Commissions anchor spring TCGMC concert

Minneapolis, Minnesota


As a child attending Sunday services of the new St. Timothy's Lutheran Church, held in the Nelson Grade School gymnasium in Columbia Heights, Minnesota, I once heard our pastor make a point in his sermon about the weakness of the human voice. "If all the people in the city of Chicago started talking at one time," he said, "they would generate barely enough energy to illuminate a light bulb."

In those days that preceded the Stonewall Rebellion by 10 years, the pastor had never heard a gay men's chorus, the collective voices of which now have power to change and illuminate the world.


For Glenn Olson, such voices have provided at least one life changing experience. As a baritone singer with the Twin Cities Gay Men's Chorus since its second season in 1982, he has attended seven quadrennial choral festivals sponsored by GALA Choruses. The 1996 GALA gathering in Tampa, Florida, he says, had a special buzz about it.


Word had it that the San Francisco Gay Men's Chorus had commissioned a hot new work, NakedMan, to close the festival and honor the memory of the 254 singers it had lost to AIDS. For everyone, like Olson, who shared the moment, the outside air crackled with electricity as they emerged afterward from the packed hall.


With its soaring melodies, "NakedMan" sings the story of all people who have felt different, and celebrates their courage to face the unknown. The song suite, by Philip Littell and Robert Seeley, grew out of interviews with gay men, and is set in 15 movements adding up to 53 minutes of music. The movements cover the range of human experience: coming out of every kind, getting married, serving in the military, wrestling with God, and experiencing loss.

At the debut of "NakedMan" in 1996, Dr. Stan Hill had served as artistic director of the San Francisco chorus for seven years. He continued there for four more years before assuming the same post with the Twin Cities Gay Men's Chorus in August 2000.


With the two organizations, Hill has commissioned some of the most successful repertoire in the gay and lesbian choral literature. In addition to "NakedMan," he has shepherded to creation "Exile," "ExtrABBAganza," "Metamorphosis," "Through A Glass, Darkly," and "Misbehavin'!"


Hill also has led the TCGMC on a number of remarkable, groundbreaking journeys, including its 25th anniversary season in 2006. That season culminated in the Great Southern Sing-Out Tour through four states and five cities in six July days.


The chorus launched the Southern tour at Nashville's Ryman Auditorium, becoming the first gay organization to perform on the historic stage of the Grand Ole Opry. From Tennessee, three buses of singers and supporters then traveled to performances in Birmingham and Mobile, Alabama, Jackson, Mississippi, and New Orleans, Louisiana. "Marry Us," one of the movements from "NakedMan," was featured at every stop.


Accompanied by the GLBT Minnesota Philharmonic Orchestra, "NakedMan" will open the first half of TCGMC's spring concert, LifeSongs: The Music of Living, Mar. 26-27, at the Ted Mann Concert Hall, Minneapolis. In its publicity, the MPO states that, speaking for itself, its members "will be fully clothed."


The world premiere of "The Kushner Trilogy" will highlight the program's second act. Lyrics for the three sections – "It is Very Simple," "There is a Little House in Heaven," and "I Want More Life" – are drawn from texts by the playwright Tony Kushner.


The TCGMC performed the third section on four occasions during the Guthrie Theater's Kushner Celebration in 2009. Its text comes from "Angels in America, Part II: Perestroika," a monologue by Prior, a man wracked by advancing AIDS, who pleads before a cosmic tribunal for more life despite the pain of his disease. The music transforms the repeated phrase, "I want more life," from plea to confident claim for the gay man's place at humanity's table.


Jeffrey Bores, TCGMC's board chair, and his partner, Michael Hawkins, underwrote the trilogy's choral setting by Michael Shaieb, who also composed "Through A Glass, Darkly" for the chorus in 2008. Meet the Composer's MetLife Creative Connections Program provided additional funding to support post-performance conversations with the composer.

The spring chorus program also will include "The Promise of Living" from Aaron Copland's "The Tender Land," "The Impossible Dream" from "Man of La Mancha," "This is the Moment" from "Jekyll and Hyde," and "Here's Where I Stand" from the film "Camp."


More than 750 men have served in the TCGMC's singing ranks since its first concert at the Heritage Hall of the Minneapolis Public Library. The group has recorded 10 CDs and performed with the Minnesota Orchestra, Saint Paul Chamber Orchestra, VocalEssence, Ballet of the Dolls, James Sewell Ballet, composer Ned Rorem, Harvey Fierstein, Ann Hampton Calloway, Michael Feinstein, and Holly Near.


The Twin Cities Gay Men's Chorus will present its 2010 spring concert performances with the Minnesota Philharmonic Orchestra at the Ted Mann Concert Hall, University of Minnesota West Bank Arts Quarter, Minneapolis, Fri. & Sat., Mar. 26 & 27, 8pm. For tickets call 612.623.2345. Photos by Paul Nixdorf.

