Grant Park Music Festival

If I Only Had a Brain – Grant Park Music Festival – August 13, 2025

Posted on by admin

As explained in the program, composer Chelsea Komschlies’s Mycelialore combines her interests in neuroscience and fungi. I would have preferred something that combined interests in timbre and rhythm.

Komschlies starts from saying that mushrooms have a root-like structure that can function like a human brain, and then wonders whether, if they “can remember and tell their own stories, what would they say and how would they sound?” Her musical answer led me to conclude, I don’t care. I wish conductor Giancarlo Guerrero had not waited for nearby sirens to die down before giving the down beat.

Fortunately, after 10 minutes of this fungal brain scan, pianist Clayton Stephenson and the orchestra cleansed the auditory cortex and nucleus accumbens with a terrific rendition of Liszt’s Piano Concerto No.1 that left Guerrero bouncing with joy at its conclusion.

Stephenson earned his standing ovation, but didn’t stop there, giving the audience a delightful encore with his performance of Art Tatum’s jazzy Tea for Two.

Last, but not least, we were treated to Saint-Saen’s Symphony No. 3, wherein, I am happy to report, an organ (not the brain) is used well as an accent, and not as a droning focal point, and certainly not as a representation of the communication skills of something related to athlete’s foot or fungal meningitis.

The Emperor’s New Clothes – Millennium Park – August 6, 2025

Posted on by admin

This is not a piece about a fashion show, although I did go to one once at an El Crab Catcher restaurant in Kaanapali on Maui in the 1980’s, before blogs were invented.

The Price Quality Heuristic (PQH) suggests that the more expensive something is, the higher quality people will attach to it. I believe I saw this principle in action at the Joshua Bell concert at the Grant Park Music Festival.

The event was not on the original Festival schedule, which, along with higher prices for the paid seating, apparently thrust it into PQH territory.

The seats and lawn were filled by a crowd enormous enough to suggest the possibility of an underlying ploy to set up an immigration raid, but park security was unmasked, so I think not, especially since some potential attendees were turned away.

When Bell completed his playing with the, as always excellent, orchestra (augmented not by an encore, but rather by an endless string of curtain calls that strained credibility), he was given a rousing standing ovation, which I confess may have been people just wanting to stretch their legs, or in some way related to a new Presidential fitness test.

As for my thoughts about Bell’s performance, it was fine, worthing of a sitting ovation. It was not, in my opinion (and some others I spoke with) as good as that of Augustin Hadelich, who earlier in the season had thrilled us with his artistry in the Tchaikovsky Violin Concerto (and played a fun encore).

Bell has been praised and criticized for his body movements while playing. He did remind me a little of the way Elaine Marie Benes dances, not that there’s anything wrong with that.

Maxim Lando – Grant Park Music Festival – July 23, 2025

Posted on by admin

Maxim Lando is a 22 year-old pianist who started playing when he was three years old and went on to win his first major competition when he was 13. I’m guessing that he didn’t have a normal childhood.

Nevertheless, it gives me hope that I may yet turn the corner in my playing, when I reach ten years of practicing, though I suspect that he put it more hours and didn’t spend time writing blogs.

He has a unique style, sitting very close to his instrument (against everything I have been taught) and hunching over the piano, almost never looking up. I guess he has the music memorized (another difference).

While delighting the audience with Manuel De Falla’s Nights in the Gardens of Spain and Franz Liz Liszt’s Rhapsodie espagnole (arranged for full orchestra), Lando spent much of the time jerking his head all about, while playing, in a manner that suggested a likely future need for chiropractic services. At the end of passages, he would then practically jump up off the bench in dramatic fashion. Definitely a show within a show.

The evening opened joyfully with Rossini’s overture to The Barber of Seville, which the conductor, Lee Mills, acknowledged first drew his attention in Looney Tunes (as with all of us).

The finale was the ever-popular Bolero by Maurice Ravel, bringing a resounding climax to the evening, even for those of us who did not sit there counting the 18 repetitions of the melodic theme (as mentioned by Mills) or the 169 rhythmic repetitions by the snare drum (repeat after me – carpal tunnel syndrome).

Grant Park Music Festival – Opening Night – June 11, 2025

Posted on by admin

Going in I was somewhat surprised to see that Andrew Litton would not only be conducting, but also playing the piano for Gershwin’s Rhapsody in Blue. The double duty seemed like too much to me. Litton assured us, however, before the piece, that, because the pianist and the orchestra play apart from each other during the composition, it wasn’t really a problem.

I think he was wrong. First, there certainly were, unsurprisingly, places in the music where there was overlap. (Did he think we wouldn’t notice?) Second, though it was amusing(?) to watch him sporadically rise from the piano bench for two or three seconds at a time to wave his hands at musicians who probably weren’t watching him before sitting back down and immediately resume his playing, I can’t help but think that it affected his concentration.

