Owens Concert A Labor Of Love For Wwii Veteran
Concert preview: Jason Aldean has no appetite for music debate
Also on the bill were Jessie J, Labrinth, Ed Sheeran, Rita Ora, Mercury Prize nominees Rudimental, Ellie Goulding, Beverly Knight, Jamie Cullum and former X Factor contestant Jahmene Douglas, who performed with the London Community Gospel Choir. Plan B opened the show with his track ‘Ill Manors’, also performing ‘She Said’ and ‘Stay Too Long’, and was followed by Rizzle Kicks, who performed ‘Lost Generation’ and, as with most other artists, a cover version. They chose The Beatles’ ‘Blackbird’. Most artists refrained from making statements beyond being proud and honoured to participate while on stage, although Tinie Tempah did add his own tribute to the murdered teen. “This night is about the amazing work done by the Stephen Lawrence Charitable Trust so let’s have a big cheer for them,” he said after performing ‘Pass Out’. “On a personal level, it feels like we’re celebrating a bit of justice as well. Stephen Lawrence, may your soul rest in perfect peace.” The rapper then performed ‘Written In The Stars’, and later returned to the stage to duet with Rita Ora on ‘RIP’. Ora also covered Prince song ‘Diamonds And Pearls’. Oscar winner and mastermind of the London 2012 Olympics opening ceremony Danny Boyle appeared on stage to introduce Stephen’s mother Doreen Lawrence, who was recently made a peer for her work campaigning in her son’s name and against racial inequality and social injustice. She praised the artists involved for giving up their time for free to support that charity, and spoke about how important awareness and funds raised on the evening would be to the Trust. Highlights of the concert will be shown on BBC1 on October 1 at 10.35pm and repeated on BBC Three on October 5, with additional performances available on red button interactive. A live album of the concert will also be available from October 1 featuring all performances from the night, with all funds going to the Stephen Lawrence Charitable Foundation.
Folk music rules at ‘Inside Llewyn Davis’ concert
Amid these and other changes, Baltimore Concert Opera , founded by former Baltimore Opera singers, has managed to hang on and maintain a steady course. The organization, which just opened its fifth season, presents unstaged operas in the relatively intimate ballroom of the Jacobs-Garrett Mansion (Engineer’s Club), with only piano accompaniment. An opera given in concert form without an orchestra is far more limiting than one without costumes or sets. But, at its best, this company is able to make the pared-down experience quite satisfying when assembling a cast that can make the music come alive. A good example came Sunday afternoon with a performance of Donizetti’s endearing “L’elisir d’amore.” Lately, Baltimore Concert Opera has been getting a useful benefit from founder Brendan Cooke’s dual duties these days. In addition to serving as artistic director of the Baltimore ensemble, he recently became general director of Opera Delaware. Now, singers engaged for one can also perform for the other. Opera Delaware will present a staged version of “L’elisir” next week; cast and conductor, in effect, got the advantage of having a couple extra run-throughs of the piece in Baltimore. The singers had the score in their heads (no music stands for this performance, as has often been the case). And, having been through some of the staging rehearsals for Wilmington, the cast easily tossed in a lot of acting (and inter-acting) here. The performance was anything but a mere concert. I was especially interested to hear William Davenport again. The tenor showed unusual promise when he was a Peabody Conservatory student not that long ago. Judging by the confidence he demonstrated in his portrayal of lovesick Nemorino in “L’elisir,” it seems that Davenport is settling into the profession nicely. In terms of styling, the singer is a natural, attentive to text and the shape of phrases; “Una furtiva lagrima” was elegantly molded. I was a little disappointed, however, in Davenport’s tone.