-

Don't ask, don't tell

Miami, Florida


The music making in downtown Miami continued apace on Mon., July 14, with a 90-minute presentation by the San Francisco Gay Men's Chorus and Community Women's Orchestra. Dr. Kathleen McGuire serves as conductor for both organizations. The morning performance at the Hilton Hotel's Symphony Ballroom, part of GALA Choruses Festival 2008, was standing-room-only.


The performance settings of Festival 2008 are the first outside of California for the Community Women's Orchestra. The all-volunteer, all-woman ensemble opened its set with Fanfare for the Uncommon Woman, a three-minute work by Joan Tower (b. 1938, New Rochelle, New York), commissioned and first performed by the Houston Symphony in 1987. It was followed by Impressions d'Ardenne, symphonic sketches by Juliet Folville (b. 1870, Liége, Belgium; d. 1946, Dourgne, France); the first movement of Symphony No. 3 in E flat by Robert Schumann (b. 1810, Zwickau, Germany; d. 1856, Endenich, Germany) and edited by Clara Schumann; and Y.M.C.A. by Jacques Morali (b. 1947; d. 1991).


More than 100 sailors from the San Francisco Gay Men's Chorus joined the Orchestra on stage to reprise the group's first musical, U.S.S. Metaphor or, The Lad That Loved A Sailor. This one-act operetta is an original adaptation of the Gilbert & Sullivan classic, H.M.S. Pinafore. The highly entertaining and hilarious work received its premiere performance at Louise M. Davies Symphony Hall in San Francisco, April 30, 2007. Set aboard a ship in Boston's harbor, the story includes the on-shore marriage of two male ensigns along with other hijinks that take dead aim at the military's 15-year-old policy of Don't Ask, Don't Tell.


A Monday evening concert block at the Ziff Opera House opened with in Harmony, eight singers from Ft. Lauderdale, offering up Alle, Alle, Alle (Will Schmid, arranger; Maureen Schaffel, Liz Von Ache, and Tom Sukowicz, soloists), a Jamaican folk song. The group, founded in January 2007, presented excerpts from its recent "Imagine" concert. Artistic Director Randall Leonard led the four men and four women through Yo Vivo Cantando, I Live To Sing (Jay Althouse, composer); Agnes Dei Canon (Donald Moore, composer; traditional Latin); Wakati wa Amani, A Time of Peace (Sally K Albrecht, composer); Bridge Over Troubled Water (Paul Simon, composer; Mark Hayes, arranger); Embrace The Music (Greg Gilpin, composer; John Lewis, soloist); and The Music of Life (Althouse, composer).

After 18 years, the Orlando Gay Chorus retains 12 of its charter singing members. The group sent 82 male and female delegates to Miami. Singers, attired in black tie formal wear, opened with a Donna Summer Medley (various composers arranged by David Maddux) followed by Proud (Peter Vettese, composer; Jedediah Daiger/Eisenberg, arrangers; Heather Small, lyricist); Can You Feel the Love Tonight (Elton John, composer; Mac Huff, arranger; Tim Rice, lyricist); and Courage Lives! (Mark Patterson, composer). Conductor Mark W. Hardin also led Epitaph and Affirmation (Justin S. Fischer, composer; John Patrick Day, lyricist), a work commissioned to commemorate Matthew Shepherd and performed for Shepherd's mother in January.


Soon entering its 10th season, Caballeros, The Gay Men's Chorus of Palm Springs, made its second appearance at a GALA festival, featuring 30 singers directed by Alan Scott. The men work hard to sing each song in the dialect from which it originated. This was most evident in Hark I Hear the Harps Eternal, a traditional hymn from Appalachian Tennessee and West Virginia arranged by Alice Parker. In cadence and sound, this glory song bore echoes of Ojibwe pow wows I have heard broadcast on WOJB radio from Lacs Courte d'Oreilles in Wisconsin. The program also included Cantique de Jean Racine (Gabriel Faure, composer; K. Lee Scott, composer); Seize the Day (Alan Menken, composer; Roger Emerson, arranger; Jack Feldman, lyricist); Stars In The Night (Barry Manilow, composer; Alan Scott, arranger; Bruce Sussman, lyricist); Extraordinary Miracles (Christopher Winslow, composer); and Ain'a That Good News (William L. Dawson, composer).


The Wall of Sound pioneered by 1960s music producer Phil Spector has nothing on the New York City Gay Men's Chorus, led by Dr. Charles Beale. With just 100 of the group's 250 members present, the men proved that the human voice can generate tangible, physiological power. Their musical style is discussed and debated within and without the ranks of the 28-year-old chorus. While many might want to follow a wall of power into a battle, it is less certain if any would want to cozy up to such an intimidating force for sensual fun.