So, how did he sound? Next time the festival rolls out Rhapsody in Blue, please bring back Michelle Cann. Her rendition was much more dynamic. I’ll even go so far as to say that I preferred Sean Hayes’s interpretation in the play Good Night, Oscar.

As for the rest of the concert, I had not previously heard either Gabriela Lena Frank’s Three Latin American Dances or Manuel De Falla’s The Three-Cornered Hat, though I had heard good things about the latter, before going, from a friend in the know, who remains credible, as I enjoyed it.

Season Prelude Reception and Dinner with the Maestro – Millennium Park – February 20, 2025

Posted on by admin

The maestro, in case you have been avoiding all news, is the new Grant Park Music Festival (GPMF) artistic director and principal conductor, Giancarlo Guerrero, replacing Carlos Kalmar.

Addressing a packed stage, Guerrero had a lot to say about his background and plans, not only for this year, but also the future, in particular next year’s 250th anniversary of something or other.

He did so in a rapid-fire style that would make Aaron Sorkin proud. I was assured by GPMF staff that not everything he conducts moves at that same lightening-fast pace.

In his remarks, GPMF President and CEO Paul Winberg mentioned the organization’s successful DEI efforts, and didn’t get hit by lightning.

It never gets old sitting on the Jay Pritzker Pavilion Stage, with the glass doors closed to spare us from the frigid temperatures, and looking out onto Millennium Park from the vantage point, in this case, of a member of the violin section of the Grant Park Orchestra.

Several times I noticed the headlights from a golf cart driving east to west across the division between the seats and the lawn, which I assume was either some sort of security check or a search for the most wayward shot in history.

We were treated to two beautiful cello selections played by this year’s artist-in-residence, Inbal Segev. I wish I could tell you what they were, but I must have been too focused on the hunt for the golf ball. Segev will be playing at two consecutive Wednesday concerts in July, which I look forward to and when there will be written programs for me to crib from.

There also was a mezzo-soprano, who probably was very good, delivering a couple short songs, but, as we know, I don’t care.

Dinner in the Choral Hall was excellent (special kudos to the rolls).

Finally, I would be remiss in not mentioning my excitement when parking in the Millennium Park Garage for the first time and having the gates open automatically for me upon recognizing my license plates as entered on my prepay online form. I’m easily amused.

Fascinating Rhythm: Gershwin and Friends – Grant Park Music Festival – August 14, 2024

Posted on by admin

In 1916, The Georgia Tech football team, coached by John William Heisman (after whom a trophy, not for sportsmanship, would be named), beat Cumberland College 222-0. It is said that one of the Cumberland backs, after fumbling the ball in the backfield, yelled at a teammate to pick it up, whereupon the teammate yelled back – “you dropped it, you pick it up.”

Byron Stripling, conductor of the Grant Park Orchestra for the evening, told a story, he swore was true, of a concert where a man in the front row started snoring. Stripling stopped the music and asked the man’s wife to wake him, the wife responding “you put him to sleep, you wake him up.”

True or not, it made this wide-awake audience laugh, as did his introduction of himself, “for those who did not know,” as Wynton Marsalis, helping to exhibit why Stripling is a quadruple threat, as he also sang, scatted and played a mean trumpet while leading a night of beautiful music.

My enjoyment actually started at the morning rehearsal, sitting in the choral seats behind the orchestra, where I uncovered the secret of how horn players prepare when they aren’t playing – texting, emailing and reading on their cell phones.

I also got to see three union reps quietly storm the stage to inform Stripling that it was break time, whereupon the orchestra was asked to vote whether they wanted to first finish the song they were working on. (Democracy in action.) They did, though the harp player, with nothing to do at that point, and situated near the exit, snuck off.

As Jim Rupp, the drummer for the Cleveland Jazz Orchestra and the Cleveland Pops Orchestra, was brought in to do his thing for the concert, the regular percussionists spent a lot of time out of sight, mentally preparing for their highlighted moments that included a whistle blow and a single strike of the triangle. Good thing all the sound shields in front of them were in place.

Jazz pianist Bobby Floyd was also brought in to wow us, as was vocalist Sydney McSweeney, who earned a standing ovation from the audience shortly before Stripling politely kicked a confused orchestra off the stage, thereby averting another visit from their union reps, to finish the program with Rupp and Floyd in a jam session of, appropriately, Summertime, wherein he held a note so long on his trumpet that I researched, wrote, edited and rewrote this whole blog before he moved on.

Broadway x 3 – July 31, August 6, August 12, 2024

Posted on by admin

Three different annual Broadway-related concerts, put on by three different groups, in the span of 13 days, and nothing unlucky about it.

The Grant Park Music Festival opened with Broadway Rocks!, which opened with the overture from Tommy. I would have been satisfied with that alone, but the orchestra and a trio of singers kept the energy going through another dozen selections, closing with Don’t Stop Believing (Rock of Ages).

