
The lights dimmed, the crowd quieted, but then, upon hearing the first notes of “The Star-Spangled Banner,” they immediately rose to their feet. However, this was no sporting event- not even a kickoff party to start counting down to the upcoming NFL draft. This poignant moment marked the start of the Pittsburgh Symphony Orchestra’s American Soundscapes. Led by conductor Byron Stripling, American Soundscapes celebrates the extraordinary music, songs, and genres that have shaped American life. The PSO’s rendition of America’s National Anthem felt triumphant and served as a wonderful introduction to reminding the audience that we are bound together by greater similarities than differences. This was my second time hearing the “Star-Spangled Banner” in person since social and political tensions have resulted in tragic endings, specifically in Minnesota. I was moved to tears as the PSO melodically flowed through the Anthem, with many audience members singing along. “O’er the land of the free and the home of the brave.”
Early on in the show, Stripling addressed the crowd and rhetorically asked, “What does America mean to you?” He provided the answer “democracy,” but I am sure the audience would offer a myriad of answers. At its core, American Soundscapes celebrates the American Dream. Is that dream still achievable? Still possible? Or is it simply a long-forgotten ideal? From its inception, America and Americans have experienced turmoil and hardship that tested character, resilience, and loyalty. And music has always been there to remind us that even in our darkest hour, anything is possible.
From conductor to singer, Stripling delighted audiences with his rich, velvety vocals on Ray Henderson’s “Birth of the Blues.” The PSO’s arrangement turned the song into a celebratory anthem, adding depth and soul to the number.
Again, addressing the audience, Stripling reiterated the performance’s theme: through the power of music, we can still rise together as one. He quoted William James, stating, “I don’t sing because I’m happy, I’m happy because I sing.” Stripling then dove into an impromptu acapella rendition of Karen Carpenter’s “Sing a Song.” I had not heard this song since I was a child, and was overcome with nostalgia and happiness simultaneously.
Stripling took the mic once more to lead the audience in a touching call and response rendition of “Amen” and “This Little Light of Mine.” The orchestra swelled to the crescendo as the audience reveled in a rejoiceful melody of “Amen.” Stripling proved just how multi-talented he is, this time playing a featured trumpet piece on Jelly Roll Morton’s “Black Bottom Stomp.” Woodwinds and piano were also featured in this instrumental toe-tapping number. The up-tempo arrangement made the song feel reminiscent of a simpler time in America, filled with hope and the promise of tomorrow. Sometimes that promise feels unattainable, but performances like American Soundscapes remind us of what is possible when we come together to celebrate our similarities. What once was could still exist once more.
Stripling then introduced Broadway star and acclaimed writer Mamie Parris. Parris began her set with the George Gershwin classic, “I Got Rhythm.” The PSO complemented Parris well on this fun number, but the depth of both the PSO and Parris shone in their next number. Cued pianist Bobby Floyd, who accompanied Parris on the organ. Parris stoically began Amazing Grace. The notes hung in the air communicating that, through hardship and despair, there is still hope. In that moment, we were provided a reason to rejoice. Floyd’s organ arrangement was filled with depth and soul, proving that instrumental music can be communicative. The organ spoke to us more powerfully than any words could. With Stripling back on trumpet, the orchestra joined Parris and Floyd as the PSO transformed Amazing Grace into a cool jam session that made you feel like you were at a late-night jazz club.
Parris then delighted audiences with “Don’t Rain on My Parade.” Her strong bravado rivaled that of Barbara Streisand’s, and the symphony supported her in a beautiful pocket of full orchestration. Parris and Stripling joined forces for a dynamic duet of “It Don’t Mean a Thing if it Ain’t Got That Swing.” The duet was comfortable and broken-in like your favorite pair of shoes. In true American fashion, the orchestra delivered a grand finish before intermission.
Striping, Parris, and the PSO kept the patriotic party going in Act 2 with “When the Saints Go Marching In.” Another call and response livened the crowd before a stunning rendition of “God Bless America.” Parris was joined by the Hamlisch-Page Student Choir. Together, they illuminated Heinz Hall in this touching number. The orchestra swelled in the introduction and then, with a simple downbeat and a gentle horn arrangement, Parris’ operatic vocals soared in this classic number. The Hamlisch-Page Student Choir remained on stage for a mash-up of celebratory patriotic songs, including “Yankee Doodle Dandy” and “You’re a Grand Old Flag.” A touching salute to our soldiers concluded the program, once again raising the question, “What does America mean to you?” Regardless of your answer, American Soundscapes reminds us that we must continue to fight for whatever ideal you strive for in your version of the American Dream. Some of these numbers you may not have heard since elementary school. The doom and gloom of the daily news or your hourly algorithm is replaced with reasons to rejoice and recall your love for this country. American Soundscapes is emotional, thought-provoking, and the perfect patriotic celebration when the summer heat of the 4th of July feels so far away. “God Bless America, my home sweet home.”
TICKETS AND DETAILS
Pittsburgh Symphoiny Otchestras American Soundscapes has remaining performances at Heinz Hall on Saturday, February 28th at 7:30pm and Sunday, March 1, 2026 at 2:30pm. Tickets at: https://www.pittsburghsymphony.org/production/99130/american-soundscapes
Categories: Arts and Ideas, Reviews
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