Nonetheless, the program was strong and striking, and included Zadok the Priest (Handel, composer; Steve Milloy, arranger); ManEater (Nelly Furtado, composer; Milloy, arranger); Aslanuri (traditional Georgian folksong; Eric Saggesse, Lamont Mundell, and Dan Baillie, soloists); Tree of Peace (Gwyneth Walker, composer); Take the A Train (Billy Strayhorn, composer; Alan Broadbent, arranger; Johnny Mercer, lyricist); and Vibrate and Beautiful Child (both works: Rufus Wainwright, composer; Raman Gutteridge, arranger; Mark Silverstone, soloist). One song, Africa (Jonnah Speidel, composer; Tom Morell, soloist), reduced much of the audience to tears. It is one piece that works well with the wall-of-sound treatment, and should be in the repertoires of every men's chorus. The New York group's ASL interpreter was terrific -- his name should have been listed in the printed program.


One rarely will find unanimity among any group of gay men, but consensus may be found frequently. A strong consensus seems to have developed in the hotel and concert hall corridors about the Heartland Men's Chorus: it touches the heart consistently and has one of the richest sounds at Festival 2008. Dr. Joseph P. Nadeau, artistic director, brought 130 singers from Kansas City to their fourth GALA appearance. Attired in blue-tie-and-vest formal wear, the 22-year-old group put on a fine, fine show. Most of the selections are from a new CD, "Quest Unending," and include Khorumi (Mamia Khatelishvili, composer; Robert Grady, soloist); Dies Irae (Z. Randall Stroope, composer); Live Your Dream (Greg Gilpin, composer; Rumi, Lao-Tzu, and Henry David Thoreau, lyricists); Carmina Ricotta (Eric Lane Barnes, composer; Mike Sigler, Robert Grady, John Edmonds, soloists); and Here's Where I Stand (Michael Gore, composer; Neal Richardson, arranger; Lynn Ahrens, lyricist; Todd Gregory, soloist).


The emotional highlight of the evening was provided by Last Letter Home. Before deploying to Iraq, Pfc. Jesse Givens composed a letter for his wife to read if he did not return. He was killed 10 days later. The words of his letter, set to music by Lee Hoiby, expressed thanks to his wife for the million years they had enjoyed together, and hope that his son would have a son as fine as he did. I was told later that the performers had been unable to sing the work without tears until, at a rehearsal, Nadeau told them to hold hands, which they did in concert.


From the heart and the heartland.

Opening...Sunday afternoon and evening

Miami, Florida

The Miami Gay Men's Chorus, founded in 1999, took the stage of the Ziff Ballet Opera House shortly after noon on Sun., July 13, to launch the first of this week's 27 concert blocks at Festival 2008. With 67 delegates, led by Conductor Anthony Cabrera, the group presented a lovely rendering of Bobby McFerrin's 23rd Psalm. The 30-minute program also included My Own Creation, composed by MGMC's Chris Lobdell, with lyrics by Jerry Chasen; Amor de mi Alma (Z. Randall Stroope, composer); The Masochism Tango (Tom Lehrer, composer); and Alleluia (Paul Basler, composer).


Twenty seven members of the New Orleans Gay Men's Chorus, founded in 1982, gave the group its strongest GALA presence in years, presenting excerpts from their spring concert, "HOME." Under the baton of Artistic Director Cedric Bridges, the men offered In His Eyes/My Friend (Chuck Effler, composer); What a Wonderful World (George David Weiss, composer; Effler, arranger; George Douglas, lyricist); Opening Medley (Effler, composer); and Family (Henry Kreiger, composer; Effler, arranger). NOMGC's vice president voiced his members's thanks to GALA Choruses for the tangible and moral support they have provided in the three years since Hurricane Katrina.


In a reflection of good karma, the website of the New Orleans chorus encourages visitors to join in donating assistance to The Quire, a GLBT chorus affected by recent flooding in Eastern Iowa.


The MCC San Francisco Worship & Praise Team has some great male and female soloists among its 21 delegates. Gary Colman and Jill Sizemore composed and soloed in Gloria and I See You, God, respectively, while Rick Rosser and Larry Novida poured it on in Surrender (Cheri Toney, composer). The program also included Benedictus (Ilyas Iliya, composer). Music Director Stephanie Lynne Smith heads the Gospel ensemble.