Six days later Porchlight Music Theatre (PMT) wrapped up its Broadway in Your Backyard 12-concert summer series in Washington Square Park (I also saw them June 27 at Seneca Park), opening with, appropriately, Another Op’nin’, Another Show (Kiss Me Kate) (which sent me off into “what if” land, wondering about what the the reception would have been if Mel Brooks had titled the song from The Producers Another Op’nin’, Another Flop, instead of just Opening Night) and closing with Aquarius/Let the Sunshine In (which was actually the opener in Hair). These things are important.

Then, another six days later, it was back to Millennium Park for Broadway in Chicago, put on by, wait for it, Broadway in Chicago, featuring songs from 16 shows coming to Chicago (starting today with Back to the Future). Some of the shows have been here before, like Come From Away, Les Miserables, Moulin Rouge and the pre-Broadway run of Tina, but the biggest hits of the night were a couple newcomers, Kimberly Akimbo and Titanique (produced by PMT), both of which brought waves of laughter and enthusiastic applause from an audience that packed the park from front to back.

Finally, I would be remiss if I omitted the fact that two songs were included in both otherwise divergent Millennium Park Concerts, the always crowd-pleasing Proud Mary (Tina) and the always crowd-engaged Sweet Caroline (A Beautiful Noise), which closed the last of the three nights.

Broadway Rocks! – Grant Park Music Festival – July 31, 2024

Posted on by admin

Robbie Ellis of WFMT emceed the pre concert talk, featuring conductor Lucas Waldin for the first 10 minutes before he had to leave to prepare for the concert.

Then the program went off the rails. Ellis and his other two guests, neither of whom I have any clue about, started comparing jukebox musicals to elements of Harry Potter. Half the attendees, myself included, had no idea what they were talking about.

Then, just as I was ready to bail, Ellis turned the discussion to a jukebox musical coming to town in 2025. Without going into detail, let me say that I, and the Porchlight Music Theatre (co producer of said show, Titanique, with Broadway in Chicago) Board of Directors sitting next to me, let our presence and enthusiasm be known, leading to a short dialogue with Ellis, who praised Porchlight, leading to cheering from the crowd.

It was then on to the concert itself, which consisted of a wonderful array of songs, energetically performed, and more costume changes by Lakisha Jones and Chloe Lowery in 90 minutes than I make in a year.

It was two shows in one, as a woman sitting three rows in front of me relived her youth throughout, while the man who appeared to be her husband sat stoically next to her, apparently no longer excited by her singing and chair dancing to the music.

Scheherazade – Grant Park Music Festival – July 26, 2024

Posted on by admin

Just as he had two nights earlier in conducting a stirring rendition of Beethoven’s Symphony No. 5, Eric Jacobsen wore red socks with his black tuxedo, the latter of which directed me toward the paronomastic pursuit of linking it with the tales from Scheherazade’s One Thousand and One Nights, though I suspect Jacobsen did not wear different tails each night.

And, just as he had a week earlier, when conductor Anthony Parnther had put the pressure on him by announcing that he would be playing the violin part in the theme from Schindler’s List originally performed by Itzhak Perlman, concertmaster and 1st violin Jeremy Black provided the audience with a memorable experience.

A final word about Scheherazade. Even if the music weren’t beautiful, how could you not like a composition whose final movement is described in the program as concluding with The Ship Goes to Pieces on a Rock, which gives me the chance to plug a musical comedy about a ship that goes to pieces on an iceberg (I guess it’s not too soon), Porchlight Music Theatre’s upcoming spring 2025 Chicago premiere of Titanique, presented in association with Broadway In Chicago.

Grant Park Music Festival – Millennium Park – July 17 & 19, 2024

Posted on by admin

Two beautiful evenings, two large crowds, two wonderful concerts.

On July 17th, I had a feeling of deja vu while listening to pianist 
Clayton Stephenson play Rachmaninov’s Rhapsody on a Theme of Paganini. And then it occurred to me that I had heard it played by Bill Murray’s character (though really played by session musician Terry Fryer) in Groundhog Day at the party near the end of the movie.

So, it wasn’t an illusion of memory, or one triggered by reliving the same day 12,395 times, as computed and suggested by the yahoo!movies website, but rather an actual memory of a movie I saw three days in a row when it first opened.

On the 19th, for Star Wars and More: The Music of John Williams, I thought I might see a lot of attendees, particularly younger ones, in costume, but there was a dearth of Darth Vaders.

The Grant Park Orchestra, in top form both days, was led that day by Anthony Parnther, who, in addition to demonstrating his conducting skills and James Earl Jones impersonation, albeit from The Lion King, not Star Wars, proved to be an engaging raconteur, entertaining us with, among others, a story about a sound editing room physical altercation about a E.T. score volume alteration.