Dais said the concert band will play a variety of music, including the well-known tribute to Frank Sinatra, A Salute Ol Blue Eyes. Other popular numbers will be a tribute to Carnegie Hall, called Carnegie Anthem, by William Owens, and a popular Henry Mancini medley called March with Mancini. Veterans of the former Air National Guard Band of the Great Lakes, also known as the 555th Air Force Band, or the Triple Nickel, will join the Owens band for the last four numbers of the program, in a patriotic tribute to veterans. The Triple Nickel was deactivated last year. Guest conductors will be Lt. Col. Robert Krichbaum, retired commander of the 555th band, and Warrant Officer 4 David Smith, a retired Army bandmaster and former Triple Nickel member. The combined bands will play Armed Forces The Pride of America, Aces High, Masters of the March, and The Ultimate Patriotic Sing-Along. The theater, on the east side of Oregon Road, is handicapped-accessible and has free parking nearby. Mr. Dais said he believes eight or nine of the band’s 45 members are veterans. The youngest band member is 18. The veterans, he said, try to educate the others about military service. The band also does one benefit concert each year. Admission is not charged but we pass around the plate, Mr. Dais said.
aI love Merle and George,a says Aldean. aIs it like Merle and George now? No, itas not. What you have to keep in mind is that the time has changed between the guys who were writing songs back in the day and the ones who are around now. Many of those old songs were written during the Great Depression. I didnat live through the Depression and neither have many of the songwriters, so of course the subject matter has to change. It evolves. You canat write the same subject matter for 50 years.a A bold statement given the number of songs about trucks, beer and flags going around, but Aldeanas point is well taken. We canat expect an entire genre to stay under glass, perfectly formed and pure, forever. Still, the question of where country music is going is debated among musicians, on online chat boards, everywhere the traditionalists and pop country fans gather to butt heads. aItas not interesting to me. Music is always evolving,a says Aldean. aLook at what hip-hop used to be compared to where it is now. Or rock music, for that matter.
Baltimore Concert Opera opens fifth season with spirited ‘L’elisir’
Dressed to impress, it was evident that the teenagers had made an effort to look special for the evening. While girls had straightened their locks, the boys had gelled their back hair. Two hours before the concert, food and drinks were arranged for the students to recharge themselves. As students anxiously walked in and out of the marquee to confirm that the concert was yet to start. Hiba Nasir, media director and a student of Roots, said rumours had been circulating in the schools corridors and many did not believe that Zafar would actually make it to the event. But sales went up as soon as it was confirmed that he would come, for the first time in three years. As the sun went down, the musical evening picked up momentum. Many students were hustling for the front row. Having an edge over students from other schools, Roots students managed to secure the first seats through their friends who were among the organisers and bouncers. Im so happy my best friend is on the organising team and Im the closest to Ali Zafar, said Mirha Pasha, a student. The VJ came on stage announcing the arrival of the rock star followed by a countdown. As soon as the wait was over, Zafar jumped on stage. Dressed in a grey T-shirt, black jeans tucked in ankle high-boots and a canvas hat, his energised performance revved up the crowd.
School concert: An electrifying performance makes it a night to remember
But Rudin doesn’t want to jump to conclusions. “Oh, I don’t know, it’s all this movie,” Rudin said of the evening’s festivities. He added: “It’s going great. I’m very proud of it. Very excited. T Bone did an incredible job, don’t you think? And the second half is insane.” Rudin was right on the mark as Jack White opened with a three-song set that was followed by one of the more inspiring performances of the night by Rhiannon Giddens that brought some members of the crowd to their feet. Standout performances included Decemberist’s frontman Colin Meloy covering a song he thought was a ghost story, bringing out Joan Baez to perform “Joe Hill” with him. Patti Smith covered “Babe, I’m Gonna Leave You,” recorded in 1963 by Baez and made famous a decade later by Led Zeppelin. Costello, Sands and Mulligan backed by the Punch Brothers performed a spirited version of the traditional folk song “500 Miles.” Guests included Glenn Close, Jesse Eisenberg and Paul Rudd. “Inside LLewyn Davis” won the Grand Prix Award at the Cannes Film Festival and made its U.S. debut Saturday at the New York Film Festival. It opens in the U.S. in December.