Conductor Jerry Foust and the San Diego Men's Chorus provided a rousing finish to the afternoon set with highlights from Jersey Boys (Bob Gaudio, composer; Mark Brymer, arranger; Gaudio and Brymer, lyricists); He Ain't Heavy, He's My Brother (Bobby Scott, composer; John Coates, arranger; Bob Russell, lyricist); Trashin' the Camp (Phil Collins, composer; Moses Hogan, arranger); and Stayin' Alive–Bee Gees Medley (Barry, Maurice, and Robin Gibb, composers; Teena Chinn, arranger). Let It Be (John Lennon/Paul McCartney, composers; Antonio Barazza, arranger) featured soloists Antonio Barazza and Jeff Crawford.


They have played in Europe and at Carnegie Hall, and now the five members of Uptown Express can add Miami's Ziff Opera House to their resumes. With a pop repertoire covering the last 80 years, the energetic lads presented selections from their new CD, "Walk Like A Man," backed by percussion, bass, and piano. John Followell, music director, arranged most of the tunes, including Who Loves You (Bob Gaudio & Judy Parker, composers); It's All Right With Me (Cole Porter, composer); Goin' Out of My Head (Randazzo/Winstein, composers); Can't Take My Eyes Off of You (Gaudio/Crewe, composers); Come To My Window (Melissa Etheridge, composer); I Want Love (Elton John, composer; Bernie Taupin, lyricist); Constant Craving (k.d. Lang/Ben Mink, composers); Never Can Say Goodbye (Clifton Davis, composer); and Love Grows Here (Gross/Koutrakous/Perreaux, composers). Soloists Christopher Caswell, John DePalma, Alex Goro, and Brad Parks were terrific, respectively, in the Etheridge, John, Lang/Mink, and Davis.


Full group dancing, in platform shoes, lent a comic, 1970s flair to the 14 singers from the Connecticut Gay Men's Chorus, led by Greg McMahan, guest music director. In its 22nd year, the group presented selections from its spring concert, including Dancing Queen: The Best of Abba (Andersson & Ulvaeus, composers and lyricists) and Seventies with a Twist (various composers, arranged by Mac Huff).


Now in its sixth season, Our Song: The Atlanta Gay and Lesbian Chorus brought 34 singers, resplendent in black tie formal wear, to Miami to deliver several short tunes, directed by Dr. Robert Glor, artistic director. The selections included My Spirit is Uncaged (Paul Rardin, composer; Walt Whitman, lyricist); Breath of Heaven (Chris Eaton & Amy Grant, composers; Lloyd Larson, arranger; Eaton & Grant, lyricists); Whirligig (Chuck Cogliandro, composer; commissioned by Our Song); Bonse Aba (Traditional Zambian Song; Andrew Fischer, lyricist); Bach (Again), Come Sweet Death (J. S. Bach, composer; Rhonda Sandberg, arranger); There Will Be Rest (Frank Ticheli, composer; Sara Teasdale, lyricist); and Ain't That Good News (William L. Dawson, composer and lyricist).


Sixty one singers of the 100+ member Philadelphia Gay Men's Chorus also made the scene in black ties, accompanied by the Community Women's Orchestra from San Francisco. Artistic Director Joseph J. Buches led the group through Open Road (Robert Maggio, composer); Bridge Over Troubled Water (Paul Simon, composer; Kirby Shaw, arranger); and Joyful, Joyful (Beethoven, composer; Warren, arranger; Emerson, adapter).


The San Francisco Gay Men's Chorus holds a special place in GALA Chorus history. Established in 1978, a month following the assassinations of San Francisco Mayor George Moscone and Supervisor Harvey Milk, it was the first chorus to include the word "gay" in its name. Choruses formed in New York City, Dallas, Los Angeles, Seattle, Chicago, and other cities between 1979 and 1981. In 1981, the San Francisco Gay Men's Chorus went on tour, visiting 12 cities around the country. The tour inspired the formation of many new lesbian and gay choruses, including the Twin Cities Gay Men's Chorus in 1981.


San Francisco's artistic director, Dr. Kathleen McGuire, led a delegation of 129 delegates to Miami to close out Sunday's performances with highlights from its recent seasons. The singers upped the sartorial ante, attired in white tie formal wear complete with white pocket handkerchiefs and sailor's hats for excerpts from U.S.S. Metaphor (Sir Arthur Sullivan, composer; Kathleen McGuire, arranger).


The program also included Gay vs. Straight Composers, abridged (Eric Lane Barnes, composer and lyricist, with help from many); Love (David Conte, composer; Philip Littell, lyricist); and "Tonight" from West Side Story (Leonard Bernstein, composer; McGuire, arranger; Stephen Sondheim, lyricist).


A commissioned work by Ilyas Iliya, Safeer el-Layl (Ambassador of the Night), addressed a powerful plea for freedom to Muslims around the world, sung in Lebanese Arabic "so they can understand it."