Review: Celebrating Sondheim with The Buffalo Philharmonic Orchestra at Kleinhans Musical Hall
Great Singing Complements Great Writing
By: Michael Rabice Oct. 24, 2022
The emotional jolt that can be experienced by the words and music of the late Stephen Sondheim was palpable as the Buffalo Philharmonic Orchestra paid tribute to this icon of the American Musical Theatre on Saturday night. Less than a year ago the world lost this musical giant, whose works have spanned more than half a century.
The creative programming followed his career from the mid 50's in near chronological order. As a young composer, Sondheim was mentored by the titan Oscar Hammerstein II, and as conductor Jason Seber stated from his podium, Hammerstein gave some great advice. Sondheim was one of those rare beings that composed music and wrote lyrics. His first great successes came as a lyricist for the scores to Leonard Bernstein's WEST SIDE STORY and Jule Styne's GYPSY. Despite those great successes as lyricist, Sondheim had his first solo smash in 1962's A FUNNY THING HAPPENED ON THE WAY TO THE FORUM writing score and lyrics.
The magic of Sondheim's compositions lies in his own unique musical style that broke from the traditional show tune with a nod to his composer predecessors. His lyrics are extremely literate and sophisticated, showing what a true poet he was in his own right. In his 1987 adult fairy tale musical INTO THE WOODS, the Baker's Wife struggles with personal choices while venturing in the woods, and his lyrics below give a perfect example of his simple brilliance as he plays with the words "and" and 'or."
"Must it all be either less or more?
Either plain or grand?
Is it always "or?"
Is it never "and?"
That's what woods are for
For those moments in the woods.........
Either plain or grand?
Is it always "or?"
Is it never "and?"
That's what woods are for
For those moments in the woods.........
.....Just remembering you've had an "and"
When you're back to "or"
Makes the "or" mean more
Than it did before"
When you're back to "or"
Makes the "or" mean more
Than it did before"
Three fabulous soloists from the Broadway stage joined forces with the BPO and some very talented students from SUNY Buffalo's musical theatre program as a chorus. A highly polished evening started with Bernstein's overture to WEST SIDE STORY, providing a good lead in for Sondheim's contributions. Broadway veteran Kerry O'Malley strutted on stage and belted with conviction, ala Ethel Merman herself, "Everything's Coming Up Roses." Her clarion voice and dramatic deportment was a perfect mix for this classic. She later sang Sondheim's most well recognized tune of all time, "Send in the Clowns" from 1973's A LITTLE NIGHT MUSIC. She had the audience captivated with her introspective performance. By the time she sang "Here's To The Ladies who Lunch" from 1970's COMPANY, her tough as nails demeanor and full throated singing was spine tingling.
Alex Getlin provided a smooth lyrical voice with a quick vibrato that was well suited for many of Sondheim's most introspective moments. Her beguiling rendition of "Losing My Mind" from 1971's FOLLIES was effective and heartbreaking. In singing "Another Hundred People" from COMPANY with it's frenetic pacing and driving undertow, Ms. Getlin provided the intensity needed to whip us into the jungle of New York city in the 70's.
Blaine Alden Krauss has just come off a run as the cover to Alexander Hamilton and Aaron Burr in the blockbuster tour of HAMILTON. Krauss brings a magnetic presence and powerful vocals that shows he is a talent to watch. His singing of "Being alive" from COMPANY was thoughtful and haunting, starting soft and building to a brilliant climax. Mr. Krauss gave the same gentle attention to the soliloquy "Finishing the Hat" from SUNDAY IN THE PARK WITH GEORGE (1984). From that same show, Getlin and Krauss magnificently joined forces singing the heartbreaking duet of operatic proportions, "Move On." Again, Sondheim manages to convey though words and music the complexities of love and heartache in a musical language unseen before.
The large orchestra under Maestro Seber's attentive baton played with effective nuance, never overpowering the singers. Hearing Sondheim's compositions played by a full orchestra was a true luxury. The lush strings and harp part in "Losing My Mind" and the syncopated rhythms and large percussion heard in the SWEENEY TODD (1987) sections were thrilling to hear. His harmonies are complex but not inaccessible, creating his own Sondheim sound. This is a man who brilliantly musicalized artist George Seurat's pointillism by creating sung short staccato singing to represent each point on a canvas.
It is difficult to represent all of the composer's works in one short concert, but his musicals PASSION (1994), MERRILY WE ROLL ALONG (1981) and the flop ANYONE CAN WHISTLE (1964) have some magnificent music that should be explored.
The performance finished with all forces singing the moving finale "Sunday" from SUNDAY IN THE PARK WITH GEORGE. It begins with the artist Seurat speaking, "Order.....Design....Tension.... Balance....Harmony" with orchestral underscoring representing each concept. The effect was riveting and elicits such gut wrenching emotions that often are unexplainable-- until you realize the human behind this work was a true genius.
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