The capacity audience loved this production, as well they should. And the expressive unison movements he assigned to the more experienced dancers were executed with precision.
Music Director Christopher Wilkins led a briskly-paced performance, deftly coordinating his fleet of musicians - many of whom had their backs to the podium most of the time.īut the principal bow goes to David Shimotakahara, who marshalled multiple dancers (both professional and amateur), soloists, and the children’s chorus into a well-integrated whole, giving everyone meaningful things to do. Trained by Ann Usher, the Cleveland Orchestra Children’s Chorus added beautifully-sung innocence to their parts in “The Court of Love,” as well as some well-regimented movement involving Kahl and the dancers. Though the men’s “Wafna’s” in the Abbot’s song were covered by the orchestra, they did a masterful job with the tricky a cappella number “Si puer cum puellula.”
The subtly amplified Akron Symphony Chorus, prepared by Marie Sensi Sellner, sang themselves proud throughout the work. Soprano Grace Kahl, mute until the third section of the piece, was rapturous in her solos, especially when she floated up to a stratospheric note in “Dulcissime.” Tenor Timothy Culver sang the lament of the spit-roasted swan with anguished feeling, returning later for a more flattering cameo solo. Two dangling ropes provided the props for a sensual accompaniment to one steamy song, and at another point, four double-stacked male dancers created a hilarious moment of comedy.īaritone Brian Keith Johnson splendidly articulated the Latin patter song “Estuans interius,” amusingly conjured up the drunken Abbot of Cockaigne, and sang his lines in the Court of Love with focused sonority. Costumed in red tops and long red skirts with black lining, the dancers made imaginative use of their vestments to change color schemes, create swirling effects, and at one point, to morph into perfectly spaced red pods at the end of a section. Most of the leg work went to GroundWorks’ core dancers and some added guests. Not just a choral performance with some dancing added, this Carmina Burana was choreographed from beginning to end. When the children’s chorus made their appearance later in the piece, Shimotakahara worked them into the action, eventually creating a grand spectacle at the end. The three soloists were incorporated into the choreography - Kahl, brilliant in her white and gold costume, acting the part of the goddess Fortuna in the opening and closing scenes. The Akron Symphony Chorus had a fine view of the proceedings from its own balcony.
To provide enough elbow room for a large company of dancers to move freely, the orchestra, with its two pianos and abundant percussion, was moved upstage. The setup was as clever as the whole concept of the production. Thomas Hall, the Akron Symphony and Chorus joined with David Shimotakahara’s GroundWorks Dance, Ballet Excel Ohio, the Dance Institute at the University of Akron, soprano Grace Kahl, tenor Timothy Culver, baritone Brian Keith Johnson, and the Cleveland Orchestra Children’s Choir in a performance that splendidly fulfilled the composer’s original vision. Carl Orff intended his immensely popular “Scenic Cantata” Carmina Burana to be a staged work with dancers rather than just a concert piece - the form in which we usually encounter it today.