Opening the evening was Chansons de Bilitis by Claude Debussy … in an arrangement made by one of the À la carte founding directors, Dr. Lance Hulme. The other founding director, mezzo-soprano Clara O’Brien, was the featured soloist. This was a colorful, luxurious arrangement … made use of each instrument’s different colors, as individual lines came together occasionally to strengthen the dramatic thrust. O’Brien’s lovely, rich mezzo voice seemed an ideal match for these seldom heard gems.
Sidelines (Reflections on Two American Sports) … Anthony Kelley … This is a bouncy and fun piece that contrasted with the more “orderliness of baseball” fugue. The Ciompi Quartet … was a delight. Various textures and rhythms brought the two movements alive.
Charles Ives[“s] “Sunrise,” written for voice, piano and violin … was caught beautifully by all three musicians.
Hulme’s original Slapdash Seule … This virtuosic workout is for vibraphone, energetically and musically played by Erik Alexander. The somewhat frenzied nature of the piece is a perfect definition of the title.
The evening concluded with another treasure, the slow movement from the “Death and the Maiden” string quartet by Franz Schubert … It seemed clear that the Ciompi had played the work many times, and they expertly led the audience through the five variations.
Click below to read the complete review
Classical Voice North Carolina Review
“the Allegro movement from Concerto pastorale per il Santissimo Natale by Francesco Manfredini … was rhythmically tight and played with minimal vibrato, which lent a historically informed authenticity to the music.”
“the da capo aria ‘Bereite dich, Zion’ from Weihnachts-Oratorium by J.S. Bach. O’Brien’s voice is wonderfully suited to this Baroque gem.[…] Again, Hulme directed the proceedings with precision and clarity.”
“‘Geistliches Wiegenlied’ (“Sacred Lullaby”) from Zwei Gesänge (Two Songs), Op. 91 by Johannes Brahms. With pianist Douglass and a wonderfully played obbligato viola by Keplin, the three worked together to bring out the lyricism that is so deeply embedded in the music.”
“‘Natività di Christo – Con le stelle in ciel che mai’ … Romero easily negotiated the many florid ornaments with solid support from Taylor; the violin and cello joined in the merrymaking between each verse.”
“The Finale included ‘Do They Know It’s Christmas’ … something people could sing along with. And indeed, the audience did.”
Click below to read the complete review
“This organization reminds one of the little engine that could – and did.”
“The … Rondeau by Purcell, so radiantly played one wished we’d heard all of the Abdelazar Suite”
” ‘En attendant, Esperance,’ effectively accompanied by viola and lute.”
“…Hulme’s own composition, “a red yes (Penelope),” from Odyssey Allusions … with fascinating interweaving of long melodic lines.
“…”Chanson perpetuelle,” fit admirably in context with the far newer composition, its extended lines beautifully sung by O’Brien; and rarely has the music seemed so intense, so direct, so penetrating…”
Brian Horton and his ensemble … demonstrated superior chops that were significantly enhanced by contributions from the classical side in a very impressive piece we’d welcome the chance to hear again”
“George Crumb’s The Night of the Four Moons … was the highlight of the evening …That this performance was so enthusiastically received demonstrates that À la carte has earned its audience’s confidence and respect. Well done!”
” ‘Spain’ …The jazz ensemble here was the centerpiece of the extended number, and the classical side of the house again more than held its own”
Click below to read John Lambert’s complete review of our March 15, 2019 concert in the Classical Voice North Carolina
Classical Voice North Carolina Review
And here are more excerpts from Tim Lindemann’s review in the Greensboro News and Record:
“…a buoyant presentation of the Rondeau from ‘Abdelazar Suite’ ”
” …a ballade by Franco-Flemish composer Jacob Senleches … featured mezzo-soprano Clara O’Brien, who freely and expressively floated above equally free accompaniment by Rawls and lutenist Samuel Taylor.”
“…Hulme’s own composition, the well-crafted and evocative second movement of “Odyssey Allusions: a red yes (Penelope),” …all kept together by Hulme conducting.”
“O’Brien returned for a lovely presentation of the hyper-French-romantic “Chanson Perpetuelle” … was sensitively accompanied by piano quintet.
“ ‘Not Enough Sky’ by Brian Horton (a professor at N.C. Central University). His ensemble …was joined by a flute, clarinet, and string quartet. A free intro was followed by the main tune featuring both combo and orchestra. Lively improvisation from the quartet followed.”
“George Crumb … “The Night of the Four Moons” … is all about color and theater— a treat to hear live.”
“…a raucous performance of “Spain” … featuring the jazz quartet, O’Brien, winds and strings. The good-sized audience was all smiles as the concert of what Hulme called “world ethnicity” concluded.”
Click below to read Tim Lindeman’s complete review of our March 15, 2019 concert in the Greensboro News and Record
Greensboro News and Record Review
April 19, 2018: excepts from Tim Lindemann’s review in the New and Record:
“Hulme … laid down a riff on the piano [and the] other instruments entered one by one or in combination … the music accrued power and depth … and the entire seven minutes exuded good energy.”
“’Ozymandias’ … by … John Salmon [sung by] Robert Wells. Salmon’s chordal piano introduction, including a mixture of quartal chords and jazzy sounds, led into the dramatic setting. … Wells sang with great expression and sensitivity.”
