music

Philip Brunelle and VocalEssence have more than a four-decade relationship with the music of Aaron Copland. Copland conducted a concert of his music in their first season in 1970. So a concert titled "Undiscovered Copland," performed Saturday at Ted Mann Concert Hall in Minneapolis, raised much anticipation.

Unfortunately, some works are undiscovered for a good reason. Such was the case with "The Second Hurricane," a children's opera written in 1937.

In Edwin Denby's overly repetitive libretto, six high-school students go south to help with rescue efforts following a hurricane. They get caught in a second storm, during which they learn how to overcome their differences. This moralistic fable came off as hopelessly naïve, especially in matters of race.

The music compounded the libretto's faults, being dramatically inert. There was little melodic interest, even upon many repetitions. And the orchestration was uncharacteristically thin, compelling little attention.

The VocalEssence Ensemble Singers were joined by the Eastview High School Concert Choir from Apple Valley, who added to the chorus and provided the soloists. The adolescents acquitted themselves admirably.

As directed by Jon Cranney, this version moved costumed singer-actors around the stage, an extremely effective way to put across the story. But it was disturbing to see the Ensemble Singers singing from scores, especially when the high school choir was not. The adults' continually returning to their music spoiled many a nice moment.

The second half opened with "In the Beginning," an a cappella setting of the opening of Genesis. A soloist, singing primarily recitative, alternated with the Ensemble Singers, who mostly chanted. The musical vocabulary was spare, to the point of being ascetic.

Adriana Zabala's lush mezzo sounded wrong in this music. What was needed was a cleaner, more slender sound to match the music's style.

Likewise, the choreography of Penelope Freeh, ably performed by members of James Sewell Ballet, seemed out of place. It was athletic, acrobatic and very busy, proving more distracting than illuminating.

More successful was Sewell's choreography to five selections from Copland's "Old American Songs." Sewell's story line of a couple's courtship and marriage through old age, danced with real wit by him and Freeh, was sweet and touching.

The massed voices of the VocalEssence Chorus and Ensemble Singers made the most of Copland's lyrical outpourings. These big-hearted choruses, like the concert finale of "The Promise of Living" from Copland's opera "The Tender Land," were perfect for VocalEssence's sound and sensibility. The evening ended on a positive note.

William Randall Beard writes regularly about music.