Review: CARL ORFF: CARMINA BURANA at Robinson Center in Little Rock

Some pieces of music are simply larger than life, and Carmina Burana is definitely one of them. With its thunderous choruses and dramatic storytelling, it’s the kind of work that sends chills through your entire body when performed well. So when the Arkansas Symphony Orchestra announced they were bringing this epic masterpiece to Robinson Center Performance Hall for their February 28 and March 1 concerts as part of the Stella Boyle Smith Masterworks Series, I was already excited. Under the baton of conductor Geoffrey Robson, the performance proved to be an electrifying musical event that had everyone on their feet at the end. Sponsored by Saracen Casino Resort, this was one of those concerts that reminds you just how thrilling live symphonic music can be.

From the very first crashing chords of “O Fortuna,” the audience knew they were in for something monumental. That iconic opening is instantly recognizable, and when the combined choirs and orchestra unleashed it together, the sound was absolutely enormous. The chorus sang with thrilling intensity, the orchestra thundered underneath them, and the dramatic swells created the kind of goosebump moment that makes you remember why this piece is one of the most beloved works in the classical repertoire. Hearing that powerful music echo through Robinson Center felt dramtically cinematic.

A performance of Carmina Burana requires an incredible collaboration of musicians, and the choral forces assembled for this production were remarkable. The Arkansas Chamber Singers and UALR Concert Choir, directed by Dr. Lorissa Mason, joined the UCA Concert Choir and Chamber Singers, directed by Dr. Frank Eychaner, creating a massive and dynamic chorus. Adding an extra layer of charm was the ASO Children’s Choir, directed by Shea Barham and Satia Spencer with Leann Jones as accompanist. It was evident that the adorableness was cranked all the way up when they appeared, with proof when the entire audience collectively let out a delighted “awwww.” Their youthful sound added a sweet brightness to the performance and provided a lovely contrast to the thunderous power of the full chorus.

The trio of soloists brought tremendous personality and vocal brilliance to the evening. Soprano Keely Futterer delivered a radiant performance, and her moment during “Dulcissime” was simply breathtaking. The aria floats high in the soprano range, and Futterer soared through it with stunning clarity and control, creating a moment that felt almost suspended in air before the music swept forward again.

Tenor Nicholas Simpson took center stage in “Olim lacus colueram,” navigating the notoriously high vocal writing with impressive precision. His performance captured the dramatic and slightly theatrical spirit of the piece while maintaining strong vocal control, drawing the audience into the vivid storytelling of the moment.

And then there was baritone Rolfe Dauz. To say I was impressed with him is an understatement; I had full-on starry-heart eyes watching him sing. His voice carried through the hall with a rich, commanding resonance that made every phrase feel powerful and intentional. In “Estuans interius,” Dauz unleashed the full force of the baritone voice with fiery intensity and dramatic flair. The piece has a rebellious, almost mischievous spirit, and he leaned into it beautifully, delivering a performance that was bold and completely captivating. It was one of those moments where you just sit back and think, yes… this is exactly how that aria should sound.

While the famous opening and closing “O Fortuna” moments are undeniably epic, one of my favorite ensemble numbers of the evening (if you don’t count those bookending choruses) was “In taberna quando sumus.” This lively tavern scene gave the men of the chorus a chance to shine, and the energy was absolutely contagious. The music bounced between explosive bursts of sound and quieter rhythmic passages, creating a playful, almost theatrical atmosphere. It felt like a rowdy medieval drinking song brought vividly to life, and the performers clearly had fun with it.

Oh wait, maybe “Ecce gratum” was my favorite ensemble piece. Though In taberna quando sumus gave off rowdy tavern vibes, this joyful celebration of spring felt like a burst of sunshine across the stage. The chorus sang with a bright, buoyant tone that perfectly captured the excitement of the season returning, while the orchestra matched that spirit with lively, dancing rhythms. There was such a warmth and freshness to the sound that it felt like the entire hall lifted along with the music. By the time the chorus reached the climactic phrases, the piece was blooming with energy and joy, making it one of the most uplifting moments of the evening.

Throughout the evening, the orchestra itself was simply electrifying. Orff’s score is heavily driven by rhythm and percussion, and the musicians of the Arkansas Symphony Orchestra delivered those moments with thrilling power. The pounding timpani, bold brass, and shimmering percussion created a primal energy that coursed through the entire performance, while the strings and woodwinds provided lyrical contrast in the more tender sections. Under Robson’s leadership, all of these elements came together with impressive clarity and balance.

One detail I especially appreciated was that the symphony provided a printed translation of the Latin and German texts for the audience. Because Carmina Burana is built on medieval poems about fate, fortune, love, and earthly pleasures, having the translations made it easy to follow the story and emotional shifts throughout the piece. It’s a small touch, but it really deepened the experience.

The Arkansas Symphony Orchestra continues to prove why it is such an important cultural force in our region. Performances like this one in the Stella Boyle Smith Masterworks Series bring world-class repertoire and breathtaking artistry to Arkansas audiences. This production of Carmina Burana wasn’t just a concert, it was a full sensory experience of sound, drama, and musical storytelling.

And judging by the thunderous applause at the end of the night, fortune was definitely smiling on everyone who got to experience it. Is it too early to ask for an encore of this performance?