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Los Angeles Master Chorale. Photo by Ken Hively. |
By Ed Rampell
You better watch out, you might want to shout, because the Los Angeles Master Chorale is in town, regaling listeners with its annual Festival of Carols. If you’re not in the Christmas spirit yet, experiencing this songfest at the Walt Disney Concert Hall may be just the ticket. The festive aural cascade of seasonal song includes around 20 numbers, ranging from the solemn to the celebratory, the traditional to the pop, in a variety of languages.
The show, which has one intermission, was kicked off by an acappella rendition of an English Wassail song. Other oldies but goodies were accompanied by Lisa Edwards on the piano and/or by John West on the organ. The ensemble of 50-ish male and female vocalists regaled the audience's ears with many of those beloved standards. They included zesty versions of "Deck the Hall," "Silent Night," "White Christmas" and "Santa Claus is Coming to Town" -- which were accompanied by a certain visitor who may have arrived via a reindeer-powered sled, who then slid down the Disney’s chimney. Before the Chorale belted out a rousing "Hark! The Herald Angels Sing" conductor Grant Gershon invited the Angelenos to sing-a-long from their seats, the words provided in the show’s program.
A Hebrew Folk Tune enhanced the repertoire, as soprano soloist Ayana Haviv sang "Hiney Mah Tov." Noting that the Jewish Festival of Lights had already ended prior to the first concert, which was on Dec. 7, Gershon good-naturedly joshed that this was “the first Hanukkah carol of next year.”
Highlights of the second act included soprano saxophonist Doug Masek accompanying the Chorale during the German carol, "Lo, How a Rose E’er Blooming," which was arranged by Shawn Kirchner, composer in residence. Gershon, who provided wise and witty patter between songs, introduced the Kenyan folk song, "Wana Baraka," by dedicating it to that African giant we just lost, Nelson Mandela.
During Act II West returned to the stage and announced that there would be “an unscripted word” -- and never were truer words ever spoken, as the Hall’s high tech organ actually could not play. As West wrestled with what I suppose is a computerized musical instrument, I thought the organ was going to say, like HAL in Stanley Kubrick’s 2001:“I’m sorry Dave, but I can’t do that.” As the audience cooled its heels a technician was actually brought onstage and performed what I suppose was an, uh, organ transplant.
During the grand finale I thought I was at a Dodgers’ game for a moment as the organ swelled, resounding throughout the auditorium, accompanying a rousing rendition of "Joy to the World." No, rockers -- not Three Dog Night’s version with the “Jeremiah Was a Bullfrog” lyrics, but the one based on Psalm 98, composed by Isaac Watts in the 18th century with the 'come let us adore thee' words. Truth be told, the Chorale’s rapturous singing so expressed what that immortal philosopher Linus van Pelt called “the true meaning of Christmas” that your atheistic reviewer actually experienced a few transcendent seconds of splendor and bliss, when for a moment all worldly woes and weariness dissolved in a dew and joy dwelleth in the heart. And that alone, dear reader, is worth the price of admission.
If you’re nice not naughty, Gershon and his musical “elves” just might perform an encore or two. Take someone you love to go see the melodic gospel according to Grant and the Chorale, which is celebrating its 50th anniversary.
Fa-la-la-la-la, peace on Earth, goodwill to all men and women.
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