Category: Binghamton

On February 24, the Binghamton Philharmonic performed a crowd-pleasing pops concert – with a twist. In “Pops at the Forum,” rather than sticking to the timeworn pops formula of show tunes and light classics, Maestro Daniel Hege led the orchestra in a satisfyingly dynamic mix of opera excerpts, overtures, film music, and even rock.

The show spotlighted the talents of several of the Philharmonic’s world-class musicians. Principal cellist Hakan Tayga, along with percussionists Julie Licata, Steve Matthiesen, Sam Lazzara, and the father-daughter team of Joel and Elaina Smales, provided dramatic solos in Tan Dun’s atmospheric “Crouching Tiger” Concerto. Principal flutist Karen Bogardus and oboist Evan Ocheret phrased their solo lines sinuously in Fauré’s delicate Pavane in F-sharp minor. The orchestra’s trumpet section – Frank Campos, Ben Aldridge, and Jud Spena – brought the heat in Leroy Anderson’s toe-tapping “Bugler’s Holiday.” And the whole audience whistled along enthusiastically to the “Colonel Bogey” March (known to some as the “Comet” song!). 

Other highlights of the show were Wagner’s famous Ride of the Valkyries, the brass-heavy “Fanfare on Amazing Grace” by living African American composer and Upstate New York native Adolphus Hailstork, and a hard-driving orchestral arrangement of the Led Zeppelin classic “Kashmir,” with Sam Lazzara rocking out once again on solo drum.

As usual, it was a pleasure to see many children and teens in the audience; one young Hakan Tayga fan seated directly in front of this reviewer played air cello along with the soloist’s every note. The rest of the audience was just as appreciative, leaping to its feet spontaneously at the close of the concert. “Pops at the Forum” was a wonderful addition to the Philharmonic’s season line-up, and a great way to while away a winter day!    

On Sunday, January 28, the Binghamton Philharmonic Orchestra, together with the combined choirs of the Southern Tier Singers’ Collective and the Binghamton University Chamber Singers, mounted a moving musical performance of Mozart’s Requiem at the Broome County Forum Theatre. It was a rare treat to hear this great work of the choral repertoire, especially when performed with such great mastery.

The orchestra and choir were joined by four up-and-coming young soloists from the Curtis Institute of Music: soprano Juliette Tacchino, mezzo-soprano Katie Trigg, tenor Jackson Allen, and bass Evan Gray. The quartet of singers, hailing from as far away as France and New Zealand, powerfully conveyed the profound human longing in Mozart’s vocal writing. Tacchino’s silvery sound blended beautifully with Trigg’s rich, plummy tones, and all four soloists distinguished themselves by their highly expressive musicality.

Maestro Daniel Hege led a tight, seamless ensemble through the wildly contrasting emotions of the Requiem; as usual with this group, the woodwinds were particularly strong. Hege’s tempos seemed to grow organically from one movement to the next, giving the work a living, breathing pulse and a satisfying sense of wholeness.

But it was the chorus that was the true star of the show. Prepared by William Culverhouse, the combined choirs infused Mozart’s majestic work with energy, elegance, and intimacy. Culverhouse’s singers showed themselves capable of rigorous counterpoint and stunning pianissimi, their phrasing crisply commanding and meltingly lyrical by turns. Mozart’s demands on the chorus are almost soloistic, and this chorus was fully up to the challenge, cycling through his extremes of volume, speed, and emotion with virtuosity and aplomb. 

Over 1100 concertgoers, including many younger music lovers, came out on a snowy midwinter day to hear Sunday’s stunning performance, demonstrating their appreciation with a standing ovation and several curtain calls. The Philharmonic’s foray into the great repertoire of choral music was a great success, one that bears repeating!