“O’Brien was joined by Wells for “Halleluiah” by Leonard Cohen (1934-2016) in a winning arrangement by Hulme.”
“The evening concluded with “Summertime” [which] began lazily but was rocking by the end.”
Click below to read Tim Lindeman’s complete review in the Greensboro News and Record
Greensboro News and Record Review
February 2, 2018: excepts from Tim Lindemann’s review in the New and Record:
“À la carte … continu[es] its tradition of offering “a wide assortment of music from various genres, styles and epochs”
“The … sounds were part of a computer generated ‘backdrop’ for ‘Caritas abundant’ (‘Charity abounds’), an antiphon written by the German Benedictine abbess, writer, composer, philosopher, Christian mystic, visionary Hildegard von Bingen … [The] arrangement created an other-worldly experience.”
“As flashy as the trumpet part [in Handel’s aria] may be, this is a tour-de-force for the singer. O’Brien matched the brass instrument’s agility but with a rich, dark timbre. The rhythmic vitality of all the musicians created brilliance and excitement.”
“Libyan musician Nabil Rahma performed three works for the Islamic lute, the oud … the listener was immediately transported to Syria … O’Brien joined Rahma and Hulme to convincingly sing this sad lament of a jilted lover.”
“Such an interesting combination — voice and trumpet. The two often intermingling and sometimes imitating each other, sometimes going their own way … a poignant and evocative setting”
“The jazzy 1931 ‘Sleepy Time Down South’, featuring O’Brien, Douglass and Gekker served as the encore, nicely rounding the wide-ranging program.”
Click below to read Tim Lindeman’s complete review in the Greensboro News and Record
Greensboro News and Record Review
September 21, 2017: excepts from John Lambert’s review in Classical Voice North Carolina:
“À la carte is a remarkable undertaking, worthy of enthusiastic support…”
“…a lovely duet for two solo voices consisting of a sequence from Las Huelgas Codex… sung, ethereally, from the rear balcony of the church.”
“Bach’s Cantata 170 … the radiance of the singing was matched measure for measure by the richness and keen incisiveness of the instrumentalists.”
“The evening’s premiere was of Four North Carolina Seasons by Richard Langellotti … handsomely vocalized by Guillén, supported with admirable attentiveness by pianist Richard Auvil.”
“Guillén seemed … at home with three magnificent tangos, accompanied by … Alejandro Rutty, who played both piano and bass guitar … with oft’-passionate involvement.”
“‘Songs to Ancient Children Come’ … created a very favorable impression and generated warm response
“six Grieg songs [were] gloriously realized by O’Brien … I am frankly at a loss to convey in words how much [the arrangement] added to the gripping emotion of these songs.”
Click below to read John Lambert’s complete review in the Greensboro News and Record
Classical Voice North Carolina Review
April 27, 2017: excepts from Tim Lindemann’s review in Classical Voice North Carolina:
“Thursday night’s performance certainly lived up to the PR…”
…the traditional Appalachian folk/gospel song “Wayfaring Stranger,”… was a haunting arrangement with occasional rhapsodic bursts from the piano, but nothing that covered O’Brien’s rich and soulful singing.
“L’Astatto, … with fast keyboard and cello work strongly played by both Hulme and Holley. But it was O’Brien who caught the humor and the mock-pathos of the text so exquisitely.”
“The Baron Tymas ensemble … featured strong playing from guitarist Tymas with Annalise Stalls, saxophones, Aaron Gross, bass, and Thomas Taylor, drums.”
“Emerging artists” Brandon Ironside, violin, and Kristen Ironside, piano, performed an original work by Hulme …
the movement was chocked full of dazzling fiddle playing, all cleanly performed by violinist Ironside. Occasionally there was some respite for the fiddler, but that only provided a spotlight to shine on the pianist.”
“[In] ‘A Girl’s Song to Her Mother,’ … tender memories are hauntingly set, and O’Brien and Fancher seamlessly merged their melodic lines together.
The evening concluded with two pieces by Canadian song writer/performer Bruce Cockburn … A perfect ending to a truly eclectic evening of music.”
Click below to read Tim Lindeman’s complete review in the Greensboro News and Record
Classical Voice North Carolina Review
January 27, 2017: excepts from Nick Rich’s review in Classical Voice North Carolina:
“Vocalist Clara O’Brien and composer Lance Hulme are not afraid of variety…they’ve never abandoned their embrace of stylistic and chronological multiplicity…the program brimmed with musical color.”
“O’Brien … cut into the Vivaldi with precision, making frequent use of a haunting and delicate straight tone. The ensemble, led by Hulme, was an all-star collection of brilliant Triad locals… a sparkling opening!”
“…the NCCU Vocal Jazz Ensemble’s sound was absolutely enchanting: clean and shimmering, but also warm and rich. Such was their precision that when they locked into a tight harmony, the sound through the loudspeakers sparkled like a fine studio recording.”
“Flores … literally leapt through the number, dancing down the isle of First Presbyterian as she sang the titular character’s signature aria. The audience returned Flores’ enthusiasm with glowing applause.”
Click below to read Nicholas Rich’s complete review in the Greensboro News and Record