music
BY BRETT CAMPBELL
traveling soon?
medical advice for global travelers
Intimate Sounds in
Alternative Spots
t he t ravel c linic
John D. Wilson, M.D.
1200 Hilyard St., Suite S-560
541/343-6028
Smaller venues flourish with classical music
for the summer season
Questions?
Email us
at travelclinicoregon.343-6028@gmail.com
Questions?
Email
us at travelclinic3436028 @ gmail.com
Marcia Hadjimarkos
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O
ur major arts institutions —
Eugene Symphony, University
of Oregon, The Shedd — tend to
monopolize arts coverage during the arts
season, roughly September through June.
Of course, readers need to know what
those worthy organizations are doing, but
such places tend to eclipse the efforts of
smaller arts groups, which often depend on
volunteers and amateurs (in the best sense
of the word) who do art because they love
it. The summer season gives some of the
smaller venues a chance to shine, often
outside the usual concert venues.
One of those plucky alternative
classical institutions is Cascadia Concert
Opera , which opens its third season this
week with Mozart and Lorenzo Da Ponte’s
delicious opera Così fan tutte (variously
translated as “All Women are Like That” or
“Thus Do They All” or even “The School
for Lovers”), which gives a clue about
what’s going on in the story. Premiered
the year before Mozart died, it’s one of
those Shakespearean identity-switching
comedies poking fun at gender relations.
Two soldiers insist their lovers will be
faithful; a cynical guy begs to differ; they
set up an elaborate scheme to see who’s
right; confusion, duplicity, hilarity and
forgiveness ensue.
But Così fan tutte is more than a silly
rom-com, and some productions (such as
Portland Opera’s last year) reveal more
complex dimensions to this story about
the uneasy reality of human feelings and
motivations as opposed to conventional,
socially imposed romantic illusions about
them. Of course, you could just go for the
incomparably beautiful music.
Cascadia Concert Opera is a good story,
too. The professional participants donate
their time to bring opera to non-traditional
venues such as libraries, theaters, senior
centers, even a piano store, and to audiences
(families, students, seniors and others) who
might otherwise not see it. Judging by last
year’s production, there’s a good chance that
the informality of the venue and the devotion
of the participants will bring to Così fan tutte
the kind of fresh intimacy missed in grander
stage productions. It’s sung in English and,
depending on the venue, presented both in
a short and a long version. The long version
appears at the downtown Atrium building
at 2 pm Aug. 20, and at Actors Cabaret of
Eugene Aug. 26-27.
Another vernal classical institution,
the Eugene Symphonic Band has been
www.TravelClinicOregon.com
bringing the classics to parks and other
alternative spaces for more than half a
century. This year’s free summer concert at
Washburne Park features short and mostly
light music from Leonard Bernstein,
Shostakovich, Les Miserables and more.
Thanks to a small but devoted early
music community in the area, Eugene is
lucky to enjoy occasional small concerts
of Baroque, Renaissance and other music
that predates the Classical era. These
performances are often held in the Atrium
or area churches. Marcia Hadjimarkos will
play music by J.S. Bach, Joseph Haydn,
Satie, Schubert and Bartok on Sunday, Aug.
21, at Episcopal Church of the Resurrection.
What makes this concert especially
worthwhile is that the Oregon native, who’s
built a career in European early music
circles, will be playing a clavichord, that
beautiful keyboard instrument (popular
from the 14th-19th centuries) whose soft,
intimate purr is entirely lost in the usual
concert hall setting. The clavichord’s metal
tangents produce a lovely bell-like quality
unachievable on other keyboards. So this
concert is a rare opportunity.
Another alternative space that regularly
brings intimate music to town, Tsunami
Books, hosts folk singers Frankie
Armstrong and Linda Allen on Aug. 24.
Starting out as a skiffl e singer in pre-Beatles
England, Armstrong contributed to the
British folk music revival in the early ‘60s,
and she still specializes in traditional rural,
music hall and industrial era songs, plus her
own originals and contemporary works. ew
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EUGENE WEEKLY AUGUST 18, 2011 23